A CATALOGUE of RECENT ACQUISITIONS. Fine and Decorative Antique Prints. by Sanders of Oxford, Antique Prints & Maps

SPRING 2022

A CATALOGUE of RECENT ACQUISITIONS

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Spring 2022 A Catalogue of Recent Acquisitions From Wednesday 13th April 2022

Sanders of Oxford is pleased to present ﬁfty of our most interesting recent acquisitions. Over the past few months we have been busy cataloguing a collection of ﬁne 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.

01-10: Caricatures & Satires

11-15: Portraits

16-23: Old Masters

24-29: Mezzotints

30-37: Fine Prints

38-41: Sciences

42-47: Topography

48-50: Oxford

CARICATURES & SATIRES

01. The Devils Doings or the Cruel Radical Harpies Destroying a Feast William Heath Etching with early hand colouring Ess De. They Seem to be Intruding Here. Pubd. by T. McLean 26 Haymarket where Political & Other Charicatures are Daily brought out. [c.1828] Image 242 x 355 mm, Plate 260 x 372 mm, Sheet 278 x 410 mm unmounted A satire of arguments and factionalism in the parish of St Pauls, featuring a number of Covent Garden personalities at a feast. The scene draws broad inspiration from the Greek myth of Phineus, whose punishment was to be forever seated at a feast that would be periodically fouled by the horrible birdbodied harpies, never allowing him to eat. A dining table has been laid with all manner of extravagant dishes, and a crowd of well-fed Covent Garden parishioners have gathered to enjoy their feast. On a nearby rooftop, the Devil stokes the ﬂames of discontent and argument by upending the table, and loosing an army of harpies upon the diners. The Devil is goat-legged, serpent tailed, and bat winged, with a crooked nose, forked beard, and two enormous horns. The harpies are members of the Parish council’s opposing faction, their bodies terminating in snaky tails. One, brandishing a pair of boots, is the shoemaker T.W. Dow, while another pummels a corpulent vestryman who cries ‘Oh my Nose - Rose water, rose water, oh oh oh.’ The central ﬁgures of the scene are also central to the ruckus.

In April 1828, Corder was elected Vestry Clerk, beating Roach by 7 votes. Roach refuses to be cowed, fleeing on a flying cockroach with the Parish Accounts held high, as his flatulent mount delivers a backshot at the furious Harpy Corder, holding aloft his expenses bill. An inscription along the top border reads: ‘Now by St Paul’s the work goes bravely on.’ William Heath (1795-1840) was a British artist best known for his published engravings including caricatures, political cartoons, and commentary on contemporary life. His early works often dealt with military scenes, but from about 1820 on he focused on satire. Some of his works were published under the pseudonym “Paul Pry”. Thomas McLean (1788-1875) was a British publisher and printseller, active from the early 1820s to his death. He traded initially from a print shop on Haymarket, before moving into lithography at a new premises on St Martin’s Lane in the 1840s. BM Satires 15529 Condition: Clean crisp impression. Minor time toning and creasing to edges of sheet, not affecting plate. [50870] £300

02. The March of Bonnetism William Heath Etching with early hand colouring Pub. by T. McLean 26 Haymarket where Political and other Caricatures are daily Pubd. [c.1828] Image 285 x 400 mm, Sheet 305 x 412 mm unmounted A satirical print taking aim at milliners and the fashion for ever-larger bonnets and hats among the fashionable ladies of the early nineteenth century, etched by Heath as a sort of moral progress in stages. In the top left, the ladies have erected a scaﬀold to allow them to measure out the frame of a truly enormous bonnet, which in the second and third scenes is covered in quantities of cloth, and then ribbon trimming. The wasp-waisted Miss Pullford, true to her name, heaves upon a rope and pulley to raise one of the milliners on her chair. In the bottom left, a fashionable young lady tries on the colossal creation, expressing a slight misgiving that the ribbon may not be quite broad enough. The remainder of the scene is one of ‘Dreadful Catastophe’ - the beam holding the rope and pulleys has failed, bringing down the hat, ceiling and all, on the unfortunate group of young ladies, while customers look on in dismay.

William Heath (1795-1840) was a British artist best known for his published engravings including caricatures, political cartoons, and commentary on contemporary life. His early works often dealt with military scenes, but from about 1820 on he focused on satire. Some of his works were published under the pseudonym “Paul Pry”. Thomas McLean (1788-1875) was a British publisher and printseller, active from the early 1820s to his death. He traded initially from a print shop on Haymarket, before moving into lithography at a new premises on St Martin’s Lane in the 1840s. Condition: Pressed central vertical and horizontal folds. Tears to top and bottom of central vertical fold. Trimmed close to border on all sides. Chips and creases to corners of sheet. [50856] £250

03. A Hitt at Backgammon Thomas Rowlandson Etching with original hand colouring Tegg’s Caricatures No. 46. Rowlandson Del. [c.1810] Image 230 x 325 mm, Sheet 241 x 350 unmounted A pair of elderly grotesques play at backgammon, the wife angrily grabbing at her husband’s wig as the dice fly from the cup in his right hand. The sudden attack has upset the game board, tipping over a pair of candlesticks and snapping the flaming tapers. On the back of the lady’s chair, a ginger cat hisses at the feuding couple. The original inscription above the title, which read ‘Pubd. November 19th. 1810 by Thos. Tegg, No. 111 Cheapside,’ has been erased. Thomas Rowlandson (1756 - 1827) was an English watercolourist and caricaturist. Born in London, the son of a weaver, Rowlandson studied at the Soho Academy from 1765. On leaving school in 1772, he became a student at the Royal Academy and made the first of many trips to Paris where he may have studied under Jean-Baptiste Pigalle. In 1775 he exhibited the drawing Dalilah Payeth Sampson a Visit while in Prison at Gaza at the Royal Academy and two years later received a silver medal for a bas-relief figure. As a printmaker Rowlandson was largely employed by the art publisher Rudolph Ackermann, who in 1809, issued in his Poetical Magazine The Schoolmaster’s Tour, a series of plates with illustrative verses by Dr. William Combe.

Proving popular, the plates were engraved again in 1812 by Rowlandson himself, and issued under the title The Tour of Dr Syntax in Search of the Picturesque. By 1813 the series had attained a ﬁfth edition, and was followed in 1820 by Dr Syntax in Search of Consolation, Third Tour of Dr Syntax in Search of a Wife in 1821 and also in the same year by The history of Johnny Quae Genus, the little foundling of the late Doctor Syntax. Rowlandson also illustrated work by Smollett, Goldsmith and Sterne, and for The Spirit of the Public Journals (1825), The English Spy (1825), and The Humorist (1831). 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. BM Satires 11637 Condition: Trimmed close to printed border and below title. Time toning to sheet and original hand colour. Old adhesive marks on verso, previously tipped to album page. [50854] £275

04. A Consultation of Doctors on the case of Sr. Toby Bumper Isaac Cruikshank after George Moutard Woodward Etching with early hand colouring Woodward del. Cruikshank sc. Pubd. by T. Tegg, 111 Cheapside. [c.1807] Image 225 x 328 mm, Plate 245 x 350 mm, Sheet 255 x 390 mm unmounted A conference of four doctors discuss treatment for the notorious toper Sir Toby Bumper. The four, in perriwigs, coats, and breeches, sit in a close circle, two holding their sticks to their noses, as they agree that Bumper’s fever is unlikely to abate until he ceases drinking. The four each contribute a statement on their patient: ‘We must throw in the Bark’ - a reference to quinine for his fever - ‘It is all brought on by Drinking.’ ‘What you say is very true.’ ‘We must abate the thirst and then cure the fever.’ Bumper, listening in from under the coverlets of his bed behind them, is not keen on the proposed treatment ‘Aye Aye, I hear you but I’ll tell you how to save half the trouble, cure the fever, & send me a nice cool tankard of Madeira and I’ll abate the thirst myself.’ Numbered at top right ‘225.’ Isaac Cruikshank (1764-1811), was a Scottish painter and caricaturist. Born in Edinburgh, he studied with a local artist, possibly John Kay, and travelled to London in 1783. He married Mary MacNaughton in 1788 and had ﬁve children, including the caricaturists Isaac Robert Cruikshank (17891856) and George Cruikshank (1792-1878). He produced work for various publications including ‘Edinburgh types’ (c.1784), ‘Witticisms and Jests of Dr Johnson’ (1791), and George Shaw’s ‘General Zoology’ (1800–26).

Through his caricatures, Cruikshank and Gillray developed the figure of John Bull. He worked with the publishers John Roach, S. W. Fores and Johnny Fairburn. He also collaborated with his son George. Cruikshank died of alcohol poisoning as the result of a drinking contest. George Moutard Woodward (1760–1809) was an English amateur caricaturist and humorous writer. Nicknamed ‘Mustard George’, Woodward had a somewhat crude but energetic style. Widely published in the Caricature magazine and elsewhere, his drawings were nearly all etched by others, primarily by his friend Thomas Rowlandson, but also Charles Williams and Isaac Cruikshank. He was described by Dorothy George as ‘a very considerable figure in caricature: he was original, prolific and varied’. 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. BM Satires 11468 Condition: Time toning to sheet. Old adhesive tape along top margin. [50869] £250

05. [Hibernia in Distress] [Anonymous] Copper engraving [London, c.1772] Image 100 x 158 mm, Plate 115 x 175 mm, Sheet 120 x 180 mm unmounted A political satire from the London Magazine, illustrating the article ‘The History of the Last Parliament of Ireland.’ The satire is a critique of English rapacity, with the personiﬁcation of Ireland, Hibernia, lying on the ground, her harp broken, and trampled underfoot by a group of politicians. On a table to the left are two money bags, one stuﬀed to bursting labelled ‘Exchequer,’ the other labelled with the Irish harp, which is almost empty. Despite this, Lord North grasps deeply, looking for the last bit of Irish revenue, while Jeremiah Dyson, in the character of the black slave Mungo, looks for a pension on the Irish list.

The other two figures plot to ensure that the stricken Hibernia cannot rise against them. The figure with his foot to Hibernia’s neck is George, 1st Marquess Townshend, Lord Lieutenant of Ireland, and his co-conspirator is George, 1st Earl Macartney, Chief Secretary of Ireland. BM Satires 4942 Condition: Trimmed close to plate, as issued. Small chip to top edge of sheet, not affecting image. [50836] £75

06. Will You Let Me a Loan? Richard Dighton Etching with original hand colouring Drawn, Etchd. & Pubd. by Richard Dighton, as the Act directs, Augt. 1824. London, Pubd. by Thos. McLean, 26 Haymarket, 1824. [c.1825] Image 242 x 180 mm, Plate 258 x 185 mm, Sheet 285 x 214 mm unmounted A caricature of the financier and Jewish emancipationist, Sir Isaac Lyon Goldsmid, 1st Baronet (1778-1859). Goldsmid is shown full length, turned to the right, in morning coat and topper. Goldsmid was one of the most influential public figures of the nineteenth century. He was the first nonconvert Jewish baronet, and a leading advocate and champion for Jewish rights playing a major part in the formulation of the Jewish Disabilities Bill. He was one of the founders of UCL and the University Hospital, and amongst his many business ventures were included the development of the London Docks and a number of southern railways. Richard Dighton (1795-1880) was best known for his numerous portraits of City and West End characters. Apprenticed in his father Robert Dighton’s studio, he continued the production of full-length, profile etchings. He began his extensive series of City and West End characters in 1817, publishing over one hundred etchings during the next ten years. In 1828, Dighton ceased producing etchings and moved to the provinces - Cheltenham and Worcester where he lived and worked over the next twenty years, before returning to London. BM Satires 14682 Condition: Colours slightly faded. Minor creasing to sheet. Ink stain to top right corner of the sheet, not affecting plate. ‘Whatman 1825’ watermark. [50831] £100

07. The Tree of Life J. Pace after I. Doleman70 Copper engraving with hand colouring I. Doleman invt. J. Pace Sculp. London, Printed for T. Kitchin at No. 59 Holborn Hill [London, c.1770] Image 365 x 260 mm, Plate 378 x 275 mm unmounted A rare, separately published, eighteenth century allegorical and moral engraving, one of a number of similar compositions of the Tree of Life. The scene centres around a massive tree, representing the tree of life. At its root is the Trinity, with the Word Made Flesh as its trunk. Unlike other compositions of this genre, the current example does not bear a crucified Christ at centre, though the tree’s boughs and fruit share a similar schema. Christ’s life is reduced to a series of trials, from Baptism to his Sufferings and Death, with Resurrection crowning the upper branches. Amongst these, twelve enormous fruits grow, each labelled with a different Christian virtue or protection against trial and sin: Everlasting Love, Righteousness, Pardon, Election, Refuge, Security, Peace, Sanctification, Promises, Goodwill, Perseverence, and Eternall Redemption. The remainder of the scene shows the walled City of God, the New Jerusalem, amongst an idealised rural landscape, and the narrow doorways through which the righteous may enter. Outside the gates, the Broad Way of Sin is shown, leading its hapless inhabitants to the Gates of Hell, which spew forth fire and smoke. A couple in fine dress ride a carriage toward the crowd, with Pride of Life emblazoned above them. Cavorting socialites represent Chambering & Wantoness, while a onelegged beggar abandons his crutch to grasp for a bag of coins labelled ‘Extortion.’ Winged devils urge people on towards the various sins that will carry them to the Bottomless Pit, where Babylon, ‘Mother of Harlots’ sits waiting. A group of preachers, two of which are often described as being depictions of Wesley and Whitefield urge the unlistening crowd to ‘Behold the Lamb,’ and to ‘Believe in the Lord Jesus Christ.’

