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Lot 422
Macon, a sepia etching and mezzotint after an original by J. M. W. Turner, etched and engraved by Frank Short, 1896, from an unpublished drawing for the Liber Studiorum in the possession of Henry Vaughan Esquire, signed by Frank Short, 24cm x 31cm. Also a 19th century portrait of a lady in pencil, inscribed with title "The Creation - Daughter" 32cm x 26cm. (2)
Lot 294
CHARCOAL DRAWING A YOUNG MAN WEARING A CAP Signed with initials SH and dated (19)63 lower left 21" x 14 1/4" (53.5 x 36cm) and OIL PAINTING ON MILK GLASS Huntsman Signed with initials MW and WATERCOLOUR Boy fishing from a rowing boat Signed M M Matthews TWO SMALL ETCHINGS F. Robson and EARLY 20th CENTURY COLOURED MEZZOTINT ENGRAVING George P James Another of Mrs Robinson J R Smith after G. Romney and AMATEUR OIL PAINTING Signed C B Holmes etc
Lot 464
A LATE EIGHTEENTH CENTURY HAND COLOURED MEZZOTINT ENGRAVING AFTER GEORGE MORELAND of rustic figures burning bracken in an upland landscape trimmed to the image 17 1/4" x 22 3/4" (44cm x 58cm) and ANOTHER LATE EIGHTEENTH/EARLY NINETEENTH CENTURY HAND COLOURED SOFT GROUND ETCHING after George Moreland of rustic figures with sheep and a dog trimmed to the image 16" x 13 3/4" (40.5cm x 35cm)
Lot 445
Peter Vilhelm Ilsted Danish (1861-1933) Color Mezzotint "Fisherman's Room at Hornbaek" Circa 1932. Pencil Signed Lower Right and Titled Lower Left Margin. Good to Very Good Condition. Measures 30 Inches by 26 Inches, Frame Measures 34-1/8 Inches by 30-1/4 Inches. Shipping $300.00 (estimate $650-$950)
Lot 71
THREE 'DROLLS': One of the Tribe of Levi going to Brake-fast with a Young Christian., Mezzotint, coloured, published by Sayer and Bennett, 21 Jan., 1778 (not in BM Satires, though an impression was acquired from the Lennox-Boyd Collection in 2010), with margins, stained from framing, 344 x 246mm; A man in a brothel, title cut off; and Miss Rattle dressing for the Pantheon, some losses in the title area and right margin (3)
Lot 199
Portraits.- English School A good group of 18th and 19th century male portraiture, including approximately 65 works, of which 13 are mezzotint portraits, with many after artists such as Thomas Hudson, Reynolds, Romney, Wright of Derby, Lawrence, De Wilde, Hardy, and many others, engravings, mezzotints, lithographs, on various papers, largest approx. 580 x 430 mm. (22 3/4 x 16 7/8 in), occasional spotting, browning, surface dirt, minor nicks and tears, [18th and 19th century], (65).
Lot 202
Walker (William, 1791-1867) and Samuel William Reynolds (1773-1835). The Reform Bill Receiving the King's Assent by Royal Commission, 7 June 1832, after Reynold's painting, mezzotint, etching and engraving, on cream wove paper, incised 'Proof' in the lettered title, title and image printed on two separate plates, total platemark 860 x 618 mm. (33 3/4 x 24 1/4 in), sheet 950 x 640 mm. (37 1/2 x 25 1/4 in), some spotting and browning, minor nicks and tears to extremities, not affecting image, minor handling creases, one small damp-stain in upper left corner, published by Walker, 1936; together with the 'Key to Mr. Walker's Engraving of the Passing of the Reform Bill', identifying all the peers and members of the House of Commons included in the painting and mezzotint, etching and engraving, on ivory wove paper, platemark 320 x 502 mm. (12 1/2 x 19 3/4 in), sheet 345 x 510 mm. (13 1/2 x 20 in), minor spotting and surface dirt, both unframed, published by Walker, 1836, (2).
Lot 187
Martin (John) Illustrations to Paradise Lost, the set of 24, a composite set of early impressions, each lettered with caption "Proof", mezzotint with touches of drypoint, excellent impressions, two sheets on wove paper, one with watermark date of 1825, the rest on cream laid paper, platemarks each c. 255 x 355 mm. (10 x 14 in), sheets c. 565 x 375 mm. (22 1/4 x 14 3/4), occasional spotting and minor surface dirt, bound in red half-morocco, marbled boards, spine gilt, published in parts by Septimus Prowett, [circa 1824-1827].Literature: Campbell & Wees, 1992, nos. 26-49"The illustrations that made Martin's name as an engraver". "They are without doubt one of the most significant series of British book illustrations ever to have been produced." [Campbell, John Martin, Visionary Printmaker, p. 41]*** PLEASE NOTE THE DESCRIPTION IN THIS LOT HAS CHANGED.Saleroom Notice: Please note, the present album is a composite set of proofs printed in the 1820s, and not from the edition of 50 as described in the catalogue.
