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Preisdatenbank abonnieren* Gillray (James). "The Friend of the People" & his Petty New Tax Gatherer, H. Humphrey, May 28th, 1806, etching with contemporary hand-colouring, very slight overall toning, very slight spotting to the margins, 350 x 250 mmQTY: (1)NOTE:BM 10571. A scathing commentary on the growing burden of taxation that existed in the early 19th century, implemented to fund the ever-increasing expense of war with Napoleonic France.
* Gillray (James). A Tube for a Whale! representing an Empty-Barrel tossed out to amuse great Leviathan-John-Bull, in order to divert him from instantly laying violent hands upon ye new Coalition Packet, H. Humphrey, March 14th 1806, etching with contemporary hand-colouring, small areas of adhesion scaring to the verso, an old ink manuscript price of 2/6 to the lower left margin, 250 x 260 mmQTY: (1)NOTE:BM Satires 10543. A giant sea monster (John Bull) threatens a barely seaworthy ship, crewed by the new and unpopular 'broad-bottom' administration, including Erskine, Sheridan, Petty, Grenville (dressed as a naval officer), Windham, Spencer, Fox, Grey, and at the tiller, Lord Ellenborough in wig and gown. The ship has a broomstick for a mast and is propelled by the breath of the Prince of Wales. The disreputable crew have just thrown a barrel over the side, marked 'Real Constitutional Spirits', hoping the distract the giant leviathan.
* Gillray (James). A Little Music - or - the Delights of Harmony, H. Humphrey, May 20th, 1810, etching with contemporary hand-colouring, trimmed to plate mark, several marginal closed tears, crudely repaired on verso, two corners 'chipped with very slight loss to the printed margin, slight staining, 265 x 360 mm, together with Playing in Parts, H. Humphrey, May 15th 1801, etching with contemporary hand-clouring, trimmed to plate mark, occasional marginal repaired closed tears, margins strengthened on verso, slight adhesion scaring to the verso, 255 x 360 mmQTY: (2)NOTE:BM Satires, numbers 11611 & 9766 respectively. The first described item is in the second state with the addition of the publication date and details.
* Gillray (James). An Old Encore at the Opera, H. Humphrey, April 1st 1803, etching with bright contemporary hand colouring, large margins, some adhesion scaring to the verso, 240 x 200 mmQTY: (1)NOTE:BM Satires 10159. A caricature of Lord Galloway, an enthusiastic attendee at the opera, who stands and applauds from his box. The caricature is based on a drawing or painting by an amateur (I. L. R. pinx.) and there is some conjecture as to whether the etching is fine enough to have come from Gillray's hand.
* Gillray (James). The Bulstrode Siren, H. Humphrey April 14th. 1803, etching with extensive roulette work on wove with bright contemporary hand-colouring, good margins, old tape staining to the upper corners but well outside the plate mark, 355 x 260 mmQTY: (1)NOTE:Mrs Billington, who was as famous for her size as she was for her musical ability, is shown serenading the Duke of Portland, with whom she lived, at his mansion at Bulstrode.
* Gillray (James). John Bull and the Sinking Fund - a Petty Scheme for Reducing Taxes & Paying off the National Debt! H. Humphrey, February 29th 1807, etching with contemporary hand-colouring, slight staining, some old adhesion scaring to verso, 250 x 355 mmQTY: (1)NOTE:BM Satires 10704. A sinking fund receives surplus tax revenues that are then used to repay debt. Sinking funds were popular with British governments in the eighteenth century, and Lord North instituted such a fund in 1786 to help repay the national debt incurred fighting in the American Revolution. The plan worked well until 1793 when war with France destroyed any logical rationale for the fund. John Bull - the personification of an Englishman - bears the weight of this taxation whilst Petty shovels golden coins into the caps of his political allies.
* Gillray (James). Political Amusements for Young Gentlemen; - or - The Old Brentford Shuttlecock, between Old Sarum, & the Temple of St. Steevens, H. Humphrey, March 15th 1801, etching with contemporary hand-colouring, large margins, slight marginal toning, 250 x 350 mm, together with with a smaller plagiarised state published in 'London und Paris', old folds, 170 x 220 mmQTY: (2)NOTE:BM Satires 9716.
* Gillray (James). A Plumper for Paul! – or – the Little Taylor Done Over; vide – The terrible Effects of provoking a Red-hot Shot from the Broad-Bottom'd-Whig-Battery, H. Humphrey, March 13th 1807, etching with bright contemporary hand colouring, upper margin strengthened on verso, 245 x 355 mmQTY: (1)NOTE:BM Satires 10708. A comment on the rebuke given by the speaker to Paul, when he presented a petition against Sheridan's return to Parliament, alleging bribery, corruption and tampering with witnesses in connection with a petition against him.