A sinner turns back from the open Gates of Hell, where a grinning devil waits with open arms, crying out ‘Save Lord or I Perish.’ Meanwhile, a smaller crowd of individuals, the ‘Brands plucked from the Fire,’ follow the lesser-trodden winding ways to the Gates of Heaven. Inscription above the image reads: ‘The Tree of Life which bear twelve Manner of Fruits and yielded her Fruit every Month and the Leaves of the Tree were for the healing of the Nations. Revels. 22.2. Inscription below image reads: A View of the New Jerusalem, and this Present Evil World. Likewise the Industry of some Gospel Ministers in Endeavouring to Pluck Sinners from Wrath to come.’ J. Pace (fl. 1760s) was a British etcher and printmaker, likely the same James Pace who was an artist and Draper of Snow Fields Southwark. I. Doleman (fl.1760s) was a British satirist and caricaturist. Thomas Kitchin (1718-1784) was one of the best known and most prolific engravers of the eighteenth century. He issued The General Atlas, Describing the Whole Universe, first published in 1773, and regularly reissued thereafter. His work also included a large number of maps of the English counties, particularly for the London Magazine (1747-1760), the Universal Magazine (1747-1766), and for Dodsley’s England Illustrated (1764). Other maps were published in conjunction with Emanuel Bowen in the Large English Atlas and the Royal English Atlas (1763). BM Satires 4570 Condition: Time toning and foxing to sheet. Trimmed to platemark. Professionally backed with archival tissue. Chips to edges of sheet, into inscription space at top and bottom of sheet, now reinstated. Punctures and insect damage to sheet, now infilled. [50825] £700

08. Betty the Cook Maids Head Drest. William Humphrey Etching with contemporary hand colouring London: Pub, 13th June 1776 by W. Humphrey, Gerrard Street, Soho. Image 300 x 230 mm, Sheet 330 x 230 mm unmounted A satire on extravagant hairdressing depicting a woman with an enormous pile of hair. On the top of the hair sits a kitchen fireplace with a joint of meat roasting and on the mantelpiece sits a monkey in a fools cap looking at itself in a hand mirror. Below the fireplace is a large wedge of cheese with a wedge cut out in which three mice sit. Vegetables including carrots, mushrooms, asparagus, cabbage, cauliflower, and potatoes surround the wedge of cheese and below it a dog with puppies and cat facing each other. Under the cheese is ribbon draped across the hair, decorated with a mop, fire iron, gridiron, a saucepan, and a broom. The Taste at present all may see, But none can tell what is to be, Who knows when Fashions whims are spread, But each may wear this Kitchen Head. The Noddle that so vastly swells, May wear a Fool’s cap, hung with Bells. William Humphrey (c.1742 - c.1814), was an engraver and printseller who excelled in mezzotint portraits. He was the elder brother of Hannah Humphrey, the London bookseller who distributed the work of James Gillray. Humphrey opened a print shop in 1774 from where he specialised in the publication of satirical mezzotints, publishing both his own engravings and those of other artists. He gave up publishing at the beginning of the 1780s and concentrated instead on dealing in portrait prints, acting as agent for many private collectors. BM Satires 5380 Condition: Trimmed within the plate to image and into the inscription space, hinged to a sheet of 18th century paper, vertical and horizontal creases,blue stains in inscription space, and some overall surface dirt. Inscription in ink on verso: “For Mrs. Van with Mrs. Leere’s compliments.” [50800] £200

09. The Optic Curls or the Obligeing Head Dress. M. Darly Copper engraving with early hand colouring [Pub by M Darly 39 Strand April 1. 1777] Image 307 x 215 mm, Sheet 334 x 216 mm unmounted A satire on women’ s hair style of the time. A woman with enormous hair sits at the front of a theatre box, she looks through an eyeglass in her right hand. The ringlets of her hair have been styled into cylindrical ringlets with lenses at the front and eyepieces at the back. On the tops of the lady’s hair is a hair piece of rucked ribbons and posies with three ostrich feathers. Two men behind the lady sit looking through the ringlets as they were telescopes. A man in the background in an box adjacent box at a right angle is seated in profile looks through an eye glass. A chandelier lit with candles hangs suspended between the two theater boxes. Matthew Darly (c.1721-c.1792) was a British caricaturist, printseller, publisher, and ornamental engraver. In 1759, he married his second wife Mary (fl.1759-1792), also a caricaturist and printseller, who wrote and illustrated the first book on caricature drawing, A Book of Caricaturas, 1762. The Darlys worked together and independently, and by 1756, they had print shops in Fleet Street and the Strand. Most of their prints were engraved in a very similar style and, to complicate attribution, have a publication line of ‘M.Darly’, so differentiation between them is often difficult. Mary’s plates were predominantly satires and caricatures, whereas Matthew, in addition to caricatures, was also a jobbing engraver and stationer, producing everything from topography to trade cards. BM Satires 5436 Condition: Trimmed to image and to title, hinged to a sheet of 18th century paper, small area of surface loss in image below the chandelier, some loss to colouring in the blue of the dress of the lady, overall creasing to sheet. [50802] £200

10. The Siege of Cork M. Darly Copper engraving with early hand colouring Pub. by M Darly, 39 Strand April 11, 1777. Image 313 x 219 mm, Sheet 336 x 220 mm unmounted A satire of late eighteenth century women’s fashion, particularly the use of cork padding to bolster or increase the size of the derrière, and thus improve the figure. The woman in the scene flees in terror from a flock of winged bottles, all clamouring for her cork behind. The bottles use their rainbow-coloured wings to lift her skirts, as she runs, mouth open and arms outstretched. Her hair is also a source of ridicule, a ridiculously sized French coiffure garlanded with roses and three huge dyed ostrich feathers. The title is a bathetic reference to the siege undertaken by the Williamite forces in 1690 of the city of Cork as part of the War in Ireland. The print, like most of the Darlys’ caricatures, is signed simply as ‘M. Darly’ though it is more likely the work of Mary than Matthew.

Matthew Darly (c.1721-c.1792) was a British caricaturist, printseller, publisher, and ornamental engraver. In 1759, he married his second wife Mary (fl.1759-1792), also a caricaturist and printseller, who wrote and illustrated the first book on caricature drawing, A Book of Caricaturas, 1762. The Darlys worked together and independently, and by 1756, they had print shops in Fleet Street and the Strand. Most of their prints were engraved in a very similar style and, to complicate attribution, have a publication line of ‘M.Darly’, so differentiation between them is often difficult. Mary’s plates were predominantly satires and caricatures, whereas Matthew, in addition to caricatures, was also a jobbing engraver and stationer, producing everything from topography to trade cards. Condition: Trimmed to image and to title, hinged to a sheet of 18th century paper. [50821] £200

PORTRAITS

11. Hariadenus Barbarossa Classis Solymanni Prafectus Lawrence Johnson after Theodor de Bry Copper engraving 1603. [London: Printed by Adam Islip] Image 125 x 125 mm, Plate 132 x 130 mm, Sheet 220 x 160 mm unmounted An early seventeenth century portrait of Barbarossa, the Ottoman admiral and pirate lord, engraved by Lawrence Johnson for Richard Knolles’ The Generall Historie of the Turkes. Like most of the portraits in the series, this plate is a close copy of an earlier portrait engraved by De Bry for Boissard’s Vitæ et icones sultanorum turcicorum.’ Barbarossa is shown half-length, turned to his left, wearing a very large turban and richly embroidered coat. The Latin inscription in the circular strapwork border describes him as the Prefect of the Fleet of Solomon, a western approximation of his appointment as Kapudan Pasha (Grand Admiral) by Suleiman the Magnificent. Hayreddin Pasha or Khayr ad’Din Barbarus (1478-1546), commonly known in the west as Barbarossa, was the preeminent Ottoman admiral of the sixteenth century, and one of the most successful and famous privateers of all time. Although widely portrayed as a simple pirate by his enemies, notably the Knights of St John and the Spanish Crown, his career was long and politically ambiguous. Hayreddin was born on the Ottoman island of Lesbos to a family of mixed Greek, Turkish, and Albanian ancestry. Although his title, Barbarossa, is generally believed to have derived from his red beard, this is actually a coincidence. His older brother, Oruç, having assisted with the rescue of Muslims from newly reconquered Andalusia, received the honorific title of ‘Father,’ being hailed as Baba Oruç. This title, transliterated in Spanish and Italian to ‘Barbarossa,’ passed to Hayreddin upon the death of his older brother at the Spanish siege of Tlemcen. Barbarossa’s maritime career began at an early age, while accompanying his brothers on voyages both mercantile and piratical in the eastern Mediterranean. Throughout his career, he captured and sacked many of the islands, forts, and coastal towns of the Mediterranean. In 1516, the brothers captured the city of Algier from the Spanish, where Oruç quickly consolidated power along the North African coast and declared himself Sultan of an independent pirate province. The position was eventually ratified by the Ottoman Sultan Selim I, who incorporated the province of Algeria into the Empire, and tasked the brothers with harrying Christian shipping in the Western Mediterranean.

After the death of Oruç, Hayreddin continued to act on behalf of the Ottoman empire from his base of operations in Algier, eventually being elevated to the position of Admiral of the Ottoman fleet. In 1545, Barbarossa retired, dying peacefully a year later in his palace on the coast near Constantinople. Lawrence Johnson (fl.1603) was a British engraver, and one of the earliest native printmakers active in England. He is known principally for engraving the plates for Knolles’ Generall Historie of the Turkes, though he also published a very rare portrait of James I. Theodor de Bry (1528-1598) was a Flemish-born engraver and editor, who travelled Europe. De Bry fled from Liège in fear of the Spanish persecution of Protestants, lived in Strasbourg, travelled to Antwerp, then London, and finally settled in Frankfurt-am-Main, where he started a publishing business and printing workshop. Condition: Adhesive staining along left margin of sheet. Latin text above and below plate, and on verso. Sheet trimmed, creased, and chipped at edges, not affecting plate. [50867] £225

12. Tamerlanes Tartarorum Imper. Potentiss. Ira Dei et Terror Orbis Appellatus Obiit An° 1402 Lawrence Johnson Copper engraving Lawrence Iohnsonn. Sculp. [London: Printed by Adam Islip, 1603] Image & Plate 132 x 100 mm, Sheet 335 x 160 mm unmounted An early seventeenth century portrait of Timur, Khan and founder of the Timurid Empire, engraved by Lawrence Johnson for Richard Knolles’ The Generall Historie of the Turkes. Unlike the other portraits in the series, which were copies of an earlier set engraved by De Bry for Boissard’s Vitæ et icones sultanorum turcicorum, the portrait of Timur seems to have been of Johnson’s own invention. The great conqueror, here known under his western poetic epithet Tamerlane, is shown half-length, with long hair and pointed beard, wearing an elaborate embroidered surcoat, his right hand resting on the eagle-headed hilt of a sword tucked into his corded belt. The oval border of the portrait features a description in Latin that describes him as the Emperor of the Tartars, the Wrath of God, and the Terror of the World.

Timur (1336-1405), often known in western literature as Tamerlane, was a Turco-Mongol conqueror and nomadic warlord, and the founder of the Timurid dynasty, which ruled a huge empire in central Asia. His multi-ethnic armies conquered a region stretching from western China to the Levant, and it is estimated that his military conquests brought about the deaths of 5% of the global population at the time. Timur saw himself as the successor to Ghengis Khan, and was also the ancestor of another great conqueror, Babur, founder of the Mughal empire. Lawrence Johnson (ﬂ.1603) was a British engraver, and one of the earliest native printmakers active in England. He is known principally for engraving the plates for Knolles’ Generall Historie of the Turkes, though he also published a very rare portrait of James I. Condition: Time toning and foxing to sheet. Latin text above and below plate, and on verso. Sheet trimmed, torn, and chipped at edges, not aﬀecting plate. [50865] £150

13. Scanderbegus Epiri Princeps Athleta Christi Obiit Anno 1466 Lawrence Johnson after Theodor de Bry Copper engraving L.J. 1603. [London: Printed by Adam Islip] Image 150 x 120 mm, Plate 155 x 125 mm, Sheet 240 x 150 mm unmounted An early seventeenth century portrait of Scanderbeg, the Ottoman rebel and father of feudal lord of Albania, engraved by Lawrence Johnson for Richard Knolles’ The Generall Historie of the Turkes. Like most of the portraits in the series, this plate is a close copy of an earlier portrait engraved by De Bry for Boissard’s Vitæ et icones sultanorum turcicorum. Scanderbeg is shown half-length, moustachioed, wearing a feathered and jewelled cap and embroidered surcoat, and carrying a sceptre in his left hand. The Latin inscription in the oval frame of the portrait describes him as the ‘Prince of Albania’ and a ‘Champion of Christ.’ Scanderbeg (1405-1468) was an Albanian rebel leader. Born Gjergj Kastrioti, he was sent to the Ottoman court as a hostage. His epithet was a corruption of his Ottoman name Iskender and his title, Bey, (Governor) of the Sanjak of Dibra in Macedonia. In 1443 he deserted from the Ottomans and became Captain General of Northern Albania under the patronage of Alfonzo V of Naples, eventually becoming chief commander of the crusading armies of Pope Pius II in the Ottoman-Venetian War.

