Grosvenor Prints Tel: 020 7836 1979 19 Shelton Street [email protected] Covent Garden www.grosvenorprints.com London WC2H 9JN Catalogue 100

Item 65: Saturn in his chariot by Raphael. ` Cover: Detail of item 126 Back: Detail of Item 9

Registered in England No. 305630 Registered Office: 2, Castle Business Village, Station Road, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Ra ment. C.E. Ellis. E&OE VAT No. 217 6907 49 1. La Beneficenza All' Autore delle Notti Romane e della Italiana Saffo Antonio Canova. A. Canova inv. e scolpi. Tognoli dis. Dom Marchetti inc. Gruppo in marino nel Mausoleo dell' Arciduchessa Maria Cristina in Vienna. [n.d. c. 1805]. Etching and engraving. 550 x 410mm (21¾ x 16"), with large margins. Mint. £260 Sculpture of a woman, Charity, leading a stooped old man and praying child behind her. Part of Maria Christina's (1742-1798) impressive funerary monument, commissioned by her husband Albert, the Duke of Teschen (1738-1822), of Antonio Canova (1757-1822). The print is dedicated, somewhat cryptically, to the 'author of the Roman Nights' and 'Italian Sappho'. The monument itself has been relocated and acquired by the Museo Antonia Canova, Possagno. From the Berkeley Collection, Spetchley Park. Stock: 55025

2. Sibyllae Quatuor a Raphaele Sancio Urbinate Romae in Ecclesia S. Mariae Pacis Depictae. Cumana Persica Phygia Tiburtina. Sal. Cardelli Alexandri I pensionaris sculp. [n.d., c.1770.] Engraving. 355 x 665mm (14 x 26¼"), with very large 5. [Leaf from a breviary, use of Sarum.] margins. Stains and creasing in margins. £260 [London: John Kingston & Henry Sutton, 1556.] An engraving of Raphael's fresco above the spandrel in Latin letterpress in black and red, printed on both sides. the church of Santa Maria della Pace, showing the four Sheet 225 x 165mm. £60 sybylls. From the Berkeley Collection, Spetchley Park. A leaf from ''Portiforium Seu Breuiarium, Ad Insiguis Stock: 54978 Sarisburiensis Ecclesie Vsum'', a Catholic liturgical book for praying the canonical hours according to the 3. To Thomas Brand Hollis Esq.r These Sarum Rite, printed during the reign of Catholic queen Memoirs of his Friend Thomas Hollis Esq.r are Mary I. From a copy held at Egton Bridge Chapel, North Yorkshire. See Ref: 54956, 54990, 54991. Inscribed by the Compilers. MDCCLXXX. Stock: 54992 J.B. Cipriani del. F. Bartolozzi sculp.t. Publish'd March 20th 1780. 6. Stipple and etching. 310 x 235mm (12¼ x 9¼"), with [Leaf from a breviary, use of Sarum.] margins. £280 [London: John Kingston & Henry Sutton, 1556.] The dedication to the 'Memoirs of Thomas Hollis' by Latin letterpress in black and red, printed on both sides. Francis Blackburne, featuring an female allegorical Sheets 225 x 165mm (8¾ x 6½). Taped into mount. figure of Fame, with trumpet, shield and owl. De £65 A leaf from ''Portiforium Seu Breuiarium, Ad Insiguis Vesme 1736. Stock: 53330 Sarisburiensis Ecclesie Vsum'', a Catholic liturgical book for praying the canonical hours according to the Sarum Rite, printed during the reign of Catholic queen 4. [Berlin Woolwork pattern of the Virgin Mary I. From a copy held at Egton Bridge Chapel, and Child.] 25. North Yorkshire. See Ref: 54990, 54991 & 54992 Berlin bei L.W. Wittich, Oberweill u. Jeïgerstr Eehs Stock: 54956 No 13 [n.d., c.1860]. Scarce coloured engraving. 605 x 340mm (23¾ x 7. [Leaf from a breviary, use of Sarum.] 13½") very large margins. Backed and edged with [London: John Kingston & Henry Sutton, 1556.] linen, as issued. £380 Latin letterpress in black and red, printed on both sides. An unusually large Berlin woolwork pattern, with the Sheet 225 x 165mm. £60 Virgin Mary standing on a cloud holding the Christ A leaf from ''Portiforium Seu Breuiarium, Ad Insiguis Child. From the Berkeley Collection, Spetchley Park. Sarisburiensis Ecclesie Vsum'', a Catholic liturgical Stock: 54970 book for praying the canonical hours according to the Sarum Rite, printed during the reign of Catholic queen Mary I. From a copy held at Egton Bridge Chapel, North Yorkshire. See Ref: 54956, 54991 & 54992 Stock: 54990

8. [Leaf from a breviary, use of Sarum.] Herbert Thomas Dicksee (1862-1942) was an English [London: John Kingston & Henry Sutton, 1556.] painter who specialised in paintings of dogs and Latin letterpress in black and red, printed on both sides. animals. He studied at the Slade School of Art and his Sheet 225 x 165mm. £60 first painting was exhibited in 1881. His paintings were A leaf from ''Portiforium Seu Breuiarium, Ad Insiguis usually done from life; he kept numerous dogs as pets Sarisburiensis Ecclesie Vsum'', a Catholic liturgical and frequented London Zoo. His daughter, Dorothy book for praying the canonical hours according to the was the executor of his will, which directed her to Sarum Rite, printed during the reign of Catholic queen destroy most of the plates for his etchings. From the Mary I. From a copy held at Egton Bridge Chapel, celebrated collection of Bryan & Valerie Steele. North Yorkshire. See Ref: 54956, 54990 & 54992 Stock: 54839 Stock: 54991 12. [A Pekinese asleep.] 9. Physic. HD. Herbert Dicksee [Signed in pencil.] Copyright G.B. Cipriani Inv.t. J.M. Lelattre Sculp.t. London, 1924 by Frost & Reed Ltd. (of Bristol, England) in the Published March 31st 1788 for the Proprietor, by United States of America. Palmer & Fielding, No 163 Strand. Etching, signed by the artist. 125 x 260mm (5 x 10¼"), Rare stipple, printed in brown. 180 x 165mm (7 x with publisher's blind stamps. Limited edition 100, 6½"), with large margins. Uncut. £180 plate destroyed. Framed. Unexamined out of frame. A winged cherub sitting on a cloud, holding the Rod of £980 Asclepius in his right hand, a bowl in his left. A lyre Herbert Thomas Dicksee (1862-1942) was an English rests behind him. painter who specialised in paintings of dogs and Stock: 55074 animals. He studied at the Slade School of Art and his first painting was exhibited in 1881. His paintings were 10. [A Cocker Spaniel.] usually done from life; he kept numerous dogs as pets H.D. Herbert Dickee [pencil signature]. [Frost & Reed, and frequented London Zoo. His daughter, Dorothy c.1930.] was the executor of his will, which directed her to Rare etching, signed by the artist in pencil, Frost & destroy most of the plates for his etchings. From the Reed blindstamp, limited edition 28/200. 325 x 240mm celebrated collection of Bryan & Valerie Steele. (12¾ x 9½"). Framed. Unexamined out of frame. £850 Stock: 54840 A black and white Cocker Spaniel head. Herbert Thomas Dicksee (1862-1942) was an English painter 13. Harrow __ ''Footer Field''. who specialised in paintings of dogs and animals. He Tom H Hemy 1887. W.A. Cox Sc. Painted by T.M. studied at the Slade School of Art and his first painting Hemy. Etched by Walter A. Cox. London, Published, was exhibited in 1881. His paintings were usually done Sept.r 1.st 1888, by Mess.rs Dickinson, Publishers to from life; he kept numerous dogs as pets and The Queen. 114, New Bond St, W. Copyright frequented London Zoo. His daughter, Dorothy was the registered. executor of his will, which directed her to destroy most Etching. 350 x 660mm (13¾ x 26"). Trimmed close to of the plates for his etchings. From the celebrated plate. £420 collection of Bryan & Valerie Steele. Harrow schoolboys playing 'footer' or 'Harrow Stock: 54914 Football', a unique variant of Association Football. Stock: 54699

14. View of Reading School & Playground. Dedicated by Permission To the Rev.d R. Valpy, D.D. F.A.S. and the Gentlemen of Reading School, by their very humble and respectful Servant Edmund Havell. Virginibus Sedes Fuit Haec Monialibus Aedes Hospitium Henricus Musis Donavit Amicus. Drawn by E. Havell. Engraved by R. Havell & Son. 3, Chapel Street, Tottenham Court Road. Published Oct.r 1816, by E. Havell, Frier Street, Reading. Very scarce aquatint, printed in colours and hand finished. 443 x 604mm (17½ x 25¼"). A few repairs at top. Slightly time stained. £950 A view of Reading Grammar School, in what had been 11. [Shaver, A French Bulldog Asleep.] Reading Abbey’s guest house or Hospitium, with the H.D. Herbert Dicksee [pencil signature]. [n.d., c.1920.] scholars at play ouside. The pastimes include cricket, Etching, Restricted edition of 325 proofs, plate rounders, hoops, reading and driving other boys like destroyed. 70 x 155mm (2¾ x 6"). Framed with horses, with whips. Bottom right an old woman sells publisher's title label on backboard. Slight pastries. discolouration at edges. Unexamined out of frame. Edmund Havell (1785-1864) succeeded has father £1200 Luke (b.1752) as drawing-master at the school and as owner of the family print shop in Reading. His older 18. [King's College, Cambridge.] brother was the landscape artist William (1782-1857); Sydney R. Jones. [n.d. c.1920.] the engravers of this plate were his uncle Robert (1769- Drypoint etching, final trial proof on white paper, 1832) and his son, also Robert (1793-1878), engraver signed by the artist in pencil. 305 x 200mm (12 x 8"), of most of the Audubon bird plates. with very largee margins. £260 Stock: 54916 A view of King's College Cambridge, with the portico of the Gibbs' Building and the side of the Chapel. An outline of a scholar is etched in the foreground. Sydney Robert Fleming Jones (1881-1961) was a notable watercolourist and etcher, particularly of architectural views; he also wrote several books on the English countryside and provided illustrations for several publications including The Times, Illustrated London News and The Studio. Stock: 54646

19. [King's College, Cambridge.] Sydney R. Jones. [n.d. c.1920.] Drypoint etching, signed by the artist in pencil. 305 x 200mm (12 x 8"). Framed. Unexamined out of frame. £260 A view of King's College Cambridge, with the portico of the Gibbs Building and the side of the Chapel. An 15. The Catholic College of Stonyhurst, outline of a scholar is etched in the foreground. Lancashire. Inscribed to Tho.s Weld Esq.r of Sydney Robert Fleming Jones (1881-1961) was a Lullworth Castle. notable watercolourist and etcher, particularly of Drawn by T. Stanton. Engraved by S. Middiman. [n.d., architectural views; he also wrote several books on the c.1800.] English countryside and provided illustrations for Fine etching and engraving, open letter proof. 430 x several publications including The Times, Illustrated 540mm (17 x 21¼) Several small nicks along the top London News and The Studio. margin. Some minor creasing and faint marks. £480 Stock: 54632 A view of the Jesuit college, based in a Grade I listed building in Lancashire. Founded in France in 1593, it 20. [King's College Cambridge.] moved to this site in 1794, when Thomas Weld (1750- Sydney R. Jones. [n.d., c.1920.] 1810) of Lulworth Castle (to whom this print is Drypoint etching, signed by the artist. 225 x 300mm (9 dedicated) donated the building and 30 acres to the x 11¾"). Framed. Unexamined out of frame. £320 Jesuits fleeing the French Revolution. From the A view of King's College Chapel and the Gibbs Berkeley Collection, Spetchley Park. Building, from the Cam. Stock: 55094 Sydney Robert Fleming Jones (1881-1961) was a notable watercolourist and etcher, particularly of 16. [Clare College, Cambridge.] architectural views; he also wrote several books on the Sydney R. Jones. [signed in pencil.] [n.d., c.1930.] English countryside and provided illustrations for Etching. 325 x 210mm (12 x 8¼''), with margins. £320 several publications including The Times, Illustrated One of the few images of Clare College, Cambridge, London News and The Studio. taken from the bridge over the Cam. Stock: 54629 Stock: 54645 21. [Cambridge Pembroke College.] 17. [Jesus College, Cambridge.] Sydney R. Jones. [n.d. c.1920.] Sydney R. Jones. [n.d. c.1925.] Drypoint etching, edition 100 on white paper, signed Drypoint etching, signed by the artist in pencil. 200 x by the artist in pencil. 350 x 220mm (13¾ x 8¾") with 255mm (8 x 10"), with very large margins. £260 very large margins. £280 The gatehouse of Jesus College from the walled A view of Pembroke College Cambridge, showing the passage known as the 'Chimney'. public street outside the building. Pedestrians walk the Sydney Robert Fleming Jones (1881-1961) was a cobbled streets and cyclists ride past an open top car. notable watercolourist and etcher, particularly of Sydney Robert Fleming Jones (1881-1961) was a architectural views; he also wrote several books on the notable watercolourist and etcher, particularly of English countryside and provided illustrations for architectural views; he also wrote several books on the several publications including The Times, Illustrated English countryside and provided illustrations for London News and The Studio. several publications including The Times, Illustrated Stock: 54643 London News and The Studio. Stock: 55000

22. [President's Lodge, Queens' College, England until 1784 when he travelled to Naples at the Cambridge.] invitation of Sir William Hamilton. De Vesme: 1929, Sydney R. Jones. [n.d. c.1924.] state ii of iv. Drypoint etching, signed by the artist in pencil, in Stock: 53435 pencil at top Final Trial No. 3;. 225 x 175mm (9 x 7"), with very large margins Creases in margins top & bottom. £260 The President's Lodge, dating from the 1460s, is the only substantial half-timbered building remaining in Cambridge and is Grade 1 listed. Sydney Robert Fleming Jones (1881-1961) was a notable watercolourist and etcher, particularly of architectural views; he also wrote several books on the English countryside and provided illustrations for several publications including The Times, Illustrated London News and The Studio. Stock: 54644

23. Amberley & Houghton Almanack. 1885. 26. [For the Benefit of Mr Salpietro.] Printed by Bemrose & Sons, 23 Old Bailey, London; [F. Bartolozzi inv: et sculp. 1773] and Derby. Very fine stipple with etching, proof before letters, Wood engraving and letterpress, printed in black and printed in brown. 140 x 180mm (5½ x 7"), with very red. Sheet 760 x 500mm (30 x 19¾"). Some large margins. £520 restoration, laid on archival paper. £280 Three putti on clouds decorated with laurel branches, A religious broadsheet, tailored for use in Amberley & holding music scores. Houghton, near Arundel in West Sussex. Around a The design was first used as a billhead for the benefit wood engraving illustrating a scene from Exodus, are of the Italian violinist Giovanni Salpietro, who came to various notes about local customs and rules, for London with his wife (a singer) c.1779. He was example what days baptisms are held and Post Office portrayed in 'A Sunday Concert at Dr Burney's', regulations. Underneath is a calendar, with days engraved by Bretherton after C.L. Smith. marked with a biblical quotation. Later it was used as the trade card of William Stock: 53999 Humphrey, brother of Hannah Humphrey, James Gillray's publisher and partner. De Vesme 1939, state i 24. Royal Assent to the Bill for the Repeal of of iv. the Sacramental Test. May 9th 1828. Stock: 53404 Commemoration Dinner at the Freemason's Hall, Wednesday June 18th 1828, his Royal 27. History of England. Highness the Duke of Sussex in the Chair, W.m Publish'd Oc.bre 29 1771 by J. Farrell Printer , at No 7 Smith Esq.r M.P. Deputy Chairman. PaterNosterRow Cheapside London. [1828] Engraving with old ink mms. Sheet 440 x 355mm Engraving with letterpress, signed at bottom Rob (17¼ x 14"). Trimmed within plate, folds split with Winter No 53. Sheet 440 x 300mm (17¼ x 11¾"). Laid loss, repaired tears, bottom left corner ripped off but on album paper, glue stains and browning. £280 present, mounted on card. Damaged. £180 A dinner celebrating the repeal of the requirement that A writing sheet with six scenes from Collier's 'History governmental officials take communion in the Church of England' and a maritime scene. of England, a step towards the Catholic Relief Act of Stock: 55060 1829. Stock: 54938 28. Venatio. Joan: Stradā. Academic. Fiorentin. figurauit. Raphael 25. For the Benefit of Mr Giardini. Sadeler scalp. et excud. [Venice, c.1579.] G.B. Cipriani inv. F. Bartolozzi sculp 1778. Engraving. Sheet 220 x 280mm (8¾ x 11"). Trimmed Etching and engraving. Sheet 135 x 115mm (5¼ x into plate top right, affecting title. Creasing. £380 4½"), with large margins. £230 'The Hunt'. The goddess Diana sits under a tree, a Venus Anadyomene naked and seated on a conch shell, falcon in her left hand, surrounded by hunting accompanied by Cupid (drawing his bow), with other equipment, including bows, crossbows, an arquebus cherubs holding a torch and the drapery around Venus. (musket), fishing nets and hunting dogs. In the Felice Giardini (1716 - 1796), an Italian composer and background riders are chasing deer and boars, violinist, came to London in 1751, where he was crossbowmen are shooting birds and fishermen are highly successful as a performer and society music using nets and line. Tennis racket on ground. Very teacher. For many years he served as the concertmaster early real tennis image. and director of the Italian Opera and gave solo concerts From the series 'Schema, Seu Speculum Principum'. under the auspices of close friend Johann Christian BM: 1874,0110.447. Bach (son of Johann Sebastian). He remained in Stock: 54794 29. [Landscape with Abraham and Isaac]. A Finely hand coloured etching. Sheet 535 x 410mm (21 Sua Eccellenza Il Sig.re Guiseppe Maria De x 16¼"), on card, as issued. Dusty. £350 Gerando. Barone dell' Impero, Referendario, A scarce and decorative view of the coronation Segretario Genereale del Ministro dell' ceremony with 12 numbers depicting the orders. Interno, Membro del Instituto e della Legione Whitman: 798; this state with key below not seen by Whitman. d'onore. Pietro Parboni D. D. D. Stock: 55055 Gasparo Pussino dipinse. Pietro Parboni incise. Nicola de Antoni impresse. [Rome, n.d. c.1810-1815]. Engraving. 490 x 610mm (19¼ x 24"), with large margins. Crease in bottom left corner. £350 A pastoral landscape with for figures; in the right hand of the foreground Abraham and Isaac walk up the path carrying kindling. Beyond, in the centre, are two seated figures with a donkey. After 'Landscape with Abraham and Isaac' (1665) by Gaspard Dughet (1615-1675), a student of Poussin. Dughet's successful career as a landscape artist saw him become one of the best known painters in Rome, alonside Poussin and Claude Lorrain. From the Berkeley Collection, Spetchley Park. Stock: 55089

30. [The Marriage of Isaac and Rebecca]. A. S. A la Sig.ra Principessa Alessandrina di

