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1 Tel: Fax: Dealers in Antique Prints & Books Catalogue 53 Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN Item 47: Benjamin West, ' He is not here: for he h is risen. &c.' For other images i from this list please see our o web sitee Registered in England No Registered Office: 2, Castle Business Village, Station Road, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rayment. C.E. Ellis. E&OE VAT No

2 allowing them to t make printss which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training ass artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) D often worked in lithography. Stock: [Views of St. Helena; Illustrative of Its Scenery & Historical Associations. From Photographs By G.W. Melliss, Esq. Surveyor-- General of the Island, 1857.] [4] The Briars. [6] Longwood, Old House. [7] Front View of Longwood House. [8] Longwood New House. [9] Bertrand's Cottage Longwood. [11] St. Paul's Church. [12] Oak Bank. W. Gauci lith. Vincent Brooks Imp. [n.d., c.1857.] Tinted lithographs. Very scarce. Sheet size: s 145 x 245mm (5¾ x 9½") each. Light foxing. 420 Seven of thirteen plates from, 'Views off St. Helena; Illustrative of Its Scenery & Historical Associations. From Photographs By G.W. Melliss, Esq. Surveyor- General of the Island', published in In 1815, the British government selected the island off Saint Helena as the place of detention of Napoleon Bonaparte. He was taken to the island in October 1815, staying at the Briars pavilion (plate 4) on the groundss of the Balcombe family's home until hiss permanent home, Longwood House (plates 6, 7 and 8), was completed. He died there on 5th May During this period, Saint Helena remained in the East India Company s possession, but the British government met additional costs arising from guarding Napoleon. Thee island was strongly garrisoned with British troops, and naval ships circled the island. Abbey Travel: 318: 4, 6, 7, 8, 9, 11, 12. Stock: A white Moorish Boy, with a dish of Couscassow, a Timbuctoo Slave Child, and a free Negro Boy. G. Beauclerk pinxit. On Stone by Giles.. Printed by Engelmann, Graf, Coindet & Co. [n.d., c.1830.] Lithograph. Sheet size: 100 x 135mm (4 x 5¼"). 140 Three smiling children walk in a line towards the viewer. On the left, the 'white Moorish Boy', carries a tagine on his head, steadying it with both hands. In the centre is the 'Timbuctoo Slave Child', who holds ontoo the clothing of the boy to the left, as herr arm is held by the 'Free Negro Boy' on the right. Stock: [Three banditti on horseback menacingg a crouching figure.] [Anon., c.1810.] Pen lithograph, scarce; sheet 270 x 340mm (10½ x 13½"). Staining and mould to edges. 180 Dramatic early pen lithograph. The new medium allowed artists to draw directly onto a prepared stone, 4. [Ragged figure with cloth] TB [Thomas Barker] Pen lithograph on india backed onto thicker paper with watercolour wash by Thomas Barker, 235 x 150mm (9¼ x 6"). Staining and surface loss to india. Damaged. 140 Lithograph fromm Thomas Barker's ( ) 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Plate I. Barker was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in i For the complete set of 'Forty Lithographic Impressions' see ref Stock: [Boy leaning against rocks] TB [Thomas Barker] Pen lithograph, with period wash by T. Barker; sheet 235 x 166mm (9¼( x 6¼"). Laid on thick paper; tear on left. 140 Lithograph fromm Thomas Barker's ( ) 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Barker was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in i For the complete set of 'Forty Lithographic Impressions' see ref Ex: collection of the Late Hon. C. Lennox-Boyd. Stock: [Two seated women] TB [Thomas Barker] Pen lithograph, with period wash by T. Barker; sheet 235 x 160mm (9¼( x 6¼"). Laid on thick paper; tear on left. 140 Lithograph fromm Thomas Barker's ( ) 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath.

3 Barker was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in For the complete set of 'Forty Lithographic Impressions' see ref Ex: collection of the late Hon. C. Lennox-Boyd. Stock: [Standing figure with staff] TB [Thomas Barker] Pen lithograph, early unfinished proof; sheet 235 x 150mm (9¼ x 5¾"). Glued to backing sheet at top corners; water staining. 150 Lithograph from Thomas Barker's ( ) 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Barker was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in For the complete set of 'Forty Lithographic Impressions' see ref Ex: collection of the late Hon. C. Lennox-Boyd. Stock: [Child holding out cap for charity] TB [Thomas Barker] Pen lithograph on india with watercolour wash by T. Barker, very rare; 230 x 160mm (9¼ x 6¼"). Paper tone and staining lower right. 220 Lithograph from Thomas Barker's ( ) 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Barker was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in For the complete set of 'Forty Lithographic Impressions' see ref Stock: [Child crouched with jug] TB [Thomas Barker] Pen lithograph on india backed onto thicker paper with watercolour wash by T. Barker, 230 x 160mm (9¼ x 6¼"). Paper tone. Slight tear. 220 Lithograph from Thomas Barker's ( ) 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Plate II. Barker was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in For the complete set of 'Forty Lithographic Impressions' see ref Stock: [Two seated children.] TB [Thomas Barker] Pen lithograph on india backed onto thicker paper, early unfinished proof; india 230 x 150mm (9¼ x 6"). Paper tone, slight staining at corners. 220 Unfinished impression of a lithograph from Thomas Barker's ( ) 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Barker was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in For the complete set of 'Forty Lithographic Impressions' see ref Stock: [Two figures] TB [Thomas Barker] Pen lithograph on india backed onto thicker paper with watercolour wash by Thomas Barker, 230 x 165mm (9¼ x 6¼"). Trimmed into india border; staining top centre. 220 Lithograph from Thomas Barker's ( ) 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Barker was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in For the complete set of 'Forty Lithographic Impressions' see ref Stock: [Three children in ragged clothes] TB [Thomas Barker] Pen lithograph on india backed onto thicker paper, india 220 x 140mm (8¾ x 5½"). Crease and tearing to india top left. 220 Separately published lithograph from Thomas Barker's 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Barker ( ) was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised

4 on the redecoration of the Houses of Parliament in For the complete set of 'Forty Lithographic Impressions' see ref Stock: [Young Boy Seated 1803] Thomas Barker del. Pen lithograph, very rare; separately issued early lithograph from Specimens of Polyautography, published in 1803 by Philipp Andre; sheet 275 x 210mm (10¾ x 8¼"). Glued to backing sheet at corners. Crease across centre. Overall staining. 380 Barker ( ) He also published ' Forty Lithographic Impressions From Drawings by Thomass Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection c of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are inn the Victoria Art Gallery, Bath. Barker was born in Wales but known ass "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Housess of Parliament in Exx collection of the Late Hon. C. Lennox-Boyd; For the complete set of 'Forty Lithographic Impressions' see ref Stock: [Elderly woman with bag.] TB [Thomas Barker] Pen lithograph on india backed onto thicker paper, india 225 x 145mm (8¾ x 6"). Tearing to t india at edges; slight staining. Damaged. 140 Lithograph from Thomas Barker's ( ) 'Forty Lithographic Impressions From Drawings by Thomass Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection c of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are inn the Victoria Art Gallery, Bath. Barker was born in Wales but known ass "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Housess of Parliament in For the complete set of 'Forty Lithographic Impressions' see ref Stock: [Cavalry officer and horse.] [Anon., c.1818] Pen lithograph, Slade watermark; sheet 195 x 245mm (7¾ x 9½"). Trimmed. 180 Early pen lithograph. The new medium allowed artists to draw directly onto a prepared stone, allowing a themm to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto thee plate and leave specialist printers to actually make thee prints. For this reason many artists who were not trained printmakers (such as Géricault and a Delacroix) ) often worked in lithography. Ex: collection of the latee H. C. Lennox-Boyd. Stock: Hagar comforted by the Angel. Copied by H. Wyatt, from an Original Drawing by Claude Lorraine, in the possession of Mr. Ford. H. Wyatt, aquat. John Ford, Lithographed. [n.d., c ] Lithograph, very rare. Top left in pencil "For the Rt. Hon. Earl Spencer"; Printed area 200 x 240mm (8 x 9½"). 130 An amateur lithograph copied from a sketch from Claude's 'Liber Veritatis', thee 'Book of Truth' that authenticated his paintings. Ex Collection of Christopher Lennox-Boyd. Stock: [Man's head.] [n.d., c.1810.] Fine lithograph. Printed area a 180 x 180mmm (7 x 7"). 260 A man's head, with w hair flowing down over his high collar. An amateur lithograph. Ex: Collection of The Hon. C. Lennox-Boyd. Stock: [Head of o the Medusa.] Da Vinci pinxt.. [ms lower left] [Anon., c.1820] Pen lithograph, very scarce; sheet 275 x 385mm (10¾ x 15"). Slight foxing; crease on right. 320 Early lithographh from the famous painting of the medusa's head (Florence,( Uffizi). This print was probably made around the same time that Percy Bysshe Shelley wrote his h poem 'On the Medusa off Leonardo da Vinci in the Florentine Gallery'. Like Shelley, the maker of this print probably believed the painting to be by Leonardo. Itt is now considered to be by an anonymous artist of the Flemish school, c Ex: collection of thee Late Hon. C. Lennox-Boyd Stock: [Apolloo as a wingedd warrior.] C Heath del. Pen lithograph, rare & trimmed; sheet 320 x 235mm (12½ x 9¼"). Vertical V crease; nicks to edges. 260 Early lithographh by Charles Heath ( ), landscape and figure f engraver. A precocious talent and part of a familyy of printmakers, Heath wass early to experiment withh new techniques. He exhibited lithographs such as this at Somerset Housee from 1802 to 1806, and this print was included in the 1806 edition of the first portfolio of artists' lithographs, 'Specimens of Polyauthography' (first edition published by Philipp

5 André in 1803). The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography. Ex: collection of the Late Hon. C. Lennox-Boyd Stock: [Oriental man reading a large book] [by Henry Singleton, 1803] Pen lithograph, sheet 225 x 315mm (8¾ x 12½"). Very damaged; losses. 90 Early lithograph by Henry Singleton ( ), painter. A professional portrait painter from the age of sixteen, Singleton was commissioned by Benjamin West to paint a large group portrait of the Royal Academicians in 1796, but Singleton never became an academician himself. He was known for his history paintings initially, but later moved into decorative and pastoral subject matter, often designed with a view to engraving. This print, a rare excursion into printmaking for Singleton, was included in the 1806 edition of the first portfolio of artists' lithographs, 'Specimens of Polyauthography'. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography. Ex: collection of the Late Hon. C. Lennox-Boyd. Stock: [Study of a Tree.] [R.L. West 1802.] Pen lithograph, sheet 310 x 230mm (12¼ x 9"). Trimmed to image, losing text along bottom. 370 One of the twelve pen lithographs from 'Specimens of Polyautography', the first set of artist's lithographs ever published (by Philipp André in 1803). The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many painters who were not trained printmakers (such as Géricault and Delacroix) produced lithographs. Made by Raphael Lamar West ( ), history painter and son of Benjamin West, who also contributed to the polyautography series. Between 1800 and 1802 he unsuccessfully tried to emmigrate to an uninhabited part of the US. After some success in his early career, in later years he seems to have concentrated upon selling his father's pictures, and had to apply for financial assistance from the Royal Academy. This print shows the prevalent influence of Salvator Rosa's dramatic landscapes. Ex: collection of the late Hon. C. Lennox-Boyd; Man, '150 Years of Artists' Lithographs', cat. 2. Stock: Abbeville A. Long. [n.d., c.1817.] Rare amateur lithograph with hand colour. Printed area 230 x 320mm (9 x 12½"). 90 The town square of Abbeville in Picardie, the towers of St. Vulfran Collegiate Church behind. Amelia Long (née Hume) ( ), married Charles Long who was created Baron Farnborough in Lady Farnborough was Thomas Girtin's favourite pupil, and her work was widely admired by professional artists and drawing masters. For a sketchbook by the artist see V&A E Ex: collection of the Hon. Christopher Lennox-Boyd. Stock: [Three warriors in mountains.] [B. M. Fischer, c.1810.] Pen lithograph, sheet 320 x 215mm (12½ x 8½"). Trimmed. 260 Early pen lithograph. The new medium allowed artists to draw directly onto a prepared stone, allowing them to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography. Ex: collection of the late H. C. Lennox-Boyd. Stock: [Man and horse crossing bridge.] TB [Thomas Barker, monogram lower left.] Pen lithograph, rare; sheet 310 x 235mm (12½ x 9"). Tear and hole bottom; foxing; creases. 220 Early pen lithograph by Thomas Barker of Bath ( ), painter and lithographer who in 1803 contributed to the first set of lithographs ever published. Probably taken from "Thirty Two Lithographic Impression from Pen Drawings of Landscape Scenery", Views around Bath, Wales, the Lake District and elsewhere. Ex: collection of the late Hon. C. Lennox- Boyd. Stock: [Tree in a landscape with figures seated by river] Will. Delamotte del. Oxford Lithograph, very scarce; sheet 230 x 320mm (9 x 12½"). Very creased. 80 Early lithograph by William Delamotte ( ), landscape artist. Delamotte lived in Oxford from 1798 working as a drawing master, and most of his works from this period were made in the vicinity. He later

6 became a drawing master at the Royal Military College in Sandhurst. Influenced by Girtin's watercolour style, Delamotte was one of a group of landscape artists also including Constable and Turner, who took to making g oil sketches in the open. Stock: [Treee in a landscape with figures seatedd by river] Will. Delamotte del. Oxford Lithograph, very scarce; sheet 230 x 320mm (9 x 12½"). Tears & losses to corners. 160 Early lithograph by William Delamotte ( ), landscape artist. Delamottee lived in Oxford from 1798 working as a drawing master, and most of his works from this period were made in the vicinity. He later became a drawing master at the Royal Military College in Sandhurst. Influenced by Girtin's watercolour style, Delamotte was one of a group of landscape artists also including Constable and Turner, who took to making g oil sketches in the open. Stock: Heywood. F.W. Trench imp. Lithograph, printed area 195 x 330mm (7¾( x 13"). Hole in text area; creasing to edges. 130 Woodland scene by amateur artist F.W. French, perhaps showing Heywood, now part off Greater Manchester. Ex: collection of the Late Hon. C. Lennox- Boyd. Stock: [Two horses pulling large log.] [Anon., c.1807] Pen lithograph, sheet 215 x 305mm (8½ x 12"). Creasing, trimmed. 190 Early pen lithograph. The new medium allowed artists to draw directly onto a prepared stone, allowing a themm to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto thee plate and leave specialist printers to actually make thee prints. For this reason many artists who were not trained printmakers (such as Géricault and a Delacroix) ) often worked in lithography. Ex: collection of the latee H. C. Lennox-Boyd. Stock: [Landscape with figures by lake, and rowing boat] [Anon., c.1810] ] Large Pen lithograph, very scarce, sheet 305 x 380mm (12 x 15"). Slight stain spots in centre; two very samll holes at top. 220 Early pen lithograph. The new medium allowed artists to draw directlyy onto a prepared stone, allowing them to make prints which w arguably resembled drawings more than any earlier e printmaking technique. Unlike many printmaking techniques, lithography required no special trainingg as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked inn lithography. Stock: The Ramparts at Montreuil A. Long. [n.d., c.1817.] Rare amateur lithograph withh very large margins. Printed area 195 x 260mm (7¾ x 10¼"). Foxing. 95 An old fortress on the outskirts of Paris. Amelia Long (née Hume) ( ), married Charles Long who w was created Baron Farnborough in Lady Farnborough wass Girtin's favourite pupil, and her work was w widely admired by professional artists and drawing masters. For a sketchbook by the artist see V&A E Stock: [Four lithographs in original wrappers] Etchings No. 4 P..S. Munn [1811] Four lithographs in wrappers, Plates II & IV I watermarked 'J. Whatman 1810'; 240 x 410mm (9½ x 16"). 450 Four sheets of tree t studies. Early lithographs by Paul Sandby Munn ( ) ). Munn was named after his godfather, Paul P Sandby, who gave him his first instructions in watercolour w painting. He first exhibited at the Royal Academy in 1798 and was a frequent f contributor of topographical drawings to that and other exhibtions. He drew some off the views of Britton's "Beauties of England and Wales". He painted little after 1832, when he devoted himself chiefly to music. Stock: 36808

7 32. [Family and horses resting near water] 4 P.S. Munn 1813 Pen lithograph, rare; sheet 280 x 205mmm (11 x 8"). Occasional wash colouring to figures, creasing. Trimmed. 130 Lithograph by Paul Sandby Munn ( ). Munn was named after his godfather, artist Paul Sandby, followed his namesake into watercolourr painting. He went on a sketching expedition to Wales with John Sell Cotman in 1802 and from 1807 was making use of the new mediumm of pen lithography, which he used in several sets of landscape prints. Ex: collection of the Late Hon. C. Lennox-Boyd. Stock: Newlands. M.A.T. Whitby ex. et Del Newlands Press. Rare amateur lithograph. Printed area 230 x 330mm (9 x 13"), with very large margins. 160 The country seat of Newlands, with a pair of anglers in the foreground. Naval officer Sir William Cornwallis bought Newlands in 1799, living there with the widow of Cornwallis' flag captain, John Whitby, who died in 1806, then leavingg the estate to her on his death in Mary Anne Theresa Whitby was an amateur lithographer who established a private press at Newlands.. Ex: Collection of the late Hon. C. Lennox-Boyd; For a London view w by Whitby, see ref Stock: [Old Tree with castle in the distance.] Hearne, 1803 [signature in bottom right-hand corner] ]. Very rare, scarce and early pen lithograph, sheet 293 x 216mm (11½" x 8½"). Small tears, made up bottom left corner. 240 Early lithograph by Thomas Hearne ( ), watercolourist and topographical draughtsman. By the 19th century Hearne's work had been superceded by more recent developments amongst young artists, so this is an interesting experiment with the new mediumm of lithography. Ex collection of the Latee Hon. C. Lennox-Boyd; For another impression see s ref Stock: St Genevieve fromm The Garden of the Luxembourg A. Long. [n.d., c.1817.] Rare amateur lithograph withh very large margins. Printed area 280 x 210mm (11 x 8¼") With a cat added d in pencil. 110 Amelia Long (née Hume) ( ), married Charles Long who w was created Baron Farnborough in Lady Farnborough wass Thomas Girtin's favourite pupil,, and her workk was widely admired a by professional artists and drawing masters. For a sketchbook by the t artist see V&A E Ex collection of The Hon Christopher Lennox-Boyd. Stock: Englishh Troops. Bois de Boulogne Sept.r A. Long. [n.d., c.1817.] Rare amateur lithograph withh hand colour and very large margins. Printed P area 200 x 270 (8 x 10½"). 160 An English camp on the outskirts of Paris with tents and straw huts, shortly after Waterloo. Amelia Long (née Hume) ( ), married Charles Long who w was created Baron Farnborough in Lady Farnborough wass Thomas Girtin's favourite pupil,, and her workk was widely admired a by professional artists and drawing masters. For a sketchbook by the t artist see V&A E Ex collection of The Hon Christopher Lennox-Boyd. Stock: [Two figures in a landscape] [Anon., c.1810] ] Pen lithograph, J. Whatman watermark (PT) printed area 260 x 180mm (10¼ x 7" "). 95 Unidentified early lithographh showing the influence of Salvator Rosa, whose treacherous landscape were significant in shaping the concepts of sublime and romantic representations of nature in the late Georgian period. Ex: collection of the Late Hon. C. Lennox-Boyd Stock: Stock: [Two figures in a landscape] [Anon., c.1810] ] Pen lithograph, sheet 250 x 170mm (9¾ x 6¾"). Glued to backing board at corners; surface loss on left filled in ink. 140 Unidentified early lithographh showing the influence of Salvator Rosa, whose landscapes were significant in shaping the concepts of sublime and romantic representations of nature in the late Georgian period. Ex: collection of o the Late Hon. C. Lennox-Boyd 39. [Blasted tree with pensive traveller.] Ric. Cooper del Pen lithograph, scarce; sheet t 230 x 320mmm (9¼ x 12½"). Nicks and tears to edges; hole middle right, losses on left & right bottom, trimmed. 140 Early lithographh by Richard Cooper ( ). The son of another engraver, e Cooper worked for a time in Italy, where he befriended Alexander Runciman and developed a style of landscape painting similar to that of Runciman (he became known as the 'English

8 Poussin'). After marrying in Edinburgh in 1777, Cooper settled in London around 1787, where he dedicated himself to drawing (he became drawing master at Eton) and printmaking. This lithograph wass included in the first portfolio of artists' lithographs, l 'Specimens of Polyauthography'. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in i lithography. Ex: collection of the Late Hon. C. Lennox-Boyd. Stock: [Ruined abbey among trees] ] [by Richard Cooper, 1802] Pen lithograph, sheet 220 x 325mm (9 x 12½"). Glued to backing sheet. Trimmed to subject. 240 Early lithograph by Richard Cooper ( ). The son of another engraver, Cooper worked for a time inn Italy, where he befriendedd Alexander Runciman and developed a style of landscape painting similar to that of Runcimann (he became known as the 'English Poussin'). After marrying in Edinburgh in 1777, Cooper settled in London around 1787, where he dedicated himself to drawing (he became drawing master at Eton) and occasionally printmaking. This lithograph was included in the 1807 edition of the first portfolio of artists' lithographs, 'Specimens of Polyauthography'. The new medium allowed artists too draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto thee plate and leave specialist printers to actually make thee prints. For this reason many artists who were not trained printmakers (such as Géricault and a Delacroix) ) often worked in lithography. Ex: collection of the Late Hon. C. Lennox-Boyd. Stock: [Old Trees with old man, a girl and dog] R. Corbould 1802 [in image lower right] Pen lithograph, rare; sheet 235 x 315mmm (9¼ x 12½" "). Glued to thick backing sheet; loss to lower left corner. 130 Early lithograph by Richard Corbould ( ), an versatile artist who worked in many media and styless although chiefly remembered as a designer of book illustrations. This lithograph was included in the first t portfolio of artists' lithographs, 'Specimens of Polyauthography'. The new medium allowed artists too draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto thee plate and leave specialist printers to actually make thee prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked inn lithography. Ex: collection of the Late Hon. C. Lennox-Boyd. Stock: Evening Thou Bringest All [title in reverse, in Greek] H. Fuseli del [1802, first published 1803] Pen lithograph, sheet 210 x 315mm (8¼ x 12¼"). Trimmed, losing printed areaa top and left, small nicks and tears; vertical crease on left; foxing to edges The most famous early pen lithograph. Fuseli's print (also known as 'Lady at a Window') was published as one of the twelve pen lithographs from 'Specimens of Polyautography', the first set t of artist's lithographs ever published (by Philipp P André in 1803). Thee new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawingss more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and a leave specialist printers to actually y make the prints. For this reason many painters who were not trained printmakers (such as Géricault and Delacroix) produced lithographs. Fuseli ( ), painter and writer, was born in Switzerland butt spent much of his career in i England. At the time of this t work (saidd by Weinglass to represent Fuseli's wife Sophia) he was Professor of Painting at the Royal R Academy. In 1804 he was also to become Keeperr of the RA, the only time someone s has held both positions simultaneously. Weinglass 171; Man, '150 Years of Artists' Lithographs', cat. c 3. Ex: collection of thee late Hon. C.. Lennox-Boyd. Stock: 36699

9 Stock: [Cavalry Charge.] [Conrad Gessner, 1801.] Pen lithograph, sheet 230 x 315mm (9 x 12½"). Goodd impression; pinhole top centre. 450 Pen lithograph, probably taken from 'Specimens of Polyautography', the first set of artist's lithographs l ever published (by Philipp André in 1803). The new medium allowed artists to draw directly onto a prepared stone, allowing artists to makee prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the platee and leave specialist printers to actually make the prints. For thiss reason many painters who were not trained printmakers (such as Géricault and Delacroix) produced lithographs. Made by Conrad Gessner ( ), Swiss artist working in England Ex: collection of the late Hon. C. Lennox-Boyd. Stock: [Landscape with old trees by water.] [by Henry Richard Greville, c.1804.] Pen lithograph, sheet 305 x 220mm (12 x 8¾"). Trimmed. 260 Early lithograph by Henry Richard Greville, Lord Brooke, 3rd Earl of Warwick ( ) and included in the first portfolio of artists' lithographs, l 'Specimens of Polyauthography'. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in i lithography. Ex: collection of the Late Hon. C. Lennox-Boyd. Stock: [Landscape with old trees by water.] [by Henry Richard Greville, c.1804] Pen lithograph, very rare; sheet 305 x 220mm (12 x 8¾"). Fine impression; very slight hole. Trimmed. 260 Early lithograph by Henry Richard Greville, Lord Brooke, 3rd Earl of Warwick ( ) and included in the first portfolioo of artists' lithographs, 'Specimens of PolyauthograpP phy'. The new medium allowed artists to draw directly onto a prepared stone, allowing artistss to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training ass artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) D often worked in lithography. Ex: collection of o the Late Hon. C. Lennox-Boyd. 46. [Rural landscape with horse and cart] F..J. Man[skirsch del.] Pen lithograph, sheet 220 x 300mm (8¾ x 11¾"). Glued to thick card; c trimmedd inside imagee on right; paper tone and damage upper left. Damaged. 130 Early lithographh by Franz Joseph Manskirsch ( ), who spent most of hiss career in London before moving to Danzig, Poland byy This lithograph was included inn the 1806 edition of the first portfolio of artists' lithographs, 'Specimens of Polyauthography'. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawingss more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and a leave specialist printers to actually y make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography. Ex: collection off the Late Hon. C. Lennox- Boyd. Stock: [The Angel] He is not here: for he is risen. &c. B. West 1801 [ first publishedd 1803] Pen lithograph, sheet 325 x 230mm (12¾ x 9"), on original backingg sheet with a sepia aquatint border. Strong impression. Backing sheet trimmed at sides Text from Matthew 28:6, in which the angel of the resurrection directs women looking for thee crucified Jesus to 'see thee place where He was lying'. A landmark in the t history of lithograph, this original print by Benjamin West has been described as 'the first lithograph of artistic merit ever done in any country' (Felix Man). It was publishedd as one of the twelve pen lithographs fromm 'Specimens s of Polyautography', the first set of artist's lithographss ever published (by Philipp André in i 1803). The new medium allowed artists to draw directly d onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the t prints. For r this reason many painters who were not trained printmakers (such ass Géricault and Delacroix) produced lithographs.

10 West ( ) was an Anglo-American painter of historical scenes around and after the timee of the American War of Independence. He was the second president of thee Royal Academy in London, serving from 1792 to 1805 and againn from 1806 until his death. Ex: collection of o the late Hon. C. Lennox-Boyd; Man, '150 Years of Artists' Lithographs', cat. 1. Stock: [Country cottage, with homecoming labourer carrying an axe] [Anon. after J Renton, R c.1820] Pen lithograph, very scarce; verso in ink F.W. Half Penny July 25th, 1818; sheett 215 x 310mmm (8½ x 12¼"). Glued too backing sheet; internal tears lower right. Slight hole where previously folded. 220 Copy of an 1809 lithograph by J. Renton ( ,( fl.). According to Michael Campbell, Renton is unknown as a printmaker p apart from two early e polyautographs, 'however, hee was an active and successful painter of portraits, figurative subjects and landscapes'. Campbell also suggests the Lake District as a likely location for this image, given that he often exhibited viewss of the area. Ex: collection of the Late Hon. C. Lennox-Boyd. Stock: West ( ) was an Anglo-American painter off historical scenes around and after the time of the American War of Independence. He was the second president of the Royal Academy in London, serving from 1792 to 1805 and again from 1806 until his death. Man, '150 Years of Artists' Lithographs', cat. 1. Ex: collection of the late Hon. C. Lennox-Boyd. Stock: [The Angel] [He is not here: for he is risen. &c.] B. West 1801 [first published 1803] Pen lithograph, sheet 315 x 225mm (12½ x 9"). Glued to backing sheet; trimmed, losing text below image. Unidentified collector's stamp verso Text from Matthew 28:6, in which the angel a of the resurrection directs women looking for the crucified Jesus to 'see the place where He was lying'. A landmark in the history of lithograph,, this original print by Benjamin West has been described as 'the first lithograph of artistic merit ever done in any country' (Felix Man). It was published as one of the twelve pen lithographs from 'Specimens of Polyautography', the first set of artist's lithographs ever published (by Philipp André in 1803). The new medium allowed artists to draw directly onto a prepared stone, s allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many painters who were not trained printmakers (such as Géricault and Delacroix) produced lithographs. 50. Sagro Monte di Varese. E.T.F. delin.t Lithograph withh very large margins. Printed area 245 x 265mm (9¾ x 10½"). 1 Paper toned. 120 An amateur print by Lady Elizabeth Theresa Feilding. Born Fox-Strangways, she married twice: to William Davenport Talbot and Admiral Charles Feilding. Her son by her first marriage wass photography pioneer William Henry Fox Talbot (February ). Ex: Collection of The Hon. C. Lennox-Boyd. Stock: [Ruined church in a field with tree and seated figure] ] Lithograph, very scarce; sheet 255 x 330mm (10 x 13"). Damaged, torn. Manuscript in ink verso: 'By Mrs Arnold Warrington [?] An early lithographic sketch supposed to be in 1806'. 130 Interesting earlyy lithograph combining thee Romantic landscape tropes of the solitary figure, ruined church and gnarled tree. Stock: [Two figures by river, pouring milk into pails for transport, probably in the Netherlands] James Clarke Hook H [pencil signature] Etching with large margins, platemark 120 x 210mm (4¾ x 8½"). Creases 75 One of few etchings by landscape and history painter James Clarke Hook H ( ). Hook spent two years in Venice studying Italian artt in the 1840s, and joined the Etching Club in 1850 (the same year as a Samuel Palmer becamee a member). This scene demonstrates Hook's particular interest in rural labour (he was particularly drawn to seascapes showing fishermen and -women at work); milking takes place in background.

11 Although his name has fallen into obscurity, Hook's work was admired by Baudelaire and Ruskin, and artt historian Tim Barringer claims that 'his best work bears comparison with the marine paintings of the celebrated nineteenth-century American painter Winslow Homer' (DNB). Stock: [Madonna and child?] From a very rare etching of the same size by Andrea Meldolla in the Collection of Richard Ford. R.F. Scul. only 20 taken off Crayon-manner etching, all text in ink mss, very scarce. Image 170 x 90mmm (10½ x 3½") ) 80 An amateur etching after Andrea Meldolla (c. 1510/5-1563, also known as Andrea Schiavone) ). Richard Ford ( ) was an art connoisseur who travelled widely in Europe and wrote a guidebook to Spain. When he died of Bright's diseasee he left a fine collection of pictures to his widow Mary. Stock: [Untitled landscape with waterfall and wooden bridge, Wales] Drawn by Robert Price Esq.r. Engraved by James Basire. [n.d.. c.1760.] Etching and aquatint in crayon manner, printed in sepia, with large margins, scarce. 290 x 400mm (11½½ x 15¾"). Tears and soiling in margins. 180 A rare print, apparently from a sketchbook by amateur artist Robert Price ( ) of Foxley, Herefordshire, who was taught to draw by Giovanni Battista Busiri while in Rome on his grand tour, which commenced in His son was Sir Uvedale Price, baronet, author of 'Essay on the Picturesque' (1794), parodied by Jane Austen in 'Northangerr Abbey'. The engraverr is James Basire the elder ( ),( Master of William Blake. BM 1880, : 'probably taken from a drawing book'. Ex Collection of the Hon. Christopher Lennox-Boyd. Stock: A View of Caynaut in the parish of Llanvrothen near Trath Mawr in Merionethshire. Drawn by Robert Price Esq.r. Engraved by James Basire. [n.d.. c.1760.] Etching and aquatint in crayon manner, with large margins, scarce. 290 x 400mm (11½ x 15¾"). Margins chipped and soiled. 180 A rare print, apparently from a sketchbook by amateur artist Robert Price ( ) of Foxley, Herefordshire, who was taught to draw by Giovanni Battista Busiri while in Rome on his grand tour, which commenced in His son was Sir Uvedale Price, baronet, author of 'Essay on the Picturesque' (1794), parodied by Jane Austen in 'Northangerr Abbey'. The engraverr is James Basire the elder ( ),( Master of William Blake. The BM has a similar platee 'probably taken from a drawing book' (BM 1880, ). Ex Collection of the Hon. Christopher Lennox-Boyd. Stock: [Untitled landscape with waterfall and wooden bridge, Wales] Drawn by Robert Price Esq.r. Engraved by James Basire. [n.d.. c ] Etching and aquatint in crayon manner, very large margins, scarce. 290 x 400mm (11½ x 15¾"). Margins creased and soiled, three worm holes top left. l 180 A rare print, apparently fromm a sketchbookk by amateur artist Robert Price ( ) of Foxley,, Herefordshire, who was taught to draw by Giovanni Battista Busiri while w in Rome on his grand tour, which commenced in His sonn was Sir Uvedale Price, baronet, author of 'Essay on the Picturesque' (1794), parodied by Jane Austen in 'Northanger Abbey'. The engraver iss James Basiree the elder ( ), Master of William Blake. BMM 1880, : 'probably taken from a drawing book'. Ex Collection of the Hon. Christopher Lennox-Boyd. Stock: [Mother and child in a hayfield] J. C. Hook A.R. A. [with pencil signature] Etching on india with very large margins; before plate No; platemark 120 x 155mmm (4¾ x 6"). Uncut sheet. 75 One of few etchings by landscape and history painter James Clarke Hook H ( ). Hook joined the Etching Club inn 1850 (the same year as Samuel Palmer became a member) and this scene is taken from a portfolio published by the club in The agricultural setting demonstrates Hook's particular interest in rural labour (he was also drawn to seascapes showing fishermen and -women at work). Although his name has fallenn into obscurity, Hook's work was admired by Baudelaire and Ruskin, and art historian Tim Barringer claims c that 'his best work bears comparison with the marine paintings of the celebrated nineteenth-century Americann painter Winslow Homer' (DNB). Stock: [Mother and child in a hayfield] 15 J. C. Hook A.R. A. Etching on india with very large margins, platemark 120 x 155mm (4¾( x 6"). Uncut sheet. 75 One of few etchings by landscape and history painter James Clarke Hook H ( ). Hook joined the Etching Club inn 1850 (the same year as Samuel Palmer became a member) and this scene is taken from a portfolio published by the club in The agricultural setting demonstrates Hook's particular

12 interest in rural labour (he was also drawn to seascapes showing fishermen and -women at work). Although his name has fallen into obscurity, Hook's work was admired by Baudelaire and Ruskin, and art historian Tim Barringer claims that 'his best work bears comparison with the marine paintings of the celebrated nineteenth-century American painter Winslow Homer' (DNB). Stock: [Shepherd and family in the hills] J.C. Hook A..R.A. Etching on india with very large margins, platemark 120 x 155mmm (4¾ x 6"). Uncut sheet. Slightly foxed. 75 One of few etchings by landscape and history painterr James Clarke Hook ( ). Hook joined the Etching Club in 1850 (the same year as Samuel Palmer became a member) and this scene is taken from a portfolio published by the club in The agricultural setting of a shepherd, his family and flock, demonstratess Hook's particular interest in rural labour (he was also drawn to seascapes showing fishermen and -women at work). Although his name has fallen into obscurity, Hook's work was admired by Baudelaire and Ruskin, and art historian Tim Barringer claims that 'his best work bears comparison with the marine paintings of the celebrated nineteenth-century American painter Winslow Homer' (DNB). Stock: [Shepherd and family in the hills] J.C. Hook A..R.A. Etching on india, very large margins; platemark 120 x 155mm (4¾ x 6"). Uncut sheet. 75 One of few etchings by landscape and history painterr James Clarke Hook ( ). Hook joined the Etching Club in 1850 (the same year as Samuel Palmer became a member) and this scene is taken from a portfolio published by the club in The agricultural setting of a shepherd, his family and flock, demonstratess Hook's particular interest in rural labour (he was also drawn to seascapes showing fishermen and -women at work). Although his name has fallen into obscurity, Hook's work was admired by Baudelaire and Ruskin, and art historian Tim Barringer claims that 'his best work bears comparison with the marine paintings of the celebrated nineteenth-century American painter Winslow Homer' (DNB). Stock: [Musicians and Nudes.] Maurin delineavit. Imp. lithog. de Chabert. Le Georgion fecit. [n.d., c.1835.] Lithograph. Sheet: 490 x 335mm, (19¼ x 13¼"). Large margins. Light foxing in margins. 140 Exterior scene in which a pair of musicians sit by a well while one woman fills up a jug and a second accomapanies them on a flute. In the distance a shepherd herds a flock of sheep. Stock: [Rusticc courtship] Richard Redgrave [pencil signature] / RR [in plate lower right] Etching, very large margins; platemark 200 x 285mm (8 x 11¼"). 75 Two figures in a forest setting, one of few etchings by painter and artss administratorr Richard Redgrave ( ). Redgrave became b a Royal Academician in 1851, and having focused upon thee struggles of the t poor in his early work, moved towards landscape themes thereafter. By the time thiss print was made Redgrave's output as an artist had decreased as he became an influential arts educator and administrator. Along with Henry Cole he supervised the South Kensington Museum (now the Victoria & Albert Museum), organized thee British art sections for international exhibitions in London and Paris, and served as surveyorr of the queen's pictures (writing a 34-volume catalogue of paintings in the Royal Collection). He also wrote an important history of British painting (1866). The tranquility of this scene might be considered in relation to the tireless work of Redgrave in these many capacities. Stock: Callirhoe. J. B. Cipriani inv.t. et del. F. Bartolozzi sculp. Stipple. Sheet: 130 x 155mm, (5 x 6"). Trimmed within plate and publication line. 140 A half-length portrait of the character Callirhoe, a protagonist fromm Chariton's novel of the same name set in 400 BC Syracuse in whichh the supernaturally beautiful Callirhoe marries Chaereas. However, Chaereas' jealousy causes a chain of unfortunate events leading to yearss of separation. Evidence of Chariton's novel only appears in a 13th Century manuscript and the story was not published until the 18th Century. de V: 376 II of II. Stock: [L'Allegro.] How Faery Mab the Junket eat [ms]. C.W. Cope. [Published for the Etching Club by Joseph Cundall, 12, Old Bond Street, 1849.] Etching on india, showing fairies in the sky, sheet 110 x 165mm (4½ x 6½"). Trimmed. 75