* Prints & Engravings. A collection of approximately 450 engravings, 18th & 19th century, engravings and lithographs, mostly British topographical views, including examples by or after Tombleson, Swarbreck, Colston, Calvert, Radclyffe, Cooke, Stockdale, Shepherd, Le Petit, Tomkins and Lambert, various sizes and condition, together with Hill (T.). View above the Falls of Schuylkill, M. Carey & Son, Philadelphia, circa 1830, uncoloured aquatint after J. Shaw, 300 x 390 mm, with a small collection of late 20th-century topographical watercolours, plus Duncan (E.). To James Weddell Esqr. R. N. The Officers & Seamen under his Command, This plate of the Brig Jane and Cutter Beaufoy on 20th February 1823 bearing up to in 74º. 15´..., J. Huggins 1826 [but 20th-century re-strike), uncoloured aquatint after W, J. Huggins, slight creasing, 400 x 550 mm and a large uncoloured etching by C. Holloway, and The Artist, 22 volumes, a broken run 1931 - 33, numerous uncoloured illustrations throughout, including articles on the etcher Ian Strang, publisher's paper wrappers, some covers detached and frayed, slim folio, with Strang (Frances). Town and Country in Southern France, with drawings by Ian Strang, MacMillan and Co. 1937, additional half-title, numerous black and white illustrations throughout, 'map' endpapers, publisher's cloth gilt, dust jacket chipped and torn with loss, 8voQTY: (approx. 450)
* Gillray (James). Tales of Wonder! H. Humphrey, February 1st 1802, etching with aquatint, bright contemporary hand-colouring, affixed in each corner to later backing paper, 255 x 355 mm, together with a later state of the same print, with a mock dedication to M. G. Lewis in the upper margin, this example trimmed to the neatline and laid on later stiff paper, 250 x 345 mmQTY: (2)NOTE:BM satires 9932. A genre caricature which shows four ladies seated around a table, whilst one reads aloud. The expressions on their faces would suggest that the contents of the book(s) are titillating, scandalous and salacious - or possibly all three. A volume on the table is labelled 'The Monk'; intended to suggest that the book being read is one of the three volumes of the hugely successful and scandalous novel by that name published by Matthew ("Monk") Lewis in 1796. The book was regarded as so salacious that it only narrowly escaped prosecution for indecency. The title of the caricature - Tales of Wonder - is also the name of an anthology of poems by Matthew Lewis. It is more than likely that Gillray's print is commercially linked with the Lewis collection and that Lewis may well have decided to commission Gillray to help advertise his works. This argument is confirmed by the slightly later state which carries a dedication to Lewis and explicitly advertises the connection between the caricature and the author of 'The Monk'.For a copy of Matthew 'Monk' Lewis's book, see lot 371 in this catalogue.
* Gillray (James). A hint to Young Officers, H. Humphrey, July 9th, 1804, etching with aquatint, bright contemporary hand-colouring, large margins, some staining and dust soiling to margins, adhesion scaring to verso, 370 x 250 mmQTY: (1)NOTE:BM Satires 10297. The cartoon depicts Lord Moira. Moira found fame during the American War of Independence. After a failed attempt to become Prime Minister (losing out to Pitt), he became the Commander in Chief of the Forces in Scotland. The frequently mentioned Aide-de-Camp in the cartoon's text is Tom Sheridan; the incident illustrated was Moira's attempt to teach Sheridan consideration for his servants, exhausted by the young man keeping such late hours.
* Gillray (James). London Corresponding Society alarm'd - Vide. Guilty Consciences, H. Humphrey, April 20th, 1798, etching with aquatint, bright contemporary hand-colouring, slight spotting, thread margins, laid on later card, mounted with a board which is glued to the backing card, 255 x 190 mm. together with Doughty (William). [Elizabeth Dunning née Baring, Lady Ashburton as Ariadne, 1804] uncoloured mezzotint after Sir Joshua Reynolds, proof before title, small margins, some dust soiling, creasing and marginal fraying and closed tears, slight surface abrasion, 380 x 275 mmQTY: (2)NOTE:BM Satires 9202. The open book of "Proceedings" shown open and leaning against the chair of the speaker, lists the attendees as a blacksmith, a barber, a butcher, a fishmonger, a tailor, and a dissenter. Their "alarm" stems from the fact that five Irishmen, several of whom had links to the London Corresponding Society, had been indicted on April 10 on charges of high treason just days before the publication of this print. The gathering is overlooked by the portraits of Thomas Paine and John Horne Tooke, both of whom had been prosecuted by the Pitt government under repressive new laws. Paines's publication of 'The Rights of Man' had resulted in a charge of 'seditious libel' and Tooke had been tried (and acquitted) of treason in 1794. The idea of encouraging the working man to independent political thought and activism was regarded as so radical and dangerous that successive prosecutions of the members of these 'societies' had largely driven them underground; in this case to the Hell Fire Cellar in Chick Lane; an area notorious for prostitutes and thieves.