Dietrichstein Proshau, Lesley &. &. &. Nata 33. Receptie van S.K.H den H.Prince van Contessa di Schouvaloff Accademica di S. Orange. op zyn intrede tot London. The Luca. Pietro Parboni D. D. D. Reception of His Royal Highness the Prince of Claudio di Lorena inv. e dip. Pietro Parboni incise. Orange at his entring London. Nicola de Antoni impresse e vende in Roma N. 35 Via R.de Hooge fecit. [n.d., c.1690.] del Corso. Rome, [n.d. c.1800-1841]. Engraving. 440 x 535mm (17¼ x 21"). Trimmed and Engraving. 480 x 600mm (19 x 23¾"), with large laid on archiving paper. £680 margins. Mint. £520 A scene showing the arrival of William of Orange in A pastoral scene of people dancing and playing London, following his invasion of England. Ref: instruments by the edge of a river. Also known as 'The Landwehr 147. Marriage of Isaac and Rebecca' after the oil painting by Stock: 55123 Claude Lorrain (c.1800-1882) completed in 1648. From the Berkeley Collection, Spetchley Park. Stock: 55088 34. Whoever engages in writing against national Prejudices should think of CÆSAR, 31. La Présentation de la S.te Vierge au swimming from the Pharos, saving his Temple. Tableau de la Galerie impériale de St. Commentaries with one Hand, and his Life Pétersbourg. Dédié à sa Majestié Catherine II. with the other. Religion and the Liberal Arts Impératrice de toutes les Russies, Par son très are worth this Hazard: Even Envy and other .humble très obeissant et très Soumis J. Trible. Affections of Mankind should not intimidate a Peint par Pietro Testa. et Dessiné par B.N. Le Sieur. Person who means well: Success is not in every Gravé par G.F. Schmidt, Graveur du Roy à Berlin Person's Power; yet to attempt it in things 1771. deserving Praise is Praise-worthy. Engraving. 600 x 404mm (23½ x 16"). Creasing in title See Dedication prefixt to A Dialogue concerning some area, small tears in small margins. £240 things of importance to Ireland. Dublin MDCCLI. 40 days after giving birth to Jesus, the Virgin Mary, Engraving 140 x 180mm (5½ x 7). Some creasing. presented herself in the Temple in Jerusalem to be Tears to margins one of which runs into the plate mark. ritually cleansed after childbirth. £160 Stock: 54677 While chasing Pompey the Great during the Roman civil war, Caesar had entered Alexandria, Egypt and 32. Choir of Westminster Abbey during the interfered in the dispute between Ptolemy and coronation of His Most Gracious Majesty Cleopatra which resulted in the Alexandrian wars. In George the IV, July 10 1821. an attempt to seize Pharos Island Caesar lost to the Painted by Frederick Nash. Engraved by Charles Alexandrians and his boat was sunk forcing him to Turner. London Published Jan.y 1 1822 by F. Nash, No swim to safety. This print depicts the moment of 40 Mary Street, Fitzroy Square, Mess.rs Colnaghi & Caesar swimming to safety, he holds a letter with one Co, Cockspur Street, Hurst & Robinson, Cheapside, & hand and makes his way through the water with the Moltano, Pall Mall. other. Two of his ships are sinking while presumably the ones still floating belong to the Alexandrians. The lighthouse of Alexandria can be seen amoung the playing cards, while one on the right holds a lute while mountainous background. a man sings to her. A dog barks at a servant to the far Stock: 55018 left of the scene. After Dutch printmaker and painter Jan Verkolje (1650 - 1693). 35. Germanicus. C.Taciti Annal. Lib. II. Stock: 55136 Cap. 71. H. Füger pinx. J. Pichler inc. Vindobonae 1795. [Vienna, Tranquillo Mollo?, c.1795.] A very large mezzotint. 640 x 880mm (25¼ x 34¾"). Trimmed close to plate top and bottom, some wear in inscription area, small tear in right margin. Rubbed top right. £550 Germanicus Julius Caesar (15 BC - AD 19) on his deathbed. The nephew and adopted son of Tiberius as well as a successful and popular general, his early death caused rumours of poisoning. He was the father of Caligula, grandfather of Nero and brother to Claudius, the three emperors after Tiberius. Vindobona was the camp of the Roman army at Vienna. Tranquillo Mollo published a smaller mezzotint of the same painting in Vienna c. 1800 (BM 39. You can't Write. [&] You can't Spell. 1877,0609.1566). W. Miller pinx.t. R. Cooper sculp.t. London, Published Stock: 55085 as the Act directs, 1st July 1801, by G. Testolini, 73, Cornhill. 36. The Address to George 2.nd on Death of Pair of fine and rare stipples with aquatint, printed in Fredrick Prince of Wales [ink mss]. His colours and hand-finished. Each 520 x 350mm (20½ x Majesty's most Gracious Answer. 13¾"). 'Spell' bit messy. Trimmed close to plate, a little Dickinson ex. Published according to Act of wear to edges. £750 Parliament. [n.d. c1751]. Rare pair of education images showing two scenes of Extremely rare engraving and printed broadside, sheet children wearing dresses. 305 x 240mm (12 x 9½"). Laid down on backing sheet. Stock: 54708 Stain across the ministers. Some foxing. £350 Ministers tell a throne seated George II (1683–1760) of 40. Angelica e Medoro in varj modi legati the death of his son Frederick, Prince of Wales (1707– indieme di diversi nodi.- Orl. Fur. C. XIX. S. 1751). In the past his death has been attributed to a 36. All' Ornatissimo Sig.r Conte Girio burst lung abscess caused by a blow from a cricket or a Caradori. real tennis ball, but it is now thought to have been from Teodoro Matteini inventi. Gio. Folo Veneto inc. e a pulmonary embolism. vende in Roma. Giovanni Folo D. D. D. Rome, [n.d. Stock: 55015 after 1795]. Engraving. 495 x 395mm (19½ x 15"), with large 37. [A monk carrying a skull.] margins, Uncut. Creasing in the centre of the image. [n.d., c.1780.] Some nicks and creasing around the edges. Minor Mezzotint. 175 x 140mm (6¾ x 5½"), with small foxing. £280 margins. Worm hole repaired. £260 The famous scene of Angelica, who has been nursing A shaven-headed monk holding a scull on his arm, the wounded Medoro, already besotted with her, pointing into an eye socket. carving their names into the trunk of a tree after she Stock: 54692 realises she has fallen in love with him. Cupid lurks behind a tree, having ignited the Angelica's love for 38. To her Imperial Majesty Catherine the Medoro. Engraving by Giovanni Folo after Teodor Second this print from the Original Picture by Matteini from the Italian epic 'Orlando Furioso' (1532). Verkoyelle in the Imperial Collection is From the Berkeley Collection, Spetchley Park. humbly Inscribed by her most devoted servant, Stock: 55002 James Walker. Engraver to her Imperial Majesty and Member of the 41. [The Sorrows of the Young Werter] Imperial Academy of Arts St. Petersburg. July 1st 1789 Charlotte. The Shade of my Mother hovers published by James Walker St. Petersburg and John round me, when in a still evening I sit in the Dean London. midst of her Children, I wish that she could Very rare mezzotint. 505 x 695mm (20 x 27¼") large look down upon us, and see that I fulfil the margins. A few small markings. Repaired tear made up promise I made her to be a Mother to them. in top right margin. £650 Sorrows of Werter. To the Hon.ble Miss An interior scene depicting a musical party of men and Grenville. This Print after an Original women in costume, seated around a table on which lies a patterned Turkish carpet. Two women at the left are Drawing by H. Bunbury Esq.r is with the greatest respect Dedicated by Her most Very fine etching with stipple, proof before title, obedient humble Servant W. Dickinson. printed in brown. 265 x 355mm (10½ x 14"), with H. Bunbury Esq.r Delin.t. Engraved by F. Bartolozzi. large margins. £450 London, Publish'd August 21.st 1783 by W. Dickinson A scene from William Shakespeare's 'Cymbeline': Engraver & Printseller No.158 New Bond Street. Imogen sleeps in her bed while Iachimo leans over her Etching with stipple. 400 x 361mm (15¾ x 14¼"), with writing a letter suggesting he has seduced her. large margins. Paper toned. £260 After William Martin (1753 - c.1831), historical A woman seated in profile to right, holding a painter who was pupil and assistant to Cipriani until handkerchief on her laps with both hands; a little girl c.1784. De Vesme 1840, state ii of iii. standing next to her, almost in profile to left, putting Stock: 53335 both hands on the woman's lap and looking up towards her; to right, an older girl seated, holding a book open 44. Evelina Surprising M.r Macartney on her lap with both hands, looking up to the sky; to preparing to load his Pistols. left, a boy seated, in profile to left, blowing a small N. Colibert Delin.t. Engraved by N. Colibert. London, trumpet. Publish'd March 20th 1786 by W. Dickinson Engraver A scene from 'Die Leiden des Jungen Werthers (The & Printseller No.158 Bond Street. Sorrows of the Young Werter)' by Johann Wolfgang Stipple. 245 x 170mm (9¾ x 6¾"), watermarked von Goethe (1749 - 1832). De Vesme: 1415. '178[?]', with large margins. £190 Stock: 55054 The heroine of Fanny Burney's 'Evelina' stops the impoverished Scottish poet from loading his pistols, she believes to commit suicide. He later admits that he had been unable to decide between that and armed robbery. First published 1778, 'Evelina' is a significant precursor to the romanticism of Jane Austen. Stock: 54745

45. [Macbeth] The Banquet. _ Prithee, see there. Behold! look! loe! How say you! Shakespeare's Macbeth Act III Scene 3.d. S. Harding delin.t. J. Baldrey Fecit. London, Publish'd Oct.r 10th 1786, by W. Dickinson, Bond Street. Fine stipple, printed in brown. 385 x 330mm (15¼ x 42. Cupid and Cephisa, [One Day as I was 13") with margins. Title bit messy on right. £320 walking in the Woods...] From the Original As Macbeth sees Banquo's ghost sitting in his chair he Picture, in the possession of George Bowles, starts to rave and is retrained by his wife. Stock: 53327 Esqr. [&] Cupid and Cephisa, [Cephisa says, we ought to cut the Wings of Love...] From the 46. [Orlando Furioso] [Angelica & Madora.] Original Picture, in the possession of George G.B. Cipriani inc.t. Tho.s Burke sculp.t. London Bowles, Esqr. Publish'd Oct/r 1783, by G. Durand, No 8 Catherine Angelica Kauffman pinx.t. Thomas Burke Fecit. Street, Strand. London, Publish'd July 10th. 1789 by T Burke, No. 5, Stipple, proof before title, printed in brown. 135 x Great College Street, Westminster. [&] Publish'd Feb.y 170mm (5¼ x 6¾"), with very large margins. Uncut. 1st. 1789 by T Burke No 5 Great College Street, £260 Westminster. A scene from Italian epic 'Orlando Furioso' by Very fine matching pair of stipples with etching, proof Ludovico Ariosto. Having been nursed back to health states before lines of verse, one with publisher's by Angelica, the Saracen knight Medora carves their inscription scratched. Each 470 x 335mm (18½ x names into a tree, before they elope to China. See BM 13¼"), with large margins. £850 1931,0618.56 for a 1790 edition published by Read. Two scenes from Montesquieu's 'Céphise et l'Amour'. Stock: 54744 In the first Cupid is discovered by Cephisa and a male companion (intended to be the author), lying asleep in 47. Le Portrait de Dorian Gray. a bush of flowers; in the second Cephisa raises one of [by Fernand Simeon.] [Paris, Mornay, 1920.] his wings, preparing to cut it off, as her companion Wood engraving, presentation copy signed in pencil by leans forward to stop her. Stock: 53336 the artist. Printed area 125 x 85mm (5 x 3¼"). £180 A separate issue of the woodcut used as a frontispiece to a French edition of Oscar Wilde's 'The Picture of 43. [Cymbeline] [Imogen's Chamber. On Dorian Grey', one of the 'Beau Livres' collection, a her left breast a mole, cinque spotted...] series of fine-art books. The dedication, 'A l'ami Coq W. Martin inv. et pinx. F. Bartolozzi sculps. 1786. Editeur sympathetique, F Simeon', appears to be to the London, Publish'd June 21st; 1786 by W. Dickinson famous Parisian publisher André Coq. Engraver Bond Street. Stock: 54910 51. Alle Grazie ed al Gusto elegante delli Illma Sig.ra Leoniloa Bottoni ... Merito hamatis manus est armata sagittis, Et phareta ex humero Gnosia utroque jacet; Ante ferit, quoniam tuti quam cernimus hostem, Nec quisquam ex illo vulnere sanus abit. - Propert. Lib. II. Egl. I. Stephanus Tofanelli invenit et delineavit. Joannes Folo Venetus sculp. et vendit Romae. Giovanni Folo D. D. D. Rome, [n.d.]. Etching. 390 x 440mm (15½ x 17¼"), with large margins Uncut. Horizontal crease down the centre of the image. Some nicks and creases to the edges. Foxing. £360 Cupid with his bow strung and quiver of arrows by his 48. Apollo A Sua Eccellenza il Sig.r: Conte side. Quoted beneath the image is an excerpt from di Talbot Amatore e conoscitore delle Belle Propertius Lib II Elg. XII, not from II.I; the poet muses Arti. on the cultural and mythic personification of Love as Raffaele Sanzio d'Urb. inv. Franco Staccoli disegno. he nurses his own heart, struck by Cupid's arrow. After Pietro Bonato Veneto incise. In Roma presso Venanzio Stefano Tofanelli's 'Amor Frecciante', part of a pair Monaldini Mercante de Libri e Stampe in Piazza di with 'Amor Pugente' (see Ref: 54995). From the Spagne a N.o 79. Rome, [n.d. c.1780-1820]. Berkeley Collection, Spetchley Park. Stock: 54998 Engraving and etching. 345 x 420mm (13½ x 16½"), with large margins, Uncut. Light foxing in margins. £450 52. Amore e Psiche. Alla Maesta di Apollo driving a chariot drawn by four horses. After a Guiseppina Imperatrice. - Antonio Canova D. design by Raphael in the Sala dei Pontefici. From the D. D. Berkeley Collection, Spetchley Park. A. Canova inv e scolpi. Tognoli dis. Dom. Marchetti Stock: 55080 inc. Gruppo in marmo di grandezza naturale esistente nella Galleria della M. S. a Malmaison. [n.d.] 49. Marchande de Cupidons. Engraving and etching. 540 x 410mm (21¼ x 16¼"), F. Bartolozzi pinx. J. Ogbourne sculp. Pub. May 1 with large margins. Mint. £320 1783 by J. Thane, Rupoert Street, Hay Market. A sculpture of Cupid and Psyche, standing with Oval stipple, printed in dark sanguine. 200 x 225mm (8 Cupid's right arm draped over Psyche shoulders. x 9"). Top left corner restored. Slight damage below Psyche delicately places a butterfly in Cupid's palm, image. £280 symbolising that Psyche wholly and innocently trusts A woman in classical dress holds a winged cherub on Cupid with her soul. This visual metaphor and her lap as a another looks admiringly over her arresting symbolic gesture illustrates more broadly the shoulder. A third woman grasps another cherub by the Neo-Platonic philosophy of the wandering soul, of base of his wings to lift him out of a basket in which a which the sculptor Antonio Canova was a big believer. third cherub sits. The sculpture was commissioned by Colonel John Stock: 54755 Campbell in 1878, along with the famous 'Cupid reviving Psyche with a kiss' (see also Ref 55010). This 50. Al Genio, a all'Eleganza dell' Alma. Sig.a engraving has been dedicated to Empress Josephine Emerenziana Fratini Pentini. ... ille per (1763-1814), the first wife of Napolean Bonaparte. Caelum volans, Proterra tenera tela molitur From the Berkeley Collection, Spetchley Park. Stock: 55013 mana; Regnumque tantum minimus in Saperos habero. Seneca in Hip. 53. Amore e Psiche. Sogetto tratto dalla Stephanus Tofanelli invenit et delineavit. Johannes favola di Apulejo. / Gruppo in mamo posseduto Folo Venetus sculp. et vendet Romae. Giovanni Folo D. D. Rome, [n.d.] dal Principe Yousouppoff/ quasi in tutto simile Etching. 390 x 440mm (15½ x 17¼"), with large all'altro esistente nell' I. Pallazo di Compiegne. margins. Uncut. Some nicks and creases to the edges. A. Canova inv e scolpi. P. Fontana inc. [n.d. c.1812] Some cockling. Foxing in margins. £260 Etching and engraving. 290 x 375mm (11½ x 14¾"), A boyish Cupid holding one of his arrows and tests the with large margins. £160 point. Quoted beneath the image is the Nurse from Sculpture of Cupid reviving Psyche with a kiss, from Seneca the Younger's 'Phaedra', warning Phaedra of the the story in Apuleius' 'Metamorphoses'. The description destructive power of Venus' son, a warning she does suggests that this engraving by Pietro Fontana is after not heed which ultimately leads to her suicide. After the second version of Antonio Canova's 'Cupid e Stefano Tofanelli's 'Amor Pungente', part of a pair with Psiche', accquired by the Russian Prince Yusupov in 'Amor Frecciante' (see Ref 54998). From the Berkeley 1796. From the Berkeley Collection, Spetchley Park. Stock: 55010 Collection, Spetchley Park. Stock: 54995 54. Diana. All' Illmo e Rmo Monsig.r garment, though hewn in dense stone, drew much Marini Canonico della Basilica Lateranense praise and admiration. From the Berkeley Collection, Prefetto degl'Archivy di Castel S. Angelo e del Spetchley Park. Stock: 55039 Vaticano, Prelato Domestico di N. S. Raffaele Sanzio d'Urb. inv. Stefano Tofanelli delin. Pietro Fontana incise. In Roma presso Venanzio 58. Iride A Monsieur Arland. Monaldini Mercante de Libri e Stampe in Piazza di Guido Head inv. e dipinse. Giovanni Folo incise e Spagne a N.o 79. Rome, [n.d. c.1782-1822]. vende in Roma. Rome [n.d. 1801] Engraving and etching. 340 x 410mm (13¼ x 16), with Etching open letter proof, 420 x 290mm (16¼ x 11½"), large margins. Uncut. Near mint. Faint markings in the with large margins. Uncut. Foxing in the margins. margins. £420 £320 The goddess Diana driving a chariot pulled by two The nereid Iris carrying a ewer of water from the River young girls. After a design by Raphael in the Sala dei Styx to the Gods of Olympus. In Greek mythology Iris Pontefici. From the Berkeley Collection, Spetchley was the anthropomorphisation of the rainbow and Park. messenger to the Gods. In Hesiod's Theogany she has Stock: 55081 the additional duty of carrying water from the Styx to the Gods when the gods took an oath. From the 55. Eco A Madame Stamaty Son Fior Berkeley Collection, Spetchley Park. Stock: 54994 Narciso Eco sonora io sono: To la bellezza, io l'armonia to dono. Guido Head inv. e dipin. Agostino Tofanelli delin. Gio Folo incis. e vende in Roma. In segno di rispetto Giovanni Folo dedica. Rome, [n.d. 1801]. Etching, open letter proof. 415 x 290mm (16¼ x 11½"), very large margins. Uncut. Foxing and creasing in the margins. £320 The nymph Echo by Agostino Tofanelli (1770-1834) and Giovanni Folo (1764-1836), after the oil painting 'Echo Flying from Narcissus' (1798) by Guy Head (1753-1800). As told by Ovid in Met III, Echo flees Narcissus' presence, humiliated and distraught, after he rejects her. The engravers have embellished Head's original composition with the addition of a figure in the background on the far bank on the water's edge, which is perhaps Narcissus. From the Berkeley Collection, Spetchley Park. Stock: 54993 59. Giove Agli Amatori e Promotori delle Scienze Belle Arti. 56. Elysium or Cupid Punish'd. ... Vide Raffaele Sanzio d'Urb. inv. Steffano Tofanelli delin. Parnell's Poems. Peitro Bonato Veneto incise. In Roma presso Stothard Pinx.t. Ogborne sculp.t. London, publish'd Venanzio Monaldini Mercante de Libri e Stampe in Aug.t 1 1787, by T Macklin No. 19 Fleet Street. Piazza di Spagne a N.o 79. Rome, [n.d. Fine stipple, printed in colours. 270 x 305mm (10¾ x Engraving and etching. 340 x 410mm (13¼ x 16), 12"). Narrow margins, repair in unprinted area top with large margins. Uncut. Near mint. Some light right. £280 foxing in margins and title area. £450 Cupid tied to a tree by a group of nymphs. Jupiter, holding a thunder bolt, driving his chariot Stock: 54743 pulled by a pair of eagles. The exterior of the chariot is embellished in high relief with eagles and what looks 57. Ebe con aureo serto incornata, Di nettare to be a harpy. After a design by Raphael in the Sala dei e d'ambrosia in Ciel ministra. Pontefici. From the Berkeley Collection, Spetchley Park. A. Canova inv. e scolpi. G. Tognoli dis. D. Marchetti Stock: 55084 incise. Statua in marmo di grandezza naturale appatenente a Lord Cowder. [n.d. c.1814]. Engraving and etching. 455 x 325mm (18 x 12¾"), 60. Leda. Tiré du Cabinet de M.r Watelet. with large margins. Mint. £320 Dediée à Monsieur Pierre. Chevalier de l'Orde Sculpture of Hebe tilting the mouth of the jug she du Roy, Professeur de l'Academie Royal de carries above her head to the goblet she holds below. Peinture et de Sculpture, et premier Peintre de Hebe, the goddess of youth and daughter of Zeus, was Monseigneur le Duc d'Orleans. Par son très a chief serving maid to the gods of Olympus and humble et très obeissant Serviteur et Ami provided her patrons liberally with ambrosia. The Lempereur. original sculpture, commissioned by Lord Cowder, was J.B.M. Pierre pinx. N. Delaunay sculp. A Paris, chez completed in 1805 and was a marvel of marble Lempereur, Graveur du Roy, rue et porte St Jacques, au sculpting. The weightless appearance of the goddesses dessus du petit Marché [n.d., c.1763.] Engraving with etching. 18th century watermark, 320 x Engraving and etching. 400 x 545mm (15¾ x 21½"), 370mm (12½ x 14½"), Small margins. £260 with large margins. Creasing and marking in top An oval scene of Leda lying naked and looking at the margin. Repaired tear in top margin. £350 swan. A pair with 'Endymion'. Sculpture of a naiad, reclining on a lion skin while a Stock: 55071 young winged cupid plays the lyre at her feet, seen from behind. Embedded in the naiad's rocky couch is an over turned jar, from which flows a spring of water; while Canova (1757-1822) was content to call his subject a nymph, his friend and biographer Leopoldo Cicognara more accurately calls her a naiad, a type of nymph that presides in fresh water, prompted by the carved detail of flowing water. Antonio Canova's original sculpture, commissioned by Lord Cawdor in 1814, is a variant of Guido Reni's painting 'Venus reclining with Cupid' (c.1639); the sculpture is currently part of the Royal Collection at Buckingham Palace. From the Berkeley Collection, Spetchley Park. Stock: 55020