13 Scene illustrating John Milton's poem 'L'Allegro', by history painter Charles West Cope ( ). From an edition of the poem with twenty illustrations by members of the Etching Club, of which Cope was a founding member. Cope is primarily remembered for his frescoes in the House of Lords and the peers' corridor, but in addition to his academic renderings of historical and literary subjects, he was a talented printmaker. Stock: L'Allegro. She was pincht, and pull'd she sed. C.W. Cope [c.1849] [Published for the Etching Club by Joseph Cundall, 12, Old Bond Street, 1849.] Etching on card with letterpress printed in red, showing fairies in the sky, sheet 115 x 165mm (4½ x 6½"). Trimmed 75 Scene illustrating John Milton's poem 'L'Allegro', by history painter Charles West Cope ( ). From an edition of the poem with twenty illustrations by members of the Etching Club, of which Cope was a founding member. Cope is primarily remembered for his frescoes in the House of Lords and the peers' corridor, but in addition to his academic renderings of historical and literary subjects, he was a talented printmaker. Stock: L'Allegro Hence loathed Melancholy / Of Cerberus, and blackest midnight born,/ In Stygian Cave forlorn/ 'Mongst horrid shapes, and shreiks, and fights unholy, C.W.C. [Charles West Cope] [Published for the Etching Club by Joseph Cundall, 12, Old Bond Street, 1849] Etching on india, sheet 250 x 165mm (9¾ x 6¼"). Trimmed; slight foxing. 95 Scene illustrating John Milton's poem 'L'Allegro', by history painter Charles West Cope ( ). From an edition of the poem with twenty illustrations by members of the Etching Club, of which Cope was a founding member. Cope is primarily remembered for his frescoes in the House of Lords and the peers' corridor, but in addition to his academic renderings of historical and literary subjects, he was a talented printmaker. Stock: L'Allegro To bed they creep [ms] C.W.C. / 1848 [Published for the Etching Club by Joseph Cundall, 12, Old Bond Street, 1849] Etching on india, sheet 130 x 160mm (5 x 6¼"). Trimmed 75 Scene illustrating John Milton's poem 'L'Allegro', by history painter Charles West Cope ( ). From an edition of the poem with twenty illustrations by members of the Etching Club, of which Cope was a founding member. Cope is primarily remembered for his frescoes in the House of Lords and the peers' corridor, but in addition to his academic renderings of historical and literary subjects, he was a talented printmaker. Stock: [Meditation] [by Charles West Cope, c.1844] Etching on india with large margins, platemark 150 x 110mm (6 x 4¼"). 130 A woman sat at a desk with open bible, with painting of the Virgin and Child on the wall. Etching by history painter Charles West Cope ( ). From 'Etched Thoughts of the Etching Club', of which Cope was a founding member, and illustrative of a poem by Joseph Hall, Bishop of Norwich. Cope is primarily remembered for his frescoes in the House of Lords and the peers' corridor, but in addition to his academic renderings of historical and literary subjects, he was a talented printmaker. Stock: [Milton's Dream of his Deceased Wife] 24 C.W. Cope R.A. Etching on india with very large margins, platemark 120 x 120mm (4¾ x 4¾"). Uncut sheet. 150 Etching by history painter Charles West Cope ( ), widely regarded as the finest of his prints. Cope is primarily remembered for his frescoes in the House of Lords and the peers' corridor, but in addition to his academic renderings of historical and literary subjects, he was a talented printmaker. He was a founder member of the Etching Club (whose members also included Samuel Palmer), whose 1857 portfolio this formed part of. Cope, who often depicted themes relating to the poet John Milton, had exhibited a painting of the same subject at the Royal Academy in Stock: [Morning Prayer] [by Charles West Cope, c.1844] Etching on india with large margins, platemark 155 x 105mm (6 x 4¼"). 130 A woman kneeling in front of a crucifix, with an open bible in front of her. Etching by history painter Charles West Cope ( ). From 'Etched Thoughts of the Etching Club', of which Cope was a founding member, and illustrative of a poem by Joseph Hall, Bishop of Norwich. Cope is primarily remembered for his frescoes in the House of Lords and the peers' corridor, but in addition to his academic renderings of historical and literary subjects, he was a talented printmaker. Stock: 35891

14 71. [The Stolen Kiss] C.W. Cope R.A. Etching on india, with very large margins; platemark 125 x 105mmm (5 x 4¼"). Uncut sheet. 130 A young man enters through a window to kiss a sleeping woman. Etching by history painter Charles West Cope ( ), from 'Etchings for the Artof which Cope was a founding member. Cope is primarily remembered for his frescoes in the House of Lords and the peers' corridor, but in addition to hiss academic Union of London by the Etching Club', renderings of historical and literary subjects, he was a talented printmaker. Stock: L'Allegro T. Creswick [Published for the Etching Club by Joseph Cundall, 12, Old Bond Street, 1849] Etching on india, letterpress printed in red, r sheet 135 x 165mm (6½ x 6¼"). Trimmed. 75 Scene illustrating John Milton's poem 'L'Allegro' by landscape painter Thomas Creswick ( ). Fromm an edition of the poem (which had long been a popular subject for visual artists) with twenty illustrations by members of the Etching Club, published in Creswick exhibited prolifically and successfully at the Royal Academy throughout his career (he became ann R.A. in 1851) and his etchings 'demonstrate a sure grasp of the technique and conventions of etching (DNB). Ray 217 Stock: [L'Allegro] Tho.s Creswick [Published for the Etching Club by Joseph Cundall, 12, Old Bond Street, 1849] Etching on india, letterpress printed in red, r sheet 150 x 165mm (6 x 6½"). Trimmed. 75 Scene illustrating John Milton's poem 'L'Allegro' by landscape painter Thomas Creswick ( ). Fromm an edition of the poem (which had long been a popular subject for visual artists) with twenty illustrations by members of the Etching Club, published in Creswick exhibited prolifically and successfully at the Royal Academy throughout his career (he became ann R.A. in 1851) and his etchings 'demonstrate a sure grasp of the technique and conventions of etching (DNB). Ray 217 Stock: L'Allegro Towers + Battlements it sees [ms] [by Thomas Creswick] [Published for the Etching Club by Joseph Cundall, 12, Old Bond Street, 1849] Etching on india, letterpress printed in red, sheet 110 x 165mm (4¼ x 6¼"). 6 Trimmed; very slightt foxing. 75 Scene illustrating John Milton's poem 'L'Allegro', by landscape painter Thomas Creswick ( ). From an edition of the poem with twenty illustrations by members of thee Etching Clubb published in Creswick exhibited prolifically and successfully at the Royal Academyy throughout his career (he became an R.A. in 1851) and a his etchings 'demonstrate a sure grasp of the technique and conventions of etching (DNB). Ray 217 Stock: [L'Allegro] Tower'd cities please us then [ms] [by Thomas Creswick] [Published for the Etching Club by Joseph Cundall, 12, Old Bond Street, 1849] Etching on india, letterpress printed in red, sheet 110 x 165mm (4¼ x 6¼"). 6 Trimmed; slightly dusty. 75 Scene illustrating John Milton's poem 'L'Allegro' by landscape painter Thomas Creswick ( ). From an edition of the poem (which had long been a popular subject for visual artists) withh twenty illustrations by members of thee Etching Club, published in Creswick exhibited prolifically and successfully at the Royal Academyy throughout his career (he became an R.A. in 1851) and a his etchings 'demonstrate a sure grasp of the technique and conventions of etching (DNB). Ray 217 Stock: Edwin.. Painted by Sir Joshua J Reynolds / Engraved by C.H. Hodges Pub.d as a the act directs Feb.y 18th by J. Rising No. 21 Princes St. Cav.sh Sq.re. Mezzotint with small margins, platemark 360 x 260mmm (14¼ x 10¼"). Paper tone; good impression; collector's stamp of Bernard Houthakker verso. Slightly foxed. 320 Character studyy after a painting from the 1770s by Sir Joshua Reynolds ( ). When the painting was auctioned in 1796 it was identified as Edwin, the hero from 'The Minstrel', a poem published in 1771 by Reynolds' friend James Beattie. The poem describes the childhood of o Edwin, a shepherd boy brought up in solitary, mountainous country, and his response to nature. Williamm Wordsworthh was among the t many who admired the work. This impressionn formerly in the collection of Bernard Houthakker, ), Amsterdam-based dealer and publisher. A particular focus s of Houthakker's buying was the work of Charles Howard Hodges ( ), a British portrait painter and engraver who moved to the Netherlandss in Reynolds' painting was recently sold by Christie's (3 December 2013). Ex Collection of the Latee Hon. C. Lennox-Boyd; Hamilton H p.147 (only state) ); L Ex Collection Ladyy Eva Dugdale, Sotheby's 27/10/1920. Stock: 36504

15 77. Johnson and Boswell / To Sir W. Temple 1871 Broadlands / R.C. Lucas. 'Mrs Boswell who was one of the large class with small minds said that she had seen a man lead a bear but she never a bear lead a man until she saw Dr Johnson and her husband'. This class is still a vast majority. A lady refused to inspect my Johnson designs, saying the doctor nor his works weree prett subjects for which I have given her the nightmare making the doctor and his books her incubus. R.C. Lucas sculptor 1865 Etching printed in blue ink, with very large margins; rare; 180 x 270mm (7 x 10½"). 160 Humorous scene apparently etched by the sculptor Richard Cockle Lucas ( ). Lucas' works included a statue of Dr Johnson in Lichfield, adjacentt to the cathedral, and here he combines two t jokes. Thee first is a depiction of Johnson leading Boswell by thee nose; second is a parody of Fuseli's 'Nightmare' in which a woman of Lucas' acquaintance is haunted byy his sculpture of Johnson (who she considered unfit ass a subject for art). The print is seemingly dedicated to William Francis Cowper-Temple ( ), politician. Cowper inherited many of Lord Palmerstone's estates, including Broadlands, at Romsey. Lucas himself was a regular guest at Broadlands. CS 16.i; Ex: collection of the Hon. C. Lennox-Boyd Stock: Midsummer Nights Dream Act IV, Scene I. Oberon, Queen of the Fairies, Puck, Bottom and Fairies attending &c. Painted by Henry Fuseli R.A. Engraved by Tho.s Ryder & Tho.s Ryder Jun..r. Pub. Dec.r, 1803 by J. & J. Boydell at the Shakespeare Gallery Palll Mall & at No. 90 Cheapsidee London. Stipple, open letter proof. Fine impression. Platemark: 480 x 600mmm (19 x 23½") ). Small hole in i left margin outside of plate. Trimmed inside platemark on 3 sides. 320 A scene from 'A Midsummer Night's Dream'; Oberonn casts a spell on Titania, so that she falls in love with the first person she sees on awakening, which happens to be Bottom the Weaver, wearing an asses' head. When Oberon lifts l the spell, order is restored once more. Shakespeare took the name of Titania from Ovid's Metamorphoses, and the theme of transformation is central to the play. Stock: Paradise Lost. B.55 L.2 R. Westall R.A. del. / Rich. Earlom Sculp. Publish'd June , by J. & J. Boydell, & G. Nicol, Shakespeare Gallery, Pall Mall, & No. 90,, Cheapside. Stipple, sheet 325 x 230mm (12¾ x 9"). Trimmed inside platemark. 85 Adam and Eve in the Gardenn of Eden. One of a series of illustrations to Milton's epic poem 'Paradise Lost'. Ex Collection of o Christopherr Lennox-Boyd. Stock: Paradise Lost. B.88 L.44 R. Westall R.A. del. / Rich. Earlom Sculp. Publish'd June , by J. & J. Boydell, & G. Nicol, Shakespeare Gallery, Pall Mall, & No. 90,, Cheapside. Stipple, sheet 325 x 230mm (12¾ x 9"). Trimmed inside platemark. 75 Eve reaches forr the apple which was to cause the Fall of Man. One off a series of illustrations to Milton's epic poem 'Paradise Lost'. Ex Collection of Christopher Lennox-Boyd. Stock: L'Allegro. There to the Spicy nut-brown ale [ms] R. Redgrave [Published for the Etching Club by Joseph Cundall, 12, Old Bond Street, 1849.] Etching on india, letterpress printed in red, sheet 130 x 165mm (6½ x 6¼"). 6 Trimmed. 75 Scene illustrating John Milton's poem 'L'Allegro' by painter and administrator Richard Redgrave ( ). From an editionn of the poem m (which had long been a popular subjectt for visual artists) with twenty illustrations by members of the Etching Club, published in Redgravee became a Royal Academician inn 1851, and having focused upon the struggles of thee poor in his early work, moved towards landscape themes thereafter. He was also an a influential arts administrator. Ray 217 Stock: [Ellen Orford] O ["II from my window saw his blooming bride,/ Andd my seducer smiling at her side;/ Hope lived till then"] Rich.d Redgrave / Etching Club [1844] Etching on india, very large margins; platemark 195 x 165mm (7¾ x 6½"). 6 Text effaced. Uncut. 75 Ellen Orford, One O of few etchings by painter and arts administrator Richard R Redgrave ( ). In 1837 Redgrave was a founding member of the Etching Club, under whose auspices this print was published in 1844 (as part of 'Etched Thoughts of the Etching Club'). Redgrave's works of the 1840s focused upon the plight of the underprivileged, as shown by this print, which illustrates an episode from George Crabbe's 'The Borough'.

16 Crabbe's collection included various studies of the poor, along with indictments of the workhouse, and discussion of prisons and schools. One of the characters was Ellen Orford, described as a having lived a savage life through which an indestructible Christian faith shines through. Here she looks outt of the window and sees her 'seducer' with his 'blooming bride'. The collection is chiefly remembered now as the source for Benjamin Britten's opera 'Peter Grimes', in which Britten amplified the role of Ellen Orford to one of the principal roles opposite the eponymous Suffolk fisherman. In later years Redgrave painted less and became an influential arts educator and administrator, working with museums, international exhibitions, writing books and becoming surveyor of the queen's pictures. Stock: [plate from 'Poems on the Abolition of the Slave Trade'] Smirke R.A. pinx.t / E. Scriven Sculpt. Pub. by R. Bowyer, Palll Mall, Dec.r Stipple, sheet 280 x 210mmm (11 x 8"). Trimmed inside platemark; slight foxing. 110 Plate from a volume of three poems to celebrate c the banning of the slave trade by Britain in 1805: Montgomery's 'The West Indies', Grahame's 'Africa Delivered'; and Elizabeth Benger's 'A Poem, Occasioned by the Abolition of the Slave Trade in 1806'. For the complete volume see ref Stock: [plate from 'Poems on the Abolition of the Slave Trade'] Smirke R.A. pinx.t / Worthington Sculpt. Pub. by R. Bowyer, Palll Mall, Dec.r Stipple, sheet 260 x 205mmm (10¼ x 8"). Trimmed inside platemark. 110 Plate from a volume of three poems to celebrate c the banning of the slave trade by Britain in 1805: Montgomery's 'The West Indies', Grahame's 'Africa Delivered'; and Elizabeth Benger's 'A Poem, Occasioned by the Abolition of the Slave Trade in 1806'. For the complete volume see ref Stock: [Sarah Delaval, Countess off Mexborough] [by Thomas Worlidge] Etching with very large margins, platemark 105 x 85mm (4 x 3¼"). Good impression on laid paper. 110 Portrait of Sarah Delaval (d.1821), countess of John Savile, first earl of Mexborough. It was at a visit to their residence at Cannon Park, Hampshire, that actorr and playwright Samuel Foote suffered his famous accident after being thrown from the Duke of York's horse. By Thomas Worlidge ( ), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. W42; D65. Stock: [Greekk inscription: 'Let no stranger to the Muses enter'] The Exhibition of the Royal Academy H. Ramberg del.t. P.A. Martini Parm.s fecit Londini. Publish'd as thee Act directs July by A.C. De Poggi, No.7 St Georges Row, Hyde Park. [but later.] Etching. Sheet 355 x 485mmm (14 x 19") Thread margins. 580 The Great Roomm at Somersett House during the visit of the Prince of Wales W (George IV), drawn with detailed realism but withh a certain humorous intention. George stands at the front, holding his hat, cane and catalogue, guided by Sir Joshua Reynolds who is holding his ear- trumpet. Each picture p is numbered and can be identified from the R.A. Catalogue, for example: '26', 'The assassination of David Riccio' by Opie, R.A. elect; and '154', 'Wallworth killing Wat Tyler', by Northcote, also R.A. elect. The Greek inscription in the title is inscribed over the entrance to the Great Room. See BM Satires: Stock: [Greekk inscription: 'Let no stranger to the Muses enter'] The Exhibition of the Royal Academy H. Ramberg del.t. P.A. Martini Parm.s fecit Londini. Publish'd as thee Act directs July by A.C. De Poggi, No.7 St Georges Row, Hyde Park. [but c.1820.] Etching. Sheet 370 x 520mmm (14½ x 20½"), watermarked Trimmedd to platemark, repaired tears. 680 The Great Roomm at Somersett House during the visit of the Prince of Wales W (George IV), drawn with detailed realism but withh a certain humorous intention. George stands at the front, holding his hat, cane and catalogue, guided by Sir Joshua Reynolds who is holding his ear- trumpet. Each picture p is numbered and can be identified from the R.A. Catalogue, for example: '26', 'The assassination of David Riccio' by Opie, R.A. elect; and '154', 'Wallworth killing Wat Tyler', by Northcote, also R.A. elect. The Greek inscription in the title is inscribed over the entrance to the Great Room. See BM Satires: Stock: 35920

17 88. [Greek inscription: 'Let no stranger s to the Muses enter'] The Exhibition of the Royall Academy H. Ramberg del.t. P.A. Martini Parm.s fecit f Londini. Publish'd as the Act directs July by A.C. De Poggi, No.7 St Georges Row, Hyde Park. Etching with thread margins 380 x 530mm (15 x 20¾"). Wear to edges. Repaired margins on right & left. 720 The Great Room at Somerset House during the visit of the Prince of Wales (George IV), drawn with detailedd realism but with a certain humorous intention. George stands at the front, holding his hat, canee and catalogue, guided by Sir Joshua Reynolds who is holding his ear- trumpet. Each picture is numbered and can c be identified from the R.A. Catalogue, for example: '26',, 'The assassination of David Riccio' by Opie, R.A. elect; and '154', 'Wallworth killing Wat Tyler', by Northcote, also R.A. elect. The Greek inscription in the title is inscribed over thee entrance to the Great Room. BM Satires: Stock: [The Abundance of Egypt] W.H. Hunt [ 1854/7] Etching on india with very large margins, platemark 155 x 120mmm (6 x 4¾"). Uncut sheet. Only publishedd edition. 250 The best known of the five original etchings by Pre- ( ). Holman Hunt travelled to the Near Eastt in the 1850s,, Raphaelite painter William Holman Hunt visiting Cairo, Nazareth, Beirut, the Cedars of Lebanon and Damascus between 1854 and The visit distanced Holman Hunt from his Pre-Raphaelite colleagues, but resulted in several successful artworks. This etching relates to Holman Hunt's 'The Aftergloww in Egypt' (Southampton C.A.G.) which he began in Giza in 1854 (a smaller version is in thee Ashmolean Museum). Published in the portfolio 'Etchings for the t Art Unionn of London by the Etching Club' (1857) in an edition of 500. The portfolio also included Holman Hunt's 'The Desolation of Egypt'. Hartnoll 14; for 'The Desolation of Egypt' seee ref Stock: [The Desolation of Egypt.] W.H. Hunt [ 1854/7]. Etching on india, with very large margins, platemark 50 x 115mm (2 x 4½"). Uncut sheet. Only published edition. 250 The landscape surrounding the Sphinx at a Giza. One of five original etchings by Pre-Raphaelitee painter William Holman Hunt ( ), who visited Egypt when travelling through the Near East between 1854 and It is thought that the etching was begun either at Giza or Jerusalem. Published in the portfolio 'Etchings for the t Art Unionn of London by the Etching Club' (1857) in an edition of 500. The portfolio also included Holman Hunt's 'The Abundance of Egypt'. Hartnoll 15; for 'The' Abundance of Egypt' seee ref Stock: The Baby-House J.E. Millais R.A. [1872] Etching on india, platemark 145 x 185mmm (5¾ x 7¼"). Uncut sheet. 350 Etching by Pre-Raphaeilite painter John Everett Millais ( ), whoo frequently returned to the theme of childhood in his popular etchings. Lewis Carroll's 'Alice in Wonderland' had been published in 1865/6 with John Tenniel's famous illustrations, and a this etching reflectss the widespread influence of that book. This print was published p the year after Millais' caricature was published p in 'Vanity Fair' with the caption 'A converted Pre-Raphaelite', demonstrating how much Millais' art had changed since his Pre- Raphaelite years (c ). Hartnoll 30 (only published edition) Stock: [Summer Indolence.] J.E. Millais Etching, platemark 180 x 255mm (7 x 10" "). Crease top left; soiling andd scuff marks. 160 Two girls in a field, f one of whom chains together newly-picked flowers. Etching by Pre-Raphaeilite painter John Everett Millais ( ), who frequently returned to the theme of childhood in his popular etchings. This print p was made in 1861, thee year that Millais returnedd from Scotland to live in London (residing in Cromwell Place,, South Kensington). This impressionn is a reissue of the plate dating to 1874/5 (the original 1861 publication line has been scratched out). Hartnoll 28 Stock: [Ruth] [J.E. Millais A. R.A.] 1858 Etching on india with very large margins, platemark 180 x 130mm (7( x 5"). Uncut sheet; foxing to margins. 280 Early etching by Pre-Raphaeilite painter John Everett Millais ( ). From 'Passages from the Poems of Thomas Hood, illustrated by y the Junior Etching Club' (1858). The print illustrates the often-anthologised poem of the same name by Hood ( ), specifically the fourth stanza: 'And her hatt with shady brim,/ Made her tressy forehead dim;-/ Thus she stood amid the stooks/ Praising God with sweetest looks'. This print was made m during the six years Millais and his wife Effie spent living in n Scotland. Effie had annulled her marriage to the critic (and Millais' former

18 mentor) John Ruskin in order to marry the t artist, and to escape the bitterness and gossip surrounding their controversial marriage they lived in Perth. This period saw a change in Millais' art as he moved away from the close observation of his Pre-Raphaelite period to produce works more concerned with evoking an overall mood. Hartnoll and Eyre 26 Stock: [The Young Mother] J.E. Millais A.R.A. [1857] Etching on india, very large margins, platemark 210 x 160mm (8¼ x 6¼"). Uncut sheet; foxing to margins. 180 Early etching by Pre-Raphaeilite painterr John Everettt Millais ( ), who frequently depicted subjects of children alone or with their mothers in his popular etchings. This print was made during the six years Millais and his wife Effie spent living in Scotland (probably the landscape shown here). Effie had annulled her marriage to the critic (and Millais' former mentor) John Ruskin in order to marry the artist, and to t escape the bitterness and gossip surrounding their controversial c marriage they lived in Perth. This period saw a change in Millais' art as he moved away from the close observation of his Pre-Raphaelite period to produce works more concerned with evoking an overall mood. Published in the portfolio 'Etchings for the t Art Unionn of London by the Etching Club' (1857) Stock: [The Young Mother] J.E. Millais A.R.A. [1857] Etching on india, very large margins, platemark 210 x 160mm (8¼ x 6¼"). Good impression. Uncut sheet. 220 Early etching by Pre-Raphaeilite painterr John Everettt Millais ( ), who frequently depicted subjects of children alone or with their mothers in his popular etchings. This print was made during the six years Millais and his wife Effie spent living in Scotland (probably informing the landscape shown here). Effie had annulled her marriage to the critic (and Millais' former mentor) John Ruskin in order to marry the t artist, and to escape the bitterness and gossip surrounding their controversial marriage they lived in Perth. This period saw a change in Millais' art as he moved away from the close observation of his Pre-Raphaelite period to produce works more concerned with evoking an overall mood. Published in the portfolio 'Etchings for the t Art Unionn of London by the Etching Club' (1857) Stock: Etchings by W.m. Delamotte. Pub.d Byy W.m Delamotte RM College, near Bagshot. Large folio, original half morocco gilt presentation binding, marbled endpapers with presentation label on frontpastedown; etched frontispiece and 27 etchings on 20 pages. Binding very worn, plates foxed and dampstained. 750 A collection of topographical sketches of English and European scenery by Williamm Delamotte ( ),( published as a prize p for the Royal Military College in Sandhurst, where Delamotte was drawing master. Influenced by Girtin's G watercolour style, Delamotte was one of a group of landscape artists also including Constable and Turner, T who took to making oil sketches in the open. The text gilt-embossed on the cover reads 'Royal Military College. Presented for Attention to, t and Progress in, Landscape Drawing'; the College presentation label reads 'Presented to Gentleman Cadet [Alexander B. Rooke] R for Attention to, and Progress in, [Landscape Drawing November, 1836.]'. Rooke (b.1822) became an ensign (without purchase) in the 77th Foot the following year. Stock: [The Progress of Seduction.] Painted by G. Morland. M Engrav'd by A. Gabriel. [n.d., c ] Set of 6 etchings, complete, stitched on left edge. Each plate 280 x 320mm (11 x 12½") Very large margins, uncut. Wear to edges. 980 "The Progress of o Seduction" complete set of six scenes of the downfall and penitence of Lætitia, seduced s by a faithless lover. These plates were engraved by Amedeo Gabrielli ( ) after the stipples published by John Raphael Smith S in See Ref: for complete set. Ex: E Collection of Hon. Christopher Lennox-Boyd. D' D Oench 300 copies; Frankau: Stock: 35800

19 98. [The Progress of Seduction] Painted by G. Morland. Engrav'd by A. Gabriel. [n.d., c.1790.] Five out of six etchings (lacking plate 3) with large margins. Each plate 280 x 320mm (11 x 12½"). Spotting. 690 Five out of six scenes from The Progress of Seductionn showing the downfall and penitence of Lætitia, seduced by a faithless lover. These plates were engraved by Amedeo Gabrielli ( ) after the stipples published by John Raphael Smith in D' Oench: 300 copies. Frankau: Stock: Vreugde over de Vrede geslooten tusschen de Bataafsche Republiek en Engeland, te Amiens den 27 Maart A.o C. Meijer, inv. et del. J.E. Marcus sculp [Amsterdam c.1802.] Engraving with etching, very scarce; Sheet 630 x 490mm (24¾ x 19¼"). Repairs, laid on backing paper. 580 A Dutch allegory of the Treaty of Amiens in The people dance around a plinth on which Britannia and a female allegory of the Batavian Republic stand together. To the left a female 'War' is knocked from the sky by a lightning bolt. Joy about the peace concluded at Amiens on March 27, 1802, between the Batavian Republic and France and Britain. On a pedestal standd the British and Dutch virgins with their flags, among them a cornucopia with grape and grain. To the monument dances elated people left send a man with binoculars on the sea, right weapons aree buried and used to cut bread. After Holland had becomee a sister-republic of Francee after the fall of the Dutch Republic in 1795, she and her colonies became targets of the British. The Dutchh had suffered considerable losses and thus the return of Cape Colony and their colonies in the West Indies (but not Ceylon) was something to be celebrated. However the ensuing peace only lastedd a year and Cape colony was lost permanently in A preparatory sketch s of the bottom right corner c is in the Rijksmuseum. /en/collection/rp-t A-1430 Stock: [Allegory of the arts and sciences] G.D. Heuman del d et sculpsott Norib: 1739 Engraving, platemark 270 x 180mm (10½ x 7"). tear at bottom; bottomm right corner missing; crease lower left. 75 A man in his study attended by two women gesturing towards different books: seemingly an allegory of different forms of learning. In the foreground a pile of different objects including a skeleton, cello, measuring instruments andd a mask. By George Daniel Heumann n ( ),, Nuremberg draughtsman and engraver. Stock: Colouring. From the Originall Picture in the Ceiling inn the secondd room of the Royal Academy. Angelica Kauffman Pinx.t. John & Josiah Boydell, excudit F. F Bartolozzi Sculpsit. Published Jan.y 1st 1787 by John & Josiah Boydell. No. 90 Cheapside, London. Stipple with very large margins. Platemark: 320 x 300mm (12½ x 11¾"). 390 A young woman, seated on low rocks by a woodland, holding a palatte and brushess in her left hand, and another brush inn her right. She extends herr right arm up towards a rainbow above. A small chameleon can be seen on the ground below. Within an oval. After Angelica Kauffman, RA ( ), a Swiss- a born Austrian Neoclassical N painter who had successful career in London and Rome. Stock: Learning's a Happiness to Man Below; [/] 'Tis from that t source the Stream' 's of Plenty flow. Seek there ye Young, the Anchor of your Mind; [/] There Suffringg Age, a bless'd Provision find. B. Picart inv. F. Morellon la Cave sculp. [n.d., c.1780.] Engraving, margins on 3 sides. Sheet: 125 x 210mm, (5 x 8¼"). Some paper p tone. Tears and nicks to edges. 45 Athena, goddess of knowledge, sits on a throne surrounded by gods g and puttii who read books on the steps below her. Stock: Harvest. Bassan in. B. Lens L Exc. [n.d., c.1690.] Mezzotint with small margins. 160 x 185mm (6¼ x 7¼"). Top left tip t creased. 160 An allegorical ' Summer' scene, represented with a picnic scene with workers gathering sheaves behind. It was painted by Jacopo Bassano (c.1510/ ) and

20 engraved by Bernard Lens II ( ), probably from the engravings by Johann Sadeler c BM: 1997, Ex Collection of the Hon. Christopherr Lennox-Boyd. Stock: After the painting 'The Cumaean Sibyl' ( ) by Domenichino ( ), now in the Galleria Borghese, Rome. Stock: The Hours Crowning Virtuous Love. R. Cosway. R.A. pinx.t. T. Ryder Sculp.t. Publishe'd as the Act directs, 15.th. Nov.r by S..Watts, No.500 Strand, London. Stipple printed in sepia with small margins. Fine. Rare. Plate: 145 x 190mm, (5¾ x 7½"). Bit dusty. 160 Set in a roundel, two children representing 'The Hours' flank the figure of Love on either side and a one placess a crown of roses upon his head. Daniell: 186. Stock: [Innocence.] [Ph. Mercier Pinxt. / Richd Houston Fecit] [Printed for Robt Sayer Map & Printseller, opposite Fetter Lane, Fleet Street. Price 1s 6d.] Mezzotint with small margins, very fine, platemark 355 x 255mmm (14 x 10"). Proof before letters; l very scarce, uncleaned title area. Collector's stamp of the Late Hon. Christopher Lennox-Boyd verso. 360 Young girl holding a crook under her arm, a lamb beside her. Originally issued as a pair with another plate, 'Pride', in which a girl with a peacock's feather in her hair is shown besides a peacock. After a 'fancy picture' by Philip Mercierr ( ), Berlin-born painter and etcher who worked in London, York and Portugal. CS 135 i/ii Stock: April. [n.d., c.1770.] Fine copper engraving. Plate: 105 x 175mm, (4¼ x 7"). Damage to left edge. 65 Figure of April leans up against a wall on which a flower in a pot is perched; behind her are several trees in full leaf. Stock: May. [n.d., c.1770.] Fine copper engraving. Plate: 105 x 175mm, (4¼ x 7"). Some slight staining to left edge. 65 A figure of May picks flowers while behind her figures dance around a may pole. Stock: Music. Domenichinoo pinxt. M. Benedetti Sculp.t. [n.d., c.1797.] Stipple; ink collector's mark on verso. Sheet size: 2800 x 195mm (11 x 7¾"). Trimmed inside platemark. 190 A seated figure, wearing a decorative head-piece, depicted with a music book. The subject has the attributes of St. Cecilia, the Patron Saint of musicianss and Church music, and the viola di gamba, seen in the background to the right, and sheet music are indicative of the artist portraying the subject as thee saint [The Nightmare.] [after Henry Fuseli.] [n.d., c ] Aquatint, printed in sepia, rare. Printed area 135 x 160mm (5¼ x 6¼"). 6 Some spotting. 380 Henry Fuseli's famous f painting 'The Nightmare', with a woman hangingg over the sidee of her bed, a position supposed to cause nightmares, an incubus sitting on her stomach. A glassy-eyed horse pokes its head throught the drapes. Fuseli ( ) exhibitedd the painting at the Royal Academy in 1782, before selling it for for twenty guineas: a stipple by Thomass Burke was published by John Raphael Smith S in January 1783, earning more than 500. Thiss aquatint version was apparently copied from Burke's stipple. The painting is now in the Detroit Institute of Arts. Ex Collection of the Hon. Christopher Lennox-Boyd. Weinglass: 67B "Le Cochemar" Stock: [The Sick Child] ["Hush my babe be stilll and slumber / Holy angels guard thy bed"] Rich.d Redgrave / Etch Clubb [1844] Etching on india, very large margins; platemark 185 x 135mm (7¼ x 5¼"). 5 Proof before additional text added. Crease upper left margin. 75 One of few etchings by painter and arts administrator Richard Redgrave ( ), in which an angel looks over an unwell child (in the final state it was accompanied byy verse by Redgrave). In 1837 Redgravee was a founding member of the Etching Club, under whose auspicess this print was published in Kathryn Mooree Heleniak (DNB) writes that: 'it was in the 1840s that Redgrave R produced his most memorable paintings, 'lessons of philanthropic appeal on behalf of the oppressed and a miserable' ', and this print, like many of his works in this period, draws attentionn to the perils and trials facingg humanity. In later years Redgrave R painted less and became an influential arts educator and administrator, working with museums, international exhibitions, writing books and becoming surveyor s of the queen's pictures. Stock: 35913