* Gillray (James). A Broad Hint of not Meaning to Dance, H. Humphrey, November 20th 1804, etching with contemporary hand colouring, some dust soiling, four marginal closed tears, three affecting the printed image, 255 x 380 mm, together with another copy similar trimmed to the neat line, 250 x 375 mmQTY: (2)NOTE:BM Satires 10302.
* Gillray (James). Pacific Overtures - or - a Flight from St. Clouds - "Over the Water to Charley" - a New Dramatic peace now Rehearsing, H. Humphrey, April 5th 1800, etching with bright contemporary hand-colouring, good margins, slight near-contemporary manuscript identification marginalia, one repaired marginal closed tear, slight marginal dust soiling, 295 x 385 mmQTY: (1)NOTE:BM Satires 10549. The King confronts a diminutive Napolean who unveils his 'list of terms' which is supported by Talleyrand. A fine impression of the first state before the Prince of Wales (shown in the box adjacent to the right-hand corner of the stage) was altered to Lord Derby.
* Gillray (James). Sketch of the Interior of St Stephens as it now stands, H. Humphrey, March 1st 1802, etching with bright contemporary hand-colouring, good margins, some old adhesion scaring to the verso, 360 x 260, together with another smaller hand coloured edition, published in 'London und Paris', old folds, 235 x 175 mmQTY: (2)NOTE:BM Satires 9843. The new Prime Minister, Henry Addington address the House of Commons on the subject of a peace treaty. Gillray has noticeably left Addington uncaricatured, whereas Hawkesbury, sitting behind him with his finger to his mouth is the epitome of ministerial uncertainty and incompetence and the caricature of Wilberforce (holding a stick) is particularly brutal.
* Gillray (James). Germans Eating Sour-Krout, H. Humphrey, May 7th 1803, uncoloured etching on laid, good margins, 255 x 355 mm, together with a slightly later and smaller edition with contemporary hand-colouring, published in 'London und Paris', old folds, 170 x 220 mmQTY: (2)NOTE:BM Satires 10170. Five glutinous Germans dine enthusiastically at Weyler's in Castle Street in Leicester Square. Weyler was born in Vienna and at his establishment sauerkraut and sausages were always to be had.
* Gillray (James). L'Enfant Trouvé a sample of Roman Charity! - or - the misfortune of not being born with Marks of "the Talents"! "What! a Relation to the Broad-Bottom's? - O Sainte Marie! why there's not the least Appearance of it! - therefore, take it away to the Workhouse, directly! H. Humphrey, May 18th 1808, etching with aquatint and bright contemporary hand-colouring, large margins, some marginal staining caused by old adhesion scaring on the verso, one short marginal prepared closed tear, but not affecting the printed image, 255 x 355 mmQTY: (1)NOTE:BM Satires 10986. Members of the Grenville family surround a table on which a black footman has placed a basket containing a baby. A satire on the support given by the Grenvilles and the 'Broad-Bottomed' administration towards Catholic emancipation. They were also lampooned for being sympathetic to Napolean and their legendary parsimony - despite considerable wealth - which is illustrated by guttering votive candles and the decision to send the child to the workhouse.
* Gillray (James). Blowing up the Pic Nic's - or - Harlequin Quixotte attacking the Puppets, H. Humphrey, April 2nd, 1802, etching with aquatint, contemporary hand colouring, several long repaired closed tears affecting the printed surface, skillfully repaired on the verso, 345 x 250 mmQTY: (1)NOTE:BM Satires 9916. The Pic-nic society was founded by Lady Albina Buckinghamshire; it was highly exclusive and was patronised by several fashionable stars of the stage. Its 'raison d'etre' was to perform burlesque farce accompanied by luxurious food and drink. The society's performances presented a threat to the regular theatre who perceived that the patronage of the better classes would be drawn away. A charge of lascivious immorality was raised against the Pic-nics and they become an easy target for the more scurrilous sections of the press. Gillray shows the great actors of the day - led by Sheridan - leading an attack on a performance. The names of the newspapers which most strongly condemned the Pic-nic society flow from Sheridan's quill pen. The implication is that the principal instigator and author of the most virulent criticism against the society was Sheridan himself.