64. [Three putti with a garland of fruit.] [Engraved by Francesco Bartolozzi after Guercino.] [London: John Boydell, 1780.] 61. Marte All'Emo e Revmo Principe D. Fine stipple, printed in sanguine; Proof before all Fabrizio Ruffo Car.le Dianoco del Sitolo di S. letters, 18th century watermark 195 x 330mm (7¾ x M.a in Cosmedin Car.e delli Ord.i di S. M. 13"), with very large margins. £280 Siciliana di S. Ferdinando, e s Gennaro, e di A half-length composition, with Venus holding one quelli di S. M. l'Imp.redelle Russie S. Andrea arrow and Cupid's quiver while he reaches to draw Alessandro Newski &c. &c. &c. Amatroe e another arrow from it. Protettore delle belle Arti. Engraved from a red chalk in the Royal Collection, which was probably an early sketch for the painting in Raffaele Sanzio d'Urb. inv. Steffano Tofanelli delin. Apsley House, home of the Duke of Wellington. De Peitro Bettelini incise in Roma. In Roma presso Vesme 2196. Venanzio Monaldini Mercante de Libri e Stampe in Stock: 53328 Piazza di Spagne a N.o 79. Rome, [n.d. c.1800-1821]. Engraving and etching. 340 x 410mm (13¼ x 16), with large margins. Uncut. Mint. £450 65. Saturno Alla cognizone e transporto per Mars, the god of war, driving a chariot pulled by a pair le Belle Arti di S. Ex.ca il Sig.r D. Mario dei of horses. After a design by Raphael in the Sala dei Principi Gabrielli degnissimo Presidente delle Pontefici. From the Berkeley Collection, Spetchley Ripe ed Acque de questa Citta de Roma. Park. Raffaele Sanzio d'Urb. inv. Stefano Tofanelli delin. Stock: 55083 Pietro Bonato Veneto incise. In Roma presso Venanzio Monaldini Mercante de Libri e Stampe in Piazza di 62. Mercurio. Algi Amatori, e Promotori / Spagne a N.o 79. Rome, [n.d. c.1800-1820]. delle Scienze e Belle Arti. Engraving and etching. 340 x 410mm (13¼ x 16), large Raffaele Sanzio d'Urb. inv. Stefano Tofanelli delin. margins Uncut. Foxing around the edges. £450 Pietro Bonato Veneto incise. In Roma presso Venanzio A depiction of Saturn holding a scythe in his chariot Monaldini Mercante de Libri e Stampe in Piazza di pulled by two winged serpent-monsters. After a design Spagne a N.o 79. Rome, [n.d. c.1780-1820]. by Raphael in the Sala dei Pontefici. From the Berkeley Engraving and etching. 350 x 420mm (13¾ x 16½"), Collection, Spetchley Park. Stock: 55079 with large margins, Uncut. Mint. £450 A depiction of Mercury being pulled in a chariot by two roosters. The god can be identified by his 66. [The Temple of Apollo]. Al Sig.r Luigi headpiece and winged shoes, and he carries the Pavon Amatore delle elle Arti. Pietro Parboni caduceus, the staff carried by messengers and heralds D. D. D. of Greek mythology. After a design by Raphael in the Claudio di Lorena inv. e dip. Nicola de Antoni Sala dei Pontefici. From the Berkeley Collection, impresse. Pietro Parboni incise. Nicola de Antoni Spetchley Park. vende in Roma, in Via del Corso No. 35. Rome, [n.d. Stock: 55077 c.1800-1841]. Etching. 480 x 600mm (19 x 23¾"), with large 63. Dorme Clori: coll' arpa Amor la desta: margins. Near mint. £380 Sorge sul fianco, e ad ascoltar s'arresta. A scene from the myth of Cupid and Psyche; Psyche's Ant. Canova inv. e marmo di grandezza naturale. G. father prays at the Temple of Apollo that she will find Toignoli dis. Dom. Marchetti incise. [n.d. c.1817]. a suitable husband. After Claude Lorrain's (c.1600- 1682) original painting 'The Father of Psyche sacrificing at the Temple of Apollo' (1662), painted for 69. Eufrosine - Aglaia - Talia Alla maesta de Angelo Albertoni, a Roman nobleman. From the Elisabetta Alexiewna imperatrice di tutte le Berkeley Collection, Spetchley Park. Russie. - Ant. Canova D. D. D. Stock: 55087 A. Canova inv. e scolpi in marmo. G. Tognoli dis. D. Marchetti incise. [Italy, n.d. 1815]. Etching and engraving. 490 x 340mm (19¼ x 13¼"), with large margins. Mint. Creases in left margin and top left corner. £380 Sculpture of the Three Graces embracing, seen from the front. The original sculpture by Antonio Canova is at Woburn Abbey, Bedfordshire. The engraving is dedicated to Elizabeth Alexeievna of Russia (1779- 1826), wife of Emperor Alexander I of Russia. With measurement scale. See also Ref 55007. From the Berkeley Collection, Spetchley Park. Stock: 55008

70. Talia - Aglaia - Eufrosine Alla maesta de Elisabetta Alexiewna imperatrice di tutte le Russie. - Ant. Canova D. D. D. 67. Tempio di Venere All' Egregio Sig.r A. Canova inv. e scolpi in marmo. G. Tognoli dis. D. Luigi Magrelli Ingegnere, Nobile Estimatore Marchetti incise. [Italy, n.d. 1815]. delle Belle Arti. Celebre Quandro di Claudio Etching and engraving. 490 x 340mm (19¼ x 13¼"), Lorenese, esistente, nella Galleria di S. E. il with large margins. £380 Sig.r Contestabile Colonna in Roma. Pietro Sculpture of the Three Graces embracing in front of a pedestal decorated with garlands, seen from the back. Parboni The original sculpture by Antonio Canova is at Claudio di Lorena inv. e dip. Pietro Parboni dis. e inc. Woburn Abbey, Bedfordshire. The engraving is Nicola de Antoni impresse. In Roma presso Nicola de dedicated to Elizabeth Alexeievna of Russia (1779- Antoni Neg.te di Stampe in Piazza di Spgna N.o 83. 1826), wife of Emperor Alexander I of Russia. With Rome, [n.d. after 1800]. measurement scale. See also Ref 55008. From the Etching and engraving. 480 x 600mm (19 x 23¾"), Berkeley Collection, Spetchley Park. with large margins. Extreme edges bit rough. £420 Stock: 55007 A scene of worshippers bringing offerings to the temple of Venus; many of the worshippers are 71. Venere. garlanded and playing instruments. An engraving by Ant. Canova inv. e scolpi. G. Tognoli dis. Damonico Pietro Parboni after Claude Lorrain (c.1800-1882). Marchetti inc. Statua in marmo di grandezza al naturale From the Berkeley Collection, Spetchley Park. Stock: 55092 esistente nell'Imperiale Galleria di Firenze. [n.d. after 1802] Engraving. 545 x 405mm (21½ x 16"), with large 68. Tersicore Aloisiae. E. Principibus. margins. Mint. £320 Stolbergis / Albaniae. Comitissae. / Antonius Sculpture of Venus trying to modestly cover herself Canova. with a drape, from the back. The original sculpture, [n.d. after 1808]. A. Canova inv. e scolpi in marmo. Venus Italica, was commisioned by Napoleon Gio. Tognoli dis. Piet. Fontana incise. Bonaparte of Antonio Canova (1757-1822) to replace Mint engraving. 455 x 330mm (17¾ x 13"), with large the Medici Venus which was taken to the Musee margins. £320 Napoleon in France. It was completed in 1802 and is Sculpture of Terpsychore, the muse of dance and considered to be one of his greatest masterpieces. choral singing, holding a lyre. The Greek inscription on Canova made two further variants of this Venus, the colomn reads 'Terpsychore Lyran'. The statue was completed by 1819, one of which was purchased by the commisioned by Lucien Bonaparte (1775-1840), third Marquess of Londonderry, where it remained originally intended to portray his wife Alexandrine de until 1962. See also Ref 55028. From the Berkeley Bleschamp (1778-1855), however, for reasons that Collection, Spetchley Park. remain unknown, the completed work was acquired by Stock: 55029 Giovanni Battista Sommariva, who also bought the plaster cast to ensure no copies could be made. 72. Venere Vincitrice. All' Illustre, Mylord Sommariva, who was bessotted with the statue, Cawdor, che ad esempio della presenta Statua referred to the sculpture as '[his] bride' and placed at incoraggi l'Autore alla Scultura di una Ninfa the foot of his bed in his Parisian house. From the Berkeley Collection, Spetchley Park. giacente in diversa attidudine. - Antonio Stock: 55030 Canova. Ant. Canova inv. e scolpi in marme. Luigi Durantini dis. Ang. Bertini incise. Statua di grandezza naturale nel Palazzo Borghese in Roma. Rome, [n.d. c. 1815] Engraving and etching. 390 x 540mm (15½ x 21¼"), 74. Venere A Sua Eccelenza il Sig.r Virginio with large margins. Mint. £360 Cenci de Conti Bolognetti Amatore e geniale A sculpture of Pauline Bonaparte, portrayed as Venus, delle Belle Arti. reclining in a triclinium, seen from the back. Pauline Raffaele Sanzio d'Urb inv. Augustino Tofanelli delin. Bonaparte (1780-1825) was the second sister of Guiseppe Bortignoni Veneto incise. In Roma presso Napoleon Bonaparte. After her first marriage ended Venanzio Monaldini Mercante de Libri e Stampe in with the death of her husband, she married Camillo Piazza di Spagne a N.o 79. Rome [n.d. c.1800-1834]. Borghese. Anotnio Canova's sculpture was Engraving and etching. 340 x 410mm (13¼ x 16), with commissioned by Camillo in 1805 for his wife, who large margins. Uncut. Mint. £450 was originally to be portrayed as the chaste goddess Venus driving her chariot through the clouds pulled by Diana. Aware of her promiscuous reputation, but also four doves. After a design by Raphael in the Sala dei tastefully drawing on the mythic ancestry of the Pontefici. From the Berkeley Collection, Spetchley Borghese family, Pauline had the subject changed to Park. 'Venus'. The original sculpture is in the Galleria Stock: 55082 Borghese, Italy. See also Ref 55027. From the Berkeley Collection, Spetchley Park. 75. Venere Vincitrice. All' Illustre, Mylord Stock: 55012 Cawdor, che ad esempio della presenta Statua incoraggi l'Autore alla Scultura di una Ninfa giacente in diversa attidudine. - Antonio Canova. Ant. Canova inv. e scolpi in marme. Luigi Durantini dis. Ang. Bertini incise. Statua di grandezza naturale nel Palazzo Borghese in Roma. Rome, [n.d. c. 1815] Engraving and etching. 390 x 540mm (15½ x 21¼"), with large margins. Creasing top right corner. £350 A sculpture of Pauline Bonaparte, portrayed as Venus, reclining in a triclinium, seen from the front. Pauline Bonaparte (1780-1825) was the second sister of Napoleon Bonaparte. After her first marriage ended with the death of her husband, she married Camillo Borghese. Anotnio Canova's sculpture was commissioned by Camillo in 1805 for his wife, who was originally to be portrayed as the chaste goddess Diana. Aware of her promiscuous reputation, but also tastefully drawing on the mythic ancestry of the Borghese family, Pauline had the subject changed to 'Venus'. Her sculpted figure also holds an apple, invoking Venus' victory in the Judgement of Paris. The original sculpture is in the Galleria Borghese, Italy. See also Ref 55012. From the Berkeley Collection, Spetchley Park. Stock: 55027 73. Venere. Ant. Canova inv. e scolpi. G. Tognoli dis. Damonico 76. [Venus & Adonis] Qui Tramontando do Marchetti inc. Statua in marmo di grandezza al naturale esistente nell'Imperiale Galleria di Firenze. [n.d. after il Sol Venere si Tolse d'Adon piú Volte il Bel 1802] Posseso in Tutto. Mar. Can. VII. Al buon Engraving. 545 x 405mm (21½ x 16"), with large gusto dell' Ill.mo Sir.r Luigi Marconi. margins. Mint. £350 Luca Cangiassi depin. Gio. Folo Veneto incise, e vende Sculpture of Venus trying to modestly cover herself in Roma. Giovanni Folo D.D.D. [n.d., c.1790]. with a drape, from the back. The original sculpture, Engraving. 495 x 390mm (19½ x 15½), with very large Venus Italica, was commisioned by Napoleon margins. Uncut. £230 Bonaparte of Antonio Canova (1757-1822) to replace Venus and Adonis, with Cupid above, after an oil the Medici Venus which was taken to the Musee painting by Cambiaso Luca (1527-1585) now in the Napoleon in France. It was completed in 1802 and is Galleria Borghese. The title text is from Giovani considered to be one of his greatest masterpieces. Battista Marino's 'Adone' (1623). From the Berkeley Canova made two further variants of this Venus, Collection, Spetchley Park. completed by 1819, one of which was purchased by the Stock: 54968 third Marquess of Londonderry, where it remained until 1962. See also Ref 55029. From the Berkeley Collection, Spetchley Park. Stock: 55028

77. [Venus and Cupid.] completed in 1637 for Pope Urban VIII. It was the first [Engraved by Francesco Bartolozzi after Guercino.] in a series of four. Given the prestige of its [London: John Boydell, 1780.] commissioner, the series was the first great success in Crayon-manner stipple, printed in brown, 18th century Lorrain's career. From the Berkeley Collection, watermark. 185 x 255mm (7¼ x 10"), with large Spetchley Park. margins. £320 Stock: 55086 A half-length composition, with Venus holding one arrow and Cupid's quiver while he reaches to draw 80. Al Sig. G. Guillon Le Thiere Pittore another arrow from it. celeberrimo e Direttore della Imperiale e Reale Engraved from a red chalk in the Royal Collection, Accademia di Francia in Roma. Dal Quadro which was probably an early sketch for the painting in originale presso il S. Cav. Gio. Gherardo De Apsley House, home of the Duke of Wellington. De Rossi. Pietro Parboni D. D. D. Vesme 2196. Gasparo Pussino dipinse. Niccola de Antoni impresse. Stock: 53326 Pietro Parboni disegno e incise. [Rome, n.d. c.1807- 1832] Etching with engraving. 465 x 610mm (18¼ x 24"), with wide margins. Mint. £350 A rustic scene of two shepherds quiding their sheep and cattle through a wood. After Gaspard Dughet (1615-1675), a student of Poussin. Dughet's successful career as a landscape artist saw him become one of the best known painters in Rome, alonside Poussin and Claude Lorrain. From the Berkeley Collection, Spetchley Park. Stock: 55091

81. Al Sig.r Edoardo Dodwell Amatore e Protettore delle Belle Arti. Celebre Quandro Originale de Gaspare Pussino, nella collezione del Signor Tomasso Anson in Londra. Pietro 78. [Landscape with Hunter Shooting Parboni D. D. D. Ducks]. A Sua Eccellenza la Sig.ra Elisabetta Gaspare Pussino invento e dipinse. Pietro Parboni Duchessa di Devonshire Amatrice e Protellrice disegno e incise. Nicola de Antoni impresse. Si vende delle Belle Arti. L'Originale esiste presso il in Roma presso Nicola de Antoni in Piazza di Spagna Sig.r Giovanni Maldura Pittore Paesista in N.o 84. Rome, [n.d. c.1810-1832] Piazza di Spagna N.o 26. Pietro Parboni D. D. Etching and engraving. 480 x 600mm (19 x 23¾"), with large margins. Extreme edges bit rough. £420 D. Pastoral scene in a wooded glade. Two figures stand by Nicolo Pussino invento e dipinse. Pietro Parboni the riverside looking at a woman emerging from the disegno e incise. Nicola de Antoni impresse. In Roma water. An engraving by Pietro Parboni after Gaspardo presso Nicola de Antoni, Neg.te in Piazza di Spagna Dughet (1615-1675), a student of Poussin. Dughet's N.o 84. Rome, [n.d. after 1800] successful career as a landscape artist saw him become Engraving. 490 x 600mm (19¼ x 23½"), with large one of the best known painters in Rome, alonside margins. Mint. £450 Poussin and Claude Lorrain. From the Berkeley A rustic landscape with two hunters shooting ducks Collection, Spetchley Park. with spears by the riverside. Two other figures lounge Stock: 55093 on the far bank. Engraved by Pietro Parboni (1783- 1841) after Nicolas Poussin (1594-1665). From the 82. An Ecclesiastical Map of England and Berkeley Collection, Spetchley Park. Stock: 55090 Wales Shewing the Position of the Catholic Churches, Chapels, Colleges, Missions, & 79. La Cuccagna Celebre Quadro Original Relgious Houses, With the Boundaries of the di Claudio Lorenese, esistent in Parigi. Archdiocese and the Diocese, With a Plan of Claudio di Lorena inv. e dip. Pietro Parboni dis. e inc. London Shewing the Position of the Catholic Si vende in Roma presso Nicola de Antoni Neg.a in Churches &c. Together With a List of the Piazza di Spagna No. 84. Nicola de Antoni impresse. Towns in which Catholic Churches are Rome, [n.d. c.1800-1841]. Established. 1851. Etching. 480 x 600mm (19 x 23¾"), with large Designed by Daniel Grant. Lithographed by Daniel margins. Mint. £380 Grant & Co, 75, Fleet Street. Sold by Charles Dolman, A pastoral scene of gathered villagers or 'contadini in 61 New Bond St & 48a Paternoster Row. festa', dancing and playing music at the edge of a Scarce lithographic map. Sheet 750 x 570mm (29½ x forest. Cattle and other livestock graze nearby. The 22½"). Creasing and surface soiling, pinholes in original painting by Claude Lorrain (c.1600-1682) was corners, laid on linen. £500 A map of the Catholic churches and chapels in England 85. [Battle of Cap-Français] The Glorious and Wales. From the Berkeley Collection, Spetchley Action off Cape Francois 21 Octo.br 1757, Park. between Three English, & Seven French Ships Stock: 54974 of Warr wherein the latter were entirely

defeated. 83. Pavillons et Cocardes des Principales Francis Swaine Pinx. Printed for Jn.o Bowles at No. 13 Puissance du Globe d'apres des Documens in Cornhill, [blank] & Hen. Parker opposite Brickin Officiels. Lane in Cornhill, Rob. Sayer at the Golden Buck in Atlas Universel N.o 50. Paris. Imp.ie Chardon J.ne Fleet Street, & Carington Bowles No 69, in St Pauls Fils. Rue Racine 3. Publie a Paris par E. Andriveau- Church Yard [n.d., c.1760.] Goujon Rue du Bac. N.o 21. 1860. Engraving. 335 x 470mm (13¼ x 18½"), with large Hand coloured engraving. 455 x 600mm (17½ x 23½"). margins. £380 Small losses to left and bottom right corners. Small tear The Battle of Cap-Français (present day Cap-Haïtien, through the publication line. £320 Haiti), during the Seven Years' War, in which Global maritime ensigns as of 1860, which most Commodore Forrest was commanded to intercept a notably includes the US Great Star flag. French convoy in the Caribbean, bound for France. By Stock: 55126 the time of the British attack, the French convoy had been reinforced. The outcome was tactically indecisive (contrary to the legend beneath this print), but the bravery of the British in fighting against heavy odds saw the battle remembered as a 'glorious action'. Plate 1 of a series of naval battles by marine painter Francis Swain (c.1719-82). Parker 59a. Stock: 54808

