Maps and Prints Pre 1900 PAGE 8

 

 

 

 

 

Voltaire chez Mme. de Pompadour. Grave par N. Desmadryl. Peint par Mme. Elise C. Boulanger. Mezzotint. 12 x 14.5 inches. Click for Image

 

 

 

 

EXTRAORDINARY SALE... DISPOSAL OF THEATRICAL PROPERTY: a Peep behind the Scenes. PROTEUS bidding for a Suit of Theatrical Armour. Drawn and engraved by Theo Lane. London published by C.S. Arnold, 21 Tavistock Street, Covent Garden, March 1, 1824.Hand coloured engraving 9.25 x 5.75. Click for Image

 

 

 

 

SIR WALTER SCOTT AND HIS FAVORITE MAIDA. Sir Walter Scott and his Favourite Dog Maida. From an Original Sketch. On Stone by J. R. Hamerton. London : Printed by Maguire & co., 24 Leic. Square. 7.75 x 8.5 inches. Click for Image

 

 

 

Robert Burns Poet. Born near Ayr Jan 25th 1759 Died at Dumfries July 21st. 1796. After a portrait by Alexander Nasmyth. Published by F. Glover, Water Lane, Fleet Street. W. Clerk 202 High Holborn. Lith. 8 x 10 inches. Click for Image.

 

 

 

 

 

 

RICHARD HEAD. The Globe's thy Studye; for thy boundless mind: In a less limit cannot be confind / Gazing, I here admire: thy very lookes / Show thou art read as well in men, as bookes. / He that shall Scan thy face, may judge by it, / Thou hast an Head peece that is thronged with wit. I.F. [London, c.1665.] Engraving. 140 x 90mm. The frontispiece to Head's 'The English Rogue', a racy pretended autobiography of a thief. 5.5 x 9 inches. £65 Click for Image

 

 

 

HENRY MAYHEW From a Daguerreotype by BEARD. 1851. Henry Mayhew (25 November 1812 - 25 July 1887) was an English social researcher, journalist, playwright and advocate of reform. He was one of the two founders of the satirical and humorous magazine Punch, and the magazine's joint-editor, with Mark Lemon, in its early days. He is better known, however, for his work as a social researcher, publishing an extensive series of newspaper articles in the Morning Chronicle, later compiled into the book series London Labour and the London Poor ; a groundbreaking and influential survey of the poor of London. Mayhew's work was embraced by and was an influence on the Christian Socialists, such as Thomas Hughes, Charles Kingsley, and F. D. Maurice. Radicals also published sizeable excerpts from the reports in the Northern Star, the Red Republican and other newspapers. The often sympathetic investigations, with their immediacy and unswerving eye for detail, offered unprecedented insights into the condition of the Victorian poor. Alongside the earlier work of Edwin Chadwick, they are also regarded as a decisive influence on the thinking of Charles Dickens. 6 x 9 inches. Click for Image

 

John Beard Esqr. Mezzotint . (Published as the Act directs Dec. 17, 1787) From a Picture in his possession at Hampton. 10 x 13.5 inches. Click for Image

The Theatrical Manager. How's the house tonight? CURTAIN Question. Click for Image

THE DRAMATIST. 5.25 x 8.5 inches. Click for Image.

 

 

 

 

 

Mr. LISTON, as MAW-WORM. IN THE PLAY OF THE HYPOCRITE, ACT 5TH. SCENE LAST. Stay! Stay you infatuated wretches, you know not what ye do : the Doctor is innocent. I say he is innocent; touch not a hair of his precious head ; rumple not one curl of his gracious wig: he's a Saint! if ever there was a Saint he is one; but ye will be the sufferer : I have one great & glorious consolation! I say one glorious consolation, you'll all go to the D-l: I shall go up, but you'll go down, and when you see me mount & leave ye to your fate, you'll want my aid ! you'll want me to take you with me ! you'll cling to me! you'll attempt to lay hold of the skirts of my coat!but I'll fling ye all, for I'll wear a spencer! Designed, Drawn, Engraved and Published by J.W. Gear, 6 Wilson Street, Grays Inn Road, 1824. lithograph in original hand-colouring, 1824. , 8 x 10 Click for Image.

 

 

 

 

 

Mr Ryder In The Character Of Sir John Restless in All in The Wrong. W. N.Gardiner, after S. Harding. engraving printed in colours, 250 x 185mm., mounted at corners, browning and surface dirt, 1787. Click for Image.

Mr Ryder In The Character Of Sir John Restless in All in The Wrong. W. N.Gardiner, after S. Harding. engraving printed in colours, published as the act directs, January 4th 1787. Bev. Did you find any likeness Sir? Sir John. Your Head a little more that way if you please ay! ay! it is he - tis a plain case this is my man or rather this is my Wife's man. 9.5 x 11 inches. Click for Image. Click for Image

 

 

 

 

 

TAMERLANE. Mr. Palmer as Bajazet and Miss Hopkins as Selima. "Now, now, thou traitress." Barralet and Walker sculp. From the play by Samuel Foote. Published December 1776 by J. Lowndes and Partners. Engraving 4.5 x 7 inches. Click for Image

 

 

 

 

 

 

Miss Vincent as Agnes Primrose. Lithograph. 8 x 10.5 inches. Star new series no. 2. Gunthorp sc. Click for Image

 

 

 

 

Edward Shuter [1728?-1776] as Obadiah Prim in a scene depicting Obadiah standing between Mrs. Prim and Mrs. Lovely from "A Bold Stroke for a Wife" by Susanna Centlevre 1776. "She talketh unintelligibly Sarah, verily it troubleth me." 4.5 x 7 inches. Engraved Isaac Taylor after
William Walker. Edward Shuter was a renowned actor whose roles included Justice Woodcock in Love in a Village; Master Stephen in Every Man in His Humour, as Lovegold in The Miser; as Hardcastle in She Stoops to Conquer; and here as Obadiah Prim in A Bold Stroke for a Wife, 1756-76. Click for Image

 