* Gillray (James). The Guardian Angel..., H. Humphrey, April 22nd 1805, etching with aquatint, contemporary hand-colouring, slight mount staining, small areas of adhesion scaring to the verso, small margins, 370 x 260 mm, together with another slightly later example printed in 'London und Paris', old folds, some wear and slight loss to old folds, professionally restored on verso, 360 x 250 mmQTY: (2)NOTE:BM Satires 10389. An anti-catholic caricature illustrating the custody dispute over six-year-old Minney Seymour. The child's paternal and maternal uncles - fearing that Minney would be raised as a catholic - wished to take Minney away from Mrs Fitzherbert who (at Minney's deceased parents' request) had raised the child since she was a month old. The caricature is a parody of a painting by Matthew William Peters, 'An Angel Carrying the Spirit of a Child to Paradise'. Mrs Fitzherbert rises above Brighton Pavilion (where she lived) and is identified by the three plumes of her headdress which represent the Prince of Wales, to whom she had secretly been married. Around her waist is a large pouch labelled "Play Things," presumably for the child, but they consist of a collection of Catholic paraphernalia, illustrating how Mrs Fitzherbert was"educating" the child. The 'toys' include a rosary, a smoking censer, a monstrance, and, most prominently, a "Brighton Breviary" containing the Catholic service. Gillray's sympathies with the protestant case are clearly not in doubt.
* Gillray (James, after). The King of Brobdingnag and Gulliver, James Gilderoy, Dublin and S. W. Fores, Piccadilly, circa 1804, etching with aquatint on wove, bright contemporary hand colouring, trimmed to the neat line, small areas of adhesion scaring to verso, 290 x 210 mmQTY: (1)NOTE:A copy of Gillray's cartoon by Charles Williams for Fores Ltd.
Robert Martin, British, fl.1770s-1838- Long View of London from Bankside, after Wenceslaus Hollar; lithograph on four conjoined sheets, 46 x 235.5 cm. (VAT charged on the hammer price). Provenance: with Clarendon Gallery, London. Note: The present work was published in 1832, after the original 1647 etching by Wenceslaus Hollar (1607-1677) which was published by Cornelius Danckerts (1603-1656). The striking panoramic view is continuous from Westminster at the left to the Tower of London at the right. It is notable for its depiction of a lost London, destroyed less than twenty years later by the Great Fire of 1666. Hollar's approach in this print is unusual, as it is based from a single viewpoint, the Tower of St Saviour in Southwark, now Southwark Cathedral, from where Hollar made all of his drawings.
Giovanni Battista Piranesi, Italian 1720-1778- Avanzi di un antico Sepolcro, oggi detto la Conocchia, che si vede poco lungi dalla Porta di Capua per andar a Napoli; etching, signed within the plate 'Cav. Piranesi F.' (lower right), 72.6 x 48.3 cm. Provenance: with Lady Morgan (according to an old label attached to the reverse of the backing board). Private Collection, UK. Literature: Hind 130. Note: This etching is from the series 'Vedute di Roma' (Views of Rome). The inscription translates as 'Remains of an Ancient Tomb, today called La Conocchia, That One Sees Not Far from the Porta di Capua on the Road to Naples' and goes on to read 'Questo Sepolcro non si sà a qual Famiglia abbia potuto appartenere; stant che gli e stata levata la sua antica Iscrizione'. Depicting a mausoleum on the Appian Way, nicknamed 'La Conocchia' or 'the spindle' due to its striking form, Piranesi has, in typical fashion, emphasised the building's ruined state, with its crumbling stone and overgrown vegetation evoking the grandeur of ancient Rome.
Robert Havell, British 1793-1878- Mallard Duck, Plate CCXXI, after Jean-Jacques Aubudon; hand-coloured etching with aquatint, 1985 Restrike, Alecto Edition​, 66.5 x 99.5 cm. (unframed). (VAT charged on the hammer price). Note: This etching is taken from 'Birds of America' by Jean-Jacques Audubon (1785-1851), a seminal work of wildlife illustration, and the culmination of Audubon's ambition to paint every bird species in America. The work as a whole comprised 435 hand-coloured engravings, and took twelve years to produce (1826-38). This version is a 1985 restrike from the Alecto Edition and was part of an edition of 125. The plate is no.221, is dated 1834, and entitled 'Mallard Duck. ANAS BOSCHAS. 1 Males. 2 Females'.