21 111. [Jacob's Vision.] Drawn & engraved by George Sanders [1845]. Mezzotint, very rare; sheet 310 x 240mmm (12¼ x 9½" "). Cut down from large sheet of three Old Testament scenes. 180 The biblical Patriarch Jacob dreaming of a staircase to heaven during his flight from Esau, as described in the book of Genesis. Originally this was part of a large (approx 48 x 73cm) sheet consisting of three scenes (the others being Moses on the Mountain and Elijah addressing God). Stock: Lot And His Daughter. From the Original Picture in the Collection of the Proprietor. Arnould de Gelder Pinxit. Dunkarton Sculpsit. Publsihed April 25th 1787, by John & Josiah J Boydell. No. 90 Cheapside, London. Mezzotint with large margins. Fine impression. Rare Lot and one of his daughters, in the cave in the mountains, sitting side by side. They aree leaning towards each other as the goblet in his right r hand falls into her left. He holds her chin, drawing her towards him. Lot is an Old Testament figure, a son s of Abraham's youngest brother. On the destruction of Sodom, he was rescued with his family by divine intervention, but against instruction, hiss wife turned back to look at the city, upon which shee turned into a pillar of salt. Ex Oettinger-Wallenstein collection c Sotheby's Lot 736, 13/11/97. Ex collection of Lennox-Boyd. Christopher Stock: [Mother and Child.] Elias Martin fecit. Published Decem.br Hand-coloured stipple with very large margins. Plate: 130 x 170mm, ( 5 x 6¾"). Fine. 180 A scene in which a mother holds her baby to her shoulder while behind her a man and animals look on. By Elias Martin, A.R.A. Swedish, born Stockholm inn 1739, died Stockholm He came to London in 1768, becoming a Royal Academy student the next year and was elected A.R. A in Stock: [The Holy H Virgin and Infant Jesus] [In His Majesty'ss Collection] ] [Guido pinxot. Gondolfi del. t / Gondolfi & Bartolozzi sculp.nt] Etching and engraving with large margins, platemark 250 x 185mm (9¾( x 7¼"). Rare proof before letters. 220 Virgin and child after the painting by Guido Reni ( ) in the Royal Collection (currently hangingg in Hampton Court Palace). According to de Vesme, the painting was acquired by George III's librarian Richard Dalton in Bologna, and Dalton had the painting engraved by G. Gandolfi in 1770 before engaging the more esteemed Bartolozzi to o retouch the plate. The Royal Collection, however, state that inventories record the painting as havingg been bought by George III himself. De Vesme 135 i/ii Stock: S: Giovanni Battista. Guido Reni dip: Guis: Calendi inc: [n.d., c.1800.] c Stipple with etching. Sheet size: 295 x 225mm (11¾ x 8¾"). Trimmedd inside plate. Slight stain on left. 120 Saint John the Baptist B preaching to the multitude in the wilderness, seated full-lengthh in animal skins with cross, pointing upwards; after Guido Reni. Stock: [The Dream of St. Helena] [two states] Paulo Veronesee Pinx.t / Lumb Stocks R.A. Sculp.t 1881 Two engravings on india, each platemark 255 x 160mm (10 x 6¼"). 6 Both hinged to backing sheet. 95 Two states (onee unfinished, one finished) of an etching of Veronese's 'Dream of St. Helena' (London, National Gallery), rewarding close comparison of the two. By Lumb Stocks ( ), one of the foremost exponents of steel engraving, elected RA in i Stock: [The Immaculate Conception.. Or. the Assumption of o the Virgin.] From the Original in the Possesion of John Blackwood Esq.r. Bar.t. Murillo pinx.t. p McArdell Fecit. [n.d., c.1750.] Mezzotint. Collector's ink stamp on reverse, 'Kurt Klemperer'. Platemark: 505 x 350mm (20 x 13¾"). Thread margins. Light horizontal creases to t centre. A few small scufff marks to sheet. 320 The Virgin is seen with her long hair hanging loose, her eyes raised upwards and hands across her breast. She is suspended on a cloud supported by cherubs carrying lilies, roses r and palms, a crescentt moon under her feet. More cherubs c can be seen in the clouds c above. Sometimes catalogued with the title 'Assumption of the Virgin'. After Bartolomé Esteban Murillo ( ), painter of portraits and genree scenes, but especially e renowned for his h paintings of children and his religious works, including his many versions of the 'Virgin of the Immaculatee Conception' dispersed throughout international art collections. For a proof before letters impression, see item i ref: Le Blanc: 5. II of II. Ex collection of

22 Christopher Lennox-Boyd. Lugt: K. Klemperer. Goodwin: 216. Stock: [The Immaculate Conception. Or. the Assumption of the Virgin.] [Bar.t. Murillo pinx.t. McArdell Fecit.] [n.d., c.1750.] ] Mezzotint. Scare proof before letters impression. Platemark: 505 x 350mm (20 x 13¾"). Thread margins. Light horizntal creases to centre. 450 A scarce proof before letters impression. The Virgin is seen with her long hair hanging loose, her eyes raised upwards and hands across her breast. She is suspended on a cloud supported by cherubs carrying lilies, rosess and palms, a crescent moon under her feet. More cherubs can be seen in the clouds above. Sometimes catalogued with the title 'Assumption of the Virgin'. After Bartolomé Esteban Murillo ( ), painter of portraits and genre scenes, but especially renowned for his paintings of children and a his religious works, including his many versions of the 'Virgin of the Immaculate Conception' dispersed throughout international art collections. For a lettered impression, see item ref: Ex collection of Christopher Lennox-Boyd. Goodwin: 216. Stock: Stock: [Woman Reading.] ] [Charles West Cope, C c ] Etching on india with additions in pencil, platemark 100 x 70mm (4 x 2¾"). Ms below '1st. retouched by Mr. Cope'; foxing to margins. 200 Proof etching, retouched r by history painter Charles West Cope ( ) and similar to other of his etchings such as a those for 'Etched Thoughts of the Etching Club' ( 1844). Cope was a founderr member of the Etching Club. Stock: Stock: L'Oreille m'est charmeé... D. Teniers S.P. I.A. Pictor a Cubiculis. J. Vanden Bruggen Fecit et e excudit. Brux. [Brussels, n.d., c ] Mezzotint with large margins, very rare. 310 x 230mm (12¼ x 9"). 'Brux' in publication line weakly inked. 260 An old letcherous peasant sitting in a tavern drinking, listening to a young woman playing the flute. Engraved and published by b Jan Vandenn Bruggen (c ) after David Teniers the younger ( ). BM: 1893, Ex Collectionn of Christopher Lennox- Boyd [Three figures gathered around a fire.] Quadro di Pietro Paulo Rubens Alto Piedi 4. Onz. 1 Largoo Piedi 3 Onz. 3 C. Hutin delin. / C.F. Boece Sculps [c.1810] Engraving, platemark 430 x 330mm (17 x 13"). Uncut sheet with veryy large margins. Fine. 240 Italian engraving of a scene attributed to Rubens of three figures in a cave gathered around a small s fire. Stock: The Captive. I beheld is body half wasted away... Joseph Wright, pinxit. Ryder, sculpsit. John J & Josiahh Boydell excudit Published Oct 1, 1786, by Johnn & Josiah Boydell Engraver No. 90 Cheapside London. Stipple, printed in colours and hand-finished with very large margins. 375 x 475mm. Extremely fine An illustration to Laurencee Sterne s 'A Sentimental Journey' (1768). The novel comprises the reflections of the sensitive traveller, Yorick: in Paris, threatened with arrest, he reflects upon the terrors of thee Bastille, in a section titled The Captive. By focusing imaginatively on a single, suffering prisoner, Yorick is able to conjure the deepest emotions, which thee reader is invited to share. The painting was finished by Wright in Rome in 1774: it is now lost. Egerton: P28 iv/iv, with verse v changed. Ex Collection of the Hon. Christopher Lennox-Boyd Basle. A. Drawn & Etched by J.M.W. Turner R.A. Engraved by C.Turner. Published as the Act directs by J.M.W. J Turner, Harley Street. Mezzotint with some etchingg and very large margins. Plate: 285 x 210mm, (11¼ x 8¼"). Foxing. 280 Plate V from Part I of Turner's 'Liber Studiorum' A view of o the bridge across the Rhine in the Swiss city of Basel, several men row in boats and rafts. The sun shines over the buildings and hills. Rawlinson: 5 1st Publishedd State; Whitman: 867. Stock: 36499

23 Richard Earlomm to much acclaim some thirty years earlier. In manyy ways Turner's project invited comparisons with that of his great precursor. Rawlinson: 45 1st published state. Rare. Stock: Ben Arthur, Scotland. [Lettered above the image ' M'.] Drawn & Etched by J.M.W. Turner Esq. R.A. P.P. Engraved by T. Lupton. London Pub. Jan by J.M.W. Turner, Queen Anne Street. Mezzotint and etching with very large margins. Platemark: 210 x 290mm (8¼ x 11¼"). 360 A ravine between rocky hillsides which curve down from either side, with mountains in the distance and boulders in the foreground. Plate 69 from Part XII of Turner's 'Liber Studiorum'. The Liber Studiorum was published in several s parts between 1807 and 1819, by which time Turner's position as the pre-eminent British landscape painter of his day was assured. In this series, exceptional amongst Turner prints for the extent of the artist' s involvement, he sought to emulate the 17th century French artist Claude Lorraine. Claude's 'Libro di Verita', a book off drawings sold to the Duke of Devonshire, had been engraved by Richard Earlom to much acclaim some thirty years earlier. In many ways Turner's project invited comparisons with that of his great precursor. Rawlinson: 69. State II of IV. Rare. Stock: Peat Bog, Scotland. Drawn & Etched by J.M.W. Turner Esq.r R.A. Engraved by G. Clint. Published April by J.M.W. Turner, Queen Anne Street. Mezzotint with etching with very large margins; Turner's sale blind stamp in lower right corner. Platemark: 210 x 290mm (8¼ x 11¼"). Some foxing on reverse. Small hole in upper margin. 380 In the centre, a morass in deep shadow, with mountains on the right. In the foreground, men are cutting turf, and to the left is a horse and cart. Rawlinson (p.110) noted that 'Peat Bog has always ranked among the great plates of the Liber. Finer mezzotint work than that of the sky would be impossible; but it was of necessity so delicate that it can only adequately be seen in early impressions.' Plate 45 from Turner's 'Liber Studiorum'. The Liber Studiorum was published in several parts between 1807 and 1819, by which time Turner's position as the pre-eminent British landscape painter off his day was assured. In this series, exceptional amongst Turner prints for the extent of the artist's involvement, he sought to emulate the 17th century French artist Claude Lorraine. Claude's 'Libro di Verita', a book of drawings sold to the Duke of Devonshire, had been engraved by 126. River Wye. [Lettered above the image 'E. P.'] Drawn & Etched by J.M.W. Turner Esq. R.A. P.P. Engraved by W. W Annis. Published May , by J.M.W. Turner.. Queen Anne e Street West. Mezzotint with etching with very large margins. Platemark: 210 x 290mm (8¼¼ x 11¼"). 290 The river Wye, curving round from the left, with cows, a horse and bathers on the near bank, a bridge on the far left and Chepstow Castle on the steep, wooded, far bank, beneath which w is a barge. Plate 48 from Turner's T 'Liberr Studiorum'. The Liber Studiorum was published in several parts between 1807 and 1819,, by which time Turner's position as the pre-eminent British landscape painter of his day was assured. In this series, exceptional amongst Turner prints for the extent of the artist's involvement, he sought to emulate the 17th century French artist Claude Lorraine. Claude's 'Libro di Verita', a book of drawings sold to the Duke of Devonshire, had been engraved by Richard Earlomm to much acclaim some thirty years earlier. In manyy ways Turner's project invited comparisons with that of his great precursor. Rawlinson: 48. III of V. Stock: Stock: [Still life banquet piece.] [by Robert Robinson and published by Isaac Beckett, c ] Mezzotint, platemark 240 x 180mm (9½ x 7"). Small margins. 180 Still life with crabs, prawns, fruit and silver tobacco jar. Previously attributed to John Smith, this print has since been reattributed to thee less well-known Robert Robinson (1674, fl.-d.1706), decorative painter and mezzotinter. Exx Collection of Christopherr Lennox- Boyd. Le Blanc: 481 II of II [The Bravo.] Alt. 28. Lat. 24 unc. Giorgio pinx. V.Prenner V inc. [n.d., c.1730.] Engraving withh mezzotint. Sheet: 160 x 225mm, (6¼ x 9" "). Trimmed within w plate. Laid on album sheet. 120 A engraving of 'The Bravo', c.1520 which was originally attibuted to Giorgione but has since been reattributed to Titian. T One man grabs another from behind by his shoulder. Stock: 36456

24 Mezzotint, veryy rare & fine. Proof before letters. l Platemark: 455 x 330mm (188 x 13"). Light creasing to sheet. Small hole in left margin. 480 A white horse starting s backwards at the lightning in a thunderstorm, in a forest, with trees blown by the wind behind it and a path proceeding right to left lined with bushes. After George Morland M (1762/3-1804), painter, especially of scenes of English rural life and picturesque landscapes. Ex collection of Christopher Lennox-Boyd. Stock: Credulous Innocence. [&] Seduction. Painted by G. Morland. Engrav'd by J. Young. London Pub.d Nov.r 5, 1788, by Ia.s Birchall No.473, Strand.. Pair of mezzotints. 506 x 355mm. (20 x 14"). Damage to upper area. 590 A pair of scenes set in rustic settings: a young woman sitting in a bare interior, unaware of a young man who peers slyly through the window, listening attentively to another woman in tattered clothes with a broada young woman wearing a mob cap, shawl and apron, sitting at the door of a thatched cottage, her left arm hooked over the brimmed hat, who reads her palm; and back of her chair, reading a letter. Theree is a basket upside down beside her, and a bird drinking from a plate on the ground next to it. A young man is seen bribing a second woman behind a tree next to the cottage to the right. Chaloner Smith: p.1646 [listed]. Ex collection of Christopher Lennox-Boyd. Ex Oettingen-Wallerstein Collection Sotheby's 13/11/97.. Stock: [Fair Persian.] See the fair Persian waiting for the Gleams. That lightt Devotion inn her artless Breast. Unconscious that her Eyes more potent Beams. Chase from dispairing Lovers balmy Rest. Painted by Maria Cosway. From an original picture inn the possession of the Right Honorable Elizabeth Ladyy Dowr Littleton. Engraved by James Walker. Published April the 20th 1784 by Ja. s Walker Upper Mary le Bone Street, near Titchfield Street. Mezzotint. Very rare. Platemark: 350 x 400mm (13¾¾ x 15¾"). Creases to sheet. Foxing. Damage to upper and lower left corners. 420 A woman dressed in white, with clasped hands adoring the sun rising over mountains in the distance. After painter, miniaturist, draughtswoman, etcher, musician and educationalist Maria Cosway ( ). Cosway studied in Rome and was elected member of Florence Academy 1778 and in London inn In 1781 she married the painter Richard Cosway. Chaloner Smith: 20. State I of II. Ex collection of Lennox-Boyd. Christopher Stock: [The Frightened Horse.] Painted by G. Morland. Engraved by E. Bell [in manuscript below image]. London. Publish'd Oct.r 1st 1800 by E. Bell, No.45 Islington R.d, N.r Sadlers Wells [in manuscript below image] [Allegorical scene] Glauber Leon. Schenk exc. [probably engraved c.1670, this impression c.1720] Mezzotint, veryy scarce; platemark 220 x 260mm (8½ x 10¼"). Glued too backing sheet. 420 Early allegorica mezzotint. Stock: Stock: The Golden Age. Painted by B. West, W Historical Painter to his Majesty. Engraved by V. Green, Engraver to his Majesty, and to the Elector Palatine. Publish' 'd by J. Boydell, Engraver in Cheapside, June 4.th Mezzotint Platemark: 475 x 570mm (18¾ x 22¼"). Thread margins. Light creasing and rubbing to surface. 450 A domestic scene in a stylised Eastern setting. A mother is seen sitting to the front and sewing, watching her sleeping young child beside her. A catt sits in a basket below. An A elderly couple, the man seated, are in the doorway to the right withh a dog. A rural landscape can be seen beyond. Within an oval. For a pair, 'The Golden Age [&] The Silver Age', see item ref: CS 159. Whitman: 203. Ex Collection: Thee Late Honourable Christopher Lennox- Boyd The Golden Age. Painted by B. West, W Historical Painter to his Majesty. Engraved by V. Green, Engraver to his Majesty, and to the Elector Palatine. Publish' 'd by J. Boydell, Engraver in Cheapside, June 4.th Mezzotint with large margins; Platemark: 475 x 570mm (18¾ x 22¼"). Lightt foxing and rubbing to surface. 420 A domestic scene in a stylised Eastern setting. A mother is seen sitting to the front and sewing, watching her sleeping young child beside her. A catt sits in a besket below. An A elderly couple, the man seated, are in the doorway to the right withh a dog. A rural landscape can be seen beyond. Within an oval. For an open letter proof impression, see item ref: For a pair, 'The Golden Age [&] The Silver Age', see item ref: r CS: 159. Whitman: 203. Ex Collection: Thee Late Honourable Christopher Lennox- Sotheby's Boyd. Ex Oettinger-Wallenstein collection Lot 736, 13/11/ /97. Stock: 36645

25 135. [Lion.] I. Graham Pinx.t. J. Daniel Sculp.t. London Publish'dd June by John Murphey, No.20 Berkely Street, Edgeware Road. Hand coloured mezzotint, very scarce. Sheet size: 480 x 610mm (18¾ x 24"). Trimmed to image with damage. Laid on backing sheet. Some repaired r tears.. Rubbing to surface A wonderfully striking image of a Lion emerging from a dark cave, looking directly at the viewer, crouched on its forelegs as if ready to pounce. After John Graham ( ), painter and teacher of art. Stock: [Banditti with a female captive.] Mortimer Pinxit. J.R. Smith Sculpsit. Published Feb.14th 1780 by J. Boydell Engraver in Cheapside London. Mezzotint, platemark 255 x 305mm (10 x 12"). Thread margins; glued to backing sheet at corners. Good impression of a rare print. 260 Banditti scene after John Hamilton Mortimer ( ), published soon after the artist's death. Influencedd by the works of Salvator Rosa (immensely popular during the period), Mortimer incorporated Rosa's disturbing banditti and occult subject matter in the 1770s. This print is usually regarded as a generic banditti scene: a preparatory drawing in the collectionn of Richard Payne Knight (now in the British Museum) was etched by Robert Blyth and published in November 1780 with the title 'Banditti Returning'. However, a related painting by Mortimer (Newcastle, Hatton Gallery) is titled 'The Sacrifice of Polyxena'. In Euripides' plays, Polyxena was sacrificed at the end of the Trojan War to appeasee the gods. Ex: : collection off the Hon. C. Lennox-Boyd; Ex: Collection Christopher Mendez; D'Oench 145. Frankau: Not in. Stock: Peter Denies Christ. Moisé Valentin pinxit. James Walker fecit. From the Original Picture in the Imperial Gallery at St. Petersburg. Publsih'dJan.y 1, 1792 asthee Act directs by Ja.s Walker St. Petersburg, W. Hodges Queen Street Mayfair and R. Blamire, Strand, London. Mezzotint with large margins. Platemark: 445 x 540mm (17½ x 21¼"). A feww very small marks to printed area. 450 St Peter, standing to the left, is seen warming his hands at a fire, while a serving girl points to him, asking if Peter is not onee of Christ's followers, opposite a young man in a plumed hat. A tablee with a group of soldiers, playing a game of dice in background. The original painting is now in the Pushkin Museum, Moscow. Lettered below the image in English and Russian with a dedication from the engraver to 'Catherine the Second Empress and Autocratrix of all the Russias'. Ex collection of Christopher Lennox-Boyd. Ex Oettingen- Wallerstein Collection, Sotheby's 13/11/97. Stock: [Woman and Child.] Rembrandt Pinxit. Ja.s Walker Eng.r to her J.M and memb.r of the Imp.l I Acad.y of Arts St. Petersburg fecit. Publish'd Jan.y as the Act directs by Ja.s Walker S. Petersburg, W. Hodges Queen Street May Fair and R. Blamire, Strand, London. Mezzotint with small margins. Platemark: 510 x 360mm (20 x 14¼"). Marks to surface. 190 An elderly ladyy seated with her right arm around a a small child, holding a cameoo in her left hand in her lap. The child, leaning against her knee, is reading an open book. Lettered below the image in English and Russian with a dedication from the engraver to 'Catherine the Second Empress and Autocratrix of all the Russias'. Ex collection of Christopher Lennox-Boyd. Chaloner Smith: 25. III of III. Stock: [Rembrandt's Mother.] Rembrandt pinx.t. R.Houstonn fecit. Sold by R.d Houston near Drummonds, D Charing Cross. [n.d., c ] Mezzotint. Platemark: 350 x 250mm (13¾ x 9¾"). Thread margins. 190 A portrait of 'Rembrandt's Mother', after Rembrandt. An elderly woman plucking fowl, sitting whole-length to the left plucking a large fowl on her lap. For a proof before letters impression, seee item ref: Ex collection of Christopher Lennox-Boyd. Chaloner Smith: 148. I. Charrington: C 85 II of II. Stock: [Rembrandt's Mother.] [Rembrandt pinx.t. R.Houston fecit.] [n.d., c.1750.] Mezzotint with small margins. Proof before letters. Collector's blind stamp, 'G' inn lower right corner. Platemark: 350 x 250mm (13¾ x 9¾"). Cut to platemark at bottom. 260 A portrait of 'Rembrandt's Mother', after Rembrandt. An elderly woman plucking fowl, sitting whole-length to the left plucking a large fowl on her lap. For a lettered impression, seee item ref: Ex collection of Christopher Lennox-Boyd. Chaloner Smith: 148. I. Charrington: C 85 I of II. Stock: 36821

26 141. [Rembrandt's Mother.] [Rembrandt pinx.t. R.Houston fecit.] [n.d., c.1750.] Mezzotint with large margins. Proof before letters impression. Platemark: 350 x 250mm (13¾ x 9¾"). 330 A portrait of 'Rembrandt's Mother', afterr Rembrandt. An elderly woman plucking fowl, sitting whole-length to the left plucking a large fowl on her lap. l For a lettered impression, see item ref: Ex collection of Christopher Lennox-Boyd. Chaloner Smith: 148. I. Charrington: 85 I of II. Stock: [Judith and Holofernes] Guido Reni Invent. / W. Vaillant fe [n.d., c.1670] Mezzotint, very scarce; platemark 390 x 250mm (15¼¼ x 9¾"). Trimmed to platemark; rubbed. 360 Judith holding the head of Holofernes, whom she beheaded as he was about to destroy Judith's home city of Bethulia. Mezzotint by Wallerant Vaillant ( ), one of the early masters of the medium. Engraved after the painting by Guido Reni ( ), the autograph version of which is in the Sedlmayer Collection in Geneva. Ex: collection of the late Hon. C. Lennox-Boyd Stock: Cupid, in the Character of a Link Boy. Sir Joshua Reynolds pinx. t / John Dean fecit. London, Printed for R. Sayer & J. Bennett, Map & Printsellerss No. 53 Fleet Street: as the Act directs Aug.t 15, Mezzotint, platemark 390 x 280mm (15¼ x 11"). Small margins. 330 Engraving after a 1774 painting by Sir Joshua J Reynolds, now in the Allbright-Knox Art Gallery, Buffalo. Reynolds' cupid is very much the t Georgian street urchin in tattered clothes; the phallic positioning of his torch reminds us that link boys used their torches to lead lovers (as well as prostitutes) around the city at night before street lighting. Hamilton p. 145 iii/iii; Seee Richard Wendorf, 'Sir Joshua Reynolds: the Painter in Society' Stock: Susanna and the two Elders. It is betterr for me to fall into your hands, and not to do it, then to Sin in the sight of the Lord. susan. verse.23. P.P. Rubens pinx / J. Simon fec et excud [n.d., c.1720] Mezzotint with very large margins, platemark 350 x 250mm (13¾ x 9¾"). Crease. 260 Engraving after a painting by Rubens' of which the present whereabouts are unknown. The painting had previously been engraved by one of Rubens' favouredd engravers, Lucas Vorsterman, and the print was probably made directly from Vorsterman's print. Ex: collection of the Hon. C. Lennox-Boyd; Hollstein 4 (under Vorsterman, copy); Schneevogt Stock: Seduction. Painted by G. Morland. Engrav'd by J. Young. London. Pub. Nov.r by Ja.s Birchall No. 473, Strand. Mezzotint with large margins. Platemark: 500 x 355mm (19¾ x 14"). Light foxing. A few scratches to printed area. 360 A young woman wearing a mob cap, shawl and apron, sitting at the door of a thatched cottage, her left arm hooked over thee back of her chair, reading a letter. There is a basket upside down beside her, and a bird drinking from a plate on the ground next to it. A young man is seen bribing a secondd woman behind a tree next to the cottage too the right. A companion print p to item ref: 36981, 'Credulous Innocence'. Ex collection of Christopher Lennox-Boyd. Ex Oettingen-Wallerstein Collection, Sotheby's 13/11/97. Stock: Stock: The Good Shepherd. From the Original in the possession of T. Lister Parkerr Esq.r J. Northcote pinx / S.W. Reynolds sculp.t [c.1810] Mezzotint with large margins, platemark 570 x 395mm (22½ x 15½"). Fine early impression; crease upper left; glue stain lower right. 420 The infant Christ as the Goodd Shepherd, after a a painting by James Northcote e ( ),, painter and author, in the collection of his patron Thomas Lister Parker of Brownsholme. Engraved by Samuel Williamm Reynolds, this print is not in the standard reference book on Reynolds' work. Ex Collection of o the Late Hon. C. Lennox-Boyd; Not in Whitman The Dream. Painted by R.Westall. Engraved by J.R.Smith. [London. Published Sept.r 6,, 1791 by J.R. Smith, No 31 King Street, Covent Garden.] ]

27 Mezzotint, sheet 280 x 295mm (11 x 11½"). Trimmed inside platemark, losing publication line. Stain at topp off image. 320 A young woman asleep holding a book. The print was originally issued as a pair to 'the Romance', which shows her reading before she falls asleep. Text addedd to the published state identified the book she read as a 'Lovesick tale, / That thrills the soul and fans the fire' '. After Richard Westall RA ( ),, a related watercolour by whom is in the Allen Memorial Art Museum, Oberlin College, Ohio. D'Oench 318; Frankau 118 i of ii.; Ex Collection of the Late Hon. C. Lennox-Boyd; for 'The Dream' as a pairr with 'The Romance' seee ref Stock: The Tribute Money From the t Originall Picture in the Collection of Robertt Udny Esq..r Bernardo Strozza, commonly called Pretre Genoese Pinxit / John & Josiah Boydell Excudit 1787 / Hodges Sculpsit Published May 1st 1787 by John & Josiah Boydell No 90 Cheapside, London Mezzotint with large margins, platemark 440 x 540mm (17¼ x 21¼" "). Fine. 390 Large mezzotint after a painting by Bernardo Strozzi now in the Museum of Fine Arts, Budapest, but which at the time belonged to the collector and merchant Robert Udny. Jesus, in the centre of the composition,, responds to the Pharisees' devious questioning with the response 'Render to Caesar the things that are Caesar' 's, and to God the things that are God's' (Matthew 22:17-21). Painted after Strozzi's arrival in Venice, the workk shows the influence of northern European realism on Strozzi's style. Ex: collection of the Hon. C. Lennox- Boyd; Van der Feltz 590; From: Oettingen- Wallerstein Collection, Sothebys 13/11/ /97 Lot 736. Stock: A Winter's Tale. Engraved by V. Green, Mezzotinto Engraver to his Majesty and to the Elector Palatine. Published Dec.r 1st 1785 by V. Green and Son, No. 29 Newman Street, Oxford Street, London. Se vend chez lwa Freres Torre, Marchants d' 'Estamps. Very scarce scratch letter proof mezzotint. 535 x 625mm (21 x 24½"). Very fine impression, small margins. 650 A fine mezzotint portrait of Amelia Opie, wife of the artist John Opie, one hand raised as she tells a story to a group of five young womenn and children clustered around her, probably her children. Chaloner Smith 157; Whitman Ex: Collection of the late Hon. Christopher Lennox-Boyd. Stock: Beauties of Brighton. Almacks The Ball Room. Painted by T. Harper. H Engraved by A. M. Huffam. Published by S.S. Folker. Brighton_J. Brooker 5 Southampton Row, R London, Nov.r and a T. Rittner Boulevard Montmartre, Paris. Mezzotint with original handd colour, small margins. On watermarked paper, 'J. Whatman. 1829'. Sheet size: 260 x 210mm (10¼( x 8¼"). Trimmed inside plate at lower edge. Cut at bottom. 160 A fashionably dressed d youngg woman in a ball gown, walking to the left l and looking towards the viewer. Her arms are crossed holding a small fan in her right hand, her hair dressedd up with a rose. A room with a frieze and chandelierss can be seen in the background. Stock: [Hope Deferred] D 'And hopes and fears that kindle hope [...] C.W.C Etching, platemark 260 x 190mm (10¼ x 7½"). Uncut sheet; signed byy artist in pencil. Slight creasing. 150 Etching by history painter Charles West Cope ( ), widely regarded as the finest of his prints. Cope is primarily remembered for hiss frescoes in the t House of Lords and the peers' p corridor, but in addition to his academic renderings of historical and literary subjects, he was a talented printmaker. He was a founder member of the Etching Club (whose members also included Samuel Palmer). This late etching, which fromm the verses below the image suggest the t depiction of thwarted hopes, was originally one of o a pair with his etching 'Hush'. For 'Hush' see ref Stock: [Hush] C.W.C Etching, platemark 260 x 190mm (10¼ x 7½"). Uncut sheet; signed byy artist in pencil. Slight creasing on right. 140 Etching by history painter Charles West Cope ( ), widely regarded as the finest of his prints. Cope is primarily remembered for hiss frescoes in the t House of Lords and the peers' p corridor, but in addition to his academic renderings of historical and literary subjects, he was a talented printmaker. He was a founder member of the Etching Club (whose members also included Samuel Palmer). This late etching of a womann caring for a baby (made soon before he left London too retire to the country) was originally one of o a pair with 'Hope Deferred'. For 'Hope Deferred' see ref Stock: 35895

28 153. [The Companion.] C.W. Cope R.A. Etching on india, with very large margins, platemark 90 x 130mm (3½ x 5"). Uncut sheet. 95 Etching by history painter Charles West Cope ( ), widely regarded as the finest of his prints. Cope is primarily remembered for his frescoes in the House of Lords and the peers' corridor, but in addition to his academic renderings of historical and literary subjects, he was a talented printmaker. He was a founder member of the Etching Club (whose members also included Samuel Palmer), whose 1857 portfolio this formed part of. A related drawing is in the British Museum. Stock: The Culprit Detected. Drawn on Stone by Will.m Fairland, from an original Picture by Rob.t Farrier. Printed by C. Hullmandel. London. Published by J. Dickinson, 114, New Bond S,t 15th, April, Lithograph on chine collé. 410 x 275mm (16 x 10¾"). Backing paper age-toned at edges of large margins. 160 A boy being caught scrumping, his hat full of apples from the orchard behind, one shoe still caught in the gate. A man raises his belt to beat the him. Ex: Collection of The Hon. C. Lennox-Boyd. Stock: Les Enfants Qui Donnent À Manger Aux Canards. Gravée d'aprés le Tableau de M.r W. Hamilton. W. Hamilton pinx.t. Gravé par Sunlach. [n.d., c.1800.] Engraving with very large margins. Platemark: 175 x 190mm (7 x 7½"). 140 A young boy and girl feeding ducks by a pond. The boy is seen holding back a dog who jumps towards the pond, whilst the girl stands with a basket in the centre. Trees can be seen in the backgrond. Within a oval. Italian copy. Stock: The Power of Innocence. [/] Le Pouvoir de L'Innocence. A married couple of fashion havin had a trifling difference together [...] Tho.s Stothard pinxt. Thane ex. Joseph Strutt sculp. London Publish'd June by J. Thane, Rupert Street Hay Market. Stipple, fine with very large margins. Platemark: 330 x 355mm (13 x 14"). 260 A scene within a fashionable interior, where a little girl is pleading with her father to make up with her mother, after they have had a disagreement. A groom is seen waiting outside with a horse and carriage in the background to the left. Within an oval. After English painter, illustrator and engraver Thomas Stothard ( ). Stock: Instruction. Then infant Reason grows apace, and calls / For the kind Hand of an assiduous Care: / Delightful Task! to rear the tender Thought, / To teach the young Idea how to shoot, / To pour the fresh Instruction o'er the Mind, / To breathe th' inspiring Spirit, and to plant / The generous Purpose in the glowing Breast. Emma Crewe, Delin.t. C.W. White Sculp.t. [n.d., c.1780.] Bit later. Etching with stipple, rare. Platemark: 280 x 300mm (11 x 12"). 180 A young woman, seated in profile to the right, reading to three small children, each smiling and looking towards the viewer. Eight lines of verse inscribed below the image from 'Spring' by James Thomson ( ), first published in Emma Crewe (active c ) was a 'gifted amateur artist' who painted the frontispiece to Erasmus Darwin's 'The Loves of the Plants'. She also provided designs for Josiah Wedgewood's studio, used for cameos and plaques. Stock: [Girl Playing a Lute.] Gaspard Netscher. Franquinet fecit. Imp.lith.de Chabert, rue Cassette, N.o.20. Lithograph with very large margins. On India. Sheet: 330 x 490mm, (13 x 19¼"). Faint foxing. 140 Portrait of a young woman, dressed in a fur-lined coat playing a lute. Stock: [Mother reading to child.] E. Martin Inv.t & sc. [n.d., c.1799.] Stipple with hand colour, very fine. Platemark: 225 x 145mm (9 x 5¾"). 180 A mother sits in a chair, to the left, in front of a window, reading to a child who stands on a small cushion with her back to the viewer. An open book can be seen on a table below the window. By Elias Martin, A.R.A. Swedish, born Stockholm in 1739, died Stockholm He came to London in 1768, becoming a Royal Academy student the next year and was elected A.R.A in Stock: [Music Lesson] [n.d., c.1830.] Tinted lithograph with large margins. Sheet: 330 x 495, (13 x 19¼). Cut and laid on sheet as issued. Some faint foxing. 140 An interior scene in which a seated man plays an oboe while another leans over and corrects his playing, a music book lies open between them. Stock: The Vicar of the Parish Receiving His Tithes. [&] The Curate of the Parish Return'd From Duty. Painted by H. Singleton. Engrav'd by T. Burke. London Pub.d Oct.r 31, 1793, by I. Brydon at his Looking Glass & Print Warehouse, Charing Cross. Pair. Stipple printed in colour with large margins. Platemark: 435 x 330mm (17 x 13") each. 450

29 An interior scene with a young lady standing by a window, gesturing towards a little boy in i a smock who holds a piglet in a basket of straw, and looking l at a stout clergyman who sits to right at his desk, holding a quill with a sheaf of papers in front of him. [&] Interior with a young lady sitting holding a pair of bellows in n her lap, looking up to left towards her husband the curate, who enters to left, his daughter walking besidee him and holding his hand, a book underr her arm, and a little dog jumping up at him. Stock: La Surprise. Die Uberraschung. Nach Rioult lithh v. C.J. Werner. Druck v. F.W. Koscky. Verlagg v. Koscky & Ende in Frankfurt [n.d. c ] Lithograph withh fine hand colour. Printed area 230 x 345mm (9 x 13½"). 160 A pair of nakedd woman bathers, surprised on the shore. The artist, Louis Edouard Rioult ( ), painted a number of such scenes. Ex: : Collection of The Hon. C. Lennox-Boyd. Stock: The Pipe, the Pot, and the Paper. [Anon., c.1810] Lithograph, scarce; printed area 115 x 160mm (4½ x 6¼"). Soiled. 90 Man smoking and reading the paper, with his dog sleeping on the floor and a boxing picture on the wall. In 1842 an article in Blackwood's magazine describedd how for many Londoners, 'the fireside, the t pipe, the pot, and the paper, are their amusements: the latter affords them a reflection, as it were, of whatever amusement is going forward, without the crowd, fatigue, or trouble of assisting there'. Ex: collection of the Late Hon. C. Lennox-Boyd Stock: The Golden Age. [&] The Silver Age. H. Walton. Charles West. [&] B. West. Facius. Painted by B. West Historical Painter to His Majesty.. Engraved from the Original Picture by Facius. [&] H. Walton Pinxit. Charles West Sculpsit. Publish'd Jan.y. 1.st by John Boydell Engraver in Cheapside London. [&] Publish'd Sept.r. 2.d by John Boydell Engraver in Cheapside London. Stipples printed in sanguine with large margins, very rare pair. Plate: 325 x 300mm, (12¾ x 11¾"). 450 A pair of images depicting stages of childhood. In one a young mother watches as her child sleeps, in the background an older couple sit and stand by a door way. [&] A girl in a bonnet sits looking out across a landscape, next to her is placed a baskett of chickens. For a pair in mezzotint seee ref: Stock: The Singers. From the Original Picturee Painted by Hemskirk Jun.r In the Collection of Mr Marrisall. Hemskirk jun.r pinx.t. R.Earlom fecit. Published Oct..r 24th 1768, by J.Boydell Engraver, in Cheapside London. Mezzotint with very large margins, rare. 305 x 360mmm (12 x 14¼"). 460 Three peasants sitting around a barrel in a tavern, onee holding up a glass, another holding a long printed song, singing. A fourth man stands over them smoking while a fifth man urinates in the corner. Engraved by Richard Earlom after Egbert van Heemskerck II (c ). Ex: Collection of Thee Hon. C. Lennox-Boyd. Ex Oettinger-Wallenstein Collection Sotheby's Lot 736, 18/11/97. Stock: Leonidas. Painted by Benj.n West, Esqr. Engrav'd by C.H. Hodges. Publish'd May 1st. 1789, by John & Josiah Boydell, No. 90, Cheapside, London. Engraving withh etching, rare. 495 x 600mmm (19½ x 23½"),, with tissue cover as issued. Narrow margins top and bottom, as issued, damp stain on right. r 520 Leonidas II, king of Sparta BC, sitting in judgement on his h son-in-law w Cleombrutus, who had usurped his throne (ruling as s Cleonbrutus II, BC). Leonidas's daughter pleads for her husband's life, resulting in the pair's banishment. Benhamin West ( ), the Pennsylvanian painter best known for his 'Death of Wolfe', took a story from Plutarch for this painting, which he showed at the second exhibition of the newly-formed Royal Academy, The paintingng now residess in the Tate Gallery. Ex: Collection of thee Hon. Christopher Lennox-Boyd. Stock: [Landscape with trees and mountains.] [William Pether after Alexander Cozens.] Mezzotint, scarce & fine; very large margins, platemark 240 x 320mm (9½½ x 12½"). Uncut. 420 Illustration to 'AA New Method for Assisting the Invention in Drawing Original Compositions of Landscape' (1786) by Alexander Cozens ( ), landscape painter. Published d shortly before his death, this publicationn was the culmination of thee system for nventing landscapes which Cozens had worked on throughout his life, and for which he is most famous. The system described how accident and chance (particularly inkk blots) could d assist in composition. While the text and a most plates are by Cozens, the celebrated mezzotinter William Pether engraved the final five platess (including this one), reproducing a blot