86. [Battle of Cartagena] The Monmouth of 64 Guns taking the Foudroyant a French Man of War of 84 Guns, on the 28th of Feb. 1758 in the Mediterranean. In this Action the English had 30 kill'd (including the Gallant Commander) & 80 wounded, the French 50 84. [Bishops Court] The Gallant Action (off kill'd & 150 wounded [...] the Isle of Man) where the Brave Cap.t Elliot Francis Swaine Pinx. Printed for Jn.o Bowles at No. 13 Defeated & took the Marshall Belleisle, in Cornhill, Carington Bowles No 69, in St Pauls Church Yard, Rob. Sayer at the Golden Buck in Fleet Commanded by the Famous Thurot, and two Street, and Hen. Parker opposite Brickin Lane in other French Ships of War the 28th. of Cornhill, [n.d., c.1760.] February 1760. Engraving. 335 x 470mm (13¼ x 18½"), with large Fran.s Swaine Pinx.t. P.C. Canot Sculp. Printed for margins. Small tears in bottom margins repaired. £380 Carington Bowles, No 69 in St Pauls Chiurch Yard, & The interception of the French flagship Foudroyant by J.no Bowles No 13 Cornhill, Rob.t Sayer at the Golden three British ships of the line, the Monmouth (firing at Buck in Fleet Street [n.d., c.1760s]. the Foudroyant in the centre), Swiftsure, and Hampton Engraving. 335 x 465mm (12¾ x 18¼"), with large Court (both of which are on the right). The action took margins. £380 place during the Battle of Cartagena during the Seven The Battle of Bishops Court, in which privateer Years' War in which a British fleet blockaded a French François Thurot's ships, the ships Maréchal de Belle- fleet off the Spanish port. Isle, Terpsichore and Blonde, were brought to battle off Plate 2 of a series of naval battles by marine painter the Isle of Man. After a close-fought action, Thurot's Francis Swain (c.1719-82). The original painting is in force was battered into submission, with his ships the National Maritime Museum (BHC0383) . dismasted and reduced to a sinking condition. Thurot Stock: 54809 was hit by a musket ball and died during the action, with his body being thrown overboard. Around 300 of 87. [Dogger Bank] This Representation of the French had been killed or wounded, while British the Action between the British Fleet under the losses amounted to four killed and 15 wounded on Command of Vice Admiral Parker and the Aeolus, one killed and five wounded on Pallas and 11 wounded on Brilliant. Thurot's body was washed Dutch Fleet under the Command of Vice ashore at Port William and was buried with full Admiral Zouten on the Dogger Bank the 5th of military honours at Kirkmaiden, Galloway, Scotland. Aug.st 1781... Plate 6 of a series of naval battles by marine painter Painted by D. Serres Esq.r R.A. Marine Painter to his Francis Swain (c.1719-82). Parker 1256. Majesty, and Engraved by R. Pollard. London, Stock: 54810 Published the 1st May, 1782 by R. Wilkinson, No 58. Cornhill, and R. Pollard, Braynes Row, Spa Fields. Rare engraving. 485 x 615mm (19 x 24¼"). Thread Rare mezzotint, printed in blue and black, finished by margins. £680 hand. 350 x 250mm (13¾ x 9¾"), with anrrow The Battle of Dogger Bank was fought during the margins. A little surface wear in title area, losing 'or', Fourth Anglo-Dutch War, started because the Dutch repaired tear in bottom margin. £380 were supplying the Americans during the Revolution. Horatio Nelson on the foredeck of 'Vanguard', being It was fought between two fleets escorting convoys supported by two crewmen after being hit on the and, despite both sides claiming victory, it forced the forehead by a piece of French shot. His Flag Captain, Dutch fleet back into harbour where it remained for the Edward Berry (named under the image), stands to one rest of the war. side. Stock: 54647 The publisher, John Fairburn, published a number of broadsheet plans of Nelson's victories. 88. [Battle of La Hogue] To the Right Stock: 54664 Honourable the Lord Grosvenor, This Plate engraved from a Picture of The Battle of La Hogue in his Lordship's Collection is dedicated By His Lordship's much obliged and most obedient humble Servants - Benjamin West and William Woollett. Painted by B. West, Historical Painter to His Majesty. Engraved by W. Woollett, Engraver to His Majesty. Published as the Act directs, 18 Oct.r 1781 by B. West, W. Woollett & J. Hall, London. Etching, fine impression. 490 x 615mm (19¼ x 24¼"). Repaired tears in title area, margins with folds and chips. £420 The Battle of La Hogue, 3-4th June 1692, during the Nine Years' War, in which the remains of a French fleet transporting an invasion force to England was 91. The Monarch Steam Ship. The London attacked by an Anglo-Dutch force in longboats. All & Edinburgh Company's Steam Ship twelve French ships were destroyed. This plate shows Monarch, W.m Bain R.N. Commander, the bitter hand to hand fighting. BM S,1.58, second passing the Bass Rock on her Voyage ro published state, with the addition of 'Historical Painter Edinburgh 21st July 1834. A Voyage to His Majesty'; Fagen 114. performed in 37 Hours. Stock: 54701 Engraved by Edw.d Duncan. Painted by W.J. Huggins, Marine Painter to His Majesty, & Published by Him, at 89. The Brave Captain Tyrill in the 105, Leadenhall Street, Feb.y 9th 1835. Buckingham of 66 Guns & 472 Men Defeating Fine and rare aquatint, printed in blue and hand the Florissant, Aigrette & Atlante, three finished. 440 x 600mm (17¼ x 23½"). Trimmed within French Ships of War, 3d. of Nov.r 1758... plate, paper cracks in image repaired, some creasing Fran.s. Swaine Pinx.t. P. Benarzech Sculp. Printed for lower left. £790 Robert Sayer, at the Golden Buck in Fleet Street, Hen.y The Monarch paddle steamer, owned by the London & Parker at No.82 opposite Birchin Lane in Cornhill, Edinburgh Steam Packet Company, in the Firth of Carington Bowles No.69 in St. Pauls Church Yard. Forth. [n.d., c.1775.] Stock: 54703 Engraving with etching, 18th century watermark. 335 x 465mm (13¼ x 18¼"), with large margins. £380 92. To his Royal Highness George Prince of Captain Richard Tyrrell of the Buckingham fights a Wales, This Plate of his Maj.ties Ship the Royal duel with the French Florissant and two frigates off George is most humbly Inscribed. Monserrat on 3rd November 1758. Eventually, the T. Baston delin: J. Cole Sculp. [n.d., c.1714.] French ship escaped, but with many casualties. Engraving. Sheet 335 x 485mm (13¼ x 19"). Mss Plate 3 of a series of naval battles by marine painter borders added through image from a print screen. £680 Francis Swain (c.1719-82). The original painting is in 'Royal George' was a short-lived name for the Royal the National Maritime Museum (BHC0383) . Parker: Navy 100-gun ship of the line launched in 1675 as 62, b. 'Royal James'. After the Glorious Revolution she was Stock: 54811 renamed 'Victory', then 'Royal George' in 1714, on the Hanoverian accession, but reverted to 'Victory' the 90. [Battle of the Nile] The Hazards of War following year. She burned to the waterline in 1721 [or], Nelson Wounded. The Courageous and was broken up. Nelson received a Wound in the memorable Stock: 55056 Engagement of the 1st Aug.t 1798... Published 24th. Nov.r 1798, by J. Fairburn, 146, Minories, London. 93. Lee View and Weather Bow View under Scarce engraving. 420 x 310mm (16½ x 12¾"). Two Reef Main Sail. No.4. Repaired tear on right. £380 Drawn on stone by J. Rogers. Printed by Rowney & A representation of a trophy commissioned to celebrate Forster. Published by T. McLean. 26, Haymarket [n.d., the State Visit of William IV and Queen Adelaide to c.1824]. the Royal Armouries in the Tower of London, 5th Rare lithograph. Sheet 305 x 435mm (12 x 17"), with August 1830. They were received by Arthur, Duke of large margins. £260 Wellington, who was Constable of the Tower. Placed One boat flies the White Ensign. on the Grand Staircase, it features a bust of the king Stock: 55044 surrounded by a variety of weapons, including relics of Blenheim and Waterloo. The trophy was destroyed in 94. Lee View of a Yawl Yacht. No.5. the fire in the Tower of London of 1841 [Drawn on stone by J. Rogers.] Printed by Rowney & Stock: 54747 Forster. Published by T. McLean. 26, Haymarket [n.d., c.1824]. 97. Triumphal Entry of the Brave and Rare lithograph. Sheet 305 x 435mm (12 x 17"), with Glorious Guards into London, July 9, 1856. large margins. £260 Sketched from Opposite the Treasury Stock: 55042 Buildings and Horse Guards. ''Alma'' - ''Inkermann'' - ''Sebastapol.'' London: Published July 11th, 1856, by Read & Co., 10, Johnson's Court, Fleet Street. Fine coloured tinted lithograph. Sheet 455 x 530mm (18 x 20¾"), with blind stamp of 'Ackermann & Co' under publication line. Repaired tear at top, crease through inscription area. £360 Battalions of Grenadier, Fusilier and Coldstream Guards, veterans of the Crimean War, in Whitehall, having marched from Nine Elms Station on their way to Buckingham Palace and Hyde Park. Led by their brass band, they carry their battle-scarred ensigns. This print was published only two days after the event. Stock: 54705

98. View of the Royal Artillery Barracks, 95. [Battle of the Boyne.] To His Royal Woolwich. Dedicated by permission, to the Highness George Prince of Wales, This Plate Rigth Hon.ble the Earl of Mulgrave, Master engraved from the original Picture of The General of the Ordnance, by his most obedient Battle of the Boyne, in the Collection of the R.t humble Servant, [Jas. Cockburn, Major in the Hon.ble the Lord Grosvenor Is by permission Royal Artillery. ] Dedicated by His Roal Highnesse's most Drawn by Major Cockburn. Engraved by R. Havell & faithful obedient Servants - Benj.n West and Son. 3 Chapel Street, Tottenham Court Road. John Hill. [Published March 30, 1816, for the Proprietor, by Painted by B. West, Historical Painter to His Majesty. Colnaghi & Co, Cockspur Street, London.] Engraved by John Hall. Published as the Act directs, Coloured aquatint. Sheet 340 x 500mm (13½ x 19¾"). 18 Oct.r 1781 by B. West, j. Hall & W. Woollett, Trimmed, losing end of dedication and publication London. line. £390 Etching with engraving, 18th century watermark. 485 x The Royal Artillery excercising. From "Cockburn's 615mm (19 x 24¼"). Trimmed to plate, some toning of Woolwich'. Ogilby: 186. Stock: 54950 paper. £420 William III on a white horse, leading his army across the Boyne, 1st July 1690. Bottom right the Duke of 99. [Buonaparte. Peint à son retour de Schomberg is carried off by four soldiers, having been Moscow.] shot in the neck BM: 1876,0708.2600, final published [Peint par R. Lefevre, à Paris 1813. Gravé par T. state. Lupton.] Published Feb.y 9th,, 1819, by John Bell, Stock: 54702 corner of Southampton Street, Strand. Very scarce mezzotint. Sheet 405 x 270mm (16 x 96. This Armoury was Honoured by the 10¾"). Trimmed into image, laid on decorated mount. Presence of Their Majesties King William the £360 4th and Queen Adelaide on the 5th August Impressive portrait of Napoleon Bonaparte in dress uniform, hat under left arm, right hand inside his tunic. 1830. On the desk is a volume of the Napoleonic Code. Drawn by C. Caplin. Engraved by Ja.s Bedaway. After Robert Lefèvre (1755 - 1830). From the Berkeley Printed by Gaywood & Longworth. Collection, Spetchley Park. Stock: 54690 100. [Leopard Drinking.] A fine example of colour printing, with the colour HD. Herbert Dicksee [pencil signature.] [n.d., c.1915.] printed from two plates, with no hand retouching. Drypoint etching, signed artist's proof. 210 x 350mm The publisher, Louis Marin Bonnet, was the inventor (8¼ x 13¾"), with large margins. £980 of crayon manner. He operated from the above address A leopard crouching to drink from a pool, exhibited at between 1776 and 1789. The engraver, L. F. the Royal Academy in 1918. From the artist's Duruisseau, also engraved for Pierre-Joseph Redouté. grandson and the celebrated collection of Bryan & See Dunthorne 211 for a print probably from the same Valerie Steele. series. Collection J. Herold. Stock: 54999 Stock: 54911

104. Laurie's New and Entertaining Game of the Golden Goose. Published Nov.r 22nd 1848 by Rich.d Holmes Laurie, No 53 Fleet Street, London.. Engraving. 400 x 480mm (15¾ x 19"). Top corner left loss into plate, other tears in very large margins £360 A 'goose-game', with the board in the shape of a goose, with the rules in an oval above. Stock: 55064

105. Scriptural Protean Views, No. 2. Mount Ararat Changing to The Descent of Noah from the Ark. 101. [Bear of the North.] By G.F. Bragg. Printed by W.Kohler. London, William HD. Herbert Dicksee [pencil signature.] [n.d., c.1915.] Spooner, No. 337 Strand. [n.d., c.1840.] Etching with drypoint, limited edition 100, one state Very rare coloured lithograph. 150 x 180mm (6 x 7"), only, signed by the artist. 205 x 330mm (8 x 13"), with trimmed and laid on card with title label, backed with large margins. Mint. £1350 tissue, as issued. £260 A reclaining polar bear, on a rocky outcrop at night. A view of Mount Ararat that changes when the image Herbert Thomas Dicksee (1862-1942) was an English is held up to a light source, with a stream of animals painter who specialised in paintings of dogs and coming down the mountain, a rainbow and Noah animals. He studied at the Slade School of Art and his sacrificing at a burning altar. first painting was exhibited in 1881. His paintings were Stock: 55131 usually done from life; he kept numerous dogs as pets and frequented London Zoo. His daughter, Dorothy was the executor of his will, which directed her to 106. Spooner's Protean Views, No. 7. The destroy most of the plates for his etchings. From the Rival Heroes or a Fight for the Championship. celebrated collection of Bryan & Valerie Steele. Between the two gamest Birds in Europe. Stock: 54661 ''When Greek meets Greek then comes the tug of War.'' 102. [Tiger sleeping.] London, William Spooner, No. 337 Strand. June 18 H.D. 1920 [Herbert Dicksee pencil signature.] 1836. Drypoint etching, signed in pencil by the artist. 180 x Coloured lithograph, 145 x 195mm (5¾ x 7¾"), 350mm (7 x 13¾"), with very large margins, five trimmed and laid on card, stamped "Crayon Papers fast blindstamps including the Fine Art Trade Guild. Mint. colours Creswick", with title label, backed with tissue, £980 as issued. £350 Herbert Thomas Dicksee (1862-1942) was an English A transformation print: when held up to a light source painter who specialised in paintings of dogs and the two fighting cocks acquire the heads of Wellington animals. He studied at the Slade School of Art and his and Napoleon. first painting was exhibited in 1881. His paintings were Stock: 55132 usually done from life; he kept numerous dogs as pets and frequented London Zoo. His daughter, Dorothy 107. Spooner's Protean Views, No. 13. The was the executor of his will, which directed her to Magic Mirror. destroy most of the plates for his etchings. From the London, William Spooner, No. 337 Strand. [n.d., celebrated collection of Bryan & Valerie Steele. c.1836.] Stock: 54997 Coloured lithograph, 220 x 145mm (8¾ x 5¾"), trimmed and laid on card stamped stamped "Crayon 103. Bouquet de Roses. Papers fast colours Creswick", with title label, backed Carle delin. Duruisseau Sc. Bonnet direx. A Paris, with tissue, as issued. £390 Chez Bonnet, rue St Jacques, au coin de celle de la A magician pulls back a curtain to show two young Parcheminerie [n.d., c.1780]. girls his magic mirror. When held up to the light the Crayon-manner etching, printed in red and green, mirror shows her wedding day. fantastic piece of colour printing. Sheet 280 x 195mm Stock: 55133 (11 x 7¾"). Trimmed within plate. £390 108. Spooner's Protean Views, No. 21. of the buildings are lit, and the sky has stars and a Napoleon at the Battle of Wagram, Changing crescent moon. to The Conflagration of Moscow. Stock: 54796 London, William Spooner, No. 337 Strand. [n.d., c.1840.] Coloured lithograph, 150 x 170mm (6 x 6¾"), trimmed and laid on card with title label, backed with tissue, as issued. £260 The scene changes when held up to a light source. Stock: 55130

109. Spooner's Protean Views, No. 27. Westminster Abbey Fitted Up for the Coronation of Queen Victoria, Changing to the Ceremony of the Homage. London, William Spooner, No. 337 Strand. [n.d., c.1840.] 113. [Vue de la côte de Dordrecht proche du Coloured lithograph, 180 x 350mm, trimmed and laid on card with title label, backed with tissue, as issued. Port Groothooft à Dordrecht.] £260 [n.d., c.1780.] The empty Abbey fills with people when held up to a Engraving with original hand colour. Sheet 310 x 470mm (12¼ x 18½"), prepared as a transparency. light source. Stock: 55134 Trimmed, losing title, edges blacked, a little surface wear. £260 A view of the harbour of Dordrecht, prepared as a 110. Vue du Chateau de Choisy le Roy du côté transparency, with pinholes with coloured tissue on the du Jardin. reverse so that when it is held up to a light the windows [n.d., c.1780.] of the buildings are lit, and the sky has stars and a Engraving with original hand colour. Sheet 255 x crescent moon. 430mm (10 x 17"), prepared as a transparency. Stock: 54798 Trimmed to plate, edges blacked, colour smears a little surface wear. £160 114. [Vue d'un partie de la ville Dordrecht A view of the royal residence, the Château de Choisy, prepared as a transparency, with pinholes with prise de le Moulin é Ciment de la Village de coloured tissue on the reverse so that when it is held up Zwyndrecht.] to a light the windows of the buildings are lit. [n.d., c.1780.] Stock: 54799 Engraving with original hand colour. Sheet 310 x 435mm (12¼ x 17"), prepared as a transparency. 111. No. 16 Morgan's Improved Protean Trimmed, losing title, edges blacked, a little surface Scenery. The Great Fall of Niagara. This Print wear. £260 A view of the harbour of Dordrecht, prepared as a at first represents the Great Fall of Niagara by transparency, with pinholes with coloured tissue on the day; and upon holding it before the light, it will reverse so that when it is held up to a light the windows present for your view the American Steamer of the buildings are lit, and the sky has stars and a Caroline on fire, as it appearewd a few seconds crescent moon. before it was launched into the awful abyss, on Stock: 54797 the night of the 29th of Dec.r 1837. London. Published Feb.y 24th, 1838, by W. Morgan, 115. Portraits of Mr & Mrs Cosway. 25, Bartletts Buildings, Holborn Hill. R.d Cosway RA delin. R.t Thew Sc . Published 1 June Coloured lithograph. 170 x 230mm (6¾ x 9"), trimmed 1789 by M. Lawson, No. 96, Strand corner of Beaufort and laid on card with title label, as issued. Paper crack Buildings. top left. Foxing. £360 Fine stipple, printed in brown. 380 x 260mm (15 x A transformation print. 10¼"), with large margins. Uncut. Mint. £480 Stock: 55135 A rare self-portrait of the artist Richard Cosway and his wife Maria. It was originally published with the 112. [Vue du Port de Cadiz vers l'Orient.] title 'Abelard and Heloise in the Gardens of Fulberts [n.d., c.1780.] Country Residence at Corbeil', the same year. From the Engraving with original hand colour. Sheet 285 x Berkeley Collection, Spetchley Park. 405mm (11¼ x 16"), prepared as a transparency. Stock: 54975 Trimmed, losing title, edges blacked, a little surface wear. £260 The entrace of Cadiz harbour, with a lighthouse and a fort. The print has pinholes with coloured tissue on the reverse so that when it is held up to a light the windows