Rembrandt Harmensz. van Rijn, Dutch 1606-1669- The Descent from the Cross by Torchlight; etching and drypoint, 1654, on laid paper, a very fine, rich and velvety impression, printing with intense contrasts, with small margins, the sheet 20.4 x 16.2 cm. Provenance: The estate of the late designer Anthony Powell (1935-2021), London. Note: Bartsch, Hollstein 83; Hind 280; New Hollstein 286. 'When evening fell, there came a man of Arimathea, Joseph by name, who was a man of means and had himself become a man of Jesus. He approached Pilate and asked for the body of Jesus; and Pilate gave orders that he should have it. Joseph took the body, wrapped it in a clean linen sheet, and laid it in his own unused tomb.' Matthew 27: 57-61. This print is amongst the most melodramatic of all Rembrandt's prints, and the composition is highly original. The focus is not the centre, but the upper left, the foreground being dominated by the bier to the right of which Joseph of Arimathea is kneeling, having draped the sheet which would receive Christ's body. As there is only one source of light - the torch held aloft by one of the men - attention is focused on the grisly detail of the nail through Christ's right foot. The man seen from behind is perfectly depicted, and one can almost feel the full weight of the body he is bearing. In a wonderful touch a hand comes out of the gloom to the right, as another man comes to his assistance. The print belongs to a small group of mid-sized prints, all created in 1654, on the Life of Christ. It may be that Rembrandt envisaged a larger series, but the subjects he did realise are: 'Christ at Emmaus: The larger Plate', 'The Entombment', 'The Presentation in the Temple in the dark Manner' and the present 'Descent from the Cross by Torchlight' (New Hollstein 283-286). These four prints are characterised by an extensive use of drypoint and plate tone. In all of them, the depiction of light is at the formal challenge that Rembrandt set himself, be it the supernatural light emanating from the Redeemer Himself in 'Christ at Emmaus', the barely lit internal spaces in 'The Entombment' and 'The Presentation', or the torchlight in the present plate, with the latter three being true night scenes.
After Francesco Bartolozzi, RA, Italian 1727-1815- Flora and four putti; pen and black ink on paper, 26.4 x 33.4 cm. Provenance: The collection of H. G. Casson, according to an inscribed label attached to the backing board. Private Collection, UK. Note: This drawing is presumably taken after Bartolozzi's etching of Flora, crowned with flowers and surrounded by putti. Bartolozzi's composition was itself a copy after a drawing by Guercino, a study of a lost painting made in 1624, and which was owned by King George III.
James Gillray, British 1756-1815- Germans Eating Sour-Kraut; hand-coloured etching, signed 'Js Gillray inv & fect' (within the plate), published 7 May 1803 by H. Humphrey, St. James's Street, 26.8 x 37.4 cm. Provenance: Private Collection, UK. Note: See British Museum no.1868,0808.7114. Five Germans seated at a round table, eating cabbage and sausages. One of these has tucked the table-cloth round his neck. A lean military officer sits in back view plying spoon and fork with elbows raised; a lean dog laps from his plate, one paw on his knee the other on the table. Cocked hat and sword are on the ground beside him. A thin and elderly man of more polished appearance puts down his head to the mound of greenery on his plate, which he shovels up with spoon and fork; his knife lies on the table-cloth. His hat and gold-headed cane are under his stool. A fat cook enters carrying a large steaming dish piled high with sauerkraut and sausages. On the table are a 'Vinegar' bottle and fragments from over-full plates. On the wall are a map of 'The Mouths of the Rhine', showing the 'German Ocean'; an oval bust portrait of 'Arch-Duke Charles' with a gross profile resembling that given by Gillray to the Duke of Clarence; and a picture of a row of pigs whose heads emerge from sties to feed in a trough. On the floor are large tankards, a broken pipe, a pile of used plates which a cat is licking, and a 'Bill of Fare - 1st Course Sour Krout - 2d Course Sour Krout - 3d Course Sour Krout - Desert Sour Krout.' Tankards and plates are inscribed 'Weyler Castle Street'.
James Gillray, British 1756-1815- Anacreontick's in full Song; hand-coloured etching with aquatint, signed 'Js. Gillray. inv. & fect.' (within the plate lower left), published 1 December 1801 by H. Humphrey, 27 St James's Street, 23.6 x 30.7 cm. Provenance: Private Collection, UK. Literature: M. Dorothy George, 'Catalogue of Political and Personal Satires in the British Museum', VIII, 1947. Note: The higher inscription reads 'Whilst, snug in our Club-room, we jovially 'twine _ The myrtle of Wenus with Bacchus's wine'. M. Dorothy George writes that 'The quotation is from the chorus of "The Anacreontic Song", "To Anacreon in Heaven", the constitutional song of the Anacreontic Society, sung by the chairman or his deputy after the supper which followed the fortnightly concert. W. T. Parke, "Musical Memoirs", 1830, i. 81. This was a fashionable society to which the Prince of Wales belonged: here the singers are plebei cockneys.'