MISS [ANNE] CATLEY in the Character of EUPHROSYNE. Engraving from COMUS. A history of the masque by John Milton first published in 1637. The wanton God that pierces hearts, but the Nymph disdains to pine, dips in gall his pointed darts, who bathes the wound in rosy wine. Engraved 1775 4.25 x 6.25 inches. Click for Image

 

 

 

 

 

Maria Theresa Bland (nee Romanzini) as M. Marbleu in "Monsieur Tonson" 1822. Bland, Mrs. (Maria Theresa Catherine), 1770-1838. O France belov'd native land. Drawn by De Wilde Engraved by R. Cooper. Published by H. Berthoud, June April 20th. 1822. inches Click for Image

 

 

 

 

LORD BYRON. Dedicated with Permission to Her Most Gracious Majesty QUEEN VICTORIA by her Majesty's Most Obliged and very humble Servant Edward Mitchell. Line engraving 'from a bust' but bearing a striking likeness to the portrait by Thomas Phillips. George Gordon Byron, 6th Baron Byron. 10 in. x 12.25 inches. SOLD Click for Image.

 

 

 

Mr. Leoni and Mrs. Mattocks as Carlos and Louisa. The Duenna is a three-act comic opera, mostly composed by Thomas Linley the elder and his son, Thomas Linley the younger, to an English-language libretto by Richard Brinsley Sheridan. At the time, it was considered one of the most successful operas ever staged in England.[1], and its admirers included Samuel Johnson, William Hazlitt and Lord George Byron. First performed in the Covent Garden Theatre on November 21, 1775. Engraving 4.5 x 7 inches. SOLD Click for Image

 

 

 

 

Dan John Lydgate Bury Poet Laureate. Browne Willis. The Daunce of Death. George Vertue (1683-1756) JOHN LYDGATE (circa 1370–1449). Poet and prior of Hatfield Regis, copper plate engraving, probably 18th century engraving of the English translator of Giovanni Boccaccio's (1313- 1375). The fall of princes. 10 x 16 inches. 50 ukp Click for Image

 

 

 

 

John Conde (1767-1794) MADEMOISELLE HILIGSBERG IN THE BALLET OF LE JALOUX PUNI. Published by J. Condé & Darling & Thompson, May 12th 1794. Dessin : H. Condé & Darling & Thompson, May 12th 1794. Design J. de Janvry del. J. Condé sculp. . Description: Ms. Hilligsberg in LE JALOUX PUNI by James D'Egville first presented to the King's Theater, London, on 1 June 1793. Victoria and Albert Museum. The scene takes place outside. Hand coloured engraving 12 in. x 17 inches. SOLD Click for Image

 

 

 

 

Mr. John Dryden. G.White fecit. Mr. John Dryden. Mezzotint Published by Thomas Bowles II After Sir Godfrey Kneller Print made by George White c. 1710-1730. Portrait, half length in a n oval, wearing loose collar, and gown, and holding wreath. Lettered with title and production details: 'G. Kneller Baron.t pinx.', 'G. White fecit', and 'Sold by Thomas Bowles Printseller in St. Pauls Church Yard, London.' 10 in. x 14 inches. Click for Image

 

 

 

John Dalton, F.R.S., engraved by Worthington after an 1814 painting by William Allen, published 25 June 1823 in Manchester and London. President of the Literary and Philosophical Society of Manchester, Member of the Royal Academy of the National Institute of France &c. Allen. Pinxt. Worthington Sculpt. Published June 25th.1823, by Zanetti & Agnew, 94, Market Street,Manchester, and Hurst, Robinson & Co. 90, Cheapside, London. Line engraving. 459 x 330mm. Philosopher. John Dalton (September 6, 1766 – July 27, 1844) was a British chemist and physicist, born at Eaglesfield, near Cockermouth in Cumberland. He is most well known for his advocacy of the atomic theory. Note the charts with Dalton's atomic symbols lying on the table. 13.5 x 18.5 inches. As a Quaker, Dalton led a modest existence, although he received many honors later in life. In Manchester more than 40,000 people marched in his funeral procession. Click for Image

 

 

 

 

 

 

 

George Cruikshank, 1792-1878. Dancing lesson. Plate I. First position. Lithograp.h Published July 8th. by G. Humphrey. 1822. watermark J. Whatman Turkey Mill 1825??????????????????????????? 11in. x 8.5 inches.

 

 

 

The Minor. Mr. Foote as Mrs. Cole. Dodd delin. Engraved by W. Walker. My thoughts are fix'd on a better place. What , I suppose Mr. Loader, you will be for your old friend the black ey'd Girl & c . Published 26th. July 1777 by T. Lowndes & Partners. inches Click for Image

 

 

 

 

 

David Garrick esq. Engraved by Robert Cooper from a picture by Robert Edge Pine. c. 1815-1817. One of the greatest English actors, David Garrick was described by his contemporary Edmund Burke as one who "raised the character of his profession to the rank of a liberal art." Garrick made his London theatrical debut in 1741 as Richard III, becoming an overnight success. His natural acting style radically transformed the English theatre of his day.As the manager of London's Drury Lane Theatre, Garrick led the way for many innovations in theatre operations, introducing concealed stage lighting and removing the audience from the stage. True to his immersion in all aspects of the theatre, Garrick authored several plays, adapted existing plays, and wrote numerous epilogues and prologues for other playwrights' work. The original oil on canvas is held by the National Portrait Gallery. A fine and rare stipple engraving 7 x 11 inches. Click for Image

 

 

 

COLLECTION D'UNIFORMES MILITAIRES FRANÇAIS DE 1789 a 1857 a 1857 356mm x 470mm [ 57 plates.]

 

 

 

 

Plate 27. Armée Française (1846). Vivandière, Régiment d'Infanterie de ligne. Armee francaise 1846. Ferdinand Bastin. Jules Rigo & Cie..

 

 

Plate 22. Sapeurs Pompiers, Officier et Soldat. Armee francaise 1846. Ferdinand Bastin. Jules Rigo & Cie..