30 and five drawings made from it. Ex: collection of the Hon. C. Lennox-Boyd; a related drawing is in the British Museum (1941, ). Stock: [Moonlit river scene with rowing boat] Thomas Creswick / Etching Club March 1839 Etching on india with large margins, platemark 95 x 150mm (3¾ x 6"). 75 Skilful etching in the Dutch manner by landscape painter Thomas Creswick ( ), published in the portfolio 'Etched Thoughts by the Etching Club' (the influential printmaking society which Creswick was part of, alongside Samuel Palmer and Charles West Cope, among others). Creswick exhibited prolifically and successfully at the Royal Academy throughout his career (he became an R.A. in 1851) and his etchings 'demonstrate a sure grasp of the technique and conventions of etching (DNB). Stock: [Landscape with figures; river and moutnains in distance] Etching Club / Thomas Creswick May 1839 Etching on india with large margins, platemark 65 x 160mm (2½ x 6¼"). Slight foxing. 75 Skilful etching in the Dutch manner by landscape painter Thomas Creswick ( ), published in the portfolio 'Etched Thoughts by the Etching Club' (the influential printmaking society which Creswick was part of, alongside Samuel Palmer and Charles West Cope, among others). Creswick exhibited prolifically and successfully at the Royal Academy throughout his career (he became an R.A. in 1851) and his etchings 'demonstrate a sure grasp of the technique and conventions of etching (DNB). Stock: [An Evening Walk] T. Creswick R.A. [published 1857] Etching on india with very large margins, platemark 160 x 145mm (6¼ x 5¾"). Uncut sheet. 75 Etching by landscape painter Thomas Creswick ( ), published by the Etching Club in The Etching Club was the influential printmaking society which Creswick was part of, alongside Samuel Palmer, who is believed to have been influenced by Creswick in his own printmaking. Creswick exhibited prolifically and successfully at the Royal Academy throughout his career (he became an R.A. in 1851) and his etchings 'demonstrate a sure grasp of the technique and conventions of etching (DNB). Stock: The Overshot hill [ms] T. Creswick R.A. [published 1857] Etching on india with very large margins, platemark 145 x 125mm (5¾ x 5"). Uncut sheet. 75 Etching by landscape painter Thomas Creswick ( ), published by the Etching Club in The Etching Club was the influential printmaking society which Creswick was part of, alongside Samuel Palmer, who is believed to have been influenced by Creswick in his own printmaking. Creswick exhibited prolifically and successfully at the Royal Academy throughout his career (he became an R.A. in 1851) and his etchings 'demonstrate a sure grasp of the technique and conventions of etching (DNB). Stock: [Set of Six Decorative Landscapes.] Viveres delin. et sculp. London, Printed for Rob.t. Sayer; Printseller in Fleet Street, Etching with very large margins. Plate: 125 x 80mm, (5 x 3¼"). 190 Set of six etchings depicting pastoral scene which include figures sailing, walking and fishing. Stock: [Riverside Cottage.] E. Martin Inv.t & Sculp.t. Publi.d December No. 8. Leicester Street. Etching with hand colouring, large margins and very fine. 145 x 125mm (5¾ x 5"). Paper worn in small area of bottom left corner, inside the platemark. Light staining to sheet. 160 A picturesque view of a large thatched cottage to the right of a shallow river which is in the centre. Three figures are seen on the left bank, whilst a man rides a horse and leads another in the water. Other buildings can be seen in the distance. By Elias Martin, A.R.A. Swedish, born Stockholm in 1739, died Stockholm He came to London in 1768, becoming a Royal Academy student the next year and was elected A.R.A in Stock: "Christmas" From Bampfylde's Sonnet S. Palmer [etched 1850, this impression 1882]. Etching with very large margins, platemark 120 x 105mm (4¾ x 4"). Blindstamp in plate lower right. 750 Shepherd returning home with his flock for Christmas. Early etching by Samuel Palmer ( ), a key figure in English Romantic painting and follower of William Blake. The work was inspired by a sonnet by Sir Joshua Reynolds' contemporary John Bampfylde, which imagines the pleasure of the shepherd at Christmas 'Who when his teeming flocks are homeward had,/ To blazing hearth repairs, and nutbrown beer'. The critic P.G. Hamerton described the print as 'one of the most thorough pieces of etched chiaroscuro in existence, the notes of light and dark being all faultlessly in tune, like the notes of a wellplayed melody'. Lettered as published in 'Samuel Palmer, A Memoir', by the artist's son A.H. Palmer (1882), in which he writes that it was one of his father's 'most successful plates'. Alexander 4 (iv of v). Stock: [The Herdsman's Cottage; or, Sunset.] Sunrise [ms]. S.P. [Samuel Palmer, etched 1850, this impression c ] Etching with very large margins, platemark 125 x 105mm (5 x 4"). Slightly dusty in margins on left. 480

31 Sunset (rather than a sunrise, as it was often thought to have shown) by Samuel Palmer ( ), a key figure in English Romantic painting and follower of Williamm Blake. The critic P.G. Hamerton wrote of the print: 'inn its own way, it is like some pearl or diamond withoutt a flaw, but pearls and diamonds are very common c things upon the earth in comparison with etchings of this quality'. This etching was published in three publications between 1872 and 1880, without changes to the plate. The plate for this etching is known to have been destroyed by Alexander 3 (ii of ii) ). Stock: ['The Rising Moon', also known as 'An English Pastoral] Samuel Palmer [1857] Etching on india, with very large margins, platemark 150 x 220mmm (6 x 8¾"). Slight foxing lower l left around platemark. Uncut sheet. Dusty at edges. 620 Pastoral scene by Samuel Palmer ( ), a key figure in English Romantic painting and follower of William Blake. When Palmer made thiss print, it was the largest plate he had etched in his career. According to the artist's son A.H. Palmer, the design was first suggested by bars of moonlight seen behind houses at Margate, while it also references time spent by Palmer in Shoreham and Villa d'este. Published in the portfolio 'Etchings for the t Art Unionn of London by the Etching Club' (1857). Alexander 4 (vii of ix). Stock: [The Skylark] Samuel Palmer [etched 1850, this impression 1857]. Etching on india with very large margins, platemark 120 x 100mmm (4¾ x 4"). Uncut sheet. 650 Rural morning scene, an early work by Samuel Palmer ( ), a key figure in English Romantic paintingg and follower of William Blake. Palmer' s thirteen completed etchings (made after he joined the t Etching Club in 1850) are a consideredd some of his finest f achievements. The T work recalls the pastoral landscape of Palmer's earlier Shorehamm period. An impression of the print is known which bears an inscription in Palmer's hand from f 'L'Allegro' by John Milton, thought to be the sourcee for this subject: 'To hear the t lark begin his flight,/ And singing startle the dull night,/ From his watch-towre in the skies,/ Till the dappledd dawn doth rise'. Published in thee portfolio 'Etchings for thee Art Union of London by the Etching Club' (1857). Alexander 2 (vii of viii). Stock: Silver Thames. T R. Redgrave Etching on india, very large margins; platemark 200 x 285mm (8 x 11¼"). 130 View on the Thames with a punt, sailing boats and angler, executed by the painter and arts administrator Richard Redgrave ( )) shortly before his death. Redgrave became a Royal Academician in 1851, and having focused upon the struggles of the poor in his early work, moved towards landscape themes thereafter. By the time thiss print was made Redgrave was essentially in etirement, having spent the second half of his career primarily as an influential arts educator and administrator. Along with Henry Colee he supervised the South Kensington Museum (now the Victoria & Albert Museum), organized thee British art sections for international exhibitions in London and Paris, and served as surveyorr of the queen's pictures (writing a 34-volume catalogue of paintings in the Royal Collection). He also wrote an important history of British painting (1866). Inn this late etching he anticipates the etching e revival which was gathering momentum at this time, and in which views of the Thames would be amongst the favoured subjects of its practitioners. Stock: [The Survivers (sic)] ['Just hopeless on the melancholy main'] Rich.d Redgrave / Etch Clubb [1844] Etching on india, very large margins; platemark 105 x 140mm (4 x 5½"). Proof before additionall text added. 75 Five survivors of o a storm look upon a less fortunate shipmate, in an illustration too a poem by Bishop Jeremy Taylor ( ). One of few etchings by painter and artss administratorr Richard Redgrave ( ). In 1837 Redgrave was a founding member of the Etching Club, under u whose auspices this print was published in Kathryn Moore Heleniak (DNB) writes that: 'it was w in the 1840s that Redgrave producedd his most memorable paintings, 'lessons of philanthropic appeal on behalf of the oppressed and miserable', and this print, like many m of his works in this period, draws attention to the perils and trials facing humanity. In later years Redgrave R painted less and became an influential arts educator and administrator, working

32 with museums, international exhibitions, writing books and becoming surveyor of the queen's pictures. Stock: Falstaff & The Merry Wives of Windsor. Pub.d Aug.t Mezzotint with large margins. Part printed in colour with additional hand colouring, very fine. Platemark: 555 x 450mm (23¾ x 17¾"). Light creases to sheet. Small ink stain in title area. Small scuff to prnted area. 450 A scene from Shakspeare's The Merry Wives of Windsor'. Falstaff as Herne the Hunter, with stag's horns on head, standing beside Mrs Page and Mrs Ford, in the dense woodland of Windsor Forest, in front of 'Herne's Oak'. The faces of a procession of three fairies can be seen in the background to the right. Ex collection of Christopher Lennox-Boyd. Stock: Around my Fire an evening group to draw, And tell of all I felt and all I saw. E. Martin inv.t. J. Fred.k Martin Sculp.t. Publish'd as the Act directs No. 8 Leicester Street, Leicester Square, London. Etching printed in brown ink, large margins. On watermarked paper. Platemark: 175 x 200mm (7 x 8"). 160 An interior scene. A group are gathered around a large roaring fire, listening to a gentleman speaking about his life. Two small children and two dogs are sat on the floor, with a number of adults sat around them. Books, paintings, a mirror, and a bust on a plinth, furnish the room. The title of the print is taken from the poem, 'The Deserted Village' by Oliver Goldsmith ( ), published in By Elias Martin, A.R.A. Swedish, born Stockholm in 1739, died Stockholm He came to London in 1768, becoming a Royal Academy student the next year and was elected A.R.A in After Elias Martin, engraved by his younger brother, Johann Frederick ( ). Stock: 36348

33 Milton's Paradise Lost illustrated by John Martin 182. Book 2, Line 1. [Satan presiding at the Infernal Council] Proof. Designed & Engraved by J. Martin Esq..r. J. Martin [inscribed in plate]. London Published by Septimus Prowett, 23 Old Bond Street Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (10 x 13¾"); sheet s size: 3188 x 426mm (12½ x 16 ¾"). Large margins Satan presiding at the Infernal Council; Satan, with his right arm raised, sitting on a throne set on a sphere, raised in the centre of a building crowded with rebel angels on tiered seats, lit by rings of light. One of Martin's finest mezzotints. Fully lettered proof impression. From a series of prints illustrating John Milton's ( ) ' Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, thee temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result r of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time. Balston 94. (a) 4. CW: 30 Stock: Book 10, Line 108. [Adam hearing the voice of the Almighty] Proof. Designed & Engraved by J. Martin Esq..r. Printed by J. Lahee. Published by Septimus Prowett, 62 Paternoster Row Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (10 x 13¾"); sheet s size: 3188 x 426mm (12½ x 16 ¾"). Large margins. Light foxing. 550 Adam hearing the voice of the Almighty; Adam and Eve cowering in the depths of a forest, Adam clasping his hands together and craning his head up and away from the light which strikes through thee branches on the left, ashamed when he hears the voice of God. Eve bowing her head, covering herself with her hair and leaves. Fully lettered proof impression. From a series of prints illustrating Johnn Milton's ( ) 'Paradise Lost', first published in i 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission fromm a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from thee 'Imperial Folio Edition' but b not bound up at publication time. Balston 94. (a) 4. CW: 44. Stock: Book 5, Line 136. [Paradise - Adam and Eve - The Morning Hymn] Proof. Designed & Engraved by J. Martin Esq.r. Printed by J. Lahee. Published 1825 by Septimus Prowett, 23 Old Bond Street. Mezzotint. Proof impression. Fine impression; T. Dupuy watermark. Platemark: 255 x 350mm (10 x 13¾"); sheet size: 318 x 426mm (12½ x 16 ¾"). Large margins. Light foxing. 900 Paradise - Adamm and Eve - The Morning Hymn; a view of Paradise, with a lake in the centre, treess on the opposite bank, surrounded byy woods behind. Swans are seen on the water, preparing to fly, with Adam and Eve to the left, bowing in prayer, as sunlight breaks across the horizon. Fully lettered proof impression. From a series of prints illustrating Johnn Milton's ( ) 'Paradise Lost', first published in i 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission fromm a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from thee 'Imperial Folio Edition' but b not bound up at publication time. Balston 94. (a) 4. CW: 38 Stock: 36917

34 the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission fromm a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from thee 'Imperial Folio Edition' but b not bound up at publication time. Balston 94. (a) 4. CW: 48. Stock: Book 1, Line [Satan on the Burning Lake] Proof. Designed & Engraved by J. Martin Esq..r. Printed by Chatfield & co. Published by Septimus Prowett, 62 Paternoster Row Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (10 x 13¾"); sheet s size: 3188 x 426mm (12½ x 16 ¾"). Large margins Satan on the Burning Lake; a fantastic image depicting Satan, with a helmet and spear, supporting himself onn his shield, rolling on the fiery waves of a burning lake flowing among the rocks in a dark cavern, looking towards Beelzebub who flounders beside him. Fully lettered proof impression. From a series of prints illustrating John Milton's ( ) ' Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, thee temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result r of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time. Balston 94. (a) 4. CW: 27 Stock: Book 11, Line 226. [ The approach of the Archangel Michael] Proof. Designed & Engraved by J. Martin Esq..r. Printed by Chatfield & co. Published by Septimus Prowett, 62 Paternoster Row Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (10 x 13¾"); sheet s size: 3188 x 426mm (12½ x 16¾"). Large margins. Light foxing. 480 The approach of the Archangel Michael; Adam and Eve, clothed in animal skins, are seen standing in Paradise. Adam holds Eve by the arm ass they look towards a light breaking behind a tree covered mountain in the distance to the right, heralding the approach of the archangel. Fully lettered proof impression. From a series of prints illustrating John Milton's ( ) ' Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns 187. Book 5, Line 308. [Paradise - with the Approach of the Archangel Raphael] Proof. Designed & Engraved by J. Martin Esq.r. Printed by J. Lahee. Published 1825 by Septimus Prowett, 23 Old Bond Street. Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (100 x 13¾") sheet size: 318 x 426mm (12½½ x 16 ¾"). Large margins. Light foxing in margins. 750 Paradise - with the Approachh of the Archangel Raphael; a scene in the Garden of Eden, with Adam and Eve pointing towards thee Archangel visible amongst the trees in the distance. Fully lettered proof impression. From a series of prints illustrating Johnn Milton's ( ) 'Paradise Lost', first published in i 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission fromm a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from thee 'Imperial Folio Edition' but b not boundd up at publication time. Balston 94. (a) 4. CW: 39. Stock: Book 10, Line 312 & 347. [Bridge over Chaos] Proof. Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & co.. Published byy Septimus Prowett, 62 Paternoster Row Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (100 x 13¾"); sheet size: 318 x 426mm (12½½ x 16 ¾"). Large margins. Light foxing in margins Bridge over Chaos; a powerful and mysterious image depicting the underworld, considered Martin's finest mezzotint. A bridge is suspended over the bottomless abyss of Chaos, with the figures of Satan, Sin and Death looking in i awe of this new creation. Fully lettered proof impression. From a series of prints illustrating Johnn Milton's ( ) 'Paradise Lost', first published in i 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early

35 1824, this series of engravings was the result r of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time. Balston 94. (a) 4. CW: 45 Stock: Book 1, Line 314. [Satan arousing the fallen Angels] Proof. Designed & Engraved by J. Martin Esq..r. Printed by Chatfield & Coleman. London Published by Septimus Prowett, 23 Old Bond Street. [1825.] Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (10 x 13¾") sheet size: 3188 x 426mm (12½ x 16 ¾"). Large margins Satan arousing the fallen Angels; Satan on the right, is seen holding his spear with his arms raised, standing on a cliff overhanging the burning lake in a cavern of hell, rousing the fallen angels below, one of Martin's finest mezzotints. Fully lettered proof impression. From a series of prints illustrating John Milton's ( ) ' Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, thee temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result r of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but b not bound up at publication time. Balston 94. (a) 4. CW: 28 Stock: Book 7, Line 339. [Creation of Light] Proof. Designed & Engraved by J. Martin Esq.r. Printed by Charfield & Coleman. London Published by Septimus Prowett, 23 Oldd Bond Street Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (100 x 13¾"); sheet size: 318 x 426mm (12½½ x 16 ¾"). Large margins. Foxing Creation of Light; a dramaticc image of God dividing night and day, his h image seenn in the sky above the sea. Martin exhibited a large oil painting of this subject entitled 'The Creation' at the Society of Britsh Artists in Fully lettered proof impression. From a series of prints illustrating Johnn Milton's ( ) 'Paradise Lost', first published in i 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission fromm a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from thee 'Imperial Folio Edition' but b not bound up at publication time. Balston 94. (a) 4. CW: 41. Stock: Book 3, Line 365. [The Courts of God] Proof. Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & Co. London Published by Septimus Prowett, 23 Oldd Bond Street Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (100 x 13¾") sheet size: 318 x 426mm (12½ x 16 ¾"). Large margins. Small rust spot in lower right corner. c 1500 The Courts of God; G A city, seen above an open court surrounded by colonnades, c full of angels, with several in the foreground. Two are facing each other, playing harps. Fully lettered proof impression. From a series of prints illustrating Johnn Milton's ( ) 'Paradise Lost', first published in i 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission fromm a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from thee 'Imperial Folio Edition' but b not bound up at publication time. Balston 94. (a) 4. CW: 32 Stock: 36912

36 Eve at the Fountain; Eve standing at the edge of a pool, dipping one toee in the water, raising her hand to her head, surprised as she discovers her reflection. In a landscape with banks of wild, overhangingg trees. Fully lettered proof impression. From a series of prints illustrating Johnn Milton's ( ) 'Paradise Lost', first published in i 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission fromm a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from thee 'Imperial Folio Edition' but b not bound up at publication time. Balston 94. (a) 4. CW: 34. Stock: Book 1, Line 44. [The fall off the Rebel Angels] Proof. Designed & Engraved by J. Martin Esq..r. London Published by Septimus Prowett, 23 Old Bond Street Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (10 x 13¾"); sheet s size: 3188 x 426mm (12½ x 16 ¾").. Large margins The fall of the Rebel Angels; a fantasticc image of hell showing inside of a chasm, into which flee f rebel angels. A figure in the centre is seen flying with a staff in one hand, holding his shield above his head with his left arm. Fully lettered proof impression. From a series of prints illustrating John Milton's ( ) ' Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, thee temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result r of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time. Balston 94. (a) 4. CW: 26 Stock: Book 4, Line 453. [Eve at the Fountain] ] Proof. Designed & Engraved by J. Martin Esq..r. Printed by J. Lahee. London Published by Septimus Prowett, 23 Old Bond Street Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (10 x 13¾") sheet size: 3188 x 426mm (12½ x 16 ¾"). Large margins Book 3, Line 501. [Satan viewing the ascent into Heaven] H Proof. Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & Co. London Published by Septimus Prowett, 23 Oldd Bond Street Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (100 x 13¾"); sheet size: 318 x 426mm (12½½ x 16 ¾"). Large margins Satan viewing the t ascent intoo Heaven; Satan, seen crouching on dark rocks on the left, holding his spear in his left hand,, looking backk over his shoulder towards a broad staircase rising towards the shining gates of Heaven, where angels ascend. One of Martin's finest mezzotints. Fully lettered proof impression. From a series of prints illustrating Johnn Milton's ( ) 'Paradise Lost', first published in i 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission fromm a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from thee 'Imperial Folio Edition' but b not bound up at publication time. Balston 94. (a) 4. CW: 33 Stock: Book 4, Line 502. [Satan contemplating Adam and Eve in Paradise] Proof. Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & Co. London Published by Septimus Prowett, 23 Oldd Bond Street Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (100 x 13¾"); sheet size: 318 x 426mm (12½½ x 16 ¾"). Large margins. Foxing. 750 Satan contemplating Adam and Eve in Paradise; Adam and Eve sitting together on the left, watched by Satan who hides behind a tall tree in the right foreground, in

37 a landscape with banks of trees on either side and a valley in the centre. Fully lettered proof impression. From a series of prints illustrating John Milton's ( ) ' Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, thee temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result r of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time. Balston 94. (a) 4. CW: 35 Stock: Book 5, Line 519. [Raphael conversing with Adam and Eve] Proof. Designed & Engraved by J. Martin Esq..r. London Published by Septimus Prowett, 23 Old Bond Street Mezzotint. Proof impression, extremely rare. Fine impression. Platemark: 255 x 350mm (10 x 13¾"); sheet size: 318 x 426mm (12½ x 16 ¾") ). Large margins. Very slight wrinkling in centre Raphael conversing with Adam and Eve; the Archangel Raphael sitting with Adam and a Eve, gesturing as he talks to them, at the mouth of a mossyy cave in lower left, with tall trees on the higher groundd above. It appears that no 'formal' lettered proofs weree issued of this mezzotint and only a very few impressions with the scratched 'proof', such s as this example, seem to have been pulled. Fully lettered proof impression. From a series of prints illustrating John Milton's ( ) ' Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, thee temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result r of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time. Balston 94. (a) 4. CW: 40 Stock: Book 12, Line [Adam and Eve driven out of Paradise] Proof. Designed & Engraved by J. Martin Esq.r. Printed by J. Lahee. Published by Septimus Prowett, 62 Paternoster Row Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (100 x 13¾"); sheet size: 318 x 426mm (12½½ x 16 ¾"). Large margins. Light foxing. The conclusionn to 'Paradise Lost': "Adam and Eve driven out of Paradise". The figures are seen in wilderness on a rocky path at the lower right of the scene. The ethereal light of Eden is visiblee between rocks behind them. Broodingg skies are seen in the distance, in the valley are two dinosaurs. Fully lettered proof impression. From a series of prints illustrating Johnn Milton's ( ) 'Paradise Lost', first published in i 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission fromm a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from thee 'Imperial Folio Edition' but b not bound up at publication time. Balston 94. (a) 4. CW: 49 Stock: Book 1, Line 710. [Pandemonium] Proof. Designed & Engraved by J. Martin Esq.r. J. Martin [inscribedd in plate]. London Published by Septimus Prowett, 23 Old Bond Street Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (100 x 13¾") sheet size: 318 x 426mm (12½ x 16 ¾"). Large margins. Light foxing Pandemonium; Satan standing on a cliff in the foreground, holding his spear, addressing hordes of rebel angels assembled on the rocks below him, gesturing with his h right handd towards the city c of pandemonium, with a dome looming in the darkness behind thick, fortified walls. One of Martin's finest images. An opposing illustration to Heaven, The Rivers of Bliss (CW: 47); Ref: Fully lettered proof impression. From a series of prints illustrating Johnn Milton's ( ) 'Paradise Lost', first published in i 1667, consisting of ten books with

38 over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time. Balston 94. (a) 4. CW: 29 Stock: Book 2, Line 727. [The conflict between Satan and Death] Proof. Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & Coleman. London Published by Septimus Prowett, 23 Old Bond Street Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (10 x 13¾") sheet size: 318 x 426mm (12½ x 16 ¾"). Large margins The conflict between Satan and Death; Satan at the gates of Hell, standing on the left with his spear poised to strike Death, a dark monstrous figure, of whom only the crown, eyes, claw and spear are visible, while Sin, rushes between them with her arms outstretched, to stop Satan attacking his son. Fully lettered proof impression. From a series of prints illustrating John Milton's ( ) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time. Balston 94. (a) 4. CW: 31 Stock: Book 11, Line 78. [Heaven, The Rivers of Bliss] Proof. Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & co. Published by Septimus Prowett, 62 Paternoster Row Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (10 x 14"); sheet size: 318 x 426mm (12 x 16"). Large margins. Light foxing Heaven, The Rivers of Bliss; A trumpet has been sounded in Heaven to call the angels to witness a proclamation from God. Two angels, one playing a harp, the other, a trumpet, are seen on a rock in the foreground, with a lake surrounded by trees and hills behind, wiith groups of angels on the banks. An opposing illustration to Pandemonium (CW: 29) Ref: Fully lettered proof impression. From a series of prints illustrating John Milton's ( ) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time. Balston 94. (a) 4. CW: 47. Stock: Book 9, Line 780. [Satan tempting Eve] Proof. Designed & Engraved by J. Martin Esq.r. London Published by Septimus Prowett, 23 Old Bond Street Mezzotint. Proof impression, extremely rare. Fine impression. Platemark: 255 x 350mm (10 x 13¾") sheet size: 318 x 426mm (12½ x 16 ¾"). Remainder of Printer's name in right of title area very faint Satan tempting Eve; Eve standing under a tree at the edge of a pool, reaching up with one hand to hold a bough, around which Satan, disguised as a serpent, is entwined, holding an apple in the other, listening to the snake. An early proof impressions such as this example, is considered amongst the most beautiful and atmospheric of Martin's 'Paradise Lost' mezzotints. It appears that no 'formal' lettered proofs were issued of this mezzotint and only a very few impressions with the scratched 'proof', such as this example, seem to have been pulled. Fully lettered proof impression. From a series of prints illustrating John Milton's ( ) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time. Balston 94. (a) 4. CW: 42. Stock: 36920

39 1824, this series of engravings was the result of a comission fromm a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from thee 'Imperial Folio Edition' but b not bound up at publication time. Balston 94. (a) 4. CW: 46 Stock: Book 4, Line 813 [Eve's Dream. Satan aroused] Proof. Designed & Engraved by J. Martin Esq..r. Printed by Chatfield & Co. London Published by Septimus Prowett, 23 Old Bond Street Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (10 x 13¾") sheet size: 3188 x 426mm (12½ x 16 ¾"). Large margins. Foxing Eve's Dream. Satan aroused; Satan, with his shield raised behind his head, grasping his spear, opposite Ithuriel, who stands on the left with Zephon, while Adam and Eve sleep in the background.. Fully lettered proof impression. From a series of prints illustrating John Milton's ( ) ' Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, thee temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result r of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time. Balston 94. (a) 4. CW: 36. Stock: Book 10, Line 863. [Adam reproving Eve] Proof. Designed & Engraved by J. Martin Esq..r. Printed by J. Lahee. Published by Septimus Prowett, 62 Paternoster Row Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (10 x 13¾"); sheet s size: 3188 x 426mm (12½ x 16 ¾"). Large margins. Light foxing. 550 Adam reproving Eve; Adam standing on the left, clothed in animal skins, is seen raising his left arm ass he reproves Eve, who kneels in front of him, coveringg her face with her hands and hair. Fully lettered proof impression. From a series of prints illustrating John Milton's ( ) ' Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, thee temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 204. Book 4, Line 866. [The Angels guarding Paradise at night] n Proof.. Designed & Engraved by J. Martin Esq.r. Printed by J. Lahee. London Published byy Septimus Prowett, 23 Old Bond Street Mezzotint. Proof impression. Fine impression. Platemark: 255 x 350mm (100 x 13¾"); sheet size: 318 x 426mm (12½½ x 16 ¾"). Large margins. Light foxing in margins. 750 The Angels guarding Paradise at night; an angel with a helmet and spear standing onn a clifftop, shining with light in the darkness, with several smaller spirits around it, keeping watch, with Paradise below, the moon and stars above and a small patch off light among the trees where other angels keep watch on land, to the lower left. Fully lettered proof impression. From a series of prints illustrating Johnn Milton's ( ) 'Paradise Lost', first published in i 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission fromm a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from thee 'Imperial Folio Edition' but b not bound up at publication time. Balston 94. (a) 4. CW: 37. Stock: Book 9, Line 995. [Eve presenting the forbidden fruit to Adam] ] Proof. Designed & Engraved by J. Martin Esq.r. J. Martin 1824 [inscribedd in plate]. Printed by J. Lahee. Published 1827, by Septimuss Prowett, 62 Paternoster Row.

40 Mezzotint. Proof impression. Fine impression; T. Dupuy watermark. Platemark: 255 x 350mm (10 x 13¾"); sheet size: 318 x 426mm (12½ x 16 ¾"). Large margins. Light foxing. 550 Eve presenting the forbidden fruit to Adam; Eve, standing on the right with one hand on the bough of the tree, around which Satan, disguised as a serpent, is entwined, holding out an apple in the other to Adam, who sits on a rock under the tree. Fully lettered proof impression. From a series of prints illustrating John Milton's ( ) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time. Balston 94. (a) 4. CW: 43. Stock: 36904

41 206. The Spell. [Anon.] London. Publish.d Jan.y by J. R. Smith. no. 83 Oxford Street. Stipple printed in brown ink, small margins. Platemark: 275 x 215mm (10¾ x 8½"). 160 An illustration to John Gay's 'The Spell'. The character of Hobnelia stands in the clearing of a woodland, looking down at the 'unbroken paring' or peel from the apple which lies on the ground behind her. She smiles and holds her hands open, realising the peel has formed the initial of her 'true love', Luberkin. Six lines of Gay's poem 'The Spell' are inscribed below. Stock: William and Margaret. Twas at the silent solemn hour when night and morning meet. In glided Margarets grimly ghost and stood and William's feet. Painted by J. Wright. Engraved by J. R. Smith. Mezzotint Engraver to His Royal Highness the Prince of Wales. London Publish'd April 12th by J. R. Smith No. 31. King Street, Covent Garden. Mezzotint with large margins. Part printed in colour. Platemark: 450 x 545mm (17¾ x 21½"). 520 The ghost of Margaret stands on the left, wrapped in a sheet, holding up her left hand to frighten the man who deserted her, who sits up, terrfied, in his four-poster bed, raising the sheets above his head with his right arm. From the celebrated ballad in 'Piercies Reliques of Antient English Poetry Vol. 3 XVI', (1765) by Thomas Percy, Bishop of Dromore ( ), the first of the great ballad collections, which was responsible for the ballad revival in English poetry that was a significant part of the Romantic movement. Ex collection of Christopher Lennox-Boyd. State II of III. Frankau: 377; D' Oench: 257 I of II; Clayton 1990: pg 26. Stock: A Collection of Favorite Anthems, Services &c. in Score, Selected from the Works of Drs. Nares, Clarke, Stevens, Pratt and other eminent composers [in image] No.11 [in ink] G.B. Cipriani inv. / F. Bartolozzi sculp aqua fortis London, Published by Coventry & Hollier, 71, Dean Street, Soho. Ent. Sta. Hall. Price 4/- Etching printed in brown, sheet 320 x 230mm (12½ x 9"). Trimmed inside platemark. 120 Frontispiece to a volume of music, probably a late state. The plate was likely used originally for another purpose, with the plate later altered and the new text added. Stock: [Woman mourning and embracing a tomb in the form of a pot] G.B. Cipriani inv. / F. Bartolozzi sculp. Published as the Act directs Nov Etching, sheet 155 x 160mm (6 x 6¼"). Trimmed inside platemark; slight foxing. 70 Title page to 'Miscellaneous works of Ph. D. Stanhope, Earl of Chesterfield' (1777). In a later state this print was identified as Bathsheba mourning her husband Uriah. de Vesme Stock: Wisdom is the principal thing... The Explanation of the Frontispiece. [/] Wisdom casting forth the Rays of Learning and Knowledge over the Island of [/] Great Britain & Ireland and Britania on herright hand with and Angel [/] decending to her with a Crown of Laurel. [John Hinton, at the King's Arms in St. Paul's Church- Yard, London.1749.] Engraving. Sheet: 130 x 200mm, (5 x 8"). Some paper tone on left edge. 60 The figure of Wisdom stands holding a large book and an oil lamp while light radiates from her over a map of the British Isles. Frontispiece to 'The Universal Magazine' Vol IV, Stock: Boy & Dog. In the Collection of his Grace the Duke of Norfolk. B. Murillo Pinxit. Caroline Watson Sculpsit. Publish'd Sep.r 1st 1781 by John Boydell Engraver in Cheapside London. Stipple with very large margins. 230 x 180mm (9 x 7"). Uncut. 130 An oval portrait of a boy feeding his dog, after Spanish painter Bartolomé Esteban Murillo ( ). The engraver, Caroline Watson ( ), was the daughter of James Watson: she was one of the few female print engravers and publishers of the period. Ex: Collection of The Hon. C. Lennox-Boyd. Stock: The History and Dscription, with Graphic Illustrations, of Cassiobury Park, Hertfordshire: The Seat of the Earl of Essex. By John Britton, F.S.A. London: Published by the Author, Burton Street. MDCCCXXXVII [1837]. Large folio, modern half calf gilt, new endpapers; pp. 32, 22 aquatint plates with wood engravings in the text. Frontis with repaired tear, all plates with some foxing. 550 First published Four of the plates are after paintings by Joseph Mallord William Turner ( ) and six after Augustus Charles Pugin ( ), who were invited to sketch Cassiobury by the owner, George Capell-Coningsby, 5th Earl of Essex, in Rawlinson: Stock: Scrap title. Published 1833 _ by Ackermann & Co. Strand. Aquatint with superb hand colour with gold highlights; 1830 J. Whatman watermarked paper. 305 x 245mm (12 x 9¾"). 120

42 A title page for a scrap album, with an architectural a caprice with a macaw, monkey, greyhound, vase withh flowers, guitar and goldfish bowl, with space in the middle for an inscription. The colour is particularly fine. Stock: [Unused visiting card of putti.] [n.d., c.1780.] Stipple, rare. 85 x 130mm (3½ x 5¼"). 95 A visiting card with blank central areas for the inscription, featuring a pair of putti, onee wearing a winged helmet and tying a bale, the other writing in a notebook. Stock: Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres S ( ). Serres, who like his father Dominic specialized inn marine painting, was also a skilled printmaker althoughh his later years were dogged by financial difficulties. Serres died in the same year that this t volume was published.. Ex: collection of thee Late Hon. C. Lennox-Boyd; Abbey Stock: The Sepulchral Chapel & Sarcophagus.. / Of Abelard & Eloise. J.T. Serres [in image] Lithograph with fine hand-colouring, very scarce; sheet 420 x 265mmm (16½ x 10½"). Trimmed on left. Paper r watermarked J. Whatman The tomb of Peter Abelard ( )) and Héloïse d'argenteuil (1092?-1164) in Père Lachaise Cemetery, Paris. Amongst the most celebrated lovers in history, Abelard and Héloïse were separated by circumstance but continued a passionate correspondence, and the survival of their letters provided the basis for their posthumous celebrity. In the 18th century works by Alexander Pope and Jean-Jacques remains of the couple were moved in Rousseau celebrated their love. The 1817 to the Gothic tomb shown here, which drew many visitors to the cemetery [Monument to Abelard and Héloïse] J. T. Serres fec.tt [in image] Lithograph withh fine hand-colouring, very scarce; Paper watermarked J. Whatman 1824; sheet 420 x 265mm (16½ x 10½"). 160 The tomb of Peter Abelard ( ) and Héloïse d' Argenteuil (1092?-1164) inn Père Lachaise Cemetery, Paris. Amongstt the most celebrated loverss in history, Abelard and Héloïse were separated by circumstance but continued a passionate correspondence, and the survival of their letters provided the basis for their posthumous celebrity. In the 18th century works by Alexander Popee and Jean-Jacques Rousseau celebrated their love. The remains of thee couple weree moved in 1817 to the Gothic tomb shown here, which drew many visitors to the cemetery. c Three such visitors can be seen here contemplating the monument. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres S ( ). Serres, who like his father Dominic specialized inn marine painting, was also a skilled printmaker althoughh his later years were