Giovanni Battista Piranesi, Italian 1720-1778- Colonna Antonina; etching, signed 'Piranesi fecit' (within the plate lower right), 54.3 x 40.5 cm. (VAT charged on the hammer price). Note: The present work depicts the Colonna Antonina, the Column of Marcus Aurelius, from Piranesi's 'Vedute di Roma' (Views of Rome). The inscription within the plate reads: '1. Palazzo Ghigi. 2. Piazza Colonna. 3. Strada del Corso. Presso l'autore a Strada Felice nel Palazzo Tomati vicino de'monti. A paoli due e mezzo'.
Giovanni Battista Piranesi, Italian 1720-1778- Veduta degli avanzi del Castro Pretorio nella Villa Adriana a Tivoli; etching, signed 'Cavalier Piranesi delin. ed inc.' (within the plate lower left), 36.7 x 65.4 cm. (VAT charged on the hammer price). Note: The present work depicts the remains of the Praetorian Fort, a barracks for the Praetorian Guard at Emperor Hadrian's 2nd-century villa at Tivoli, near Rome. This etching is a characteristic view by Piranesi, demonstrating the artist's preoccupation with the ancient architecture amongst which 18th-century Romans lived, with a shepherd and his flock among the unassuming rural figures which populate the scene.
James Gillray, British 1756-1815- German-Nonchalance; -or-, the Vexation of Little-Boney; etching and aquatint with handcolouring, published by J. Gillray, January 1st 1803, 25.2 x 35.2 cm. Provenance: Private Collection, UK. Note: This satirical print depicts Napoleon on the steps of the gate to Tuileries, as Count Starhemberg, Austrian Envoy and Master Plenipotentiary to England, drives past, casually taking snuff with an insouciance that shocks the Emperor and his guards. After the title: 'Vide. The Diplomatique's late Journey through Paris.' "Count Starhemberg (left), Austrian Envoy Extraordinary and Minister Plenipotentiary to England, drives in a post-chaise drawn by two galloping horses past the gate of the Tuileries (right), where Napoleon stands, with straddling legs and outstretched arms, small, angry, and impotent, shouting 'Ha, diable! - va't 'en! Impertinent! - va't 'en! - is dere von Man on Earth who not Worship little Boney? - Soldats! aux Armes! revenge! - ah sacre dieu! - je suis tous Tremblans [sic].' Grenadiers are drawn up on both sides of Napoleon, their heads receding in perspective under the arch of the palace. They have huge moustaches, and wear bearskins, high stocks, and Hessian boots. They glare fiercely at the Austrian, with their hands on the hilts of their sabres. Starhemberg looks towards Napoleon with raised eyebrow, taking snuff with nonchalant contempt. A large coronetted 'S' and the Austrian eagle on the post-chaise show his identity. Baggage is piled on the roof of the chaise" (see BM9961).
Giovanni Battista Piranesi, Italian 1720-1778- Veduta del Ponte Salario; etching, signed 'Gio. Batta. Piranesi. F.' (within the plate lower right), 40 x 61.5 cm. (VAT charged on the hammer price). Note:The present work depicts the Ponte Salario in Rome, a fortified bridge which dates back to the Roman period, and which was largely destroyed in the 19th century. It is inscribed within the plate 'Esso fu fabbricato da Narseete sull' Anione due miglia lontan da Roma, ed è fra i ponti antichi l'unico rimaso intero à nostri tempi. 1. Lapide di marmo nel poggio del ponte colla memoria di Narsete scolpita dalla parte interna. 2.3. Torricella ed altri muri fabbricati poste riormente. 4. Modelli usati nella costruzione dell'arci , e lasciativi per comodo ne' di lui fortuiti rifarcimenti. 5. Cavo in cui era uno de' detti modelli caduto. 6. Archi fatti in difesa del Ponte dall'impeto delle acque nelle escrescenze del Fiume. 7. Fiume Anione, overo Teverone. 8. Via Salaria. 9. Avanzo di antico Sepolcro investito da fabbriche moderne.'