 

Plate 18. Armée Française (1816 -1830). Grenadier à cheval. Garde Royale. Ferdinand Bastin. Jules Rigo & Cie.

Plate 26. Armée Française (1816 -1830). Canonnier Garde royale, Maréchal des logis. Ferdinand Bastin. Jules Rigo & Cie.

Plate 13. Armée-Française (1816 à 1830). Lancier, Garde royale. Ferdinand Bastin. Jules Rigo & Cie.

 

Plate 15. Armée Française (1814 à 1815). Mousquetaires du roi. Ferdinand Bastin. Jules Rigo & Cie.

 

Plate 16. Armée Française (1804 -1815). Grenadier à cheval. Chasseur guide. Ferdinand Bastin. Jules Rigo & Cie.

 

Plate 7. Armée Française (1790). Garde Suisse, Garde Française, (Grenadier) et Régiment du Forez. Ferdinand Bastin Jules Rigo & Cie.

 

 

 

 

 

Plate 4. 1793. République Francaise Volontaire - Hussard de la Mort. Ferdinand Bastin. Jules Rigo & Cie.

 

Plate 2. République Française (1789-1794). Les Tirailleurs. La planche est dessinée par Hippolyte Bellange et lithographies par Bour. Jules Rigo & Cie. Chez Wild, 38, Passage du Saumon, Paris.

 

 

 

 

 

William Cowper Esq. [1731-1800.] After Thomas Lawrence. Portrait of William Cowper, engraved by Francesco Bartolozzi , Published J.Johnson, St. Paul's Church Yard January 1 1806. Stipple engraving of the eminent English poet, hymnodist and abolitionist. One of the most popular poets of his time, Cowper changed the direction of 18th century nature poetry by writing of everyday life and scenes of the English countryside. He suffered from periods of severe depression, and although he found refuge in a fervent evangelical Christianity, the inspiration behind his much-loved hymns, he often experienced doubt and feared that he was doomed to eternal damnation. His religious sentiment and association with John Newton (who wrote the hymn "Amazing Grace") led to much of the poetry for which he is best remembered. 8.5 x 10.75 inches. William Cowper Esqr. (After Thomas Lawrence 1769-1830). 1806. Stipple engraving. 11 x 8 (sheet 12 1/8 x 9 5/8). Published by J. Johnson, St. Paul's Church Yard, January 1, 1806. Printed on cream wove paper. Signed, dated and titled in the plate. $125. Click for Image

 

 

Voltaire. E. Ficquet sculp. An exquisite engraving by Étienne Ficquet (1719-1794) based on Maurice Quentin de la Tour's portrait of 1736, "Voltaire à 41 ans." 1762. [#1649 Special Collections, Rosenwald Collection.] RARE . Engraving 1762. 3.5 x 6 inches.

 

 

 

 

 

 

Vincent Lunardi Esq. Richard Cosway deliniavi. F. Bartolozzi sculp. Secretary to the Neapolitan Ambassador and the first Aerial Traveller in the English Atmosphere September 15th . 1784. Protinus aetherea tollit inastra via. A fine stipple engraving by Francesco Bartolozzi. Sheet size: 4 x 6 ¾ inches.
£200.
Click for Image.

"From the fineness of the weather, and the steadiness of the wind to the NE, I began to be possessed with a notion that we should see Mr Blanchard in his balloon the day following. The next day proving also bright, I became more sanguine... At 20 minutes before three there was a cry that the balloon was come. From the green bank at the SW end of my house we saw a dark blue speck at a prodigious height, dropping as it were from the sky, hanging amidst the regions of the upper air, between the weathercock of the tower and the top of the maypole. The machine looked mostly of a dark blue colour; but sometimes reflected the rays of the sun and appeared of a bright yellow. I was wonderfully struck with the phenomenon." -Gilbert White.

 

 

Village Merrymaking by David Teniers the Younger. ((December 15, 1610 – April 25, 1690) engraved by Johann Georg Hertel a.v. [Augusta vindelicum] (Augsburg 1700 - Augsburg 1775) was printseller and print publisher. Copperplate engraving c. 1750. 11.25 x 8.5 inches 287mm x 212mm. Red ink numder top rt margin.

 

 

 

 

La Danse. Engraved by Gareau after Jean Miel from a drawing by Grangeret. c 1780. 8.5 x 8 inches. The paintings of the Galerie du Palais Royale were sold to England during the French Revolution. This engraving is one from a series cataloguing the finest artworks of the Royal collection prior to their transportation overseas. Water stain 213mm x 204mm.

 

 

 

Lalauze after Maurice Leloir C1880 etching, The Last Sheaf. Antique Etching Published 1849-1912 George Virtue & Co, London for The Art Journal. Paper Size: 13 x 9.5 inch (33 x 24cm) Approx. for The Art Journal Each plate is on good paper, with reverse side blank. Paper Size: 13 x 9.5 inch (33 x 24cm).

Mr. Peter Nicholson author of "The Builder and Workman’s New Director & c. & c." Engraved for the fourth volume of the Mechanics Magazine from an original painting in his own possession. London, published by Knight & Lacey, Pater Noster Row, Nov. 1st. 1825. Printed by W.O. Knight after H. Adlard. Stipple engraving.5 x 8 inches. Peter and his son Michael Angelo Nicholson’s published The Practical Cabinet-Maker n 1826.

The works of Peter Nicholson...have contributed to the advancement of knowledge, have tended to raise the English mechanic to that pre-eminence he has attained over the other artificers of Europe; and...have been honoured with the proudest marks of distinction by the various learned societies of this kingdom.'

 

 

 

 

The Poet. Lord Byron. The Ode to Immortality. Line engraving c. 1824. Richard Dighton? 5.25 x 8.25 inches. Click for Image

 

 

 

 

William Nicholson (1872-1949) Les Exercices De Boxe lithographic transfer of a hand coloured woodcut, published by William Heinemann as part of the Popular Edition of an Almanac of Twelve Sports, 1898, boxing featuring for December, 32 by 25cm.