His continual successes against the Ottomans made him a symbol of Christian defence in his own lifetime, and created a legacy of Albanian nationalism that lasts to the present day. Lawrence Johnson (fl.1603) was a British engraver, and one of the earliest native printmakers active in England. He is known principally for engraving the plates for Knolles’ Generall Historie of the Turkes, though he also published a very rare portrait of James I. Theodor de Bry (1528-1598) was a Flemish-born engraver and editor, who travelled Europe. De Bry fled from Liège in fear of the Spanish persecution of Protestants, lived in Strasbourg, travelled to Antwerp, then London, and finally settled in Frankfurt-am-Main, where he started a publishing business and printing workshop. Condition: Time toning and foxing to sheet. Waterstains to right side of plate. Latin text above and below plate, and on verso. Sheet trimmed, torn, and chipped at edges, not affecting plate. [50866] £150

14. The Illustrious and most Renowned Princesse Elizabeth late Queene of England Robert White Copper engraving R. White Sculp. [London, c.1675] Image 222 x 145 mm, Plate 253 x 158 mm, Sheet 259 x 259 mm unmounted A portrait of Queen Elizabeth I, seated full length on a canopied throne below the Royal Crest, wearing a pearl-lined gown, ermine cape, and high-necked lace ruﬀ, and holding an orb and sceptre. The portrait was engraved by Robert White as a frontis for the third edition of William Camden’s Annales, titled in this printing as The History of the most Renowned and Victorious Princess Elizabeth, Late Queen of England. 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 bookplates, almanacs and architectural views. His son, George White, was also an engraver. O’Donoghue 97 Condition: Strong impression. Trimmed to plate mark at base. Patched wormhole to centre right of image, small patch of surface abrasion above wormhole. [50868] £150

15. A Representation of the Execution of Lord Lovat [Anonymous] Copper engraving [London, c.1747] Image 105 x 175 mm, Plate 125 x 195 mm, Sheet 130 x 210 mm unmounted A copper-engraved representation of the execution on Tower Hill of the notorious Simon, Lord Lovat, head of Clan Fraser, for his part in supporting the Jacobite cause. The engraving, most likely from one of the popular eighteenth century periodicals like the Gentleman’s Magazine, shows the scaffold erected outside the houses on Tower Hill. Alphanumeric labels on the scene correspond to a key along the bottom of the plate, which show The Scaffold, Lord Lovat’s head on ye Block, Cloth to receive the Head, The Executioner with ye Axe, The Coffin, and The House from which he came on the Scaffold.

The Scaﬀold is surrounded by soldiers, both on foot and on horseback. Not pictured are the huge crowds which were in attendance, so numerous that one of the banks of seating erected for the event collapsed, killing at least nine spectators, to Lovat’s great amusement. Simon Fraser, 11th Lord Lovat (c.1667-1747), was a Scottish Jacobite and Chief of Clan Fraser. He was famous for his violent feuding and his changes of allegiance. In 1715, he had been a supporter of the House of Hanover, but in 1745 he changed sides and supported the Stuart claim to the crown of the United Kingdom. Lovat was among the Highlanders defeated at the Battle of Culloden. He was convicted of treason, and was the last man in Britain to be publicly beheaded, at Tower Hill, London. Condition: Minor time toning to edges of sheet. Binder’s holes to bottom edge of sheet, not aﬀecting plate. [50832] £50

OLD MASTERS

16. [Four Illustrious Rulers of Antiquity] Gregorius Fentzel after Maarten de Vos Copper engraving M. de Vos invent. Gregorius Fentzel sculp. P. Furst excudit [Nuremberg, c.1650] Images ~200 x 255 mm, Plates ~215 x 260 mm, Sheets ~320 x 385 mm unmounted A rare set of four plates depicting the succession of empires in antiquity, obliquely referencing the famous Dream of Nebuchadnezzar from the Book of Daniel. The current set, engraved by Gregorius Fentzel and published in Nuremberg in the mid-seventeenth century, are relatively close copies of the more well known series by Adriaen Collaert (New Hollstein 1174-1177) published half a century earlier. Both credit Maarten de Vos as the originator of the designs. The plates centre around the four most famous conquerors of antiquity: Ninus, Cyrus, Alexander, and Julius Caesar. Each ﬁgure, on horseback, rides over the corpses of those who have come before. Behind each features one of the four beasts from the Book of Daniel, representing each of the empires in turn. In place of the original Latin descriptive text that features in the Collaert impressions, Fentzel has substituted captions in German blackletter. In Plate 1, Ninus holds aloft the lion banner of the Assyrians. In the dust under his horse’s hooves lies a fallen king, a representative of the many nations that fell to him. Behind him, the winged lion of Nebuchadnezzar’s dream stands rampant, emerging from the waves. In the background, the classical-style city is assumedly Nineveh, the city which bears Ninus’ name, and which was once the greatest and most powerful city of the Assyrian empire.

Unlike the other three figures in this series, there is no historical basis for Ninus’ existence. He appears to have been an invention of Hellenistic geographers, with his name deriving from a Greek back-formation from the city of Nineveh. Ninus’ popularity in antiquity was mostly based around his supposed conquering of all of Western Asia as far as India, making him the first empire-builder. During his campaigns in Bactria, he was alleged to have met and fallen in love with Semiramis, herself one of the most pervasive and popular figures of classical stories about the ancient Near East. Blackletter text below. Plate 2 depicts the rise of Cyrus the Great, Shahanshah of the Persians, and the builder of the biggest empire the ancient world had yet witnessed. The fallen body of Ninus and the crumpled Assyrian flag in the foreground represent the fall of the Neo-Babylonian (Chaldean) Empire, the last king of which, Nabonidus, formally surrendered to Cyrus, making the latter the King of Babylon, Sumer, and Akkad in addition to an already vast kingdom encompassing Persia, Lydia, Lycia, Cilicia, Phoenicia, Armenia, Bactria, Sogdia, and Gandhara. Cyrus’ banner features a ram that, like the bear emerging from the waves, represents the Empire of the Medes and Persians in the visions of the Book of Daniel. The city in the background is unidentified. It is most likely Babylon, the greatest and most important city at the time of Cyrus, though could also represent Pasargadae, where he became King and where he formed his government, or even Persepolis, the ceremonial capital of the Achaemenids that flourished under Cyrus’ successors. Blackletter text below.

Alexander the Great is the subject of Plate 3, trampling the bodies of Ninus and Cyrus underfoot, with the he-goat flag of the Greeks flying behind him. The winged leopard of Nebuchadnezzar’s dream rears its four heads, a reminder that despite his conquests, Alexander’s vast Empire is destined to fail upon his death, divided amongst the four rival generals Ptolemy, Seleucus, Lysimachus, and Cassander. Like Cyrus, Alexander’s greatest conquest was Babylon, though the city in the background is more likely to be Alexandria, which, through Ptolemy’s manoeuvring, would eventually become the resting place of Alexander’s body and the city most identified with his legacy over the succeeding centuries. Blackletter text below. The final plate in the series, Plate 4, focusses on Julius Caesar and the last and greatest of the Empires of Antiquity, the Imperium Romanum. Caesar, dressed in armour of the lorica segmentata type and garlanded with a laurel wreath, holds before him the banner of the Romans, emblazoned with the imperial eagle. His horse rides over the bodies and standards of the preceding three rulers, marking the Romans’ subjection of the entire Mediterranean and Near East to their authority. From the waves at the right of the scene, a hideous beast arises, the last of the four that form Nebuchadnezzar’s dream. The ten twisted horns on its head represent the nations of the empire, three of which will be supplanted by the pointed horn that has erupted between them. Blackletter text below.

Gregorius Fentzel (fl. c.1650) was a German printmaker and publisher, active in Nuremberg. Very little is known of him, though he was a relatively prolific re-engraver of allegorical, historical, and religious scenes, particularly series by engravers including de Vos, de Jode, Philips Galle, the Collaerts’, and the Weirix family. Maerten de Vos (1532-1603) was a Flemish painter and draughtsman. He was a pupil of his father Pieter de Vos and a follower of Frans Floris in Antwerp. Between 1550 and 1558 he travelled in Italy, visiting Rome, Venice and possibly Florence. In 1558 he became a master of the Antwerp Guild of St Luke. Between 1571 and 1572, he was dean of the Guild. From 1575 he mainly produced print designs. He was the father of the artists Daniel (1568-1605) and Maerten the Younger (1576-1613). Adriaen Collaert (1560 - 1618) was a Flemish engraver and major publisher, active in Antwerp. He was a member of the Guild of St Luke, and worked with Gerard de Jode, Eduard Hoeswinckel and Hans van Luyck. His works are known for their anatomical correctness as well as their physiognomical expressiveness. Some of his original plates are engraved with a cipher. Hollstein 14-17 Condition: Clean impressions with full margins. Printers inkstains to platemarks, and to bottom right corner of sheet on Plate 4. Central vertical creases, with minor scuffing to folds. Small tears to bottom of sheets, not affecting images. Printer’s crease to left margin of Plate 1, not affecting image. [49619] £1,500

Michael Wolgemut (1434-1519) was a German painter, printmaker, and sculptor, whose signiﬁcant achievements are now largely overshadowed by his much more lauded pupil, Albrecht Durer. His most memorable contribution to the arts is his involvement in the production of the woodcut illustrations for the Nuremberg Chronicle, one of the most important incunabula.

The text, written in Latin by Hartmann Schedel and translated by Georg Alt for the German edition, was mostly a composite of earlier biblical, scientiﬁc, philosophical, and historical works. What set the Chronicle apart from its contemporaries was less the quality of its text than its illustrations, which were carved in their hundreds by the workshop of Michael Wolgemut.

The illustrations for some of these blocks may have been executed by the young Albrecht Durer, who was apprenticed to Wolgemut at the time. Estimates suggest that up to 1500 copies in Latin may have been printed, as well as between 700 and 1000 German copies by the publishing house of Anton Koberger. In an attempt The Liber Chronicarum, usually referred to to prevent piracy, the blocks were kept under lock and key, and returned to the in English as the Nuremberg Chronicle or in German as the Schedelsche Weltchronik, patrons of the work following printing. is, after the Gutenberg Bible, likely the most famous of all early printed books. A colossal chronicle of biblical history, the text covered the seven ages of the world, from Creation to the contemporary world of fifteenth century Europe, and the coming of the Last Judgement. Wolgemut’s studio, including the young Durer, produced almost two thousand illustrations for this work, and Wolgemut is rightly credited as one of the key figures in securing the primacy of German woodcut printing in the late fifteenth century.

Verso of Wolgemut’s ‘Adam and Eve in the Wilderness’ >

17. [Apocalypse] Michael Wolgemut Woodcut [Anton Koberger, Nuremberg, 1493] Image 375 x 228 mm, Sheet 412 x 282 mm unmounted A full-sheet woodcut illustration of the events of the Apocalypse, from the celebrated Nuremberg Chronicle. The woodcut, likely engraved by Wolgemut himself, is featured as the closing scene from Hartmann Schedel’s discussion of the end of the Seventh Age of Creation, and the coming Apocalypse that will mark the end of the world and the creation of the Kingdom of Heaven. The scene combines a number of separate events into the same image. To the right, the prophets Enoch and Elijah convert the Israelites to Grace, their ﬁnal act before they are crowned with martyrdom. To the left, a false prophet, with a devil whispering in his ear, coerces the people to worship the antichrist, falsely proclaiming him to be the new messiah. Even the wise men, sitting in a circle in the foreground, are convinced, as the false prophet points to the many portents and wonders of the age.

At centre is the Mount of Olives, in the sky above which the ﬁnal battle of Revelation takes place. The Antichrist, Lucifer, and a group of other demons are slain by the Archangel Michael, who bursts from Heaven in a storm, wielding his sword. Compositionally the scene is very similar to many later illustrations of the Temptation of St Antony, and was clearly an inspiration to Lucas Cranach and Albrecht Durer among others. Condition: Scratch to centre of sheet. Minor foxing and time toning, mostly to margins. Rust spot to right margin, not aﬀecting image. Latin letterpress title above, and text on verso. Initials on verso manuscribed in red and blue gouache. [50699] £1,800

18. [Adam and Eve in the Wilderness] Michael Wolgemut Woodcut [Anton Koberger, Nuremberg, 1493] Image 255 x 222 mm, Sheet 428 x 290 mm unmounted A large woodcut illustration of Adam and Eve in the Wilderness, from the celebrated Nuremberg Chronicle. The woodcut, likely engraved by Wolgemut himself, is featured as part of Hartmann Schedel’s discussion of the First Age of the World. Having been expelled from the Garden of Eden, Adam and Eve are forced to live a life of toil and diﬃculty. Adam, dressed in a rough robe of animal skin, hacks at the rocky ground with a crude hoe made of a pointed stick. On a tussock to the right of the scene, Eve sits breast-feeding her infant sons, Cain and Abel. A path behind the couple leads between the cliﬀs of a rocky ravine, with a group of trees in the distance suggesting the lost paradise of the Garden.