43 dogged by financial difficulties. Serres died in the same year that this volume was published. Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey Stock: The Chapel J.T. Serres [in image] Lithograph with fine hand-colouring, very scarce; sheet 420 x 265mmm (16½ x 10½"). Slight staining lower right off image. 120 The chapel of Père Lachaise Cemetery in i the suburbss of Paris, with funerary procession. Completed in 1823, the chapel was designed by the neo-classical architect Étienne-Hippolyte Godde ( ), who was alsoo responsible for the entrance to the cemetery. The immense mausoleum of politician and historian Adolphe Thiers ( ) was later built next to it. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', whichh comprised of ten coloured lithographs by John Thomas Serres ( ). Serres, who like his father Dominic specialized in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published. Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey Stock: [The Dragon Tomb, Père Lachaise Cemetery] J.T. Serres [in image] Lithograph with fine hand-colouring, very scarce; sheet 420 x 265mmm (16½ x 10½"). Staining to edges. 130 The 'Dragon tomb' (named after the 'bosquet du Dragon' or 'Dragon grove' where it is situated) in Pèree Lachaise Cemetery, Paris. A designatedd historical monument, it contains some of the first monuments inn the cemetery. On the left is the cenotaph dedicated too Antoine de Guillaume-Lagrange ( ), a military officer killed in Poland during the t Napoleonic Wars. Designed by the neo-classical architect Étienne- Hippolyte Godde ( ), it showss a portrait of the dedicatee, with an allegory of sorrow. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', whichh comprised of ten coloured lithographs by John Thomas Serres ( ). Serres, who like his father Dominic specialized in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published. Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey 115.3/4 Stock: [Tombs of La Fontaine, Molière and Jacques DeLille.] J.T. Serres [in image] Lithograph with fine hand-colouring, very scarce; sheet 420 x 265mmm (16½ x 10½"). Slight marks lower right off subject. 180 The tombs of the fabulist Jean de La Fontaine ( ), playwrightt Molière ( ) and poet Jacques Delille ( ) at Père Lachaise Cemetery in the suburbs of Paris. When the cemetery opened in 1804 it was located far from the centre of the city and attracted few funerals. The transfer of f the remains of La Fontaine and Molière M were part of a strategy to raise the profile of the cemetery. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres S ( ). Serres, who like his father Dominic specialized inn marine painting, was also a skilled printmaker althoughh his later years were dogged by financial difficulties. Serres died in the same year that this t volume was published.. Ex: collection of thee Late Hon. C. Lennox-Boyd; Abbey 115.5/6/7 Stock: Miscellaneous Tombs. J. T. Serres [in image] i Lithograph withh fine hand-colouring, very scarce; sheet 420 x 265mm (16½( x 10½") Tombs in Père Lachaise Cemetery in the suburbs s of Paris. Plate fromm 'Picturesquee Views of thee Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres S ( ). Serres, who like his father Dominic specialized inn marine painting, was also a skilled printmaker althoughh his later years were dogged by financial difficulties. Serres died in the same year that this t volume was published.. Ex: collection of thee Late Hon. C. Lennox-Boyd; Abbey 115.3/4 Stock: Miscellaneous Tombs J. T. Serres [in image] i Lithograph withh fine hand-colouring, very scarce; sheet 420 x 265mm (16½( x 10½").. Slight staining lower right off image. 140 Tombs in Père Lachaise Cemetery in the suburbs s of Paris. Plate fromm 'Picturesquee Views of thee Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres S ( ). Serres, who like his father Dominic specialized inn marine painting, was also a skilled printmaker althoughh his later years were dogged by financial difficulties. Serres died in the

44 same year that this volume was published. Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey 115.3/4 Stock: The Paraclete. J.T. Serres [in image] Lithograph with fine hand-colouring, very scarce; sheet 420 x 260mm (16½ x 10½"). Slight marks lower right off subject. 120 The Oratory of the Paraclete, a Benedictine monastery founded by Peter Abelard ( ) in Ferreux- Quincey, France. After Abelard became abbot of the Abbey at Saint-Gildas-de-Rhuys he left the Paraclete to his wife Héloïse d'argenteuil (1092?-1164), who became its abbess and spent the rest of her life there. Their remains were buried there but later moved twice, first to the church of Nogent-sur-Seine and then to Père Lachaise Cemetery, Paris. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres ( ), including one of the joint tomb of Abelard and Héloïse in the cemetery. Serres, who like his father Dominic specialized in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published. Ex: collection of the Late Hon. C. Lennox- Boyd; Abbey For the tomb of Abelard and Héloïse see ref Stock: [Tombs in Père Lachaise Cemetery.] J.T. Serres [in image] Lithograph with fine hand-colouring, very scarce; sheet 420 x 265mm (16½ x 10½"). 130 The tombs of Catherine-Dominique de Pérignon, 1st Marquis de Grenade ( ), François Joseph Lefebvre, First Duke of Danzig ( ), and André Masséna, 1st Duke of Rivoli, 1st Prince of Essling ( ), at Père Lachaise Cemetery in the suburbs of Paris. A soldier sits contemplating the tomb of Pérignon. All three commanders occupied prominent roles in the French military during the rule of Napoleon. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres ( ). Serres, who like his father Dominic specialised in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published. Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey 115.5/6/7 Stock: The Porter's Lodge. J.T. Serres [in image] Lithograph with fine hand-colouring, very scarce; sheet 420 x 265mm (16½ x 10½"). Slight staining lower left. 120 Porter's lodge at the entrance to Père Lachaise Cemetery in the suburbs of Paris, with mourning visitors and view towards the city in the distance. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres ( ). Serres, who like his father Dominic specialized in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published. Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey Stock: Rocher de Gayette lequel se sentit en deux lors ede la passion de Nostre Seigneur Chapelle de la Trinité Gravé par Israel Silvestre. P. Mariette ex Avec privil. du Roy [c.1670] Etching, platemark 120 x 205mm (4¾ x 8¼"). Creased in middle. 95 The city of Gaeta in the province of Latina, Italy, emphasising the 'Montagna Spaccata', the vertical cliffs jutting onto the coast. From a series of 'Diverses vues de ports de mer d'italie et autres lieux' by French printmaker Israel Silvestre. Stock: Ponte Senatorio oggi detto Ponte rotto. Israel Silvestre del. Piranesi sc. [n.d., c.1748.] Etching. 130 x 255mm (5 x 10"). 220 Senatorial Bridge, today called the Broken Bridge, with a collapsed span. Published in Piranesi's 'Antichità Romanae de Tempi della Repubblica, e de' primi Imperatori', after a design by the 17th century French artist Israel Silvestre. Stock: Hannibal's Arch in Manorel in Catalonia. Plate III H. Swinburne [pencil signature]. Etching, rare; Sheet 175 x 155mm (7 x 6¼"). Trimmed within plate, mounted on album paper. 130 A sketch of a steep bridge with a decrepid arch at one end. Henry Swinburne ( ) travelled through Spain with Sir Thomas Gascoigne , publishing 'Travels through Spain in the Years 1775 and 1776 in which several monuments of Roman and Moorish Architecture are Illustrated by Accurate Drawings taken on the Spot' in State i of ii, before rework in sky and on buttress of bridge. Ex: Collection of The Hon. C. Lennox-Boyd. Stock: Hannibal's Arch in Manorel in Catalonia. Plate III H. Swinburne [pencil signature]. Etching, rare. Sheet 175 x 155mm (7 x 6¼"). Trimmed within plate, mounted on album paper. 130 A sketch of a steep bridge with a decrepid arch at one end.

45 Henry Swinburne ( ) travelled through Spain with Sir Thomas Gascoigne , publishing 'Travels through Spain in the Years 1775 and 1776 inn which several monuments of Roman and Moorish Architecture are Illustrated by Accuratee Drawings taken on the Spot' in State ii of ii, with rework in sky and on buttress of bridge. Ex: Collection of The Hon. C. Lennox-Boyd. Stock: Beauties of Brighton. No. 5 Almacks The Card Room. Painted by T. Harper. Engraved by A. M. Huffam. Published by S.S. Folker. Brighton_J. Brooker 5 Southampton Row, London, Nov.r and T. Rittner Boulevard Montmartre, Paris. Mezzotint with original hand colour and very large margins. Platemark: 250 x 195mm (9¾ x 7¾"). Lightt mount burn. 230 A fashionably dressed young woman standing in a ball room hung with chandeliers, wearing a pale gown with puffed sleeves, head tilted to right, with her hair dressed up with pearls. Stock: ribbons and a muff. m Amaryllis was a character in the first of the threee major workss of the Latin poet Virgil, The Eclogues. By George Townley Stubbs ( ??), son of painter George Stubbs ( ). Stock: The sprightly Sylvia trips along the green, [/] Shee runs, but hopes she does not run unseen; [/] While a kind glance at her pursuer flies, [/] How much at variance are her feet and eyes. Engrav'd by Geo. Townley Stubbs. Pub.d. March 10, 1784 as the Actt directs, London. Stipple printed in brown ink with large margins. Platemark: 240 x 190mm (9½½ x 7½"). 240 A fashionably dressed d youngg woman stands with her back to the viewer, turned facing the left. She wears a plumed hat andd holds a fur muff. Below the image is a verse taken from 'The First Pastoral, or Damon', by Alexander Pope ( ). By George Townley Stubbs ( ??), son of painter George Stubbs ( ). Lennox-Boyd: 28 Stock: The Young Anglers. Drawn from Nature and on Stone by the Rev.d T. Kilby. Printed by b T.H. Skelton, Southampton. [n.d., c ] Tinted lithograph on india with very large margins. Printed area 310 x 255mm (12 x 10"). Foxing. 90 The Reverend Thomas T Kilbyy ( )) is best known for his 'Scenery in thee Vicinity of Wakefield', Stock: Savoir Vivre Sans Six Sous. [&] Savoir Vivre Sans Souci. Pub.d as the Act directs 22.d Dec.r 1783 and Engrav'dd by Geo. Townly Stubbs London. Pair of stipples with etching, printed in brown, large margins. Platemark: 240 x 190mm (9½ x 7½") each. Slight staining right of Sans Souci. 450 A pun in French: A woman standing with a bonnet and a striped skirt, looks at her purse as she holds it upside down (roughly, without sixpence); [&] A fashionablyy dressed young woman in half-profile to the left lookss with a smile at a wine glass she is holding in her raised right hand. In the left hand she has a bottle of wine. (without a care). By George Townley Stubbs ( ?), son of painter George Stubbs ( ). CLB List G T Stubbs 26 & 27. Stock: Amaryllis. Vide Spectator No Engraved by Geo. Townley Stubbs. Publish'd Feb.y 20.th 1784 as the Act Directs, London. Stipple printed in brown ink with large margins, veryy scarce. Platemark: 240 x 190mm (9½ x 7½"). 320 A fashionably dressed young woman stands to the front, facing the right. She wears a fur robe, a hat with 234. Gimcrack. George Stubbs pinx.t. Geo Townley Stubbs sculp.t. Engraver to Hiss R.H. the Prince of Wales. London, Republished Jun 4th 1817, byy Edw.d Orme, Bond Street. Hand coloured stipple with very large margins. Platemark: 200 x 250mm (8 x 9¾") 950 The racehorse Gimcrack, G standing to the right, held by the reigns by his trainer. Gimcrack was one o of the most admired off all eighteenth century race horses and the painting was commissioned in 1765 by hiss owner Frederick St John, 2nd Viscount Bolingbroke. B Only 14 handss high the horse won its first ever race at Newmarkett that year.

46 Though small Gimcrack went on to racee against all the top racehorses of the day, with 27 wins out of 36 races. This plate is from the reissue by Edwardd Orme of 1817, after he purchased all remaining plates after Stubbs' death. Lennox-Boyd: 123 III Stock: A fine portrait of o one of the most famous racehorses r of all time, Eclipse, standing to right in a landscape near one of the four rubbing-downn houses at Newmarket, its reins held by a groom as his jockey, Samuel Merrit, approaches. Eclipse achievedd notable victories for his owners Williamm Wildman and later, Dannis O'Kelly and concluded his career as a successful stallion. After printmaker and painter r George Stubbs ( ). Stubbs was w a painter of portraits, animal pictures, heroicc animal histories and poetical scenes of rural life. In 1758, he began his dissections of horses, which led to hiss most famouss engraved work 'The Anatomy of thee Horse' in ARA 1780, see item ref: Lennox-Boyd states that no image of this state has been seen. s Lennox-Boyd: 125, state I of II. Stock: Mambrino. George Stubbs pinx.t. George Townley Stubbs sculp..t. Engraver to His R. H. the Prince of Wales. London, Republished June 4th 1817 by Edw.d Orme Bond Street. Stipple with hand colouring with very large margins. Platemark: 200 x 250mm (8 x 9¾"). 950 The racehorse 'Mambrino', standing to the t left, with a landscape behind. A cottage and fence are a seen beyond at the left. 'Mambrino' was intended to be an illustration to 'Review of the Turf', 1794, Stubbs having commissioned his son to engrave the plates in the early 1790s. However, this plate is from the reissue r by Edward Orme of 1817, after he purchased all remaining plates after Stubbs' death. Lennox-Boyd: 109 III. Stock: Eclipse. George Stubbs pinx.t. Geo. Townley Stubbs sculp.t Engraver to his R.H. th Prince of Wales. London, Published Sept.r , by Messr.s Stubbs, Turf Gallery, Conduit Street, Hanover Square. Stipple printed in colour with large margins, open letters, extremely rare. Platemark: 205 x 255mm (8¼ ¼ x 10") Volunteer. George Stubbs pinx.t. Geo: Townley Stubbs Sculp.t Engraver to Hiss R.H. the Prince of Wales. London, Pub.d. Dec.r 1794 by Messrs. Stubbs; Turf Gallery, Conduit Street. Stipple and etching, printed in colour with large margins, very rare in this state. Platemark: : 205 x 255mm (8 x 10") A vivid portraitt of Volunteer, a chesnut son of Eclipse out of a mare by Tartar, foaled in 1780 and bred by Dennis O'Kellyy who originally called him Comet but changed his name to Volunteer in In 1793 Volunteer was covering mares at the O'Kelly stud at Canons for 10 guineas. g After printmaker and painter r George Stubbs ( ). Stubbs was w a painter of portraits, animal pictures, heroicc animal histories and poetical scenes of rural life. In 1758, he began his dissections of horses, which led to hiss most famouss engraved work 'The Anatomy of thee Horse' in ARA 1780, see item ref: Lennox-Boyd: 117, state II of III. Stock: American Eclipse. Fisher P.b. Anderson. [n.d., c.1825.] Wood engraving, rare. Sheet: 225 x 130mm, (9 x 5"). 120 Illustration fromm 'The Sporting Magazine' of American Eclipse ( ) an undefeated thoroughbred American racehorse. Stock: 36333

47 239. Portraits of their Majesty's and the Royal Family Viewing the Exhibition of the Royal Academy, The Portraits Design'd by P. Ramberg. P.A. Martini Sculp.t. Pub. d March by A. Poggi, St Georgess Row, Hyde Park. Etching and engraving with thread margins. 395 x 525mm (15½ x 20¾"). Wear to edges. Crease just above publication. 750 The Great Room at Somerset House during the visit of George III and his family, soon after thee King's recovery from the porphyria that had caused the Regency. Sir Joshua Reynolds stands to the right, holding his ear-trumpet; Benjamin West stands to thee left, instructing three of the younger princes. The King and the Prince of Wales have a noticable gap betweenn them; in fact the record of the King's visit on the 25thh April does not mention the Prince's presence. The composition is the same as the Ramberg's scene of the 1787 exhibition, with the detailed realism, including the catalogue numbers of the painting. However for the King's visit the access doors are pointedly closed, keeping out the crowds of the earlier scene. BM: G,6.101, trimmed. Stock: [The Fishery] Browne 1764 [after Richard Wright] Etching with very large damaged margins, platemarkk 440 x 560mmm (17¼ x 22") ). Hole and damage around lower platemark. Unfinished proof before letters; very scarce. 480 Several shipss on a turbulent sea; on the shore in the foreground, men unload their fishing boats, a lighthouse and building in the distance on the left, a horse-drawn cart approaching the shore on the right. Unfinished engraving of 'the Fishery', the most famous work by marine painter Richard Wrightt (c c.1775). Versions of the painting are in the Walker Art Gallery, Liverpool and Yale Centre for British Art, New Haven. The scene won a premium of 50 guineass for Wright in Etched by John Browne ( ), a pupil of the celebrated engraver William Woollett. This seems to be the first state of a print published in 1768 with Woollett named as sole engraver. Browne probably did the early work shown here, with his master completing the plate. Seee ref for Woollett's plate. Fagan: : LXI I of VI. Stock: [Busy harbour scene.] E Collectione Pauli Methuin. W. Vanderveld Pinx. E. Kirkall Fecit. [Printed & soldd by E. Kirkalll in West Office Court, Fleet Street.] Mezzotint printed in sea-green ink with very large margins, platemark 400 x 575mm (15¾ x 22½"). Repaired tear on left. 750 Plate from Elisha Kirkall's 'Set of Sixteen Sea Pieces' ' (c.1727). Kirkall (1681/2-1742) allegedly made almost 1000 from this very successful series of large prints after master paintings in British collections. Ex Collection of the Late Hon. C. Lennox-Boyd. Stock: [Three-masted on stormy s sea.] ] E. Collectione Richardi Loyd Generosi shipp with broken foremast W. Vanderveldd Pinx. / E. Kirkall Fecit. [Printed & sold by E. Kirkall inn West Office Court, Fleet Street] Mezzotint printed in sea-green ink with very large margins, platemark 335 x 405mm (13¼ x 16"). 750 Plate twelve from Elisha Kirkall's 'Set of Sixteen Sea Pieces' (c.1727). Kirkall (1681/2-1742) allegedly made almost 1000 from this very successful series of large prints after master paintings in British collections. Ex Collection of the Late Hon. C. Lennox-Boyd. Stock: [Three-masted shipp on heavy seas.] s E. Collectione Philippi P Hollingworth W. Vanderveldd Pinx. / E. Kirkall Fecit. [Printed & sold by E. Kirkall inn West Office Court, Fleet Street] Mezzotint printed in sea-green ink with very large margins, platemark 335 x 405mm (13¼ x 16"). Repaired hole. 550 Plate fifteen from Elisha Kirkall's 'Set of Sixteen Sea Pieces' (c.1727). Kirkall (1681/2-1742) allegedly made almost 1000 from this very successful series of large prints after master paintings in British collections. Ex Collection of the Late Hon. C. Lennox-Boyd. Stock: A Sea Storm S on the Coast of Italy. Vernet Pinx.t. C. C Corbutt fecit. London, Printed for & Sold by Rob.t Sayer S Map & Printseller at the t Golden Buck near Serjeants Inn, Fleet Street. Mezzotint with narrow margins; 255 x 355mm (10 x 14"). Creasing; some toning,, some repairs. 240 A ship in trouble of a rocky shore, men working to save sailors from the water, after Joseph Vernet ( , father of Carle Vernet). The engraver' 's name is Charles Corbutt, of whom nothing can be traced other than his prints. It is generallyy believed that the name is a pseudonym used by Richard Houston and probably also by Richardd Purcell. BM: : 2010, (from the Lennox-Boyd collection).. Stock: 35846

48 245. [A lifeboat stuggling to reach a swamped ship.] E.W. Cooke. [n.d., c.1880.] Woodblock, touched proof with artist's pencilled comments in margins and inked marks in i image. Laidd on board. 180 A working proof, with little sketches in the margins with instructions to change the image, for example 'The Stays must be made stronger' & '2 or 3 more men in boat. Edward William Cooke ( ), marine painter, R.A. Ex: Collection of The Hon. C. Lennox-Boyd. Stock: The Dangerous Rock / Ecueil Dangereux J. Vernet pinx.t / J. Dixon fecit Printed for f John Bowles, at No. 13 in Cornhill Mezzotint with very large margins, platemark 255 x 360mm (10 x 14"). Slight creasing. 320 Shipwreck with survivors clambering onto the rocks. One of many British prints from the dramatic landscapes of Joseph Vernet ( ). Ex: collectionn of the Late Hon. C. Lennox-Boyd. Stock: ['Meteor' Racing on the Solent?] London, July 31st Published by Mess.rs Borgenn & Turner, The Carlton Gallery, 46, Pall Mall S.W. Copyright registered. Printed in Vienna. Photogravure on chine collé, signed by the artist in pencil. 540 x 890mm (21¼ x 35") Somee wear to backing paper. 360 Racing yachts on the Solent, a Martello tower to the left. Stock: [The Drums of the Fore and Aft.] EMH [Edward Matthew Hale] 95. [Etched by Franz Hanfstaengl. ] London Published in 1895 by Arthur Lucas the Proprietor, 31 New Bond S.W. Photogravure on chine collé, signed in pencil by the artist. 470 x 650mm (18½ x 26¼"). Printsellers' Association blindstamp. Slight creasing at top and stains. 520 A scene from Rudyard Kipling's poem ' The Drums off the Fore and Aft'. Jakin and Lew, a pair of delinquentt drummer boys serving with an inexperienced regiment in Afghanistan: during a battle the regiment gets overwhelmed by Ghazis and break. However Jakin and Lew, not quite sober, remain and attempt to rally the troops by playing 'British Grenadiers' on drum and flute; shamed and encouraged by their bravery, the regiment returns to win the battle but not before the two boys are slain. Part of Kipling's verse is inscribedd bottom right. The original oil, nearly two metres wide, is in the Leeds Art Gallery. Stock: [Scene from the Colonial War: A Negro on a Rearing Horse.] Jayler, d'après Géricault. G Lith. de Villain. Lithograph, printed area 215 x 260mm (8½ x 10¼"). Rare. 380 Lithograph reproducing in reverse a drawing (in a private collection) by Theodore Géricault,, showing an African on a magnificient stallion and other Africans fighting Frenchh soldiers. This short-lived French artist was celebrated as one of the most important artists of the early 19th century c with a reputation that chiefly rests upon his vast v 'Raft of the "Medusa"' (Louvre)( and his portraits of sufferers fromm mental illnesses and maladies. However much of his output consisted of equestrian subjects, whether sporting or in battle. Stock: The Battle of Waterloo. Painted by J.A. Atkinson. The Portraits by A.W. Dervis. Drawn & Engraved by John Burnet. London, J. Hagger, 67 Paternoster Row.. [n.d., c.1850.] Etching and engraving. Sheet 510 x 690mm (20 x 37¼"). Trimmed to plate. 360 The Duke of Wellington, W mounted, hat in hand, the battle being fought across thee fields behind. To the right Highlander foot soldiers fight French cavalry. A re-engraved plate, p first published Stock: The Battle of Waterloo. To the Prince Regent this Plate P is with His Most Gracious Permission Humbly H Dedicated by His Royal Highnesses Obliged O Devoted & Faithful Servants T. Clay C and R.. Lambe. [&] To Field Marshal H.R.H. the Duke of York this Plate is with Permission most Humbly Dedicated by

49 His Royal Highness's Obliged Devoted & Faithful Servants R. Lambe and T. Clay. Alexander Sauerweid Pinx.t. John W. Cook [& H.R. Cook], Sculpt. London: Pub.d Mar. 1. [& June 18th.] 1819, by R. Lambe, 96, Gracechurch Street and T. Clay, 18, Ludgate Hill. Pair of mixed method engravings with small s margins. 550 x 820mmm (21½ x 32¼"). Some wear to edges. Repairs & damaged. Sky scuffed. 950 Pair of large rare scenes from the Battlee of Waterloo. The first scene is focused on the Duke of Wellington,, shown on horseback with a telescope in his right hand, having given the order for the advance of the British troops. The second shows the charge of the British heavy cavalry led by General Henry Paget ( ), Earl of Uxbridge, against Comte d'erlon's column, which checked the French advance. One of the last cannonballs shot that day hit Paget'ss right leg necessitating its amputation. He was created Marquess of Anglesey the following month. Alexander Sauerweid ( ) was a Baltic German painter who specialised in battle scenes and horses. He studied in Dresden and received commissionss of horse portraits from Napoleon beforee moving to St Petersburg to paint official portraits of Russian troops and their uniforms for Alexander I. He also instructed the sons of Nocholas I in drawing. In 1831 he bcame a director of the St Petersburg Academy. Stock: Bataille in der gegendt Mons, So gesschefen A.o den 33. 7bris. Paul: Decker Srchit. delineav. Ioh Iac: Kleinschmid. Sculpsit. Cum Grat: et Privilegio Sac: Coes: Mejest. Ier: Wolff excud: Aug: Vind. Engraving. Scarce. Plate: 400 x 500mm, (15¾ x 19¾"). Trimmed within plate. Staining. Damage to corners. Small tears in edges. 260 A view of a battle in the Wars of the Spanish Succession, enclosed within an ornate rococco surround in which several figures are depicted. The Wars of the Spanish Succession lasted from f 1701 until 1714 following the decision of the dying, childless Charles II, King of Spain to leave the entirety of the Spanish Hapsburg inheritence to the French Duke of Anjou, thus severly altering the balancee of power in Europe. Stock: The Battle of Waterloo June 18th Dedicated with permission to Lieu.t General the Most Noble Henry William Paget, Marquis of Anglesey & Earl of Uxbridge G:C:B: K.M.T. & K.S.G. [By Lieu.t R.P. Read.] Drawn & Etched by W. Heath. Aquatinted by R. Reeve. [London. Publish'd, June 4th for the Porprietor: by J. & M. Rippin No.21 Theobald's Road.] Coloured aquatint. Sheet 395 x 545mm (15½ x 21½" ) Trimmed within image on three sides, losing end of the dedication and publication line at bottom; some surface abrasion, colour faded. 450 An intense battle scene, withh British infantry closing in on the French cavalry c from both sides. A mortar explodes in the foreground and cannon balls streak across the sky. Stock: Etch'd Thoughts. London: Printed for the Etching Club Large folio, green morocco boards, 62 etched plates. Bottom right corner of front board damaged From the only edition, e as issued in 1844 in one of the Etching Club s earliest publications. Stock: [Scaffolding at Kensington.] Frank Brangwyn. [Signed in pencil.] [n.d., c ] Etching. Platemark: 480 x 530mm (18¾ x 20¾"). Extremely largee margins. 850 A view in Kensington showing a building under construction, with w scaffolding in the centree and to the right. Workers are seen in thee foreground, with a tree to the left. Frank William Brangwyn ( ) was one of the most influentiall etchers of the early twentieth century, and had alreadyy established his reputation as a major painter and watercolourist before he attempted his first etching in He was drawn to the many possibilities of this medium and by 1926 had completed 331 original etchings. Most of Brangwyn's art concentratedd upon figure studies, architectural and marine subjects. Fine Art Society: 178 II of II. Stock: Calendarium Londinense or the London Almanack for the Year The War Office. London. Published by W. Monk. Drawn Etched and Printed by W. Monk, M 118, New Bond Street, W. Etched image, 180 x 250mmm (7 x 9¾"), with calendar underneath, sheet 400 x 290mm (15¾ x 12"). 180 View of Williamm Young's neo-baroque War Office building at night with a full moon and the anti-aircraft searchlights, a gun g carriage in the foreground. After the abolition of the War Office, the building continued to bee used by the Ministry of Defence, but was recently sold and is being converted into a luxury hotel. Very atmospheric. Ann issue of 'Monk's

50 Calendar', a publication for print collectors founded in 1902 by William Monk ( ) and published yearly until the year Stock: Calendarium Londinense or the London Almanack for the Year Piccadilly Circus London. Published by W. Monk. Drawn Etched and Printed by W. Monk, 118, New Bond Street, W.1. Etched image, 175 x 255mm (7 x 9¾"), with calendar underneath, sheet 400 x 290mm (15¾ x 12"). Horizontal fold through centre. Slight staining in margins. 130 View looking across Piccadilly Circus, with Regent Street curving away to the right. In the centre is Alfred Gilbert's statue 'Eros' (1893), designed and erected in memory of the philanthropic 7th Earl of Shaftesbury. Behind it is the department store Swan & Edgar. An issue of 'Monk's Calendar', a publication for print collectors founded in 1902 by William Monk ( ) and published yearly until the year Stock: Calendarium Londinense or the London Almanack for the Year Trafalgar Square. London. Published by W. Monk. Drawn Etched and Printed by W. Monk, 118, New Bond Street, W.1. Etched image, 180 x 250mm (7 x 9¾"), with calendar underneath, sheet 400 x 290mm (15¾ x 12"). Horizontal fold through centre of "Calendarium". Few marks. 95 View taking in Nelson's Column and the National Gallery, St Martin's in the Fields on the right. In the foreground on the right is the equestrian statue of Charles I by Hubert le Sueur (c.1633). An issue of 'Monk's Calendar', a publication for print collectors founded in 1902 by William Monk ( ) and published yearly until the year Stock: Calendarium Londinense or the London Almanack for the Year The Strand. London. Published by W. Monk. Drawn, & Etched, by W. Monk, 118, New Bond Street, W.1. Etched image, 180 x 250mm (7 x 9¾"), with calendar underneath, sheet 400 x 290mm (15¾ x 12"). 130 View looking along the Strand from near the north side of Waterloo Bridge. On the left is the New Gaiety Theatre, advertising a Mozart production. Built in 1903, the theatre was demolished in 1957 and the site was recently redeveloped to become a luxury hotel. James Gibbs' baroque church of St Mary-Le-Strand (1717) is in the centre, with the facade of Somerset House on the right. An issue of 'Monk's Calendar', a publication for print collectors founded in 1902 by William Monk ( ) and published yearly until the year Stock: Calendarium Londinense or the London Almanack for the Year London River. W. Monk [pencil signature.] London. Published by W. Monk at 118, New Bond Street, W.1. Drawn, & Etched. by W. Monk. Etched image with large margins, 180 x 250mm (7 x 9¾"), with calendar underneath, sheet 400 x 290mm (15¾ x 12"). Slight staining in margins; cut to platemark at bottom. 160 View looking across the Thames towards Custom House and the Tower of London, with the river full of working barges. An issue of 'Monk's Calendar', a publication for print collectors founded in 1902 by William Monk ( ) and published yearly until the year Stock: Calendarium Londinense or the London Almanack for the Year Old Watling Way, Sunday in the City. W. Monk [pencil signature.] London. Published by W. Monk at 118 New Bond Street, W.1. Drawn, & Etched, by W. Monk. Etched image, 180 x 250mm (7 x 9¾"), with calendar underneath, sheet 400 x 290mm (15¾ x 12"). Horizontal fold through centre of "Calendarium". 140 View looking down Watling Street towards St Paul's Cathedral. The street, considered the oldest in London, was the principal street of Roman London, the 'Noble' or 'High' street of the city. It subsequently became the Saxon Athalingastrate (noble street) before becoming Wathling Street. An issue of 'Monk's Calendar', a publication for print collectors founded in 1902 by William Monk ( ) and published yearly until the year Stock: Calendarium Londinense or the London Almanack for the Year Doctor Johnson's House / Gough Square, Fleet Street. W. Monk [pencil signature.] London, Published by W. Monk at 118, New Bond Street, W.1. Drawn & Etched, by W. Monk. Etched image, 175 x 250mm (7 x 9¾"), with calendar underneath, sheet 400 x 290mm (15¾ x 12"). Horizontal fold through centre of "Calendarium"; pinhole lower left. 120 Dr Johnson's House at 17 Gough Square in London. Built at the end of the 17th century, the house was home to Johnson in the 1750s (he moved there to work on his Dictionary of the English Language). It is now open to the public and has a collection and library relating to Johnson. An issue of 'Monk's Calendar', a publication for print collectors founded in 1902 by William Monk ( ) and published yearly until the year Stock: 36783

51 263. Calendarium Londinense or the Londonn Almanack for the Year Number 10 Downing Street Whitehall. W. Monk [pencil signature.] London. Published by W. Monk & By Walker's Galleries Ltd, 118, New Bond Street, W.1. Drawn, & Etched. by W. Monk. Etched image, 180 x 250mm (7 x 9¾"), with calendarr underneath, sheet 400 x 290mm (15¾ x 12"). Horizontal fold through centre of "Calendarium". 140 View of the Prime Minister's official residence from under the arches opposite. An issue of 'Monk's Calendar', a publication for printt collectors founded in 1902 by William Monk ( ) and published yearlyy until the year Stock: Calendarium Londinense or the London Almanack for the Year [Charles Dickens House.] London. Published by W. Monk at 118, New Bond Street, W.1. Drawn & Etched, by W. Monk Etched image, 185 x 255mmm (7¼ x 10"), with calendar underneath, sheet 395 x 290mm (15¾ x 12"). Slightly time stained at edges. Creasee through "Calendarium" 70 Charles Dickens' house on Devonshire Terrace, which he moved into in i 1839 after leaving the Doughty Street residence whichh is now a museum. An issue of 'Monk's Calendar', a publication for print collectors, that year illustrated with an etching of St James's Palace. Founded by William Monk ( ) it was published yearlyy until the year Stock: Calendarium Londinense or the London Almanack for the Year The British Museum. Thee Portico. W. Monk [pencil signature.] London & Chester. Published by W. W Monk at The Studio, Barrel Well, Chester. Drawn, & Etched. by W. Monk. Etched image, 180 x 250mmm (7 x 9¾"), with calendar underneath, sheet 400 x 290mm (15¾ x 12"). Horizontal foldd through centre. Very slight crease through "Calendarium" 140 The portico of the t British Museum, the largest and best-known building by architect Robert Smirke. An issue of 'Monk's Calendar', a publication for print collectors founded in 1902 by William Monk ( ) and published yearly until the year Stock: Calendarium Londinense or the Londonn Almanack for the Year London from the Pool, Drawn from Tower Bridge. W. Monk [pencil signature.] London. Published by W. Monk at 118, New Bond Street, W.1. Drawn, & Etched. by W. Monk. Etched image, 180 x 250mm (7 x 9¾"), with calendarr underneath, sheet 400 x 290mm (15¾ x 12"). 180 View from near Tower Bridge, looking upstream fromm the Thames towards London Bridge. The dome of St Paul's and the Monument can be seen among the industrial chimneys on the right. A finee view of London. An issue of 'Monk's Calendar', a publication for printt collectors founded in 1902 by William Monk ( ) and published yearlyy until the year Stock: Calendarium Londinense or the London Almanack for the Year Buckingham Palace From St James's Park (floodlit). W. Monk [pencil signature.] London & Chester. Published by W. W Monk at The Studio, Barrel Well, Chester. Drawn, & Etched. by W. Monk. Aquatint and etching. Image 180 x 250mmm (7 x 9¾"), with calendar underneath, u sheet 400 x 290mm (15¾ x 12"). Horizontal fold throughh middle. 130 View across St James' park towards Buckingham Palace. Text below explaining the history and various alterations made to the building since John Nash's original design.. An issue of 'Monk's Calendar', a publication for print collectors founded in 1902 by William Monk ( ) and published yearly until the year This edition was the first to use aquatint for thee scene. Stock: [Cheyne Walk] C.E. Holloway '81 [in image e lower right]. Etching with very large margins, Pencil inscription 'CE Holloway to David Law' lower left; platemark 275 x 450mm (10¾ x 17¾"). Uncut. 320 Cheyne Walk inn Chelsea, London. This historic street, whose 19th century residentss included Rossetti, Swinburne, Whistler and Turner, was a favoured subject for many printmakerss of the Victorian period.