Lot 197
Ward (William, 1766-1826) Christ in the Garden, after Correggio, plate 26 from the series 'Gems of Art', lettered state, mezzotint and etching, a rich velvet-like impression, on wove paper without watermark, plate mark 215 x 215 mm. (8 1/2 x 8 1/2 in), sheet 445 x 310 mm. (17 1/2 x 12 1/4 in), minor surface dirt and spotting, unframed, published by Cooke, 1825; together with Ward's Daniel in the Lion's Den, after Rubens, mezzotint, on thick cream laid paper, without watermark, trimmed to image, sheet 480 x 610 mm. (18 7/8 x 24 in), some nicks and tears and curling to lower edge, several light handling creases, published by Thomas Simpson, circa 1789 § Turner (Charles, 1774-1857) Rembrandt's Mill, and Maecenas' Villa, Tivoli, two works, the first after Rembrandt, the latter Richard Wilson, both from 'Gems of Art', mezzotints, on wove paper, one with Whatman watermark and dated '1820', each plate mark approx. 175 x 200 mm. (6 7/8 x 7 7/8 in), both with wide margins, minor spotting and browning, 1823 § Reynolds I (Samuel William, 1773-1835) Georgius Quartus, portrait of George IV after a bust by Sir Francis Chantrey, mezzotint and etching, plate mark 230 x 150 mm. (9 x 5 7/8 in), sheet 435 x 290 mm. (17 1/8 x 11 1/2 in), some spotting and surface dirt, 1825; together with David Lucas's etching and mezzotint after Constable's 'Spring', and John Young's mezzotint after Zoffany's 'Flower Girl', all unframed, (7).
Lot 200
Portraits.- English School A good group of 18th and 19th century female portraiture, including approximately 50 works, with many after artists such as Kneller, Reynolds, Lawrence, Gainsborough, Hoppner, Hayter, Landseer, as well as a Charles Turner's mezzotint 'Venus' after Villiers, engravings, lithographs, stipple-engravings, mezzotints, on various papers, various sizes, largest 600 x 450 mm. (23 5/8 x 17 3/4 in), occasional surface dirt, spotting and browning, light handling creases, all unframed, [18th and 19th century], (50).
Lot 27
Europe.- Paget (John) Hungary and Transylvania, 2 vol., first edition, engraved portrait, folding hand-coloured engraved map, one engraved and 2 lithograph plates, wood-engraved illustrations, contemporary polished tree calf, gilt, spines richly gilt but faded, 1839 § Bury (Lady Charlotte) The Three Great Sanctuaries of Tuscany, Valombrosa, Camaldoli, Laverna..., additional etched title, engraved portrait, 6 sepia-printed aquatint plates, some foxing, contemporary blue half calf with gilt-lettered red morocco label to upper cover, 1833 § Wilson (Rev. S.S.) A Narrative of the Greek Mission; or, Sixteen Years in Malta and Greece, first edition, Baxter-printed colour frontispiece (detached), upper hinge broken, original cloth, spine torn, 1839 § Price (Edward) Norway. Views of Wild Scenery: and Journal, first edition, 21 fine mezzotint plates, tissue guards, occasional foxing, contemporary (?original) cloth, 1834; and 11 others, European travel, v.s. (16)
Lot 345
A LARGE WILLIAM IV GILTWOOD OVERMANTLE MIRROR, the arched frame surmounted by a open scallop cartouche with cresting eagle, flanked by scrolls, 269cm x 196cmWilliam Froom 1825-1828, Froom & Cribb by 1829-1831, William Froom 1832-1849. At 136 Strand, London 1825-1849. Carvers and gilders, looking glass manufacturers, picture framemakers.William Froom (1791-1865) was christened in 1791 at St George the Martyr, Southwark, the son of William and Martha Froom. He first comes to notice in 1825, when he attended a meeting of more than fifty master carvers and gilders who resolved to resist the demands of journeymen for an increase in wages (The Times 30 June 1825). He followed Fentham & Co (qv) at 136 Strand, using the description, ‘Late Fentham & Co’, on his trade label for many years. By 1829 Froom had entered into a short-lived partnership with William Cribb (qv), which was dissolved in 1831 (London Gazette 3 May 1831). William Froom and his wife Elizabeth Anne had