119. Apotheosis of Her Royal Highness The Princess Charlotte Augusta of Wales. To Perpetuate the Memory of this Amiable Princess, so justly beloved and regretted By the British Nation, This tribute of Respect is most humbly Dedicated to her afflicted Consort His Royal Highness Prince Leopold of Saxe Coburg, by Lieut.t R.P. Read. Proof. Lieut.t Read Inv.t E. Burney Del.t. Fry & Wright Sculp. London Published June, 4.th 1818, for the Proprietor by J. Rippin, No.21. Theobalds Road. Stipple. 470 x 325mm (18½ x 12¾"), with very large margins, watermarked 'J Whatman 1817'. £320 A tribute to Princess Charlotte of Wales (1796-1817) who tragically died following childbirth aged 21. It shows her raised to heaven, with her stillborn baby carried by a cherub. Allegorical women weep at her tomb, including Britannia. Windsor Castle can be seen in the background. From the Berkeley Collection, Spetchley Park. Stock: 54691

120. Henricus VIII. D.G. Ang. Fr. & Hiberniæ, Rex, F.D. R. Houston fecit [after Hans Holbein]. Printed for E. 116. [Hieronimi du Quenoy] Hic ille est Bakewell & H. Parker, in Cornhill London. quondam Fratri vix dispar in Arte, [...]. Mezzotint. 260 x 200mm (10¼ x 8"), with large Sculptoris egregii ad imitationem Fabula per A. Van margins. Slightly time stained. £180 Dyck ad vivum depictae R. Brookshaw fe.t Bruxellis A half-length portrait of Henry VIII wearing a fur robe, Anno Salutis 1779. Brussles, 1779. feathered cap and large chains. Rare mezzotint. 240 x 160mm (9½ x 6¼"). In mount. Stock: 55061 Trimmed to plate mark. £450 A portrait of Jerome Duquesnoy (II), or Hieronymus 121. [Amalia Augusta Prinzessin von Anhalt Duquesnoy, (1602-1654) a Flemish architect and Dessau. Ihro Hochfürstl: Durchlaucht der sculptor. Ex collection Soliman Lieutand. Frau Erbprinzessin zu Anhalt Dessau &c. &c. Stock: 55125 &c.] [Nach Tischbein. Geschabt von Michelis.] 117. [Self-portrait of John Jackson] [unterthangiggst gewidmet von der Chalcographischen [Engraved by William Ward after John Jackson.] [n.d., Geserllschaft in Dessau 1797.] 1832.] Mezzotint, proof before letters, printed in sepia. 520 x Rare mezzotint, proof before letters. 340 x 255mm 370mm (20½ x 14½"), with very large margins. Some (13½ x 10"), with large margins. £280 restoration in centre, laid on archival paper. £380 John Jackson RA (1778-1831), portrait painter whose A young girl in a white dress putting an ornament on a sitters included the Duke of Wellington and the Christmas tree. explorer Sir John Franklin. This portrait was engraved Princess Amalie Auguste of Anhalt-Dessau (1793- posthumously by the uncle of his widow, Matilda 1854) married her first cousin, Frederick Günther, Louisa Ward, the daughter of the painter James Ward. becoming Princess Consort of Schwarzburg-Rudolstadt Atmospheric image. Stock: 55063 Stock: 55068

122. [A child asleep lying on a pillow.] 118. Anna D.G. Magnæ Britanniæ, Scotiæ, F. Bartolozzi R.A. Delt. Rob.t Sam.l Marcuard, Pupil Galliæ et Hiberniæ Regina. Augusta, of Fran. Bartolozzi, Scul. [n.d. c.1786.] Religionis acerrima vindex. Stipple printed in sanquine, pt 18th century watermark. Petrus Schenck fecit et excud: Amstelod: cum Privil: 245 x 310mm (9¾ x 12¼"), with large margins on 3 ordin: Holland: et Westfrisiæ. G. Kneller Eques pinx: sides. Trimmed to platemark at bottom. £280 [Amsterdam, c.1710]. Robert Samuel Marcuard (1751-92). Mezzotint. 330 x 250mm (13 x 9¾"), with large Stock: 53325 margins. £260 Portrait of Queen Anne (1665-1714), half-length in an oval, wearing a small crown, pearl necklace, ermine- lined robes with jewels. Stock: 54795 123. [Unidentified Woman.] County Palatine of Durham' (1823) that Place had JW [old ink mss., James Ward?]. [n.d., c.1800.] 'scraped a fine mezzotinto of his friend and relation Very rare mezzotint, proof before letters. 475 x 355mm Philip Woolrich'. (18¾ x 14"), with large margins watermarked '[I] C de The original pastel & chalk is in the Yale Centre for R IM-HOF. Gr. K Re'. Tear in margin repaired. £320 British Art. CS 14, state i of ii. The BM has a titled A woman with pearls in her hair. example annotated 'Buried at Darlington 23 July The watermark is that of Johann Christoph de Rudolph 1699'. Im-Hof, Basle, Switzerland. The Tate has a J.M.W. Stock: 53030 Turner sketchbook by that maker, dating from 1802. Stock: 55066 126. John Rennie. Chantrey R.A. Sc.t. Reynolds Eng.r. [n.d. c. 1820] Mezzotint. 505 x 355mm (20 x 14"). Framed. Unexamined out of frame. £360 An engraving of Sir Francis Chantrey's bust of civil engineer John Rennie (1761-1821), set in an arched alcove, now in the National Portrait Gallery. Rennie is most famous for his Waterloo Bridge (1811-7). Chantrey (1781-1841) was the leading portrait sculptor in Regency England, His subjects included George III (now in the Guildhall), George IV (equestrian statue in Trafalgar Square) and George Washington (Massachusetts State House). Whitman: 245. Stock: 54622

127. The Right Hon. George Macartney, Earl of Macartney, K.B. Engraved by G. Bartolozzi, from an original Drawing by H. Edridge. Published Jan. 14. 1817, by T. Cadell & W. Davies, Strand, London. Stipple with etching, 365 x 265mm (14¼ x 10½"). Trimmed to plate on left. £160 George Macartney (1737-1806), 1st Earl Macartney, diplomatist and colonial governor, the first envoy of Britain to China in 1793. After Henry Edridge (1768 - 1821). Stock: 55069

128. Henry M Stanley [facsimile signature]. 124. [Woman in riding dress] In her love Photographed by the London Stereoscopic Company. darting Eyes awakes the Fires [...] [n.d., 1872.] Jos. Vanhaecken pinx. Alex. Van haecken fe. Sold by Albumen photograph on printed card. Photo 90 x T. Jefferys in the Strand and W. Herbert on London 60mm (3½ x 2¼"), sheet 210 x 130mm (8¼ x 5¼"). Bridge. [n.d., c.1750.] Repaired tear in backing sheet. £160 Scarce mezzotint. 460 x 310mm (18 x 12¼"). Thread Full-length portrait of Henry Morton Stanley with pith margins, some restoration, laid on archival paper, with helmet and gun, with staged 'Africa' background. modern paper border. £650 The National Portrait Gallery has a carte-de-visite from A full length portrait of a woman in riding dress, a the same session titled 'Mr Stanley in the Dress he whip hanging from the wrist. wore when he met Livingstone in Africa'. See NPG Originally published by the engraver, Alexander Van x46623. Haecken. CS 22, state ii of ii. Stock: 55075 Stock: 54805 129. Beatrice. Vide Shakespear's Much ado 125. [Philip Woolrich.] about Nothing. [Engraved by Frances Place after John Greenhill.] R. Westall, A. inv. T. Cheesman sculp, late Pupil to F. [London: John Overton, n.d., c.1680.] Bartolozzi. Publsh'd Feb.y 10, 1793 by J.F. Tomkins, Scarce mezzotint, proof before letters, 17th century New Bond Street. watermark. 270 x 200mm (10½ x 7¾"), with large Stipple, 315 x 205mm (12½ x 8"), with large margins, margins. Incorrect ink identification of sitter as the partial 18th century watermark £290 Duke of Monmouth. Slight stain in hair. Top margin on Beatrice, niece of Leonato, governor of Messina, right top replaced. £360 subject of a matchmaking plot. Portrait of Philip Woolrich (d.1699), in elaborate wig Stock: 55070 and armour, looking over his right shoulder towards the viewer. Little is known about Woolrich: William Hutchinson wrote in his 'History and Antiquities of the A half-length portrait in oval of William Pitt the Younger (1759-1806), who became the youngest-ever Prime Minister in 1783, aged 24. The title refers to him as Chancellor of the Exchequer because the office of 'Prime Minister' had yet to become formalised. CS 32, ii of ii. Stock: 54624

133. [Samuel Whitbread.] [Engraved by S.W. Reynolds after James Northcote.] [n.d., c.1815.] Mezzotint, proof before letters. 630 x 355mm (24¾ x 14"). Framed. Lettered in pencil. Trimmed to plate, laid on album paper. Mounted over paper edge. £450 Full length portrait of Samuel Whitbread (1756-1815), politician and brewer, shown with a bust of Fox, the Bill of Rights and a Magna Charta scroll. Whitbread was a friend and early patron of the engraver, Samuel William Reynolds. This mezzotint comes from an album belonging to the Northcote family and is the only example we can trace. Probably the plate was never published, shelved by the family after Whitbread's messy suicide. A lithographed 130. Herr Blasius Rauchmantl, der frucht- version by Samuel Cecil was published by Ackermann loßen Alchimie Kunst Archi-Sectator, Quintae in 1831. The painting hangs in Bedford Magistrates' Essentiae Stultorum Possessor. 36 Court. Not in CS or Whitman. Ex: Collection of The [by Martin Engelbrecht.] [Augsburg: Martin Hon. C. Lennox-Boyd. Engelbrecht, c.1715.] Stock: 54627 Etching, printed ftom two plates, total 270 x 170mm (10¾ x 6¾"). £450 134. [Oliver Cromwell.] A portrait of the famous dwarf alchemist, Blasius F. Bartolozzi R.A sculp. Published as the Act Directs Rauschmantle, peering through spectacles as he adds a Octr. 11th 1802. liquid to a vessel on a furnace. Fine stipple plate, proof before letters; 495 x 420mm Plate 36 from 'Il Callotto resusciato oder Neü (19½ x 16½") with large margins. £360 eingerichtes Zwerchen Cabinet' by Martin Engelbrecht Half-length portrait of Oliver Cromwell (1599 - 1658), (1684-1756), engraver and publisher in Augsburg, with in armour holding baton. One of the commanders of portraits of famous dwarfs in the style of Jacques the New Model Army which defeated the royalists in Callot's 'Gobbi' or 'Lilliputian' figures, printed within the English Civil War. During the Commonwealth of elaborate borders. BM 1938,0617.12.48. England, Cromwell conquered Ireland and Scotland, Stock: 54929 and ruled as Lord Protector from 1653 until his death in 1658. After Robert Walker (died 1658), with 131. Harriot Lady Dundas, Lawrence Lord adaptations. Dundas, and the Hon.ble John Charles Stock: 54988 Dundas. Painted by C.W. Pegler. Engraved by C. Turner, 135. [George Alsop] This but the shade of him A.R.A. [London, Published March 8, 1832, by Mr. adorn'd in White... Turner, 50, Warren Street, Fitzroy Square.] W. Sherwin fecit. [London: R. Reynolds, 1669.] Mezzotint. Sheet 420 x 330mm (16½ x 13"). Trimmed Rare engraving. Sheet 110 x 80mm (4¼ x 3¼"). within plate, losing publication line. £260 Trimmed to image, notch in bottom edge. £260 A group portrait of Lawrence Dundas (1766-1839), 1st Portrait of George Alsop, the frontispiece of his ''An Earl of Zetland, with his wife one of his sons, John Orthodox Plea for the Sanctuary of God, Common Charles Dundas (1808 –1866). Whitman: 2, II. NPG: Service, and White Robe of the House''. This was a D7147. polemic in support of church worship. While he does Stock: 55067 not mention any nonconformist sects by name, he condemns 'wretches' who claim to have 'a quickening 132. The R.t Hon.ble William Pitt, Late spirit within them that informs them of all things', Chancellor of the Exchequer. Engraved from apparently a reference to the Quaker 'inner light'. the Original Picture in the Possession of S.r Alsop was ordained deacon by Henry King, Bishop of Chichester c.1666, then priest in 1669. Brook Watson, Bar.t. Stock: 54812 Painted by Gainsborough Dupont, 1792. Engraved by Richard Earlom. Published by Boydell & Co. Aug.t 1. 1806, No. 90 Cheapside, London. Mezzotint. 515 x 350mm (20½ x 13¾"). Framed. £360 136. [Leonard of Port Maurice]. Pio Sexto Seated portrait of Barbara Palmer (née Villiers) (1640- Pont. Max Quod Beatorum Caelitum fastis 1709), mistress of Charles II during the 1660s. In 1670 adscripserit Leonardum a Portu Maurito... Charles made her Duchess of Cleveland, giving her Joan Emili scul. 1797. Henry VIII's Nonsuch Palace. In 1683 she had the Engraving. 600 x 365mm (23½ x 14½"), with large palace pulled down to sell the building materials to pay margins. £230 her gambling debts. CS 5, ii of ii. Ex: Collection of The A scene of Saint Leonard of Port Maurice (1675-1751), Hon. Christopher Lennox-Boyd. a Franciscan missionary, preaching in Corsica. This Stock: 54650 print was published the year after Pope Pius VI pronounced his beatification in 1796; he was canonised by Pius IX in 1867. From the Berkeley Collection, Spetchley Park. Stock: 54979

137. [Angela Merici.] D.N. Pio VI Pont Max. Effigiem Angelae Mericiae Matris dedicat Sodalitas Ursulinarum quod oraculo eius honores caelitum Sactorum tantae Magistrae decreti sunt. Petrus Angetti inv et del. Carolus Antoni sculp. [n.d., c.1780.] Engraving., on verso ink Maria Teresa Gasvarni; 505 x 325mm (20 x 12¾"), with large margins. Slight foxing. Uncut. £180 An allegory of the canonisation of Angela Merici (1474-1540), founder of the Company of St. Ursula in 1535 for the education of poor girls. From the Berkeley Collection, Spetchley Park. Stock: 54967

138. D.nus Hans Sloane Baronettus Collegii Regii Medicorum Londinensiu, & Regniæ Societatis Præses, &c. G. Kneller Bar.t pinx. 1716 J. Faber fecit 1729. [London: John Faber, c.1729.] Mezzotint, fine impression, 350 x 250mm (13¾ x 9¾"). Thread margins, folded for binding. £360 Sir Hans Sloane (1660-1753), a President of the Royal 141. S.r Richard Arkwright. Society whose collection and library formed the Painted by Joseph Wright, R.A. 1790. Engraved by I.R. nucleus of the British Museum. CS 328 i/ii. Smith, Mezzotinto Engraver to H.R.H. the Prince of Stock: 54746 Wales, May 5, 1801. Mezzotint. 660 x 460mm (26 x 18"). Framed. Thread 139. [James Watt and the Steam Engine.] margins, surface cracks. £380 Painted by James Eckford Lander. Engraved by James Sir Richard Arkwright (1732-92), inventor and Scott. London. Published by Henry Graves & Compy. manufacturer who patented a machine for spinning Novr. 12th 1860: Printsellers to the Queen _ 6 Pall cotton thread (1769), the 'spinning jenny' that lies on Mall. the table beside him. He established cotton mills that Scarce mixed method engraving. Sheet 395 x 620mm were among the first to use machinery on a large scale, (15½ x 24½"). Trimmed, losing title, a few repairs at the beginning of the factory system. CS: 2, only state. top. £880 Stock: 54626 Watt conducting an experiment in his laboratory. The original painting by James Eckford Lauder (not 142. The Right Honorable Lady Charlotte Lander as here, 1811-69) is in the Scottish National Campbell. Gallery. Painted & Drawn by J. Hoppner R.A. Engraved by C. Stock: 54952 Wilkin. Published May 1799 by C.Wilkin No.19 Eaton Street, Pimlico. 140. [Barbara Parmer] The Dutchess of Stipple, open letter proof, printed in brown. 245 x Cleaveland. 190mm (9¾ x 7½") very large margins. Slight rippling P Lely pinx: E Lutterell fec: I.Beckett ex: [n.d., in centre. £220 c.1670.] A half-length portrait of Lady Charlotte Susan Maria Fine & rare mezzotint. 335 x 250mm (13¼ x 9¾"). Campbell (1775-1861), daughter of John Campbell, 5th Trimmed to plate, tipped onto album sheet at corners. Duke of Argyll, and Elizabeth Gunning, wife of £320 Colonel John Campbell. After being widowed in 1809 she became a Lady-in-Waiting in the household of nicknaming Catherine 'little Comedy' and Mary 'the Caroline of Brunswick, and is believed to have kept a Jessamy bride'. Despite the 20-year age gap, Goldsmith diary of court life which was published anonymously. became infatuated with Mary and she provided the In 1818 she married the Reverend Edward John Bury, inspiration for 'She Stoops to Conquer'. She married a after which she published more literature. Colonel Gwynn after Goldsmith's death. Catherine, From the series 'Ladies of Rank and Fashion', with Mary's sister, married the artist William Henry portraits by John Hoppner and Charles Wilkin. For Bunbury. Reynolds' oil is at Cliveden. CS 25, state iii. complete set see Ref: 54955 Stock: 54735 Stock: 54830 147. The Right Honorable Lady Catherine 143. The Right Honorable Lady Charlotte Howard. Duncombe. Painted & Engraved by C. Wilkin. Publish'd Jan.y 1 Painted & Drawn by J. Hoppner R.A. Engraved by C. 1802 by C.Wilkin No.19 Eaton Street, Pimlico. Wilkin. Publish'd as the Act directs by J.n Hoppner & Stipple, open letter proof. 245 x 190mm (9¾ x 7½"), C.Wilkin March 1797. with very large margins. £230 Stipple, open letter proof, printed in brown. 245 x A half-length portrait of Catherine Howard of Corby 190mm (9¾ x 7½"), with very large margins. £160 Castle, Cumberland, probably Catherine Mary Neave A half-length portrait of Charlotte Legge (1774-1848), (c.1760-1849), second wife of Henry Howard. wife of Charles Duncombe, 1st Baron Feversham. From the series 'Ladies of Rank and Fashion', with From the series 'Ladies of Rank and Fashion', with portraits by John Hoppner and Charles Wilkin. For portraits by John Hoppner and Charles Wilkin. For complete set see Ref: 54955 complete set see Ref: 54955 Stock: 54828 Stock: 54826

144. [Lady Grenville?] [n.d., c.1800.] Stipple, printed in brown, proof before all letters.. 245 x 190mm (9¾ x 7½"), with large large margins. £280 A pencil note identifies this as a portrait of Lady Greville. For complete set see Ref: 54955 Stock: 54831

145. [Lady Grammont. Done from the Original Picture, Painted by Sr. Peter Lely. In the Royal Palace at Windsor. By James Mc.Ardell.] [Sold by E. Fisher at the Golden head in Leicester Square, & by Ryland and Bryer at the Kings Arms in Cornhill London.] [n.d. c.1765.] Mezzotint, proof before all letters. 505 x 355mm (19¾ x 14"). Thread margins. £390 Portrait of Elizabeth Hamilton, Comtesse de Gramont, as St Catherine of Alexandria; seated almost whole- length to left with her right hand holding robe to her breast and palm branch in her left, eyes to front, wearing loose satin robe, pearl earrings and her hair in ringlets; wheel, pillar and curtain behind. Hamilton (1641-1708) was a courtier to Charles II, and married to Philibert, Count de Gramont. She was one of the Windsor Beauties. CS: 91. Goodwin: 125. Stock: 53897 148. Josephus II Augustus Leopoldus A A 146. [Mary Gwyn] Miss Horneck. Magnus Dux Etruriæ. Painted by Sir Joshua Reynolds. Engrav'd by R. Pomp de Battoni ad vivum pinxit Romæ 1769. Andreas Dunkarton. Publish'd Feb.y 20th.1778 by W.m Rossi Venet sculpsit Romæ. Shropshire No.158, New Bond Street. Very rare etching. Plate 27¾ x 17¾" (705 x 450mm) Mezzotint. 505 x 355mm (20 x 14"), with narrow with large margins. £480 margins. £420 A full length double portrait of Holy Roman Emperor A portrait of Mary Horneck (c.1752-1840) kneeling, Joseph II and his brother Peter Leopold, Grand Duke of wearing a turban and a long dress with a sash tied Tuscany. The brothers visited Rome part of a Grand around the waist. Tour, where they were painted by the celebrated In 1769 Oliver Goldsmith met a widow, Hannah Roman artist Pompeo Batoni which this etching is Horneck, and her daughters, Catherine and Mary, based on. They stand clasping hands, wearing plain coats, braided waistcoats, breeches, stockings and An oval portrait of Anne Rushout (c.1768-1849), a buckled shoes. In the middleground they are watercolourist. surrounded by fluted columns, an open curtain and a From a series of portraits of Rebecca Rushout, Lady statue of Minerva on the base of which sits a map, Northwick, and her three daughters, Anne, Harriet and quills in a pot and closed books. A window in the Elizabeth, dubbed 'The Charming Sisters' by the artist background overlooks the cloudy skies of Rome and Andrew Plimer (1763-1837). Vale. 1970.3.609. St. Peter's Basilica is visible in the distance. From the Stock: 54824 Berkeley Collection, Spetchley Park. Stock: 54730 151. [Elizabeth Rushout.] ER. Plimer Pinx.t. Burke fcit. [n.d., c.1800.] Fine & rare stipple, printed in brown. 230 x 180mm (9 x 7"). Thread margins. Very slight foxing. £180 An oval portrait of Elizabeth Rushout (1774-1862), married Sydney Bowles then The Hon. John Wallis Graeve. From a series of portraits of Rebecca Rushout, Lady Northwick, and her three daughters, Anne, Harriet and Elizabeth, dubbed 'The Charming Sisters' by the artist Andrew Plimer (1763-1837). Vale. 1970.3.609. Stock: 54823