52 By Charles Edward Holloway ( ), painter andd printmaker specialising in marine and landscape subjects. His work is held in several national collections, including the Tate. This impression was a gift from Holloway to his contemporary, painter and printmaker David Law ( ). Stock: [Factories on the Thames] H. Macbeth-Raeburn Sct. [n.d., c.1910] Signed etching with very large margins,, platemark 255 x 355mm (10 x 14"). 220 View across the Thames towards factories and warhouses across the river. By Henry Macbeth Raeburn ( ), portrait painter and printmakerr active in London, who exhibited at the RA 'A good etcher' (Guichard). Ex: collection of the Latee Hon. C. Lennox-Boyd. Stock: [Factories on the Thames.] H. Macbeth-Raeburn Sct. [n.d., c.1910] Signed etching with very large margins,, platemark 255 x 355mm (10 x 14"). '1st state' in pencill lower left. 220 View across the Thames towards factories and warhouses across the river. By Henry Macbeth Raeburn ( ), portrait painter and printmakerr active in London, who exhibited at the RA 'A good etcher' (Guichard). Ex: collection of the Latee Hon. C. Lennox-Boyd. Stock: platform on thee right. By Henry Macbeth Raeburn ( ), portrait painter r and printmaker active in London, who exhibited at thee RA 'A good etcher' (Guichard). Ex: collection of the Late Hon. C. Lennox-Boyd. Stock: [Steamm cranes, Waterloo Bridge] H. Macbeth-Raeburn Sct. [n.d., c.1910] Signed etching with very large margins, platemark 200 x 300mm (8 x 11¾") Industrial scenee on the south h bank of the river Thames, with steam cranes on scaffolding hoisting pails, surrounded by boats b to let. By Henry Macbeth Raeburn ( ), portrait painter r and printmaker active in London, who exhibited at thee RA 'A good etcher' (Guichard). Ex: collection of the Late Hon. C. Lennox-Boyd. Stock: [The Thames and City of London from Westminster] ] W.Walcot [pencil signature.] ] [n.d., c.1910] Etching with very large margins, signed in pencil, platemark 130 x 130mm (5 x 5"). Uncut. 290 Bird's-eye vieww of London from near Whitehall, looking towards the City of London, showing St Pauls Cathedral on the left and Tower Bridge in the distance on the right. Etching by William Walcott R.E ( ), who was described by b Furst as 'next to Brangwyn the greatest decorative etcher this country has produced'. Walcot was in fact f born in Russia and studied in St Petersburg and Paris, subsequently practicing architecture in Moscow M before moving to London early in the 20th century. Walcot'ss training is evident in his prints, which are concerned with architecture and decoration rather than humann life. Stock: [Brentford Bridge] ] [by H. George Webb, W 1906] Etching with very large margins, platemark 105 x 130mm (4 x 5" ). 140 Figures on a covered barge passing beneath Brentford Bridge in west London. By Harry George Webb ( ), landscape and architectural painter and etcher who exhibited at a the Royal Academy and the Royal Society of Etchers. He set upp the Caradoc Press in Chiswick in 1899 with his wife Hesba. Impression in British Museum, museum no , Ex: collection of thee Late Hon. C. Lennox-Boyd. Stock: [Shot Tower, Thames] H. Macbeth-Raeburn Sct. [n.d., c.1910] Signed etching with very large margins,, on Chine, platemark 255 x 150mm ( 10 x 6"). 160 View along the south bank of the river Thames towards St Pauls cathedral and Southwark Bridge. Warehouses and shot tower on the right, a figure stood on a wooden 275. [The Valentré Bridge, Cahors.] Frank Brangwyn. [Signed in pencil.] [n.d., c.1911.] Etching with large margins, rare. 1st state of 100 proofs. This is the second state of 25 proofs. Platemark: 540 x 800mm (21¼ x 31½"). 850 The Valentre Bridge, B locatedd in Cahors in the south of France, is sometimes considered the finestt and most well-preserved bridge in Europe. In addition, it has become perhaps the most historically fabled of the

53 278. [The Royal R Exchange, Manchester.] Fred. W. Goolden inv. et del. [pencil signature, lower right.] Fred. W. Goolden/13 [etched in plate lower left.] [1913.] Etching with very large margins, very fine, platemark 405 x 290mm. 16 x 11½". 160 The Royal Exchange in Manchester, located in the city centre on the land bounded by St Ann s Square, Market Street and Cross Street. The building now houses the Royal Exchange Theatre andd the Royal Exchange shopping centre. Remarque of a beehive lower left. Ex: Agnews. Stock: many famous 'Devil's Bridges.' These bridges, most of them located in France and Switzerland, were built under such challenging conditions that the t builders' efforts were later hailed as heroic. Legends and folk tales describee pacts made by passing travelers with the Devil in order to cross the precariously located bridges. Building of the Valentre Bridge began in i 1308 and ended in 1378, with restoration by Paul Gout in Upon finishing the restoration, Gout had a devil's head carved into the top of the central tower as a a reminder of the legend. Frank William Brangwyn ( ) ) was one of the most influential etchers of the early twentieth century, and had already established his reputation as a major painter and watercolourist before he attempted his first etching in He was drawn to the many possibilities of this mediumm and by 1926 had completed 331 original etchings. Most of Brangwyn'ss art concentrated upon figure studies, architectural andd marine subjects. Fine Art Society: 178 II I of II. Stock: [The Gate of the Farm.] Frank Brangwyn. [signed in pencil.] [n. d., c.1907.] Etching with mezzotint. Plate: 300 x 250mm, (11¾ x 9¾"). 480 A view of a French farm in which figures, some carrying large baskets on their backs, walk through a large, half-open gate. Frank Brangwyn ( )( the Anglo-Welsh artist, painter and virtuosoo engraver andd illustrator. Fine Art Society: 90. Stock: [Cross Street Chapel, Manchester] Fred. W. Goolden inv. et del. [pencil signature, lowerr right.] Fred. W. Goolden/10 [etched in plate lower left.] [1910.] Etching with very large margins, platemark 255 x 345mm (10 x 13½"). Uncut. 220 Cross Street Chapel in Manchester, the first Nonconformist place of worship in the city. Bombed during World War II, in 1959 a new chapel was constructed on the site. In 2012 this chapel became the t first placee of worship in Britain to receive a licence to conduct civil partnership ceremonies. Ex: Agnews. Stock: [Silently Homeward. In the Shadows of twilight or sunny mid-day - Eliza Cook.] Charles O. Murray [pencil signature]. Copyright. November by C. Klackner_ 7 West 28th Street, New York. Published 1902 by C. Klackner, 12 Haymarket, London S.W. Copyright registered_ Printed in London by Paul Moglia. Mezzotint, printed in sepia, artist's remarqued proof limited to 275, remarque of a crook with vine leaves. 405 x 695mm (19( x 27½"), Printsellers' blindstamp. 230 A shepherd andd flock in misty winter landscape with watery sun. Stock: [Tangiers Market] ] H Macbeth Raeburn Sct [pencil signature lower right] Etching, platemark 260 x 165mm (10¼ x 6½"). 160 Market scene inn Tangiers, Morocco, by Henry Macbeth Raeburn ( ), portrait painter and printmaker active in London, who exhibited at the RA 'A good etcher' (Guichard). Limited to 50 impressions. Ex: collection of o the Late Hon. C. Lennox-Boyd. Stock: [The Swingbridge..] C.F.Tunnicliffee signed in pencil. Limited 1/75. [n.d., c ] Etching. Rare. Platemark: P 205 x 275mm ( 8¼ x 10¾"). 620 A rural scene showing a farmer with a horse, driving cattle across bridge to the right. Wildlife artist Charles C Frederick Tunnicliffe, R.A. R.E. ( ) lived on Anglesey having studied at the R.C.A. This work is characteristic of his robust deeply bitten etchings steeped in rural life. In all he produced some sixty etchings. Stock: Colonne Nationale. Fastes militaires de la France de 1792 à Houite Sculp. Paris, P chez Binet, Rue Aubrey-le- Boucher, 34. Engraving. Sheet 900 x 625mm (35½ x 24½"). A few repairs, laid on backing sheet. 420 Napoleon's triumphal columnn in the Place Vendôme, originally erected in 1810 but here showing the statue of Napoleon in military dresss replaced by Louisfirst Philippe I (reigned ),, because the statue

54 had been melted down at the Bourbon Restoration. The Paris Commune pulled down the whole column in 1871, but it was re-erected three years later with a copy of the original statue. The column was based on Trajan's Column in Rome, with scenes from Napoleon's career in a spiral up the colymn. Heree the column is flanked tables of events grouped by month rather than year Stock: [The Crab Rider.] [n.d., c.1812.] Coloured etching with very large margins x 200mm (4¾ x 8") A satire on Napoleon's retreat from Moscow in 1812, with Bonapartee riding on a lobster, a laurel branch being knocked from his handd by a cossack rider's lance. See BM 1925, for a German version titled 'Der Krebsreiter'. Stock: Napoleon Musing. on Stone by A. Picken. W. Day lith to the King. [n.d., c ] Lithograph. Sheet 140 x 175mm (5½ x 7") ). 95 An invented view of Napoleon standing on a rock looking down onto o a harbourr of Elba. Stock: Napoleone Buonaparte. Engraved by Henry Richter from the celebrated Bust by Ceracchi lately brought from Paris, and a now in hiss Possession. Published June 1.st 1801, by H. Richter, No. 26, Newman Street, Oxford Street Where Casts from the original Bust may be had. Stipple with thread margins. 525 x 420mm. 20½ x 16½". Repaired tear on right. 460 Bonaparte as general of the Republican army, after the bust by Ceracchi; on piedouche, looking to the right, sporting long hair, wearing a double-breasted jacket with bands of foliage. embroidered Stock: Bonaparte 1.er. Consul. Appiani Pinx.t. Moret Sculpsit. A paris,, chez Drouhin, Editeur, Rue de Vaugirard, N.o. 1348, enface e du Jardin des Carmes. [n.d., c ] Mezzotint printed in colour. Sheet: 305 x 415mm, (122 x 16½"). Trimmed within plate. 420 A portrait set within a oval of Napoleon Bonaparte. Bonaparte was named the First Consul following f the coup of 18 Brumaire, which took place on the 9th November 1799, in which Bonaparte and his followers overthrew The Directory, who were in control c of France at the time, and created the Consulate which ruled until the formation of the Napoleonic Empire inn Stock: Spooner's Proteann Views, No. 10. Napoleon Powerful and Napoleon Powerless. The print represents the fallen Warrior in exile on the sea girt isle alone & contemplating the mighty oceann which separates him afar from the Continent which wass the theatree of his triumphs andd his power.. The scene is i changes and Napoleonn is again powerful surrounded by his Veterans and his Legions in the Champ de Mars. London, William Spooner, No. 337 Strand. [n.d., c. 1820's.] Coloured lithograph, rare; 150 x 170mm, trimmed t and laid on card with title label, backed with tissue, as issued. Foxing. 350 The scene changes when heldd up to a lightt source. Stock: Beggar's Opera, Act III. as Originally perform'd at Lincolns Inn Fields, Publish'd July 1st by J. & J. Boydell, Cheapside, & at the Shakespeare Galleryy Pall Mall London. Engraved keyplate. 145 x 220mm (5¾ x 8¾"). Trimmed just within w plate at bottom. 260 The keyplate too Hogarth's painting of the Beggar's Opera, as engraved by William Blake for the t Boydells. The Performers: Macheath - Mr. Walker, Lockitt - Mr. Hall, Peachum - Mr. Hippisley, Lucy - Mrs. Egerton,

55 Polly - Miss Fenton, afterwards Dutchess of Bolton. The Audience: Duke of Bolton, Major Paunceford, Sir Robert Fagg, Mr. Rich, the Manager, Mr. Cock, the Auctioneer, Mr. Gay, Lady Jane Cook. Anthony Henley Esq.r, Lord. Gage, Sir Conyers D'Arcy, Sir Tho.s Robinson. A scene from John Gay's innovative and pioneering ballard-opera 'The Beggar's Opera', first painted by Hogarth in John Rich of the Lincoln's-Inn-Fields was eventually persuaded to take on the piece, and the first performance, on January 29, began, it is said, with some concern on the part of the audience, for the departure from the conventions of the day was considerable. However, the sparkling dialogue, witty satire, and ingenious ballads set to well-loved familiar tunes carried their own weight, and we have a report from Pope, as remembered by Joseph Spence: Ex: collection of the Hon. Christopher Lennox-Boyd. Stock: Chelsea Pensioners reading the Gazette of the Battle of Waterloo. J. Moyes, Castle Street, Leicester Square. [London, Moon, Boys, & Graves, c.1831.] Etching with letterpress. Sheet 850 x 570mm (33½ 22½"). Folds with worn holes, foxed. 280 Keyplate and list of subscribers for David Wilkie's lively scene of Chelsea pensioners sitting round a wooden table outside the Duke of York inn, listening to one reading the news of the Battle of Waterloo. The key lists the variant uniforms of the old soldiers. The extensive list of subscribers include the Duke of Wellington, the artist and Francis Moon, one of the publishers. Stock: Key of Reference to the print of The Battle of Waterloo, June 18th, The period of time is towards the Close of the Day when the whole French Army were thrown into Confusion. The Marquis of Anglesey having broken the French Lines and pass'd the high road, pursues the Enemy into a hollow, and the Cavalry charge and capture their Artillery. London; Published June 18th, 1819, by R.Lambe, 96, Gracechurch Street, and T.Clay, 18, Ludgate Hill. Etched key plate. Sheet 390 x 530mm, 15¼ x 21", watermarked 'J Whatman'. Folded at centre, bottom corner torn 360 Keyplate to a painting by Alexander Sauerweid, as engraved by H.R.Cook, with a 19-point key of persons and a 15-point key of the battle. BM: Ex: collection of the Hon. Christopher Lennox-Boyd. See item for the engraving. Stock: Key to the Splendid Mezzotinto Engraving, by G.H. Phillips, Esq from Danby's Sublime Painting of the Opening of the Sixth Seal. [n.d., c.1830.] Rare etching with letterpress, printed in blue. Sheet 285 x 225mm 11¼ x 9"). Laid on canvas, paper age toned. 350 The key and prospectus for an engraving of Francis Danby's 'An Attempt to illustrate the Opening of the Sixth Seal'. According to the text 'Each Subscriber of One Guinea shall receive one Share, securing One of the Splendid Mezzotinto Engravings of the Picture; and the chance of obtaining either the Grand Original Painting, valued at 1000 Guineas, or the Engraved Steel Plate, which cost 650 Guineas; and shall also receive a Free Admission Ticket admitting one person during the Exhibition'. Danby accused John Martin of stealing the idea of his 'The Deluge' from this painting, which Martin saw during a visit to Danby's studio. Ex: collection of the Hon. Christopher Lennox-Boyd. Stock: Key to the plate of the Royal Academicians. Pub. by C. Bestland [but later.] Stipple. 295 x 380mm (11½ x 15"). Tear in lower margin. 180 Keyplate to the stipple by C. Bestland after Henry Singleton. The artists include Thomas Lawrence, William Beechey, Angelica Kaufman, James Northcote, Henry Fuseli, John Singleton Copley, the Sandby brothers and, sitting in the President's chair, Benjamin West. Ex: collection of the Hon. Christopher Lennox-Boyd. Stock: Key to the Battle of Waterloo, by Lieut. Read. G.W. Ginger, College Street, Westminster. [n.d., watermarked 1836.] Etching with letterpress. Sheet 450 x 560mm (17¾ x 22"). Watermarked 'Sweetapple 1836', Wear to edges. 360 Keyplate to the aquatint drawn and etched by William Heath after Lieut. R.P. Heath, first published by Reeve in This keyplate is for a later issue as the letterpress 'Summary Account of that Decisive Victory' has been updated to include Napoleon's death on St Helena in Ex: collection of the Hon. Christopher Lennox-Boyd. Stock: [Keyplate to the Battle of Waterloo, by William Heath.] [n.d., c.1880.] Wood engraving. Printed area 120 x 360mm (4¾ x 14¼"). 85 Keyplate to the aquatint by Fry & Sutherland after William Heath, first published by Reeve in It names Wellington, Clinton, and Anglesea, with Napoleon Bonaparte in the background. Ex: collection of the Hon. Christopher Lennox-Boyd. Stock: 36971

56 295. [Donkey Racing..] E. Martin Inv.t. J. F. Martin sculp.t. [n.d., c.1799.] Stipple with hand colour, large margins. Platemark: 180 x 240mmm (7 x 9½"). Light staining in margins. Small repair in centre. Bit dusty. 220 A scene depicting nine figures racing donkeys over a small bridge, to the right, past two spectators in the centre, and off into the distance to the left. To the right, a goat leaps in front of a rider, throwing him from hiss donkey, in front, a small child rides with an adult, andd further ahead another riderr falls from his animal. By Elias Martin, A.R.A. Swedish, born Stockholm inn 1739, died Stockholm He came to London in 1768, becoming a Royal Academy student the next year and was elected A.R. A in After Elias Martin, engraved by his younger brother, Johann Frederick ( ). Stock: E. Martin Inv.t & Sculp.t. Publish'd as the Act Directs, Stipple with hand colouring with very large margins; Platemark: 190 x 150mm (7¾¾ x 6"). 140 A child sits looking down towards a smalll dog to the left, with its paws on the childs lap. By Elias Martin, A.R.A. Swedish, born Stockholm in 1739, died Stockholm He came to London in 1768, becomingg a Royal Academy studentt the next year and was elected A.R.A in Stock: [The Fair.] F. Wheatley inv. F. Bartolozzi Sculp.t. [n.d.,[ c.1789.] ] Stipple, fine with very large margins. Proof impression before letters. Platemark: 200 x 230mmm (8 x 9"). 260 An exterior scene at a country fair, with five childrenn standing beside a stall. The two boys in the centre play a small drum, hanging from one of theirr necks, as a girl sits on a basket to the left, playing a small clarinet shaped instrument. To the right, a girl holds a rifle over her shoulder, most likely used at the shooting gallery y at the fair to win prizes. De Vesme. 1274: I of III. Stock: Hunt the Slipper [&] Hot Cockles. W. Hamilton inv.t. F. Bartolozzi Sculp.t. Publish'd July 2.d, 1787 by W. Palmer No. 163 Strand. Pair of fine stipples. Platemarks 195 x 225mm (7¾ x 8¾"). Thread margins. 480 Two scenes of children playing: in 'Hunt the Slipper' a group of children sit in a circle playing, as one boy searches for the hidden slipper; in 'Hot Cockles' one person places their head in anothers lap and guesses who is hitting them from behind, a variation of the classic 'Blind Man s Buff'. De Vesme & 1264, both IV of IV. Stock: The mind uncumber'd plays Dame en e habit de Ballet. le Pautre delin. et Sculp. cumm privil Regis.. Ce vende sous les charniers Sts Inocens. [n.d., c.1675.] Etching, rare; 18th century watermark. Platemark: 295 x 195mm (11½½ x 7¾"). Few very small pin holes to surface. 260 A woman, standing whole-length, dressedd in a richly ornate ballet costume with a long striped stole, s holding a mask in her left hand and dancing. Two other figures are seen dancing beside stepss to the left. Print made by Jean J Lepautre e ( ), designer, etcher, publisher and the firstt of the Lepautre dynasty, brother of Antoine the architect, and father of Jacques and Pierre. Stock: [Decorative music book cover?] F. Bartolozzi sculp. Goulding, D'Almaine,, Potter & Co. Music Publishers [c.1809] Etching with very small margins, platemark 115 x 210mm (4½ x 8¼") Decorative design in proof state before text, by Francesco Bartolozzi ( ). Born in Florence, Bartolozzi was elected a founding member of the Royal Academyy in 1768 (thee RA did not admit a engravers at this time but made an exception in his

57 case). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in Dalton invited Bartolozzi to London with a promise of an appointmen as engraver to the king. Inn England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. Thiss portrait was published after Bartolozzi had left England for the continent. Stock: [Violinist Asleep Below a Tree.] Vien fecit. Franquinet del..t. Lith. de Chabert; r. Cassette, N.20. Lithograph with very large margins. Plate: 335 x 495mm, (13¼ x 19½"). 140 An old man, asleep holding a voilin in one hand and the bow in another. A skull, Stock: [The Gallery.] [&] The Pit [ Tragedy]. Printed by Graf & Soret 14, Newm[an Street.] [Published by R. Ackermann, 96, Strand.] [n.d., c.1830.] Pair of lithographs with fine hand colour, very scarce. Each sheet c..155 x 175mmm (6 x 7"). Trimmed within images, losing most of the inscriptions, mounted on album paper. 280 Two views of an audience: a family in the t gallery, presumably watching a comedy; and a similar s familyy in the pit, watching (according to the full inscription i of an example in the V&A) a tragedy. Ex: Collection of The Hon. C. Lennox-Boyd. Stock: Ex Collection of o the Hon. Christopher Lennox-Boyd & Collection of Sir Algernon Tudor Craig. Stock: The Rev.d John Wooll D.D. Master of Rugby School. Proof. Painted by Tho.s Lawrence Esq.r R.A. Painter in Ordinary to Hiss Majesty. Engraved by C. Turner Warren Street Fitzroy F Square. London: Pub.d Nov.r , by Mess. rs Colnaghi & Co, Cockspur Str.t Hay Market. Proof mezzotint with very large margins. 400 x 300mmm (15¾ x 11¾"). Mounted on album paper. Uncut. 240 John Wooll ( , headmaster of Rugby School from 1806 to Educated at Winchester College, Balliol College Oxford and Neww College, Wooll held a fellowship at New College from 1788 until 1799, when he was appointed headmaster of Midhurst Free Grammar School. He bacame headmaster at Rugby School in 1807 and embarked on a rebuilding programme which included a chapel in Initially the numbers of pupils grew, exceeding 380, making Rugby second only in size to Eton, E but afterr 1818, perhaps because of his reputation for excessive flogging, numbers fell, dropping to 1233 by the end of 1827, prompting his resignation in Wooll settled in Worthing, Sussex, where he died in i A monument was erected e to his memory in the school chapell at Rugby. Whitman 625, i of ii. Ex: collection of the Hon. Christopher Lennox- Boyd. Stock: Samuel Berdmore S.T.P. Scholae Carthusiae Magister, MDCCLXXXVIII. Painted in Miniature by S. Shelley / Engraved by W. Nutter Publish'd Oct.r by R. Cribb N. 288 High Holborn Stipple with very large margins, platemark 205 x 150mm (8 x 6"). 120 Samuel Berdmore ( ), headmaster of Charterhousee School from 1769 to where he maintained the reputation and finances of the school. Bredmore was also a keen literary scholar, publishingg 'Specimens of Literary Resemblance in the Works of Pope, Gray, and other Celebrated Writers' in 1801, and he was a member of the Unincreasable Club, meetingg in Holborn that included the painter George Romney amongst its members. Stock: Rich..d. Rawlinson L.L.D. Vertue delin. Smith Fecit. [n.d., c ] Mezzotint, rare. Sheet: 180 x 250mm, (7 x 9¾"). Trimmed to plate. 260 A half-lengthh portrait set in an oval of Richard Rawlinson ( ), antiquarian, collector and Jacobite. He bequeathed most of his collection to thee Bodleian Library, Oxford. CS: 3 II. Sharpe: 602 II [Lawrence Alma-Tadema, R.A., in his studio] [T.L. Atkinson after John Collyer, pencil signatures] s [Published by T.H. T Lefèvre, June ]

58 Mezzotint on india, very large margins; platemark 550 x 420mm (21½ x 16½"). Printsellers' Association blindstamp. Very scarce. 520 Lawrence Alma-Tadema ( ), London painter of Greek and Roman settings, etcher, stage designer and decorative artist. Shown in his studio holding palette and brushes, an unfinished canvas behind him. After training in Antwerp, Alma-Tadema moved to London in 1870 and became a member of the Royal Academy in He was knighted in After the portrait by John Collier ( ), portrait painter who received guidance and encouragement from Alma-Tadema as a young artist. The print was originally sold as a companion to a portrait of another 19th century artist, Rosa Bonheur. PSA limited to 275 artist's proofs (plate destroyed); ex: collection of the Late Hon C. Lennox-Boyd. Stock: R. Crosse, Esq.r. Painter in Enamel to His Majesty. Painted by Himself / Engraved by R. Thew [published 1 September 1792]. Stipple, sheet 165 x 120mm (6½ x 4¾"). Trimmed inside platemark. 140 Richard Crosse ( ), miniature painter who while not now ranked among the pre-eminent miniaturists of the 18th century, was probably appointed painter in enamel to George III circa Crosse's ledger in the National Art Library reveals that during his most productive years he painted around 100 miniatures per year. He appears to have given up his London practice in 1798 and to have retired to Somerset. This engraving reproduces Crosse's selfportrait of circa 1780 (Victoria & Albert Museum). In BM Stock: W. Dobson. Ipse pinx. Geo: White Fecit. Sold by Sam.l Sympson in ye Strand. Mezzotint with small margins, platemark 350 x 245mm (13¾ x 9¾"). Damaged. 160 William Dobson (bap.1611-d.1646), portrait painter, after a self-portrait. Often regarded as the first major British painter, he was (with the exception of the miniaturists Hilliard and Oliver) the first home-bred painter at the English court. Following the death of Van Dyck in 1641, Dobson was called upon to paint Charles I and his royalist supporters, who had fled to Oxford after Civil war broke out. CS 16.i; Ex: collection of the Hon. C. Lennox-Boyd Stock: [Portrait of François du Quesnoy] Hic ille est quondam Fratri vix dispar in arle, felix! [...] Tabulae per A: Van Dyck ad vivum depictae R. Brookshaw fc.t Bruxellis Annon Salutis 1779 Mezzotint, sheet 205 x 160mm (8 x 6¼"). Trimmed inside platemark; false margins added. Rare. 140 François du Quesnoy ( ), sculptor and draughtsman, gesturing towards a small bust. Du Quesnoy moved to Rome in 1618 (he was a friend and housemate of Nicholas Poussin) and spent the rest of his life in Italy (earning the sobriquet 'il Fiammingo'- 'the Flemish'). Apparently after a portrait by Van Dyck, and published by the British engraver Richard Brookshaw when he was briefly resident in du Quesnoy's hometown of Brussels. CS p.99; Ex: collection of the Hon. C. Lennox-Boyd. Stock: Thomas Hayley the Disciple of John Flaxman / from a Medallion. Blake sc. [n.d., c.1800 Stipple, platemark 165 x 110mm (6½ x 4¼"). Late. 40 Thomas Alphonso Hayley ( ), sculptor who was taught by Joseph Wright of Derby and admired by George Romney before dying aged just nineteen. Engraved by William Blake. Stock: Jean Baptiste Monoyer Peintre des Fleurs. Illustrissimo Principi Joanni Duci de Montagu &c [...] G. Kneller Baronettus pinx Printed for & Sold by Henry Overton at the White Horse without Newgate London. Mezzotint with very large margins, platemark 340 x 240mm (13¼ x 9½") 260 Jean Baptiste Monoyer ( ), painter of flower still lives. He was employed at Versailles before being brought to England by the Duke of Montagu (to whom this print is dedicated). He then worked at Montagu House, painting over fifty panels of fruit and flowers for overmantels and overdoors, some of which were later transferred to Boughton House, Northamptonshire. Stock: Jean Baptiste Monoyer Peintre des Fleurs. G. Kneller S.R.J. Equ: Aur; et Mag: Brit: Equ: Aur: et Baronettus Pinx. E. Fisher fecit. [n.d., c.1715.] Mezzotint. 345 x 245mm (13½ x 9½"). 230 Jean Baptiste Monoyer ( ), painter of flower still lives. He was employed at Versailles before being brought to England by the Duke of Montagu. He then worked at Montagu House, painting over fifty panels of fruit and flowers for overmantels and overdoors, some of which were later transferred to Boughton House, Northamptonshire. Ex: Collection of the Hon. Christopher Lennox-Boyd. CS: 42. Stock: Nicholas Pocock. Painted by J. Pocock. Engraved by Edw.d. Scriven. Historical Engraver to His Majesty. Engraving with very large margins. Proof. On India, laid. Plate: 190 x 250mm, (7½ x 9¾"). Some surface dirt. Hole in lower margin. 95 Half portrait of British artist Nicholas Pocock ( ) famed for his battle scenes. Stock: 36418

59 collection of thee late Hon C. Lennox-Boyd; CS 226 (only state) Stock: Charles Smith, Painter to the Great Mogul. Ipse pinx.t. S.W. Reynolds sculp.t. [n.d., c. c 1795.] Stipple. Sheet size: s 175 x 95mm (7 x 3¾") ). Fine impression, cutt nearly to image. 75 A portrait of Charles Smith ( ) half-length, directed to the left, l facing towards the front. He is wearing a turban and a dark cloak with a light frill, holding rolled up u papers in his right hand. Smith was a Scottish artist who worked initially as a painter of portraits but later also painted mythological and whimsical subjects. Smith left England for India in 1783 and travelled widely, spending time in Calcutta, Madras, Lucknow and probably Delhi, where he may have painted the Mughal emperor. Whitman: 267A. Stock: [Rembrandt as a Standard Bearer.] Dee Origineele Schildery is in de Collectie van denn Heer J.M Quinkhard. Rembrand pinxt. P. Lauw fec. te Amsterdam by P. Fouquet Junior [n.d., c.1750.] Mezzotint with very large margins; platemark 400 x 295mm (15¾ x 11½"). Slight cockling. Very slight crease in centre. 450 Engraving of Rembrandt's 1636 painting (collection of Elle de Rothschild, Paris). Charington 103 ii/ii Stock: [Self-portrait by Rembrandt] 23 [Andrew Geddes after Rembrandt] Etching with very large margins, platemark 70 x 65mm (2¾ x 2½"). 120 Copy in reverse of Rembrandt's 1634 etched self- Andrew portrait, by the Scottish painter and etcher Geddes ( ). The Oxford DNB states that 'ass an etcher Geddes ranks higher than as a painter; his plates may be regarded as among the very earliest examples in modern British art of the brilliancy, concentration, and spirited selection of line l proper to a painter's-etching '. CD 38.ii; Hollstein 133 copy i; Hind 57 (copy) Stock: Godfridus Schalcken Hanc suam Effigiem pinxit Londini 1694 J. Smith fec. &. exc. Mezzotint, platemark 340 x 250mm (13½ x 9¾) Thread margin; crease through centre. 120 Mezzotint after a self-portrait by the Dutch artist Godfried Schalcken ( ) who worked for many years in London and noted for hiss mastery of candlelit scenes such as this. Fluted pillar on left and two fragments of ancient statuary lowerr right. Ex: 318. J. W. M. Turner Esq.r. R.A.P.P Geo. Dance.del.t. March Published. by W.m. Smith N.o.24 Lisle L Street, Leicester Square, London. May Etching with large margins. Plate: 200 x 280mm, (8 x 11"). 220 A half-length portrait in profile of artist Joseph Mallord William Turnerr ( )) aged 25. Stock: H.L. Wellington Royal College of Art / D. Smith 1929 [pencil signature lower right] Aquatint with very v large margins, very scarce, platemark 200 x 230mm (8 x 9"). 240

60 Probably a portrait of Hubert L. Wellington ( ), artist and art teacher. Wellingtonn arrived at thee Slade to study at the same time as Wyndham Lewis, and was close friends with Camden Town Group members Spencer Gore and Harold Gilman. Wellington's work is in the Tate collection, but it wass as a teacher that he made his most important contribution, working as lecturer and registrar from (during which time this print was made), andd later becoming principal at Edinburgh College of Artt and the Slade. Wellington' 's DNB entry was written by Sir William Coldstream, whose time at the Slade overlapped with Wellington's. Stock: Benjamin West, Esq.r President of the Royal Academy in London: Dedicated to the Directors of the British Institutionn by their ob. Serv.t William Johnstone White W.J. Newton Pinx.t / C. Heath Sc.t Published Jan.y 1st 1818 by W.J. White 14 Brownlow Street, Holborn, London Engraving on india with large margins, platemark 3800 x 290mm (15 x 11½"). 140 Benjamin West ( ) American painter of historical scenes, with Windsor Castle in the distance. In 1760 he became the first American painter to travel to Italy, spending three years there. West met Georgee III's librarian Joseph Dalton in 1762, who gave him a royal commission to paint the lovers Cymon and Iphigenia. It was partly due to Dalton's encouragement that West arrived in London, where he was to spend the rest of his career. In 1768 West played an instrumental role with the king in obtaining patronagee for a Royal Academy of Arts, joining other charter members in helping to elect Reynolds as its first president. Eventually, despite his American origins, West becamee historical painter to the king in 1772, surveyor of the king's pictures in 1791, and second president of the Royal Academy in 1792, after Reynolds's death. Stock: Harry Carey. J. Worsdale pinx / J Faber Fecit [1729] Mezzotint, platemark 190 x 150mm (7½ x 6"). Smalll margins. Rare. 160 Henry Carey ( ), poet and songwriter. Allegedly the illegitimate son of the George Savile, marquess of Halifax, Carey is best known for his satires and comedies for the theatre today. He also taught music and published poetry. The great music historian Charles Burney wrote of him: 'Honest Harryy Carey invented many very pleasing and a natural melodies, which neither obscured the sense of the words, nor required much science to hear'. A defender of indigenous musical traditions, Carey attacked Italian opera, and sometimes paticular continental performers, in satires like 'Faustina, or, The Roman Songstress'. Despite the great success of works such as 'the Dragon of Wantley' (1737), whose popularity eclipsed even 'The Beggar' s Opera', Carey committed suicide soon after the death of his son in Ex Collection of thee Late Hon. C. Lennox-Boyd; CS 58 i/ii [with 1729 date seemingly scratched out] Stock: [Geoffrey Chaucer.] [From an Original Painting inn the Picture Gallery at Oxford. Engraved by P. Conde] [Published Feb.y by Richard Philips. No.71 St. Paul's Church Yard, London.] Very rare stipple with etching. Proof before letters. Sheet size: 255 x 180mm (100 x 7"). Trimmed inside plate. 320 Geoffrey Chaucer (c ) was an English author, poet, philosopher, bureaucrat, courtier and diplomat. Although he wrotee many works,, he is best remembered for his unfinished frame narrative 'The Canterbury Tales'. Sometimes called the father of English literature, Chaucer iss credited by some s scholarss as the first author to demonstrate the artistic legitimacy of the vernacular English language, rather than French or Latin. Stock: [Portrait of Vincenzo Martinelli with cornucopia below] G.B. Cipriani Fiorentino F disegno / F. Bartolozzi scalpi [1766] Engraving withh very large margins, fine, platemark 205 x 140mm (8 x 5½") Portrait of the Italian I author Vincenzo Martinelli, from his edition of Boccaccio's B 'Decameron' published in London in Engraved by Francesco Bartolozzi ( ), Florentine engraver and founding memberr of the Royal Academy in After meeting George III's I librarian Richard Daltonn in Italy in 1763, Dalton invited Bartolozzi to London with a promise of an appointmentt as engraver to the t king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dotss rather than lines. l This

61 was the medium employed for many of his prints although this print uses the more established technique of etching. De Vesme 872 (only state). Stock: Mr. Pope. G. Kneller Pinx. Sold by S. Sympson in Maiden Lanee Cov.t Garden. [n.d., c.1732.] Mezzotint with thread margins. Very fine & rare. Platemark: 200 x 150mm (8 x 5¾"). 240 A portrait of author and poet Alexanderr Pope ( ), seated half length, slightly to thee left, resting on his left arm, which is on a book on the table t in front of him. Alexander Pope, the 18th century English poet, was best known for his satirical verse and for his translation of Homer. Ex collection of Christopher Lennox-Boyd. Chaloner Smith: 84. II off II. Stock: The Reverend Doctor Jonathan Swift Dean of St: Patrick's, Dublin. acri quondam cui captus amore/ Ipse suas artes sua s muneraa laetus Apollo/ Augurium citharamque dabat. [Quotation from Virgil's Aeneid.] Markham ad vivum delin. Burford fecit Londonn Printed for John Bowles & Son, at ye Black Horse in n Cornhil. According to Act of Parliament. Mezzotint with small margins, fine, platemark 350 x 250mm (13¾ x 9¾"). Trimmed to plate lower edge; reworked state after publisher name and date altered. 320 Jonathan Swift ( ), writer, seated in an armchair in his study. Swift was an Anglo-Irish satirist, essayist, political pamphleteer (first for Whigs then for the Tories), poet and clericc who becamee Dean of St. Patrick's, Dublin, best known for his satire 'Gulliver'ss Travels'. Engraved by Alexander van Haecken ( /57), with quotation from Virgil's 'Aeneid' below image. Ex Collection of the Late Hon. C. Lennox-Boyd; CS (under van Haecken) 16 iii/iii Stock: Carolus Primus D.G. Angliae Scotiae Franciae et Hiberniae Rex &c. [after William Faithorne.] [n.d. c.1648.] ] Engraving. Sheet 250 x 165mm (9¾ x 6½"). Trimmed just within plate. Ink mark in title. 120 Oval portraitt of Charles I ( ) in i armour, thee Order of the Garter around his neck, copied from Faithorne's frontispiece for William Sanderson's 'Compleat History of the Life and Raigne of King Charles'. The lettering around the oval has been added for this version. Fagan: Pg 4 Robert White copied. Stock: [Charles I] Fideii Defensor. [Engraved by William Marshall.] [London: R. Royston, c.1649.] Engraving, rare. Sheet 135 x 90mm (5¼ x 3½"). Trimmed within image, losing engravers signature, 'Hall' written in old ink mss on the globe. Repairs. 95 Charles I ( ) wearing hat and George, leaning over a globe with the British h Isles filling the visible area, writing the word. The frontispiece to 'The Papers which Passed at a Newcastle betwixt His Sacred Majestie and Mr M Al: Henderson'. Stock: Carolus ii D.G. Anglia Scotia Francia et Hibernia Rex. [Anon.] [n.d., c. c 1690.] Mezzotint. Rare. Sheet size: 240 x 160mmm (9½ x 6¼"). Trimmed to image. Laid on sheet. Light horizntal creases. 260 A portrait of King Charles II I ( ) as King. Bust length, towards the left,, facing forwards, wearing wig, lace cravatt and brocade coat. Within an oval border. Title inscribed in Latin below. Charles was King of England, Scotland, and Ireland from 1660 until his death. Ex collection of Christopher Lennox-Boyd. Stock: The Victorious Duke of Cumberland. Printed for Johnn Bowles at the Black Horse in Cornhill Engraving, sheet 255 x 195mm (10 x 7¾" ). Trimmed inside platemark. Very rare & fine. 260 Prince William Augustus, Duke of Cumberland ( ), in military uniform, probably cropped from a full-length portrait. The thirdd son of George II and a life-long soldier, the Duke was described by Horace Walpole as 'proud and unforgiving, fond of war for its own sake'. His victory at Culloden in 1746 ended the Jacobite threat, but his severee treatment off the rebels earned him the nickname 'Butcher Cumberland'. Ex Collection of the Late Hon. C. Lennox-Boyd Stock: 36516

