Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN

Tel: 020 7836 1979 Fax: 020 7379 6695 E-mail: [email protected] www.grosvenorprints.com

Dealers in Antique Prints & Books

Catalogue 59

Item 152: Souvenir de Venice. Oblong 4to, printed boards with cloth spine; coloured lithographic title, and 12 plates in fine hand colour with gum arabic highlights

All items listed are illustrated on our web site:

www.grosvenorprints.com

Registered in England No. 1305630 Registered Office: 2, Castle Business Villlage, Station Roaad, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rayment. C.E. Elliis. E&OE VAT No. 217 6907 49 1. The Triumphal Entry of the Duke of 3. Lovenstein. [Battle of Loevenstein, 19th Wellington into Madrid. To His Royal December 1570.] Es seind gewest drey man Highness the Duke of York this Engraving allein / So ingenommen Louenstein [...] from a Picture in the Possession of His Majesty [Hogenburg.] Anno Dmi M.D. LXXI [...] Engraving. Sheet: 215 x 305mm, (8½ x 12"). Lower Painted by William Hilton R.A. Engraved by John left corner torn and reattached. £65 Bromley Pub.d by R. Bowyer Pall Mall March 1825. A battle scene showing the recapture of Loevenstein Mezzotint on india, proof; platemark 390 x 525mm Castle by Habsburg troops on 19th December 1570 (15¼ x 20¾") very large margins. India paper slight during the Eighty Years War. The castle had been lifting. £290 taken from the Spanish ten days earlier by the dutch The liberation of Madrid in 1812 following rebels led by Herman de Ruyter. The Dutch later Wellington's victory at the Battle of Salamanca, one of recaptured the castle in 1572. The image shows the his finest victories. Fine engraving after a painting by Spansh troops, flying the flag of the Seventeen William Hilton (1786-1839), who specialised in Provinces advancing on the castle while the Dutch dramatic historical, biblical and mythological subjects. fight furiously, Herman de Ruyter (labelled in image) Ex: collection of the Late Hon. C. Lennox-Boyd is shown defending a breach in the wall. Stock: 40378 Stock: 40311

2. [A Midsummer Night's Dream.] 4. The City Light Horse Volunteers [Painted by Sir Edwin Landseer R.A. Engraved by reviewed by Lord Harrington on Wimbledon Samuel Cousins, R.A.] [New York, Published by Common. M.Knoedler, Broadway, Jan.y. 1st 1858; and Entered [Printed & Sold by Edw.d Langley No 173 High Street, according to Act of Congress in the Clerk's Office of Borough and Champante & Whitrow Jewry Street, the District Court of the United States of the Southern Aldgate.] [n.d., c.1807.] District of New York. London; Published Jan.y 1, 1858 Rare finely coloured copper engraving, top section of a by Henry Graves & Comp.y Publishers to the Queen-6 writing sheet. Paper 140 x 370mm (5½ x 14½"). Pall Mall.] Mounted on album paper. £180 Mezzotint on india, proof before all letters. 630 x The header section of a broadsheet writing sheet. The 920mm (24¾ x 36¼). Small scuff on print surface. title "Sword Exercise of of the Cavalry" refers to £950 vignettes down the side, not present here. Bottom, with the head of an ass, with Titania nestled The Light Horse Volunteers, first formed by well-to-do against his shoulder. Around them Puck stands naked London merchants in 1779 and disbanded in 1783, and fairies ride white rabbits. Landseer's only were re-established in May 1794 as the Light Horse illustration to Shakespeare was commissioned by Volunteers of the Cities of London and Westminster. Isambard Kingdom Brunel in 1847; finished in 1851 it Their chief role was to suppress civil disobedience. is now in National Gallery of Victoria in Melbourne. However, as rich men with expensive gear, their Sir Edwin Henry Landseer, RA (1802-73) entered the reputation as soldiers was not good: the Cato Street Royal Academy Schools in 1816, but he had already Conspiritors planned to raid their stables as part of exhibited at the R.A. Summer Exhibition in the their plot in 1820. previous year. He was elected Associate of the Royal Stock: 40354 Academy in 1826, aged only twenty four, and full Academician in 1831 when not yet thirty. In the 1830s 5. [The Surrender of Two Sons of Tipu his work gained wide popularity and was bought both Sultan] Les Fils du Sultan Se Rendent. Le by the aristocracy and the newly important middle Major Général Baird ordonne que le Sultan class. He himself moved freely in aristocratic circles, paroisse [...] and after 1836 he enjoyed royal patronage, especially Peint par H. Singleton Gravé par F. dal Pedro [c.1800] in the 1840s when Victoria and Albert also discovered Engraving, sheet 300 x 395mm (11¾ x 15½"). Scotland. He paid his first visit to their home, Balmoral Trimmed inside platemark on three sides. £480 in 1850 to paint a large group portrait of the royal The surrender of Tipu Sultan's sons following the family. He was knighted that year even though the storming of his palace at Seringapatam in 1799. Tipu's painting was never finished. Landseer had a sons descend the palace steps led by Major Alexander permanent fight against depression and ill health, Allen, while their father's troops (including two although he continued to paint brilliantly almost until European, presumably French soldiers) look on lower the end of his life. In the 1860s he modelled the lions at right. British troops (including a group of Sepoys) on the base of Nelson's Column in Trafalgar Square and left, with General Baird extending a hand towards these were unveiled in 1867. In 1866 he declined the them. Catherine E. Anderson notes that Baird presidency of the Royal Academy, and after 1870 sank displayed 'Alexander-like qualities' of clemency, slowly into madness. Whitman: 201. Ex: collection of insisting upon the safety of Tipu's sons. the Hon. Christopher Lennox Boyd. One of the more unusual of several prints made after Stock: 40405 the painting by Henry Singleton (1766-1839). For Baird see ref. 35838; Anderson, 'Tipu Sultan's Sons '. Stock: 40357

6. Bonaparte. 11. George Anson Esq. Commander in Chief [Anon., c.1810.] of the Late Expedition to the South Seas. Stipple with hand-colouring, sheet 130 x 90 (5 x 3½"). Ar. Pond pinx. C. Grignion Sculp. Publish'd by Ar. £65 Pond Sep.r 15th 1744 Unusual stipple of the young Napoleon. Engraving. Very scarce. Platemark: 450 x 290mm Stock: 40364 (17¾ x 11¼") large margins. £420 A portrait of Admiral George Anson (1697-1762) 7. [Birth of Napoleon.] Naissance de published at the end of his voyage around the world Bonaparte [in ms below]. (1740-4) during which he attacked the Spanish in the [Anon., c.1810] Pacific, burnt Payta in Peru and captured the Manila Etching with hand-colouring, 80 x 80mm (3 x 3"). galleon with its treasure of half a million pounds. Trimmed to image and glued to backing sheet. £60 Stock: 40047 Stock: 40365 12. [Pierre Séguier, Chancellor of France] 8. [Marriage of Napoleon] Mariage de Petrus Seguier Fraciae Cancellarius [...] Bonaparte [in ms below] [after Charles Le Brun?] [1660] [Anon., c.1810] Engraving with accompanying letterpress sheet, each Etching with hand-colouring, 80 x 80mm (3 x 3"). 470 x 350mm (18½ x 13¾"). Repaired tear to both Trimmed to image and glued to backing sheet. £60 sheets. Small margins. £190 Stock: 40366 Pierre Séguier (1588-1672), chancellor of France from 1635, and a bibliophile whose library was amongst the 9. [Review of the Imperial Guard at most valuable of its day. Schönbrunn, 2 July 1809.] Revue de la Garde From 'Les Portraits des Hommes Illustres Francois qui Imperiale dans la plaine de Schönbrunn le 2 sont Peints dans la Galerie du Palais Cardinal de juillet 1809. Richelieu' (1660), which was dedicated to Séguier. The book reproduces the portraits of great men hanging in Zix del Piringer sculp. Queverdo fils aq. [c.1820.] Richelieu's 'Galerie des hommes illustres' by Simon Aquatint with hand-colouring and letterpress, text Vouet and Philippe de Champaigne. verso; sheet 250 x 350mm (9¾ x 13¾") with large Stock: 39872 margins. £180 Napoleon's army assembled near the Imperial palace of Schönbrunn in Vienna, showing Vienna in background, 13. [Organ of Sint-Bavokerk, Haarlem] Het shortly after the decisive French victory in the Battle of Gezicht, van't groote Orgel, en een gedeelte der Wagram (5-6 July 1809). The battle resulted in the grote Kerk te Haerlem, wel-eer St. Bavo Treaty of Schönbrunn later that year, in which Austria toegeweyt [...] ceded territories and one sixth of the Austrian Empire's G. Toorenburgh ad viv. del. 1762 J.C. Philips sculpsit subjects to France. 1763 Te Amsteldam by Jan Ten Houten Boekverkoper Stock: 40360 op den Dam Engraving, platemark 455 x 325mm (18 x 12¾") very 10. Anna D.G. Angliae, Scotiae, Franciae et large margins. £260 Hiberniae Regina. The organ of the Sint-Bavokerk (Grote Kerk) in G. Kneller S.R. Imp. et Angl. Eques. Aur. pinx. Petrus Haarlem, Netherlands, one of the world's most a Gunst sculps et excudit tot Amsterdam, op de binnen historically important organs. Built between 1735 and Amstel, op de hoek van de Kyfen graft [c.1700] 1738 by Amsterdam organ builder Christiaan Müller, Rare engraving, sheet 355 x 270mm (14 x 10½"). those who have played it include Mendelssohn, Handel Trimmed inside platemark and glued to backing sheet. and Mozart. Herman Melville, describing the inside of £160 a whale's mouth in 'Moby-Dick', wrote: 'seeing all Portrait of Queen Anne (1665-1714), half-length in an these colonnades of bone so methodically ranged oval, wearing small crown, pearl necklace, ermine- about, would you not think you were inside of the great lined robes with jewels. Haarlem organ, and gazing upon its thousand pipes?' In 1707 Anne signed the Act of Union, creating the In the foreground, beside two figures admiring the Kingdom of Great Britain; here England and Scotland organ, are two gravediggers: until 1831 graves were are still separate kingdoms. Her support of the union allowed in the church. contributed significantly to its acceptance by both Stock: 40381 kingdoms, while her staunch support of the duke of Marlborough in the face of opposition made it possible 14. Plan and Survey of Ascot Race Course, for him to use his skills to re-establish the balance of in the County of Berks; including the Rises and power in Europe. Fall; with Notes Referring to an Appendix; by Engraved and published after Kneller's portrait, by the W.m Kemp. To the Kings Most Excellent Amsterdam-based printmaker Pieter van Gunst. Not in Majesty This Plate being No.4. of a Series of O'D. Surveys, of the Principal Race Courses in Stock: 39750 England Is respectfully dedicated by His most obedient Subject & Servant, Wm. Kemp 18. The Royal Exchange. [facsimile signature.] T. Malton Delin.t & fecit. Publish'd Oct.r 1. 1781 by Davies sculp. 34 Compton St. Brunsw.k Sq.e. London, T.Malton, No. 8 Carlisle Street, Soho, London. Published by Sherwood, Jones & Co. Paternoster Row. Aquatint printed in sepia. Platemark: 370 x 505mm, [n.d., 1824.] 14½ x 19¾". Repaired damage. Trimmed close to Coloured engraving. 215 x 265mm (8½ x 10½"), with plate. £520 letterpress text. Two vertical binding folds. £95 A view of London's second Royal Exchange, designed A plan and survey of Ascot Race Course. by Edward Jerman and opened in 1669, destroyed by Stock: 40408 fire in 1838. Behind is the dome of St Paul's Cathedral. This plate was drawn and etched by Thomas Malton 15. Plan and Survey of Doncaster Race (1748-1804) for his first series of London views, a Course; in the West Riding of Yorkshire; dozen plates published 1781-87, larger than his better including the Rises and Fall; with Notes known 'Pictureque Tour' series. Malton etched a Referring to an Appendix; by W.m Kemp. To smaller version of this scene, duplicating even the staffage, for the Tour. Adams 72. The Mayor and Corporation of The Town of Stock: 40037 Doncaster; This Plate, being No.5, of a Series of Surveys, of the Principal Race Courses in 19. A Perspective View of the North West England; is most Respectfully Dedicated by Front of y.e. Parish Church of S.t. Brides w.th. Their most obed.t and very humble Servant, the beautiful Spire &c. The Height from the Wm. Kemp [facsimile signature.] Cross above the Vain to the Ground is 242 feet. Davies sculp. 34 Compton St. Brunsw.k Sq. London, Vüe de L'Eglise Pareissiale de S.t. Bride dont Published by Sherwood, Jones & Co. Paternoster Row. Son Cloche est de 242 Pieds. [n.d., 1824.] In.o Dononwell Delin. J. Bowles sculp. London Printed Coloured engraving. 215 x 265mm (8½ x 10½"), with for Carington Bowles in S.t. Pauls Church Yard, Rob.t letterpress text. Two vertical binding folds. £95 Wilkinson in Cornhill, and Rob.t Sayer in Fleet Street. Doncaster Racecourse, South Yorkshire. Stock: 40407 Hand coloured engraving. Plate: 395 x 265mm, (15½ x 10½"). Frame: 555 x 420mm, (22 x 16½"). Unexamined out of frame. Rubbing in colour. £240 16. Plan and Survey of Stamford Race A view of the church of St Bride on Fleet Street, Course; in Lincolnshire; including the Rises designed by Wren in 1672, the multiple layers of a and Falls; with Notes Referring to an wedding cake are said to have been inspired by the Appendix; by W.m Kemp. To The R.t Hon.ble spire of St Bride. The Marquis of Exeter: This Plate, being No.7, Stock: 40397 of a Series of Surveys, of The Principal Race Courses in England; is most Respectfully 20. Church of St Dunstan in the West. Dedicated; by his most obed.t and very humble On Stone by W. Gauci, from the original Drawing by Servant, Wm. Kemp [facsimile signature.] T.T. Bury. Printed by Engelmann, Graf, Coindet & Co. Davies sc. 34 Compton St. Brunsw.k Squ. London, [n.d. c.1829.] Published by Sherwood, Jones & Co. Paternoster Row. Lithograph on india paper. Sheet: 320 x 290mm, (12½ [n.d., 1824.] x 11¼"). Some foxing. £130 Coloured engraving. 215 x 265mm (8½ x 10½"), with The Church of St Dunstan in the West, Fleet Street, letterpress text. Two vertical binding folds £65 City of London. The original church, as seen here A plan and survey of Stamford Race Course. before the rebuild in 1832, was built sometime between Stock: 40406 988 and 1070 A.D. It narrowly escaped the Great Fire of London and was saved by the Dean of Westminster 17. [Ten elevations of City Gates.] who roused forty scholars from Westminster School, Sutton Nicholls sculp. London. Printed & Sold by John who extinguished the flames with buckets of water. Stock: 39799 Bowles Print and Map Seller at the black Horss in Cornhill. [n.d., c.1720.] Engraving. 345 x 570mm (14 x 22½"). Thread 21. Lambeth Palace. margins. £240 Pugin & Rowlandson del.t et sculp.t J.C. Stadler. Elevations of the gates through London's medieval city aqua.t. London. Pub. 1st Dec.r, 1808 at R. walls, arranged in two rows of five, each with a short Ackermann’s Repository of Arts 101, Strand. description. The top row shows Aldgate, Bishopsgate, Coloured aquatint. 235 x 275mm (9¼ x 10½") very Moorgate, Cripplegate, Aldersgate; along the bottom large margins. £70 are Newgate, Ludgate, Temple Bar, Kingsgate and an A view of the 14th Century Guard Room of Lambeth unnamed gate at the entrance to King's Street in Palace, the Archbishop's principle audience room. The Westminster. magnificent arch-braced roof is contemporary to that of Engraved by Sutton Nicholls (1668-1729). Westminster Hall. Stock: 39804 A plate from Ackermann's 'Microcosm of London' (1808-9), a landmark publication in the documentation of London, bringing together two specialist artists, Thomas Rowlandson to design the figures and 26. Westminster Hall. Augustus Pugin to provide the architectural Rowlandson & Pugin del.t et sculp.t. J. Bluck aqua.t. draughtsmanship. The result was a series of scenes London, Pub. Aug.t 1st, 1809 at R. Ackermann's unprecedented in their combination of vivid activity Repository of Arts 101 Strand. and architectual accuracy. Abbey, Scenery: 212. Coloured aquatint. 275 x 230mm (10¾ x 9"). £140 Stock: 39726 The interior of Westminster Hall, displaying the largest clearspan medieval roof in England, commissioned in 22. St Margarets, Westminster. 1393 by Richard II. Rowlandson & Pugin del.t et sculp.t. J. Bluck aqua.t. Published in Ackermann's famous work, the London, Pub. Aug.t 1st, 1809 at R. Ackermann's 'Microcosm of London', the figures were drawn by the Repository of Arts 101 Strand. famous caricaturist Thomas Rowlandson and the Coloured aquatint. 275 x 230mm (10¾ x 9"), paper architecture by Augustus Pugin. Abbey, Scenery: 212. watermarked 1836. £90 Stock: 39732 The interior of the parish church of the House of Commons, situated in the grounds of Westminster 27. A View of Grosvenor Square London. Abbey. Vüe de la Place de Grosvenor a Londres. Published in Ackermann's famous work, the T. Bowles Delin et Sculp. Publish'd according to Act of 'Microcosm of London', the figures were drawn by the Parliament. Published 12.th. May 1794, by Laurie & famous caricaturist Thomas Rowlandson and the Whittle, 53 Fleet Street , London. architecture by Augustus Pugin. Abbey, Scenery: 212. Hand-coloured etching. Framed. Plate: 400 x 265mm, Stock: 39731 (15½ x 10½"). Frame: 555 x 420mm, (22 x 16"). Unexamined out of frame. Some marking. £320 23. St Martin's in the Fields. A view of Grosvenor Square in Mayfair, London. Sir Rowlandson & Pugin del.t et sculp.t. Stadler aqua.t. Richard Grosvenor obtained a licence to develop the London, Pub. Aug.t 1st, 1809 at R. Ackermann's area around the square in 1710 and since its completion Repository of Arts 101 Strand. the area has remained one of the most fashionable Coloured aquatint. 240 x 280mm (9½ x 11"). £90 addresses in London. The Neoclassical Anglican church at the north-east Stock: 40399 corner of Trafalgar Square, built by James Gibbs in 1722–1726. 28. A View of London and Westminster, &c. Published in Ackermann's famous work, the from one Tree Hill, in Greenwich Park. Vüe 'Microcosm of London', the figures were drawn by the de Londres, de Westminster, &c, du côté de la famous caricaturist Thomas Rowlandson and the Montagne appellée one Tree-hill dans le parc architecture by Augustus Pugin. Abbey, Scenery: 212. Stock: 39730 de Greenwich. Tillemans Pinx.t. Stevens delin et sculp. Publish'd according to Act of Parliament. Published 12.th May 24. Temple Church. 1794, by Laurie & Whittle, 53 Fleet Street, London. Rowlandson & Pugin del.t et sculp.t. Bluck aqua.t. Hand-coloured etching. Framed. Plate: 400 x 265mm, London, Pub. Sep.r 1st, 1809 at R. Ackermann's (15¾ x 10½"). Frame: 560 x 430mm, (22 x 17"). Repository of Arts 101 Strand. Unexamined out of frame. Some marking. £260 Coloured aquatint. 275 x 230mm (10¾ x 9"). £90 A view from Greenwich Park looking over the Thames The late 12th-century church in the City of London, towards the City of London and Westminster. The built by the Knights Templar as their English Royal Observatory is depicted in the far left of the headquarters. image and the Old Royal Naval Hospital in the centre Published in Ackermann's famous work, the foreground, figures walk and converse in the 'Microcosm of London', the figures were drawn by the foreground. famous caricaturist Thomas Rowlandson and the Stock: 40400 architecture by Augustus Pugin. Abbey, Scenery: 212. Stock: 39729 29. A View of Northumberland House, 25. Westminster Abbey. Charing Cross. &c. Vüe de la Maison de Rowlandson & Pugin del.t et sculp.t. Bluck aqua.t. Northumberland a Charing Cross. London, Pub. Dec.r.t 1st, 1809 at R. Ackermann's Canaleti Pinx.t et Delin. In the Collection fof the Earl Repository of Arts 101 Strand. of Northumberland. J. Bowles Sculp.t. Publish'd Coloured aquatint. 275 x 230mm (10¾ x 9"). £120 according to Act of Parliament. Published 12.th. May The interior of Westminster Abbey, displaying some of 1794, by Laurie & Whittle, 53 Fleet Street, London. the monuments. Hand-coloured engraving. Plate: 395 x 265mm, (15½ x Published in Ackermann's famous work, the 10½"). Frame: 555 x 420mm, (22 x 16½"). 'Microcosm of London', the figures were drawn by the Unexamined out of frame. Some rubbing. £220 famous caricaturist Thomas Rowlandson and the A view of Northumberland House, the London architecture by Augustus Pugin. Abbey, Scenery: 212. residence of the Percy family. The house, on the far Stock: 39733 western corner of the Strand and Charing Cross, was demolished in 1874 to create Northumberland Avenue. Stock: 40398 30. Waterloo Bridge. S.t. Martins. Adelphi. 33. London Bridge &c. from Southwark S.t. Paul's Covent Garden. Savoy. Covent Bridge. Garden Theatre. Lancaster Place. Drury Lane T.S. Boys Del et Lithog. [London: T.S. Boys, 1842.] Theatre. Tinted lithograph. 180 x 460mm (7 x 18"), very large [T.M. Baynes. Charles Hullmandel.] [Published by margins. £300 Ackermann, 1825.] View of London Bridge from Southwark Bridge Coloured lithograph. Sheet: 650 x 280mm, (25½ x 11") showing various boats on the river and beached on the large margins. £320 foreshore of the City and Bankside. The masts from the Section showing St. Martins to Waterloo Bridge, from Pool of London can be seen with the tower of St 'View of the North Bank of the Thames from Saviour's, Southwark on the right. Westminster Bridge, to London Bridge. Shewing that From 'Original Views of London As It Is' (26 plates) Part of the Improvements Suggested by Lt.-Col. by Thomas Shotter Boys (1803 - 1874). Abbey Scenery Trench'. Imagined view along River Thames looking 239, 5 "A book of considerable importance". from the site of Charing Cross Station on left to Stock: 39695 Waterloo Bridge on right. Colonel (later General Sir Frederick) Trench originated the idea of the Thames 34. Londres. Vue du Pont de Waterloo. Pl.2. Embankment, for which a bill was (unsuccessfully) Alph. Leroy del. Lith de Langlamé. [n.d. c.1830.] presented to Parliament in 1825. Revived, work on the Lithograph; 274 x 362mm. 10¾ x 14¼" large margins. Embankment started in 1864, although to a different One small tear in margins. £130 design than is shown here, this would have been one of A view from Waterloo Bridge towards Southwark nine lithographic sheets. see R.Hyde, 'Panoramania!' Bridge and St Paul's Cathedral to the left. An unusual (1988); See Abbey Life: 496.2. interpretation of the London skyline. Stock: 39952 Stock: 39915