On the verso, a large cruciform woodcut illustration shows the genealogical tree of Adam as a literal tree, with its roots emanating from the patriarch’s chest. The tree splits into three branches. Cain and his wife on the left and Abel and his wife on the right each offer a sacrifice on an altar in front of them. Abel’s sacrificial lamb is accepted by God in the guise of flaming lightning, leading to his murder by Cain in a fit of jealous rage in a scene at below left. Below Adam on the central branch of the tree are the first two decendants of his third son Seth, Enos and Caynan, the line from which Noah, and thus the modern human race, will one day spring. Condition: Horizontal crease to top of sheet, not affecting larger illustration. Dirt staining to margins, particularly to bottom right corner of sheet. Old adhesive tape to edges of sheet, not affecting image or text. Latin letterpress text above image, and in two panels on verso. [50700] £400

19. [Part of the Baggage Train] Hans Burgkmair Woodcut [Jost de Negker, Augsburg, 1512-1519] Image and Sheet 402 x 385 mm unmounted A characterful woodcut of part of the baggage train, from the monumental Triumphzug Kaiser Maximilians I. The scene centres on a heavily laded wagon, surrounded by a group of ebullient peasants, peddlers, and rustics. Behind the wagon, a group of militiamen on horseback carry pikes and halberds, while a goat loaded with pots and pans pulls against the lead tied to its horns, trailing behind a figure with a rucksack full of spoons. Behind the goat, an elderly man hunches over his walking stick, a small dog balanced on his shoulders. The train has emerged from a wooded hillside, with the tall trees on either side of the scene one of the main reasons this plate, and the others depicting the baggage train, are historically attributed to Albrecht Altdorfer, a pioneering figure in German landscape painting. The Triumphzug Kaiser Maximilians I was a massive multiblock allegorical woodcut, depicting a grand triumphal procession for the Holy Roman Emperor Maximilian I. The Emperor’s perpetual cashflow issues made such an elaborate display impossible in reality, so instead the Triumphzug formed part of a suite of enormous woodcut propaganda prints. The general schema for the triumph was arranged by the Viennese cartographer Johan Stabius, with the majority of the design work carried out by Hans Burgkmair, with assistance from some of the leading artists and printmakers of the era, including Durer, Altdorfer, Springinklee, and Leonhard Beck, as well as a team of formschneiders working under the direction of the publisher and printer Jost de Negker.

Hans Burgkmair (1473-1531) was a German printmaker and painter, and a pioneer of the chiaroscuro woodcut. Active mostly in Augsburg, he is known principally for designing the monumental Triumphal Procession of the Emperor Maximilian I, a project that occupied almost a decade of his life and, despite being incomplete, encompassed over 130 blocks.

The work remained unﬁnished at the time of the Emperor’s death in 1519, but at least 139 blocks are known, making the work over 54 metres in length. The full scene was intended for distribution and display on the walls of town halls and civil buildings around the cities and towns of the empire, but a bound edition of 137 blocks was printed in 1526 by order of the Archduke Ferdinand. Subsequent editions were printed in the late eighteenth century and the late nineteenth century. The majority of the printing blocks are now in the collection of the Albertina in Vienna.

Condition: Printed on ﬁbrous laid paper. Central vertical fold. Printers creases to centre of block. Small chips and tears to edges of sheet. Minor time toning and dirt staining to surface of block. [50824] £450

Albrecht Altdorfer (1480-1538) was a German painter, draughtsman, and engraver. As one of the leading ﬁgures of the Danube School, he helped to develop the genre of pure landscape painting. He is also considered to be one of the key ﬁgures of the so-called Little Masters, for his prints and etchings.

20. Babylonis Muri Philips Galle after Maarten van Heemskerck Copper engraving MHeemskerck Inventor, PGalle fecit. [Antwerp, c.15721646] Image 205 x 258 mm, Plate 210 x 262 mm, Sheet 222 x 275 mm unmounted The Walls of Babylon, one of a set of celebrated engravings of the Seven Wonders of the World engraved by Philips Galle after designs by Maarten van Heemskerck. The image presents a fanciful image of the city of Babylon, with the Tower of Babel and the monumental gatehouse and triple walled tomb of Semiramis conspicuous. On the opposite bank of the Euphrates river, a three-tiered colonnade topped with trees represents the Hanging Gardens. The city teems with life, with soldiers, merchants, and fishermen filling the many squares and open spaces. In the foreground, a crowned figure on horseback, probably intended to be Semiramis, aims her bow at an encroaching lion. A Latin inscription in four lines below the scene reads: Imperiosa sui secta cervice mariti, iussit coctilibus Babylona Semiramis altam Moenibus incingi, lentoque bitumine: Portas adiecit centum, et super his sibi nobile bustum. ‘Imperious Semiramis, having cut her husband’s throat, ordered high Babylon to be girt with walls of brick, and bitumen mortar: She added a hundred gates, and in addition to these, a famous tomb for herself.’

Maarten van Heemskerck (1498-1547) was a Dutch painter and printmaker. He apprenticed in Haarlem with Jan van Scorel and travelled to Italy from 1532 to 1537. He had a very successful career in Haarlem upon his return. As a printmaker he worked exclusively as a designer, collaborating with engravers such as Philips Galle, Cornelis Bos, Dirk Coornhert and Theodor de Bry, often through association with Hieronymus Cock and other publishers. Philips Galle (1537 - 1612) was a Dutch engraver, printmaker, and publisher, particularly celebrated for his reproductive engravings of original works by Hieronymus Cock, Maarten van Heemskerck, Johannes Stradanus, and other Dutch and Flemish masters. Galle’s success as an engraver and publisher put him in close contact with many of the late sixteenth century’s most important ﬁgures, including Ortelius, for whom he produced numerous plates, as well as Christopher Plantin, his students Hendrick Goltzius, Adriaen and Jan Collaert and others. Following his work on Ortelius’ Theatrum Orbis Terrarum, Galle produced a series of miniature maps after Ortelius’ originals, which he published, potentially without the permission of Ortelius, as the Spieghel der Wereld, the ﬁrst miniature atlas. New Hollstein Dutch 484-3(3), Hollstein Dutch 519-3(3) Condition: Trimmed close to platemark, without loss to image. Minor time toning and dirt staining to sheet. Manuscript ‘6’ platemark in bottom right corner of sheet. Laid to album page. [50194] £750

21. [The Marriage of Impiety and the Devil] Gijsbert van Veen after Otto van Veen Copper engraving Otho Vaenius invent. Gisb. Vaenius f. [c.1600] Image 365 x 235 mm, Plate & Sheet 370 x 240mm unmounted An allegorical engraving of the union of Satan and the personification of Impiety, engraved by Gijsbert van Veen after a painting by his brother Otto, the companion to a similarly composed plate representing the marriage of Christ and the Church. At centre, the figure of Impiety stands, her vision blinded by a veil of lies. She stands adrift upon an untethered anchor, with the scales of justice discarded at her feet. With her right hand, she clasps in union the arm of her demonic bridegroom, whose horned and bestial head is crowned with a headdress of peacock feathers. Behind his back, he clasps the head of the ass-skin cloak that he has wrapped around his cuirass. Behind the pair, the smouldering fires of hell fill the sky with billows of smoke, which hold aloft a horrible parody of heaven’s choirs, with a host of demons playing a cacophony of pots, drums, and trumpets. Bats and snake-haired windheads stir up storms and the heavens are rent by lightning. Below the new couple are their offspring, personified as cherubs wearing the accoutrements of the pre-Christian gods. Usury sits counting on a large timepiece, while Rapine wears the helmet of Mars. Hypocrisy peeks out from behind a mask, its hands held in mock piety, with a bible open on its lap and a rosary wrapped around one arm. Luxury reclines languidly on a globe, while Fraud wears the winged cap of Mercury. To the far right, Simony discards the symbols, and thus responsibility, of temporal power in favour of riches. In the very centre of the scene, an angel of the Lord breaks through the billows of smoke to visit God’s judgement upon the evil, placing a weight of lead in the mouth of Impiety. A banderole above the angel’s wings contains a passage from Zachariah - Angelus Domini obstruit massa plumbea os iniquitatis (The Angel of the Lord obstructs the mouth of iniquity with a leaden weight) - as well as part of Line 42 of Psalm 107 - The righteous shall see it, and rejoice: and all iniquity shall stop her mouth. A lengthy Latin inscription below the image describes the scene, with an exhortation to all Christians to witness the dangers of Impiety.

Gijsbert van Veen (1558-1630), also known as Gijsbrecht, was a Flemish painter and engraver, and the younger brother of Otto van Veen, the teacher of Rubens. van Veen is principally know for engraving allegorical plates after painting and designs by his brother, as well as his 1588 copper engraving of a native American medicine man, part of a suite of illustrations of Algonquian people. Condition: Trimmed to platemark and laid to album page, with manuscript borders added to album page. Small patches of surface abrasion to right leg of Devil and arm of Angel. Publisher’s imprint partially scratched out and illegible. Printed on Italian laid paper with large watermarked sun. Time toning and dirt staining to borders of album page, not aﬀecting image. [50710] £975

Otto van Veen (1556-1629), also known by his latinized name Otho or Octavius Vaenius, was a Flemish painter and humanist artist, whose own work has largely been overshadowed by that of his famous pupil Peter Paul Rubens. van Veen’s life took him across the Netherlands, Belgium, Italy, Germany, and Bohemia, though the majority of his later career was spent in Brussels and Antwerp. In addition to his paintings, he also produced a number of emblem books. His brothers Gijsbert and Pieter were also artists.

22. [The Golden Age] Orazio Brunetti after Abraham Bloemaert Copper engraving Ora.us Brun.us Sen.is Faci.te [c.1650] Image 330 x 510 mm, Sheet 332 x 512 mm, Album Page 347 x 525 mm unmounted A seventeenth century allegorical engraving of the classical Golden Age of peace and prosperity, one of a number of plates engraved after the drawing by Abraham Bloemaert. The current example was issued by the Sienese artist Orazio Brunetti, and engraved in a looser style than other examples by de Bruyn, de Bry, Visscher, and le Blond. Most of these credit Bloemaert as the originator of the design, though it is unknown whether his drawing predates similar compositions in oil by Otto van Veen and Rubens. The scene itself closely follows Hesiodic paradigms, with the setting an Arcadian landscape of woodland glades, rolling hills, and warm rays of sunshine. The Golden Race takes its leisure, so amply provided with fruit and plenty that agriculture and work is unneccesary. A peacock struts across the centre of the scene, with its mate high in the branches of a nearby oak, while a pair of rabbits and a frog can be seen in the foliage in the foreground. A goat uncovers a melon in the right hand corner of the scene, and grapes and other fruit hang heavy at every turn.

A group of revellers in the background dance nude in a circle, below the omniscient gaze of Cronus (Roman Saturn), who reclines on a cloud with his scythe at rest. In the bottom right corner of the plate, a baroque cartouche supported by a pair of cherubs carries a four line Latin inscription: Aurea Saturno Rutilabant Secula Rege / Nectaris et passim flumina lactis erant / Sponte decus florum tellus inculta ferebat / Bacchique et Cereris sponte ferebat opes. Orazio Brunetti was an Italian engraver and publisher, active in Rome in the mid-seventeenth century. Very little is known of his life, though his imprimatur would suggest he or his family hailed from Siena. Abraham Bloemaert (1564-1651) was a Flemish genre, portrait and history painter, etcher and engraver. The son of the architect Cornelis Bloemaert I, he trained in Utrecht under the supervision of the painter Joos de Beer. In Paris, between 1580 and 1583, Bloemaert was the pupil of the Flemish Baroque painter Hieronymous Francken. In 1592 he settled in Amsterdam. His four sons Hendrick, Frederick, Cornelis, and Adriaan were all prolific and well respected artists and engravers. Condition: Printed on Italian laid paper with large watermarked sun. Trimmed within plate and laid to album page. Manuscript border added to album page. Time toning and minor ink staining to sheet. Minor surface creasing. [50722] £375

23. [The Twelve Prophets] Gerard de Jode after Jan Snellinck Copper engraving C.I.Visscher excudit [Amsterdam, c.1634] Images 185 x 278 mm, Plates 215 x 278 mm, Sheets 285 x 342 mm unmounted A set of four plates depicting the twelve biblical prophets, engraved by Gerard de Jode after designs by his son-in-law, Jan Snellinck, published posthumously by Claes Visscher. Each of the four plates features full length portraits of three of the prophets, in an idealised landscape. Each carries attributes of their life, teachings, or death. A description of each of the twelve is provided by a Latin inscription along the bottom of the plate, which in this set have been translated in German annotations in an old hand in the bottom margins. The first plate features Isaiah with a long saw, Jeremiah with a rod and jug of oil, and Ezekiel in priestly garb holding an icon of the closed gate. The second shows a crowned King David with his harp, Daniel with the fourth beast and its horns, and Elijah, who carries a sword against false prophets and raises a child from death. In the third, Elijah’s successor Elisha is shown with head veiled, a double headed bird representing his request that he be imbued twofold with the spirit of his master, while Jonah stands besides the grinning sea monster that swallowed him, and Obadiah carries the bread and wine with which he sustained the faithful in caves to save them from the persecutions of Ahab and Jezebel. The final plate concludes the series with Amos with his flocks, Zechariah overseeing the construction of the Second Temple, and Malachi with the Angel of the Lord.