62 330. George III. King of Great Britain. &c. &c. [&] Charlotte. Queen of Great Britain. &c. &c. B. West pinx.t. C. Ruotte Sculp.t. [n.d., c.1780.] A Pair of Stipples. Sheet size: 250 x 160mm (9¾ x 6¼") each. Cut to platemark at sides. 120 A pair of stipple portraits after Benjamin West. King George III, bust, directed to right, within an oval. Queen Charlotte, bust, directed to front, looking left, hair dressed up, wearing a pearl necklace and a dress decorated in bows. George III ( ) was King of Great Britain and Ireland from 25 October 1760 until the union of the two countries on 1 January 1801, after which he was King of the United Kingdom of Great Britain and Ireland until his death. On 8 September 1761 in the Chapel Royal, St James's Palace, the King married Princess Charlotte of Mecklenburg-Strelitz, whom he met on their wedding day. A fortnight later, both were crowned at Westminster Abbey. Stock: The Introduction of the Princess of Brunswick to the Prince of Wales. The Royal Stranger now mid hopes & fears, / Before he Prince & destind Lord appears;... Publish'd June 1st 1795, by J. Coard, No 11 Lisson Street, Edgware Road. Mezzotint, printed in colours and hand-finished, rare. 350 x 250mm (13¾ x 9¾") Thread margins. 260 An idealised scene of the first meeting of George and Caroline of Brunswick, shortly before their marriage on 8th April The text refers to Caroline 'In beauty perfect' and George as a 'Godlike Youth': in reality George called for a glass of brandy, obviously disappointed, and Caroline said to her escort Lord Malmesbury '[the Prince is] very fat and he's nothing like as handsome as his portrait'. The pair separated the following year. Ex Collection of the Hon. Christopher Lennox-Boyd. Stock: [Their Royal Highnesses /The Prince & Princess of Wales.] H. de Janvry pinx. / F. Bartolozzi sculp. London, Published as the Act directs April , by the Author Etching and stipple, sheet 240 x 155mm (9½ x 6"). Trimmed inside platemark. Rare proof before title. 160 Double portrait of the future George IV and Queen Caroline when prince and princess of Wales, by Francesco Bartlozzi ( ), Florentine engraver elected a founding member of the Royal Academy in 1768 (the RA did not admit engravers at this time but made an exception in his case). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. De Vesme 1209 ii/iii; Collector's Mark: Z Stock: Mary Queen of Scots. To the Master Wardens & Court of Assistants of the Worshipful Company of Drapers [...] Federico Zuccheri Pinx.t / S. Roma Del.t / F. Bartolozzi Sculp.t Published as the Act directs Jan , by John Boydell Engraver in Cheapside London. Etching, sheet 480 x 330mm (19 x 13"). Trimmed to platemark; creasing top left. Rare. 240 Full-length portrait of Mary, Queen of Scots ( , reigned ), after Federico Zuccaro (1539/ ). De V: 1208 v of v. Stock: [Charles Edward Stuart.] [after William Mosman, c.1840.] Rare proof engraving on india. Platemark 290 x 230mm (11½ x 9"). Very large margins. 130 Half portrait in a roundel of Prince Charles Edward Stuart ( ) the grandson of James II. Known as 'Bonnie Prince Charlie' or the 'Young Pretender', he led the failed Jacobite uprising of 1745 which sought to restore the Stuart family to the British throne. Following the Jacobite's defeat at Culloden he escaped to the continent where he remained until his death in Not in Sharpe. Stock: His Royal Highness James Prince of Wales &c. Born at the Palace of St James's The 10 Day of June De Largilliere Pinxit. Edelinck Sculpsit Cum Pr. Regis [c.1692.] Engraving. Sheet 435 x 310mm (17¼ x 12¾"). Trimmed within plate, laid on album paper. Slight crease. 390 Oval portrait of four-year-old James Francis Edward Stuart, the 'Old Pretender' ( ), in the feminine dress style of the period, wearing a feathered hat and Garter. As the son of James II, his birth raised the prospect of a catholic succession and so sparked the 'Glorious Revolution' that forced his father into exile. When his father died in 1701 the Jacobite faction proclaimed him James III, although he would never take his throne. Sharpe 89. Stock: [His Royal Highness Prince William Henry. Serving as Midshipman on board His Majesty's Ship Prince George.] B. West Pinxt. F. Bartolozzi Sculp.t. P Sandby Aquat.t. Publish'd as the Act Directs Jan.y by A. Poggi No.4 Orchard Street, Portman Square. Etching and aquatint in sepia, rare; sheet 565 x 445mm (22¼ x 18¼"). Trimmed inside platemark; creases and tears, some professionally repaired. 420 King William IV ( ) when a prince. Prince William was sent into the Royal Navy at the age of thirteen, 'chiefly to prevent him from falling under the

63 influence of his eldest brother, George' (Oxford DNB). He joined the (ironically named) 98-gun ship 'Prince George' in 1779 as a midshipman, an event commemorated here. After a portrait (c.1781) by Benjamin West, the American artist later to become President of the Royal Academy. The print was madee by Francesco Bartolozzi and Paul Sandby, both printmakers with strong connections to the Hanoverian monarchy. De Vesme 926 ii/iii. Stock: Joseph Beeton. Design'd from the Life, & publish'd by R: Williams Black goose Street Lynn. Jan.y Mezzotint, platemark 250 x 175mm (9¾ x 7"). Very scarce. 350 Joseph Beeton (d.1783), highwayman. He was tried, imprisoned and executed in King's Lynnn in 1783 for robbing the north mail coach. Afer the robbery, r a lucrative award was offered and Beeton was given up. Like an earlier celebrity criminal, Jack Sheppard, Beeton escaped from prison, but the landlord at the inn he fled to informed the authorities and Beeton was recaptured. Beeton's youth, good looks (hence the dandyish pose he maintains even in irons here) and supposed benevolent reasons for committing the crime c arousedd the sympathyy of many locals, who donated money to employ counsel to plea for him. Even so, he was found guilty and executed at the gallows near Southgates. This portrait, published locally a week before Beeton's execution, demonstrates the market for images of the e local celebrity. Ex Collection of the Latee Hon. C. Lennox-Boyd; see Neil Storey, 'Norfolk villains' Stock: Carlo Ferrara. F Thee Poor Italian Boy. Drawn from Nature and on Stone by the Rev.d T. Kilby. Printed by b T. Skelton.. [n.d., c.1850.] Tinted lithograph with very large margins. Printed area 270 x 205mm (10½( x 8"). Foxing in borders. 260 A boy with a box and puppets, with a tortoise sitting on the box. A street urchin, he was murdered in 1831 by Bishop and Williams, who tried to sell his body to the Medical Schooll at King's College, London. Caught, the pair became known as the 'London Burkers' (after the more notorious Burke and Hare of Edinburgh) and confessed to sixty murders prior to their execution. Bishop's corpsee was put on display at King's College anatomy theatre. It is believed that the case was a prime inspiration for Charless Dickens's 'Oliver Twist', which he begann five years later. Stock: James Ings. Thomas Brunt. Wivell Delin.t. Cooper Sculp.t. London, Published by Tho.s Kelly, 17, Paternoster Row, May Stipple. Sheet size: s 220 x 130mm (8¾ x 5¼"). 70 A double portrait of James Ings (above) and Thomas Brunt (below). Both head and shoulders, directed to and facing the left. l The Cato o Street Conspiracy was an attempt to murder all of the British cabinet ministers and Prime Minister Lord Liverpool in The police had an informer and the plotters fell into a police trap and 13 were arrested, while one policeman was killed. Five conspirators were executed, and five others were transported to Australia. A James Ings, a coffee shop keeper and former butcher, later announced that he would have decapitated all the cabinet members and taken two heads to exhibit onn Westminsterr Bridge. John Brunt escaped the police but was caught and arrested a few days d later. Thee execution off Ings and Brunt, as well as a Thistlewood, Davidson and Tidd took place on May M 1st at Newgate, the day before this print was published. Stock: Georgee Earl of Cromartie. [n.d., c.1730.] Mezzotint. Very rare. Platemark: 194 x 145mm (7¾ x 5¾"). Thread margins. m 260 A portrait of George Mackenzie, 3rd Earl of Cromartie ( ), half-length h in n an oval, directed towards the left, lookingg towards the viewer. Wearing a short wig, tied at the nape, a plain coat over a dark waistcoat which is buttoned at the waist and below a white cravat. Cromartie was one off the leaders of the Rebellion in 1745, and was taken prisonerr after the battle of Littleferry. He was tried and sentenced to death, but he obtained a conditional pardon although his peerage wass forfeited, allegedly because his wife was heavily pregnant. Ex colection of Christopher Lennox-Boyd. Chaloner C Smith: 23. Sharpe: 381 Stock: 36554

64 ( ), draughtsman and singer. After the death of John Collett in 1780, Dighton became the t foremost designer of droll mezzotints such as this. As business in the art worldd declined during the Napoleonic Wars, Dighton began stealing prints from the British Museum, only getting caught after severall years of theft. Ex: Oettingen-Wallenstein collection and collection of thee late Hon. C.. Lennox-Boyd; not in CS. Stock: Boyd Stock: [Misss Cabben.] G. Willison pinxit. Val. Green fecit. Publish'd Sept.r [Printed for Rob.t Sayer No. 53 Fleet Street.] Mezzotint, scratched letter proof. 355 x 275mm. 14 x 10¾". Trimmed into plate at bottom, losing publisher's line. 180 A provocative portrait of a woman in an oval border engraved by Valentine Green ( ) after the Scottish artist George Willison ( ). CS 18. W: 17: i of iii. Ex: the Collection of the Hon. C. Lennox [La Compassion.] [J.B.Greuze pinxit. J.Massard fecit.] [n. d., 1777.] Mezzotint with very large margins, proof before letters, rare. 255 x 195mm (10 x 7¾"). SIGNED BY THE ENGRAVERR ON REVERSE. 250 Head and shoulders of a young girl throwing up her hands in pity, set in an oval against a blank frame. The artist Jean Baptiste Greuze ( ), who specialised in domestic genre scenes, signed prints after his designs to prevent undeclared impressions i being run offf without his knowledge; here, however, only the signature of the engraver, Jean Massard ( ) is visible, albeit faintly. See BM 2004, for published state, 'the only example known of a mezzotint after Greuze madee in France'. Ex: Collection of the Hon. Christopher Lennox-Boyd. Stock: [Woman in enormous hat.] Rob. Dighton pinxit / R. Laurie Fecit. London: Printed for R. Sayer & J. Bennett No 53 Fleet Street, 26 Feb.yy 1778, as the Act directs. Mezzotint with very large margins, extremely rare & decorative, platemark 115 x 90mm (4½ x 3½"). Uncut; glued to backing sheet along left side. 280 Decorative mezzotint by engraver and printseller Robert Laurie (1755?-1836), after Robert Dighton 344. [Woman holding quill and letter.] Rob. Dighton pinxit p / R. Laurie Fecit. London: Printed for R. Sayer & J. Bennett Noo 53 Fleet Street, and J. Smith No 35 Cheapside, as the Act directs, 1st January 1778 Mezzotint with very large margins; extremely rare & decorative; platemark 115 x 95mm (4¼ x 3½"). Uncut; good impression; glued to backing sheet at a lower left corner. 280 Decorative mezzotint by engraver and printseller Robert Laurie (1755?-1836),(, after Robert Dighton ( ), draughtsman and singer. Shows a woman holding a letter inscribed 'Myy Lord Duke' and seemingly contemplating what to write next. After the death of John Collett in 1780, Dighton became the foremost designer of droll mezzotints such as this. As business in the artt world declined during the Napoleonic Wars, Dighton began stealing prints from the British Museum, only getting caught after a several years of theft. Ex: E Oettingen-Wallensteiof o the late Hon. C. Lennox-Boyd; not in collection c and collection CS. Stock: [Child with Apple] ] A Geddes ft [lower left] Etching with very large margins, platemark 160 x 140mm (6¼ x 5½") Portrait of the artist's a niece, Agnes Paul. Etched by the Scottish painterr and etcher Andrew Geddes (1783-

65 1844). The Oxford DNB states that 'as an etcher Geddes ranks higher than as a painter; his plates may be regarded as among the very earliest examples in modern British art of the brilliancy, concentration, and spirited selection of line proper to a painter's-etching '. CD 18.v; Ex: collection of the Late Hon. C. Lennox- Boyd. Stock: [Portrait of an old woman] [Andrew Geddes after Jacques Jordaens] Etching with very large margins, platemark 145 x 125mm (5¾ x 5"). 95 Portrait of an old woman inspecting a ring, after the Flemish painter and contemporary of Rembrandt Jacques Jordaens ( ). Etched by the Scottish painter and etcher Andrew Geddes ( ). The Oxford DNB states that 'as an etcher Geddes ranks higher than as a painter; his plates may be regarded as among the very earliest examples in modern British art of the brilliancy, concentration, and spirited selection of line proper to a painter's-etching '. This plate was one of ten published by Geddes in CD 37.iii; Ex: collection of the Late Hon. C. Lennox-Boyd. Stock: [Old woman asleep] 24 [Andrew Geddes after Rembrandt] Etching with very large margins, platemark 80 x 60mm (2¾ x 2½"). 120 Copy in reverse of a Rembrandt etching, by the Scottish painter and etcher Andrew Geddes ( ). The Oxford DNB states that 'as an etcher Geddes ranks higher than as a painter; his plates may be regarded as among the very earliest examples in modern British art of the brilliancy, concentration, and spirited selection of line proper to a painter's-etching '. CD 39.ii Stock: Du Cabinet de la Maj. Imp. de toutes les Russies Catherine, II. d'aprés l'original de Greuze gravé par J: Walker Graveur de la Maj: Imp. S.t. Petersbourg Nov: Mezzotint with very large margins, rare. Plate: 185 x 250mm, (7¼ x 9¾"). Some marking outside plate on left. 360 A quarter-length portrait of a young, smiling girl in a bonnet. Ex: Oettingen-Wallenstein collection, Sothebys' Lot 736, 13/11/97. Stock: [Girl in Greek dress with peacock] Painted by J. Northcote R.A. / Engraved by H. Dawe [n.d., c.1810] Mezzotint with very large margins, rare; platemark 505 x 315mm (19¾ x 12½"). 460 Girl in Greek dress, with a peacock to her right and a plant to her left. After James Northcote ( ), painter and author. The engraver Henry Dawe ( ) was part of a family of engravers, who like his brother George spent many years working in St Petersburg. Unfortunately during his career the technique of mezzotint, demonstrated so well here, went into decline as it was supplanted by lithography and engraving onto steel plates, both of which enabled publishers to make many good impressions whereas mezzotints yielded very few. Ex: collection of the late Hon C. Lennox-Boyd; Stock: [Woman in profile.] H.D. Hamilton pinx.t / R. Laurie fecit. [London, Printed for Robt Sayer No 53 Fleet Street, as the Act directs 20 Octr 1771.] Mezzotint with thread margins, very rare, sheet 150 x 115mm (6 x 4½"). Trimmed inside plate at bottom, losing text. 120 Decorative mezzotint by engraver and printseller Robert Laurie (1755?-1836), after an early work by the Irish portrait and subject painter Hugh Douglas Hamilton ( ). After building up a reputation in Ireland, Hamilton moved to Italy for thirteen years in 1779, where his work was popular among Irish Grand Tourists, before reluctantly returning to Ireland due to political events on the continent. One of few engravings made from Hamilton's work. Ex: collection of the late Hon. C. Lennox-Boyd; CS 41. Stock: [Man from Cartagena.] Omen Iberiacis, victa Carthagine, terris. Sil. Ital. Joanes Kupezky pinx. / Bernardy Vogel juxta Originale sculps. et excudit Noribergae 1737 Pars 5 * * * N. 55 / Cum Privilegio Ac. Caes. Majest. Mezzotint with large margins, platemark 350 x 260mm (13¾ x 10¼"). Rare. 280 Unidentified man with hands on a plumed helmet, after Jan Kupecký ( ), Bohemia-born painter. As a young man Kupecký moved to Italy, working successfully in Rome before moving to Vienna (c.1709) at the invitation of Prince Adam von Liechtenstein. In 1723 he moved to Nuremberg (where this print was published), remaining there until his death. From 'Ioannis Kupezky, incomparabilis artificis, Imagines et picturae...', a collection of engravings of the artist's work. Ex Collection of the Late Hon. C. Lennox-Boyd; for another print from the same series see ref Stock: No. IX. E. Martin inv.t. Publish'd as the Act directs. 1.st April, 1778, by E. Martin, No.1. Leicester Street. Stipple printed in sanguine with large margins. Platemark: 225 x 165mm (8¾ x 6½"). Light creasing. 120 A half portrait of a young woman, seated, directed to the left, reading from a book. Below the image, within an oval, is a classroom scene in which a childs stands before his classmates, reading to the teacher. By Elias Martin, A.R.A. Swedish, born Stockholm in 1739, died Stockholm He came to London in

66 1768, becoming a Royal Academy student the next year and was elected A.R. A in Stock: [Mother and child eating fruit from a tree.] E. M. fecit. Publish.d Stipple with hand colour, large margins, very fine. Onn watermarked paper. Platemark: 240 x 160mm (9½ x 6¼"). Small tear in lower right corner of sheet. Two small spots in the left margin. Light rubbing to right margin. 240 A well dressed woman picks fruit with her right hand, most likely cherries, from the branch off small tree to the left, whilst a child eats from her left hand. By Elias Martin, A.R.A. Swedish, born Stockholm inn 1739, died Stockholm He came to London in 1768, becoming a Royal Academy student the next year and was elected A.R. A in Stock: Constantia Charming. Elias Martin inv.t. & Sculp.t. Published December 18.th 1778, Leicester Street, No. 8. Stipple printed in sanguine with large margins. Platemark: 220 x 165mm (8¾ x 6½"). Lower left corner creased. Small mark in title area A half portrait of a woman wearing a veil, with covered shoulders, directed to the left, reading r from a book. By Elias Martin, A.R.A. Swedish, born Stockholm inn 1739, died Stockholm He came to London in 1768, becoming a Royal Academy student the next year and was elected A.R. A in Stock: Out of Work. Drawn from Nature and on Stone by the Rev.d T. Kilby. Printed by b T.H. Skelton, Southampton. [n.d., c ] Tinted lithograph on india with very large margins. Printed area 255 x 205mm (10 x 8"). Foxing in borders. 130 A man in a smock, arms folded. The Reverend Thomas Kilby ( ) is best known for his 'Scenery in the Vicinity of Wakefield', Stock: [Portrait of a man in military costume.] From the Original Picture Painted by Rembrandt, In I the Collection of the Right Hon.ble the Earl E of Bessborough. To whom this Plate is most Humbly Dedicated, by His Lordship's most m Obligedd and most Obedient Hum.ble Servant, J. Boydell. Rembrandt Pinx.t / W. Pether fecit Published according to Act of Parliament, by J. Boydell Engraver, in Cheapside, Nov. 1.st Mezzotint, platemark 510 x 360mm (20 x 14½"). 380 Superb engraving after a 1650 painting by Rembrandt now in the Fitzwilliam Museum, Cambridge. Once considered to show Rembrandt himself, this is no longer thought to be the case. The mezzotint engraver e William Pether (c ) reproduced several paintingss by Rembrandt and another master of chiaroscuro, Joseph Wright, both of whose works were w eminentlyy suited to his dramatic handling of light. Charrington 125 iii/iii Stock: [Old man m holding a sword.] Painted by Sal. Rosa. engraved by C.W. Baillie Etching with large margins, platemark 215 x 160mm (8½ x 6¼"). 160 Etching supposedly after Salvator Rosa, the Italian artist whose work, including vertiginous landscapes and genre paintings of banditti, was immensely popular in England in the 18th century. This is an unusual image which may m be taken from a painting no longer attributed to Rosa. Engraved by Captain Williamm Baillie ( ). Baillie retired from f the armyy in 1761 with the rank of Captain and thereafter devoted himself to printmaking and dealing. Hee specialised in imitating old-master drawings and prints, using a variety of printmaking techniques. Ex: collection of the Hon. C. Lennox-Boyd. Stock: A Fryars Head. Inn the Gallery at Houghton Rubens pinx.t / V. Green sculp Pubd Oct by John Boydell, Engraver, E Cheapside Mezzotint with large margins; platemark 155 x 105mm (6 x 4¼"). Fine. 95 Head of a friar, after Rubens. The painting was part of the celebrated collection c assembled at Houghton in Norfolk by Robert Walpole, the finest pictures of which were engraved in an ambitious project published

67 by John Boydell. The collection was sold to Catherine the Great in the 1770s, and many of the pictures can be seen in the Hermitage in St Petersburg. In 2013 Rubens' 'friars head' was one of a number which temporarily returned to Houghton for the exhibition 'Houghton Revisited'. Whitman 174 (only state) Stock: [Woman in silk dress.] W. Vaillant fec. et excudit [n.d., c ] Mezzotint, 330 x 270mm (133 x 10½"). Trimmed to plate; creasing on left. Rare. 280 Early mezzotint by Wallerant Vaillant ( ). Born in Lille, Vaillant worked in Antwerp, Paris and (primarily) Amsterdam. On a visit to Frankfurt in 1658 he met Prince Rupert R of the Rhine, who was experimenting with w mezzotint. Adopting the t technique, Vaillant became the first professional mezzotint engraver, usingg it to reproduce his own designs and those of other artists. a Vaillant also painted, specialising in portraits. Ex Collection of the Late Hon. C. Lennox- Boyd; Hollsteinn 213 Stock: [A School Boy.] Sr Joshua Reynolds Pinxit / John Dean Fecit Published Oct. 31st 1777 by Jn Dean Church Street Soho Mezzotint with very large margins, fine, platemark 395 x 280mm (15½ x 11"). First state beforee plate cleaned. 380 Engraving of one of Sir Joshua Reynolds' popular 'fancy pictures' of the 1770s, a schoolboy holding a portfolio. The first owner of the painting (which was recently sold by Sotheby's) was the great collector George Greville, 2nd Earl of Warwick Hamilton p.156 i/iii; for the painting, see Sotheby's Old Master & British Paintings evening sale, 9 July Stock: [Shepherdess.] Hen.y Pickering pinx.t. John Faber fecit. London Printed for R. Sayer, I. Ryal & R. Withy in Fleet Street. [n.d., c.1730.] Mezzotint. Platemark: 3555 x 255mm (14 x 9¾"). Trimmed to plate at lower edge. Light staining s in corners where previously mounted. 230 A portrait of a young woman, seated, three-quarter length, looking away to left. She is wearing loops of pearls with a cloak drapedd over her left arm which lies on her lap. She holds a shepherd's crook in her right hand. A dog sits at her feet looking up at a her. Livestock can be seen in the background to the right. Ex collection of Christopher Lennox-Boyd. Chaloner Smith: 417. II of II. Stock: A Venetian Lady. G. Scorodoomow inv. & sculp. London. Pub: July by V.M.Picot N16. Strand. Stipple printed in sanguine with small margins. Fine. Plate: 190 x 250mm, (7½ x 9¾"). Some very faint staining in corners. 240 A half-portrait in an oval of a Venetian woman with her head and face covered byy a veil. Stock: Madamm Wright John Vanderbank pinx.t / J. Faber Fec.t Mezzotint, sheet 350 x 250mm (13¾ x 9¾"). Trimmed inside platemark; glued to backing sheet; repair r top left. 130 Portrait of an unidentified sitter, after John Vanderbank ( ), painter and draughtsman whose sitters included Sir Isaac Newton, the sculptor John Michael Rysbrac, and the poet James Thomson. Ex: collection of the late Hon.. C. Lennox-Boyd; O'D 1 (only likeness); CS 396. For Vanderbank's portraits of Newton and Rysbrac see refs and Stock: 36692

68 364. Alberto Duro. Durero. Pittore, Intagliatore ecc. nacque in Norimberga l'anno 1471, mori l'anno Gio. Dom. Ferretti del. G.M. Preissler [n.d., c.1740.] Engraving with large margins. Plate: 170 x 270mm, (6¾ x 10½"). 190 A portrait of Albrecht Durer, with a view of the landscape seen through a window. Stock: [Paulus Pontius.] Ant van Dyck pinx.t. Ja.s Watson fecit. [Publish'd by Ja.s Watson, N. 16, Craven Buildings, Drury Lane; & Hen.y Parker opposite Birchin Lane, Cornhill.] [n.d., c.1770.] Mezzotint, scratch letter proof before publisher's line. Sheet 355 x 250mm (14 x 9¾"). Crease across image. 160 Paulus Pontius ( ), Flemish engraver who worked with Rubens and van Dyck in Antwerp. Ex: The collection of the Hon. C. Lennox-Boyd. CS 119, state i of iii. Goodwin: 47 i of iii. Stock: Johann George Wille. Halm delin. J.F. Bause sculps. Stipple with large margins. 180 x 125mm (8 x 5"). Unidentified collector's blind-stamp in inscription area. 140 Johann Georg Wille ( ), a German engraver who worked in Germany and France, where he was Engraver to the King. Ex: Collection of The Hon. C. Lennox-Boyd. Collector's stamp not in Lugt. Stock: Barney Bryan on a Tour. On Stone by R. R. S. Hacket, Imprim, Exeter. [n.d., c.1835.] Lithograph, rare. Sheet size: 185 x 130mm (7¼ x 5"). Trimmed. 120 A figure with bare feet stands, smoking a pipe, directed to the left, holding his shoes, a small bag and a stick in his left hand, with a book under his arm titled 'S[ketch]book'. From a series of twenty-five humorous lithographs by Robert Richard Scanlan ( ),' Barney Bryan's Sketch Book', printed in Exeter by J. Hackett. Stock: Eudocia. O, Phocyas, for thy sake, no rival else [...] And we shall meet again, to part no more. Siege of Damascus Act. V [Anon.] London Pub.d Sep.t 7th 1801 by M. Bovi No.12 Piccadilly. Stipple with very large margins. Platemark: 320 x 250mm (12½ x 9¾"). Creases. 120 A portrait of a young woman in oriental dress shown almost half-length leaning inward from the left and looking back up to left, with her hair loose under a plumed turban. Lettered below the image with the title, and two verses of six lines each from poet John Hughes' ( ) successful tragedy 'Siege of Damascus'. For trimmed impression see item ref: Stock: Eudocia. [Anon.] [London Pub.d Sep.t 7th 1801 by M. Bovi No.12 Piccadilly.] Stipple. Sheet size: 275 x 230mm (10¾ x 9"). Trimmed inside platemark. 120 A portrait of a young woman in oriental dress shown almost half-length leaning inward from the left and looking back up to left, with her hair loose under a plumed turban. For an un-cut impression see item ref: Stock: [Sweet folk, give ground!] Platz da, süsser Pöbel. [signature in image, c.1840.] L. Sachse & C. Kunstverlaghandlung in Berlin [blindstamp in margin] Lithograph on india, india dimensions 290 x 240mm (11½ x 9½"). Creasing to large margins. 160 German lithograph seeming to show Mephistopheles from Goethe's 'Faust', speaking a line from scene XXI of the first part of the famous play. Stock: [Belgium: Nicolas Rockox] [Andrew Geddes after Rubens] Etching, platemark 230 x 170mm (9 x 6¾"). 95 Nicolas Rockox ( ), Burgomaster of Antwerp and patron of Rubens. He is remembered by the Museum Rockoxhuis in his former residence in the city. Copy after Rubens by the Scottish painter and etcher Andrew Geddes ( ). The Oxford DNB states that 'as an etcher Geddes ranks higher than as a painter; his plates may be regarded as among the very earliest examples in modern British art of the brilliancy, concentration, and spirited selection of line proper to a painter's-etching '. This plate is one of ten he published in CD 45.vii Stock: Christian VII. King Of Denmark, &c. Done from the Original Picture painted by Mr.Dance, for the King of Great Britain, to whom this plate (with permission) is most humbly Inscribed By His Majesty's most dutifull Subject, and most faithfull Servant, Edward Fisher. Publish'd according to Act of Parliament 1st: April 1769, & Sold at the Golden Head South side of Leicester Square. Price 5s. Mezzotint with small margins, rare. 415 x 315mm (16½ x 12¼") 240 Christian VII ( ) King of Denmark and Norway from 1766 until his death but, because of severe mental problems, was monarch in name only from In 1766 he married Princess Caroline Mathilda, a sister of King George III of Great Britain, but publicly declared it was not fashionable to love one's wife. Both he and his wife became besotted with

69 Johann Friedrich Struensee, the royal physician, so much so thatt Struensee became de-facto regent. However when the queen's adultery with the doctor became known Struensee was arrested and a executed. From 1784 Christian's son ruled permanently as a prince regent. CS: 13. II. Ex: Collection of the Hon. Lennox-Boyd. Christopher Stock: [France.] Madeleine de France. [Adr.n vander Werff W pinx. P..a Gunst Sculps.] [n.d. c ] Engraving. Proof before letters. Sheet size: 310 x 180mm (12¼ x 7¼"). Trimmed inside plate. 160 A bust of Madeleine of Valois ( ), a French princess who became Queen n of Scots as the first spouse of King James V. Slightly turned to the left, dressed in a gown with decorative ropes of pearls and a ruffed collar, onn a plinth decorated with thistle leaves, and a landscapee beyond. For a lettered impression, seee item ref: O'Donoghue 36. Stock: [France.] Madeleine de France. Pour me le maigner son amour Unn Roi passa la mer, et m'obtint sa femme: Ma vertu commencoit a reformer la cour. c Mais laa mort de mes jours coupu trap tôt la trame. Adr.n vander Werff W pinx. P.aa Gunst Sculps. [n.d. c ] Engraving withh very large margins. Platemark: 315 x 180mm (12¼ x 7¼"). 60 A bust of Madeleine of Valois ( ), a French princess who became Queen n of Scots as the first spouse of King James V. Slightly turned to the left, dressed in a gown with decorative ropes of pearls and a ruffed collar, onn a plinth decorated with thistle leaves, and a landscapee beyond. For a proof before letters impression, see item i ref: O'Donoghue 36. Stock: [Denmark] Christopher de Dreyer, Envoy Extraordinary from the King of Denmark, at the Court of Great Britain, F.R. S. F.L. Abbott pinx. John Jones fecit. [n.d., c.1785.] Mezzotint with very large margins, rare, platemark 490 x 350mm (19¼ x 13¾"). 360 Christopher de Dreyer, Danish envoy to Great Britainn from Ex: collection of the late Hon C. Lennox-Boyd; CS 19 ii Stock: [Denmark] Est Virtus Maxima Nosse Suos Georgius Serenissimus princeps Danciaee &c. De denemarker prins [...]. P: Schenck fecit et Exc, Amstelo damo cum Privilegio. [n.d., c.1680.] Mezzotint, rare. Sheet size: 185 x 135mm (7¼ x 5¼" ). Trimmed inside plate. 160 A portrait of George, Prince of Denmark ( ). Head and shoulders, wearing an embroidered scarf and a long curly wig; within an oval. Second son of Frederick II II of Denmark Prince Georgg married the future Queen Anne in When Anne became Queen (1702) he was appointed Lord High Admiral and General of all English forces. Six lines of text inscribed in Dutch below by I. Norel. Hollstein: 626. Stock: [France] [Mar.ie Therese Charlotte. Madame Fille du Roy neè a Versailles le 19 Dec ] Painted by J. Miery. M Engraved by A. Gabrielli. [London Published June by Colnaghi & Co, No 132 Pall Mall.] Colour-printed stipple. Sheett 125 x 120mmm (5 x 4¾"). Trimmed withinn plate, losingg title, the arms of France and Navarre, and publicationn line. 140 Marie Thérèse Charlotte of France, daughter of Louis XVI, later Duchess of Angoulême and Dauphine of France upon thee accession off her father-in-law to the throne of France in 1824 as Charles X. Technically she was Queen of France F for twenty minutes in 1830, the time between when w Charles signed the instrument of abdication and her husband, reluctantly, signed the same document. BM: 1865, , uncoloured example. Stock: Frederic Auguste Roi de Saxe Duc de Varsovie &c. &c. &c. Dédié avec permission à sa Majesté par spm très humble et très obeissant Serviteur W. Dickinson F. Gérard Pinxit / W. Dickinson fecit Paris, Gravé d' après l'original qui se trouve dans le Cabinet de Son Altesse la Prince de Benevent. Mezzotint, sheet 725 x 475mm (28½ x 18¾) Trimmed inside platemark lower edge.. Very rare. 460

70 breast of his coat with the Black eagle of Prussia. Charles II, Duke of Brunswick was the nephew of Friedrich II of Prussia P (Frederick the Great) and led the Austro-Prussian n army against the French revolutionaries. Philip Corbutt was a pseudonym of Richard Purcell. CS: 10. Stock: Handsome full length portrait of Frederick Augustus I of Saxony ( ). Succeeding his father as the Elector of Saxony in 1763, Frederick Augustus declined the Polish crown in He joined the coalition against Revolutionary France in i 1796 and 1806, involvements whichh both saw defeats for his forces. After making peacee with Napoleon in 1806, the title of king of Saxony was created for Frederick Augustus, with the Grand Duchy of Warsaw secured for him the following year (both titles are named in the legend to this print). Thereafter he remained loyal to France, but lost much of his territory to Prussia after the Congresss of Vienna at the end of thee Napoleonic Wars in Engraved after a portrait by Baron François Gérard ( ), who by 1800 was the most fashionablee portrait painter of his day, and thrived under Napoleon's rule in France. The British engraver e William Dickinson (1746/7?-1823) emigrated to France after becoming bankrupt in London. As well as this print, he also engraved a portrait of Napoleon in CS 73a Stock: [Germany] His most Serene Highness Charles, Hereditary Prince of Brunswick & Lunenburg. F.G. Zieseniss pinx.t. Philip Corbutt fecit. London, Printed for Rob.t Sayer, Map & Printseller near Serjeants Inn, Fleet Street. [n.d., c.1760.] Mezzotint with very large margins. Platemark: 355 x 250mm (14 x 9¾"). Slight crease. 290 A half-lengthh portrait of Charles William Ferdinand, Duke of Brunswick ( ), turned to the left, looking to the front, wearing a large starr on the left 380. [Germany] Son Altesse Royal Monseigneur r le Prince Ferdiand Grand Prieur de l'ordre de St. Jean de Jerusalem Respectueuse ement Dediéé à Son Altesse Royale Madame la Princesse P Sonn Epouse [...] Peint par Cuningham / Charles Townley Graveur du Roi Publiée a Berlin B Avec Privilegee Mezzotint with very large margins, rare; platemark 645 x 395mm (25¼¼ x 15½"). Uncut. Creasing. Top right margin replacedd (off platemark). 560 Ferdinand von Hompesch zuu Bolheim ( ), Grand Master of o the Knightss Hospitaller ( the Knights of Malta), and the t first German to be elected to the office. He held the office from During this period, the French navy invaded Malta en route to Egypt in response to what Napoleon perceived as a provocation by Hompesch, as a result of which Malta's sovereignty was surrendered d to the French. In return the French gavee Hompesch a pension and helped him to establish a new headquarters for the order in Trieste, Italy. He resigned shortly after, subsequently living in Ljubljana and Montpellier, M where he died in penury. Published in Berlin after a portrait by Edward Francis Cunningham (c ?), Scottish painter the last

71 part of whose peripatetic career was spent in that city. Ex: collection of the late Hon C. Lennox-Boyd Stock: [Germany] Carolus D:G: Comes Palatinat. ad Rhenum: Dux Bavariæ: Electoratus Hares &c. J. van Somer ad vivum faciebat 1670 et exc Mezzotint, very fine & rare. Sheet size: 325 x 220mmm (12¾ x 8¾"). Trimmed to platemark. 160 A portrait of Charles, Count Palatine ( ), inn armour with a sash, bust to right, within an oval. Charles was Elector Palatine from 1680 to He was the son of Charles I Louis, Elector Palatine and Charlotte of Hesse-Kassel. Ex collection of Lennox-Boyd. Christopher Stock: [Germany] Doctor Martin Luther, was born at Isleben in the County of Manffield in saxony, Novr. 10th. 1483, & died there t Feby. 18th. 1546, Aged 63. Rome tam'd the World, but Rome the Pope o'er aw'd: The one by force, the other wrought by Fraud. Greater than both was learned Luther, when Both thiss and that he conquer'd with his Pen. The Emblem of the Swan refers to a Predictioin off John Huss. See Clerk's Lives, Vol.. I. page 7 inn Burnham's Pious Memorials. Printed for Carington Bowles, Map & Printseller, No.69 in St. Pauls Church Yard, London. Published as the Act directs, 2d Jan Mezzotint with large margins. Platemark: 355 x 250mm (14 x 9¾"). Printers crease. Pinholes in upperr margin. 320 A portrait of German theologian and leader of the Reformation, Martin Luther ( ), whole- ahead of length standing directed to the left, looking him, holding a small volume in both hands, wearing dark robes. He is seen in a study with books on the table and window-sill to the left, a swan standing behind him and a large Bible propped vertically on the floor to the right. Luther expressed his controversial opinions in the publication, 'Disputation on the Power and a Efficacy of Indulgences', commonly known as 'The 95 Theses' (1517), which sebsequently led to his excommunication from the catholic Church in Ex Collection of Christopher Lennox-Boyd. CS: Not in. Stock: [Germany] His Highness Prince Rupert. P. Lelij pinxit. R. Tompson excudit. [n.d., c.1670.] Mezzotint, very rare. Platemark: 335 x 255mm (13¼ x 10"). Repaired tear bottom centre. Slight damage topp right. 140 A portrait of Prince Rupert of the Rhinee ( ), three-quarterr length, standing to the right, wearing a wig, lace cravat, and robes of the Garter. A pillar is seen in the background and a landscape with hills, a river and trees are in the distance to the right. Prince Rupert of the Rhine was the son of Frederick, Electorr Palatine and Elizabeth of Bohemia. In 1642, already an experienced soldier, he was given command of the cavalry of his uncle, u Charles I of England,, becoming captain-generall of all Royalist forces in Prince Rupert had artistic and scientific interests and played an important role in the development of mezzotint as well as experimenting with gunpowder, metallurgy, gunnery, and glass manufacture. Chalonerr Smith 42.II. Stock: [Netherlands] [Aechje Claesdr.] Het Orgineele Schildery is berustende in de Versumeling van de Heer C.S. Roos te Amsterdam. Rembrand, pinx.t / C.H. Hodges fecit Uitgegeven door C.H. Hodges, Amsterdam, A Mezzotint, fine with very large margins; platemark 405 x 290mm (16 x 11½"). Fine; collector's stamp of Bernard Houthakker verso. 360 Mezzotint of Rembrandt's portrait of Aechje Claesdr (London, National Gallery), the widow of Rotterdam brewer Jan Dammasz. Pesser. In 1634 Rembrandt visited Rotterdam to paint Aechje and also her son and his wife. Engraved by Charles Howardd Hodges ( ), London-born artist who in 1792 moved to the Netherlands, where he spent the rest of hiss life and became a sought-after portrait painter as well as mezzotint engraver. This impressionn was once in the collection of Bernard Houthakker ( ), an n important Dutch dealer and publisher. His H collectionn of prints by Hodges was sold by Sotheby-Mak van Waay B.V. in Amsterdam on 15 June 1982, at a which time they were stamped in brown (as here) ). Many of thee the prints from that sale