31. Blackfriars Bridge. Gardens. Grand 35. A North East View of Westminster with Junction Wharf. White Friars Dock. S.t. Brides the New Bridge, taken from Somerset Garden. Church. City Gas Works. Vüe de Westminster et du Pont-neuf au Nord- [T.M. Baynes. Charles Hullmandel.] [Published by Est, du Jardin de Somerset. Ackermann, 1825.] Canaleti Pinx.t. in the Collection of M.r. Tho.s. West. Coloured lithograph. Sheet: 645 x 275mm, (25½ x 11") J.S.Müller sculp. Publish'd according to Act of large margins. £330 Parliament. Printed for & Sold by Rob.t. Sayer at the Section showing Blackfriars Bridge, from 'View of the Golden Buck opposite Fetter Lane Fleet Street. [n.d., North Bank of the Thames from Westminster Bridge, c.1760.] to London Bridge. Shewing that Part of the Hand coloured engraving. Framed. Plate: 400 x Improvements Suggested by Lt.-Col. Trench, which is 265mm, (15¾ x 10½"). Frame 570 x 450mm, (22¼ x Intended to Carry into Execution.' Colonel (later 17½"). Unexamined out of frame. £330 General Sir Frederick) Trench originated the idea of A view towards Westminster in which Westminster the Thames Embankment, for which a bill was Abbey and Westminster bridge are depicted. (unsuccessfully) presented to Parliament in 1825. Stock: 40394 Revived, work on the Embankment started in 1864, although to a different design than is shown here. 36. Westminster from Waterloo Bridge. Drawn by Thomas Mann Baynes, the panorama shows T.S. Boys Del et Lithog. [Printed by Charles the riverside as it appeared in 1825, from Westminster Hullmandel.] [London, T.S. Boys, 1842.] to London Bridge, with Trench's proposed Tinted lithograph. 175 x 460mm (6¾ x 18"), very large embankment running from Whitehall to Blackfriars margins. £300 Bridge, with the skyline of London shown correclty View of Westminster from Waterloo Bridge with above; this would have been one of nine lithographic empty barges in the foreground. To the left are sheets. Collage: p749801x; R.Hyde, 'Panoramania!' Walker's Shot Manufactory and Red Lion Brewery in (1988). See Abbey Life: 496.2. Belvedere Road, Lambeth. Westminster Abbey stands Stock: 39951 out on the horizon. Published in Thomas Shotter Boys's 'Original Views of London As It Is', . Abbey 239, "A 32. Blackfriars from Southwark Bridge. book of considerable importance". T.S. Boys Del et Lithog. [Printed by Charles Stock: 39694 Hullmandel.] [London: T. S. Boys, 1843.] Tinted lithograph. 175 x 450mm (7 x 17¾"), very large 37. A View of Wesminster Bridge. This margins. £300 noble Bridge, not inferior to any in the World, View of Blackfriars Bridge from Southwark Bridge in 1220 Feet long. This divided into 73 large with boats on the River Thames. St Paul's Cathedral Arches, 2 small Ones, 14 Piers, & 62 can be seen on the right of the picture. From 'Original Abutmnets. The middle Arche is 76 Feet in Views of London As It Is' by Thomas Shotter Boys, published in 1843. Abbey 239, "A book of considerable diameter...It took up almost double the importance". Quantity of Stone, compar'd to that used in St. Stock: 39693 Paul's Cathedral. Vüe du Pont de Westminster. Ce noble Pont, qui n'est inferieur a aucune 42. Transverse Secitonal Perspective of the dans le Monde, est de 1220 Pieds de long, il est Lobby to the New House of Commons as divisé en 13 large Arcades, & 2 petit Arches, 14 proposed by Francis Goodwin Architect [...] Piliers, 2 Aboutisans...Il a pris presque la Drawn on Stone by T. Allom Printed by C. Hullmandel double quantitée des Pierres en comparaison Arnold's Magazine of the Fine Arts [c.1833] de celles employées dans celay de la Cathedrale Rare lithograph, sheet 275 x 220mm (10¾ x 8½"). £85 de St. Paul. Francis Goodwin (1784-1835) was one of seventeen Tho.s Boydell Delin & Sculp. No.23. Publish'd architects invited to submit designs for a new House of according to Act of Parliament & Sold by J. Boydell Commons in 1833. Goodwin's Perpendicular scheme, Engraver at the Unicorn the Corner of Queen Street seen here, was much admired when he published it. Cheapside London 1753. They influenced entries for the new Houses of Engraving. Plate 255 x 419mm, (10 x 16½") with very Parliament which were solicited after the disastrous large margins. Creasing in sky area. £330 fire of 1834 made a whole new Houses of Parliament A view of Westminster Bridge from the west with building necessary. That competition, of course, was won by Charles Barry, whose designs resulted in one vessels on the River Thames. Stock: 39805 of London's most iconic buildings. Stock: 39756

38. Buckingham Palace From St James's 43. Hyde Park, near Grosvenor Gate. Park. T.S.Boys Del et Lithog. [London, T.S. Boys, 1843.] T.S.Boys Del et Lith. [London, T.S. Boys, 1843.] Tinted lithograph. 250 x 480mm, 9¾ x 19" very large Tinted lithograph. 250 x 480mm, 9¾ x 19" very large margins. £430 margins. £420 The edge of Hyde Park, with Park Lane and Grosvenor Buckingham Palace, from the side of the lake in St House seen on the right, part of Thomas Shotter Boys' James's Park, from Thomas Shotter Boys' 'London As 'London As It Is". Abbey: 240. It Is'. Abbey: 240. Stock: 40307 Stock: 40305

44. West Side of Quadrangle. Containing a 39. Cleopatra's Needle. Frank Harding [signed in pencil.] [n.d. c.1890.] portion of The House of Lords, and The House Etching. Plate: 300 x 235mm, (11¾ x 9¼"), large of Commons, The Library, and part of The margins. £280 House of Commons Offices. Designed by T. A view along the embankment with Cleopatra's Hopper. Needle, Waterloo Bridge and Somerset House. Drawn on Stone by I. Harris. Printed by S. Lingham. Stock: 39801 [London, c.1835.] Lithograph. Printed area 340 x 360mm (21¼ x 14¼"). 40. The Statue in Leicester Square. Repaired tear entering image on right. £190 [Anon., c1872.] A design as part of Thomas Hopper's proposal for the Watercolour with attached woodcut from 'Punch, or the rebuilding of the Palace of Westminster after the London Charivari', sheet 600 x 470mm (23½ x 18½"). devastating fire of 1834, with the same Gothic look as On paper with Whatman 1820 watermark. £380 the eventual winning design, that of Charles Barry. The In around 1784 an equestian statue of George I, staffage was added as an afterthought: the lines of the previously at Canons in Middlesex, was moved to building can be seen through the figures. Leicester Square. As the condition of the square Hopper (1776-1856) was a Scottish architect who had deteriorated so did that of the statue. In 1866 practical been employed by the Prince Regent to create a Gothic jokers painted the horse with spots, placed a dunce's conservatory adjoining the dining room of Carlton hat (from the nearby Alhambra Theatre) on the House. His building for Arthur's Club at 69 St James's monarch's head, and lodged a broomstick in the crook Street is now occupied by the Carlton Club, known for of his arm. The statue was sold for £16 in 1872 and his conservatory. Stock: 39712 removed from the square. Stock: 39685 45. The South Front of the Royal Stables at 41. The Horseguards &c. From St. James's Charing Cross. Park. Gulielmus Kent Archit: et Pict: Invenit et Delin.t. P. T.S.Boys Del et Lith. [London, T.S. Boys, 1843.] Fourdrinier Sculp. [n.d., c.1735.] Tinted lithograph. 250 x 480mm, 9¾ x 19" very large Engraving. 245 x 440mm (10 x 17¼") very large margins. £450 margins. £160 View of the Horseguards, from the south side of the The King's Mews (or Royal Mews), as rebuilt by lake in St James's Park, from Thomas Shotter Boys' William Kent in 1732. The buildings lasted just short 'London As It Is". Other landmarks are the Duke of of a century, being demolished as part of the Trafalgar York's Column, the Spire of St Martin's-in-the-Fields Square scheme in 1830, with the National Gallery and the vague outline of dome of St Paul's Cathedral. replacing it. Abbey: 240. Stock: 40306 Kent (1685 - 1748) introduced the Palladian style of Kent (1685 - 1748) introduced the Palladian style of architecture to England, building Chiswick House in architecture to England, building Chiswick House in 1729. 1729. Stock: 39702 Stock: 39703

46. View Of Somerset House. Vue De 51. Westminster. Somerset House. . Claude H. Rowbotham [signed in pencil]. [n.d., Drawn & Engraved by Robt. Havell & Son. London, c.1900.] Published June 22, 1821, by Messrs. Colnaghi & Co. Etching, printed in colour with some hand colour. Cockspur Street. Plate: 225 x 150mm, (9 x 6"), with good margins. Fine hand coloured aquatint. Platemark: 290 x 380mm Damage in bottom right corner. £130 (11¼ x 15"). £380 A view of the Houses of Parliament from the An attractive view of Somerset House from the Southbank. Claude Hamilton Rowbotham 1864-1949. Thames. Watercolour painter of landscapes and coastal scenes, Stock: 40123 both in England and on the Continent. Stock: 40061 47. Somerset House. [Anon., c.1700.] 52. [Set of four elevations of the Palace of Engraving, sheet 130 x 195mm (5 x 7¾"). Trimmed. Whitehall.] Of His Britannick Majesty's £65 Palace of Whitehall. the Charing Cross Side. View of the Somerset House courtyard, looking south. [&] [...] The Westminster Side. [&] [...] The The building shown here, the first Renaissance palace Park Side. [&] The Water Side. in England, was built in 1547-50 for Lord Protector Inigo Jones Archit. A. Benoist / E. Rooker / Canot / Somerset. It was demolished c.1775 after Queen D.M. Müller Jun.r Sculp. Publish'd according to Act of Charlotte decided to live at Buckingham House Parliament March ye 29th 1748. instead. It was replaced by the building which currently Very large engravings. 620 x 950mm (24½ x 37½"). occupies the site, designed by William Chambers. Slight tear in left edge. Small margins creasing & Stock: 39654 three other plates very small tears in margins. £1150 Inigo Jones's Palladian inspired designs for a new 48. St. Clement Danes- Strand. [In pencil Palace of Whitehall, drawn in the 1630s, a decade after beneath image.] he built the Banqueting House. Charles I had intended Dorothy Sweet. [Signed in pencil.] [n.d. c.1925.] to rebuild the Palace of Whitehall, incorporating the Etching. Plate: 160 x 250mm, (6¼ x 9¾") very large already completed Banqueting House into the complex. margins. Hole in margin by bottom right corner. £110 He commissioned Jones to design a palace to outshine A view of the church of St Clement Danes at the east all the royal palaces of Europe, however, the building end of the Strand in London. was never started due to insufficient funds. Wonderful Stock: 39868 double page aerial views of Whitehall. From William Kent's 'Designs of Inigo Jones and Others'. 49. A View of the Canal in S.t. James's Park, Stock: 40261 Buckingham House &c. taken from the Parade. Vüe du Canal et de la Maison de 53. A Survey of the King's Lordship or Buckingham dans le Parc de S.t. James. Manor of East Greenwich, in the County of Canaletti Delin. Stevens. sculp. Publish'd according to Kent... within or without the limits of the Act of Parliament, London Printed for & Sold by Ground granted for Erecting a Hospital for Rob.t. Sayer at the Golden Buck opposite Fetter Lane Seamen... Fleet Street. [n.d., c.1760.] By Samuel Travers Esq.r Surveyor General. Reduced Hand coloured engraving. Framed. Plate: 400 x from the Original & Engraved by Geo. Neele, 11 Judd 265mm, (15¾ x 10½"). Frame: 570 x 450mm, (22½ x place West St Pancras, 1815. 17½"). Unexamined out of frame. Some stains. £220 Rare engraving. Sheet 540 x 560mm (21¼ x 22"). A view of St James's Park looking west towards Slight tear in bottom edge, hole in map surface, grease Buckingham House, figures gather by the canal which stains, old ink annotations on right. £260 has since been redesigned into a lake. A reduced version of a map compiled by Samuel Stock: 40396 Travers, 'Surveyor General of the Land Revenues of the Crown'. Orientated with north to the bottom, it 50. His Majesty's New Building near White- shows the royal estate in 1695, shortly after Mary II hall Intended for the Treasury &c. As ordered the creation of the Royal Hospital for Seamen designed by W. Kent 1734. at Greenwich. Gulielmus Kent Archit: et Pict: Invenit et Delin. P. Stock: 39724 Fourdrinier Sculp. [n.d., c.1735.] Engraving. 250 x 445mm (10¼ x 17½"); very large margins. £160 54. [Chelsea Bridge.] 58. Lord Southampton's Lodge, at Highgate, Ernest H. G. Cox [pencil signature.] [n.d c.1910.] Middlesex. Etching. Plate 171 x 246mm. 6¾" x 9¾". £130 Published 12th Sept.r 1792, by Rob.t Sayer & Co. Fleet A view of Old Chelsea Bridge with the various power Street, London. stations and factories which stood where Battersea Engraving. 170 x 270mm (6¾ x 10½") large margins. Power station now stands today. The bridge, originally £130 called Victoria Bridge was opened as a toll bridge to The seat of the Hon. Colonel Charles Fitzroy (1737- the newly created Battersea Park, however, the bridge 97), 1st Baron Southampton. The estate, also known as was not structually sound and the old Chelsea Bridge Fitzroy Farm and Fitzroy Lodge, is rumoured to have was demolised in the 1930s and the new bridge which been landscaped by Capability Brown as a ferme still stands today was built. ornée. The Morning Chronicle of 21st September 1781 Stock: 39834 stated: 'The lands about the farm lie with the most waving surfaces, and in the prettiest shapes imaginable: 55. [Peter Pan.] [No.9] they are laid out by Brown, who has also built the little Arthur Spencer [pencil signature to the bottom left- lodge which adds much to the decoration of the scene'. hand side outside the image] [n.d. c.1920.] Stock: 39778 Etching with description sheet. Plate: 140 x 200mm, (5½ x 8"). £65 59. Kendal House, the property of S.r James View of the statue of J.M. Barrie's Peter Pan held in Smith, near Uxbridge Middlesex. Kensington Gardens. Published 12th Sept.r 1792, by Rob.t Sayer & Co. Fleet Stock: 39968 Street, London. Engraving. 170 x 270mm (6¾ x 10½"). Very slight pin 56. A View of the Canal, Chinese Building, hole in centre. £110 Rotundo, &c. in Ranelagh Gardens, with the Kendal House, former home of the Duchess of Kendal Masquerade. Vüe du Canal, du Bâtiment, (1667-1743), a longtime mistress of George I. Chinois, de la Rotunda, &cc. des Jardins de Stock: 39779 Ranelagh un jour de Masquerade. Canalet delin.t. C.Grignion Sculp. Publish'd according 60. South West View of Wimbledon Church, to Act of Parliament. Printed for & Sold by Rob.t. Surrey. As Rebuilt 1841. Sayer at the Golden Buck opposite Fetter Lane Fleet G. Hawkins Lith. George Gilbert Scott & Wm Street. Bonython Moffatt, Architects Day & Haghe Lith.rs to Hand-coloured etching. Framed. Plate: 400 x 260mm, the Queen (15¾ x 10¼"). Frame: 585 x 440mm, (23 x 17"). Rare lithograph with tintstone, sheet 365 x 485mm Unexamined out of frame. Some rubbing in sky. £220 (14¼ x 19"); large margins. Dusty. £140 A view of the Chinese House and Rotunda in Ranelagh St Mary's Church, Wimbledon, as rebuilt 1841-3 to the Gardens on the bank of the Thames at Cheslsea. designs of Gothic revival architect Sir George Gilbert Ranelagh House and gardens, located next to the Scott (1811-78). Chealsea Hospital, were bought in 1751 by a syndicate Stock: 40377 led by the proprietor of the Drury Lane and was opened to the public the following year. It was in the gardens 61. A View of the Royal Palace of Hampton that the masquerade was introduced to a wider public, Court. Vüe du Palais Royal de Hampton it had formerly been an aristocratic entertainment. Court. Stock: 40401 Rigaud delin. Parr sculp. Publish'd according to Act of Parliament. London Printed for & Sold by Rob.t. Sayer 57. [Engraving of monument to William at the Golden Buck opposite Fetter Lane Fleet Street. Emerson, with original drawing] In St Mary [n.d., c.1760.] Overie's or St. Saviour's Southwar, See Hand coloured engraving. Framed. Plate: 400 x Pennant's London 265mm, (15¾ x 10½"). Frame: 570 x 450mm, (22½ x Pub. Jan 11 1791 by N Smith Mays Buildings St 17½"). Unexamined out of frame. Some rubbing in sky Martins Lane area. £280 Aquatint (230 x 180mm, 9 x 7") and pen-and-ink A view of Hampton Court Palace and its gardens in drawing (195 x 155mm, 7½ x 6"). Drawing glued to which several figures walk and converse. backing sheet; unidentified 'W' collector's stamp on Stock: 40395 both sheets. £160 Monument to William Emerson (d.1575) in Southwark 62. A Front View of the Earl of Harrington's Cathedral, or the church of St Saviour and St Mary House &c. at Petersham in Surrey. Overie, beside London Bridge south of the river [Translated into French to right.] Thames. Emerson and his family were benefactors to A. Heckel delin. Stevens Sculp. Published 12th. May the church. The engraving was published in a volume 1794, by Laurie & Whittle, 53 Fleet Street, London. on the antiquities of London, and is here offered with Hand coloured engraving. Plate: 260 x 405mm, (10¼" what is claimed to be the original drawing for the print. x 16") very large margins. £260 Stock: 39747 The house of Charles Stanhope, third Earl of Harrington (1753 - 1829) at Petersham, Surrey. Near Richmond on the River Thames, Petersham takes related drawing at the Yale Centre for British Art its name from having belonged to St. Peter's Abbey at (B1975.4.1846), dated 1767. For another in the series Chertsey. see ref. 28640 Stock: 39827 Stock: 39597