Gerard de Jode (1509-1591) was a Dutch mapmaker, geographer, engraver, and bookseller, active in Antwerp in the second half of the sixteenth century. His major achievement was the Speculum Orbis Terrarum (Mirror of the Globe), intended as an answer to the Theatrum Orbis Terrarum of his major rival Abraham Ortelius. Despite his skills as an engraver, the beauty and detail of his maps, and his seniority over his younger competitor, the Speculum was a commercial failure. Following Gerard’s death, the atlas was printed once more by his son Cornelis in 1593, before the plates were sold upon the latter’s death in 1600 to Jan Baptist Vrients. Jan Snellinck (1548-1638) was a Flemish artist, designer, and art collector. Active in Mechelen and Antwerp, he was the son-in-law of the printmaker and publisher Gerard de Jode, as well as connected through family to Brueghel the Elder, Hubert Goltzius, and Anthony van Dyck. The Visscher family produced maps and atlases in Amsterdam throughout the seventeenth and early eighteenth century. Established by Claes Janszoon Visscher (1587-1652), they mainly published atlases from plates purchased from Pieter van den Keere. The business was then continued by Claes’ son Nicolas Visscher I (1618-1679) and his grandson Nicolas II. The Visschers published many revised editions of their ‘Atlas Contractus’ and ‘Atlas Minor’. Upon the death of Nicholas II, his wife, Elizabeth, continued the business before selling it to Pieter Schenk. Condition: German manuscript annotations in old hand along bottom margins of each sheet. Printers creases to bottoms of each sheet, some split and with old repairs. Time toning and minor dirt staining to margins. Small tears to bottom edges of sheets, not aﬀecting images. [50857] £750

MEZZOTINTS

24. A Philosopher Giving a Lecture on the Orrery William Pether after Joseph Wright of Derby Mezzotint Joseph Wright Pinxit. Wm. Pether delint. et fecit. J. Boydell excudit. Published May 20th, 1768. Image 482 x 580 mm, Plate 485 x 585 mm, Sheet 498 x 615 mm unmounted Pether’s atmospheric and masterful mezzotint after Wright of Derby’s famous painting A Philosopher giving that Lecture on the Orrery in which a lamp is put in place of the Sun. The scene is set in the drawing room or library of a private house, often presumed to be Staunton Harold, the home of the Earl of Ferrers who owned an orrery of his own. The philosopher, at the time a popular term for any lecturer on scientific or astronomical topics for a general audience, stands at centre, the contours of his face and the floral pattern of his billowing sleeves illuminated by a single candle which provides the lightsource for his demonstration. The orrery itself is a so-called Grand Orrery, encompassing all of the heavenly bodies as far as Saturn, which had been known since antiquity and at the time of the print’s execution was the furthest known of the planets. The identities of the figures in the scene are debated, but the philosopher is often thought to be the geologist and clockmaker John Whitehurst, who, like Wright and Ferrers, hailed from Derbyshire. The figure to his right, scribbling in a notebook, is Peter Perez Burdett, a cartographer and printmaker and another of Wright’s circle of friends. Chaloner Smith identifies the other young man, to the philosopher’s left, as Wright himself. The final figure guessed at with some certainty is the young boy in the foreground, who is commonly supposed to be Laurence Shirley, the nephew of the Earl of Ferrers.

In the centre of the inscription space are shown the arms of Shirley, Earl Ferrers, with the motto Malgre d’Envie - In spite of envy. Inscription below image reads: A Philosopher Giving a Lecture on the Orrery. From the Original Picture Painted by Mr. Joseph Wright, In the Collection of the Right Honourable the Earl of Ferrers. William Pether (1731 - 1821) was a portrait painter and mezzotinter. He was a pupil of Thomas Frye and he exhibited at the Royal Academy from 1781-94. Most famous for his prints after Wright of Derby he retired from printmaking c.1785 to work instead as an itinerant portrait painter. Joseph Wright (1734 - 1797), known as ‘Wright of Derby,’ was a portraitist and landscape painter. Best known for his A Philosopher Giving a Lecture on the Orrery and Experiment on a Bird in the Air Pump, Wright had a keen interest in the industrial and scientiﬁc developments of the time which he brought to life through the use of chiaroscuro paintings where he experimented with the use of lighting eﬀects and candlelit subjects. Lennox-Boyd iv/v, Chaloner Smith 48 iii/iii, Russell 48 iv/iv, Clayton - Tate 1990 P1 iv/v. Condition: Dark velvety impression. Sheet backed with archival tissue. Some splitting to plate mark, and small tears to edges of sheet, now professionally repaired. Creasing to top right of plate, and slightly rubbed. [50826] £6,500

25. L’Asie Johann Jakob Haid Mezzotint à Augsbourg chés J.J. Haid et fils. [Augsburg, c.1760] Image 262 x 175 mm, Plate 268 x 175 mm, Sheet 286 x 215 mm unmounted An allegory of Asia, one of a series of four mezzotints of the continents published by the Haid family. The continent, the second plate in the series, is represented by a pair of figures, one male one female, in eastern dress, a generic combination of Ottoman and Mughal influence. Both wear jewelled and feathered turbans, and the male holds a very long pipe in his left hand, its bowl in the form of a head. The female figure holds what appears to be a coffee cup, another in a saucer sits on the table, and a steaming samovar features in the background. The figures are youthful, almost cherubic, in appearance. Johann Jakob Haid (1704 - 1767) was German painter, publisher and engraver. He trained in Augsburg where he is likely to have taught enamel in 1745. The father of Johann Elias Haid, he is also known to have founded a large publishing house. Condition: Strong clean impression with full margins. Pinholes to top right corner of sheet, not affecting plate. Chips and binder’s creases to right hand side of sheet. [50827] £400

26. Johannes Locke. Ob. A.D. 1704. Ætat. 72. John Smith after Sir Godfrey Kneller Mezzotint Ex Autographo G. Kneller Baron.ti pro Ant. Collins Arm. eodem Anno depicto. Fecit J. Smith, A.° 1721. Image 345 x 250 mm, Plate 350 x 250 mm, Sheet 352 x 255 mm unmounted

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.

John Smith’s mezzotint of the philosopher John Locke, a reversed copy of the painting by Sir Godfrey Kneller, the celebrated portraitist and Smith’s close friend and frequent collaborator. Locke is shown half-length, in an oval, wearing an open-collared shirt and a heavily-sleeved robe. The painting, undertaken by Kneller in 1697 at a time when Locke had largely retreated from public life, is now in the collection of the Hermitage, having been acquired for Catherine the Great from the collection of Sir Robert Walpole at Houghton Hall.

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.

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.

Chaloner Smith 157, ii/iii, O’Donoghue 6 Condition: Thread margins. Ink stains to Locke’s chest and to inscription space. Chips and small tears to edges of sheet. Minor rubbing to plate, particularly at top corners of sheet. Otherwise a very good impression. [50828] £225

27. The Sharpers Richard Evan Sly Mezzotint Drawn by Pug No.1. Published by R.Sly. 8. Sept. 1839. 28 Aldenham St. St Pancras E.C. Image 180 x 145 mm, Plate and Sheet 202 x 168 mm unmounted A mid-nineteenth century singerie caricature, featuring a trio of monkeys playing at cup and ball. The sharp himself, wearing breeches, coat, and a tasseled cap, sits on an upturned barrel at a low table. A hapless punter, dressed in the manner of a sailor, reaches into his pocket for a try at the game, while a third, likely in collusion with the sharp and wearing a feathered tam-o-shanter, exhorts him to lay down his funds. The print features is signed in the plate by the otherwise unknown ‘Pug No.1,’ perhaps a reference to Hogarth’s famous dog, Trump. Richard Evan Sly (ﬂ.1830s-1850s) was a British caricaturist and printseller, probably the same satirist who signed his work Dick Sly, Sly Dick, and Sly Cock. Condition: Trimmed within plate, without loss to image. Gridded with pencil. Time toning and surface dirt to sheet. [50853] £100

28. The King and Constitution For Ever. [Anonymous] Mezzotint Printed for & Sold by Carington Bowles. No.69 St. Paul’s Church Yard, London. [Published as the Act directs 25 July 1792] Image 140 x 110 mm framed A scarce miniature droll, featuring a half-length portrait of a larger man with a tankard of beer overﬂowing with foam. He is depicted in an oval portrait frame, wearing an apron and cap, his two front teeth sticking out of his large grin. Carington Bowles (1724-1793) was one of the leading print publishers, printers, and sellers of the eighteenth century. He apprenticed with his father John Bowles and worked with him as John Bowles & Son from 1753 to 1762, after which he took over his uncle’s business in St Paul’s Churchyard, London. Condition: Trimmed within the plate. Spot of foxing to tankard, slight rubbing and creasing to printed area. Framed in an antique frame. [50090] £180

29. [Miss Kitty Hunter] Valentine Green after Edward Francis Cunningham Mezzotint E.F. Calze pinxit. Val. Green fecit. Publish’d July 22, 1771. by J. Boydell, Cheapside. Image 370 x 290 mm, Plate 405 x 290 mm, Sheet 415 x 305 mm unmounted A proof impression of this mezzotint portrait of Miss Kitty Hunter, with artists names and publication line in scratched letters, engraved by Valentine Green after the portrait by Edward Francis ‘Calze’ Cunningham. Miss Hunter is shown half length, seated at a desk with a book, notepapers, and a quill and inkpot. She wears a fur-lined, long-sleeved dress, pearl earrings, and her hair is also braided with pearls. Elizabeth Catherine Hunter (c.1740-1795) was an English noblewoman and socialite. The daughter of Thomas Orby Hunter, MP and Lord of the Admiralty, she was part of one of the great scandals of the era when she eloped to Italy in 1762 with the 10th Earl of Pembroke. Following the Earl’s return to his wife, Elizabeth Herbert, the following year, she returned to England and became the mistress of Augustus Hervey, the future 3rd Earl of Bristol. In 1771 she married the British Army Captain Alured Clarke, whose appointments included Governor of Jamaica, Governor of Lower Canada, and Governor General of India. Valentine Green (1739-1813) was a British mezzotinter; Associate Royal Academician and publisher, often in association with his son Rupert. In 1773 he was appointed mezzotint engraver to the King George III and in 1774 he became a member of the Royal Academy. In 1775, he was appointed mezzotint engraver to Karl Theodor, Elector Palatine, and in 1789, he worked on the engraving and publishing of pictures in the Düsseldorf Gallery. Green was one of the ﬁrst engravers to show how admirably mezzotint could be applied to the translation of pictorial compositions as well as portraits. His engravings are distinguished by exceptional richness, subtlety of tone, and a deft handling of light and shade.

Edward Francis Cunningham (c.1742-1795) was a Scottish painter and portraitist. His father was implicated in the Jacobite Rising of 1745 and was forced to flee with the family to Italy, where Edward studied painting in Parma, Rome, and Venice. During this time he adopted the alias ‘Calze,’ perhaps an Italianised form of his native Kelso. After moving to Paris, he received his inheritance from the family estates, but due to his libertine lifestyle was forced to follow the Duchess of Kingston to Russia, before moving to Berlin, and finally returning to London where he died in poverty. Chaloner Smith 71 unrecorded state, Russell 71 i/ii, Whitman ii/iii, O’Donoghue 1 Ex. Col.: Walter Francis Tiffin. Collector’s mark on verso (Lugt: L.1051). Condition: Trimmed to platemark along bottom edge. Very minor abrasions to plate, but otherwise a fine dark impression with scratched publication lines. [50861] £450

FINE PRINTS

30. Il Prospetto Principale del Tempio e Piazza di S. Pietro in Vaticano, e Palazzo Pontificio / L’Interno della Basilica Vaticana colla rappresentanza dell’ Ordine Giuseppe Vasi Etching Giuseppe Vasi Conte Palatino e Cavaliere dell’Aula Lateranense, dal medesimo disegnato ed inciso l’anno 1774 / ...inciso in rame l’Anno del Giubbileo 1775. 1st: Image 700 x 970 mm, Sheet 705 x 975 mm. 2nd: Image 685 x 955 mm, Sheet 710 x 980 mm unmounted A spectacular pair of large scale etchings of St Peter’s Basilica, exterior and interior, designed and engraved by Giuseppe Vasi in celebration of the Jubilee of 1775 called by Pope Clement XIV the previous year. Both etchings, due to their size, were engraved and printed over two plates, with the sheets joined along a central vertical seam. The first, a magnificent sweeping general view of the Vatican Basilica, Pontifical Palace, and Bernini’s Piazza San Pietro, is dedicated to Henry Benedict Stuart, Cardinal Duke of York, who at the time of the print’s creation was recognized by the Roman Church as the rightful second in line to the British throne under the Jacobite claim. The view shows Bernini’s collonade to full effect, even allowing the edges of it to be cut off by the border of the plate, increasing the sense of the vastness of the space. The obelisk and fountains dominate the piazza, and coaches and crowds fill the empty spaces between. Behind the Basilica, the hills of Lazio can be seen. In the centre of the inscription space, the Arms of Henry Stuart are blazoned, supported by a recumbent lion and unicorn and topped with a ducal crown and cardinal’s hat. Thirteen numbered points on the scene correspond to labels along the bottom border of the plate.