five children born between 1831 and 1840, christened at St Mary-le-Strand.William Froom was a customer of the composition ornament maker, George Jackson & Sons (qv), 1836-42 (see Jackson account book, V&A Archive of Art and Design, AAD/2012/1/2/3). In the 1839 directory Froom was listed as a looking glassmaker and in the 1841 census as a plate glass manufacturer. He would appear to have retired from business in 1849 from his entries in the Post Office directory. In the 1851 census he was living in Oxford Square as a landed proprietor. He died on 9 April 1865 at 71 Gloucester Terrace, Hyde Park, leaving a very considerable sum of up to £100,000 to his wife and family, but without mentioning his former business.Both William Froom’s trade label and that of Froom & Cribb, from 136 Strand, list the business as ‘Looking Glass Manufacturers, Carvers and Gilders, and Picture Frame Makers’, describing the premises as being near Somerset House. An example of Froom’s label, as ‘W. Froom’, can be found on a convex mirror of about 1825 (repr. Sotheby’s New York 16 April 2005 lot 46, information from Edgar Harden), while that of Froom & Cribb can be found on the frame of an impression of Henry Dawe’s mezzotint, John Philip Kemble as Hamlet, published 30 March 1827 (Christopher Lennox-Boyd collection). A slightly later label, as ‘William Froom’, from 136 Strand, describes the premises as being near Waterloo Bridge (example on James Ramsay’s Ann Hodgson, c.1830, information from Elizabeth Robertson, 1992).
Lot 1198
After I.S Kirchoff (18th/19th century) ''His Royal Highness the Arch Duke Charles, of Austria, Field Marshall & Commander in chief of the Imperial Armies in Germany'', mezzotint by P. Dawe, together with ten further portrait engravings of of Continental Royalty and nobility including, ''Karel Keizer'', ''Sermo Leopoldo Puoregi Belgar VM'', ''Maximi Lianus Archidux Austria Dux Burgandia Serenissimus'', ''Josephus I Augustus'', ''Francois II Empereur'', ''Fridericus III'', and ''Ferdinandus, Austria'', 49.5cm by 34cm and various other sizes (11)
Lot 1173
Carrington Bowles (1724-1793) ''The Prodigal Son in Misery'', engraving, together with five further engravings from the same series including ''Feasted on his Return'', ''Receives his Patrimony'', ''In Excess'', ''Returns Reclaimed'', ''Taking Leave'', together with a further print J Finlayson after C Reads ''Dutchefs of Argyll'', another William Ward after Joshua Reynolds ''The Right Honourable Frederick Howard, Earl of Carlisle'', a further mezzotint Caroline Watson after RE Pine ''Mrs Siddons'' and ''Sapho Rappelee a la Vie Par le Charme de la Musique'', 23.5cm, 45cm by 34cm, 45.5cm by 36cm & 38cm by 52cm respectively (a collection)
Lot 359
*Carington Bowles (publisher). Out of Place, Hors D'emploi In Place, En Emploi, circa 1785, pair of mezzotint drolls with early hand colouring, vertical margins strengthened on verso, each approximately 360 x 250 mm, mounted Pair of satirical prints. The first two politicians out of office, shivering in a squalid room, one writing a paper entitled 'Abusing Administration', with other similar papers scattered at their feet, while their landlady presents a unpaid bill for their lodging; a tattered print pinned to the wall behind, depicting an anchor inscribed 'Hope'. The second - a satire on corruption - shows the interior of a fine room in which two men are seated at a table, one a cleric, the other a politician. They are sharing a drink with the Devil, who stands behind them. A picture on the wall shows the loaves and fishes. Bags of gold lie on the floor suitably labelled to show that they were generated by bribes and the sale of titles and votes. (2)
Lot 360