152. [Harriet Rushout.] HR. Plimer P.... Burke S.... [n.d., c.1800.] Fine & scarce rare stipple, printed in brown. 230 x 180mm (9 x 7"). Thread margins. Very slight foxing. £180 An oval portrait of Harriet Rushout (d. 1851), 2nd wife of Sir Charles Cockerell Bar.t. From a series of portraits of Rebecca Rushout, Lady Northwick, and her three daughters, Anne, Harriet and Elizabeth, dubbed 'The Charming Sisters' by the artist Andrew Plimer (1763-1837). Vale. 1970.3.608. Stock: 54822

153. [Rebecca Rushout, Lady Northwick.] 149. Portraits of Ladies of Rank and Fashion. RN. Painted by John Hoppner, R.A. Engraved by Plimer Pinx.t. Burke Fecit. [n.d., c.1800.] Charles Wilkin. Executed in a Manner to Fine & scarce rare stipple, printed in brown. 230 x United the High Finishing of Painting with the 180mm (9 x 7"). Thread margins. Very slight foxing. Spirit and Freedom of Drawing. £180 London: Published by the Proprietor. Charles Wilkin, An oval portrait of Rebecca Rushout (née Bowles, Eaton Street, Pimlico. 1797. 1740-1818), wife of John Rushout, 1st Baron Front printed wrapper and ten crayon-manner stipples, Northwick, MP for Evesham. Inscribed below are the proofs before titles. Each 250 x 190mm (10 x 7½"), initials of her married name and a coronet. eight with letterpress biographies. In mounts. £2000 From a series of portraits of Rebecca Rushout, Lady Extremely rare to find complete matching set of proofs. Northwick, and her three daughters, Anne, Harriet and The complete set of ten portraits from the series 'Ladies Elizabeth, dubbed 'The Charming Sisters' by the artist of Rank and Fashion', with portraits by John Hoppner Andrew Plimer (1763-1837). Vale. 1970.3.609. and Charles Wilkin. The sitters are Lady Charlotte Stock: 54821 Duncombe; Viscountess St. Asaph; Lady Charlotte Campbell; Jane Elizabeth, Viscountess Andover; Lady 154. Lady Langham. Gertude Villiers; Lady Langham; The Countess of Painted & Drawn by J. Hoppner R.A. Engraved by C. Euston; Lady Catherine Howard; The Duchess of Wilkin. Published June 2d 1800 by C.Wilkin No.19 Rutland; and Lady Gertrude Fitzpatrick. See Ref: Eaton Street, Pimlico. 54826 , 54827, 54828, 54829 54830, 54831 for single Stipple, open letter proof, printed in brown. 245 x images. 190mm (9¾ x 7½"), with large margins. £220 Stock: 54955 A half-length portrait of Henrietta Elizabeth Frederica Vane (1780-1809), first wife of Sir William Langham, 150. [Anne Rushout.] ER. baronet. Plimer Pinx.t. Burke fcit. [n.d., c.1800.] From the series 'Ladies of Rank and Fashion', with Fine & rare stipple, printed in brown. 230 x 180mm (9 portraits by John Hoppner and Charles Wilkin. For x 7"). Thread margins. Very slight foxing. £180 complete set see Ref: 54955 Stock: 54829 155. The Right Honorable Lady Gertrude he is shown holding a copy of the publication. BM Villiers. 1851,0308.572 Painted & Engraved by C. Wilkin. Publish'd as the Act Stock: 55016 directs June 2. 1800 by J.n Hoppner & C.Wilkin No 19 Eaton St.t Pimlico. 158. [Charles Babbage's Difference Engine]. Stipple, open letter proof, printed in brown. 245 x Impression from a woodcut of a small portion 190mm (9¾ x 7½"), with very large margins. £160 of Mr. Babbage's Difference Engine, No. 1, the A half-length portrait of Gertrude Emilia Villiers property of Government, at present deposited (1778-1809), daughter of the 2nd Earl of Grandison, in the Museum of King's College, Somerset married Lord Henry Stuart, son of 1st Marquess of House. Bute. B. H. Babbage del. June, 1853. From the series 'Ladies of Rank and Fashion', with Woodcut engraving, on album page in ink "from C. portraits by John Hoppner and Charles Wilkin. For Babbage". 215 x 160mm (8½ x 6¼"). Laid on album complete set see Ref: 54955 paper bottom right. Creasing in bottom right corner. Stock: 54827 £480 Frontis from "Passages from the Life of a Philosopher" Longman 1864. A small section of Charles Babbage's (1791-1871) Difference Engine No. 1, which was never completed. After Babbage announced plans for his invention in 1822, he drew intense interest from the Government, who agreed to finance his project. However, they withdrew support when the project remained incomplete two decades later and had cost more than ten times the initial budget. By then Babbage's interest drifted towards designing a more general analytical engine. Woodcut engraving by Benjamin Herschel Babbage (1815-1878), Charles' oldest son. Stock: 55119

156. Cotton Decks of Stanfield in Suffolk Aged 75. A Noted Breaker of Pointers, has 159. The Milkman. attended New Market meetings these 30 Years Drawn by G.F. Pidgeon. Engraved by W. Bond. Pub.d April 20, 1803, by G.F. Pidgeon, London Street, past is Qualified to Hawk, Hunt &c. by the Fitzroy Square. Hon.ble Cha.s Bertley. Scarce & fine stipple, printed in colours and hand- F. Sartotius pinx.t. Rob.t Laurie fecit. Published by finished. 425 x 285mm (19 x 11¼"), with very large Rob.t Sayer & Co. Fleet Street London. [n.d., c.1772] margins, watermarked 1806. Hand colour faded, Mezzotint. 260 x 360mm (10¼ x 14¼"), with very bottom edge chipped and soiled. £260 large margins. £320 A man using a yoke to carry two buckets of milk. Mezzotint by Robert Laurie (c.1755-1836) after A 'G.F. Pidgeon' designed medals, for example one Francis Sartorius (1734-1804). Siltzer 242. struck by the London Highland Society in tribute to the Stock: 54674 42nd Regiment's action at the Battle of Alexandria, March 1801, with a portrait of Sir Ralph Abercromby. 157. Harry Rowe, Born in York 1726. See Royal Collection Trust RCIN 443305 for the Trumpeter in the Duke of Kingston's Light medal. Horse at the Battle of Culloden in 1746. Forty Stock: 54835 six Years Trumpeter to the High Sherrifs of Yorkshireand Manager of a Company of 160. Danzatrice Alla Nobile Donna Carolina Artificial Comedians. Lady Cawdor nata Howard. Ant. Canova D. D. F:A ad viv del.t & fecit 1798. D. Etching and drypoint. 150 x 100mm (6 x 4"), with A. Canova inv. e scolpi. G. Tognoli dis. D. Marchetti large margins with ink note '4th State different incise. Statua in marmo di grandezza naturale inscription May 30 1799 R.A.'. £280 posseduta dall'Egregio Sig.r Dom.co Manzoni in Forli. Half-length portrait of the english showman, trumpeter [n.d. c.1814] and puppet master Harry Rowe (1726-1799), aged Etching with engraving. 455 x 320mm (18 x 12½"). seventy-two, standing in profile to left at stage of large margins. Mint. £320 puppet theatre. Drum, trumpet and images of puppets Sculpture of a young dancer with a garland around her hang at right, a man drowning at sea can be seen in the left arm. Antonio Canova's (1757-1822) scukptures on background. He is best known for his ammended the theme of dancing were made between 1806 and publication of Shakespeare's Macbeth, 'with Notes by 1811 and were immediately popular. The etching is Harry Rowe. York, printed for the Annotator (1797).' dedicated to Lady Isobella Caroline Howard (1771- The notes were of humorous nature, and in this image 1848), who married Lord Cawdor in 1789. Lord Cawdor (1753-1821) commissioned and bought many sculptures from the young Canova but never received 162. George Wilson, The Celebrated them. The location of the original sculpture is currently Blackheath Pedestrian, Born 24th June 1766, unknown. From the Berkeley Collection, Spetchley in Love Lane, Newcastle-upon-Tyne, who has Park. performed the most extraordinary Feats in Stock: 55076 Walking of any Man in the Kingdom both in length of distance and number of Walking 161. Danzatrice A Sua Eccellenza il Sig.r Matches, especially at his advanced Age. Conte Andrea de Rosoumoffsky Consigliere E. Gerard Pinx, Norwich. H.y Adlard, Sculp, London. privato di S. Mo. l'Imperatore di tutte le London, Published by Geo.e Wilson, 17th March, hussie. Senatore Cavaliere. Gran Croce di S. 1821. Andrea di S. Alessandro Newsky di S. Etching. 330 x 240mm (13 x 9½"), with very large Wladimir Classe &c. &c. &c. margins. Bit dusty. £380 Ant. Canova inv. e scolpi. G. Tognoli diseg: Ang. George Wilson (1766-1839), known as the 'Blackheath Bertini incise. Figura di grandezza naturale nel Palazzo Pedestrian' for his attempt to walk a thousand miles di S. E. a Vienna. Antonio Canova D. D. D. [n.d. around the heath in 20 days for a prize of £100. He c.1814]. failed because the authorities charged him with Etching and engraving. 465 x 330mm (18½ x 13mm), disturbing the peace because of the crowds that with large margins. Light foxing in margins. £380 followed him. Although he was acquitted his arrest Sculpture of a young dancer, holding cymbals above made the feat impossible, so he lost the prize, but a her head. At the time of engraving a 'life-size figure' collection at the London Stock Exchange matched the was at a palais in Vienna. The original sculpture by £100 within two hours. Canova (1757-1822) is now in the Staatliche Museen Stock: 53062 in Berlin. The print is dedicated, in French, to Prince Andrey Razumovsky (transliterated Rosoumoffsky) (1752-1836), a Russian diplomat who spent many years in Vienna. From the Berkeley Collection, Spetchley Park. Stock: 55004

163. [Eleven silk place mats, each with a G. MacGregor (wicket keeper for Middlesex). All but hand-painted portrait of a cricketer from the Radcliffe also played for England. collection of the MCC.] These mats were Lot 636 in the MCC sale in 1987 and [n.d., c.1893.] were purchased by Michael Pearce for £605, who had Eleven silk mats, 170mm (6¾") in diameter, plus them restored by a V&A specialist and framed. The fringe. Framed. Unique. Unexamined out of frame. MCC paddle and subsequent paperwork are included. £2200 Stock: 55124 The cricketers are: A.G. Steel (Lancashire), J.R. Mason (Kent), W.G. Grace (Gloucestershire & London County), C.B. Fry (Sussex & Hampshire), Martin Bladen Hawke, 7th Baron Hawke (Yorkshire), O.G. Radcliffe (bowler for Gloucestershire & Somerset), A.E. Stoddart (Middlesex), W.W. Read (Surrey), A.C. McLaren (Lancashire), F.S. Jackson (Yorkshire) and 164. [Japanese Golf Satires] The Golf of 167. Eileen Bennett Rokkosan. ''Me to the Mountain Tops''. [&] Helen Wills [pencil signature]. [n.d. c.1930s]. The Golf of Yokoya. ''The Soup-plater's Etching signed by artist. 175 x 125mm (7 x 5"), with Dream, or Ye Flyers of the Flat''. large margins, in original mount. £260 H.E.D. 04. [& 05]. [Japan?, 1904 & 1905?] Portrait of Eileen Bennett (1907-1979) playing tennis. Pair of chromlithographs. Each sheet c. 180 x 690mm Bennett was a UK tennis player who won six Grand (8 x 27"). £690 Slam titles. Bennett made it to the finals of both the Extremely scarce golfing images. Two satires, each French and US Championships and lost on two with six anthropomophic golf balls illustrating quotes occasions to Helen Wills. Etching by Helen Wills from golf enthusiats including Rudyard Kipling. One (1905-1998), who painted all her life and exhibited her sits under a road sign marked 'The Golf of Japan'. paintings and etchings in New York galleries. Although all the text is in English the style of the Stock: 54853 drawing and calligraphy has a Japanese influence. Stock: 54707 168. [Eileen Bennett]. Helen Wills [pencil signature]. [n.d. c.1930s]. Etching, proof, signed by artist. 175 x 140mm (7 x 5½"), with very large margins. Holes in margins where previously bound. £350 Portrait of Eileen Bennett (1907-1979) playing tennis. Bennett was a UK tennis player who won six Grand Slam titles. Bennett made it to the finals of both the French and US Championships and lost on two occasions to Helen Wills. Etching by Helen Wills (1905-1998), who painted all her life and exhibited her paintings and etchings in New York galleries. Stock: 54851

169. [Eileen Bennett]. [Helen Wills] [n.d. c.1930s]. Etching. 150 x 105mm (6 x 4"). Large margins, in original mount. £350 Portrait of Eileen Bennett (1907-1979) playing tennis. Bennett was a UK tennis player who won six Grand Slam titles. Bennett made it to the finals of both the French and US Championships and lost on two occasions to Helen Wills. Etching by Helen Wills (1905-1998), who painted all her life and exhibited her 165. [Lili Alvarez]. paintings and etchings in New York galleries. [Helen Wills] [n.d. c.1930s]. Stock: 54848 Etching, proof. 170 x 135mm (6¾ x 5¼"), with very large margins. Slight creasing. £240 170. [Eileen Bennett]. A portrait of Lili Alvarez 1905-1998) playing tennis. A Helen Wills [pencil signature]. [n.d. c.1930s]. pioneer in Spanish tennis, she reached the Wimbledon Etching, proof, signed by artist. 100 x 125mm (4 x 5"), finals three times and was twice defeated by Helen with very large margins. £280 Wills, who described her play as 'unusually daring'. Etching of Eileen Bennett (1907-1979) playing tennis, Etching by Helen Wills (1905-1998), who painted all by Helen Wills (1905-1998), who painted all her life her life and exhibited her paintings and etchings in and exhibited her paintings and etchings in New York New York galleries. galleries.. Bennett was a UK tennis player who won six Stock: 54845 Grand Slam titles. Bennett made it to the finals of both the French and US Championships and lost on two 166. [Lili Alvarez]. occasions to Helen Wills. Helen Wills [pencil signature]. [n.d. c.1930s]. Stock: 54852 Etching signed by the artist. 170 x 130mm (6¾ x 5"), with very large margins. Holes in margins where 171. Henri Cochet by Helen Wills. previously bound. £280 Helen Wills [pencil signature]. [n.d. c.1930s]. A portrait of Lili Alvarez 1905-1998) playing tennis. A Etching signed by artist. 100 x 75mm (4 x 3"), with pioneer in Spanish tennis, she reached the Wimbledon large large margins, in original mount. £350 finals three times and was twice defeated by Helen Portrait of Henri Cochet (1901-1987) playing tennis. Wills, who described her play as 'unusually daring'. Cochet was a successful French tennis player, ranked Etching by Helen Wills (1905-1998), who painted all number one from 1928 to 1931. Etching by Helen her life and exhibited her paintings and etchings in Wills (1905-1998), who painted all her life and New York galleries. exhibited her paintings and etchings in New York Stock: 54844 galleries. Stock: 54854 exhibited her paintings and etchings in New York galleries. Stock: 54843

175. M.r W.m Clarkes Dark Chesnut Horse Hylas, bred by his Grace the Duke of Grafton... Painted by F. Sartorius . Engrav'd by H. Kingsbury. Published, 1788, by Rob.t Sayer No. 53, Fleet Street London. Rare mezzotint with separate engraved title plate. Total 245 x 350mm (9½ x 13¾"), with small margins An original ink smear in plate on left. £380 A jockey holding the horse's reins, a race in progress behind. Siltzer: 242. Stock: 54675

176. This Excellent Horse Tortoise, got by Snap, is the Property of Mr. Wentworth, has won the following Plates & Prizes... F. Sartorius pinx.t. London, Printed for Rob.t Sayer No. 53, Fleet Street London. [n.d., c.1770.] Mezzotint. 250 x 350mm (9¾ x 13¾") very large margins. Holes in left margin caused by old ink burn. £380 An early state, before the addition of a date (1770) and 172. William Tilden by Helen Wills. plate number (512). Not in Siltzer. Stock: 54672 Forehand Chop. Helen Wills [pencil signature]. [n.d. c.1930s]. 177. Etching signed by artist. 195 x 140mm (7¾ x 5½"), [The Wellesley Arabian.] with very large margins in original mount. £350 [Engraved by C. Turner from the Original Picture by Portrait of William Tilden (1893 - 1953) playing J.L. Agasse.] London, Published Aug.st 19. 1810 by tennis. Tilden was an American tennis player J.L. Agasse & Newman St Oxford St. nicknamed 'Big Bill'. He held the world number one Rare mezzotint, proof before all letters; in pencil verso spot for six years, 1920 - 1925. Etching by Helen Wills "Delphini with portrait of Mr. Wharton"; 475 x 570mm (1905-1998), who was a renowned tennis player (18¾ x 22½"). Trimmed just within plate at bottom, herself, painted all her life and exhibited her paintings repaired tears on right. £380 A grey horse in a stable, with a groom holding a and etchings in New York galleries. Stock: 54836 blanket and a man in riding dress, holding a whip. The Grey Wellesley Arabian was an Persian-Arab cross stallion, one of two such horses brought to 173. [Henry Ellsworth Vines.] England in 1803 by Henry Wellesley, younger brother [Helen Wills] [n.d. c. 1930s]. of the Duke of Wellington, on his return from India. Etching, proof. 155 x 105mm (6 x 4¼"), with very Siltzer: 41. large margins. Holes in margins where previously Stock: 54678 bound. £250 Portrait of Henry Ellsworth Vines (1911-1994) playing 178. tennis. Vines was an American tennis player and was Horses Frightened by Lightning. world number one between 1932-1935 and 1936-37. Howitt sc. Pub.d by R.J. Hixon, at his Cheap Print Etching by Helen Wills (1905-1998), who was a Warehouse, 440, Strand. [n.d., c.1815.] renowned tennis player herself, painted all her life and Scarce coloured aquatint. Sheet 335 x 465mm (13¼ x exhibited her paintings and etchings in New York 18¼"), with large margins. Trimmed within plate, creasing, surface abrasions, holes in bottom corners. galleries. Stock: 54842 £420 Horses on a barren hillside. Stock: 54695 174. Elsworth Vines by Helen Wills. Helen Wills [pencil signature]. [n.d. c. 1930s}. 179. Etching signed by the artist. 150 x 100mm (6 x 4"), Horses Watering. with very large margins in original mount. £350 Designed, etched & published Dec.br 1st 1802 by S,. Portrait of Henry Ellsworth Vines (1911-1994) playing Howitt, Panton Street Hay Market. tennis. Vines was an American tennis player and was Coloured aquatint. 290 x 365mm (11½ x 14½"). world number one between 1932-1935 and 1936-37. Colour faded £360 Etching by Helen Wills (1905-1998), who was a Riders walking horses into a river to drink. Stock: 54696 renowned tennis player herself, painted all her life and 180. Instinct 185. [A Country Race Course with Horses Engraved by H. Pyall after F.C. Turner. London, Pub.d Running.] by S. Knight, Sweetings Alley, Cornhill, 1827. [W. Mason Esq. delin.t. Aquatinta by F.Jukes. Fine coloured aquatint. 335 x 385mm (13¼ x 15¼"), Engrav'd by J.Jenkins.] Pub.h.d June 20th [no year] with large margins. £280 W.m Mason Esq.r. [c.1786.] A grey hunter in a field roused by the sound of a Aquatint with engraving, proof before title, scratched passing hunt. publication line. Sheet 465 x 650mm (14¼ x 17¾"). Stock: 54943 Trimmed within plate, small tears repaired. Some creasing in sky. £690 181. [Mares and Foals, From a Picture in the A chaotic scene at a racecourse, Newmarket Heath or Possession of Lewis Dymock Esq.r.] probably York as the artist, William Mason (1724 -97), Painted by G. Garrard, Painter of Horses to H.R.H. the was Canon Residentiary of York. The horses pass the Prince of Wales. Engrav'd by Tho.s Morris. London, finish post, through spectators who wander close to the Pub March 2d. 1793 by G. Garrard at Mr Gilpin's course. On the left is a high phaeton carriage, in the Knightsbridge, & No. 43 Little Britain. right foreground a woman pie-seller falls to the ground, Scarce etching, scratched letter proof before title, 18th spilling her wares. century watermark. 340 x 460mm (13½ x 18"), with A pair to ''A Country Race Course with Horses large margins. Tear and cracks in platemark repaired. Preparing to Start''. The BM's example was published £580 by James Phillips in 1786. BM Satires 8256. Not in Two horses and two gamboling foals. Siltzer. Stock: 54942 Stock: 54700