63. The Brocas 67. Bristol High Cross was erected An.º Printed and Published for the Proprietor by Day & Son 1373... Lithographers to the Queen, June 1852. Sam.' & Nath.l Buck delin et sculp 1734. Rare coloured lithograph, printed area 320 x 385mm Etching. 470 x 290mm (18½ x 11½"); large margins on (12½ x 15¼"). £320 3 sides. Original folds. Cut to platemark. £160 View of Windsor Palace from the Brocas, a meadow One of the few folding plates in 'Buck's Antiquities'. on the bank of the Thames which takes its name from The cross is now on the right of the Stourhead Estate. the Brocas family, local nobility in the 13th century. A Stock: 39706 large crowd gathers to watch a rowing race taking place. By Percival Skelton (1849-87), from the series 68. View near Clifton. 'A Few Recollections of Eton' (1852). Not in Abbey. From Nature by I. Barford Esq.r. Drawn on Stone by Stock: 40246 A.A. Burt. Printed & Pub.d by A.A. Burt & Co., 12 Union Court, Broad Street, 1826. 64. Ye South Side of Windsor Castle. Very scarce coloured lithograph. Printed area 230 x WHollar fecit. [London, c.1760.] 260mm, 9¼ x 10"). Laid on later paper, some soiling. Engraving. Sheet: 500 x 120mm, (19¾ x 4¾"). £160 Trimmed within plate and laid on album sheet. Some A rare lithograph of boats on the River Avon, with a creasing, cockling and staining. £240 hill behind. View of the south side of Windsor Castle, Berkshire, Stock: 40353 flanked by costume vignettes of the Knights of the Garter, originally the decoration on a county map of 69. Rownham Ferry, Clifton. Berkshire etched by Hollar for the publisher John From Nature by Barford Esq.r. Drawn on Stone by Overton, 1666. At some stage the copper plate was cut, A.A. Burt. Printed & Pub.d by A.A. Burt & Co., 12 with this view being re-published separately, as this Union Court, Old Broad Street, 1826. example, appearing in the catalogues of Robert Sayer Very scarce coloured lithograph. Printed area 225 x in the 1760s and Laurie & Whittle in the 1790s. See 255mm, 9 x 9¾"). Laid on later paper, printer's crease Pennington: 658. in sky, some soiling. £140 Stock: 39794 A rare lithograph of Rownham Ferry, a boat service across the River Avon from the twelfth century until 65. [Windsor Castle.] 1932. The building in the centre is the New Inn in Joseph Kirkpatrick [pencil signature.] [British, c.1920.] Bower Ashton, on the west side of the river. Aquatint printed in colours. Plate 135 x 200mm, (5¼ x Stock: 40352 8"), with very large margins. £60 Picturesque prospect of Windsor Castle from the River 70. North East View of the Town of Thames; boatmen and their craft on water to Cambridge. foreground. Joseph Kirkpatrick (1872 - 1930). Drawn by T. Hearne F.S.A. Engraved by S. Middiman. Stock: 39904 London, Publishd May 4. 1808, by T. Cadell and W. Davies, Strand. 66. Gate under Queen Elizabeth's Picture Engraving with letterpress. Plate: 280 x 230mm, (11 x Gallery 9") large margins. Very slight foxing. £75 P. Sandby Fecit. 1769 Published by T. Palser, Surry A view looking across the meadow towards the town side Westminster Bridge, 1812. of Cambridge and the King's College Chapel. Etching and aquatint. Sheet 205 x 280mm (8 x 11"). Plate 1 from part 2 of 'Britannia Depicta: a Series of Trimmed inside platemark. £180 Views (with brief Descriptions) of the most interesting View at Windsor castle by Paul Sandby. Oppé and picturesque Objects in Great Britain'. identifies the print as one of a group which he Stock: 39916 describes as 'outline etchings of approximately the same size which formed part of a small Windsor set of 71. The Fitzwilliam Museum. Now Being 1780, some from drawings of 1769.' This is a later Erected at Cambridge. Cambridge University restrike, with aquatint added, published by Thomas Almanack, 1838. Palser in 1812. Geo: Basevi, Archt. Engraved by E. Challis. The publication of many of Sandby's etchings is [Cambridge, c.1848.] obscured by the fact that many were not published or Engraving. Sheet size: 350 x 500mm (13¾ x 19½"). only issued privately, and that many plates were Trimmed to plate at lower edge. £240 acquired by commercial publishers such as Sayer and The main facade and entrance to the Fitzwilliam Boydell and issued as single plates or in groups. Museum, facing Trumpington Street in central There is an almost identical drawing at Windsor (no. Cambridge. 14536; Oppé 14) while Robertson refers to another Stock: 40043 72. [Falmouth.] set up the Caradoc Press in Chiswick in 1899 with his E. Duncan pinx. T.A. Prior, sculp. [n.d., c.1860s.] wife Hesba. Steel engraving on india. Plate: 445 x 255mm, (17½ x Stock: 39783 10"). India lifting and some creasing. Marks in margins. £110 77. The West Prospect of Portsmouth in Falmouth Harbour, Cornwall. A figure looks through a Hamp-Shire. telescope in the foreground, ships in the water. Sam and Nath.l Buck del et Sculp. Published according Stock: 39862 to Act of parliam.t Sep. 11. 1749. Garden Court, No.1. Middle Temple London. 73. [Falmouth.] Engraving. Sheet size: 330 x 810mm (13 x 31¾"). E. Duncan pinx. T.A. Prior, sculp. [n.d., c.1860s.] Trimmed. Damaged. Laid on tissue. £290 Steel engraving on india. Plate: 445 x 255mm, (17½ x A detailed panorama of Portsmouth harbour, with a 10") very large margins. £180 descriptive text below and a key to the right, indicating Falmouth Harbour, Cornwall. A figure looks through a various landmarks and buildings such as 'North Dock', telescope in the foreground, ships in the water. 'Portsmouth Church' and 'Isle of Wight'. Stock: 39879 A plate form 'Buck's Perspective Views of Cities and Chief Towns in England and Wales'. 74. Pensylvania Castle, The Old Church, Stock: 40265 And Bow And Arrow Castle, Portland. J.W. Upham del. J. Bluck fecit. Published July 1821, 78. Bonchurch, Isle of Wight, from the Sea. by J.W. Upham, Weymouth. R. Carrick, lith. Day & Haghe Lithrs. to the Queen. Very fine coloured aquatint. Plate: 430 x 350mm, (17 x [London, c.1845.] 13¾"). Trimmed within plate on lower edge. £330 Tinted Lithograph. Sheet: 510 x 340mm, (20 x 13½") From 'Views In And Near Weymouth' consisting of 18 very large margins. £240 plates that according to the titlepage 'May be had of A view of the village of Bonchurch on the southern Mr. Upham, Professor of Drawing, Weymouth; at the side of the Isle of Wight. Libraries, in Weymouth and Dorchester'. Fine colour. Stock: 39963 Abbey Scenery of Great Britain And Ireland: 340. Stock: 40056 79. [The Gate Tower, Dover Castle.] Hy.G. Webb [pencil signature.] [n.d. c.1900.] 75. [Sanctuary Knocker Durham Etching, signed in pencil. Plate: 190 x 260mm, (7½ x Cathedral.] 10¼"). Large margins. £75 Hy.G.Webb [pencil signature.] [n.d. c.1900.] Constable's tower and gateway, which was inserted Etching, signed in etching. Plate: 100 x 155mm, (4 x into the curtain wall by Hubert de Burgh between 1221 6"). Large margins. £70 and 1227 to replace the old north entrance. The medieval sanctuary knocker on the north door of Harry George Webb (1882-1914) was a landscape and the Cathedral. In the middle ages anyone who had architectural painter and etcher, who exhibited at the committed a serious offence could claim sanctuary by Royal Academy and the Royal Society of Etchers. He knocking on this door. The fugitives then had 37 days set up the Caradoc Press in Chiswick in 1899 with his to organise their affairs, during which time that had to wife Hesba. decide whether to stand trial or leave the country by the Stock: 39782 nearest port. Harry George Webb (1882-1914) was a landscape and 80. View of Clifton Hall, the Residence of architectural painter and etcher, who exhibited at the B.A. Heywood Esquire, taken from the Royal Academy and the Royal Society of Etchers. He Grounds of Agecroft Hall, the antient Seat of set up the Caradoc Press in Chiswick in 1899 with his the Dauntsey Family. wife Hesba. Sketched August 1820, Etch'd Nov.r 1821. F.W. Stock: 39785 Trench [in image lower left] Lithograph, printed area 215 x 305mm (8½ x 12"). 76. [Netley Abbey.] Tears in margins. Rare. £120 Hy.G. Webb [pencil signature.] [n.d. c.1900.] Distant view of Clifton Hall, Lancashire, built in the Etching, signed in pencil. Artist's monogram in lower 18th century, at the time it was occupied by Benjamin right of image. Plate: 180 x 265mm, (7 x 10½"). Large Heywood, one of the founders of Heywood's bank. It margins. £70 was subsequently a private asylum, while Clifton Netley abbey, the late medieval monastery in the railway station was built near to the hall. village of Netley, Hampshire. It was founded in 1239 Amateur lithograph by the army officer and politician by monks of the austere Cistercian roder by was closed Frederick William Trench (c.1777-1859). Trench was in 1539 by Henry VIII during the Dissolution of the also keenly interested in architecture: in 1815 he Monasteries. proposed a vast monument to British naval and military Harry George Webb (1882-1914) was a landscape and victories over France on the site which became architectural painter and etcher, who exhibited at the Trafalgar Square, and in 1824 he launched a project for Royal Academy and the Royal Society of Etchers. He an embankment on the north side of the Thames (in conjunction with which a long print of the project was produced). For Trench's embankment scheme see refs. mid-Victorian period, described by Pevsner as 'the 23749, 27503 &c. Ex: Collection of Hon. Christopher most original though certainly not the most Lennox-Boyd. accomplished architect of his day'. Among his works Stock: 39852 are St Luke's Chapel in Brompton Hospital and alterations to Hughenden Manor for Benjamin Disraeli. 81. Fairfield. A Settlement of the United Stock: 39780 Brethren near Manchester. Drawn by E.Erxleben. Engraved by Rob.t Havell & 85. Somerleyton Hall. The Seat of Samuel Son. Published Jan.y 1, 1818, by E. Erxleben, Fairfield. Morton Peto, Esq. M.P. Aquatint with hand colour. Platemark: 380 x 530mm Published by Mess.rs Jarrold & Sons, Norwich. (15 x 21"). Repaired tears at edges. Creases. £580 Newman & Co, Litho. 48, Watling St, London [c.1850] A view of the settlement of the United Brethren, a Rare lithograph with tintstone, sheet 275 x 415mm Christian organisation, which established settlements in (10¾ x 16¼"); large margins. Repaired tear lower different locations, such as Fairfield near Manchester. edge. £160 Cattle are seen at the centre foreground, with farm Fine lithograph made to publicise the rebuilding workers walking along a path to the left. With a key to (begun in 1844) of Somerleyton Hall, near Lowestoft the important buildings. A scarce item. in Suffolk. The hall was owned by Sir Samuel Morton Stock: 40140 Peto (1809-89), contractor for railways and public works. Peto commissioned the architectural sculptor 82. Costessey Hall, Norfolk. The Seat of the John Thomas (1813-62), who created a vast Right Hon.ble Lord Stafford. Italianate/Jacobean red brick house which Pevsner was Published by Josiah Fletcher, Norwich. Newman & Co, to describe as 'more Jacobean than any original Litho 48 Watling St, London. Jacobean house'. The house and gardens can be visited. Rare lithograph with tintstone, sheet 275 x 415mm Stock: 40375 (10¾ x 16¼") large margins. Bit dusty. Crease on left. £95 86. Arbury, The Seat of Charles Newdigate Fine lithograph of Costessey Hall, near Norwich in Newdegate, Esq.re M.P. Norfolk, following radical alterations by J.C. Buckler Drawn by I. Shaw. R. Groom, Lith. C. Moody, Lith from 1826-36 in the Gothic style. Requisitioned by the Printer, 257, Holborn. [n.d. c.1850.] War Office during World War I, the house was badly Rare tinted lithograph. Sheet size: 345 x 510mm (13½ damaged, and demolished in 1925. x 20"), very large margins. Light spotting. £160 Stock: 40376 Arbury Hall, the seat of the Newdegate family and the ancestral home of Viscount and Vicountess Daventry, 83. [Holy Island Cathl.] Warwickshire. It is an Elizabethan house, built on the Hy.G.Webb [pencil signature.] [n.d. c.1900.] site of a 12th century Augustinian Priory; it was then Etching, signed in pencil. Plate: 175 x 270mm, (7 x transformed in the 18th century to become the finest 10½"). Small tear into lower left of margin. £70 example of Gothic Revival architecture in the country, The ruined cathedral on Lindisfarne, also known as at the time. Holy Island, Northumberland. The priory was founded Stock: 40032 c.635 but overrun by vikings in 875, it was re- established in 1093 as a Benedictine house and 87. No. 7. [Shipwreck on the Black Rocks, continued until its suppression in 1536 under Henry Near Scarborough, Yorkshire.] VII. F. Nicholson delt. Pub. by R. Bowyer, Pall Mall, 1825. Harry George Webb (1882-1914) was a landscape and Scarce hand coloured aquatint. Fine colour. Sheet size: architectural painter and etcher, who exhibited at the 375 x 496mm (14¾ x 19½"). Light toning around Royal Academy and the Royal Society of Etchers. He edges. £220 set up the Caradoc Press in Chiswick in 1899 with his A view of the Black Rocks with a shipwreck lodged by wife Hesba. the crashing waves, a spot that is generally the Stock: 39784 consequence of a failure in attempting to make the Harbour of Scarborough during a hard gale from the 84. [Eye Town Hall.] To Sir Edward North or North-east. Scarborough Castle can be seen in Herrison, Bar.t, M.P., The Mayor, & Town the background with people crowding around, pulling Council of the Borough of Eye, This View of sailors to shore, and helping to rescue others. the Town Hall and Corn Exchange, is From the rare folio of 12 plates 'A Selection of Fac- respectfully dedicated by their obedient Similes of Water-Colour Drawings, from the Works of Servant, Edward Buckton Lamb, Arch.t 1856. the Most Distinguished British Artists', 1825; a first issue, before the title below the image. E.B. Lamb Arch.t del. F. Bedford lith. Day & Son, After Francis Nicholson (1753 - 1844); other striking Lith.rs to The Queen. compositions in the book are contributed by Samuel Tinted lithograph. Printed area 230 x 265mm (9¼ x Prout, Robert Hills, John Smith and William Collins. 10½") Tear through inscription. Dusty in margins. Abbey, Life: 197, 7. BL: 003332105. £130 Stock: 40030 A rare view of Eye Town Hall, designed by Edward Buckton Lamb, a ‘'Rogue Gothic Revivalist'’ of the 88. Winn's George Hotel, York. This Plate 92. Sherif De Dumbarton. Lac Lomond. represents the interior of the State Dining Loch Lomond. Room at the George Hotel, Coney Street [...] Dupressoir. Lith: de Kaeppelin, rue du Croissant, 20. Printed in oil colours by Bradshaw & Blacklock Paris, publie par Kaeppelin, rue du Croissant, No.20. [c.1851] London, published, by Chs. Tilt, 86, Fleet Street [n.d., Very rare Baxter print, on backing as orginally c.1840]. presented, sheet 370 x 445mm (14½ x 17½"). Margins Lithograph. Sheet 365 x 555mm, (14¼ x 21¾") very dusty. £260 large margins. Repaired tear into image in top edge. Interior of the George Hotel in York, a coaching inn £120 which from 1614 until 1869 (when it was demolished Picturesque view of Loch Lomond, Dunbartonshire, to make way for Leak & Thorp) served travellers on central Scotland; boats on the water and figures, some their way to Manchester, Hull and Newcastle. In 1849 on horseback, in the foreground. From a series of Anne and Charlotte Bronte stayed there en route to Scottish views by French painter and lithographer Scarborough. See Paul Chrystal and Simon Crossley, François Joseph Dupressoir (1800 - 1859), published in 'York Industries Through Time' London and Paris. Stock: 40384 Numbered 'PL.7' upper right. Stock: 39857 89. Town Hospital, Guernsey. On Stone by C. Haghe. De Garis Delt. Published by M. 93. View from the Dublin Approach to Moss, Bookseller, Guernsey. [n.d. c.1830.] Heywood, in the Queen's County Ireland, The Lithograph. Sheet size: 190 x 280mm (7½ x 11") large Seat of Frederick Trench Esquire. margins. £140 F.W.T. 1818. Transferred & Printed at Moser & The old Town Hospital on St Peter Port, Guernsey. Harris's Lithographic Press No. 71 Cromer Street Stock: 40003 London. Lithograph on watermarked paper, 'J. Whatman 1817'. 90. Dunraven Castle, The Residence of Mrs: Sheet size: 275 x 430mm (10¾ x 16") very large Wyndham. margins. £140 George Delamotte. [n.d., c.1818.] Landscape with path. Amateur lithograph by the army Rare lithograph. Sheet: 290 x 205mm, (11½ x 8"). officer and politician Frederick William Trench Trimmed. £130 (c.1777-1859), whose father owned Heywood, The Castle at Dunraven, Glamorgan, was demolished Ballynakill in Queen's County. Trench was also keenly in 1963, and was set in 56 acres of natural parkland. interested in architecture: in 1815 he proposed a vast An early lithograph by George Orleans Delamotte ( monument to British naval and military victories over 1809 - 1821; fl.). France on the site which became Trafalgar Square, and Stock: 39832 in 1824 he launched a project for an embankment on the north side of the Thames (in conjunction with 91. The Shearing. which a long print of the project was produced). For R. Eustace Tickell 1893. [London: J.S. Virtue & Co, Trench's embankment scheme see refs. 23749, 27468 1894.] &c. Ex: The Hon Christopher Lennox-Boyd Etching on thick paper. 250 x 300mm (9¾ x 11¾"). Collection. £45 Stock: 40014 A view of a farmyard in Nantgwilt, in the Elan Vallery, west of Rhayader, in Powys. It was published in 94. Lower Lake from Victoria Hotel, Tickell's 'The Vale of Nantgwilt: a submerged Killarney. valley...', a record of the land about to be compulsorily Lithographed & Published by Newman & C.o. 48, purchased and flooded to create reservoirs to provide Watling Street, London. [n.d., c.1840] drinking water to Birmingham. The dozens of men Lithograph with tintstone, sheet 245 x 380mm (9½ x shown here would all have lost their livelihoods. 15"). £130 Richard Eustace Tickell was a civil engineer who View of the Lower Lake of the Lakes of Killarney in supervised the building of one of the dams, Pen-y- County Kerry, Ireland. From a series of 'Twelve Views garreg. he wrote to the publisher: 'The object of this in Ireland From Drawings taken on the Spot', one of book is to commemorate scenes in one of the most two volumes with the same title published by Newman charming valleys in Great Britain. Scenes which are & Co, circa 1840. Abbey 469.6; for other prints from soon to be lost for ever, submerged beneath the waters the same series, see refs. 21747, 35191, 35203 and of a series of lakes, which, by a colossal engineering 40144. undertaking, are about to be constructed for the Stock: 40143 purpose of supplying water to the city of Birmingham, nearly eighty miles away'. Stock: 40318