*Carington Bowles (publisher). The Manchester Hero, or Arts yield to Arms, published 20th April, 1778, uncoloured mezzotint droll, 360 x 255 mm, together with Iris Peg in a Rage. Make good the damage you dog, or I'll cut away your Parsnip, circa 1780, uncoloured mezzotint droll, slight spotting to margins, 360 x 260 mm, mounted, with Sayer (Robert, publisher), The Frenchman in London, published Novr. 10th 1770, hand coloured caricature by C. White after Collet, title repeated in French, 360 x 260 mm, mounted, plus Fairburn (John, publisher), Spring [and] Autumn published June 1st. 1796, two uncoloured mezzotints, slight spotting, each approximately 355 x 250 mm, and Bowles (J. & C. publishers), Rene's Aukward Declaration of Love, circa 1780, uncoloured mezzotint, five lines of verse below image in English and French, 355 x 255 mm, mounted (6)
Lot 259
*Prints & engravings. A mixed collection of approximately 120 prints and engravings, mostly 19th century, including Earlom (Richard), Meleager and Atalante, published Robert Sayer, 1771, hand coloured mezzotint after R. Wilson, small margins, 470 x 565 mm, together with Sherwin (I. K.), The Forsaken Fair, published Robert Wilkinson, 1791, uncoloured mixed method engraving, twenty-eight lines of verse below image, thread margins, 475 x 595 mm, plus Linschoten (Jan Huygen van), Naves celoces seu biremes..., [1638], uncoloured engraving of a slave galley by Baptista a Doetechum, 250 x 320 mm, and Simon (Peter), The Interview of Tom Jones and Sophia after the reconciliation, published John & Josiah Boydell, 1789, uncoloured stipple engraving on india laid after J. Downman, slight spotting, 430 x 505 mm, together with others similar including sculpture, classical, encyclopedia plates. topographical views and genre, various sizes and condition (approx.120)
Lot 260
*Prisons. Bedford (F.). City Prison, Holloway, 1852, lithograph with contemporary hand colouring, trimmed to image on three margins, closed tears affecting image, slight dust soiling, 410 x 580 mm, mounted, framed and glazed, together with Hawkins (G.), To the Magistrates of the County of Berks., This View of the New County Prison at Reading from the Great Western Railway, is respectfully dedicated by their very obedient servant, J.L. Griffiths, Architectural Draftsman, Day & Haghe, circa 1860, uncoloured lithograph, slight creasing, spotting and staining, occasional marginal closed tears, torn with slight loss, 450 x 600 mm, mounted, framed and glazed, plus Smith (John Raphael). Sir Richard Arkwright, 1801, uncoloured mezzotint after Joseph Wright, slight marginal staining, 660 x 460 mm, mounted, framed and glazed Sir Richard Arkwright (23rd December 1732 -3rd August 1792) was an inventor and entrepreneur during the early Industrial Revolution. He is credited with inventing the spinning frame, which, following the transition to water power, was renamed the water frame. He also patented a rotary carding engine that transformed raw cotton into cotton lap. Arkwright's achievement was to combine power, machinery, semi-skilled labour and the new raw material (cotton) to create mass-produced yarn. His skills of organisation made him, more than anyone else, the creator of the modern factory system, especially in his mill at Cromford, Derbyshire. Later in his life Arkwright was known as 'the Father of the Industrial Revolution'. (3)
Lot 88
λ A large carved ivory figure of James Quin as Sir John Falstaff, the corpulent knight holding a sword and a shield, with a paper sticking out of a pocket in his doublet, inscribed 'Sack, Capon, Bread', standing in front of a tree stump on a leaf carved oval base, late 18th / early 19th century, 50.1cm high. Provenance: From a distinguished naval family. The famous comic character Sir John Falstaff featured in four of Shakespeare's plays, Henry IV part I and part II, Henry V and the Merry Wives of Windsor. The cowardly, corpulent, vain and drunk knight, was played by James Quin (1693-1766) in the middle of the 18th century and porcelain figures were famously produced by the Derby factory c.1760-70. Their model was based on a mezzotint by James McArdell after Francis Hayman.