182. [Mares and Foals, From a Picture in the Possession of Lewis Dymock Esq.r.] [Painted by G. Garrard, Painter of Horses to H.R.H. the Prince of Wales. Engrav'd by Tho.s Morris. London, Pub March 2d. 1793 by G. Garrard at Mr Gilpin's Knightsbridge, & No. 43 Little Britain.] Scarce etching, progress proof before all letters, 18th century watermark. 340 x 460mm (13½ x 18"), with large margins. £580 Two horses and two gamboling foals. Stock: 54941

183. [Mares and Foals, From a Picture in the Possession of His Royal Highness the Prince of 186. Extraordinary Steeple-Chase. For One Wales.] Thousand Sovereigns between Mr. [Painted by G. Garrard, Painter of Horses to H.R.H. the Osbaldeston's 'Clasher' and Capt.n Ross's Prince of Wales. Engrav'd by Tho.s Morris. London, 'Clinker'. From Great Dalby Windmill, to Pub March 2d. 1793 by G. Garrard at Mr Gilpin's within a mile of Tilton on the Hill. (The 5 miles Knightsbridge, & No. 43 Little Britain.] was done in 16 minutes). Dedicated with Scarce & fine etching, progress proof before all letters. 340 x 460mm (13½ x 18"), with large margins. £580 Permission to Geo. Osbaldeston, Esq.r, and the Two horses beside a manger with a thatched canopy on Gentlemen of the Pytchley Hunt, By their very the bank of a river, with three foals, one feeding from obliged & obedient servant. R. Ackermann. its mother. Engraved by Mess.rs H. Alken & E. Duncan. London, Stock: 54940 published 1830, by R. Ackermann, 96 Strand_ and R. Ackermann Jun.r, 191 Regent Street. From a Painting 184. Brushing In, To Catch others. by E. Gill of Northampton, in the possession of G. J. Seymour inv.t. T. Burford delin et fecit. Published Osbaldeston, Esq. London, 1830. according to Act of Parliament June 1755. Scarce & fine hand coloured aquatint. 505 x 760mm Mezzotint, 18th century watermark. 250 x 350mm (9¾ (20 x 30"). Framed. Unexamined out of frame. £1250 x 13¾"), with very large margins. £360 Scene of the steeplechase horse race between horses A Jockey on horseback galloping to right, the horse Clasher and Clinker, ridden by George Osbaldeston wearing a head-cover. Siltzer: 247. (1786-1866) and Dick Christian (1779-1862) Stock: 54673 respectively. Osbaldeston, an MP for East Retford 1812-1818, was renowned for his racing abilites. His victory at the 1826 steeplechase race depicted here won him 1,000 guineas. Christian had a relatively respectful career in the country caring for and riding horses, though he died impoverished. Siltzer: p. 332. Stock: 55109

187. Viaduct at Ivy Bridge, Devon. Engraving. 395 x 320mm (15½ x 12½"). In mount. Printed and Published by O. Angel Creasing. Repaired tear in right edge going into the Rare tinted lithograph. 250 x 340mm (9¾ x 13¼"). plate mark. £320 £280 Three examples of steam trains with accompanying A viaduct designed by Isambard Kingdom Brunel text extracted from 'Observations on a General Iron- (1806-59) and built in 1848 for the South Devon Rail-Way'. Railway, with a locomotive crossing. Stock: 55112 After the S.D.R. merged with the Great Western Railway the track had to be widened from Broad to 191. View of the Opening of the Stockton and Standard gauge, so the viaduct had to be rebuilt. The Darlington Railroad. Brusselton Inclined current viaduct, designed by James Inglis and built in Plane. Train of Waggons crossing the Turnpike 1892, incorporated six of Brunel's granite piers. Road near Darlington. Train of Waggons One of a series of six "Viaducts on the South Devon drawn by Loco-motive Engine. Railway", with lithographs by Mason and 0. Angel. [n.d. after 1825] Stock: 55072 Engraving. 285 x 505mm (11¼ x 19¾"), In mount. Creasing. Repaired tear. £420 188. The Midland Railway, At Swillington Three scenes depicting the opening of the Stockton and 1841. Lithograph by & Actor H. Perry. Darlington railroad from different perspectives. The Lithographed by Henry Perry, May, 1841. J. Graf, Stockton and Darlington railroad opened in 1825 and Printer to Her Majesty. 1841. was operational until 1863. It was the world's first Lithograph. 240 x 305mm (9½ x 12"). In mount. Slight public railway to use steam locomotives. foxing. £320 Stock: 55113 Landscape of a train passing through Swillington on the new North Midland Railway, which opened in 192. R. Ackermann's Repository of Arts, 96 1840 connecting Derby to Leeds. Strand & Ackermann's Library. for Works of Stock: 55111 Art. A. Pugin del.t. J. Bluck sculp.t. [Ackermann] Pair of hand coloured etchings with aquatint and stipple. Sheet 560 x 380mm (22 x 15"). Hinged into mount. Vertical folds in bottom image. £240 Two views of Ackermann's Repository of Arts, top image shows a street view showing the building. The other is an interrior view of the library, with figures at a large table looking at books, chandelier above; bookshelves line the walls with vases, busts and a large female statue on top of them. Paintings hang above more bookshelves on the other side of the room. Stock: 55031

193. [College Street, City of London.] 189. North Midland Railway. Milford Sydney R. Jones. [n.d., c.1925.] Tunnel. North Front. Drypoint etching, signed by the artist. 320 x 135mm. From Nature & on Zinc by S. Russell. Day & Haghe Framed. Crease in mount, unexamined out of frame. Lith.rs to the Queen. [n.d. c.1845]. £220 Lithograph. £380 A view looking down College Street towards Wren's Milford Tunnel in Derbyshire, a twin track railway church of St Michael Paternoster Royal, Innholders' tunnel that runs through a hill called the Chevin Hall on the left. between Duffield and Belper. It was constructed to Sydney Robert Fleming Jones (1881-1961) was a allow passage of the North Midland Railway from notable watercolourist and etcher, particularly of Derby to Leeds to the designs of George and Robert architectural views; he also wrote several books on the Stephenson in 1840 showing a fine train coming English countryside and provided illustrations for through the tunnel. several publications including The Times, Illustrated From a series of lithographs publicising significant London News and The Studio. engineering achievements on the North Midland Stock: 54637 Railway route. Stock: 55110 194. St Paul's from Ludgate Hill. T. Boys Del et Lithog. 190. Steam Conveyance on a General Iron- Fine tinted lithograph with hand colour. 540 x 370mm Rail-Way. By the Author of Observations on a (21¼ x 14½). Hinged into mount at top corner. £750 General Iron-Rail-Way. View looking down the street with the tower and spire Eng. & Prin.d by Palethorpe Nott.m. Published by of Wren's St Martin, Ludgate on the left, the Cathedral Baldwin, Cradock & Joy. London. London, [n.d. after in the background; traffic tangles its way along street, 1825]. two Christ's Hospital scholars walk demurely along the pavement on the right, many other pedestrians behind and on the left. Published for Thomas Shotter Boys' 'London As It Is". Stock: 55037

195. [Middle Temple Hall and Fountain Court.] Sydney R. Jones. [n.d., c.1927.] Drypoint etching, signed by the artist in pencil. 300 x 240mm (11¾ x 9½"). Framed. Unexamined out of frame. £280 The Middle Temple, one of the four Inns of Court. Sydney Robert Fleming Jones (1881-1961) was a notable watercolourist and etcher, particularly of architectural views; he also wrote several books on the English countryside and provided illustrations for 198. [The Royal Exchange.] several publications including The Times, Illustrated Sydney R. Jones. [n.d., 1927.] London News and The Studio. Drypoint etching, signed in pencil by the artist. 270 x Stock: 54638 330mm (10¾ x 13"). £320 View of the Royal Exchange's west front, with bustling 196. [Middle Temple Hall and Fountain street scene outside, including traffic and pedestrians. Court.] Sydney Robert Fleming Jones (1881-1961) was a Sydney R. Jones [signed in plate and in pencil.] [n.d., notable watercolourist and etcher, particularly of c.1927.] architectural views; he also wrote several books on the Drypoint etching, signed by the artist in pencil. 300 x English countryside and provided illustrations for 275mm (11¾ x 10¾"). Framed. Unexamined out of several publications including The Times, Illustrated frame. £280 London News and The Studio. Fountain Court, at the heart of The Honourable Society Stock: 54634 of the Middle Temple, commonly known as Middle Temple, one of the four Inns of Court. The tip of the 199. St George's Hanover Square [in pencil]. spire of the Law Courts is visible upper left. 5/50 Sydney Robert Fleming Jones (1881-1961) was a Ethelbert White [Signed in pencil]. notable watercolourist and etcher, particularly of Limited edition wood engraving 5/50. Sheet 265 x architectural views; he also wrote several books on the 215mm (10½ x 8½), with large margins. Hinged to English countryside and provided illustrations for backing sheet on two corners. Some light creasing in several publications including The Times, Illustrated margins. £280 London News and The Studio. A view of St George's, Hanover Square, the anglican Stock: 54631 church, in the City of Westminster, central London. Ethelbert White (1891–1972) was an English wood 197. [Port of London Authority Building.] [In engraver however he also worked in oils and water pencil along bottom mount border:] The Port colour. He was an early member of the Society of of London Authority, E.C. 1930 Private plate Wood Engravers and a founding member of the for Sir Edwin Cooper & Johyn Mowlem & Co English Wood Engraving Society in 1925. He was a Ltd. member of the Royal Watercolour Society, and Sydney R. Jones [signed in pencil] [n.d. 1940] [in exhibited regularly at the Royal Academy. pencil:] 4th state Trial No8 (steel). Stock: 55009 Etching. 292 x 425mm. 11½ x 16¾". £260 The Port of London Authority Building, 10 Trinity 200. [Trafalgar Square.] Square, a Beaux Arts structure was designed by Sir Sydney R. Jones. [n.d. c.1928.] Edwin Cooper, built 1912-22, now the Four Seasons Drypoint etching, signed by the artist in pencil. 350 x Hotel London at Ten Trinity Square. To the right is 220mm (13¾ x 8¾") with large margins. £320 Trinity House. A view of Trafalgar Square, showing the National Sydney Robert Fleming Jones (1881-1961) was a Gallery, the King George IV Statue, one lion at the notable watercolourist and etcher, particularly of base of Nelson's column, St Martin-in-the-Fields and architectural views; he also wrote several books on the the statue of Henry Havelock. English countryside and provided illustrations for Sydney Robert Fleming Jones (1881-1961) was a several publications including The Times, Illustrated notable watercolourist and etcher, particularly of London News and The Studio. architectural views; he also wrote several books on the Stock: 54636 English countryside and provided illustrations for several publications including The Times, Illustrated London News and The Studio. Stock: 55003

201. London in 1842. This Picture of the 204. The Tower. Metropolis of the British Empire is presented J. Farington R.A. del. J.C. Stadler Sculp. Pub. June 1, to the Subescribers of the Illustrated Loindon 1795, by J. & J. Boydell, Shakespeare Gallery, Pall News by the Proprietors. Mall, & No. 90, Cheapside. Supplement to the ''Illustrated London News'' of Aquatint with fine hand colour. 215 x 320mm (8½ x January 7, 1843; Published by W. Little, 198 Strand, 12½"). Trimmed within plate £260 London. A view of the Tower of London from the Thames, with Wood engraving from 12 blocks on one sheet. Sheet a ship being towed by rowing boats. 900 x 1340mm (35½ x 52¾") Original folds with small Plate 17 from Joseph Farington's (1747 - 1821) splits. £650 'History of the River Thames', 1794, a two-volume Two large views, looking north and south from the top publication including 76 aquatints. Abbey: 432. of the Duke of York Column at the bottom of Regent Stock: 53514 Street, separated by a vignette roundel of the column itself. Landmarks looking north include Carlton House 205. [Westminster Bridge.] Terrace in foreground, Regent Street and Trafalgar Fred. A. Farrell [signed in pencil] [n.d. c.1925] Square with the steeple of St Martin's Church still Etching, signed by the artist. 225 x 355mm (9 x 14"), under construction. Looking south is St James's Park, with large margins. £260 the Admiralty and Horse Guards, St Paul's Cathedral A view of the heavily trafficked Westminster bridge and Westminster Abbey, from the river Thames with parliament and the Queen Stock: 55057 Elizabeth Tower in the middleground. A few boats float on the calm waters. Frederick Arthur Farrell 202. [Somerset House and St Paul's Cathedral (1882 – 1935) was a self-taught British artist from the North Bank of the Thames.] specialising in watercolours and etchings who served [n.d., c.1800.] as the city of Glasgow's official war artist during Very fine & mint watercolour. Sheet 275 x 400mm World War One. Stock: 55001 (10¾ x 15¾"). Laid on album paper. £650 A view from a wharf under Westminster Bridge. Stock: 54939 206. [The Clock Tower of Big Ben.] Sydney R. Jones. [signed in pencil.] [n.d., c.1930.] Etching. Plate: 390 x 180mm (15¼ x 7"). Framed. Unexamined out of frame. £320 A view across the Thames towards the Clock Tower (now the Elizabeth Tower) which houses the famous bell Big Ben. Sydney Robert Fleming Jones (1881-1961) was a notable watercolourist and etcher, particularly of architectural views; he also wrote several books on the English countryside and provided illustrations for 203. [St Paul's Cathedral from 'View of the several publications including The Times, Illustrated North Bank of the Thames from Westminster London News and The Studio. Bridge to London Bridge'. Stock: 54635 [Lithographed by Thomas Mann Baynes after Sir Frederick William Trench.] [n.d., 1825.] 207. [Imperial Chemical House & the Houses Lithograph ON SILK. 220 x 595mm (8¾ x 23½"), laid of Parliament.] on card. Some foxing and wear to backing card. £450 Sydney R. Jones. [n.d., 1929.] An extremely rare printing on silk of one of the sheets Drypoint etching, signed in pencil by the artist. 200 x of Trench's prospect of the Thames with his proposed 385mm (8 x 15¼"). Framed. Unexamined out of frame. improvements, including the creatrion of an £350 Embankment. Imperial Chemical House on Millbank, London, seen In 1824 Trench, then MP for Cambridge, launched a from the south side of the River Thames. It was built project for a terrace on the north side of the Thames between 1928 and 1931 by Sir Frank Baines as the from Blackfriars to Charing Cross, bringing a bill headquarters for Imperial Chemical Industries (ICI). before Parliament and publishing this long rolling Beyond can be seen the Houses of Parliament and prospect of the river. Although his plan was blocked by Westminster Abbey; Old Lambeth Bridge spans the powerful interests he continued his campaign, after river in the foreground. cholera ravaged parts of the city. Only after he died in Sydney Robert Fleming Jones (1881-1961) was a 1859 did Parliament finally give the project to Sir notable watercolourist and etcher, particularly of Joseph Bazalgette. architectural views; he also wrote several books on the Stock: 54676 English countryside and provided illustrations for several publications including The Times, Illustrated London News and The Studio. Stock: 54633

208. [Old Bond Street.] 211. Westminster Sydney R. Jones. [1928.] Etched by Gautier Lucien. Published by I. Drypoint etching, signed by the artist in pencil, verso Hildesheimer & C.o (Limt.d) London & Manchester. label of the Print Society Fine Art Trade Guild. 315 x Copyright 1892. Printed in Paris by A. Clement. 225mm (12½ x 9"). Framed. Unexamined out of frame. London & Manchester, 1892. £350 Etching. 435 x 470mm (17 x 18½"), with large Old Bond Street looking towards Piccadilly, with margins. Some toning around the edges. Overall good several recognisable business signs including fine art condition. £450 dealers Agnew's. A moonlit view of the Houses of Parliament and Big Sydney Robert Fleming Jones (1881-1961) was a Ben from Southbank by Lucien Gautier (1850-1925). notable watercolourist and etcher, particularly of Gautier, a French etcher and designer, was renowned architectural views; he also wrote several books on the for his impressive and atmospheric etchings of English countryside and provided illustrations for European cities, and won a number of awards and several publications including The Times, Illustrated medals throughout his career. London News and The Studio. Stock: 54996 Stock: 54630 212. [Whitehall.] Sydney R. Jones [signed in plate and in pencil.] [1928.] Drypoint etching, signed by the artist. 250 x 225mm (9¾ x 9"). Framed. Unexamined out of frame. £320 A view looking down Whitehall, Westminster, from Trafalgar Square, the Elizabeth Tower (home of Big Ben) and the Central Tower in the background. Sydney Robert Fleming Jones (1881-1961) was a notable watercolourist and etcher, particularly of architectural views; he also wrote several books on the English countryside and provided illustrations for several publications including The Times, Illustrated London News and The Studio. Stock: 54628

209. [Westminster.] 213. [The Gatehouse, Lincolns Inn.] [Painted by George Vicat Cole R.A.] A. Brunet- Sydney R. Jones. [n.d., c.1926.] Debaines [pencil signature]. Copyright 1894, Thomas Rare drypoint etching signed by the artist in pencil. 290 Agnew & Sons, Publishers 33 Old Bond Street, x 210mm (11½ x 8¼"), with large margins. £290 London. The Gatehouse, the entrance to Lincoln's Inn from Etching, proof before title, ltd to 350. 450 x 745mm Chancery Lane is the oldest existing part of the Inn, (17¾ x 29¼"), with very large margins, Printsellers' built between 1518 and 1521. The arms above the arch Association blind stamp. Mint. £650 are those of Sir Thomas Lovell (the Treasurer at the A view of the Houses of Parliament from the Thames, time of construction), the Earl of Lincoln and Henry a tug in the foreground, painted by George Vicat Cole VIII. (1833-93), etched by Alfred-Louis Brunet-Debaines Sydney Robert Fleming Jones (1881-1961) was a (1845-1939). notable watercolourist and etcher, particularly of Stock: 54962 architectural views; he also wrote several books on the English countryside and provided illustrations for 210. Westminster Hall and Abbey, as seen several publications including The Times, Illustrated from Westminster Bridge. London News and The Studio. J. Gendall Del.t. D. Havell sculp.t. London, Published Stock: 54639 Jan.y 1, 1819, at R. Ackermann's Repository of Arts, 101 Strand. 214. View of London from Greenwich Park. Rare & fine aquatint, printed in colours and hand J. Farington R.A. del. J.C. Stadler sculp. Pub. Jine 1, finished. Sheet 390 x 525mm (15½ x 20¾"). Trimmed 1796, by J. & J. Boydell, Shakespeare Gallery, Pall within plate, small damage in edge of image top right. Mall, and N,, 90, Cheapside. Mounted. £680 Etching with aquatint sheet 460 x 585mm (16½ x 23"). A view of Westminster before the fire of 1834 and Hinged into mount. Vertical folds as normal. Faint construction of the current Houses of Parliament. mount burn from a previous mount. £360 Stock: 54781 Panoramic view of London from the park, looking towards St Paul's with the river Thames and shipping to the right. Stock: 55032