His large and visually impressive entourage features representatives of all of the various colleges and orders of the Roman Church, as well as pilgrims and the general public, who kneel alongside the procession. Numbered points in the scene correspond to labels along the bottom border of the plate, describing the various architectural and spiritual aspects of the basilica.

Full inscription below image reads: All’ Altezza Reale Eminentissima di Errigo Benedetto Maria Vescovo di Frascati Cardinal Duca d’Yorck Vice-Cancelliere della S. Rom.na Chiesa, Sotto Decano del Sagro Collegio ed Arciprete della Sagrosanta Basilica Vaticana &c. &c. Il Prospetto principale del Tempio e Piazza di S. Pietro in Vaticano, e Palazzo Pontiﬁcio, Presenta, e Dedica L’Umilissimo Devotissimo Obbligatissimo Servo Giuseppe Vasi Conte Palatino e Cavaliere dell’Aula Lateranense, dal medesimo disegnato ed inciso l’anno 1774. Scalabroni 435

Full inscription below image reads: Alla Santita del Sommo Ponteﬁce Papa Pio VI, Felicemente Regnante, L’Interno della Basilica Vaticana colla rappresentanza dell’ Ordine, con cui l’Ecclesiastica Gerarchia de Cardinali, Arcivescovi, Vescovi, Prelati, ed altri Personaggi, processionalmente colla Santita Sua si porta per celebrare le Sagre Solenni Funzioni, prostrato a Suoi SS. Piedi Giuseppe Vasi Conte Palatino, e Cavaliere dell’ Aula Lateranense, da se disegnato, ed inciso in rame l’Anno del Giubbileo 1775, umilmente Da Dona, e Dedica. Scalabroni 434

The second depicts a grand procession in the interior of the nave of St Peter’s Basilica. In the very centre, Pope Pius VI can be seen seated below a tapestried baldachin, while Bernini’s bronze baldachin is prominent behind. Pius VI had only recently been elected pope when the print was made, inheriting the Jubilee which had been convoked by his predecessor Clement XIV the previous year.

Condition: 1st: Trimmed to border. Professionally backed with archival tissue. Central vertical join, as issued. Minor losses to central join, now inﬁlled. Minor time toning. 2nd: Trimmed within platemark. Central vertical join, as issued. Minor time toning to join and edges of sheet. Pressed secondary vertical folds. [50848] £5,250

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.

31. [XII. The Sawhorse] Giovanni Battista Piranesi Etching C. Piranesi F. [c.1775] Image 405 x 550 mm, Sheet 410 x 555 mm, Sheet 590 x 635 mm unmounted Plate 12 of the Carceri d’invenzione, depicting a cavernous vaulted subterranean chamber. The untitled plate is usually called ‘The Sawhorse’ owing to the rather forbidding collection of scaﬀolds to the right of the foreground, presumedly used as instruments of torture. The current example is from the second printing, in which Piranesi added a row of long spikes to the top of the sawhorse, as well as to a chained bollard nearby. This impression also includes the letter ‘C’ (for Cavaliere) added before Piranesi’s signature. The 16 plates of the Carceri d’invenzione (’Imaginary Prisons’) are amongst Piranesi’s earliest major works, and represent the zenith of his architectural imagination. A series of fanciful images of prisons, the Carceri were ﬁrst issued by Bouchard in 1750. Although dwarfed in popularity by Piranesi’s later views of Rome, the Carceri are widely seen as Piranesi’s most innovative and characteristic contributions to etching.

Composed of monumental architectural features and nightmarish instruments of physical and psychological torture, the Carceri have had a profound eﬀect on Piranesi’s various admirers. Chief amongst these was Thomas de Quincey, the British author and self-confessed opium addict, who describes at length the powerful and feverish impact the Carceri had upon him and his fellow poet Coleridge. Hind 12. ii/iii, Robison 38 v/vi, Wilton-Ely 37 (Later State), F35, C360, R38. Condition: Printed on laid paper with no watermark. Pressed central vertical fold, as issued. Light time toning to sheet. Numerous repaired tears and splits to margins, including two just into image. Sheet professionally backed with archival tissue. [50351] £3,000

32. Trofeo di Ottaviano Augusto Giovanni Battista Piranesi Etching Piranesi Architetto dis. ed inc. [Rome, Bouchard, c.1753] Image 590 x 390 mm, Plate 650 x 400 mm, Sheet 805 x 590 mm unmounted An illustration of one of a pair of Roman marble military trophies, the main focus of Piranesi’s Trofei di Ottaviano Augusto. The trophies were excavated from the nymphaeum of the Aqua Julia and set up on the balustrade of the Capitoline Piazza by Pope Sixtus V in 1590, and came to be known as the Trofei di Mario, under the mistaken assumption that they commemorated Marius’ victories over the Cimbri and Teutones. Piranesi argues at length in the inscription below the plate for an attribution to Octavian Augustus, in commemoration of his victory at Actium. The nymphaeum itself was almost certainly built in the reign of Alexander Severus, though they are usually described on stylistic grounds as being Flavian, and the inscription set up when they were moved dates them to the reign of Domitian. The sculpture itself depicts a cuirass, a series of shields, various weapons of war and quivers of arrows, a pair of winged male figures, now very fragmentary, and a central captive female figure in a long sleeved tasselled chiton with her arms behind her back. Piranesi’s first foray into archaeological survey was the short, but grandiosely titled, volume Trofei di Ottaviano Augusto innalzati per la Vittoria ad Actium e conquista dell’Egitto con vari altri ornamenti diligentemente ricavati dagli avanzi piu preziosi delle fabbriche antiche di Roma, utili a pittori, scultori ed architetti, designati ed incisi da Giambattista Piranesi, Architetto Veneziano. Taking as its inspiration the two antique trophies that had been set up on the terrace of the Campidoglio in 1590, Piranesi argued for an attribution to Augustus in commemoration of the Battle of Actium. The trophies, which had been rediscovered in an excavation of the fountainhead of the Aqua Julia, were colloquially known as the Trophies of Marius. Piranesi’s pamplet contained detailed illustrations of the trophies, as well as a pair of general views and a series of plates depicting other architectural fragments that the artist believed would be of interests to other antiquarians, sculptors, architects, and cognoscenti. Wilton-Ely 272, F137, C382 Condition: Strong clean impression. Central horizontal fold as issued. [50557] £1,000

33. Veduta del Sepolcro di Caio Cestio Giovanni Battista Piranesi Etching Piranesi del. inc. Presso l’Autore a Strada Felice nel Palazzo Tomati vicino alla Trinita de Monti. [1st Paris edition, 18001807] Image 388 x 535 mm, Plate 405 x 540 mm, Sheet 525 x 755 mm unmounted Inscription to left and right of title reads: ‘1. Porta S. Paolo 2. Mura di Roma.’ A view of the pyramid of Cestius, from the Vedute di Roma. The viewer is positioned above the roadway leading to the Porta San Paolo, in a position that roughly equates to the modern day Via Marmorata, looking beyond the city gate towards the Via Ostiense. The pyramid’s funerary inscription, commemorating the Augustan era magistrate Gaius Cestius, can be seen on the steep slope to the right of the scene, above an area of scrubby land holding Rome’s ﬁrst Protestant cemetery, famous as the burial place of the English poets Percy Shelley and John Keats. To the left of the pyramid, a section of the 3rd century AD Aurelian walls can be seen, the crenelated medieval towers of which still stand today. In the foreground, on the roadway, a beggar holds his hand out towards a group of travellers.

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. Hind 35.iv/vi, Wilton-Ely 146, Focillon 810, C795 Condition: Strong dark impression with full margins. Central vertical fold, as issued. Minor surface abrasion and dirt staining to margins. [50724] £1,750

34. The Herdsman’s Cottage, or Sunset Samuel Palmer Etching 1850 [1872] Image 98 x 77 mm, Plate 124 x 100 mm, Sheet 304 x 222 mm unmounted The second state of Palmer’s The Herdsman’s Cottage, or Sunset. In line with Palmer’s interest in the pastoral, a man and dog are depicted herding cattle within a wooded landscape. To the left of the composition, a cottage is visible, with the glowing light of the sunset visible behind. Lettered with initials ‘SP’ below lower left corner of image. This impression was featured in Philip Gilbert Hamilton’s 1872 edition of ‘The Portfolio. An Artistic Periodical’, and was published with the mistaken title ‘Sunrise’. Samuel Palmer (1805 – 1881) was a visionary artist and contemporary of William Blake. A key ﬁgure in British Romanticism he was also a proliﬁc writer as well as a watercolourist, etcher and printmaker. Palmer is best known for his early works executed at Shoreham where he lived between 1826 to 1835. Introduced to William Blake by John Linnel (whose daughter he would later marry) Palmer and artists George Richmond and Edward Calvert formed a group named The Ancients who were characterised by their admiration for the work of William Blake and their attraction to archaism in art.

Like many great artists, it was not until after death that the works of Samuel Palmer were rediscovered and finally afforded the attention they deserved. Although his watercolours were popular in England at the time, Palmer struggled financially throughout his life time and had to divert much of his attentions to teaching to support himself and his wife, Hannah Linnel. After his death in 1881, Samuel Palmer was largely forgotten, his surviving son, Alfred Herbert Palmer, even went as far as to burn a large portion of his fathers work in 1901, stating that: “Knowing that no one would be able to make head or tail of what I burnt; I wished to save it from a more humiliating fate”. In 1926 Martin Hardie curated a show at the Victoria and Albert Museum entitled Drawings, Etchings and Woodcuts made by Samuel Palmer and other Disciples of William Blake. This kick-started the revival of interest in Palmer’s work which subsequent retrospective exhibitions and publications have continuously reinforced throughout the rest of the 20th century. The Shoreham work in particular has had a notable influence on several important 20th century artists such as Frederick Landseer Griggs, Robin Tanner, Graham Sutherland, Paul Drury and Eric Ravilious. Lister 3 ii/ii, Alexander 3 ii/ii. Condition: Clean dark impression. Minor time toning to plate. Horizontal printer’s crease to bottom of plate, just below image. [50835] £975

Francesco Piranesi (c.1756-1810) was an Italian engraver, etcher and architect who mainly worked in Paris. He was the eldest son of the famous etcher Giovanni Battista Piranesi (1720-1778), under whom he studied printmaking and architecture. By 1775, Piranesi was both producing his own work and assisting with his father’s.

The Antiquités de la Grande Grèce was published in the early years of the nineteenth century, but was most likely inspired by two visits to Paestum, Pompeii, and Herculaneum undertaken by Francesco Piranesi with his father in 1770 and 1778.

Giovanni Battista Piranesi had prepared Upon the death of Giovanni Piranesi a number of preparatory sketches of the three years later, he inherited his father’s temples of Pompeii and Paestum that publishing house and was responsible for were eventually engraved and published producing most of the later editions of his by Francesco, but the remaining plates for prints. In 1798, Piranesi moved to Paris, the three volumes of the Antiquités seem where he was later employed by Napolean, to have been of Francesco’s invention. to engrave classical sculpture and vase collections within France and FrenchAlthough lacking some of the occupied Italy. romanticism of his father’s earlier plates of Rome, the illustrations from the He also collaborated with the French Antiquités nevertheless provide a valuable artist Louis-Jean Desprez (c.1743-1804) record of progress in the archaeological on a series of Italian views which were exploration of the sites of the Neapolitan sold at Piranesi’s shop in Rome. Although region, and are testament to Francesco’s the 1783 advertisement for the series deep engagement with Roman antiquity. promised forty-eight views, the series was not completed before Desprez left Rome to become Director of Scenic Decorations at the Stockholm Opera. Piranesi died in Paris from syphilis in 1810.

35. Casque et Jambieres en bronze pour les gladiateurs Francesco Piranesi Etching Dessine et grave par F. Piranesi L’an 1806. Image 610 x 735 mm, Plate 635 x 835 mm, Sheet 645 x 850 mm unmounted A very large etching of a gladiatorial helmet and greaves, from Francesco Piranesi’s Usages Civils et Militaires trouves a Pompeia et a Herculanum, the third volume of his Antiquités de la Grande Grèce. The plate is one of the most imposing and visually impressive of the series, showcasing one of the most signiﬁcant ﬁnds from the ruins of Pompeii. The bronze helmet and greaves are now in the collection of the Naples Archaeological Museum.