Lot 491
Faber (John). The Kit-Cat Club done from the original paintings of Sr. Godfrey Kneller, sold by J. Tonson in The Strand, & J. Faber at The Golden Head in Bloomsbury Square, 1735, engraved mezzotint title, engraved dedication leaf to the Duke of Somerset, and 48 mezzotint portraits on 47 plates (including one double-portrait, by John Faber the younger after Sir Godfrey Kneller), some light spotting to blank margins, a few small wormholes to extreme foot of inner margins (not affecting the engraved plates), marbled edges and endpapers, contemporary full calf gilt, recased, with remains of original spine laid down and outer corners refurbished, Signet Library oval gilt stamp to centre of each cover, rubbed and marked, folio (46.5 x 31 cm, 18.25 x 12.25 ins) The complete edition of John Faber's fine mezzotint portraits of members of the Kit-Kat Club, run by Christopher Cat, famous for his Kit-Cat mutton pies, after portraits commissioned by Tonson from Kneller (the latter now in the National Portrait Gallery). (1)
Lot 520
Cleland (James). Description of the Banquet given in honour of the Right Hon. Sir Robert Peel, Bart., M.P., on his election as Lord Rector of the University of Glasgow, 1837, additional lithographed title, folding lithographed view of the Grand Banqueting Hall, and 5 other lithographed views, plans, etc., a few marks and occasional very light spotting, original dark green morocco-backed printed boards, rubbed and scuffed and some soiling, with a gold commemorative medal, struck on the occasion by Ottley of Birmingham, under the direction of D.C. Rait, Goldsmith & Jeweller, Glasgow, diameter 4.5 cm, plus a collection of 18th and 19th century prints and engravings, including mezzotint portraits of John Churchill, by John Smith, 1702, a proof mezzotint portrait by Samuel Cozens, signed in pencil, various landscape drawings, etc., a group of nine 20th century colour etchings by Louise Sibril (mainly erotic subjects), a copy of the art journal illustrated catalogue for the Great Exhibition, 1851, and two colour prints of coastal scenes in the South of France after Bernard Dufour, heightened with watercolour, etc (a carton)
Lot 228
Middle East.- Bounieu (Michel Honoré, 1740-1814) L'Odalisque, or L'Amusement du Sultan, mezzotint, on thick laid paper without watermark, unlettered proof state, platemark 377 x 485 mm. (14 3/4 x 19 1/8 in), sheet 393 x 530 mm. (15 1/2 x 20 7/8 in), lower edge trimmed just within the platemark, some spotting and browning, with light damp-stain upper right, minor nicks and tears, unframed, [circa 1785-1790].
Lot 278
Thornton (Robert John) Picturesque Botanical Plates of the New Illustration of the Sexual System of Linnaeus, engraved title and dedication by Vincent after Tomkins, 20 only mezzotint and/or aquatint plates printed in colours and hand-coloured by Ward, Earlom, Dunkarton and others, after Abraham Pether, Philip Reinagle, Sydenham Edward and others, some heightened with gum arabic, comprising: (1) "Tulips"; (2) "The Superb Lily"; (3) "The Aloe"; (4) "The Night Blowing Cereus"; (5) "The White Lily"; (6) "The Oblique-Leaved Begonia"; (7) "The American Cowslip"; (8) "Hyacinths"; (9) "The Dragon Arum"; (10) "The Winged Passion-Flower"; (11) "The Quadrangular Passion-Flower"; (12) "The Blue Passion-Flower"; (13) "The Pontic Rhododendron"; (14) "The Maggot-Bearing Stapelia"; (15) "Large Flowering Sensitive Plant"; (16) "The Nodding Renealmia"; (17) "The China Limodoron"; (18) "A Group of Auriculas"; (19) "A Group of Carnations"; (20) "Pitcher Plant", lacks frontispiece, contents leaf and "Select Plants" leaf, and some letterpress, some foxing, browning and offsetting, new endpapers, contemporary half calf, gilt, slightly rubbed, corners bumped, morocco label on spine, [cf.: Cleveland Collections 722; Dunthorne 301; Great Flower Books p.143; Nissen BBI 1955; Stafleu and Cowan 14283], folio, 1799; sold not subject to return. ⁂ Part only of what was to become known as "The Temple of Flora".
Lot 49
δ Norman Ackroyd (b.1938) Strathmore Rainbow Mezzotint printed in colours, 1972, signed, titled, dated and inscribed Artist's Proof (Final State) in pencil, aside from the edition of 75, on wove paper, with full margins, 495 x 450mm (19 ¾ x 19 ¾ in) (unframed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 43
John Hamilton Mortimer (1740-1779) A comprehensive collection of approximately 47 works by and after Mortimer Etchings, engravings, lithographs, mezzotints, some printed in sepia and red ink, mainly circa 1775-1810, on various papers, mostly with good margins, many with pencil references to Sunderland, largest approximately 460 x 390 mm. (18 1/8 x 15 3/8 in), all unframed, (47). ⁂ Includes: 'Bardolph' and 'Beatrice', two plates from 'Twelve characters from Shakespeare' 1775; Thomas Rowlandson's 'Boat in a storm at sea' from 'Imitations of Modern Drawings' circa 1760; the dedication frontispiece and three plates by Hamilton from 'Fifteen etchings dedicated to Sir Joshua Reynolds' 1778; 'Sleeping Monsters' 1780; 4 etchings by Joshua Haynes, Mortimer's pupil, after designs by Mortimer; 5 etchings by Lydia Bates, after Mortimer; 17 etchings by Robert Blyth, after Mortimer, including 'Rustick Dance', several of banditti, and numerous dramatic head studies, and 13 others including Valentine Green's mezzotint portrait of Mortimer's self-portrait, circa 1789. Provenance: (Rowlandson) Reverend J. Burleigh James (19th century) [Lugt 1425]
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