215. Hammersmith Lower Mall. Sydney R. Jones. 12.9.51. Pencil sketch. Framed, visible area 190 x 190mm (8 x 8"). Some paper toning. Unexamined out of frame. £220 The Lower Mall, looking west away from Hammersmith Bridge, showing the pontoon. Sydney Robert Fleming Jones (1881-1961) was a notable watercolourist and etcher, particularly of architectural views; he also wrote several books on the English countryside and provided illustrations for several publications including The Times, Illustrated London News and The Studio. 218. Her Majesties Royal Palace at Stock: 54640 Kensington. To Her most Serene and most Sacred Majesty Anne by ye Grace of God 216. Hammersmith. ''Doves''. Queen of Great Britain, France & Ireland &c. Sydney R. Jones. 12.9.51. [n.d., c.1713-1724.] Pencil sketch. Framed, visible area 190 x 190mm (8 x Etching on two sheets conjoined, total platemark 560 x 8"). Some paper toning. Unexamined out of frame. 895mm (22 x 35¼"). Original binding folds, some £220 surface soiling. £1250 A view of the buildings at the end of the Upper Mall A large and impressive view of Kensington Palace, Hammersmith, including the 17th century pub 'The probably engraved by Jan Kip and first published in Dove', from across the Thames. David Mortier's monumental 'Nouveau Theatre de la Sydney Robert Fleming Jones (1881-1961) was a Grande Bretagne' (1708-13), republished by John notable watercolourist and etcher, particularly of Smith in 1724. Adams 22.41. architectural views; he also wrote several books on the Stock: 54772 English countryside and provided illustrations for several publications including The Times, Illustrated 219. A Perspective View of Vaux Hall London News and The Studio. Stock: 54641 Garden. J. Maurer delin et Sculp. London Publish'd according 217. The Royall Hospitall at Chelsey To the to act of Parliament 1744. Printed for John Bowles, at the Black Horse in Cornhill. Right Hon.ble S.r Stephen Fox Kn.t Soley Etching and engraving 280 x 425mm (11 x 16¾"). Employ'd by King Charles the Second to take Trimmed to plate and folded, one half glued to a care and build the Royal Hospital at Chelsea backing sheet. £260 for y.e Superanuated. and Indigent Officers & A busy scene in the pleasure garden, Vauxhall Soldiers towards which, he gave the Ground Gardens. Many people socialise amongst the trees and and a third part of his Office of paymaster to pavillions; some sit at tables eating and dining. One the Army which [h]e then Enjoyed and pavillion holds an orchestra providing musical Carryed on the Work with Constant Payments. entertainment to the visitors. Printed for & Sold by J. Smith in Exeter Change in the Stock: 55021 Strand. London, [n.d. 1708]. Engraving with etching on two sheets conjoined, 18th 220. The Bridge at Kingston-upon-Thames. century watermark. Total platemark 560 x 895mm (22 To the Lord High Steward, the Bailiffs and x 35¼"). Centre fold. Faint crease lines where the print Freeman of that Ancient Corporation, this has been folded. Repaired tears. Small margins, some plate is humbly Inscribed, by their most made up. £670 obedient Servant, \rdward Lapidge, Architect A bird's eye view of the Royal Hospital at Chelsea, of the Bridge. with the river in the foreground and the formal gardens E. Lapidge, Architect. Engraved by R. Havell, Junr. between the river and the hospital. The hospital was Published by E. Lapidge No.9. Green Street, founded by King Charles II in 1682, however Sir Grosvenor Square, July, 1828. Stephen Fox (1627-1716), to whom this print is Fine and large aquatint, printed in colours and hand- dedicated, was the inspiration for its foundation. Fox finished. 415 x 660mm (16½ x 26"), paper was a royal administrator and courtier to Charles II and watermarked 'J Whatman Turkey Mill'. Trimmed into a politician who rose from humble origins, so much so plate at sides, several repaired tears in margins. In that he became known as 'the richest commoner in the mount. £420 three kingdoms'. View of Kingston Bridge, showing boats on the River Stock: 55137 Thames and All Saints church in the distance. The bridge, still standing today, was built of Portland stone with five elliptical arches to a design by Edward Lapidge (1779-1860), the County surveyor. The first stone was laid by the Earl of Liverpool at a ceremony on 7 November 1825 and the bridge was opened by the Duchess of Clarence, on July 17, 1828. Colvin 223. A View from Durdham Down near 'Dictionary of British Architects' p.600. Bristol. Looking down the Avon to Kings- Stock: 54779 Road, & the Welch Mountains. T: Smith Pin. Chatelain & Vevares Sculp. Publish'd pursuant to an Act of Parliament Aug.t 1756, by Tho. Smith Fine & rare etching. 385 x 545mm (15¼ x 21½"), with margins. £360 A view of the Avons Gorge, painted by Thomas Smith of Derby and engraved by Francis Vivares and Jean Baptiste Chatelain. Stock: 54660

224. A View of St Vincent's Rocks, and the Hot-Wells, &c. near Bristol T: Smith Pin. Benoist Sculp. Publish'd pursuant to an Act of Parliament Aug.t 1756, by Tho. Smith 221. The Royall Palace at Hampton Court. Fine & rare etching. 390 x 550mm (15¼ x 21½"), with To the Right Honorable Charles Spence, Earl narrow margins. £360 of Sunderland, Baron of Wormnleighton, one A view of the Avons Gorge, painted by Thomas Smith of her Majesty's Principal Secretary's of Statre of Derby and engraved by Antoine Benoist. &c. This Plate is humbly dedicated by your Stock: 54659 Lordhip's Most Obedient Servants. [n.d., c.1713-1724.] 225. A View of part of the Garden at Hall- Etching on two sheets conjoined, very fine impression; Barn near Beckonsfield in Buckinghamshire, a total platemark 580 x 900mm (22¾ x 35½"). Old Seat of Edmund Waller Esq.r. [&] A View of repairs to original binding folds. £1250 the Great Room etc. at Hall-Barn near A large and impressive view of Hampton Court Palace, Beckonsfield in Buckinghamshire, a Seat of looking down over the ornamental gardens to the East Front, the Tudor palace behind. To the right is the Edmund Waller Esq.r. maze, commissioned by William III. W. Woollett del. [et sculp.] [London: John Tinney et The view was probably engraved by Jan Kip and first al., c.1760.] published in David Mortier's monumental 'Nouveau Matching pair of etchings with engraving. Sheets c. Theatre de la Grande Bretagne' (1708-13), republished 340 x 495mm (13½ x 19½"). Slight central crease. Trimmed into images and inscriptions, losing by John Smith in 1724. Stock: 54825 publication lines. £480 Hall Barn, a listed Grade II* country house near Beaconsfield, built by Edmund Waller (1606-1687), 222. Kew Palace, as seen from Brentford. poet and MP. Fagan 36 & 37 J.Gendall Del.t. T. Sutherland Sculp.t. London. Stock: 54710 Published Jan.y 1819 at R. Ackermann's Repository of Arts, 101 Strand. 226. Aquatint, printed in colours and hand finished. 395 x [Four views of West Wycombe Park] A 505mm (5½ x 19¾"), with narrow margins. £420 View of the House and Part of the Garden of A view of the 'third' Kew Palace, begun in 1802 by S.r Francis Dashwood Bar.t at West Wycomb James Wyatt with much input from George III. It was in the County of Bucks. [&] A View of the much-ridiculed: in 1820 John Bew, in his 'The Walton Bridge, Venus's Temple &c. in the ambulator; or, The stranger's companion in a tour Garden of S.r Francis Dashwood Bar.t at West round London', wrote; 'This Angleo-Teutonic, Wycomb in the County of Bucks. [&] A View castellated, gothized structure, (which has never been of the Lake &c. taken from the Center Walk in completed, and probably never will be,) must be the Garden of S.r Francis Dashwood Bar.t at considered as an abortive production, at once West Wycomb in the County of Bucks. [&] A illustrative of bad taste and defective judgement'. The Prince Regent didn't like it and after the George III’s View of the Cascade &c. in the Garden of S.r confinement at Windsor Queen Charlotte refused to Francis Dashwood Bar.t & of the Parish live there. In 1828 it was demolished with the interiors Church &c at West Wycomb in the County of used elsewhere: the main staircase was installed in Bucks. Buckingham Palace. [W.] Hannan pinx. W. Woollett [sculp.] [Printed for Stock: 54951 Rob.t Sayer et al.] [c.1757.] Set of four matching etchings. Each sheet c. 360 x 490mm (14¼ x 19¼"). Slight central crease. Trimmed into image on three sides, losing parts of artist's and engraver's inscriptions, and into plate at bottom, losing publication line. £850 Four views of West Wycombe Park, Buckinghamshire, On this progress plate the sky and remarque armorial the pleasure palace of Sir Francis Dashwood, founder are unfinished. See Tim Clayton 'The English Print' of the 'Society of Dilettanti' and the 'Hell-fire Club'. (New Haven and London, 1997) p. 165. These views, after William Hannan and engraved by Stock: 54945 William Woollett, were first published by John Tinney without titles, and then by a consortium of publishers. 229. A North-West View of Haddon &c, an Fagan 26-29 III of IV Ancient Seat belonging to his Grace the Duke Stock: 54709 of Rutland; To Whom this Plate is humbly inscrib'd, by his Grace's most dutiful and most 227. A Sketch or Map of Bedford Level and obed:t Serv:t T: Smith. Country adjoining, Shewing the Divisions, T. Smith Pinx. Vivares Sculp. Publish'd Oct: ye 25.th Rivers, Frains, &c. with the proposed New Cut 1744. from Eau Brink to Lynn. Reasons In Support Engraving, slight 18th century watermark. 400 x of the Bill for manking a New Cut from Eau 545mm (15¾ x 21½"), with large margins Repaired Brink to Lynn, in Norfolk, for the effectural tear in lower margin. £420 Improvement of the Outfall of the River Ouze, A view of the parkland surrounding Haddon Hall, the and the Preservation of the Harbour of Lynn. seat of the Duke of Rutland on the River Wye, S.I. Neele, sculp.t 352, Strand. [n.d., c.1793.] Derbyshire. Engraved map with hand colour 230 x 330mm (9 x After Thomas Smith of Derby (c.1720-67), a painter 13") , on sheet with letterpress, total 355 x 340mm (14 who specialised in landscapes with historic houses. See x 13¼"). Map trimmed within plate top and right, Tim Clayton 'The English Print' (New Haven and letterpress cut at bottom? £290 London, 1997) p. 165. A map of the Great Level of the Fens (here named Stock: 54944 Bedford Level after Francis Russell, 4th Earl of Bedford, who facilitated the draining of the Fens in the 230. A View of the Axmouth Landslip from 17th century. It was published to accompany a Dowlands, looking Westward upon the proposal that needed an Act of Parliament. Despite Undercliff and New Beach raised from the opposition from the people of King's Lynn, the first Bottom of the Sea onthe 25th Dec.r 1839. Act ordering the construction of the Cut was passed in Drawn on the Spot by Mary Buckland 30th Dec.r 1839. 1795, but the Cut was not completed until 1821. On Zinc by G. Scharf. Printed by C. Hullmandel. Stock: 54800 [London: John Murray, 1840.] Tinted zincograph. Sheet 300 x 870mm (11¾ x 34¼"). Original binding folds taped. £280 A scene on the cliffs of England's 'Jurassic Coastline' after a landslip on Christmas Day 1839, taking with it a number of cottages and an orchard. It was the first major landslip to be recorded scientifically and is known today as the 'Undercliff'. The only double-page plate in Conybeare & Dawson's 'Landslips in East Devon". Abbey: 129. Stock: 54662

231. Rochester Inscrib'd to S.r Thomas Palmer Bar.t & S.r Jo.n Jennings Kn.t Mem.rs of Parlm.t for ye City. T. Badeslade delin.t. J. Harris Sculp.t. [London: D. 228. [A North-West View of Haddon &c, an Midwinter, 1719.] Ancient Seat belonging to his Grace the Duke Engraving on two sheets, very fine impression total of Rutland; To Whom this Plate is humbly 375 x 820mm (14¾ x 32¼"). Mint. Original binding inscrib'd, by his Grace's most dutiful and most folds. £360 obed:t Serv:t T: Smith.] A fine, dark example of this elevated view of Vivares fecit [after Thomas Smith of Derby]. Rochester, looking down the Medway towards [Publish'd Oct: ye 25.th 1744.] Sheerness, published in 'The History of Kent' by John Engraving, unique progress proof with only engraver's Harris. Down the sides are six inset views, including name. 400 x 545mm (15¾ x 21½"). Repaired tear in the castle, cathedral and Sir Cloudesley Shovell's lower margin. £580 Market House. A view of the parkland surrounding Haddon Hall, the Stock: 54793 seat of the Duke of Rutland on the River Wye, Derbyshire, after Thomas Smith of Derby (c.1720-67), 232. Word or Fenderland Farm. NB. This a painter who specialised in landscapes with historic Farm lies in the Parishes of Word and Easty in houses. Kent And was Plan'd by a Scale of 18 Poles to an Inch in 1775. by Henry Hogben. [1775.] 236. [Ferry Arch, Tintern.] Manuscript estate plan on vellum. Sheet 500 x 695mm SRJ [Sydney Robert Jones]. [n.d., c.1950.] (19¾ x 27¼"). Some surface soiling. £420 Pencil sketch. Framed, visible area 115 x 155mm (4½ A manuscript plan with a 25-point key surmounted by x 6") Unexamined out of frame. £140 a basket of apples and grapes. The watergate of Tintern Abbey, now part of the Henry Hogben (1741-d.1822) of Doddington, surveyor Anchor Inn. to the Dean and Chapter of Rochester, was the third Sydney Robert Fleming Jones (1881-1961) was a generation of the family to be a mapmaker in Kent, notable watercolourist and etcher, particularly of plotting estates in Kent, Essex, Surrey and Hampshire. architectural views; he also wrote several books on the Versions of his maps of Thanet, the River Stour and English countryside and provided illustrations for Romney Marsh were published, 1775-1515. several publications including The Times, Illustrated Stock: 55058 London News and The Studio. Stock: 54642 233. The High Street, Oxford. The Rev.d J. Griffith del.t. J.E. Edy sculp.t. London Published Aug.t 1, 1800 for the Proprietor by J W Edy, Romney Row [Westrn.] Rare aquatint, printed in sepia. 600 x 780mm (23½ x 30¾"). Cracks in platemark, margins reinstated on two sides. £850 A very fine impression of the large view of the High Street, from Queens' College towards All Saints Church. Stock: 53998

234. A View of Stoke Bridge, Ipswich. Drawn & Engraved by C. Pyke, Drawing Master, Ipswich. Publish'd July 1st 1801. Scarce coloured etching. 320 x 425mm (12½ x 16¾"), watermarked '1794'. Trimmed to plate at top. £480 A view of Stoke Bridge, over the River Orwell in Ipswich, two windmills on the hills behind. From a set of four views of Ipswich by Charles Pyke (1770- 1846?), locally published. Stock: 54741

235. [Oatlands] A Plan of the Garden & House of the R.t Honourable y.e Earl of Lincoln at Weybridge in the County of Surry. Part of the Park. Survey'd and Engrav'd by B. Rocque. 1737. Publish'd According to the Act of Parliament 1737. 237. Dundee from the West. To the Right Line engraving. 465 x 640mm (18¼ x 25¼"), with 18th Hon.ble Lord Douglas Lord Lieu.t f the century watermark Trimmed. Centre fold crease. Light County of Forfar, Hereditary Constable of stain in bottom left corner. Crease in bottom right Dundee &c &c And the other Heritors of the corner. £650 Parish, This View is with the greatest respect A plan of the house and gardens of the Earl of Lincoln Humbly dedicated by their most obedient (1720-1794), with a view of the front of the house. Servant, Alexander Simson. [&] Dundee from Included is a scale of 330 feet and a key. The estate, the River. To the Hon.ble The Provost, formerly a royal palace, situated in the non civil parish Magistrates, and Town Council, the of Oatlands, passed to Henry Clinton, the seventh Earl Merchants, Burgesses & Inhabitants of of Lincoln, 1716. From ''Vitruvius Brittanicus, Volume the Fourth. Being Dundee, This View is respectfully dedicated by A Collection of Plans, Elevations, and Perspective their much obliged & most obedient Servant, Views, of` the Royal Palaces, Noblemen, and Alexander Simson. Gentlemens Seats, In Great Britain, Not Exhibited in D. Orme del.n. Harraden sculp.t. Published March 1st any Collection of this nature hitherto published. 1803 by Alex.r Simson, Dundee and E. Orme, Design'd By J. Badeslade and J. Rocque, &c. And Printseller to his Majesty No 59 New Bond Street, Engraven by the Best Hands. London. Stock: 55116 Pair of aquatints. Each 355 x 475mm (14 x 18¾"), with large margins, watermarked 1806. Repair tear in margin of 'River', creasing in margins of both. £950 A pair of rare views of Dundee. Stock: 54954 238. A View taken from the North of the 242. [Chinese Christian Almanac]. [Lee in Cathedral Church of Glasgow, and Engraved ink} in the Academy in Glasgow by R. Paul Eleve. [n.d. c. 1880.] [n.d., c.1760.] Scarce letterpress. 555 x 460mm (21¾ x 18"). Creasing Fine & rare engraving, 18th century watermark. 260 x and small holes along folds. Staining £690 405mm (10¼ x 16"). Trimmed close to platemark Chinese Christian Almanac with three pictorial unevenly. £260 engravings, one engraved by Charles Dietrich 1880's; a Robert Paul (1739-70) was a pupil at the Glasgow view of a Chinese town, the profile of a ship at sea and Academy. a landscape with a steam train. Stock: 54655 Stock: 55114

239. [Marie Thérèse de Bourbon] La Princesse de Conti. P. Schenk F: et Excu: Amstelodami, cum: Privil: Ord Hol: et West-Frisia [n.d., c.1690.] Mezzotint. 190 x 135mm (7½ x 5¼"), with margins, with slight 17th century watermark. £360 'Princess of Conti' was a noble title held by the wife of the Prince of Conti. Although this portrait is often said to be Marie Anne de Bourbon (1678-1718), Duchess of Vendôme, it is more likely to be her successor as princess, Marie Thérèse de Bourbon (1666-1732), who received the title on her marriage in 1688. Stock: 53654

240. [Album with 30 portraits of rulers of Baden.] [n.d., c.1840.] Folio, 19th century half morocco with marbled boards; with 30 lithographs, ea. 270 x 185mm (10¾ x 7¼"), pasted in. Spine rebacked with rexine, inner hinges strained; prints trimmed to printed border on three sides, spotting throughout. £450 Thirty full-length portraits of margraves (Markgrafs) of Baden, from Bertold I to Carl Willhelm (d.1666). With a photocopied condition report with pencil mss from Rugby School. 243. [Yussuf Adjiah] Hagia Yousuph. Effendi. Stock: 55129 Embassasor from the Sublime Porte to the Court of Great Britain. 241. [Philip IV, King of Spain] D. Philippo IV Painted by Charles Frederick de Breda, R.A. of Avstrio Hispaniarvm Indiarvmq Regi Stockholm, & Painter to the King of Sweden. Engraved Catholico Svpra omnes retro principes by S.W. Reynolds. Pub.d Jan.y 1st 1795 by John & potentissimo Pio Felici patri patriæ. Hanc suæ Josiah Boydell, Shakespeare Gallery, Pall Mall, & No. Maiestatis effigiem a se æri incisam dedicabat 90 Cheapside, London. Paulus Pontius Antuerpianus D.N.M.Q.E. Ao. Mezzotint, title in open letters. 505 x 355mm (19¾ x MDCXXXII. 14"), with large margins. Framed. Unexamined out of frame. £750 P. Pual Rubens Pinxit. [Engraved and published by A portrait of Yussuf Adjiah, the first resident Turkish Paulus Pontius Cum Privilegio [1632]. ambassador to London, seated with prayer beads in his Engraving, with Collector's Mark; 450 x 335mm (17¾ hand. A map of the British Isles lies next to him. x 13¼"), with narrow margins. £390 He did not present his credentials to George III until The first state of this portrait of Philip IV after the 29th January, nearly a month after publication. painting by Rubens in the Alte Pinakothek, Munich, Whitman: 313; CLB: state ii of iii. Ex: Collection of half-length within an ornamental arch, wearing the The Hon. C. Lennox-Boyd. collar of the Order of the Golden Fleece. In the second Stock: 54625 state Philip's moustache is enlarged. Stock: 54947