95. The Upper Lake, Killarney, from the from northern Italy. He was also an important Kenmare Road. diplomat, working with Cardinal Wolsey to negotiate Lithographed & Published by Newman & C.o. 48, an alliance between Francis I and Henry VII in 1527, Watling Street, London. [n.d., c.1840] although he fell from favour after a settlement he Lithograph with tintstone, sheet 245 x 380mm (9½ x brokered with Charles V failed. Montmorency 15"). £130 recovered his previous status, however, under View of the Lower Lake of the Lakes of Killarney in subsequent French monarchs. County Kerry, Ireland. From a series of 'Twelve Views From 'Les Portraits des Hommes Illustres Francois qui in Ireland From Drawings taken on the Spot', one of sont Peints dans la Galerie du Palais Cardinal de two volumes with the same title published by Newman Richelieu' (1660). The book reproduces the portraits of & Co, circa 1840. Abbey 469.3; for other prints from great men hanging in Richelieu's 'Galerie des hommes the same series, see refs. 21747, 35191, 35203 and illustres' by Simon Vouet and Philippe de Champaigne 40143. (although only four of the original paintings survive). Stock: 40144 The final 'illustrious figure' was Richelieu himself. Stock: 39893 96. [Emperor Charles VI.] [Anon. c.1717] 99. [Anne of Austria] Anna Austriaca Fine mezzotint, platemark 490 x 300mm (19½ x Regina Gallorum Reges [...] 11¾"). Trimmed to plate on left. Slight rubbing at [1660] bottom. £320 Engraving with two accompanying letterpress sheets, Full-length portrait of Charles VI, Holy Roman 17th century watermark; each 470 x 350mm (18½ x Emperor (1685 -1740). Drapery behind, printed with 13¾") very large margins. £320 portraits of emperors Charles I-V. In the lower right Marie' de Medici (1575-1642), Queen of France as corner, a child looks up, wearing a helmet and cape, second wife of Henri IV. Following her husband's holding onto a globe which depicts 'Africa', 'America' assassination at the hands of a fanatical Catholic in and 'Europa', with the latin phrase 'Constantia et 1610 she acted as regent until her son, the future Louis fortitudine', meaning, 'through perseverance and XIII, came of age. A notable patron of the arts, Marie bravery', below. Charles' reign spanned the War of the oversaw the construction and furnishing of the Palais Quadruple Alliance (1718-20), an Austrian victory, but du Luxembourg in Paris (modelled after the Palazzo also the War of the Polish Succession (1733-38) and a Pitti in Marie's hometown of Florence) and employed Turkish war in 1737, which were unsuccessful from an Rubens as her court painter. Austrian perspective. For engraved version with From 'Les Portraits des Hommes Illustres Francois qui additional text see ref. 37446. sont Peints dans la Galerie du Palais Cardinal de Stock: 40156 Richelieu' (1660). The book reproduces the portraits of great men (and women) hanging in Richelieu's 'Galerie 97. [Field Marshal Giulay.] Giulay allant à des hommes illustres' by Simon Vouet and Philippe de la Guerre... Giulay revenant de la Guerre... Champaigne (although only four of the original [n.d., c.1790.] paintings survive). The final 'illustrious figure' was Rare ink-drawn reversable satire. Sheet 150 x 140mm Richelieu himself. (6 x 5½"). Laid on album paper. £130 Stock: 40071 A reversible portrait of the Austrian Field Marshal Giulay (1799-1868). Going to war he sports a 100. Les Chasteaux Roijaux de S.t. Germain magnificent mustache; returning from war, with the en Laye. sheet turned up-side-down, the mustache becomes the [Mathaus Merian the Elder.] [Published by Martin ears of a donkey. Giulay is best known for losing the Zeiller, c.1655.] Battle of Magenta (4th June 1859, during the Second Etching. Sheet: 360 x 320mm, (14 x 12½"). Central Italian War of Independence), against the combined crease as issued. Tears in edges. £280 armies of France and Kingdom of Sardinia led by A view of the royal palace at St Germain en Laye, Napoleon III and Victor Emmanuel II. showing the huge complex of symetrical gardens Stock: 39826 which extends from the palace in patterns formed from pathways, parterres and fountains. Keys either side of 98. [Anne de Montmorency] Annas de the image identify and describe various buildings such Montmorency Comes Stabuli Sub Ludov.o 12.o as the large Jeu de Paume court and grottos. From Francisco i.o 'Topographia Galliae...', 1655 published by scholar and [1660] publisher Martin Zeiller (1589-1661) who was Engraving with accompanying letterpress sheet, each approached by Martin Matthaus (1593- 1650) to write 470 x 350mm (18½ x 13¾") very large margins. Slight the text to accompany his volume of engraving. Stock: 40329 foxing. £240 Anne de Montmorency (1493-1567), French soldier, statesman and diplomat. Montmorency spent most of his career serving under king Francis I, fighting in the Italian wars and then, as governor of Languedoc, defending Provence against the invasion of Charles V 101. [Gaucher de Châtillon] Scaevola de became cardinal and prime minister in 1498, in which Chastillon Comes Stabuli Sub Ludonico et position his focus was upon increasing French power in Joanne filio [....] Italy. He was frustrated in his attempts to become Pope [after Simon Vouet] [1660] in 1503 when two Italians were chosen in quick Engraving with accompanying letterpress sheet, 17th succession for the post. century watermark; each 470 x 350mm (18½ x 13¾") From 'Les Portraits des Hommes Illustres Francois qui very large margins. £180 sont Peints dans la Galerie du Palais Cardinal de Gaucher de Châtillon (1250 - 1328), constable of Richelieu' (1660). The book reproduces the portraits of France under five different kings. Engraved after a great men hanging in Richelieu's 'Galerie des hommes portrait by Simon Vouet (c.1632-5) now in the Louvre. illustres' by Simon Vouet and Philippe de Champaigne From 'Les Portraits des Hommes Illustres Francois qui (although only four of the original paintings survive). sont Peints dans la Galerie du Palais Cardinal de The final 'illustrious figure' was Richelieu himself. Richelieu' (1660). The book reproduces the portraits of Stock: 39887 great men hanging in Richelieu's 'Galerie des hommes illustres' by Vouet and Philippe de Champaigne. 105. Vue de Cluse, en Savoye Stock: 39875 [probably published 1791 by Thomas Gowland] Etching with very fine hand-colouring, sheet 195 x 102. [Olivier V de Clisson.] Olivarius de 260mm (7¾ x 10¼"). Trimmed; printed on Whatman Clisson Comes Stabuli Sub Carolo 5 paper. £280 [after Simon Vouet] [1660] The town of Cluses in the Haute-Savoie department of Engraving with accompanying letterpress sheet, each southeastern France. The town is famous for its Alpine 470 x 350mm (18½ x 13¾") very large margins. £180 setting and watchmaking industry. Stock: 39647 Olivier V de Clisson (1336-1407), Breton soldier. Battles he was involved in included the Siege of Brest (1373) and Battle of Roosebeke (1382). Engraved after 106. Vue d'Evian, sur le Lac de Genève. a portrait by Simon Vouet (Nantes, Musée Dobrée). [probably published 1791 by Thomas Gowland] From 'Les Portraits des Hommes Illustres Francois qui Etching with very fine hand-colouring, 18th century sont Peints dans la Galerie du Palais Cardinal de watermark; sheet 195 x 260mm (7¾ x 10¼"). Richelieu' (1660). The book reproduces the portraits of Trimmed. £220 great men hanging in Richelieu's 'Galerie des hommes Évian-les-Bains, a resort and spa town in the Haute- illustres' by Vouet and Philippe de Champaigne Savoie department of France, situated on Lake Geneva. (although only four of the original paintings survive). Long famous with royalty and celebrities such as The final 'illustrious figure' was Richelieu himself. Marcel Proust, it is the home of Évian mineral water. Stock: 39877 Stock: 39646

103. [Charles de Cossé, Count of Brissac] 107. Vue de Salenche Carolus de Cosse Polemarchus Sub Hen.o 2.o [Anon., c.1820] et Carolo 9.o Etching with fine hand-colouring, sheet 275 x 320mm (10¾ x 12½"). Trimmed. £320 [1660] A view of Sallanches in the Haute-Savoie department Engraving with accompanying letterpress sheet, 17th of France, on the road from Geneva to Chamonix, with century watermark; each 470 x 350mm (18½ x 13¾") the Mont Blanc massif behind. very large margins. Printer's crease. £220 Stock: 39644 Charles de Cossé, comte de Brissac (1505/6-1563), French courtier and soldier who played a prominent role in the Italian War of 1551-59. 108. [Francis, Duke of Guise] Franciscus a From 'Les Portraits des Hommes Illustres Francois qui Lotharin gia Dux Guisius sont Peints dans la Galerie du Palais Cardinal de [1660] Richelieu' (1660). The book reproduces the portraits of Engraving with accompanying letterpress sheet, 17th great men hanging in Richelieu's 'Galerie des hommes century watermark; each 470 x 350mm (18½ x 13¾") illustres' by Simon Vouet and Philippe de Champaigne Tear to engraving lower right. Small margins on left (although only four of the original paintings survive). repaired. Good repair in centre. £240 The final 'illustrious figure' was Richelieu himself. Francis, Duke of Guise (1519-63), French soldier and Stock: 39892 politician. Husband of Anna d'Este and uncle of Mary, Queen of Scots, his military triumphs included 104. [Georges d'Amboise] Georgius defending Metz against Emperor Charles V in 1552 Cardinalis Ambasius Quantam unus meruerit and capturing Calais from England in 1558. In religion Guise was strongly Catholic, which served him well gloriam [...] during the reign of Francis II but after the king's death, [1660] the favour that regent Catherine de' Medici showed Engraving with accompanying letterpress sheet, 17th towards Protestants led Guise to become part of the century watermark; each 470 x 350mm (18½ x 13¾") 'triumvirate' defending the Catholic cause. The disputes very large margins. Slight tear top right. £180 between Protestants and Catholics eventually led not Georges d'Amboise (1460-1510), French Roman Catholic cardinal and minister of state. Georges just to Guise's assassination by a Huguenot, but the 111. Colonel Gaudin de Soter, the Royalist of French Wars of Religion (1562-98). Martinique. From 'Les Portraits des Hommes Illustres Francois qui From a sketch by Eckstein, in the possession of Major sont Peints dans la Galerie du Palais Cardinal de Gen.l Fred. Maitland. [n.d. c.1835.] Richelieu' (1660). The book reproduces the portraits of Stipple engraving, rare. Sheet size: 260 x 175mm (10¼ great men hanging in Richelieu's 'Galerie des hommes x 6¾"). Trimmed inside plate. Toning around the illustres' by Simon Vouet and Philippe de Champaigne edges. Small crease lower left and upper right corners. (although only four of the original paintings survive). Dusty. £160 The final 'illustrious figure' was Richelieu himself. Colonel Julien Denis Gaudin de Soter led the royalist Stock: 39894 attack in 1793 during the French Revolution in Martinique. Britain then held control for some years 109. [Gaston of Foix] Gasto de Foix sub until the French monarchy re-established itself. In 1794 Ludovico 12o prosapia magnus maximus the French Convention abolished slavery, previously Evasisset [...] upheld by the British. [1660] Stock: 40029 Engraving with accompanying letterpress sheet, 17th century watermark; each 470 x 350mm (18½ x 13¾") 112. [Bertrand de Guesclin] Bertrandus du very large margins. Paper glued to left margin of Guesclin Comes Stabuli Sub Carolo V [...] engraving. £240 [1660] Gaston of Foix, Duke of Nemours (1489-1512), French Engraving with accompanying letterpress sheet, 17th military commander whose brilliant six month Italian century watermark; each 470 x 350mm (18½ x 13¾") campaign as a 21 year-old commander in 1511-2 earnt very large margins. £180 him the nickname 'the Thunderbolt of Italy'. His death Bertrand de Guesclin (c.1320-1380), French military in the Battle of Ravenna was a huge loss to the French. commander during the Hundred Years' War and From 'Les Portraits des Hommes Illustres Francois qui Constable of France from 1370 until his death. sont Peints dans la Galerie du Palais Cardinal de From 'Les Portraits des Hommes Illustres Francois qui Richelieu' (1660). The book reproduces the portraits of sont Peints dans la Galerie du Palais Cardinal de great men hanging in Richelieu's 'Galerie des hommes Richelieu' (1660). The book reproduces the portraits of illustres' by Simon Vouet and Philippe de Champaigne great men hanging in Richelieu's 'Galerie des hommes (although only four of the original paintings survive). illustres' by Simon Vouet and Philippe de Champaigne. The final 'illustrious figure' was Richelieu himself. The final 'illustrious figure' was Richelieu himself. Stock: 39888 Stock: 39876

110. [Gaston, Duke of Orléans] Gasto 113. [Henri IV of France] Henricus Magnus Franciae Dux Aureliacus [...] IIIIid Rex Gallorum [...] [1660] [1660] Engraving with accompanying letterpress sheet, 17th Engraving with accompanying letterpress sheet, 17th century watermark; each 470 x 350mm (18½ x 13¾") century watermark; each 470 x 350mm (18½ x 13¾"). very large margins. £260 Large margins on 3 sides. Remargined on left. £240 Gaston, Duke of Orléans (1608-60), third son of Henri Henri IV (1553-1610), king of France from 1589 until IV and Marie' de Medici, and brother of Louis XIII. his death. Baptised as a Catholic but raised as a Gaston's life involved numerous political intrigues, and Protestant, the conflict between the two faiths in 16th he twice fled France following plots against his mother century France was the leitmotif of Henri's rule. He had and Cardinal Richelieu. During the wars of the Fronde already led Protestant forces against the royal army (1648-53) in France, he passed from one side to the before succeeding his brother-in-law and distant cousin other without loyalty, and was exiled by Cardinal Henri III as king of France, and although he Mazarin at their conclusion. promulgated the Edict of Nantes in 1598 which From 'Les Portraits des Hommes Illustres Francois qui effectively ended the French Wars of Religion, the sont Peints dans la Galerie du Palais Cardinal de underlying tensions remained. Despite his moderacy, Richelieu' (1660). The book reproduces the portraits of Henri was viewed with suspicion by both Catholics and great men (and women) hanging in Richelieu's 'Galerie Protestants, and after surviving at least twelve des hommes illustres' by Simon Vouet and Philippe de assassination attempts, he was murdered by the Champaigne (in which Gaston was perhaps fanatical Catholic François Ravaillac in 1610. surprisingly included, given his history with From 'Les Portraits des Hommes Illustres Francois qui Richelieu). The final 'illustrious figure' was Richelieu sont Peints dans la Galerie du Palais Cardinal de himself. Richelieu' (1660). The book reproduces the portraits of Stock: 40072 great men (and women) hanging in Richelieu's 'Galerie des hommes illustres' by Simon Vouet and Philippe de Champaigne (although only four of the original paintings survive). The final 'illustrious figure' was Richelieu himself. Stock: 40068

114. [Joan of Arc] Puella Aureliaca sub 117. [Marie' de Medici] Maria Medicea H.I Carolo 7o HIIII.I Coniux [...] [1660] [1660] Engraving with accompanying letterpress sheet, 17th Engraving with accompanying letterpress sheet, 17th century watermark; each 470 x 350mm (18½ x 13¾") century watermark; each 470 x 350mm (18½ x 13¾"). very large margins. Slight loss near right leg. Staining £320 bottom right on edge of margins. £450 Marie' de Medici (1575-1642), Queen of France as Joan of Arc (c.1412-31), the 'maid of Orléans' who second wife of Henri IV. Following her husband's helped to relieve the town in 1429. Captured at assassination at the hands of a fanatical Catholic in Compiègne in 1430, she was handed over to the 1610 she acted as regent until her son, the future Louis English, tried and found guilty, and burnt at the stake. XIII, came of age. A notable patron of the arts, Marie She was posthumously pronounced innocent and oversaw the construction and furnishing of the Palais canonized as a Roman Catholic saint. du Luxembourg in Paris (modelled after the Palazzo From 'Les Portraits des Hommes Illustres Francois qui Pitti in Marie's hometown of Florence) and employed sont Peints dans la Galerie du Palais Cardinal de Rubens as her court painter. Richelieu' (1660). The book reproduces the portraits of From 'Les Portraits des Hommes Illustres Francois qui great men hanging in Richelieu's 'Galerie des hommes sont Peints dans la Galerie du Palais Cardinal de illustres' by Simon Vouet and Philippe de Champaigne Richelieu' (1660). The book reproduces the portraits of (although only four of the original paintings survive). great men (and women) hanging in Richelieu's 'Galerie The final 'illustrious figure' was Richelieu himself. des hommes illustres' by Simon Vouet and Philippe de Stock: 39885 Champaigne (although only four of the original paintings survive). The final 'illustrious figure' was 115. [France] Gilbert Mottier Lafayette. Richelieu himself. Député D'Auvergne aux Etats Généraux de Stock: 40069 1789. Duvlessi-Bertaux inv. & del. Duvlessi-Bertaux aqua 118. [Jean II Le Meingre] Joannes Boucicault fortt. c. 1798. Polemarchus Sub Carolo 5.o et Carolo 6.o [...] Mezzotint with engraving. Plate: 285 x 440mm, (11¼ x [1660] 17¼") large margins. Light foxing. Slight rubbing on Engraving with accompanying letterpress sheet, each portrait. £240 470 x 350mm (18½ x 13¾") very large margins. Some Marie Joseph Paul Yves Roch Gilbert du Motier, foxing. £240 Marquis de Lafayette (1757 - 1834). Enthusiastic about Jean II Le Meingre (1366-1421), knight and marshal of the news of the American Revolution, he left France to France. Beginning in 1384, Jean spent some twenty join George Washington's army. He quickly won the years travelling in Europe and Asia and fighting in close friendship of Washington, was wounded at numerous campaigns against pagans, Moors and the Brandywine, shared the hardships of Valley Forge, and Ottoman Empire. He combined undoubted military obtained a divisional command. After a trip to France prowess (defeating the most famous English soldiers at (1779–80), where he negotiated for French aid, he the tournament of Saint-Inglevert) with literary talents, distinguished himself in the Yorktown campaign. assisting in the 'Livre des Cent Ballades' which set out Returning to France in 1782, Lafayette was made the knight's code of chivalry. commander of the militia (later named the National From 'Les Portraits des Hommes Illustres Francois qui Guard) the day after the fall of the Bastille (July, sont Peints dans la Galerie du Palais Cardinal de 1789). In 1824–25 he visited the United States, where Richelieu' (1660). The book reproduces the portraits of he was given an hero's welcome. He became a popular great men hanging in Richelieu's 'Galerie des hommes symbol of the bond between France and the United illustres' by Simon Vouet and Philippe de Champaigne States, and his direct descendants, the Chambrun (although only four of the original paintings survive). family, are honorary U.S. citizens. The final 'illustrious figure' was Richelieu himself. Stock: 40164 Stock: 39880