The helmet, of the type used by murmillo and Samnite gladiators, features illustrations of victory, including bound captives and supplicating barbarians, above its broad brim and below the plume mount, while a split full visor features circular openings. The greaves are likewise highly ornate, with theatrical masks, eagles, oak chaplets, and vines. An inscription after the title reads: Les bas reliefs du casque representent Rome triomphante au milieu des ennemis vaincus et des captifs; ceux des Jambieres ont rapport aux Spectacles. Condition: Trimmed to platemark at top and bottom. Marginal creasing and ink-staining. Repaired tears to edges of sheet, particularly to inscription space. [50725] £2,250

36. Vue de la porte de l’enceinte du Temple d’Isis Francesco Piranesi Etching Dessine par J.B. Piranesi. Grave par F. Piranesi L’an 13 (1805 Image 680 x 485 mm, Plate 730 x 510 mm, Sheet 795 x 590 mm unmounted A view of the entrance to the Temple of Isis at Pompeii, Plate 61 from Volume 2 of Francesco Piranesi’s Antiquites de Pompeia, part of his Antiquités de la Grande Grèce. The scene is an unusual pastiche of ancient and modern. The building behind is shown in ruins, as it appeared at the time of Piranesi’s visits to the city in the 1770s, but the two ﬁgures in the foreground are from the Roman era, a priest with his toga pulled up over his head who holds a large urn or situla, and a priestess with her chiton tied up in an Isis knot holding out a sistrum and a simpulum. The large Latin inscription shown at the top of the scene is now in the Naples Archaeological Museum, but was originally situated above the entranceway to the precinct of the Temple of Isis, which ﬁlled a space between the Triangular Forum and the Large Theatre, near the Stabian gate. Beyond the doorway, the stuccoed decorations of the outer collonade and the purgatorium can be seen. The inscription itself recognised the refurbishment and rebuilding of the Iseum after the earthquake of AD 62 by the father of a six year old boy called Numerius Popidius Celsinus. The boy’s father, N. Popidius Ampliatus, was a freedman and thus barred from holding political positions in the city, though the rebuilding program was enough to elevate his son. A French inscription below the title reads ‘on voit la partie interieure de l’aile de l’Atrium correspondante a la porte du Temple de la Ville de Pompeia,’ and the date of the plate is given in both the Revolutionary and Gregorian calendars. Condition: Strong dark impression with full margins. Marginal creasing and ink-staining. Some repaired paper splitting to platemarks. [50726] £700

37. Antiquites de Pompeia. Tome Second. Francesco Piranesi Etching F. Piranesi Fecit. [1805] Image 560 x 385 mm, Plate 570 x 395 mm, Sheet 705 x 495 mm unmounted The highly decorative frontispiece of Volume 2 of Francesco Piranesi’s Antiquites de Pompeia, part of his Antiquités de la Grande Grèce. The frontis is a pastiche of Egyptianizing elements, clearly drawing inspiration from the Temple of Isis in Pompeii, numerous plates of which, showing general views, architectural details, and archaeological objects, are included in the second volume. The title is surmounted by a portrait bust wearing an Egyptian headdress, and columns of reliefs on either side feature hieroglyphs and basketry. Below, a pair of other relief engravings show an Apis bull in proﬁle, and a cult statue of the goddess Isis that draws heavily upon the Artemis of Ephesus with her multiple rows of breasts. In the foreground, the altar of the temple is shown, with a pair of cymbals and sistra resting against it. Condition: Strong dark impression with full margins. Marginal creasing and ink-staining. [50727] £700

SCIENCES

38. Ideal Section of a Portion of the Earth’s Crust, intended to shew The Order of Deposition of the Stratified Rocks, with their relations to The Unstratified Rocks Fisher, Joseph after Webster, Thomas Steel engraved with original hand colour Composed by Thomas Webster, F.G.S. &c. The Plants and Animals Selected and arranged by Dr. Buckland and Drawn and Engraved by Joseph Fisher. 2nd Edition. Jany. 1837. 1180 x 210 mm unmounted An impressive fold-out geological panorama, showing an ideal section of the earths crust and demonstrating the deposition of unstratified and stratified rock across geological time. The chart was originally designed by the geologist Thomas Webster. This example is the second edition of the chart, and was engraved by Fisher for inclusion in an illustrated edition of Buckland’s lectures. The chart divides the earth’s geology along the top margin according to the schema championed by Abraham Werner, into Primary, Secondary, Tertiary, and Quaternary. Quaternary is here labelled for the everyman as ‘Active Volcanoes’ and an intermediate ‘Transition Series’ has been added between the Primary and Secondary deposits, encompassing the Silurian and Carboniferous periods. The various stratified and unstratified rocks are colour coded in beautiful original wash colour and labelled, and above each era a series of illustrations, designed by Buckland, shows the development of plants and animals over geographic time. Active volcanoes spew fire and smoke in the Quaternary period, and a solitary Dodo contains a notice ‘Not found Alive since 1691.’

Thomas Webster (1772-1844) was a Scottish geologist, Fellow and Curator of the Geological Society of London, and an amateur watercolourist. William Buckland (1784-1856) was a British theologian, geologist, and palaeontologist, most celebrated for his description of Megalosaurus, the first full account of a fossil dinosaur. He was awarded the Copley Medal for his work on the prehistoric hyena den of Kirkdale Cave, an event that was commemorated by his fellow clergyman and geologist William Conybeare in a well-known caricature. Appropriately for this print, Buckland’s other great contribution to geological and paleontological study was his classification of coprolites through the study of ichthyosaur fossils. Buckland was a Fellow of Corpus Christi College, an honorary curator of the Ashmolean and University Museums, and eventually Dean of Westminster. Joseph Fisher (1795-1890) was a British engraver and printmaker. Born in Oxford, the majority of his engravings are topographical, including a large series of views for Slatter’s The Oxford University and City Guide. In 1845 he became Keeper of the University Galleries after the completion of Cockerell’s building on Beaumont St, now the Ashmolean Museum. Condition: Vertical folds, as issued. Minor tears and creases to tops of folds, not affecting plate. Minor time toning to folds and edges of sheet. Blank on verso. [50852] £375

39. Professor Owen - On his Favourite Hobby Gillot Wood engraving with original hand colouring Gillot sc. Offices: 183, Strand, London, W.C. Jan. 29, 1870 Image 295 x 230 mm, Sheet 410 x 275 mm unmounted A caricature of Richard Owen, the famous naturalist, riding upon a stylized dinosaur skeleton, published as the front page of the 14th volume of the Victorian magazine The Period: An Illustrated Review of What is Going On. Owen’s head is comically large, exaggerating his already prominent eyes. He wears a coat decorated with a pattern of dodos, dinosaurs, and primates, with a rolled scientific article stuffed in one pocket. In his left hand, he holds a large bone in the manner of a baton, while his skeletal steed features a particularly avian head, possibly an allusion to Archaeopteryx, the first skeletal fossil of which Owen acquired for the Natural History Museum and wrote extensively on. Richard Owen (1804-1892) was an English biologist and pioneering palaeontologist, and one of the most important scientific figures of the nineteenth century. He is best remembered as the progenitor of the word ‘dinosaur,’ for his part in bringing about the establishment of the Natural History Museum in London, and for his antagonistic criticism of Charles Darwin and his followers Huxley and Hooper. His contributions to natural history were many and significant, though his personal behaviour was described as fractious, petty, bullish, and arrogant by his peers, and it is well attested that he both plagiarised and persecuted his fellow palaeontologist Gideon Mantell in the latter’s work on Iguanodon. Gillot (fl.1870) was a nineteenth-century satirist, who contributed caricatures to Victorian periodicals. It is probable that he was the French caricaturist and publisher Firman Gillot, or his son Charles Gillot, who invented the Gillotage photomechanical process for printing illustrated periodicals. Condition: Central horizontal fold. Time toning and foxing to sheet. Letterpress text on verso. [50855] £200

40. [Armillary Sphere] Herman Moll Woodcut [In the Savoy, Printed by John Nutt, and Sold by Benjamin Barker and Charles King in Westminster-Hall. MDCCXI] Image 125 x 90 mm, Sheet 228 x 165 mm unmounted A woodcut illustration of an armillary sphere, the zodiacal band showing the names and alchemical symbols for the star signs, from the 1711 printing of Moll’s Atlas Geographus, or, A Compleat System of Geography, Ancient and Modern. Herman Moll (c.1654-1732) was born in Germany and came to England in the 1670s. He worked as an independent cartographer and geographer, and traded as a map publisher and seller for two years, and then worked for other publishers. Moll established his own business and eventually dominated the early eighteenth century map trade. He produced many maps and atlases of England, Wales, Scotland and Ireland. His county maps were all boldly engraved in a heavy style. Moll was also an active member in academic and intellectual circles, being a close associate of Daniel Defoe, Robert Boyle, Robert Hooke, and, most importantly for his cartographic career, the pre-eminent English explorer of the era, William Dampier. Condition: Letterpress text above and on verso. Minor foxing, time toning, and waterstaining to sheet. [50606] £120

41. Phrenological Chart after Orson Squire Fowler Wood engraving [London, c. 1859] Image 277 x 212 mm, Sheet 844 x 560 mm unmounted A letterpress broadsheet with a wood engraved phrenological illustration. This folding phrenological chart comes from the Imperial Journal of the Arts and Sciences, published in 1859 by William Mackensie at Paternoster Row, London. It was one of eight folding plates included to accompany treatise on certain subjects. The design for the head originates from a diagram by Orson Squire Fowler which appeared in Goyder’s phrenological almanac. Though Fowler’s main design is retained, the images that are introduced in the cerebral compartments are somewhat fanciful. The very extensive lettering gives an account and justiﬁcation of the essentials of phrenology. The list of the faculties reproduces Johann Spurzheim’s 1825 system, with the tentative exception of two unnumbered ‘feelings in the mind to which no expressing organ has been assigned’: personal identity and love of life. The design at the bottom of the page reproduces the frontispiece to George Combe’s ‘System of phrenology,’ published in 1830. Condition: Vertical and horizontal creasing as issued. Trimmed to border along left half of top margin. Additional crease, not as issued, in the top left-hand corner of the sheet. [50506] £300

TOPOGRAPHY

42. [The Tower of Babel] Jan Luyken Copper engraving [Amsterdam, c.1705] Image 282 x 645 mm, Plate 292 x 655 mm, Sheet 325 x 695 mm unmounted An impressive panorama of the construction of the Tower of Babel, engraved by Jan Luyken for Willem Goeree’s De Kerklyke en Weereldlyke Historien. Luyken’s representation of the tower itself, still in its earlier stages of construction in the left side of the image, is clearly inspired by Brueghel’s famous painting of 1563, itself heavily indebted for its circular arcaded appearance to the Colosseum in Rome. The upper registers of the tower are covered in a complex arrangement of scaffolds. In the plain of Shinar around the tower, humanity toils with zeal towards the completion of their great creation. In the foreground, the various stages of brickmaking are shown, from working the clay to stacking the sundried bricks in preparation for firing. Brick kilns send up plumes of smoke and flames across the vastness of the space, while teams of labourers with camels and horses carry loads of bricks to the tower. Settlements, small towns, and tented camps are dotted about the scene, while in the top right corner, a river meanders before the mountains. Although there are many interpretations of the Babel story, the most popular historical attribution for the tower was the great ziggurat of Marduk in Babylon, making the river likely to be a representation of the Euphrates.

Inscription below image reads: Ende het geschiede als sy tegend’t Oosten togen, dat sy een Leegte vonden in den lande Sennaar; en tot malkanderen sieden; kom-aan laat ons Tichelen stryken en wel Doorbranden; en laten wy een Stadt en Toren Bouwen, wiens opperste in den Hemel zy; Gen. XI. Jan Luyken (1649-1712) was a Dutch painter and etcher active in Amsterdam. His father and one of his sons, both of whom were called Kaspar, were also engravers. A pupil of Cornelis Decker, his best known works were the Martelaersspiege, or Martyr’s Mirror, as well as the Het Menselyk Bedryf, or Book of Trades. Willem Goeree (1635-1711) was a Dutch publisher, printer, and bookseller, born in Middelburg and active in Amsterdam. His best known works were predominantly art historical or theological, though he also printed works of natural history, general history, and scientific and mathematical treatises. Condition: Printed on two sheets and then joined vertically to right of central fold. Some misalignment to join, as issued. Pressed vertical folds, as issued. Puncture to bottom of left margin on platemark, without loss to image. Minor tears to tops and bottoms of folds, not affecting plate. Minor time toning and text offsetting. Blank on verso. [50849] £475

43. A View of Amsterdam Thomas Jefferys Copper engraving T. Jefferys Sculp. [London, c.1748] Image 170 x 385 mm, Plate 200 x 395 mm, Sheet 200 x 410 mm unmounted A mid-eighteenth century view of Amsterdam, centred on the Amstel River and with the city in the distance, engraved by Jefferys for the 1748 edition of The Gentleman’s Magazine: and Historical Chronicle. Below the view, a numerical key of 44 points provides ‘References to the Publick Buildings and Fortifications’ of the city. In the centre of the key, the title in enclosed in a baroque cartouche featuring attributes of commerce and the arms of the City and the Dutch Republics. Thomas Jefferys (c.1719-1771), was an English cartographer and one of the leading map suppliers of his day. He engraved and printed maps for government and other official bodies and produced a wide range of commercial maps and atlases, especially of North America. As “Geographer to the Prince of Wales”, he produced ‘A Plan of all the Houses, destroyed & damaged by the Great Fire[ [...]. He also produced ‘The Small English Atlas’ with Thomas Kitchin, and engraved plans of towns in the English Midlands.