James Gillray, British 1756-1815- Tiddy-Doll the great French-Gingerbread-Baker, drawing out a new Batch of Kings; hand-coloured etching, signed 'Js. Gillray inv & fec' (within the plate lower right), published 23 January 1806 by H. Humphrey, 27 St. James's Street, London, 25..5 x 27.6 cm. Provenance: Private Collection, UK. Literature: M. Dorothy George, 'Catalogue of Political and Personal Satires in the British Museum', VIII, 1947, p.85-86. Note: The title continues: 'his Man, Hopping Talley, mixing up the Dough'. Gillray’s prophetic image of Napoleon as a baker feverishly creating gingerbread monarchs expresses British anxiety over the emperor’s rapid conquest of continental Europe and his evident intent to install relatives and favourites in positions of power. Freshly baked kings of Bavaria, Württemburg, and Baden are withdrawn from the oven (ready to replace rulers defeated by the French at Austerlitz in December 1805) while a cluster of 'True Corsican Kinglings' (Bonaparte relatives) occupy a wicker delivery basket at left. Acting as baker’s assistant, French Foreign Minister Tallyrand kneads up Poland, Hungary and Turkey. Discarded monarchs are consigned to the oven’s ash-hole by the 'Corsican Broom of Destruction.' The name Gillray gave Napoleon was borrowed from Tiddy-Dol Ford, a famous London street hawker who sold gingerbread in Mayfair. [British Museum no.1868,0808.7410].
Giovanni Battista Piranesi, Italian 1720-1778- Colonna Traiana; etching, signed 'Piranesi fecit' (within the plate lower right), 54.5 x 41 cm. (VAT charged on the hammer price). Note: The present work depicts Trajan's Column in Rome, a monument which celebrates Trajan's victory in the Dacian Wars (101-2 AD and 105-6 AD), and illustrates Piranesi's deep interest in ancient architecture, which could easily be viewed throughout 18th-century Rome. The work is inscribed within the plate: '1. Bucca fatta scavare da Sisro V. con recinto di muro, e Scala, che discende al piano della Colonna. 2. Chiesa del Nome di Maria. 3. Palazzo Bonelli. Presso l'autore a Strada Felice nel Palazzo Tomati vicino alla Trinita de'monti'.
Giovanni Battista Piranesi, Italian 1720-1778- Chimneypiece, Plate 52; etching, signed 'Cavalier Piranesi inv. ed inc.' (within the plate lower left), 25 x 38.6 cm. Provenance: Private Collection, UK. Note: This print is from the publication 'Diverse Maniere d'adornare i cammini ed ogni altra parte degli edifizi desunte dall'architettura Egizia, Etrusca, e Greca con un Ragionamento Apologetico in defesa dell'Architettura Egizia, e Toscana', translated as 'Diverse Ways of ornamenting chimneypieces and all other parts of houses taken from Egyptian, Etruscan, and Grecian architecture with an Apologia in defense of the Egyptian and Tuscan architecture'. Unlike Piranesi's scholarly architectural surveys, this work serves more as inspiration for designers, combining elements from Etruscan, Greek, and Egyptian architecture and ornamentation to create an eclectic and whimsical style.
Walter Greaves (British 1846-1930)ÔThe Last Chelsea RegattaÕ, etching, signed in pencil lower right, mounted and framedplate size 260 x 550mm, overall size 61 x 90cmCondition: There is mild foxing to the surface of the paper in the lower left and top left corners. This item has not been examined out of the frame.
Hollar, Wenceslaus. (1607-1677)'The Cavalcade or His Majesties Passing Through The City of London Towards His Coronation', London 1662, (from John Ogilby's "The Entertainment of ...Charles II,", Complete set of twenty etchings divided into four horizontal rows on five folding sheets of laid paper, grape and other watermarkseach 42 x 49.5cm.Condition: First three sheets numbered Each sheet reinforced. Hinges also reinforced Slight soiling, marginal short tears slightly dog eared. Repaired tears to image 7 /8 left margin. Marginal marks sheet four top edge. Sheet five with trimmed lower margin. losses left bottom corner. right top edge and sides with loss to extremities of etching. There is also a mark.
A group of 19th Century prints including Richard Dighton (1752-1814) 'A View from Baxter's Livery Stables, Cambridge' etching with hand colouring, titled beneath image and inscribed 'Drawn, etch, & Pub By Dighton, 6. Char. Crofs, Jan 1810'; John Hamilton Mortimer (1740-1779) 'Sleeping Monsters', etching, titled below image, inscribed 'I. Mortimer Del et Sculp'; Jacob Gillberg (1724-1793) 'Paysage au bord d'une riviere' stipple engraving and etching in red ink, inscribed to lower right 'J Gillberg sculp'; 'A rider on horse back', trimmed etching and a set of three folio aquatints from the original drawing in the collection of R.P. Knight Esq No. 16, No. 31 and No. 37 (7)plate size (illustrated): 300 x 200mm, framed size 44 x 32.7cmCondition: 'Paysage au bord d'une riviere' - patch of foxing to the centre right margin, and general foxing to the surface of the paper. Foxing to the general surface of the three folio prints. Viewing recommended in person.