116. Louis XIV. Roy de France et de Navarre. 119. [Blaise de Lasseran-Massencôme, C. le Febure Pinxit. N. Pitau Sculpsit. 1670 cum privil. seigneur de Montluc] Blasius de Monluc regis. Se vend a Paris chez N. Pitau rue St Jacques Polemarchus [...] proche les Maturins. [1660] Engraving. 515 x 395mm (20¼ x 15½"). Margins and Engraving with accompanying letterpress sheet, 17th left inscription area with repairs. Damaged. £260 century watermark; each 470 x 350mm (18½ x 13¾"), Louis XIV, King of France and Navarre (1638-1715), very large margins. Foxed. £240 half-length, wearing wig and armour. Engraved by Blaise de Lasseran-Massencôme, seigneur de Montluc Nicholas Pitau after Claude Lefèbvre (1632-75). (c.1502-77), marshal of France. Montluc famously Lefèbvre's oil is now in the New Orleans Museum of defended Siena in 1555 and held Guyenne for the king Art. during the French Religious Wars. He is most famous, Stock: 39711 however, for his book of memoirs, the 'Commentaires de Messire Blaise de Montluc' (1592), which have been described as a 'soldier's bible'. From 'Les Portraits des Hommes Illustres Francois qui 123. [Pierre Terrail, seigneur de Bayard] sont Peints dans la Galerie du Palais Cardinal de Petrus Bayard Eques Sub Car.o 8.o Lud.o 10.o Richelieu' (1660). The book reproduces the portraits of [...] great men hanging in Richelieu's 'Galerie des hommes [1660] illustres' by Simon Vouet and Philippe de Champaigne Engraving with accompanying letterpress sheet, 17th (although only four of the original paintings survive). century watermark; each 470 x 350mm (18½ x 13¾") The final 'illustrious figure' was Richelieu himself. For very large margins. Slight stain at bottom. £240 another portrait of Montluc see ref. 2093. Pierre Terrail, seigneur de Bayard (1473-1524), French Stock: 39896 soldier who distinguished himself in many years of service during the Italian Wars between 1494 and 120. Le Nouvel Opera. Boulevard des 1524. Capucines. From 'Les Portraits des Hommes Illustres Francois qui Ph. Benoist del. et lith. Fig. par même. Nantes lith. sont Peints dans la Galerie du Palais Cardinal de Carpentier Edit-Paris, quai des Augustins, 55. [n.d., Richelieu' (1660). The book reproduces the portraits of c.1875.] great men hanging in Richelieu's 'Galerie des hommes Tinted lithograph. Printed area 290 x 360mm (11½ x illustres' by Simon Vouet and Philippe de Champaigne 14¼"). £110 (although only four of the original paintings survive). The Palais Garnier, the 1,979-seat, Neo-Baroque opera The final 'illustrious figure' was Richelieu himself. house built 1861-75 for the Paris Opera, used as the Stock: 39890 setting for 'The Phantom of the Opera'. Stock: 40319 124. [Herrenhausen Gardens and Summer Palace] Maison de Plaisir d'Herrenhausen de 121. [Cardinal Richelieu] Armandus Joannes S.A Electorale de Brunswic Luneberge &c [...] du Plessis Cardinalis Dux de Richelieu [...] [parallel text in Dutch] [after Philippe de Champaigne, 1600] [anon., c.1708] Engraving with two accompanying letterpress sheets, Engraving, sheet 390 x 465mm (15¼ x 18¼"). 17th century watermark; each 470 x 350mm (18½ x Trimmed to platemark; false margin along lower edge; 13¾"), very large margins on 3 sides. Time stained. very slight central crease from front. Good impression. Trimmed nearly to image on left. £360 £290 Armand Jean du Plessis (1585-1642), Cardinal-Duke A fine view showing the Herrenhausen Gardens and of Richelieu and of Frontac, French clergyman, Summer Palace, in the Herrenhausen district of nobleman and statesman. Richelieu, who became a Hannover in Germany. The famed gardens were cardinal in 1622 and Louis XIII's chief minister in commissioned by Electress Sophia of Hanover (1630- 1642, was a shrewd statesman who played a key role in 1714) from French gardener Martin Charbonnier from the transformation of France into a modern centralized 1666. The three gardens were deliberately planned in state and helped ensure French dominance in the Thirty different styles: the Grossergarten in the French Years' War (1618-48). He was also a great patron of baroque style, the Georgengarten (now partly occupied the arts, whose achievements in this field included the by the University of Hannover) in the English style, founding of the Académie Française. and the small Berggarten, originally a vegetable garden From 'Les Portraits des Hommes Illustres Francois qui but now a famous botanical garden. sont Peints dans la Galerie du Palais Cardinal de With fourteen-point key beneath title Richelieu' (1660). The book reproduces the portraits of Stock: 40155 great men (and women) hanging in Richelieu's 'Galerie des hommes illustres' by Simon Vouet and Philippe de 125. Wiesbaden Champaigne (although only four of the original [c.1600] paintings survive). This portrait, of Richelieu himself, Engraving, platemark approx 185 x 370mm (7¼ x concluded the sequence. Champaigne painted several 14½"), large margins on 3 sides. £240 versions of the portrait, including those in the National The spa town of Wiesbaden in Germany, on the Gallery, London, and the Louvre. northern bank of the Rhine. The neighbouring city of Stock: 40070 Mainz is in the distance on the left. Stock: 39653 122. [France] Chles. De Secondat Bon. De Montesquieu. Presidt. a Mortier au Parlemt. 126. Mount Athos, in Greece, cut into the de Bourdeaux. Form of a Man who holds in his Left hand a d'Apres sa Statue Sculptee par M. Clodion, pour le Roi. City, & in his Right hand a Bason to receive all A Paris chez Duflos rue St.Victor. [n.d. c.1787] the Water that rolls down the Mountain. Engraving with hand colour. Plate: 170 x 280mm, (6¾ x 11"). Small margins. £130 Wonderful Magazine The baron de Montesquieu, social commentator and [c.1793] political thinker. Strong contemporary colour in gold Engraving with letterpress sheet, each 210 x 130mm leaf line surround. ['A.D.P.R.' (Avec Privilege Du Roi) (8¼ x 5"). Slightly time stained. £120 Dinocrates' proposal to build a city dedicated to inscribed lower right]. Stock: 40157 Alexander the Great on Mount Athos, with a colossal image of Alexander sculpted in its side. Alexander holds a building (standing for the city) in his left hand, 130. A Prospect of the City of Genoa [twenty while a river flows into the sea from above his right point key below] arm. The plan was never realized and Alexandria in [c.1750] Egypt was founded instead, as more fertile for Engraving with hand-colouring, platemark 225 x cultivating grain. This scheme was recorded by 380mm (8¾ x 15"). Small margins. £260 Vitruvius. The port of Genoa in northern Italy, with detailed key. From the 'Wonderful Magazine', an entertaining but Stock: 40231 short-lived periodical founded in 1793 by the hack writer and bookseller Henry Lemoine (1756-1812). 131. [Untitled scene of a town and lake..] The print was probably copied from a plate in the [n.d., c.1780.] Austrian architect Johann Bernard Fischer von Erlach's Sepia ink and wash drawing. Border 315 x 470mm 'Entwurf einer historischen Architektur' ('Outline of (12½ x 18½"), watermarked 'C. & I. Honig'. £230 Historical Architecture', first published 1721), the first A walled building, with trees and cow. comparative architecture of all periods and nations. For Stock: 40325 Erlach's engraving see ref. 33419. Stock: 39631 132. [Untitled landscape.] [n.d., c.1780.] 127. Miaulis se vend au profit des Grecs. Sepia ink drawing with pink wash border. Border 315 x Z Belliard 1827 Lith. de Delpech Lithographié d'après 470mm (12½ x 18½"), watermarked 'J. Honig & un portrait peint à Napolie de Romanie. Zoonen'. £230 Rare lithograph, printed area approx. 285 x 200mm A town above a lake. (11¼ x 8"). Bit dusty. £260 Stock: 40324 Andreas Vokos, nicknamed Miaoulis (1768 - 1835), Greek admiral and politician, who commanded Greek 133. Deuxième Vue d'Italie. Tiré du Cabinet naval forces from 1822 to 1827 during the Greek War de Monsieur Damery Lieutenant aux Gardes of Independence (1821-1829). He retired from his post soon to allow the British Thomas Cochrane to take Françoises over as commander, at a point in the struggle when Peint par Patel Gravé par Daulle Graveur du Roi et de Western European powers were intervening l'Academie Impériale d'Ausbourg A Paris chez Daullé significantly in the conduct of the conflict. Graveur du Roi rue du Platre St. Jacques à coté du Lithograph sold to raise money for the Greek cause, by Collége de Cornouaille [c.1750] Zéphirin Belliard (1798-1861), portrait painter and Engraving, 18th century watermark; platemark 320 x 410mm (12½ x 16") large margins. £230 lithographer who taught Honoré Daumier. Stock: 40373 Picturesque Italian landscape, probably after Pierre Patel (1648-1707) and with much in common with similar subjects by other French landscape painters 128. Plain of Philippi. such as Gaspar Dughet and Joseph Vernet. Hon. Cap.t Devereux Delt. Dickinson & Co. Lith. [n.d. Stock: 40166 c.1850.] Coloured lithograph. Sheet: 355 x 540mm. 14 x 21¼" very large margins. Paper tone in margins. £260 134. [Lago Maggiore.] Lac Majeur. The great plain of Philippi which lay to the west of the Dis. et gravée par A. Sala Laveno. [Laveno c.1840.] city where Mark Anthony and Octavian confronted the Aquatint. Sheet 185 x 250mm (7¼ x 9¾"). Trimmed to assassins of Caesar, Marcus Junius Brutus and Cassius, image on three sides. Slight repaired tear in top right. £120 at the Battle of Philippi. Stock: 39955 View of Lago Maggiore in the southern Alps, traversing the Swiss-Italian border, from above Hermitage of Santa Caterina del Sasso, looking 129. Pizza della Catterdrale in Cremona [&] towards the Borromean islands. Piazza degli Ortolani in Cremona Stock: 39772 C. Gilio Rimoldi dip. F. Citterio inc. [Cattedrale] A. Angeli inc. [Ortolani] [c.1836] 135. Famiglia di Pulcinella. Pair of aquatints, each platemark approx 345 x 430mm [Lithographed by Gatti after Gaetano Dura.] [Naples, (13½ x 17"), very large margins. Creased. £480 n.d., c.1840.] Rare pair of quality prints of Cremona in northern Hand-coloured lithograph. Sheet 210 x 240mm (8¼ x Italy, from watercolours by Carlo Gilio Rimoldi (1787- 9½"). Paper slightly toned. £65 1841). The city is particularly famous for its musical A family, all wearing the 'Pulcinella' mask and traditions, including the manufacture of high-quality costume, eating spaghetti from shallow dishes with instruments. Provenance: Torridon Lovelace/King their hands and swigging from a carafe. 'Pulcinella' is Family Stock: 39687 the Neapolitan antecessor of the 'Punch' puppet. From 'Scenes and Costumes of Life in and around Naples'. Stock: 39774

136. Zampognaro che fa ballare i burattini. 142. Rissa di Donne. [Lithographed by Gatti after Gaetano Dura.] [Naples, [after Giacomo Lenghi.] [n.d., c.1854.] n.d., c.1840.] Hand coloured lithograph. Printed area 200 x 140mm Hand-coloured lithograph. Sheet 210 x 240mm (8¼ x (8 x 5½") Old ink mss. in margin. £60 9½"). Paper slightly toned. £90 A squabble among women in a street in Naples, A street entertainer, playing bagpipes and making overlooking the bay. In the background the volcano puppets dance by agitating a string tied to his knee. Vesuvius is smoking. The zampognaro (lit. player of the zampogna, a From Lenghi's 'Raccolta di Costumi Napoletani'. traditional bagpipe of central and southern Italy) is a Stock: 39770 regular feature of Neapolitan Nativity scenes. From 'Scenes and Costumes of Life in and around Naples'. 143. A View on the River Po in Italy. From Stock: 39775 the Original Picture by Claude le Lorrain In the Collection of the Right Honourable Lord 137. Gioco di Burattini. Trevor [...] G Dura. Lit. Gatti e Dura. [Naples, n.d., c.1840.] Claude le Lorrain Pinx.t. James Mason Sculp.t. Hand-coloured lithograph. Sheet 210 x 240mm (8¼ x Published Jan. 1.st 1769 by J. Boydell Engraver in 9½"). Paper slightly toned. £65 Cheapside, London. A group of Neapolitans around a puppet booth in the Engraving, sheet 475 x 640mm (18¾ x 25¼"). Small street, watching a show featuring Pulcinella (the margins on 3 sides. Trimmed inside platemark top inspiration for the English 'Punch'. From 'Scenes and edge; good impression. £360 Costumes of Life in and around Naples'. River landscape with figures loading boats, while Stock: 39773 chairs and cases nearby show that a picnic or concert has taken place, or is about to. From John Boydell's 138. Calesso di Napoli. huge and influential series of engravings made from [after Giacomo Lenghi.] [n.d., c.1854.] 'The Most Capital Paintings in England'. Hand coloured lithograph. Printed area 200 x 140mm The source painting is here attributed to Claude (8 x 5½") Old ink mss. in margin. £70 Lorraine, although that attribution has been doubted by A Neapolitan two-wheeled cab, drawn by two horses. Marcel Röthlisberger: 'the incoherent distribution of From Lenghi's 'Raccolta di Costumi Napoletani'. the still-life motifs in the foreground - which may be Stock: 39771 due to the figure painter - is foreign to Claude; among the genre motifs, some, like the lute and the barrels, are 139. Le Bagattelle. frequent in his early work, others, like the pots with [after Giacomo Lenghi.] [n.d., c.1854.] flowers and the chairs, never appear in Claude. (..) The Hand coloured lithograph. Printed area 200 x 140mm picture may be by Claude, around 1629/31; or one of (8 x 5½") Old ink mss. in large margins. £75 the numerous fakes of the 1630's of which Baldinucci A puppet booth in a street in Naples, in which speaks (...); or from the circle of Tassi, i.e. earlier than Pulcinella, the inspiration of Punch and Judy, can be the above-mentioned works by Claude. It is unlikely seen. In the background the volcano Vesuvius is that in 1638 Claude would imitate so closely a work of smoking. a predecessor. Until more is known about the circle of From Lenghi's 'Raccolta di Costumi Napoletani'. Tassi and the beginnings of Claude, the problem seems Stock: 39767 insoluble.' Provenance: Grosvenor Stock: 39679 140. Discesa al Vesuvio. G. Lenghi. Lit. [n.d., c.1854.] 144. S. Maria Maggiore. Hand coloured lithograph. Printed area 135 x 195mm C. Berzotti dis. Roma Lit Danesi. [Rome, c.1850.] (5¼ x 7¾"). Old ink mss. in large margins. £75 Tinted lithograph, scarce. Printed area 300 x 385mm Sightseers struggling down the steep slopes of (11¾ x 15¼") very large margins. £160 Vesuvius, stumbling over the volcanic rubble. The Basilica di Santa Maria Maggiore, Rome, showing From Lenghi's 'Raccolta di Costumi Napoletani'. the facade built by Ferdinando Fuga in the 1740s. Stock: 39769 Stock: 39809

141. Salita al Vesuvio. 145. Arco di Costantino. G. Lenghi. Lit. [n.d., c.1854.] C. Berzotti dis. Roma Lit Danesi. [Rome, c.1850.] Hand coloured lithograph. Printed area 135 x 195mm Tinted lithograph, scarce. Printed area 300 x 385mm (5¼ x 7¾"). Old ink mss. in large margins. £75 (11¾ x 15¼") very large margins. Tear just entering Sightseers struggling up the steep slopes of Vesuvius, printed area on right. £130 aided over the volcanic rubble by guides. One woman The Arch of Constantine, the largest Roman triumphal is carried in a chair. arch, erected by the Roman Senate to commemorate From Lenghi's 'Raccolta di Costumi Napoletani'. Constantine I's victory over Maxentius at the Battle of Stock: 39768 Milvian Bridge in 312. Stock: 39811