 

 

 

 

 

 

 

7. Sebastian Bourdon, Title: Flight into Egypt, Description: Holy Family and ass on path with bridge in background, Date: c 1637, Medium: Engraving on Fine Laid Paper, Paper Size:9.5x7.75", Sight Size 9x7.25", Inscribed: "S. Bourdon in, et sculp. cum prinit" 9.25 in. x 10.5 inches. $600.00 To: $800.00 http://www.worthpoint.com/worthopedia/artist-sebastian-bourdon-title-flight-intoAlthough no large scale paintings relating to these sketches are now known, both compositions are closely related to two undated engravings by Bourdon himself now in the Bibliotheque Nationale in Paris ( for the Flight into Egypt, see, for example, J. Thuillier, 'Serisier collectionneur et la Fuite en Egypte de Poussin', in Revue de L'Art, no. 105, 1994, p. 38, reproduced fig. 12). The Flight into Egypt was evidently a favourite subject of the artist, and was treated by him in various media on a number of occasions. $600.00 To: $800.00 Click for Image

 

 

 

 

 

Jacques Delille. L'un des quarante de l'Académie Françoise Lecteur Royal & &" Ne a Clermont en Auvergne. Vincenzio Vangelisty (1728-1798) sculp. (graveur) after André Pujos (peintre) André Pujos (éditeur) 1777. Se vend à Paris chez Mr. Pujos , Quay Peletier , chez Md. Lequin Orfevre près La Greve. Les Jardins, ou l'Art d´embeller les Paysages. Engraving.The publication (1769) of Jacques Delille's translation of the Georgics of Virgil made him famous. Voltaire recommended the poet for the next vacant place in the Académie française. He was at once elected a member, but was not admitted until 1774 owing to the opposition of the king, who alleged that he was too young. In his Jardins, ou l'art d'embellir les paysages (1782) he made good his pretensions as an original poet. In 1786 he made a journey to Constantinople in the train of the ambassador M. de Choiseul-Gouffier. 9 x 12.5 inches. 50 ukp Click for Image.

 

 

Andrew Kippis, D.D., F.R.S. & S.A. W. London : Published by Thos. Macklin, Octr. 20th, 1792. Poets Gallery Fleet Street.. William Artaud pinxt.; F. Bartolozzi sculpt . Stipple engraving. Andrew Kippis (28 March 1725 – 8 October 1795), was an English nonconformist clergyman and biographer and advocate of religious toleration, The son of Robert Kippis, a silk-hosier, he was born at Nottingham. Having gone to school at Sleaford in Lincolnshire he passed at the age of sixteen to the nonconformist academy at Northampton, of which Dr Philip Doddridge was then president. In 1746 Kippis became minister of a church at Boston; in 1750 he removed to Dorking, Surrey; and in 1753 he became pastor of a Presbyterian congregation at Westminster, where he remained till his death..His chief works include he Biographia Britannica, The Life of Dr. Doddridge, A Vindication of the Protestant Dissenting Ministers, with regard to their late application to Parliament, and A Narrative of the Voyages Round the World, Performed by Captain James Cook : with an Account of His Life During the Previous and Intervening Periods . 12 x 15 inches. Click for Image

 

 

 

 

Geoffrey Chaucer. Joseph Collyer the Younger. Line engraving Published by G. Kearsly, No. 46 Fleet Street Nov. 1, 1774. Joseph Collyer the Younger studied under the engraver Anthony Walker, who worked for printmaker John Boydell in the early 1760s. Collyer enrolled at the Royal Academy schools in 1771, after which he too worked for Boydell. He exhibited at the Society of Artists between 1780 and 1790, and intermittently at the Royal Academy from 1789 until 1822. Collyer was made an associate of the Royal Academy in 1786, and in the same year was appointed portrait engraver to Queen Charlotte. He was favored by Reynolds who commissioned him to reproduce a number of his most famous paintings, including this enticing image of Felina. In 1786 he was elected an associate engraver and was appointed official engraver to Queen Charlotte, and in this capacity he produced many fine court portraits and historical scenes. He last exhibited at the Royal Academy in 1822, having earned a reputation as one of the most skilled engravers in London. 8.25 x 11 inches. Click for Image

 

 

 

Denis Dideot De l'Academie des Sciences de Berlin . Peint par L.M. Vanloo. A Paris chez le Bas Graveur Pensionnaire du Roi et Conseiller et son Academie de Peinture, Scupt, et Gravure rue de la Harpe. 1784. Engraved by David eleve de M Le bas . 8.5 x 11.25 inches. 8.5 x 11.25 inches. Click for Image.8.5 x 11.25 8.5 x 11.25 inches.

 

 

 

DANSEUSE DE L'OPERA. Hand coloured lithograph c 1860. 4 x 6 inches. Click for Image

 

 

 

 

 

Mademoiselle Taglioni. Lithograph.Marie Taglioni, was the 19th century's most famous ballerina and the original ''Sylphide.'' 6 x 8.5 inches. Click for Image''Mademoiselle Taglioni is not a dancer, she is the embodiment of dancing.'' Theophile Gautier. SOLD

 

 