A set of late 18th century black and white mezzotints of the four seasons including 'Summer', 'Autumn', 'Winter' and 'Spring', with additional dry point etching to detailed areas, variously inscribed beneath image, inscribed central lower margin 'Published June, 1st 1796, by John Fairburn, 146 Minories, London' inscribed lower right 'Vide Thompson's Seafons', (4) approx. plate size 350 x 245mm, framed size 51.8 x 41.5cmCondition: Disclaimer: These items have not been examined out of their frames. Autumn: Foxing to the general surface of the paper, and a minor 9cm scratch starting from the arm diagonally of the standing figure by the tree.Winter: Foxing to the general surface of the paper. Summer: Foxing to the general surface of the paper. Spring: Foxing to the general surface of the paper. Viewing in person is recommended.
An 18th century etching of a ÔRhinoÕ inscribed lower right 'J El. Ridinger ad vivum del. fec. et eoccud, a.v.', Latin text beneath image, mounted and framedCondition: The print is in good condition, with slight ageing to the paper commensurate with age. The print has not been examined out of the frame.
Francisco Jose de Goya (Spanish, 1746-1828)A group of three prints including: 'Otras Leyes por el pueblo' from the series 'Los Disparates', aquatint with etching and dry point, titled below image, inscribed lower left 'Goya inv. et. sc.', later edition; 'A caza de dientes' from the series 'Los Caprichos', aquatint and etching, plate number 12, titled below image; 'Las Resultas', from the series 'Los desasrtes de la guerra', etching, plate 72, inscribed top left '72', titled below image. (3)plate size (illustrated):212 x 325mm, framed sized 42.7 x 52.2cm Condition: Otras Leyes por el pueblo' - light foxing to the surface of the paper, but otherwise in good overall condition.A caza de dientes - In good overall condition Las resultas - in good overall condition.
Dame Paula Rego (Portuguese, 1935-2022) 'A Frog he would a-wooing go', etching and aquatint, signed lower right in pencil, edition 19/50, mounted and framed plate size 223 x 215mm, framed size 54.5 x 41cmCondition: The item is in very good condition at the time of cataloguing; it has not been examined out of the frame.
David Hockney (British, B. 1937)'Catherina Dorothea Viehmann' from 'Illustrations for Six Fairy Tales from The Brothers Grimm', etching and aquatint, signed in pencil below image, mounted and framedplate size 280 x 225mm, framed size 62.5 x 52.5cmCondition: In good overall condition; the item has not been examined out of the frame.
Charles Meryon (French 1821-1868)'LÕ Abside de Notre-Dame', etching with dry point, inscribed in ink ÔC meyron Ð del sculpÕ lower left, inscribed lower right ÔImp Rue neuve St Estienne-du-Mont 26Õ, mounted and framed, to be sold with a copy of 'Charles Meryon / A life' by Roger Collins plate size 160 x 295mm, overall 44 x 54cmCondition: Garton & Co. to reverse.
Dame Paula Rego (Portuguese, 1935-2022) 'Pirates taking away little boys', etching and aquatint, signed in pencil lower right, edition 31/50, mounted and framed plate size 275 x 196mm, framed size 65.5 x 54cm Condition: The item is in good overall condition, and has not been examined out of the frame.
Koichi Sakamoto (Japanese, b. 1932). Mezzotint etching titled "Late at Night," depicting snow covered homes under the moon. Pencil signed along the lower right and numbered 21/100 along the lower left. With a label from Gallery B.O.Q. along the verso.Sight; height: 10 in x width: 7 1/2 in. Framed; height: 14 3/4 in x width: 12 in.Condition: No visible tears, losses, or creases. There are minute accretions along the lower margin but due to the nature of the medium it is difficult to tell if it is part of the original artwork. There is toning along the mat and foxing along the lower margin. Under UV light, the left corner of the window cut of the mat shows a minute white splotch; there is a possibility of treatment but it is difficult to tell whether it is treatment or not. Framed under plexiglass and a window mat. Light wear to the frame. Not examined out of frame.
Ryohei Tanaka (Japanese, 1933-2019). Etching on paper print depicting a peaceful path towards the woods, 1966. Pencil signed and dated along the lower right; numbered 34/50 along the lower left.Sight; height: 12 in x width: 14 in. Framed; height: 15 1/4 in x width: 18 3/4 in.Condition: The piece shows no visible tears or losses. There are light creases along the margin. The paper is toned and has light undulation throughout. Along the light beige background, there are minute black spots that appear to be original. No visible foxing or soiling. No visible sign of restoration under UV light. Framed under plexiglass; not inspected out of frame. The gold painted frame is not firmly attached to the glass. In the upper left quadrant, there is a small accretion on to the paper; please see the listing image.
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