146. Pantheon di Agrippa. Plate from 'Mahlerisch-radirte Prospecte von Italien' by C. Berzotti dis. Roma Lit Danesi. [Rome, c.1850.] Johann Christian Reinhart (1761 - 1847). Reinhart, a Tinted lithograph, scarce. Printed area 300 x 385mm lifelong friend of the poet Friedrich Schiller, travelled (11¾ x 15¼") very large margins. £180 to Rome in 1789 on a pension from his patron, the The Pantheon, commissioned by Marcus Agrippa Duke of Sachsen-Meiningen, and was based there for during the reign of Augustus (27 BC – 14 AD), the rest of his life. His friends in Rome included the completed by the emperor Hadrian and probably Danish sculptor Bertel Thorvaldsen. In the 1790s his dedicated about 126 AD. main source of income was through drawings and Stock: 39810 etchings such as this, published by Frauenholz in Munich and inspired by the work of Claude Lorrain 147. St Lawrence without the Gates of Rome. and Gaspar Dughet, before he received recognition as a The Mountains of the Country of the Sabines. painter after 1800. See Griffiths and Carey, 'German From an Original Picture in the possession of Printmaking in the Age of Goethe', pp.142-50; for another in the series see ref. 39506 Edward Coxe Esq.r Stock: 39743 Painted by Gaspar Poussin. Engrav'd by Mary Catherine Prestel. Published by Ant.y Molteno No 76 St. James's Street, Feb.y 1 1793 150. Veduta di Belvedere in Vaticano. Scare large aquatint printed in brown, in pencil bottom Piranese F. [n.d. c.1748.] right "The Right Honble Lord King"; sheet 550 x Etching. Plate: 200 x 125mm, (8 x 5"). Vertical crease, 670mm (21½ x 26¼"). Trimmed inside platemark. as issued. Staining. Some rubbing. £140 £650 Elevated perspective view of the Belvedere gardens in The Papal Basilica of Saint Lawrence outside the the Vatican. From the series 'Varie vedute di Roma Walls, Rome. Engraved after a painting by landscape antica e moderna'. Stock: 39965 artist Gaspar Poussin (whose works served as important models for the nascent British landscape school of the 18th century) by Maria Katharina Prestel 151. Pianta della Regia Cittá di Venezia (1747-94). Prestel was a former student of her husband Pianta di Venezia. Plan de Venice. Johann Gottlieb Prestel (1739-1808), together with Gaelato dis. Lit. Kier. Giuseppe Kier, Edit. piazza S. whom she published three collections of facsimile Marco No. 117. [n.d., c.1850.] drawings in Germany. In 1786 they separated and Lithograph. Printed area 160 x 210mm (6¼ x 8¼"), Maria Katharina moved to London, establishing herself with publisher's blind stamp. Some toning. £110 independently as an artist and printmaker specialising A plan of Venice with a 30-pint key of landmarks. in aquatint, as here. Provenance: Torridon Stock: 39735 Lovelace/King Family. Stock: 39688 152. Souvenir de Venice. Peint par Canaletto. Lit. par M. Moro. Se vend chez 148. A View of the Seat of Belvedere in Jos. A. Habnit Edit. et Propr. March. d'Objets D'Arts. Vaticano near Rome. Vue de la Maison de Place S.Marc. Procuratie vecchie No 102. [n.d., Belvedere dans la Vatican aupres de Rome. c.1840] Piranese delin. T. Bowles fecit. Publish'd according to Oblong 4to, printed boards with cloth spine; coloured Act of Parliament November, 12. 1750. London, lithographic title, and 12 plates in fine hand colour with Printed for Robt Sayer Map & Print Seller opposite gum arabic highlights, interleaved with tissue, each Fetter Lane, Fleet Street, with Habnit's blind stamp. Some spotting. £1250 Fine hand-coloured engraving, sheet 270 x 435mm Twelve fine views of the buildings of contemporary (10½ x 17"). Trimmed close to plate; small tear from Venice, despite the use of Canaletto's name on the title bottom edge. Small amount of foxing. £280 page. Bookplate of Dorothea Howard. Stock: 39734 Elevated perspective view of formal garden, buildings and surrounding landscape of the Cortile del Belvedere at the Vatican Palace in Rome. A copy in the same 153. Palazzo Grimani ora J.R. Direzione delle direction of the etching by Piranesi from the 'Varie Poste. Palais Grimani. Direction de la Poste. vedute di Roma antica e moderna' of 1741-8. For Gilio dis. Lit. Kier. Giuseppe Kier, Edit. piazza S. impression with 18th century black borders see ref. Marco No. 117. [n.d., c.1850.] 25566 Lithograph in fine hand colour with gum arabic Stock: 40232 highlights. Printed area 170 x 210mm (6¾ x 8¼"), with publisher's blind stamp, very large margins. £90 149. In villa Mecenate a Tivoli The mid-16th century Renaissance-style Palazzo C. Reinhart fc. Roma 1793 Grimani di San Luca, facing the Grand Canal, now Etching, platemark: 375 x 285mm (14¾ x 11¼"). Venice's Appeal Court. Small margins; damage to edges of bottom corners. Stock: 39766 Slight crease not visible from front. £120 Waterfall inside the domed ruins of the Villa of Maecenas in Tivoli, with (in the foreground) an artist sketching the scene and a hunter watching him. 154. Venezia. Il Molo. Le Môle. 159. Venezia. Canal Grande a Rialto. Le G. Gilio dis. Lit. Kier. Giuseppe Kier, Edit. piazza S. Grand Canal a Rialto. Marco No. 117. [n.d., c.1850.] Giovanni Pividor dis. Lit. Kier. Giuseppe Kier, Edit. Lithograph in fine hand colour with gum arabic piazza S. Marco No. 117. [n.d., c.1850.] highlights. Printed area 170 x 210mm (6¾ x 8¼"), with Lithograph in fine hand colour with gum arabic publisher's blind stamp. Very large margins soiled. highlights. Printed area 170 x 210mm (6¾ x 8¼"), with £90 publisher's blind stamp. Some surface soiling in very The pier in front of St Mark's Square, filled with large margins. £120 gondolas. A view of Venice's Grand Canal, with the Rialto Stock: 39765 Bridge. After Giovanni Pividor (1816-72). Stock: 39760 155. Venezia. Piazzetta di S. Marco dalla Piazzetta dei Leoni. 160. Venezia. Piazzetta di S. Marco. Piazzetta G. Pividor dis. Lit. Kier. Edit. [Published Venice, by St Marc. Giuseppe Kier, c.1850.] Ziegler dis. Lit. Kier. Giuseppe Kier, Edit. piazza S. Lithograph in fine hand colour with gum arabic Marco No. 117. [n.d., c.1850.] highlights. Printed area 170 x 210mm (6¾ x 8¼"), with Lithograph in fine hand colour with gum arabic publisher's blind stamp. Small tear in very large highlights. Printed area 170 x 210mm (6¾ x 8¼"), with margins. £80 publisher's blind stamp. Some surface soiling in very St Mark's Square, with the clock tower of the Mercerie large margins. £120 on the right. After Giovanni Pividor (1816-72). A view of St Mark's Square, with the Basilica and Stock: 39764 Campanile, and the columns with the statues of St Theodore and the Lion of Venice. 156. Venezia. Prigioni e Ponte della Paglia. Stock: 39759 Pividor dis. [Published Venice, by Giuseppe Kier, c.1850.] 161. Venezia. Piazzetta di S. Marco dalla Lithograph in fine hand colour with gum arabic Porta dell Carta. Piazzetta St Marc vue a la highlights. Printed area 170 x 210mm (6¾ x 8¼"), with porte della Carta. publisher's blind stamp. Very large margins spotted & Ziegler dis. Lit. Kier. Giuseppe Kier, Edit. piazza S. creased on outside. £80 Marco No. 117. [n.d., c.1850.] The Ponte della Paglia (Bridge of Hay) in Venice, built Lithograph in fine hand colour with gum arabic 1847, flanked by two prisons. Behind is the Bridge of highlights. Printed area 170 x 210mm (6¾ x 8¼"), with Sighs. After Giovanni Pividor (1816-72). publisher's blind stamp. Some surface soiling on very Stock: 39762 large margins. £80 The Porta della Carta is the ceremonial entrance to the 157. Venezia. Basilica di S. Marco. Basilique Doge's Palace, St Mark's Square. St Marco. Stock: 39763 Giovanni Pividor dis. Lit. Kier. Giuseppe Kier, Edit. piazza S. Marco No. 117. [n.d., c.1850.] 162. Cafe' Florian à Venise, Grand Place St. Lithograph in fine hand colour with gum arabic Marc. highlights. Printed area 170 x 210mm (6¾ x 8¼"), with Gio. Povidor dis. Prem. Lit. Veneta. [n.d., c.1850.] publisher's blind stamp, very large margins. £90 Lithograph. Sheet 175 x 250mm (7 x 9¾") large A view of the Basilica of St Mark, with the clock tower margins. £130 of the Mercerie on the left and the edge of the Capanile A view of Caffe Florian, reputed to be the oldest café, on the right. After Giovanni Pividor (1816-72). in the arcade of Piazza San Marco in Venice since Stock: 39761 1720. This lithograph, made to publicise the café, emphasises its cosmopolitan character by noting the 158. A View from the Bridge Realto to 'room for the reading of foreign newspapers'. Another Michaeli House shewing the House of the great landmark, the Basilica di San Marco, can be seen Germans on the right hand and on the left the on the left. Office of the Magistrates of the Revenue. Lithograph by Giovanni Pividor (d.1872). Mich.l Marieschi delin. T. Bowles fecit. London, Stock: 39824 Printed for Robert Wilkinson, 58 Cornhill, & Bowles & Carver, 69, St Pauls Church Yard. [n.d., c.1790.] 163. D. Gregoire Caraffe G. M. de Malte. Coloured engraving; J. Whatman watermark. 300 x M.C.D.LXXXI. 390mm, (11¾ x 15¼"). Cut to platemark on left. Small [Paris, 1683.] margins. £320 Coloured engraving. 155 x 105mm (6¼ x 4¼"), set in View of the Grand Canal, Venice, with the Fondaco letterpress. £160 dei Tedeschi (headquarters of the German merchants in Portrait of Gregorio Carafa (1615 – 1690), 62nd Prince the city) centre right. and Grand Master of the Order of Saint John (Knights Stock: 40320 of Malta) 1680 until his death in 1690. The sea battle underneath the portrait probably represents the Third Battle of the Dardanelles, in which the Venetian fleet, aided by seven Maltese galleys commanded by Carafa, 169. Nicholas 1st Emperor of all the Russias. gave the Ottomans their worst naval defeat since the Grand Duke Alexander Heir to the Throne. Battle of Lepanto. As Grand Master he ordered the Alexandra Empress of all the Russias. strengthening of Fort St. Angelo. [parallel text in cyrillic] From Alain Manesson Mallet's 'Description de Painted by G. Dawe Esq.re R.A. &c. &c. Drawn and L'Univers'. Engraved by J. Wright. London pub.d Aug.t 1st 1826 Stock: 40255 for the proprietor by Colnaghi & Co. Stipple and engraving, platemark 150 x 190mm (6 x 164. Arbre de Consanguinité pour Faire les 7½"). £140 Preuves de Noblesse de Chevalier de Malta. Triple portrait of the Russian sovereigns Nicholas I and [Paris, 1683.] Alexandra, and their son and heir Alexander, with view Coloured engraving. 155 x 105mm (6¼ x 4¼"), set in of the Winter Palace in St Petersburg from the river letterpress. £85 Neva. Fine engraving after George Dawe (1781-1829), A diagram illustrating how many generations of history and portrait painter. After Alexander I nobility a Knight of Malta had to prove before being (Nicholas' older brother and predecessor) noticed Dawe eligible. ('Ayeul' is 'aïeul', ancestor). From Alain working on a portrait of Prince Volkonsky in Aix in Manesson Mallet's 'Description de L'Univers'. 1818, he invited Dawe to go to St Petersburg to paint, Stock: 40257 on very profitable terms, more than 300 portraits of Russian generals who had distinguished themselves in 165. Galéres de Malthe attaquantez une the Napoleonic wars. He stayed in Russia for some ten Sultane sur les Côtes de leur Isle. years, establishing a 'portrait factory' which in addition J.A. Volaire Pinxit. A Paris chez Jean, rue Jean de to the required portraits (now part of the Hermitage Beauvais No 10. collection) issued many engravings, protected by Coloured engraving. 295 x 390mm (11½ x 15¼"); very copyright which the emperor granted to Dawe. large margins. £260 Stock: 39842 A view of Maltese galleys attacking a Turkish galleon, an odd reversal of Western and Eastern ship-building 170. [Lake view near Turku, Finland.] Vue styles. de Sjolac près de la Gymnastique. Painted by Pierre Jacques Volaire (1729-1802, also [Anon, c.1880.] known as Jacques Antoine). Watercolour, 95 x 150mm (3¾ x 6"). Glued to album Stock: 39700 sheet, with cut out watercolours of birds. Ms in pencil 'My cousins House in Finland nr Abo'. £180 166. Maltois. Attractive Victorian watercolour showing a view in [Paris, 1683.] Finland, identified by manuscript naming it as near Coloured engraving. 155 x 105mm (6¼ x 4¼"), set in Abo (the Swedish name for the city of Turku in letterpress. £85 Southwest Finland). Swedish, while still widely spoken A Maltese couple, from Alain Manesson Mallet's in Finland, was still more common in the 19th century. 'Description de L'Univers'. Stock: 39596 Stock: 40256 171. Sala de las dos Hermanas. 167. Valetta, from the Quarantine Harbour. [engraved by William Gauci after John Frederick Malta. Valetta,-dal Porto di Quarantina, Lewis.] [London: Hodgson, Boys and Graves, 1835.] Malta. Tinted lithograph with some hand colour, trimmed to L.t Allen, Rl. Engineers. W. Wallis. Fisher, Son & Co. image and laid on card but fine issue. Sheet 270 x London & Paris. [n.d. c.1841.] 330mm (10½ x 13"." £240 Steel engraving. Sheet: 280 x 190mm, (11 x 7½"). 'The Hall of the Two Sisters', from 'Lewis's Sketches Tears in lower edge. £120 and Drawings of the Alhambra: Made During a A view a of ports of Valetta with Fort Saint Elmo on Residence in Granada, in the Years 1833-4'. the shoreline. John Frederick Lewis (1804-76) RA, became known as Stock: 39798 'Spanish Lewis' to differentiate him from his artist brother, Frederick Christian Lewis ('Indian Lewis'), 168. The Cathedral Church of Antwerp. who travelled to Asia. Abbey Travel, 148. [by Wenceslaus Hollar.] [London, c.1717.] Stock: 40266 Etching. Sheet 465 x 330mm (18¼ x 13"). Trimmed to image, losing Hollar's signature, laid on old paper. 172. On the Daro, Granada. Damaged. £160 David Roberts 1836. W.G. [William Gauci.] London Originally etched by Hollar in 1649 and published in Published Nov.r 1st 1836 by Hodgson & Graves, 6, Antwerp, when the unrest of the English Civil War Pall Mall. caused him to stay in the city, this print had a Latin Tinted lithograph. Printed area 430 x 285mm (17¼ x title under the view. Pennington states that this fifth 11¼"). Repaired tear just entering image on right, state was first published by Henry Overton c.1717. bottom left corner margin reinstated. £240 Pennington 824. A view of the river Daro, winding through the city of Stock: 39704 Granada. It was published in David Roberts's 'Picturesque Sketches in Spain', his first publication. 178. Vue prise à Meyringen contre la cascade Although the plate bears the initials of William Gauci du Reichenbach, et vers le Wetterhorn, et as lithographer, it is known that Roberts worked on Engelhorn. Canton de Berne. [In mss below every stone. image.] The success of this work enabled Roberts to finance his [Johann Peter Lamy.] [n.d., c.1830.] important excursion to Egypt and the Holy Land. Very fine hand coloured aquatint. Sheet: 195 x 165mm, Abbey Travel 152. (7¾ x 6½"). Trimmed £190 Stock: 39713 A view of the Richenbach Falls from the town of Meiringen in the canton of Bern. The Reichenbach 173. Vue du château de Chillon, en venant de Falls were made famous by Sir Arthur Conan Doyle as Villeneuve au Canton de Vaud. the site where Sherlock Holmes faked his own death. [Johann Peter Lamy.] [n.d., c.1830.] Stock: 40388 Very fine hand coloured aquatint. Sheet: 195 x 165mm, (7¾ x 6½"). Trimmed £130 179. [Ascent of Mont Blanc.] A view of the Chillon Castle on the banks of Lake [George Baxter.] [n.d., c. 1855.] Geneva, the castle was used as a setting for works by Baxter print, printed in oil colours. Sheet: 170 x both Lord Byron and Henry James. 120mm, (6½ x 4¾"). Trimmed. £260 Stock: 40392 A scene showing a group of men climbing Mont Blanc. From George Baxter's series of four views of the 174. Vue de Tonnon, sur le Lac de Genève. 'Ascent of Mont Blanc', taken from drawings made by Publish'd May 2 1791 by Tho.s Gowland. John MacGregor who climbed the mountain in 1853. Etching with very fine hand-colouring, 18th century Stock: 40402 watermark; sheet 195 x 275mm (7¾ x 10¾"). Trimmed. £220 180. Concert Rustique ou la cabanne du Thonon-les-Bains, a town in the Haute-Savoie Giesbach sur les bords du lac de Brienz. department of France, situated on Lake Geneva. [Johann Peter Lamy.] [n.d., c.1830.] Stock: 39645 Very fine hand coloured aquatint. Sheet: 195 x 165mm, (7¾ x 6½"). Trimmed £320 175. Vue Générale de Genève, prise du A charming view in a rustic cabin on the banks of Lake nouveau Port de Rive. Brienz in which a family sit and sing and play music. Briquet et Fils, Editeur a Genéve. Th. Muller lith. Imp. Stock: 40391 Lemercier. [n.d., c.1850.] Coloured lithograph. Sheet size: 140 x 200mm (5½ x 181. Réfectoire des étrangers, dans l'hospice 8"). Repaired tear. £160 du grand S.t. Bernard. View of Geneva, the second most populous city in [Johann Peter Lamy.] [n.d., c.1830.] Switzerland (after Zurich). Not in de Loes, 'Geneva as Very fine hand coloured aquatint. Sheet: 195 x 165mm, seen in prints and watercolours' (7¾ x 6½"). Trimmed £140 Stock: 39847 An interir view of the refectory of the Great St Bernard Hospice, in which several figures eat and converse. 176. Appartement du reverend père prieur de There has been a hostel at the Great St Bernard Pass l'hospice du grand St Bernard. [In mss below since the 9th century, built for the protection of image.] travellers crossing the alps. It was at the hospice that [Johann Peter Lamy.] [n.d., c.1830.] the St Bernard dog breed was created, bred to help with Very fine hand coloured aquatint. Sheet: 195 x 165mm, mountain rescues in the treacherous terrain. (7¾ x 6½"). Trimmed. £120 Stock: 40390 An interior scene in the rooms of the prior of the Great St Bernard Hospice. There has been a hostel at the 182. Le Staubbach dans la vallée de Great St Bernard Pass since the 9th century, built for Lauterbrunnen avec la vue sur le mittaghorn the protection of travellers crossing the alps. It was at au canton de Berne. [title in ms.] the hospice that the St Bernard dog breed was created, [Johann Peter Lamy.] [n.d., c.1830.] bred to help with mountain rescues in the treacherous Fine hand coloured aquatint. Sheet: 195 x 165mm, (7¾ terrain. x 6½"). Trimmed £140 Stock: 40387 A view of the Satubbach Falls in the Bernese Oberland,

the waterfall drops 300m from a hanging valley. 177. Vue de la Joungfrau sur la Wengen Alp. Stock: 40393 Canton de Berne. [Johann Peter Lamy.] [n.d., c.1830.] 183. Vue de la Source de l'Arveron. Very fine hand coloured aquatint. Sheet: 195 x 165mm, [Anon., c.1820] (7¾ x 6½"). Trimmed £140 Etching with fine hand-colouring, sheet 275 x 320mm A view of the Jungfrau, one of the largest summits of (10¾ x 12½"). Trimmed. £260 the Bernese Alps. A view of the Arveyron river emerging from the Mer Stock: 40389 de Glace, before merging with the Arve in Chamonix. It shows the grotto-like vault from which the river once emerged, painted by J.M.W. Turner in his 'Source of 190. La dot d'une paysanne lucernoise the Arveron in the Valley of Chamouni Savoy', 1816. [Anon, c.1830] For similar view see ref. 33789. Rare lithograph with very fine hand colouring, sheet Stock: 39643 215 x 340mm (8½ x 13½"). £460 Newly-married couple from the Canton of Lucerne, 184. Paysanne bernoise des environs de la Switzerland, in a cart carrying the bride's dowry. ville. Stock: 39651 [Anon, c.1805] Etching with fine hand-colouring, sheet 220 x 140mm 191. La noce Lucernoise. (8½ x 5½"). Trimmed. £95 [Anon, c.1830] Peasant girl from the outskirts of Bern in Switzerland, Rare lithograph with very fine hand colouring, sheet holding a pitchfork with workers gathering hay bales in 210 x 310mm (8¼ x 12¼"). Some staining. £360 background. Wedding celebrations in the Canton of Lucerne, Stock: 39637 Switzerland Stock: 39650 185. Vue de Fluelen. Dessiné d'après nature par J. Wetzel. Gravé par F. Hegi 192. Bergér d'Oberhasli, tenant la trompe des [n.d., c.1820] Alpes. Fine aquatint printed in colour, sheet 215 x 280mm G.L. 1805 [in image lower left] (8½ x 11"). £220 Etching with fine hand-colouring, sheet 220 x 140mm Distant view of the municipality of Flüelen in the (8½ x 5½"). Trimmed. £150 canton of Uri, Switzerland, with Lake Lucerne in the Shepherd from the Hasli region of Switzerland in the foreground. Canton of Bern, holding an Alpine horn. From a series of landscapes after Swiss artist Johann Stock: 39638 Jakob Wetzel (1781-1834). See also refs. 31933-4. Stock: 39639 193. [Alpine shepherd scene] [Gabriel Lory, c.1814] 186. Paysanne Freibourgeoise, de la partie Etching and aquatint with very fine hand-colouring, romande du Canton. sheet 275 x 370mm (10¾ x 14½"). Trimmed. £450 [Anon, c.1805] Shepherd milking a cow while a shepherdess holds a Etching with fine hand-colouring, sheet 220 x 140mm bucket with city in background. Alpine scene by (8½ x 5½"). Trimmed; nicked upper right. £80 Gabriel Lory, the younger (1784-1846), Swiss painter, Peasant girl from the French-speaking part of the watercolourist and engraver. Lory's wife Louise de Canton of Fribourg, in the west of Switzerland. Meuron supervised the production and colouring of Stock: 39636 Lory's prints while the artist travelled abroad in search of commissions. In 1814, around the time this print 187. Paysanne de Gouggisberg. was made, Lory arrived in England via Guernsey [Anon, c.1805] (Ackermann published an English translation of Lory's Etching with fine hand-colouring, sheet 220 x 140mm popular 'Voyage pittoresque de Genève à Milan par le (8½ x 5½"). Trimmed. £95 Simplon' in 1820. Peasant girl from the municipality of Guggisberg in the Stock: 39642 canton of Bern, Switzerland. In the early 19th century Guggisberg was a popular tourist destination because 194. Vue de Stanzstad. of its mountain views. Dessiné d'après nature par J. Wetzel. Gravé par F. Hegi Stock: 39635 Publié par Orell Fussli & Comp. à Zurich. Aquatint printed in colour, sheet 215 x 275mm (8½ x 188. Interlaken. 11"). Trimmed. £190 [Anon., c.1805] The village of Stansstad in the canton of Nidwalden, Etching with hand-colouring, sheet 95 x 135mm (3¾ x Switzerland. It overlooks Lake Lucerne. 5¼"). Trimmed to image and title; glued to backing From a series of landscapes after Swiss artist Johann sheet. £60 Jakob Wetzel (1781-1834). See also refs. 31933-4. The district of Interlaken in the canton of Bern in Stock: 39649 Switzerland; cattle in foreground. Stock: 39634 195. Vue prise du Chateau de Thoun. London, Published May 2d 1804 by Charles Richards, 189. Vue du Lac de Geneve. No 349 Strand. [probably published 1791 by Thomas Gowland.] Etching and aquatint with fine hand-colouring, sheet Etching with hand-colouring, 18th century watermark; 220 x 310mm (8¾ x 12¼"). Trimmed. £180 sheet 255 x 320mm (10 x 12½"). Trimmed. £360 View from Thun Castle in the Canton of Bern, View on lake Geneva, on the north side of the Alps Switzerland. The castle was built by the Dukes of between Switzerland and France. Zährigen c.1200 and is now a castle museum and Swiss Stock: 39648 heritage site of national significance. Stock: 39640 196. The Old House at Longwood St. Helena Plate 4 from a set of six tinted lithographs after (In Which Napoleon Lived and Died). Pl.2. Lieutenant Frederick Rice Stack, 'Souvenir of the From Nature by Lieut. F.R. Stack_Chas. Haghe lith. Emperor Napoleon, consisting of six drawings made in Day & Son Lith.rs to The Queen. Published by Day & the Island of Saint Helena..' Son, 17 Gate Street, Lincolns Inn Fields, London. A attractive scene on the island of Saint Helena [1859.] associated with the last days of Napoleon Bonaparte Tinted lithograph. Sheet size: 285 x 370mm (11¼ x (1769 - 1821), who was exiled to the island in 1815 14½") large margins. Crease. £90 and died at Longwood House. Titles in English and Plate 2 from a set of six tinted lithographs after French. Lieutenant Frederick Rice Stack, 'Souvenir of the Stack is known to have served with the Saint Helena Emperor Napoleon, consisting of six drawings made in regiment as a Lieutenant from January 1842 until he the Island of Saint Helena..' was promoted to Captain on 5 August 1853. He A attractive scene on the island of Saint Helena transferred to the 65th regiment and subsequently associated with the last days of Napoleon Bonaparte served in New Zealand from 1857 until 1862. He is (1769 - 1821), who was exiled to the island in 1815 now perhaps best known for his 'Views in the Province and died at Longwood House. Titles in English and of Auckland, New Zealand'. Abbey Travel: 319. British French. Library: 003471878. Stack is known to have served with the Saint Helena Stock: 39978 regiment as a Lieutenant from January 1842 until he was promoted to Captain on 5 August 1853. He 199. The Tomb of Napoleon, St. Helena (Since transferred to the 65th regiment and subsequently the Removal of His Remains). Pl.5. served in New Zealand from 1857 until 1862. He is From Nature by Lieut. F.R. Stack, Chas. Haghe lith. now perhaps best known for his 'Views in the Province Day & Son Lith.rs to The Queen. Published by Day & of Auckland, New Zealand'. Abbey Travel: 319. British Son, 17 Gate Street, Lincolns Inn Fields, London. Library: 003471878. [1859.] Stock: 39976 Tinted lithograph. Sheet size: 285 x 370mm (11¼ x 14½") large margins. Repaired tear. £90 197. The "Briars", at St. Helena (Where Plate 5 from a set of six tinted lithographs after Napoleon Lived After His Arrival During the Lieutenant Frederick Rice Stack, 'Souvenir of the Preparation of the House at Longwood.) Pl.1. Emperor Napoleon, consisting of six drawings made in From Nature by Lieut. F.R. Stack_Chas. Haghe lith. the Island of Saint Helena..' Day & Son Lith.rs to The Queen. Published by Day & A attractive scene depicting the Tomb of Napoleon on Son, 17 Gate Street, Lincolns Inn Fields, London. the island of Saint Helena, associated with the last days [1859.] of Napoleon Bonaparte (1769 - 1821), who was exiled Tinted lithograph. Sheet size: 285 x 370mm (11¼ x to the island in 1815 and died at Longwood House. 14½") large margins. Bad repaired tear. £60 Titles in English and French. Plate 1 from a set of six tinted lithographs after Stack is known to have served with the Saint Helena Lieutenant Frederick Rice Stack, 'Souvenir of the regiment as a Lieutenant from January 1842 until he Emperor Napoleon, consisting of six drawings made in was promoted to Captain on 5 August 1853. He the Island of Saint Helena..' transferred to the 65th regiment and subsequently A attractive scene on the island of Saint Helena served in New Zealand from 1857 until 1862. He is associated with the last days of Napoleon Bonaparte now perhaps best known for his 'Views in the Province (1769 - 1821), who was exiled to the island in 1815 of Auckland, New Zealand'. Abbey Travel: 319. British and died at Longwood House. Titles in English and Library: 003471878. French. Stock: 39977 Stack is known to have served with the Saint Helena regiment as a Lieutenant from January 1842 until he 200. James Town, St Helena, looking to was promoted to Captain on 5 August 1853. He Ladder Hill Barracks. transferred to the 65th regiment and subsequently J. Wathen del.t. J. Clark direx.t. London Published by served in New Zealand from 1857 until 1862. He is Black, Parry & Co, and Nichols & Co, 1814. now perhaps best known for his 'Views in the Province Hand coloured aquatint. Printed area 240 x 150mm of Auckland, New Zealand'. Abbey Travel: 319. British (9½ x 6"), on Whatman paper watermarked 1814. Library: 003471878. £140 Stock: 39979 Jamestown, the capital of St Helena, showing the path up Ladder Hill. 198. The New House at Longwood, St. Helena From James Wathen's 'Journal of a voyage, in 1811 (Built for Napoleon). Pl.4. and 1812, to Madras and China, returning by the Cape From Nature by Lieut. F.R. Stack_Chas. Haghe lith. of Good Hope and St. Helena' 1814. Abbey Travel 517. Day & Son Lith.rs to The Queen. Published by Day & Stock: 39776 Son, 17 Gate Street, Lincolns Inn Fields, London. [1859.] Tinted lithograph. Sheet size: 285 x 370mm (11¼ x 14½") large margins. £160 201. Col.l Doveton's House, near Sandy Three men: one with spear, another with a bottle in one Ridge, St Helena. hand and balancing wood on his head with the other; J. Wathen del.t. J. Clark direx.t. London Published by the third man sits holding a type of horn and pole. Black, Parry & Co, and Nichols & Co, 1814. Published in Giulio Ferrario's 'Le Costume Ancien et Hand coloured aquatint. Printed area 240 x 150mm Moderne ou Histoire du gouvernement, de la milice, de (9½ x 6"). £140 la religion, des arts, sciences et usages de tous les A house under rocky cliffs on St Helena. William peuples anciens et modernes d'après les monuments de Doveton entertained Napoleon at his house during his l'antiquité et accompagné de dessins analogues au sujet exile and, when he visited England to be knighted by par le Docteur Jules Ferrario'. George IV, petitioned that the former emperor be Stock: 39973 moved to a healthier residence. From James Wathen's 'Journal of a voyage, in 1811 205. [African Austral.] 61. and 1812, to Madras and China, returning by the Cape A. Biasoli inc. [Milan: Antonio Fortunato Stella, 1816- of Good Hope and St. Helena' 1814. Abbey Travel 517. 27.] Stock: 39777 Coloured aquatint with very large margins, publisher's stamp to lower right. Plate: 172 x 235mm, (6½ x 9¼"). 202. [8 plates from 'The Geognosy of the Some creasing and marks. £140 island of St Helena'.] The Coast near Two African guards standing holding shields, one Thompson's point. No. 1. [&] Cavern at holds an axe and the other a spear. They both sport Thompson's point. No. 2. [&] Flagstaff & wicker head-pieces; ships seen on the river behind. Published in Giulio Ferrario's 'Le Costume Ancien et Barnhills with Sugar-loaf in the distance, Moderne ou Histoire du gouvernement, de la milice, de supposed to have formed three sides of a la religion, des arts, sciences et usages de tous les Crater. No. 3. [&] Basaltic-strata in the Barn peuples anciens et modernes d'après les monuments de No. 5. [&] The Asses Ears. Lott's Wife. No 7. l'antiquité et accompagné de dessins analogues au sujet [&] Lott No. 8. [&] The Chimney No. 9. [&] par le Docteur Jules Ferrario'. Sandy Bay No 10. Stock: 39974 R.F. Seale del.t. M. Gauci lith. [All but Pl 1] Printed by Graf & Soreb. London, Published by Ackermann & 206. [Africa.] Amóchi Galla. Né à Enarea et Co., 96, Strand. [1836.] agé d'environ neuf ans. Dr. Pritchard's Eight coloured lithographs (of 11 full-page plates), no Natural History of Man. text. Each sheet 360 x 530mm (14¼ x 21"). One plate London, Published by H. Bailliere, 1842. with a tear in the margin. £1250 Hand coloured aqautint. Sheet size: 235 x 145mm (9¼ Eight illustrations of the unusual geological sights of St x 5¾"). £60 Helena, from Robert F. Seale's 'The Geognosy of the A portrait of a Galla boy born at Enarea, Ethiopia and Island of St. Helena, Illustrated in a Series of Views, aged about 9 years old. Plans, and Sections'. The Subscriber's list had 104 From 'Natural History of Man' by Dr James Cowles names, including notable geologists such as Pritchard. In the Museum of New Zealand. Murchison, Buckland and De La Bechi, and a copy Stock: 40018 was in the library of Darwin's ship H.M.S. Beagle. Seale was born on the island and later in the employ of 207. Tayadaneega. the East India Company worked under Henry Brooke, [Brodtmann.] [Zurich, c.1827.] perhaps the island’s best known historian. In 1836 he Tinted lithograph. Sheet: 205 x 280mm (8 x 11"). was appointed first Colonial Secretary under the Trimmed, laid on album sheet. £95 Crown, but was dismissed in 1838 and died suddenly Thayendanegea or Joseph Brant (1743-1807) was a in the following year. Mohawk military and political leader, based in present- Stock: 40386 day New York, who was closely associated with Great Britain during and after the American Revolution. He 203. Karnac. Nov.r 27th 1838. met many of the most significant figures of the time, David Roberts. R.A. L. Haghe Lith. London, including George Washington and King George III. Published F. G. Moon, 20 Threadneedle Street, March In 1775 he travelled to London to gain assurance that 1st. 1847. Mohawk support for the British cause would be Coloured lithograph. Sheet: 430mm x 610mm, (17 x rewarded by fair treatment in respect of land rights. 24"). Uncut. Some papertone around edges. £980 When the treaty of 1783 and the formation of the A view of the ruins colossal Ancient Egyptian temple United States of America failed to protect native lands, complex of Karnac in Egypt, with several figures at the Brant negotiated territory along the Grand River on the base of the columns. north shore of Lake Erie for the Iroquois people (of Stock: 40169 whom the Mohawks were a part). From Heinrich Rudolf Schinz's "Naturhistorische Abbildungen der 204. [African Austale.] Saeugethiere". A. Biasoli inc. [Milan: Antonio Fortunato Stella, 1816- Stock: 39929 27.] Coloured aquatint with very large margins; publisher's stamp to lower right. Plate: 171 x 235mm, (6¾ x 9¼"). £110 208. [Niagara Falls from Goat Island.] 212. Mojave Cañon. Colorado Exploring E.C. Bull. [n.d., c.1860.] Expedition. General Report - Plate III. Very scarce lithograph. 290 x 380mm (11½ x 15"). J.J. Young from a sketch by H.B. Mollhausen. Lith. of Several small holes, paper toned. Slight creasing. Sarony, Major & Knapp, 449 Broadway, N.Y. £230 [Washington: Government Printing Office. 1861.] An untitled view of Niagara Falls from Goat Island, Tinted lithograph. Printed area 165 x 220mm (6½ x possibly an amateur print. Ex: Collection of Hon. 8¾"). Tear in right margin. £75 Christopher Lennox-Boyd. A view looking along the Colorado River, with Stock: 40270 precipitous cliffs, a steamer on the river. From the 'Report Upon The Colorado River of the 209. [San Sebastian quarter, Rio de Janeiro] West, Explored in 1857 and 1858 By Lieutenant Fumagalli f [Milan: Antonio Fortunato Stella, 1816- Joseph C. Ives, Corps Of Topographical Engineers, 27.] Under The Direction Of The Office Of Explorations Hand-coloured aquatint; publisher's blindstamp. Plate And Surveys, A.A. Humphreys, Captain Topographical 180 x 240mm (7 x 9½"), very large margins. £130 Engineers, In Charge.' Street scene in Rio de Janeiro, Brazil, with sedan Stock: 39917 chairs. Published in Giulio Ferrario's 'Le Costume Ancien et 213. Dead Mountain, Mojave Valley. Moderne ou Histoire du gouvernement, de la milice, de Colorado Exploring Expedition. General la religion, des arts, sciences et usages de tous les Report - Plate IV. peuples anciens et modernes d'après les monuments de J.J. Young from a sketch by H.B. Mollhausen. Lith. of l'antiquité et accompagné de dessins analogues au sujet Sarony, Major & Knapp, 449 Broadway, N.Y. par le Docteur Jules Ferrario'. [Washington: Government Printing Office. 1861.] Stock: 39663 Tinted lithograph. Printed area 165 x 220mm (6½ x 8¾"). £75 210. Charleston, South Carolina. A snow-covered peak, apparently an invention of the W.H. Brooke, F.S.A. T.A. Prior. [n.d. c.1860.] artist, Balduin Möllhausen, as it resembles the view of Engraving. Plate: 230 x 150mm, (9 x 6"). Small Chimborazo by his hero Humboldt. Lieutenant Amiel margins. £75 W. Whipple, on whose 1853-4 expedition to plan an A view of Charleston, South Carolina, with various intercontinental railroad Möllhausen served, said that ships and paddle steamer seen in the harbour; St the only thing he painted accurately was a Navajo Michael's and St Philip's church spires can be seen blanket. behind. Engraved around the time of the American From the 'Report Upon The Colorado River of the Civil War, in which the city played an important role. West, Explored in 1857 and 1858 By Lieutenant Stock: 39918 Joseph C. Ives, Corps Of Topographical Engineers, Under The Direction Of The Office Of Explorations 211. Cane Brake Cañon, From near Camp 16. And Surveys, A.A. Humphreys, Captain Topographical Colorado Exploring Expedition. General Engineers, In Charge.' S.J. Pyne: How the Canyon Report - Plate II. Became Grand: A Short History. J.J. Young from a sketch by F.W. Eglofstein. Lith. of Stock: 39919 Sarony, Major & Knapp, 449 Broadway, N.Y. [Washington: Government Printing Office. 1861.] 214. The Needles (Mojave Range). Colorado Tinted lithograph. Printed area 165 x 220mm (6½ x Exploring Expedition. Geology - Plate II. 8¾"). £75 J.J. Young from a sketch by H.B. Mollhausen. Lith. of A view looking along the Colorado River, surrounded Sarony, Major & Knapp, 449 Broadway, N.Y. by towering rock formations, a steamer on the river, [Washington: Government Printing Office. 1861.] from a sketch by Baron Frederick W. von Eglofstein Tinted lithograph. Printed area 165 x 220mm (6½ x (1824-85), famed for being the first person to employ 8¾"). Tears in inscription area. £75 ruled glass screens, together with photography, to A distinctive group of rock pinnacles above the Topock produce engravings, and his superbly accurate relief Gorge on the Colorado River, on the northwestern map of the Grand Canyon. extreme of the Mohave Mountains. A band of native From the 'Report Upon The Colorado River of the Americans are about to swin across the river. West, Explored in 1857 and 1858 By Lieutenant From the 'Report Upon The Colorado River of the Joseph C. Ives, Corps Of Topographical Engineers, West, Explored in 1857 and 1858 By Lieutenant Under The Direction Of The Office Of Explorations Joseph C. Ives, Corps Of Topographical Engineers, And Surveys, A.A. Humphreys, Captain Topographical Under The Direction Of The Office Of Explorations Engineers, In Charge.' And Surveys, A.A. Humphreys, Captain Topographical Stock: 39913 Engineers, In Charge.' Stock: 39922