Daniel Heinsius. Jan Lievens (1607 Leiden-1674 Amsterdam) Daniel Heinsius [1580-1655] Scholar of the Dutch Renaissance. Etching and engraving on laid paper. Unidentified Watermark. DANIEL HEINSIVS ECVES SGRGN. Mo SVECORVM REGI A CONSILIIS. and 4-line Latin inscription Hic ille...fouere sinu. lower-left corner Ioannes Lijvijus pinxit et fecit ., lower-right corner in two lines Maxaemilianus Vrientius, Senat Gand. a secretis.. preceded by Ioan. Meyssens exc. Antverpiae. Jan Lievens created the portrait of Daniel Heinsius probably sometime in 1639. when the artist returned to his hometown for a visit.339 Daniel Heinsius (1580-1655). like Lievens a native of Leiden. was a famous philologist. poet and teacher at the University of Leiden from 1603 until his death. From 1607 onward Heinsius also held the post of Head Librarian at the University.Lievens. whose approach to portraiture was influenced by Anthony van Dyck. emphasizes his sitter's scholarly qualities by some simple means. Heinsius's thoughtful expression. his right hand resting on a book. the position of his left hand that highlights a prized medal. and the fur-trimmed robe that seems to have been accepted attire for a professor.34 together result in a sensitive portrait that reflects his intellectual accomplishments.Lievens's abilities as one of the foremost Netherlandish portraitists were foreseen in the almost prophetic pronouncement made by Constantijn Huygens when Lievens was in his early twenties. Huygens, a patron of the arts and secretary to Prince Frederik Hendrik. suggested that Lievens created miracles in the interpretation of his faces.''' Lievens's acute powers of observation seem to have been appreciated by his contemporaries.. since he executed numerous commissions for portraits of important personages.Literature: Hollstein 22 /"IV" (Ioan. Meyssens ex[c]...) LIEVENS, Jan (1607-74):
Daniel Heinsius, as Secretary of the States General
. Etching. Hollstein 22, third state of four, as published by Martin van den Enden Watermark: Crowned crest with fleur-de-lis. $2,500 Click for Image

 

 

 

Adam Buck. 'Young Burns at the grave of his father' hand coloured stipple engraving showing the poet dressed in a kilt and holding a book above a gravestone. From the painting by Buck, engraved by Bate in 1808 published by W. Holland. Adam Buck (1759-1833) made a name for himself as an accomplished miniature painter. After arriving in London he soon gained popularity as a skillful portraitist, and became a regular exhibitor at the London exhibitions. During his career he exhibited more than 170 paintings at the Royal Academy and was a regular contributor to the Society of British Artists, and the British Institution. His work was eagerly reproduced by contemporary engravers; and these delicate prints enjoyed a wide circulation throughout England and Europe. Colour printed stipples of his charming paintings were eagerly collected by contemporary print enthusiasts, and they survive today as a wonderful example of fine English printmaking. 11.5 x 17 inches. 150 ukp Click for Image

If my son should happen to be a man of feeling, sentiment, and taste, I shall thus add largely to his enjoyments. Let me flatter myself that this sweet little fellow, who is just now running about my desk, will be a man of melting, ardent, glowing heart; and an imagination, delighted with the painter, and rapt with the poet. Let me figure him wandering out in a sweet evening to inhale the balmy gales, and enjoy the growing luxuriance of the spring; himself the while in the blooming youth of life. He looks abroad on all nature, and through nature up to nature's God.

 

 

Mr Moody, Comedian, mezzotint, 11.5 x 14.5 inches, creasing, staining and other minor defects to margins. Printed and engraved by Thomas Hardy (1757-ca. 1805) London, June 12th.1792 No.4 Great Marlborough Street.

Portrait of John Moody (1727-1812). an actor of Drury Lane and regarded by some historians as the real founder of the American stage...and possessing a rich brogue, he acquired some reputation playing Irish parts. Aspiring to
be a tragedian, although the London managers insisted he was only a comedian, he became disgusted with England and sailed for the West Indies,
reaching Jamaica in 1745. There he found an amateur company giving performances in a ball room. He proposed to them the opening of a regular
theatre with a company which he offered to bring out from England. The suggestion was accepted, subscriptions were opened and Moody re-appeared
the following year with a company.
The success of the venture was such that Moody made a fortune in four years. At the end of that time, however, the ranks of his players had
been so thinned by illness that he found himself compelled to return to England to obtain new recruits. When he arrived in London such
inducements were made to him by Garrick to return to the stage that he gave up all idea of the Jamaica enterprise and sold out his interest to
the company he had already gathered, the chief members of which were Messrs. Douglass, Kershaw, Smith, Daniels, Morris and their wives and a
Miss Hamilton, the principal actress.
This little band of players set sail, reaching Jamaica in 1751, "the first dramatic company," says John Bernard, "that crossed the Atlantic of
which there exists any personal record." 11.25 x 14.25 inches.

 

Mr. Edwards as Don Caesar De Bazan from Ruy Blas by Victor Hugo, printed by J.L. Marks, Long Lane, Smithfield, London. Printed in colours 1915. Click for Image

Miss Copeland [as Fanny...in maid or wife]. Shall I be dairy Maid then. Drawn by F. Waldeck and engraved by R. Cooper. Published by H. Berthoud June April 20th. 1822. Frances "Fanny" Elizabeth Fitzwilliam (nee Copeland) (1801 - 11 September 1854) was the actress daughter of Robert Copeland, manager of the Dover theatrical circuit. Played Fanny in Barham Livius's "Maid or Wife" 1821 (Dec) in its first appearance at Drury Lane. 9 x 13.5 inches.

A coloured lithograph, "Mr. Liston as Paul Pry " Theatre Royal, Haymarket. Printed and published by Ingrey & Madeley, Office 310, Strand, London. [c. 1826]. 8 3/4" x 13 1/4"; Well if ever I do another kind action...
John Liston is shown full length, standing and facing to the right, in costume an umbrella under his right arm. Playtext at the foot. 6.5 x 11 inches.
Click for Image

 

 

"Mademoiselle Duvernay danced and acted quite beautifully, with so much grace and feeling...She looked quite lovely...and I was very much amused."Victoria wrote in her diary after watching a performance of The Maid of Cashmere (Le Dieu et la Bayadère) on 19 March 1833.

“When I think of Duvernay prancing in as the Bayadère, I say it was a vision of loveliness such as mortal eyes can’t see nowadays. How well I remember the tune to which she used to appear! Kaled [said] to the Sultan, ‘My Lord, a troop of those dancing and singing girls called Bayadères approaches’, and, to the clash of cymbals and the thumping of my heart, in she used to dance! There has never been anything like it – never. There never will be.” - William Makepeace Thackeray

 

1836-7, Yolande danced the role of Florinda in the first London production of The Devil on Two Sticks (Le Diable Boiteux), in which she performed an unusual Spanish dance, the cachucha

 

John Frederick Lewis R.A. (1805-1876). Yolande Duvernay [stage name: Pauline Duvernay] as Florinda in Le Diable Boiteux. Original hand-coloured lithograph printed by Charles Hullmandel, 1837, Goupil and McLean. 15 x 11 inches.