In 1754, Jefferys published a map of Virginia which had been surveyed by Joshua Fry and Peter Jefferson in 1751. The next year he published a ‘Map of the Most Inhabited Part of New England’ surveyed by John Green, and in 1768 he published ‘A General Topography of North America and the West Indies’ in association with Robert Sayer. In 1775, after his death, collections of his maps were published by Sayer as ‘The American Atlas and The West-India Atlas’. Condition: Vertical folds, as issued. Trimmed within plate at top and bottom, as issued. Minor foxing and time toning to folds. Text offsetting on verso, otherwise blank. [50833] £150

44. A View of the Great Room &c. at Hall-Barn near Beckonsfield in Buckinghamshire a Seat of Edmund Waller Esqr. / A View of part of the Garden at Hall-Barn near Beckonsfield in Buckinghamshire, a Seat of Edmund Waller Esqr. William Woollett Copper engraving Printed for Carington Bowles in St Pauls Church Yard, John Bowles in Cornhil, Henry Parker in Cornhil, John Boydell in Cheapside, and Robert Sayer in Fleet Street [London, c.1760] Images ~505 x 330 mm, Plates 540 x 375 mm, Sheets ~410 x 565 mm unmounted Titles in French below: Veue de la grande Sale &c. a Hall-Barn dans la Comte de Bucks, appertanant a Edmund Waller Ecuyer / Vueu d’une Partie du Jardin a Hall-Barn, dans la Comte de Bucks, appertanant a Edmund Waller Ecuyer. A pair of classic separately-published eighteenth-century engravings of the gardens at Hall-Barn, one of the seats of the seventeenth century poet and politician Edmund Waller (1624-1679), who had the house built towards the end of his life. In the first plate, a pair of grounds men use a large roller to smooth the extensive lawns near the rectangular lake, while a group of ladies promenade on a tree-lined avenue. In the distance, a summer house can be seen at the far end of the lake, and a flock of sheep graze in the meadow beyond. The chimneys of the House itself can just be seen above the line of trees. The second plate shows part of the garden, with walkers enjoying the paths through a wood. A pair of large classicizing urns stand on plinths at the end of a rectangular pond populated by ducks, and a pair of classical follies can be seen in the distance, at the end of another tree lined avenue, and at the foot of another rectangular pool. 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. Fagan 37 iii/iv Condition: Strong clean impressions with full margins. Minor time toning to first plate. Minor acid burn from old mount just within platemark of second plate. [50788] £850

Vitruvius Britannicus or, the British Architect. Containing the Plans, Elevations, and Sections of the most Regular Buildings both Publick & Private in Great Britain was the first architectural work to emerge from England since John Shute’s The First and Chief Groundes of Architecture, which was first printed in 1563. Often regarded as a catalogue of designs, Vitruvius Britannicus contained a number of plans, elevations, and sections of buildings in Great Britain by the most prominent architects of the day, including Inigo Jones and Sir Christopher Wren. The text as well as a great many of the designs were the work of the Scottish architect Colen Campbell, with the first three volumes being published between 1715 and 1725. The success of Vitruvius Britannicus was instrumental in popularising neo-Palladian Architecture in Great Britain and America during the eighteenth century, and was one of the driving forces behind the development of Georgian architecture.

The book inspired two significant imitators, both of whom borrowed the title for their own publications. The first, in 1739, was published by Badeslade and Rocque, but featured mostly topographical views. Between 1765 and 1771, the architects Woolfe and Gandon issued their own two volume set as Vitruvius Britannicus Volumes IV and V. In style, their publication was a much closer fit to the Campbell originals, and featured some of the finest examples of architecture to have appeared in the 40 years between the two books.

45. Principal Front of Kertlington Park in Oxfordshire, the Seat of Sir James Dashwood Bart. Matthew Darly after James Woolfe Copper engraving J. Woolfe del. M. Darly sculp. [London, 1765-1771] Image 165 x 470 mm, Plate 255 x 500 mm, Sheet 560 x 705 mm unmounted Titled in English and French. A finely engraved architectural view of the principal elevation of Kirtlington Park, Oxfordshire, built for Sir James Dashwood in 1742, from the Woolfe and Gandon volumes of Vitruvius Britannicus, or, The British Architect. John Woolfe was an Irish draughtsman active in the latter half of the eighteenth-century. From the 1750s onwards, Woolfe was employed in the Office of Works. He was the joint author with James Gandon of volumes 4 and 5 of Vitruvius Britannicus. His son, of the same name, worked for the Office of Works between 1787 and 1806.

Matthew Darly (c.1721-c.1792) was a British caricaturist, printseller, publisher, and ornamental engraver. In 1759, he married his second wife Mary (fl.1759-1792), also a caricaturist and printseller, who wrote and illustrated the first book on caricature drawing, A Book of Caricaturas, 1762. The Darlys worked together and independently, and by 1756, they had print shops in Fleet Street and the Strand. Most of their prints were engraved in a very similar style and, to complicate attribution, have a publication line of ‘M.Darly’, so differentiation between them is often difficult. Mary’s plates were predominantly satires and caricatures, whereas Matthew, in addition to caricatures, was also a jobbing engraver and stationer, producing everything from topography to trade cards. Colen Campbell (1676-1729) was a Scottish architect and architectural writer, credited as a founder of the Georgian style. He is best known as the author of Vitruvius Britannicus. Condition: Central vertical fold, as issued. Minor creasing to plate. [50858] £250

46. West Front of the Horse Guards at Whitehall Thomas White Copper engraving W. Kent Arch. T. White sc. [London, 1765-1771] Image 245 x 605 mm, Plate 255 x 635 mm, Sheet 570 x 705 mm unmounted Titled in English and French. A ﬁnely engraved architectural view of the west front of Horse Guards, London, designed by William Kent in 1745 to replace an earlier building constructed by order of Charles II in 1663, from the Woolfe and Gandon volumes of Vitruvius Britannicus, or, The British Architect. Although the clock tower of the building is baroque, the rest of the building was built in the popular Palladian style.

John Woolfe was an Irish draughtsman active in the latter half of the eighteenth-century. From the 1750s onwards, Woolfe was employed in the Oﬃce of Works. He was the joint author with James Gandon of volumes 4 and 5 of Vitruvius Britannicus. His son, of the same name, worked for the Oﬃce of Works between 1787 and 1806. Colen Campbell (1676-1729) was a Scottish architect and architectural writer, credited as a founder of the Georgian style. He is best known as the author of Vitruvius Britannicus. Condition: Central vertical fold, as issued. Minor time toning to fold. Minor creasing to plate. [50859] £250

Thomas White (c.1740-1775) was a British engraver and draughtsman, who worked mostly on architectural plates.

47. Longford Castle the Seat of the Earl of Radnor, in Wiltshire / Longford Castle the Seat of the Earl of Radnor, Garden Front Tobias Martin Miller after Thomas Milton Copper engraving Built in 1591 repair’d & alter’d in 1717. T. Milton mensur et del. T. Miller sculp. 1766. [London, 1765-1771] Images 250 x 475 mm, Plates 330 x 550 mm, Sheets 575 x 695 mm unmounted Titled in English and French. A finely engraved pair of architectural views of the facade and garden front of Longford Castle, Wiltshire, from the Woolfe and Gandon volumes of Vitruvius Britannicus, or, The British Architect. The plates record the structure as it was under the ownership of Sir Edward des Bouverie, before it was extensively remodelled by James Wyatt on behalf of the 2nd Earl of Radnor. Tobias Martin Miller, born Müller, (fl.1753-1804) was a German-born engraver who moved to England in the 1740s with his brother Johann Sebastian Müller, who was also a prolific engraver. Tobias Miller predominantly engraved architectural plates, contributing to most of the important architectural works of the late eighteenth century.

Thomas Milton (fl.1760s-1770s) was an architectural draughtsman, who was possibly the prolific topographical engraver of the same name (c.1750-1827), though the life dates of the latter suggest he would have been too young to have been the same Thomas Milton who contributed drawings for the Woolfe and Gandon volumes of Vitruvius Britannicus. John Woolfe was an Irish draughtsman active in the latter half of the eighteenth-century. From the 1750s onwards, Woolfe was employed in the Office of Works. He was the joint author with James Gandon of volumes 4 and 5 of Vitruvius Britannicus. His son, of the same name, worked for the Office of Works between 1787 and 1806. Colen Campbell (1676-1729) was a Scottish architect and architectural writer, credited as a founder of the Georgian style. He is best known as the author of Vitruvius Britannicus. Condition: Central vertical folds, as issued. Minor time toning to folds. Minor creasing to plates. [50860] £275

OXFORD

48. The Oxford Drag. No. 1. [Anonymous] Aquatint with original hand colouring Published Novr. 1st, 1848, by J. Ryman, High Street, Oxford [but later printing c. 1880’s] Image 355 x 530 mm, Plate 450 x 605 mm, Sheet 653 x 501 mm framed A late nineteenth century aquatint depicting preparations for the Oxford Drag, the ﬁrst plate of a series of four published by the Oxford printseller, stationer, and publisher James Ryman. The scene depicts a large group of mounted huntsmen, along with a small pack of foxhounds, awaiting the start of the Drag. A couple of single-horse gigs are at centre. Unlike traditional hunts, which involve the hounds following a live trail, usually of fox or hare, drag hunts involve the laying of a scent for the dogs to follow along a pre-arranged trail. Although drag hunts have existed since medieval times, they were popularised in the early 1800s. Above the title in the inscription space, the participants of the Drag are labelled.

The plate is ‘Dedicated with permission to the Right Honble. the Earl of Darnley’ who is himself pictured to the right of the scene, attending to the dogs. The Earl in question is the 6th Earl Darnley, John Stuart Bligh, who received his BA from Christ Church in the year of this Meet. He was also an amateur cricketer, making a single appearance for the Gentlemen of Kent. James Ryman was a printseller on the High Street in Oxford, who was active between 1836 and 1865. He published Illustrations of Oxford, which is a comparatively rare work with some uncommon views of the colleges to which celebrated artists like T. S. Boys, Frederick Nash and J. S. Prout made relevant contributions. Condition: Good clean impression, in ﬁlled worm holes to inscription space, some light surface dirt to margins. Framed in a birds-eye maple frame. [47762] £650

David Loggan (1635-1692), artist and engraver, was born at Danzig in 1635. He may have learnt the art of engraving from Simon van den Passe in Denmark and from Hendrik Hondius in the Netherlands. Loggan followed Hondius’s sons to England in about 1653, and by 1665 he was residing at Nuﬃeld, near Oxford, and had made the acquaintance of the antiquarian Anthony Wood.

Loggan’s two great works were a series of architectural bird’s eye plans of the colleges and public buildings of Oxford and Cambridge, the Oxonia Illustrata, published in 1675, and its rarer sister Cantabrigia Illustrata, which appeared at some point previous to 1690. Following Loggan’s death, the plates were acquired and reprinted by Henry Overton in 1705 and c.1710 respectively.

On 30 March 1669 he was appointed Engraver to the University of Oxford, with an annual salary of twenty shillings. He married a daughter of Robert Jordan, Esq. of Kencote Hall in Oxfordshire in 1671, and in 1672 they had a son, John Loggan, who later graduated from Trinity College. The marriage probably produced another son, William Loggan, about whom little is known except that he was responsible for a satirical print of Father Peters and the Jesuits, published in 1681.

Oxonia Illustrata was the ﬁrst illustrated book on Oxford and one of the major works of the 17th century. The book was the product of several years of devoted and conscientious eﬀort in which Loggan was assisted by his pupil Robert White.

David Loggan took up residence in Holywell in about 1671, prior to matriculating at the University. In 1675 he was naturalised as an Englishman. The remainder of his life was spent mostly in London, where he worked as an agent and art dealer, and as Engraver to the University of Cambridge, a position he attained in 1690, two years before his death.

The Oxonia Illustrata was intended as a companion work to Historia Antiquitates Universitatis Oxoniensis by Anthony Wood, with whom Loggan had become acquainted some years earlier. Although clearly intended as companions, with pagination suggesting that they were even parts of the same volume, for some unknown reason both books were published independently.

49. Interior Prospectus Scholae Theologicae Oxonii... [The inside of the Divinity School in Oxford...] David Loggan Copper engraving Dav. Loggan delin. et Sculp. cum Privil. S.R.M. [Oxford, 1675] Image 332 x 393 mm, Plate 335 x 400 mm, Sheet 372 x 442 mm mounted An interior view of the Divinity School of the Bodleian Library, from the ﬁrst edition of ‘Oxonia Illustrata’ published in 1675.

Full title reads: ‘Interior Prospectus Scholae Theologicae Oxonii quam Ano. 1427, Academice Sumptibus inchoatam, absolvit Humphredus Dux Glocestrice’ [The inside of the Divinity School in Oxford begun by the University An.1427 and afterward ﬁnished by Humphrey Duke of Gloucester.] Condition: Central vertical fold as issued. Repaired tear to bottom of central fold. Time toning, foxing, and old adhesive staining to margins. Large chip to right margin, into platemark, now reinstated with archival tissue. Tears and cracking to plate mark. Old tape residue to verso, otherwise blank. [50509] £475

50. Bibliotheca Publica Bodleiana & Scholae sive Auditorium Artium Liberalium ut ad Austrum Spectantur [Aerial view of the Bodleian Library] David Loggan Copper engraving [Oxford, 1675] Image 254 x 401 mm, Plate 298 x 407 mm, Sheet 435 x 557 mm unmounted An aerial view of the Bodleian Library from the ﬁrst edition of ‘Oxonia Illustrata,’ published in 1675. Condition: Excellent impression with full margins. Centrefold as issued. . Some minor toning to sheet edges. Light creasing to left margin. Old manuscript ‘4’ pagination to bottom right corner of plate. [50717] £650

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