215. Camp - Colorado Plateau. Colorado 221. A View of the South Face of the Morro Exploring Expedition. General Report - Plate Castle taken from the Town. December 1762 VII. by the Hon'ble Wm. Harcourt. J.J. Young from a sketch by H.B. Mollhausen. Lith. of Etched 1764 by Nuneham. Sarony, Major & Knapp, 449 Broadway, N.Y. Etching. Platemark: 245 x 365mm (9½ x 14¼"), very [Washington: Government Printing Office. 1861.] large margins. Uncut. £280 Tinted lithograph. Printed area 165 x 220mm (6½ x A view of Morro Castle, a fortress guarding the 8¾"). £75 entrance to Havana bay in Cuba. Juan Bautista A camp in a snow-covered clearing. Antonelli, an Italian engineer, was commissioned to From the 'Report Upon The Colorado River of the design the structure. When it was built in 1589, Cuba West, Explored in 1857 and 1858 By Lieutenant was under the control of Spain. The castle, named after Joseph C. Ives, Corps Of Topographical Engineers, the biblical Magi, was later captured by the British in Under The Direction Of The Office Of Explorations 1762. And Surveys, A.A. Humphreys, Captain Topographical Field Marshal William Harcourt, 3rd Earl Harcourt Engineers, In Charge.' (1743 - 1830) was an English nobleman and soldier. Ex Stock: 39921 collection of the Hon. Christopher Lennox-Boyd. Stock: 40040 216. Shore on Lower Colorado. Colorado Exploring Expedition. Geology - Plate I. 222. [Black slaves pulling a rudimentary J.J. Young from a sketch by H.B. Mollhausen. Lith. of cart.] This picture is a specimen of the carts in Sarony, Major & Knapp, 449 Broadway, N.Y. [Rio] the [***] in 1832. [Washington: Government Printing Office. 1861.] [c.1832.] Tinted lithograph. Printed area 165 x 220mm (6½ x Very fine ink and watercolour sketch. Sheet 155 x 8¾") large margins. £75 245mm (6 x 9¾"). Top corners torn. £450 A view from the Colorado River, looking up to Negro slaves pulling a cart piled with casks and crates, towering rock formations. probably rum and sugar. From the 'Report Upon The Colorado River of the Stock: 39954 West, Explored in 1857 and 1858 By Lieutenant Joseph C. Ives, Corps Of Topographical Engineers, 223. Sir Walter Raleigh's Conquest of the Under The Direction Of The Office Of Explorations City of St Joseph in the Isle of Trinidad. And Surveys, A.A. Humphreys, Captain Topographical Engrav'd for the Universal Magazine 1750 for J. Engineers, In Charge.' Hinton at the Kings Arms in St. Pauls Church Yard Stock: 39909 London. Engraving. Plate: 230 x 200mm, (9 x 8"). Repaired 217. An Old House Florida damage in corners. Vertical crease as normal. £120 L.K. Harlow [c.1900] St. Joseph (founded 1592 by Antonio de Berrio) is the Etching, platemark 90 x 140mm (3½ x 5¾"). £70 oldest town in Trinidad and Tobago. Originally named Etching by Louis Kinney Harlow (1850-1913). San José de Oruña, it served as the capital of Spanish Stock: 39588 Trinidad between 1592 and 1783. It was set on fire by Sir Walter Raleigh (c.1552 – 1618). Although the hilly 218. [Clock Tower, Princeton] and sometimes muddy terrain did not meet the E. Parsons. 19/2/27 [in pencil]. expectations of some of the visiting Governors, San Etching. Limited edition of 6. Platemark: 230 x 175mm José still remained the capital during Spanish rule until (9"x7") very large margins. £95 1784, when Governor Don José Maria Chacon declared A view of the clock tower at Princeton. Puerto de España (Port-of-Spain), the new capital. Stock: 40133 For the Universal Magazine. Stock: 39956 219. [Clock Tower, Princeton] E. Parsons. [n.d., c.1927.] 224. Festin du Gouverneur de Mocka. Etching. Limited edition of 6. Platemark: 230 x 175mm [parallel text in Dutch] (9"x7") very large margins. £95 Cochin fil. inventit. J.v. Schley sculp. [c.1750] A view of the clock tower at Princeton. Engraving, platemark 215 x 145mm (8½ x 5¾") very Stock: 40134 large margins. £95 Feast at the governor's residence in the port city of 220. [Clock Tower, Princeton.] Mocha (or Mokha) in Yemen, a major marketplace for [E. Parsons.] 19/2/27 [in pencil]. coffee during the 18th century. The Mocha coffee bean Etching. Limited edition of 6. Platemark: 230 x 175mm takes its name from the city because it was originally (9"x7") very large margins. £95 only available there, and sold only after roasting to A view of the clock tower and entrance arch at prevent propagation. Mocha Princeton, now the Blair and Buyers Residence Halls Stock: 40225 for students. Stock: 40132