Pauline Duvernay was an extremely popular dancer in London in the 1840s. She was a particular favourite of the young Princess Victoria (later Queen Victoria), an avid theatre-goer, who, in her art classes, would then draw the performers. The results are held in the Royal Archives, and include many sketches of Duvernay in different roles.
Duvernay is wearing the pink, frilled Spanish-style dress worn by Florinda, heroine of Jean Coralli's 1836 ballet Le Diable Boîteaux (The Devil on Two Sticks or The Lame Devil), to dance the Cachucha, which was the high-spot of the ballet. The Cachucha is a stylized Spanish dance, originally from Cuba; it covers a range of movements, sometimes gracefully calm, sometimes sprightly and sometimes impassioned hip swinging, while making great use of the castanets.

 

 

This listing is for an original hand-coloured lithograph by John Frederick Lewis (1805-1876), printed in London, England on 2/14/1837 by C. Hullmandel (1789-1850), Published by Thomas McLean & Co. The lithograph after a drawing by J F Lewis, shows Pauline Duvernay in the role of Florinda in Le Diable Boîteux (translated as The Devil on Two Sticks or The Lame Devil).

The print is cut across the corners. Beneath the image is the facsimile signature 'Pauline Duvernay' along with the text: " London Published Feb. 14th 1837 by Tho. McLean, 26 Haymarket - Paris chez Ruttner et Goupit - Depose - Printed by C. Hullmandel"
Paper; Watercolour; Lithographic ink; Giltwood frame, matted, with glass.
Duvernay is wearing the pink, frilled Spanish-style dress worn by Florinda, heroine of Jean Coralli's ballet, to dance the Cachucha, which was the high-spot of the ballet. The Cachucha is a stylized Spanish dance, originally from Cuba; it covers a range of movements, sometimes gracefully calm, sometimes sprightly and sometimes impassioned hip swinging, while making great use of the castanets.
The dancer stands on a terrace against a balustrade with foliage to either side, the body turned to her left and the head turned to her right. Her left hand is at the waist, her right arm is down and she holds castanets in her hand. Her hair is in mid-Victorian style, dressed with a rose at her right and a comb to her left. Her short-sleeved, calf-length, off the shoulder pink dress is trimmed with black lace and ribbons, the skirt having two deep frills of black lace. Her black ballet slippers are tied with ribbons.
Historical significance: The large souvenir prints of the Romantic ballet, issued in the 1830s and 1840s, are among the most evocative images of dance in the 19th century. Lithography, with its soft quality, enhanced by the delicate yet rich hand-colouring, was ideally suited to the subject - the ballerinas who dominated ballet in the mid-century and the romanticised settings in which they performed; style and subject were perfectly matched. The British lithographs are notable for capturing individual performers and their style, often clearly in a theatrical setting. They capture dance and its interpreters at one of its greatest periods.
Pauline Duvernay was an extremely popular dancer in London in the 1840s. She was a particular favourite of the young Princess Victoria (later Queen Victoria), an avid theatre-goer, who, in her art classes, would then draw the performers. The results are held in the Royal Archives, and include many sketches of Duvernay in different roles.
Duvernay is wearing the pink, frilled Spanish-style dress worn by Florinda, heroine of Jean Coralli's 1836 ballet Le Diable Boîteaux (The Devil on Two Sticks or The Lame Devil), to dance the Cachucha, which was the high-spot of the ballet. The Cachucha is a stylized Spanish dance, originally from Cuba; it covers a range of movements, sometimes gracefully calm, sometimes sprightly and sometimes impassioned hip swinging, while making great use of the castanets.
John Frederick Lewis [1 ] (14 July 1804 – 15 August 1876) was an Orientalist English painter. He specialized in Oriental and Mediterranean scenes and often worked in exquisitely detailed watercolour . He was the son of Frederick Christian Lewis (1779–1856), engraver and landscape-painter.
Lewis lived in Spain between 1832 and 1834. He lived in Cairo between 1841 and 1850, where he made numerous sketches that he turned into paintings even after his return to England in 1851. He lived in Walton-on-Thames until his death.

Lewis became an Associate of the Royal Academy (ARA) in 1859 and a member (an RA) in 1865.
After being largely forgotten for decades, he became extremely fashionable, and expensive, from the 1970s and good works now fetch prices into the millions of dollars or pounds at auction.
Shipping

 

 

 

Emma Albertazzi as Zerlina in Don Giovanni, by Fanny Corbaux (1812-1883), Original hand-coloured lithograph printed by Charles Hullmandel, 1837, Goupil and McLean. 15 x 11 inches. Height: 386 millimetresWidth: 286 millimetres (image)"Zerlina: 'Mi trema un poco il cor' Il Don Giovanni", and production detail, "Paris Chez Rittner et Goupil Deposé / London Published 15th May 1837 by Thos McLean 26, Haymarket / Printed by C Hullmandel". Within image to left "Fanny Corbaux 1837

 

101. Thomas Howell Jones. Portraits of Madame Vestris and Mr. Charles Mathews. "A Scene in the Farce of 'One Hour; or the Carnival Ball' as performed at the Olympic Theatre (No.1 of Theatrical Portraits)". With production detail " T. Jones pinxit. Published by Bell, Removed to No. 28, Craven Street, Strand, London, May 1 1836".

102. Georgian Theatrical Engraved Plate of 1836: Maria Malibran in 'The Maid of Artois' performed at the Drury Lane Theatre, London 1836Portraits of Madame (Maria) Malibran, Mr K.Phillips, Mr Templeton, Miss Poole and Masters Bedford.

103. Madame Vestris as Don Giovanni

104. Madame Ronzi Vestris painted by Miss Drummond engraved by T.Woolnoth

105. Mr Henry Siddons engraved by Ridley after a drawing by Edridge, pub by Vernon & Hood Poultry Jan 1 1802.

106. Madame Ronzi Vestris painted by Miss Drummond

107. The Celebrated fighting Scene from Miss in her Teens. 1780. Mr. Woodward as Flash; Mr. Garrick as Fribble; Miss Hippisly as Miss Biddy; Mrs. Pritchard as Tag. David Garrick's play Miss in Her Teens was originally acted in 1747."We shall certainly do one another a prejudice", and "I shall annihilate the Nothingness of your sould & body." "On my words he is a bully", and the lady on the right addressing the man on the right claims "Is all your fury gone Mr Flash." Engraving.

108. Portraits of Calotta Grisi Perrot. A Scene in the ballet . Georgian Theatrical Engraved Plate of 1836: Carlotta Grisi & Jules Perrot in 'Le Rossignol' at the King's Theatre

Portrait of Carlotta Grisi and Mr (Jules) Perrot in a scene from the Ballet 'Le Rossignol' (The Nightingale) as performed at the Kings Theatre, London 1836. (This was Carlotta Grisi's debut performance.) Dawn and etched by t.Jones and aquatinted by Hunt. Pub. 1836, by Mr Bell, removed to no 28 Craven Street, the Strand, London .

Carlotta Grisi, in full Caronna Adela Giuseppina Maria Grisi (born June 28, 1819, Visinada, Istria, Austrian Empire [now Vizinada, Croatia]—died May 29, 1899, Saint-Jean, near Geneva, Switzerland), Italian ballerina of the Romantic era who was a muse to the choreographer and dancer Jules Perrot and to the poet Théophile Gautier; she created the title role in Giselle.

A cousin of the celebrated opera singer Giulia Grisi, Carlotta Grisi received her early training at the ballet school of La Scala in Milan. Her family was poor, and at age 10 she was withdrawn from the school to join a touring opera company. In 1834 she entered the ballet company of the San Carlo, Naples; there she attracted the attention of Jules Perrot, who molded her into a ballerina of exquisite sensitivity. Their visit to London in 1836 was followed by a longer engagement in Vienna. In 1840 they appeared—she as Madame Perrot, although they were never married—at a minor Paris theatre in a light opera, Zingaro. Perrot’s plan was to negotiate a joint engagement at the Paris Opéra, but it was Grisi alone who was engaged.

Grisi’s first creation at the Opéra was Giselle (1841), which immediately established her as the successor to the great stars of the 1830s, Marie Taglioni and Fanny Elssler. It also marked the beginning of a lifelong friendship with the poet and critic Théophile Gautier, who, in collaboration with the dramatist Jules-Henri Vernoy de Saint-Georges, had written the scenario of Giselle. He also later wrote the scenario of La Péri (1843), in which she repeated her former triumph. Grisi remained the undisputed principal ballerina of the Opéra until 1849, creating roles in François Decombe Albert’s La Jolie Fille de Gand (1842), Joseph Mazilier’s Le Diable à quatre (1845) and Paquita (1846), and Perrot’s La Filleule des fées (1849).

The terms of her Paris engagement did not prevent her from appearing at Her Majesty’s Theatre in London, where she danced in Giselle and Le Diable à quatre and also created leading roles in Perrot’s dramatic masterpiece La Esmeralda (1844) and Paul Taglioni’s Electra (1849) and Les Métamorphoses (1850). In London she was also featured in two divertissements, Perrot’s Pas de quatre (1845) and Paul Taglioni’s Les Graces (1850). Her last London creation was the mime role of Ariel in Fromental Halévy’s opera La Tempesta (1850), in which she made a striking foil to the Caliban of the celebrated bass Luigi Lablache.

The last phase of Grisi’s career took place in St. Petersburg, at a time when Perrot was ballet master. She danced there from 1850 to 1853, appearing not only in roles she had created elsewhere but also in three new works by her former teacher, The Naiad and the Fisherman (1851), The War of the Women (1852), and Gazelda (1853). She last appeared onstage in Warsaw in 1853.

 

109. Mrs Siddons.

110. Mr. Yates in the character of Malvolio [graphic] : [in Shakespeare's] Twelfth night ... Sweet lady, ha, ha / J. Roberts, ad vivam del. London, England] : Publish'd for Bells edition of Shakespeare, 1776. 50 usd

111. James Boswell esq. James Boswell Esqr. in the dress of an armed Corsican chief, as he appear'd at Shakespeare's Jubilee, at Stratford upon Avon September 1769 [graphic] / S. Wale, del. ; J. Miller, sc.

112. Print, portrait of Mr Dodd as Lord Foppington in Act 2, Scene 3 of The Careless Husband. Published in London for Bell's British Theatre, 1 January 1776, Roberts (artist)
Thornthwaite (possibly, engraver) Thornthwaite, born 1735 (possibly, engraver) Bell's British Theatre (publisher)

113. Print, portrait of Mr Dodd as Tinsel in Act 4 of The Drummer. Published in London for Bell's British Theatre, 5 May 1777. Have compassion on my
Youth and consider I am but a Coxcomb.

114. William Powell in the character of Cyrus from the production of Cymbeline, 1775 .engraving by Miller, Great Britain, ca.1775, 53 Fleet Street, London

115 see 111.

115. Portrait of the actress Mrs. Hartley (1751-1824), as Mary Queen of Scots in The Albion Queen, 1777. Thornthwaite (engraver). J Roberts (artist). J. Bell (printer)

116. Engraved portrait of the actress Miss. Elizabeth Hopkins (b.1756) as Arethusa in Philaster or Love lies a bleeding by Francis Beaumont and John Fletcher, 1780. Terry (engraver)
J Harrison and Co (printer)

117. as you like it touchstone and rosalind adcock sc.

118. Print, 'Mr Foote as Fondlewife', engraved by Walker, published by T. Lowndes & Patners, London, 1776. William Walker, born 1729 - died 1793 (engraver)
Barralet, born 1742 - died 1815 (artist) Lowndes (publisher) Oh thou salacious woman! ! Am I then brutified!