225. [Canton.] China Street, with part of the accompanied Macartney, and his watercolours were the European Factories, Canton. basis for subsequent prints such as this one. I. Wathen del.t. I. Clark direx.t. London, Published by Stock: 40044 Black, Parry & C.o. and Nichols & C.o. 1814. Handcoloured aquatint. Sheet: 270 x 210mm, (10½ x 230. Hong-Kong, from Kow-loon. Hong- 8¼"). Trimmed. £140 Kong, vue prise de Kow-loon. Hong-Kong, von A view of the factory district in Canton. Canton was a Kow-loon gesehen. huge trading port in China and was the only Chinese Drawn by T. Allom. Sketched on the spot by Capt.n port from which Europeans were allowed to trade, all Stoddart, R.N. Engraved by S. Fisher. Fisher, Son & European factories were confined to one area of the Co. London & Paris. [n.d. c.1858.] city, this area became known as Thirteen Factories. A Hand-coloured steel engraving. Sheet: 275 x 200mm, view from James Wathen's (1751-1828) 'Journal of a (10¾ x 8"). £120 Voyage to India and China' (London, 1814, 2vols.) A view of Kowloon, the urban area in Hong Kong Stock: 40183 comprising the Kowloon Peninsula and New Kowloon. From "Chinese Empire". 226. [Canton River.] Anson's Bay, from Stock: 39786 within the Bocca Tigris. I. Wathen del.t. I. Clark direx.t. London, Published by 231. A View near the City of Lin-Tsin on the Black, Parry & C.o. and Nichols & C.o. 1814. Banks of the Grand Canal. Handcoloured aquatint. Sheet: 270 x 210mm, (10½ x W. Alexander delt. W. Byrne sculpt. London, 8¼"). Trimmed to platemark. £180 Published April 12, 1796, by G. Nicol. A view of the Canton River. From James Wathen's Engraving. Platmark: 337 x 476mm (13¼ x 18¾"), (1751-1828) 'Journal of a Voyage to India and China' very large margins. £260 (London, 1814, 2vols.) Various figures gathered on the banks of the Grand Stock: 40190 Canal, to watch the barges of British Embassy pass by. In 1792, William Alexander was appointed as one of 227. [Canton River.] View looking up the the draughtsmen to the Macartney Embassy to China. Tigris, to the 2.nd. Bar Pagoda. He accompanied the Earl of Macartney to Peking I. Wathen del.t. I. Clark direx.t. London, Published by where he made drawings for the plates which Black, Parry & C.o. and Nichols & C.o. 1814. accompanied Sir George Staunton's account of that Handcoloured aquatint. Sheet: 270 x 210mm, (10½ x embassy. 8¼"). Trimmed. £220 Stock: 40041 A view of the Canton River at Humen, called the 'Bocca Tigris' by the Portugese. From James Wathen's 232. [Macau.] Camoen's Cave, at Macoa. (1751-1828) 'Journal of a Voyage to India and China' I. Wathen del.t. I. Clark direx.t. London, Published by (London, 1814, 2vols.) Black, Parry & C.o. and Nichols & C.o. 1814. Stock: 40189 Handcoloured aquatint. Sheet: 270 x 210mm, (10½ x 8¼"). Trimmed to platemark. Slight foxing. £160 228. [Canton.] Banqueting Room at a A view of the cave named after the Portugese poet and Mandarin's House near Canton. traveller Luís de Camões (1524-1580). From James I. Wathen del.t. I. Clark direx.t. London, Published by Wathen's (1751-1828) 'Journal of a Voyage to India Black, Parry & C.o. and Nichols & C.o. 1814. and China' (London, 1814, 2vols.) Handcoloured aquatint. Sheet: 270 x 210mm, (10½ x Stock: 40192 8¼"). Trimmed to platemark. £120 A scene in which the house of a Chinese official or 233. [Macau.] Franciscan Monastry at minister is depicted, several figures can be seen in a Macoa. carefully tended garden while a meeting takes place at I. Wathen del.t. I. Clark direx.t. London, Published by a table under a large canopy on the far side of the lawn. Black, Parry & C.o. and Nichols & C.o. 1814. A view from James Wathen's (1751-1828) 'Journal of a Handcoloured aquatint. Sheet: 270 x 210mm, (10½ x Voyage to India and China' (London, 1814, 2vols.) 8¼"). Trimmed to platemark. Slight creasing. £220 Stock: 40184 A view from James Wathen's (1751-1828) 'Journal of a Voyage to India and China' (London, 1814, 2vols.) 229. Chinese Barges of the Embassy Stock: 40186 preparing to pass under a Bridge. W.Alexander del.t. W.Byrne sculp.t. London Published 234. [Macau.] Macoa, with the Church of S.t. April 12, 1796, by G.Nicol. Antonio, from Camoen's Garden. Engraving. Platemark: 340 x 480mm (13¼" x 19") I. Wathen del.t. I. Clark direx.t. London, Published by very large margins. £220 Black, Parry & C.o. and Nichols & C.o. 1814. From Sir George Staunton's 'An Authentic Account of Handcoloured aquatint. Sheet: 270 x 210mm, (10½ x an Embassy from the King of Great Britain to the 8¼"). Trimmed to platemark. £220 Emperor of China', describing the expedition of Lord A view of the Portugese, Catholic church of St. Macartney (1737 - 1806) as the first British Antonio in Macau. A view from James Wathen's ambassador to China. The artist William Alexander (1751-1828) 'Journal of a Voyage to India and China' detailed account of Æneas Anderson's voyage to China (London, 1814, 2vols.) in the service of Lord Macartney, including a list of the Stock: 40185 retinue of Lord Macartney and a Glossary of Chinese words. 235. [Macau.] Church of S.t. Lazarus near Stock: 40026 Macoa. I. Wathen del.t. I. Clark direx.t. London, Published by 239. [Tea plant] Thee ou Cha [in image] Black, Parry & C.o. and Nichols & C.o. 1814. [After Johannes Nieuhof] [Amsterdam, published by J. Handcoloured aquatint. Sheet: 270 x 210mm, (10½ x Meursium, 1668] 8¼"). Trimmed to platemark. £220 Engraving with letterpress, sheet 300 x 190mm (11¾ x A view of St Lazarus Church, built between 1557 and 7½"). £160 1560, is one of the oldest churches in Macao.From From Johannes Nieuhof's 'Dutch Embassy to the khan James Wathen's (1751-1828) 'Journal of a Voyage to of Tartary Shunzhi, the present Emperor of China', India and China' (London, 1814, 2vols.) 1668, which documented Dutch trade missions Stock: 40188 sponsored by the VOC or Dutch East India Company. In the history of travel literature Nieuhof is noted for 236. A View in the Gardens of the Imperial his eyewitness accounts of experiences in Asia and Palace in Pekin. Latin America, and he wrote in detail about the W.Alexander del.t. S.Smith sculp.t. London Published function and place of tea within the highest echelons of April 12, 1796 by G.Nicol. Chinese society. Engraving. Platemark: 295 x 390mm (11½ x 15¼"), Niehof's books were highly popular and swiftly large margins. £250 translated into several foreign-language editions, A detailed view of the gardens of the Imperial Palace including an English publication by John Ogilby. See: in Peking, Chine. Reed and Demattè, 'China on Paper: European and From Sir George Staunton's 'An Authentic Account of Chinese Works on Paper from the Late Sixteenth to an Embassy from the King of Great Britain to the Early Nineteenth Century'; Ellis, Coulton and Mauger, Emperor of China', describing the expedition of Lord 'Empire of Tea: The Asian Leaf that Conquered the Macartney (1737 - 1806) as the first British World'. Stock: 40074 ambassador to China. Stock: 40039 240. A View of the Fort of Mongheer, upon 237. A View in the Gardens of the Imperial the banks of the River Ganges. Palace in Pekin. Drawn on the Spot & Engrav'd by W. Hodges. London, W.Alexander del.t. S.Smith sculp.t. London Published Publish'd 15th Aug.st 1787 by J. Grives, 103 Strand. April 12, 1796 by G.Nicol. Aquatint printed in sepia, platemark 330 x 480mm (13 Engraving. Watermarked paper, 'J. Whatman 1794'. x 19") very large margins. £480 Platemark: 305 x 400mm (12 x 15¾") very large The fort in Munger (Monghyr) in the state of Bihar, margins. £330 India, from a drawing made by William Hodges in A view with rooftops interspersed with trees, built on a 1781, soon after it was taken by the British. It was hill with a temple at the top, overlooking a river. previously an important military outpost for the From Sir George Staunton's 'An Authentic Account of Mughals, who had substantially extended the 14th an Embassy from the King of Great Britain to the century structure. It continued to be important to the Emperor of China', describing the expedition of Lord British until Indian indpendence in 1947. Plate 29 from Macartney (1737 - 1806) as the first British Hodges' 'Select Views in India' (1785-8), which he ambassador to China. engraved from his own preparatory sketches. Stock: 40136 Hodges (1744-97) was apprenticed to the great landscape painter Richard Wilson, although his later 238. Natives of Cochin-China, Playing at work adjusted Wilson's classical landscape style to Shittlecock [sic] with their Feet. befit the very different landscapes he saw on his travels. In 1772 Hodges travelled as the official artist W. Alexander del. J. Landseer & J. Shirt sculp. on Capt. James Cook’s second voyage to the South London, Published April 12, 1796, by G. Nicol. Pacific, spending three years with the expedition. Engraving, very large margins. Platemark: 210 x Returning to England in 1775 Hodges was employed 255mm. (8¼ x 10"). £190 by the Admiralty to paint large-scale works based on A game played with a shuttlecock by the inhabitants of sketches he had made, and to supervise engravings a village in the Cochinchina region, now encompassing based on his illustrations. From 1779 to 1783 Hodges the southern part of Vietnam. was in India, where Warren Hastings was his patron, Plate 14 from Sir George Staunton's 'An Authentic and where he made the sketches and studies which Account of an Embassy from the King of Great Britain resulted in 'Select Views in India'. In 1786 he was to the Emperor of China', describing the expedition of elected to the Royal Academy, and in 1793 he Lord Macartney (1737 - 1806) as the first British published 'Travels in India' which complemented the ambassador to China. 'Select Views' with descriptions of India's climate, See item ref: 37515, 'Narrative of the British Embassy architecture and history. Abbey 416.29 to China In the Years 1792, 1793 and 1794' for a Stock: 40277 241. A View of an Insulated Rock, in the Handcoloured aquatint. Sheet: 270 x 210mm, (10½ x River Ganges, at Jangerah. 8¼"). Trimmed to platemark. £170 Drawn on the Spot & Engrav'd by W. Hodges. London, A view of Chingleput Fort, Madras. From James Publish'd 15th Aug.st 1787 by J. Grives, 103 Strand. Wathen's (1751-1828) 'Journal of a Voyage to India Aquatint printed in sepia, platemark 330 x 480mm (13 and China' (London, 1814, 2vols.) x 19") very large margins. £350 Stock: 40204 Two large granite rocks along the Ganges near Sultanganj, the larger of which is cut off from the bank 245. [Madras.] Fort S.t. George, with part of at high tide. At the time this print was made, the rock the Black Town, and Madras Roads. projecting out of the river was 'a small hermitage for a I. Wathen del.t. I. Clark direx.t. London, Published by Hindoo Fakir'. The artist William Hodges wrote: 'this Black, Parry & C.o. and Nichols & C.o. 1814. rock is always considered a place of sanctity, having Handcoloured aquatint. Sheet: 270 x 210mm, (10½ x upon it a small temple of the Hindoos, and on many 8¼"). Trimmed to platemark. £170 parts of the rock an imperfect representation in A view of the fort built by the East India Company in sculpture of some of the Hindoo deities.' Plate 32 from what is now called George Town, Madras. From James Hodges' 'Select Views in India' (1785-8), which he Wathen's (1751-1828) 'Journal of a Voyage to India engraved from his own preparatory sketches. and China' (London, 1814, 2vols.) Hodges (1744-97) was apprenticed to the great Stock: 40201 landscape painter Richard Wilson, although his later work adjusted Wilson's classical landscape style to 246. A View of Ossoore. befit the very different landscapes he saw on his Daniell Pinx.t. Edw.d. Excudit. J. C. Stadler Aquatinta. travels. In 1772 Hodges travelled as the official artist Published & Sold July 30 1804, by Edw.d. Orme, His on Capt. James Cook’s second voyage to the South Majesty's Prinsteller 59 New Bond Street , London. Pacific, spending three years with the expedition. Aquatint, printed in colour. Plate: 475 x 365mm, (18¾ Returning to England in 1775 Hodges was employed x 14½"). Laid on board. Some marking. £240 by the Admiralty to paint large-scale works based on A view of Hosur near Bangalore after a drawing by sketches he had made, and to supervise engravings Thomas Daniell (1749-1840), showing the based on his illustrations. From 1779 to 1783 Hodges encampment of Lord Cornwallis's army during the was in India, where Warren Hastings was his patron, Third Mysore War. Plate 9 from '24 Views in Indostan and where he made the sketches and studies which by William Orme'. resulted in 'Select Views in India'. In 1786 he was Stock: 40404 elected to the Royal Academy, and in 1793 he published 'Travels in India' which complemented the 247. The Burial Place of a Peer Zada, 'Select Views' with descriptions of India's climate, Anopther. architecture and history. Abbey 416.32 Colonel Ward Pinx.t. W. Orme delin. Edw.d. Orme. Stock: 40276 Excu.t. Published & Sold Jan.y.1.1803, by Edw.d. Orme, Prinsteller to His Majesty & the Royal Family, 242. [Madras.] 1.st. View from the Great 59 New Bond S.t. London. Pagoda, near Conjeveram. Aquatint, printed in colour. Plate: 475 x 365mm, (18¾ I. Wathen del.t. I. Clark direx.t. London, Published by x 14½"). Laid on board. Marking. £240 Black, Parry & C.o. and Nichols & C.o. 1814. Plate 22 from '24 Views in Indostan by William Orme' Handcoloured aquatint. Sheet: 270 x 210mm, (10½ x after drawings by Francis Swaine Ward (1736-1794) 8¼"). Trimmed to platemark. £160 showing the tomb of a Muslim holy man at Anupshahr, A view of the temple in the Chingleput disrtict of Uttar Pradesh, the large tower to the left would have Madras. From James Wathen's (1751-1828) 'Journal of served as a lamp stand. a Voyage to India and China' (London, 1814, 2vols.) Stock: 40403 Stock: 40202 248. Verite (Tippoo-Saeb.) Galerie Napoleon. 243. [Madras.] 2.d. View looking N. from the Leloy. Inv. Porret. Sc. Melle Coignet. csc. Benard, Pagoda, near Conjeveram. Editeur, Galerie Vivienne, N. 49 [n.d. c.1840]. I. Wathen del.t. I. Clark direx.t. London, Published by Rare engraving, India laid on separate sheet. 'Galerie Black, Parry & C.o. and Nichols & C.o. 1814. Vivenne' stamp bottom right. Sheet size: 260 x 175mm Handcoloured aquatint. Sheet: 270 x 210mm, (10½ x (10¼ x 7") very large margins. Publisher's blindstamp 8¼"). Trimmed to platemark. £160 lower right. £130 A view of the temple in the Chingleput disrtict of Ruler of Mysore in India from 1782-99. Within a Madras. From James Wathen's (1751-1828) 'Journal of decorative border, in profile to the right. a Voyage to India and China' (London, 1814, 2vols.) Stock: 40120 Stock: 40203

244. [Madras.] Fort and Scenery near Chingleput, from the Mount Road. I. Wathen del.t. I. Clark direx.t. London, Published by Black, Parry & C.o. and Nichols & C.o. 1814. 249. The Attack upon the Stockades near 251. [Malacca.] Mallacca, with the Hope at Rangoon by Sir Archibald Campbell, K.C.B. Anchor in the Roads, on the 28th of May 1824. I. Wathen del.t. I. Clark direx.t. London, Published by Drawn by J. Moore. Engraved by G. Hunt. Pub.d. Black, Parry & C.o. and Nichols & C.o. 1814. Nov.r 9th 1825 by Kingsbury & Co. Leadenhall Street, Handcoloured aquatint. Sheet: 270 x 210mm, (10½ x and Thos. Clay, 18, Ludgate Hill, London. 8¼"). Trimmed to platemark. £220 Fine hand coloured aquatint. Loose verso No VI Text A view of a Malacca from the sea. From James description watermark J. Whatman, Turkey Mill; Plate: Wathen's (1751-1828) 'Journal of a Voyage to India 330 x 425mm, (13 x 16¾"). Tears in plate. Bottom and China' (London, 1814, 2vols.) margins messy. £330 Stock: 40195 A column of redcoats marching towards the breach in the wooden stockade. From Series 1 of 'Views taken at 252. [Penang] D.r. Mackinnon's Residence, or near Rangoon, and Combined operations in the near the Bermah Village. Birman Empire', by Lieutenant Joseph Moore, (89th I. Wathen del.t. I. Clark direx.t. London, Published by Regiment) published in two series 1825-26, illustrating Black, Parry & C.o. and Nichols & C.o. 1814. the actions of the First Anglo-Burmese War (5 March Hand coloured aquatint. Sheet: 270 x 210mm (10½ x 1824 - 24 February 1826). Following Burmese 8¼"). Trimmed to platemark. £140 incursions into British held territory in 1821-1823 A view in Penang, Malaysia. From James Wathen's (includind the successful invasion of Assam), the (1751-1828) 'Journal of a Voyage to India and China' Governor-General, Lord Amherst, declared war on (London, 1814, 2 vols.) Burma on February 24, 1824. The British were Stock: 40197 successful in expelling the Burmese from Assam, but Bandula, the ablest of the Burmese generals, repelled a 253. [Penang.] View, looking over George British detachment at Ramu on the Chittagong frontier. Town, to the Queeda Coast. In reply, the British sent an expedition of 11,000 men I. Wathen del.t. I. Clark direx.t. London, Published by under Major-General Archibald Campbell and ship Black, Parry & C.o. and Nichols & C.o. 1814. under Captain Frederick Marryat to attack Rangoon by Handcoloured aquatint. Sheet: 270 x 210mm, (10½ x sea. The expedition resulted in the capture of Rangoon 8¼"). Trimmed to platemark. £220 on May 11, 1824, with the Burmese forces fleeing into A view looking from Penang Island, over George the jungles of Pegu. Abbey Travel: 404-6. Town to the Malaysian mainland and the area which is Stock: 39808 now Butterworth. From James Wathen's (1751-1828) 'Journal of a Voyage to India and China' (London, 250. The Attack upon the Stockades near 1814, 2vols.) Rangoon by Sir Archibald Campbell, K.C.B. Stock: 40196 on the 28th of May 1824. Drawn by J. Moore. Engraved by G. Hunt. Pub.d. 254. [Penang.] George Town, near Pulo Nov.r 9th 1825 by Kingsbury & Co. Leadenhall Street, Penang. and Thos. Clay, 18, Ludgate Hill, London. I. Wathen del.t. I. Clark direx.t. London, Published by Hand coloured aquatint. Plate: 330 x 425mm, (13 x Black, Parry & C.o. and Nichols & C.o. 1814. 16¾"). Paper tone. Small margins. £230 Handcoloured aquatint. Sheet: 270 x 210mm, (10½ x A column of redcoats marching towards the breach in 8¼"). Trimmed to platemark. £220 the wooden stockade. From Series 1 of 'Views taken at A view of George Town, now the capital of the or near Rangoon, and Combined operations in the Malaysian state of Penang. From James Wathen's Birman Empire', by Lieutenant Joseph Moore, (89th (1751-1828) 'Journal of a Voyage to India and China' Regiment) published in two series 1825-26, illustrating (London, 1814, 2vols.) the actions of the First Anglo-Burmese War (5 March Stock: 40193 1824 - 24 February 1826). Following Burmese incursions into British held territory in 1821-1823 255. [Penang.] M.r. Amee's House and Mill, (includind the successful invasion of Assam), the at Pulo Penang. Governor-General, Lord Amherst, declared war on I. Wathen del.t. I. Clark direx.t. London, Published by Burma on February 24, 1824. The British were Black, Parry & C.o. and Nichols & C.o. 1814. successful in expelling the Burmese from Assam, but Handcoloured aquatint. Sheet: 270 x 210mm, (10½ x Bandula, the ablest of the Burmese generals, repelled a 8¼"). Trimmed to platemark. £170 British detachment at Ramu on the Chittagong frontier. A view of a large house in the Malaysian state of In reply, the British sent an expedition of 11,000 men Penang. From James Wathen's (1751-1828) 'Journal of under Major-General Archibald Campbell and ship a Voyage to India and China' (London, 1814, 2vols.) under Captain Frederick Marryat to attack Rangoon by Stock: 40194 sea. The expedition resulted in the capture of Rangoon on May 11, 1824, with the Burmese forces fleeing into the jungles of Pegu. Abbey Travel: 404-6. Stock: 39807

256. Japan. Yokohama. [No. 20. Strasse in Turkish life (some of which are now in the Jokohama.] Rijksmuseum, Amsterdam), which served as the basis E. Hildebrandt. [Chromofacsimilirt von R.Steinbock for the engravings in the collection. The volume also nach der Aquarelle aus der.Sammlung 'die Reise um included transcriptions of the music which die Erde'.] [Verlag von R.Wagner, Berlin Zimmerstr. accompanied the whirling dervishes. No.92/93.] [n.d., 1871-4) Engraved by French printmaker and publisher Gérard Chromolithograph. Image size: 260 x 380mm (10¼ x Scotin I (1643 - 1715), one of a family of engravers. 15"). Laid on card as issued. £280 See Hunt, Jacob et al 'Bernard Picart and the First A view in Yokohama, Japan, from a collection of Global Vision of Religion, pp.142-6. chromolithographs after Hildebrandt's watercolours, Stock: 39665 published as 'die Reise um die Erde'. Edward Hildebrandt (1819-1869), travelled in the 260. Sauvage montant sur un arbre. Americas in the 1840s and the Far East in the 1860s. (Nouvelle hollande.) Stock: 40036 N. Maurin del. Lith:Kaeppelin et Cie. d'apres le Croquis de J. Arago. [Paris, c.1839.] 257. Hindoo Temple In The Himalayas. Lithograph. Sheet: 145 x 225mm, (5¾ x 9"). £160 W.H.K. Delt. Hanhart lith. [London: Richard Bentley, A European artist-traveller, his portfolio under his arm, 1863.] watches an aboriginal Australian climb a tree to cut Chromolithograph. Sheet: 150 x 245, (6 x 9") large down a branch with his axe. Plate to 'Souvenirs d'un margins. £70 aveugle (blind man)' by Jacques Etienne Victor Arago Plate to Captian William Henry Knight's 'Diary of a (1790 - 1855), who is probably the European figure Pedestrian in Cashmere and Thibet.' depicted. A French writer, artist and explorer, Arago Stock: 39867 joined Louis de Freycinet on his 1817 voyage around the world aboard the ship Uranie, which inspired his 258. Dervich des Indes witty 'Voyage autour du monde'. Although he lost his JB [Jean-Baptiste Vanmour] G. Scotin maj. sculp. sight in 1837, he went on travelling and writing for the Avec Privil. du Roi. [1714-5] theatre. Etching, platemark 355 x 250mm (14 x 9¾"). £160 Stock: 39821 Plate from the 'Recueil de cent estampes representant differentes nations du Levant' (1714-5). Commissioned 261. Lower Wallabi Rocks. by Marquis Charles de Ferriol, ambassador from the On Stone by W.L. Walton. From a Sketch by Coll. court of Versailles to the Sublime Porte (the central Mundy. Printed by Hullmandel & Walton. London: government of the Ottoman Empire) from 1699 to Richard Bentley, New Burlington Street, 1852. 1710, the work had a profound impact on aesthetic Tinted lithograph. Sheet: 140 x 220mm, (5½ x 8½"). notions of Turkey in eighteenth-century Europe. Repaired loss of top left and bottom right corner. £65 Ferriol brought with him to Istanbul the eighteen-year- The dramatic rock formations at Wallabi point, New old Flemish painter Jean-Baptiste Vanmour, from South Wales, Australia. Plate to Volume III of 'Our whom he commissioned at least a hundred paintings of Antipodes', published in three vols. in 1852. Turkish life (some of which are now in the Stock: 39865 Rijksmuseum, Amsterdam), which served as the basis for the engravings in the collection. The volume also 262. Kangaroo Point, Brisbane. (from Bowen included transcriptions of the music which Terrace.) accompanied the whirling dervishes. J.C. Armytage. J.C. Armytage. London Virtue & Co. Engraved by French printmaker and publisher Gérard [n.d. c.1874.] Scotin I (1643 - 1715), one of a family of engravers. Steel engraving. Sheet: 215 x 272mm, (8½ x 10¾") See Hunt, Jacob et al 'Bernard Picart and the First large margins. £60 Global Vision of Religion, pp.142-6. The view from New Farm across Kangaroo Point Stock: 39664 towards the central business district of Brisbane. The Customs House is seen as the dominant structure in 259. Indien this view while the Botanical Gardens and Queensland JB [Jean-Baptiste Vanmour] G. Scotin maj. sculp. Parliament buildings now occupy the river bank. From Avec Privil. du Roi. [1714-5] "Australia" by Edwin Carton Booth. Etching, platemark 355 x 250mm (14 x 9¾"). £160 Stock: 39790 Plate from the 'Recueil de cent estampes representant differentes nations du Levant' (1714-5). Commissioned 263. Ansicht des König Georgs-Hafens. [&] by Marquis Charles de Ferriol, ambassador from the Eingeborne von König Georgs-Hafen. (Neu- court of Versailles to the Sublime Porte (the central Holland.) government of the Ottoman Empire) from 1699 to [de Sainson pinx. Lith de J. Brodtmann.] [n.d. c.1836.] 1710, the work had a profound impact on aesthetic Lithograph. Sheet: 250 x 340mm, (9¾ x 13¼"). £180 notions of Turkey in eighteenth-century Europe. Two views of King George Sound, Western Australia. Ferriol brought with him to Istanbul the eighteen-year- Natives around a fire near to a Western White-man's old Flemish painter Jean-Baptiste Vanmour, from camp; and natives cooking and eating lizards, sat whom he commissioned at least a hundred paintings of around a fire. From a German translation of 'Voyage 266. Prince Lee Boo Second Son of Abba de la Corvette l'Astrolabe'. Thulle. Stock: 39789 Miss Keate delt. H. Kingsbury sculp. Published by G. Nichol, for Capt Henry Wilson, as the Act directs May 264. View of Sidney. 1st. 1788. Drawn from an Original Sketch by W.H. Wilson. Stipple. Plate: 185 x 255mm, (7¼ x 10") large margins Engraved by H. Bibby. The London Printing and on left bottom. Trimmed to plate on right side. £140 Publishing Company. [n.d. c.1860.] Prince Lee Boo (c.1764 - 1784), from the Palau Islands Engraving. Sheet: 275 x 190mm, (10¾ x 7½"). £140 (modern Micronesia). Captain Henry Wilson brought A view of Sydney Harbour with ships and sailing him back to England in 1783, having spent three vessels around the docking yard. Chimneys with smoke months on the islands where his vessel was billowing are seen to the right with houses to the left shipwrecked. Lee Boo died of small pox soon across the bay. afterwards. After Georgiana Keate (1770 - 1850), Stock: 39796 daughter of landscape painter George Keate (1727-97). She married John Henderson (1764 - 1843), the patron 265. A Man of the Sandwich Islands, Dancing. of Girtin and Turner and became mother of John 62. Henderson (1797 - 1878). J.Webber del. C.Grignion sc. [London, G. Nicol and T. Stock: 39851 Cadell, 1785.] Engraving, very large margins. Platemark: 300 x 210mm (11¾ x 8¼"). Uncut. £240 A Hawaiian dancer in native costume. John Webber (1751-93) travelled with Captain Cook on the Third Voyage (1776-80) as the Official Artist of the expedition, recording the explorer's death at the hand of Hawaiian natives. Stock: 40042

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