119. Portrait of the actress Mrs. Hartley (1751-1824), in the title role of Jane Shore by Nicholas Rowe (1674-1718), 1776. Harry Beard Collection. J Roberts (artist)
John Bell (printer)

120. Portrait of the actress Mrs. Hartley (1751-1824), in the title role of Jane Shore by Nicholas Rowe (1674-1718), 1777. Harry Beard Collection. J Roberts (artist)
John Bell (printer)

121. Engraved portrait of the actress Mrs. Hopkins as Volumnia in Coriolanus by William Shakespeare (1564-1616), 1776. engraved portrait of the actress Mrs. Hopkins as Volumnia in Coriolanus by William Shakespeare (1564-1616), 1776. Harry BeaJames Roberts, born 1753 - died 1813 (artist)Charles Grignion, born 1721 - died 1810 (engraver)Bells (printer)rignion, born 1721 - died 1810 (engraver)Bells (printer). Engraved portrait of the actress Mrs. Hopkins as Volumnia in Coriolanus by William Shakespeare (1564-1616), 1776.

122. Miss Barsanti in the character of Helena. Published by Joseph Wenman on 1st June 1778.

123. Dorothy Jordan, née Bland, (1761-1816), actress and mistress of the Duke of Clarence ; three-quarter-length, to right, full face, holding out mask in right hand, scarf floating at back, landscape with tree and satyr in background. Mrs Jordan From an original picture in the possession of the Duke of Clarence. In the Character of Euprhosyme in Comus. John Bell 1st December 1814.

124. Miss Younge as Cleopatra in Antony and Cleopatra', engraving, London, 1776. Engraved by John Roberts for John Bell. "- O is it come to this?-"

125. Mrs. Barry in the Character of Phaedra in Phaedra and Hippolitus' , 1777.

126. Mr. Macklin in the Character of Shylock.

127. WASHINGTON IRVING ESQUIRE AUTHOR OF THE SKETCH BOOK ENGRAVING

128. Miss Linwood (1755-1845), published by La Belle Assemblee, London, 1st December 1821.

129. Engraved portrait of Miss. Eliza Mansell as Angelica in Act V, Scene 5 of Sir Harry Wildair, ca.1795. Engraved by Wilson after Graham.

130. Twelfth night, Miss Farren in Olivia [graphic] / Burney, delt. ; Thornthwaite, sculpt. 1785.

131. Mrs. Farren as the queen [in Shakespeare's] King Richard II, act 3, scene 4 / Burney, del. ; Thornthwaite, sculp.after Graham.

132. Portrait of Margaret ("Peg") Woffington and John Rich. Rich, John, 1682?-1761. Woffington, Margaret, d. 1760. 6 1/4 x 9 inches Engraving
Smallfield, F.. Finden, G.C. Whole-length portrait, with Rich reclining on sofa, holding a book and a dish, surrounded by cats; Woffington standing. Title: "Woffington's First Interview with Manager Rich"

133. The Rt. Hon. R.B.Sheridan. Painted by Sir Joshua Reynolds. Engraved by Robert Page. [London & Dublin] : [J. Robins & Co.], [November 1st, 1825].

134. Scene from Faustus. Margaret meets Faustus in the summer house. Original steel engraving on a vellin type paper. 20 x 27 cm. The image size is ca. 11 x 18 cm.The overall size is 7,9 x 10,6 inch. The image size is ca. 4,3 x 7,1 inch. 20ukp

135. Mary Robinson. Perdita.

136. Nell Gwynne

137. Madame Ellen Groinn and her troo sons, Charles Earl of Beaufort and James Lord Beauclaire/Henry Gascar Pinxit" The print can be dated to between January 1677 when the younger son was given the courtesy title, Lord Beauclaire or Beauclerk, and before his death in 1680. The elder son was known as the Earl of Burford from December 1676 until January 1684 when he was created Duke of St Albans,
Height: 356 millimetres. Width: 454 millimetres. "

138.Eleanor ('Nell') Gwyn by Gerard Valck, after Sir Peter Lely line engraving, circa 1673. 13 3/4 in. x 10 3/8 in. (348 mm x 264 mm) paper size

139.

140.

 

 

 

 

 

 

 

 

 

 

 

Peter Worth ??????????????????????????????

Peter Worth ??????????????????????????????

Peter Worth ??????????????????????????????

Peter Worth ??????????????????????????????

Peter Worth

 

KAELS. 11 x 13 inches. //?????????????????????????????????

 

 

 

 

 

 

 

 

 

 

Hubert Goltzius, 1526-1583
Henricus

Unframed sheet: 14" x 9" £200
Framed: 18" x 15¼" (sight 12" x 7¼") £300
Goltzius' Beautiful Roman Coins

Hubert Goltzius. Chiaroscuro. Icones imperatorum romanorum, ex priscis numismatibus ad vivum delineatae... stylo et opera Casperii. . Antwerp, 1645. A reprint, with new woodblocks, of Goltzius’s 1557 Latin edition, with an added suite of ten medallion portraits of the Austrian emperors from Albrecht II through Ferdinand III, the Holy Roman emperor at the time of publication. The woodcuts in burnt orange with a black border are distinctive and unique in execution being the first use of chiaroscuro woodcuts for book illustration.

 

1.

 

2.

 

3.

 

4.

 

5.

 

6.

 

7.

8.

 

Antique Print Sheet Music Meliers Airs Chinois This item was bought from an antique dealer from a large auction lot, it may be a copper plate, photo etching, steel engraving, woodcut or print. Dates c1790-c1900, date if known in title. The size of the scaleboard you see is 12 x 16 inches (300 x 415) Size of each item varies so check against scale shown which is 0.5 inch apart (1.5 cm) to find the size of the plate.

Algonquin religious idol Kinasa by Gallo Gallina based on an engraving by Theodor de Bry who based his work on a watercolour by John White. c 1820-39.

 

 

 

One framed Charles Darwin portrait print. 8.5 x 5 inches [12 inches by 8.5 inches ] Engraved by Samuel Hollyer [1826-1919] after 1881 photograph from life by Elliott & Fry.