72 were acquired by Christopher Lennox-Boyd, some of which have since entered the British Museum. Ex: collection of the Hon. C. Lennox-Boyd; Charrington 77.ii (as 'an old woman'); CS not described; L.1272 Stock: General Count Suchtelen. Painted by order of H.I.M. Alexander 1.st by G. Dawe Esq.re Member of the Royal Academy of Arts London that of St. Petersburg &c. &c. Engraved by T. Wright. London Published May 1st 1823 for the Proprietor by Mess.rs Colnaghi. Stipple. Proof [lower right in open letters]. Collector's ink stamp on reverse, 'AS'. Sheet size: 330 x 230mm (13 x 9¼"). Trimmed inside plate. Small tears repaired to lower edge. 130 A portrait of Jan Pieter van Suchtelen, Count of Liikkala, ( ) directed to and facing the left, in military attire with numerous medals attached to his coat. Suchtelen was a general in the Russian army during the Russo-Swedish War ( ). He negotiated and signed the Treaty of Orebro on behalf of Emperor Alexander 1st, which brought to an end the Anglo-Russian War ( ). Ex collection of Christpher Lennox-Boyd. Stock: [Prussia] Jvan Philippo Charioteer to the King of Prussia (during the Peninsular War). Sketched from Life at the Pfauen-Insel, near Berlin. Rev.d T. Kilby, del.t. Printed by T. Skelton. [n.d., c.1850.] Tinted lithograph with very large margins. Printed area 255 x 205mm (10 x 8"). 160 The Reverend Thomas Kilby ( ) is best known for his 'Scenery in the Vicinity of Wakefield', Stock: [Spain: Isabella Clara Eugenia in the habit of the Order of St Clare] [Etched by Andrew Geddes after Anthony van Dyck] Etching with very large margins, platemark 225 x 150mm (8¾ x 6"). 'Printed by E Lumsden' in pencil lower right. 95 Isabella, daughter of Philip II and ruler of the Spanish Netherlands ( ) with her husband Albert. After Albert's death she became a nun, in which habit she is shown here. Etched by the Scottish painter and etcher Andrew Geddes ( ) after a portrait by van Dyck (Turin, Galleria Sabauda). The Oxford DNB states that 'as an etcher Geddes ranks higher than as a painter; his plates may be regarded as among the very earliest examples in modern British art of the brilliancy, concentration, and spirited selection of line proper to a painter's-etching '. This impression was printed by the printmaker and author Ernest Lumsden, who must have acquired the plate. CD 46; Ex: collection of the Late Hon. C. Lennox-Boyd. Stock: [Philip IV of Spain] Vandyke / Geddes fc. Etching with very large margins, platemark 230 x 155mm (8¾ x 6"). 'Printed by E Lumsden' in pencil lower right. 120 Portrait of Philip IV ( ), king of Spain and Portgual. He is remembered for his patronage of the arts, including such artists as Diego Velazquez, and his rule over Spain during the challenging period of the Thirty Years War ( ). Etched after a portrait by van Dyck, by the Scottish painter and etcher Andrew Geddes ( ). The Oxford DNB states that 'as an etcher Geddes ranks higher than as a painter; his plates may be regarded as among the very earliest examples in modern British art of the brilliancy, concentration, and spirited selection of line proper to a painter's-etching '. This plate was one of ten published by Geddes in CD 47.vii; Ex: collection of the Late Hon. C. Lennox-Boyd. Stock: [Switzerland] Pestalozzi. Demarchi dis. T.T. inc. [n.d., c.1800.] Stipple with large margins. Platemark: 230 x 155mm (9 x 6¼"). 140 A rare portrait of Johann Heinrich Pestalozzi ( ), a Swiss pedagogue and educational reformer. He founded several educational institutions both in German and French speaking regions of Switzerland and wrote many works explaining his revolutionary modern principles of education. Stock: Peter, the Wild Boy [parallel text in French] In the Year 1725, King George the I.s Hunting in the Herenhausen / This Boy was discover'd in a Hollow Tree [...] P. Falconet pinx.t / Val. Green sculp.t Sold by Ryland, Bryer; & Co. at the Kings Arms, Cornhill. Mezzotint, platemark 510 x 360mm (20 x 14"). Creased and damaged (some repairs); artist and engraver names faded. Trimmed. 160 Peter 'the Wild Boy' (c ), a curiosity of the 18th century. Found in the woods near Hamelin (around 25 miles from Hanover in Germany) in 1725, contemporary pamphleteers claim he was walking on all fours, climbing trees like a squirrel, and living off grass and moss. Peter was taken to see George I who was visiting Hanover, he was brought to England in 1726, where unsuccessful attempts were made to teach him to speak. He was briefly a celebrity: Queen Caroline took an interest in Peter's education, he was painted by William Kent, was cared for by the prominent physicist John Arbuthnot, and was the subject of works by Defoe and Swift. After Queen Caroline's death. In 1728 he was given a pension to live in Hertfordshire, where he performed manual work under supervision. However, after repeatedly wandering away from the farm where he boarded, Peter was apprehended and fitted with a brass collar (shown in the lower right of this print). Peter died in 1785 and was buried at St Mary's, Northchurch, Hertfordshire, where his gravestone is now Grade II

73 listed. Ex: collection of the Hon. C. Lennox-Boyd; CSS 102.ii; Whitman: 2 II of II. Stock: [Peter, the Wild Boy.] [Valentine Green after Falconet, sold by Ryland, Byrer & Co, 1767] Mezzotint, platemark 510 x 360mm (20 x 14"). Prooff impression before lengthy text added in English and French. Very fine. 480 Peter 'the Wild Boy' (c ), a curiosity of the 18th century. Found in the woods near Hamelin (around 25 miles from Hanover in Germany) in 1725, contemporary pamphleteers claim he was walking onn all fours, climbing trees like a squirrel, and a living off f grass and moss. Peter was taken to see George I who was visiting Hanover, he was brought to England in 1726, where unsuccessful attempts weree made to teach him to speak. He was briefly a celebrity: Queen Caroline took an interest in Peter's education, he was painted by William Kent, was cared for by the prominent physicist John Arbuthnot, and was the subject of works by Defoee and Swift. After Queen Caroline's death. In 1728 he was given a pension to live in Hertfordshire, where he performed manual work under supervision. However, after repeatedly wandering away from the farm where he boarded, Peter was apprehended and fitted with a brass collar (shown in the lower right of this print). Peter died in 1785 and was buried at St Mary's, Northchurch, Hertfordshire, where his gravestone is now Grade II listed. Ex: collection of the Hon. C. Lennox-Boyd; CSS 102.i of ii. Whitman: 2 i of ii. Stock: This Portrait of thee R.t Honourable Charles Kendal Bushe, Lord Chief Justice of the Court of Queen's Bench, Ireland, &c. &c &c., Is most respectfully r inscribed to the Irish Bar, by the Publisher, P Andrew Milliken. Painted by W. Stephenson. S Engraved by D.Lucas. Dublin, Dec.r 30, ; Andrew Milliken,, Bookseller to the Lord Lieutenant _ Thee Kings Inn Library, &c &c. London, F.G.Moon Publisher in Ordinary to Her Majesty, Threadneedle Street. Mezzotint, rare. 520 x 380mmm (20½ x 15" "). Narrow margins. 260 Charles Kendall Bushe ( ), Irish lawyer and judge, known as a 'silver-tongued Bushe'. Despite his opposition to the Act of Union in 1800 he was not averse to accepting high office from the British Crown: he was appointed Solicitor-General for Ireland five years later, holding the officee until 1822 when he became Lord Chief C Justice of the King's Bench for Ireland. He retired in 1841, when this portrait was published. He also a supportedd Catholic Emancipation yet prosecuted members of the Catholic Association for sedition. Stock: [Francis Jeffrey.] [after Andrew Geddes.] G [n.d., c.1880.] Drypoint etching. Image 1700 x 135mm (6¾ x 5¼"). Small tear just entering image on right. 120 Francis Jeffrey,, Lord Jeffrey y [ ], Judge and critic for the Edinburgh Review. A reversed version of the oil by Andrew Geddes, now in the National Portrait Gallery. See NPG 1628 for the painting. Stock: 36538

74 394. The Right Honourable Thomas Lefroy. Lord Chief Justice of Ireland. Painted by Catterson Smith, Engraved by George Zobel. London: Published July 30th 1855 by Paul & Dominic Colnaghi & Co. 13 & 14. Pall Mall East. Publishers to Her Majesty. Mezzotint, rare. Sheet 555 x 430mm (21¾ x 17"). Trimmed just within plate. 260 Thomas Langlois Lefroy ( ), Irish-Huguenot politician and judge. He served as an MP for the constituency of Dublin University in , Privy Councillor of Ireland and Lord Chief Justice of Ireland In 1796 Lefroy had a very brief flirtation with Jane Austen, ending when he had to return to Ireland. Austen wrote to her sister Cassandra 'At length the day is come on which I am to flirt my last with Tom Lefroy, and when you receive this it will be over. My tears flow as I write at the melancholy idea'. At the time she was writing 'First Impressions', the story that eventually became 'Pride and Prejudice', and it has been suggested that Lefroy was the basis for Mr. Darcy. In 1840, after the death of the publisher Thomas Cadell, a 'Tom Lefroy' bought Cadell's rejection letter for 'First Impressions'. Hake 262/2. Ex: collection of the Hon. Christopher Lennox-Boyd. Stock: Members of the Scottish Bench & Bar. [&] Key to the Portraits of the Members of the Scottish Banch & Bar. [Thomas Gaugain after Benjamin William Crombie.] [&] Etched by Benj.n M. Crombie. [1825.] Stipple portrait plate, sheet 195 x 150mm (7¾ x 6") with etched key plate, sheet 160 x 120mm (6¼ x 7¾"). Stipple trimmed to image, both laid on album paper. 240 Portraits of twenty lawyers, all in left profile, named on the key plate, including John Hope (the Solicitor General), Lord Eldin & Sir Walter Scott. It is rare to find the two together. Ex: collection of the Hon. Christopher Lennox-Boyd. Stock: Lord Loughborough. Lord High Chancellor of Great Britain. Dighton del. London: Printed for Bowles & Carver / No. 69 St Paul's Church Yard [n.d., c.1780] Mezzotint with small margins, rare, platemark 155 x 115mm (6 x 4½"). Glued to backing sheet at corners. 180 Alexander Wedderburn, first earl of Rosslyn ( ), lord chancellor. Born in Scotland, Wedderburn struggled to establish himself in the 1750s (a time of English mistrust of ambitious Scots), but by 1764 he was made king's counsel. In 1780, around the time this print was made, he became chief justice of the court of common pleas and a peer as Baron Loughborough, going on to become lord chancellor in 1793 where he opposed catholic emancipation. While Wedderburn has not been viewed kindly by many historians, he was a valued public speaker and competent judge. Ex Collection of the Late Hon. C. Lennox-Boyd; CS: Page Stock: Iohannes Hubnerus olim Gymnasii Martisburgensis nunc Collegii Iohannei Hamburgensis Rector. Hubneri faciem bene sculptum plaudite Musae! Vester in hac multis dignus Apollo placet: Miratur tantum felix Hamburga Magistrum, Deqs Scholis meritum Teutona terra Virum. haec pauca subjunxit Hubneriani Nomini additissiums. Io. Bapt. Homann S.C.M. Geogr Nor. Effigiem hanc a fe pictam et sculptam. Excellentissimi Viri Honoribus dicare voluit devinctissimus Johannes Kenckel Civis Noribergensis. [n.d. c.1710.] Mezzotint with very large margins. Rare. Platemark: 324 x 215mm (12¾ x 8½"). 280 Johann Hubner ( ), the German geographer and scholar. He studied theology, poetry, rhetoric, geography and history at the University of Leipzig. His children's bible 'Biblische Historien' (1714) was designed for use in schools, and went through 270 editions and was translated into 15 European languages. Stock: [Sir John Fleming Leicester.] [after Joshua Reynolds and James Northcote.] [n.d., c Mezzotint. Proof before all letters, very rare; 135 x 110mm (5¼ x 4¼"). 95 Half-length portrait of John Fleming Leicester ( ), 1st Baron De Tabley, shown as colonel of the Cheshire Yeomanry c He raised the regiment in 1797 in response to the threat from Revolutionary France; in 1803 George Prince of Wales, a personal friend of Leicester, gave permission for the regiment to wear his triple feather crest, a badge that Cheshire Yeoman still wear today. 400 men of the Cheshire Yeomanry participated in the Peterloo Massacre of Leicester was an art collector and amateur artist taught by Robert Marris, Thomas Vivares, and Paul Sandby. He is known to have produced a series of lithographs. This is a detail of a painting by Sir Joshua Reynolds and his assistant James Northcote, still in the family home at Tabley House, Cheshire, which was engraved in mezzotint by Samuel William Reynolds in Henry Meyer engraved a stipple of the same detail. Hamilton: Not in. Stock: Gid. Ern. Loudon. Tiro. ad. Borysthenem [...] In memoriam pinx. Henr. Fuger J. Pichler inc. Vindobonae a Vienne chez Artaria Comp. Mezzotint, very rare; sheet 740 x 515mm (29 x 20¼"). Trimmed to platemark lower edge; damaged. 200 Field-marshal Ernst Gideon von Loudon ( ), generalissimo of the Imperial Army. Briefly in the Russian army as a young man, he resigned due to lack of prospects and joined the Austrian army. He fought

75 in the War of the Austrian Succession and a Seven Years' War, after which he spent several years in retirement punctuated by recalls to service. He was also a commander in Bohemia and Moravia, served inn the War of the Bavarian Succession, and the Austro- Fügerr ( ), German painter who was vice-director of the Akademie der Bildensten Künste in Vienna at thee time this portrait was painted in Loudon died on duty in Moravia the following year, with this print Turkish War. Engraved from a portrait by Heinrich Friedrich published in his memory. Stock: Gid. Ern. Loudon. Tiro. ad. Borysthenem [...] In memoriamm pinx. Henr. Fuger / J. Pichler inc. Vindobonae a Vienne chez Artaria Comp. Mezzotint, sheet 740 x 505mm (29 x 20"). Trimmed inside platemark; tears; mount burn. Very rare. 480 Field-marshal Ernst Gideon von Loudon ( ), generalissimo of the Imperial Army. Briefly in the Russian army as a young man, he resigned due to lackk of prospects and joined the Austrian army. He foughtt in the War of the Austrian Succession and a Seven Years' War, after which he spent several years in retirement punctuated by recalls to service. He was also a commander in Bohemia and Moravia, served inn the War of the Bavarian Succession, and the Austro- Fügerr ( ), German painter who was vice-director of the Akademie der Bildensten Künste in Vienna at thee time this portrait was painted in Loudon died on duty in Moravia the following year, with this print Turkish War. Engraved from a portrait by Heinrich Friedrich published in his memory. Stock: The Standard Bearer. [Anon.] [London, Publish'd May 1st 1778 by J. Harris, Sweetings Aleey, & No. 8 Broad Street.] Mezzotint, rare. Open letter impression. Sheet size: 385 x 300mm (15¼¼ x 11¾"). Crease to left edge. Trimmed inside lower plate. 320 A portrait of a standard s bearer, facing the front, looking to the right, r wearing a plate of armour and holding a banner with his right hand. A draped curtain is behind. Ex Oettinger-WallO lenstein collection. Ex collection of The Hon. Christopher Lennox-Boyd. Stock: Field Marshal the Duke of Wellington. K.G., &c. &c. &c. TO the Right Honourable Sir Robert Peel, Bar.t M.P. This Plate Engraved from the Original Picture in his Collection Is respectfullyy dedicated by his Obliged humble Servants Paul & Dominic Colnaghi & Co. C Sir Thomas Lawrence, P.R.A. Pinx.t. Samuel Cousins, A.R.A. Sculp.t. London, Published June 15th 1848, by Paul & Dominic & Co. 13 & 14 Pall Mall East, Publishers to Her H Majesty. Mezzotint with large margins, fine. 790 x 490mm (13 x 19¼"). 320 Portrait of the Duke D of Wellington on the field of Waterloo, full length l in plainn uniform and riding cloak, arms crossed and telescope inn right hand. After Sir Thomas Lawrence ( ). Whitman: 172 Stock: To the Members off the Junior United Service Club,, This Portrait of Field Marshal His Grace thee Duke of Wellington. K.G., &c. &c. &c. Is with permission most respectfully dedicated by their Obliged humble Servants Hodgson & Graves. G Painted by Johnn Simpson. Engraved by George H. Phillips. London, Published Aug.t 13, 1837 by Hodgson & Graves, Printsellers to Her Majesty, 6 Pall Mall. Coloured mezzotint with large margins 750 x 480mm (29½ x 19"). Some surface scuffing and spotting. 240 Portrait of the Duke D of Wellington, full length in plain uniform, left hand resting on n his sheathed sword, right hand holding his profusely-feathered hat. To the right is a cannon, behind the smoke of a battlefield. After John Simpson ( ).( Stock: [To thee British Nation This Plate of The Waterloo Heroes Assembled at Apsley House, On the Memorable 18th of June, Is respectfully dedicated by the Publishers.] Painted by J.P. Kennedy R.A. Engraved by Charles G. Lewis. London, Published October 1st 1845, By Henry Graves & Comp.y Printsellers to the Queen, 6 Pall Mall.

76 Thomaskirche. Also shown are the city's observatory and a monument erected in honour of the composer. c Stock: Mezzotint with stipple, proof before title. 645 x 970mm. Laid on backing paper, spotting in the top margin centre. 490 A group portrait of thirty of the British officers who served at Waterloo, gathered in Apsley House, Hyde Park Corner, London residence of the Duke of Wellington. Among the sitters with the Duke are the Earl of Strafford, Sir John Waters, Sir Robert Gardiner, Lord Fitzroy Somerset (later Lord Raglan), Sir Henryy Herdinge, the Marquess of Anglesey and the Duke off Richmond. On the walls are portraits off Napoleon andd George IV in highland dress. A companionn piece to the 'Peninsula Heroes'. Stock: To the British Nation This Plate of The Waterloo Heroes Assembled at Apsley House,, On the Memorable 18th of June, Is I respectfully dedicated by the Publishers. Painted by J. P. Kennedy R.A. Engraved by Charles G. Lewis. London: Published by James Sheldon, 31, Elyy Place. [n.d., c.1845.] Mezzotint with stipple. 645 x 970mm. Repaired tear top left, left bottom cornerr damaged, trimmed just into plate at bottom. 420 A group portrait of thirty of the British officers who served at Waterloo, gathered in Apsley House, Hyde Park Corner, London residence of the Duke of Wellington. Among the sitters with the Duke are the Earl of Strafford, Sir John Waters, Sir Robert Gardiner, Lord Fitzroy Somerset (later Lord Raglan), Sir Henryy Herdinge, the Marquess of Anglesey and the Duke off Richmond. On the walls are portraits off Napoleon andd George IV in highland dress. A companionn piece to the 'Peninsula Heroes'. Stock: John Sebastian Bach. with Views of The St. Thomas's School, Bach's Monument, St. Thomas's Church, & Observatory at Leipzig.. H. Bibby pinx. / A.H. Payne, sc. John Tallis & Company, London & New York [n.d., c.1850] c Engraving, sheet 270 x 180mm (10½ x 8"). Trimmed, as published. 45 Johann Sebastian Bach ( ), renowned German composer, inset with views of significant s places in his life. In 1723 he was appointed Kantor off the Thomasschule in Leipzig, a position held conjointly with that as civic director. Bach was also responsible for the music of four churches in the city, including the 407. Mrs. Dorus-Gras. Galerie de la Presse, de la littérature & des Beaux-Arts. Ch. Fogt. Imp d'aubert d & Co. Chez Aubert gal Véro- Dodat. [n.d., c ] Lithograph. Sheet size: 270 x 205mm (10½ x 8¼"). 90 Julie Dorus-Gras ( ) was a Belgian operatic soprano. To begin her career r she made a concert c tour which took her to Brussels. Her concert was so successful, thatt Count de Liederkerke offered her a contract to singg operatic roles. Dorus acquired the name Gras on 19th 1 April 1833, when she married one of the leading violinists v in the orchestra off the Paris Opera. From a series of o portraits published in by Aubert & co. Stock: M.elle. Falcon. Galerie de la Presse, de la littérature & des Beaux-Arts. Imp d'aubert & Co. Chez Aubert gal Véro-Dodat. [n.d., c.1840.] Lithograph. Sheet size: 270 x 205mm (10½ x 8¼"). 80 Cornélie Falconn ( ) was a French soprano who sang at thee Opéra in Paris. Her greatest success was creating the role of Valentine in Meyerbeer's Les Huguenots. Shee and the tenor Adolphe Nourrit are credited with being primarilyy responsible for raising artistic standards at the Opéra, and the roles in which she excelled came to be known as 'falcon soprano' parts. From a series of o portraits published in by Aubert & co. Stock: Lablache. Galerie e de la Presse, de la littérature & des Beaux-Arts. Imp d'aubert & Co. Chez Aubert gal Véro-Dodat. [n.d., c.1840.] Lithograph. Sheet size: 270 x 205mm (10½ x 8¼"). 90 Luigi Lablache ( ) was an Italian opera singer of French and Irish heritage. He was most noted for his comic performances, possessing a powerful and agile bass voice, a wide range, and adroit acting a skills. Leporello in Don Giovanni was one of hiss signature roles. In 1836/37 he taught singing to Princess Victoria of the United Kingdom, K the later Queen Victoria. From a series of o portraits published in by Aubert & co. Stock: Rubini. Galerie dee la Presse, de la littérature & des Beaux-Arts. Imp d'aubert & Co. Chez Aubert gal Véro-Dodat. [n.d., c.1840.] Lithograph. Sheet size: 270 x 205mm (10½ x 8¼"). 90

77 Giovanni Battista Rubini ( ) was an Italian tenor, remembered as an extraordinary bel canto singer, one of the most famous in Europe in the 1820s to 1840s. From a seriess of portraits published in by Aubert & co. Stock: Tamburini. Galerie de la Presse, de la littérature & des Beaux-Arts. Imp d'aubert & Co. Chez Aubert gal Véro-Dodat. [n.d., c.1840.] Lithograph. Sheet size: 270 x 205mm (10½ x 8¼"). 90 Antonio Tamburini ( ) was an a Italian operatic baritone. Tamburini is famous for his association with the operas of Bellini such as 'I Puritani', and was one of the so called 'Puritani Quartet' of leading international singers, along with Grisi, Rubini [ref: 36996] and the bass Luigi Lablache [ref: 36998]. From a seriess of portraits published in by Aubert & co. Stock: Marié. Galerie de la Presse, de la littérature & des Beaux-Arts. Imp d'aubert & Co. Chez Aubert gal Véro-Dodat. [n.d., c.1840.] Lithograph. Sheet size: 270 x 205mm (10½ x 8¼"). 60 A portrait of Italian tenor Mécène Marié de l'isle ( ). His career began in the chorus of the Opéra- Comique in Paris, and in 1840 he played Tonio in the world premieree of Donizetti s 'La fille du régiment'. r His daughter Célestine Galli-Marié Bizet's opera. From a series of o portraits published in by played Carmen at the premiere off Aubert & co. Stock: Thomas Norris Bac: Mus: John Taylor pinx.t et fecit. Publish'd March 25th A scarce mezzotint with small margins; Sheet 355 x 250mm (14 x 9¾"). Slight creasing. 260 Thomas Norris ( ),, musician and singer, organist at Christ Church andd St John's College, Oxford. CS 1: ii i of iii. Stock: The Humorous Fiddler London Printed for Spilsbury Engraver Map & Print Seller in Russell Court Covent Garden July J Mezzotint, platemark 330 x 230mm (13 x 9"). Small margins. 'CL-B' collector's stamp verso Portrait reminiscent of Frans Hals, with a young mann looking over his shoulder while playing the violin. Published by John Spilsbury ( ). Ex: collection of the Late Hon. C. Lennox-Boyd Stock: Miss Martha Ray, who was murdered April 7.th Painted by N: Dance D R.A Engrav'd V:Green Mezzotinto Engraver to his Majesty, & to the Elector Palatine. Publish'd May 25.th. by V.Green N.o.29, Newman street, Oxford Street, & at N.o.52, Strand. Se vend à Londres, chez les Freres Forre, Marchands d' Estampes. Mezzotint with small margins. Plate: 185 x 250mm, (7¼ x 9¾"). 190 A half portrait in i an oval of Martha Ray ( ), a British singer who w was the mistress of John Montagu,

78 Earl of Sandwich. On 7th April, a jealous admirer, James Hackman, murdered her at the Royal Opera House, Covent Garden for which he was executed at Tyburn. Whitman: 74 IV of IV; CS: 106 II of II. Stock: Diomiro Tramezzane. G. Bartolozzi Fecit. G. Landi Pub. as the Act directs April 1st 1810 Sabloniere Hotel Leicester Sq. Stipple, sheet 225 x 180mm (8¾ x 7"). Trimmed inside platemark. Very scarce. 140 Diomiro Tramezzane, Italian tenor active in London and Italy in the 18th and 19th centuries. Engraved by Gaetano Bartolozzi, son and pupil of the preeminent stipple engraver Francesco Bartolozzi. De Vesme: Not in. Stock: Herr Joachim. Maclure, Macdonald & Co. Engravers, Glasgow. [n.d., c.1870.] Photogravure. Platemark: 280 x 210mm (11 x 8¼"). 110 A portrait of Joseph Joachim ( ), a Hungarian violinist, conductor, composer and teacher. A close collaborator of Johannes Brahms, he is widely regarded as one of the most significant violinists of the 19th century. Maclure, Macdonald & Co. were, in Victorian times, 'Ornamental Printers to the Queen'. They invented a power-driven lithographic printing press in Stock: Giuseppe Verdi. [Ferdinand Mulnier.] Maclure, Macdonald & Co. Engravers, Glasgow. [n.d., c.1870.] Photogravure. Platemark: 280 x 210mm (11 x 8¼"). 140 A portrait of Italian Romantic composer Giuseppe Fortunino Francesco Verdi ( ). Verdi is considered, with Richard Wagner, the leading opera composer of the 19th century.verdi dominated the Italian opera scene after the eras of Bellini, Donizetti and Rossini. After an image by French photographer Ferdinand Mulnier ( ). Maclure, Macdonald & Co. were, in Victorian times, 'Ornamental Printers to the Queen'. They invented a power-driven lithographic printing press in Stock: The Emperor Napoleon I Inventor and Patentee G. Baxter, 11 & 12 Northampton Square [embossed stamp below image] Baxter print with large margins; very fine, image 110 x 80mm (4¼ x 3¼"), sheet 205 x 165mm (8 x 6½"). Uncut. 160 Colour print of Napoleon when Emperor ( ), taken from a miniature and printed by George Baxter ( ), wood-engraver, colour printer and lithographer; patentee of a method of colour printing for which he sold licences. C.L. 224; Ball and Martin p.156 Stock: Lord Nelson Inventor and Patentee G. Baxter, 11 & 12 Northampton Square [embossed stamp below image] Baxter print with large margins, fine, image 110 x 80mm (4¼ x 3¼"), sheet 205 x 165mm (8 x 6½"). Uncut. 160 Vice Admiral Horatio Nelson, 1st Viscount Nelson, 1st Duke of Bronté, KB ( ), the British flag officer famous for his service in the Royal Navy, particularly during the Napoleonic Wars. He won several victories, including the Battle of Trafalgar in 1805, during which he was killed. Engraved after the famous portrait of Nelson by Lemuel Abbott, which shows Nelson's ship the Victory on the left. By George Baxter ( ), wood-engraver, colour printer and lithographer; patentee of a method of colour printing for which he sold licences. C.L. 222; Ball and Martin p.133; for the print paired with Baxter's portrait of Robert Peel see ref Stock: Baron Nelson, of the Nile. Publish'd Nov.r 6th 1798, by John Fairburn, 146 Minories, London. Hand coloured mezzotint, very scarce. Framed. Platemark: 180 x 125mm (7 x 5"). Unexamined out of frame. 360 A head and shoulders portrait of Admiral Lord Nelson, with his empty sleeve tucked into his coat. Nelson ( ) was a British flag officer famous for his service in the Royal Navy, particularly during the Napoleonic Wars. He was involved in several important victories, including the Battle of Trafalgar, and the Battle of the Nile (1798). Nelson was gazetted Baron of the Nile a few moths after the battle. Up to this date he had spent little time in England and in consequence, very few portraits were known of him. Stock: Baron Nelson, of the Nile, and of Burnham Thorpe in the County of Norfolk. Publish'd by John Fairburn. No. 146, Minories, London. [n.d., 1798.] Hand coloured mezzotint, very scarce. Framed. Platemark: 170 x 125mm (8 x 5"). Unexamined out of frame. 360 A full-length portrait of Admiral Lord Nelson ( ), standing on the deck of a ship, directed to the right, his right sleeve pinned to his breast, and his left resting on his sword-hilt. He is seen wearing a naval uniform and a cocked hat. To the right is a gun, a flag to the left and the ship 'L'Orient' exploding in the background to right. Nelson was gazetted Baron of the Nile a few moths after the battle (1798). Up to this date he had spent little time in England and in consequence, very few portraits were known of him. Stock: Sir Charles Morice Pole, Bar.t K.G.C.B. Admiral of the Red. Painted by Sir. Will.m Beechey R.A. Portrait Painter to Her late Majesty and their Royal Highnesses the Duke andduchess of Gloucester. Engraved by Will.m Say.

79 Stock: Engraver to their Royal Highness the Duke & Duchess of Gloucester. 92 Norton Street, Fitzroy Square, Mezzotint with very large margins. Platemark: 395 x 285mm (15½ x 11¼"). Fine impression. Very light spotting in margins. 280 A portrait of Admiral of the Fleet Sir Charles Moricee Pole, 1st Baronet ( ), half-length, standing, in naval uniform, directed to the left, facing and looking to the left. Pole entered the Royal Academy in 1770 and served in the East Indies. He had also participated in the siege of Pondicherry and at the occupation of Toulon in Pole wass promoted rear- promoted Admiral of the Fleet in Pole was admiral in 1795 and served in the West Indies. He was appointed governor of Newfoundland on 3 June His term ended in Ex collection of Christopherr Lennox-Boyd. sail of the line he h defeated the Comte de Grasse, who had thirty-threee sail. The French inferiority in numbers was more than counterbalanced by the greater size and superior sailingg qualities of their ships, yett five were taken and one sunk, s after eleven hours' fighting. This important battlee saved Jamaica and other British possessions in the t region, restoring British prestige after recent defeats in the American War of Independence. Shortly beforee news of the victory became known, Rodney was s replaced as commander-c Rodney was given an Englishh barony and a pension. in-chief in the Leeward L Islands. In part amends, The Gainsborough portrait reproduced here (now Earl of Rosebery collection, Dalmeny) was commissioned by the Hon. Thomas Harley to commemmorate the Battle of the Saintes. It was engraved by the artist's nephew Gainsborough Dupont. Horne 57 ii; CS 9 (undescribed state); Russell 9 i Stock: [The Right Hon..ble Lord Rodney K.B. Vice Adm.l of Great Britain & Adm.l of the White &c &c &c] [Painted by Thomas Gainsborough R.A. / Engraved by G. Dupon] [Published 12th. April, by B. Beale Evans in the Poultry, London.] Mezzotint with large margins, platemark 610 x 390mm (24 x 15¼"). Slight paper tone; very fine proof beforee letters. 950 George Bridges Rodney, first Baron Rodney ( ), naval officer and politician. Rodney became a national hero when in 1780 he defeated a Spanish fleet off Cape St. Vincent, thus relieving Gibraltar. His crowning victory was at the Battle of the Saintes, in the Caribbean (1782) off Dominica, when with thirty-five 425. The Honble: William Rowley Esqr: Vice Admiral of the White and Commander in Chief of his Majesty's Fleet in the Mediterranea an J. Brooks Fecit Sod by T. Jefferys at the Corner of St. Martins Lane Charing C Cross and W. Herbert at the Golden Globe on o London Bridge. Mezzotint with small margins, fine; platemark 355 x 255mm (14¼ x 10¼"). Slight foxing; ms lower right 'Capt. 26 June 1716' William Rowley (c ), K.B., naval officer, beside a cannon. He greatly distinguished himself in the lost Battle of o Toulon (1744) on HMS Stirling Castle. He became Commander in Chief of his Majesty's Fleet in the Mediterranean in 1745 for the rest of the War of Austrian Succession. Hee successfully kept the Spanish and French fleets in theirr harbours. He

80 became Rear-Admiral in 1749, Lord Commissioner of the Admiralty in 1751 and Admiral of the Fleet on December 17, He was also a Knight in the Order of the Bath. He entered Parliament in 1750 as member for Taunton, and represented that town until in that year he was chosen to represent Portsmouth until Ex Collection of the Late Hon. C. Lennox-Boyd; CS 29 ii/ii Stock: Charles Watson Esq.r Vice Admiral of the White. T. Hudson pinx.t. E. Fisher sculp.t. [n.d., c.1770.] Mezzotint with large margins. Platemark: 380 x 280mm (15 x 11"). Very fine impression. Small stain in left margin. 330 A portrait of Vice Admiral Charles Watson ( ), an officer of the Royal Navy, who served briefly as colonial governor of Newfoundland. Watson's quick rise through the ranks is thought to be attributed from his uncle, Sir Charles Wager, who was first lord of the admiralty. Three-quarter length standing to the left, Watson is wearing naval uniform with large, decorated cuffs and a wig tied at the nape. He is seen holding a telescope diagonally before him with his right hand, with his left on his sword-hilt. The sea and a battery are in the background. Ex collection of Christopher Lennox- Boyd. Chaloner Smith: 59. Stock: Sir Francis Burdett, Bar.t M.P. From an original Drawing in the Possession of Walter Fawkes Esq.r of Franley Hall, Yorkshire. Drawn by T. Wageman. Engraved by R. Cooper. London, Published Sep.r 1st 1821 by W. Cribb, 34, King Street, Covent Garden. Stipple on chine collé, very fine India proof with large margins. 430 x 300mm (17 x 11¾"). Uncut. 220 Three-quarter portrait of Sir Francis Burdett ( ), a reformist politician and baronet who denounced the war with France and the suspension of the Habeas Corpus Act. NPG D Ex: Collection of the Hon. Christopher Lennox-Boyd. Stock: [Oliver Cromwell.] Persidia. Tyrannus. Crudelitas. Page. 1. [Richard Royston. n.d., c ] Engraving. Rare. Platemark: 135 x 160mm (5¼ x 6¼"). Thread margins. Light vertical crease in centre. 130 A frontispiece to Richard Perrinchief's, 'The Syracusan Tyrant, or the Life of Agathocles, With some Reflexions on the practice of our Modern Usurpers', published in Oliver Cromwell wearing armour, stands between Perfidy who holds a dagger concealed beneath his robe and Cruelty, who holds a burning brand. These two hold a wreath of twined serpents above Cromwell's head. In the background, a ruined landscape with buildings in flames can be seen. Stock: Oliver Lord Protector of the Commonwealth of England, Scotland and Ireland &c. Sould by P. Stent. Engraving with very large margins, fine. Plate: 110 x 160mm, (4¼ x 6¼"). 190 A portrait of the puritan politician and military leader Oliver Cromwell ( ) who ruled Great Britain during the Commonwealth or Interegnum between Stock: The Right Hon.ble S.r Robert Ladbrooke Lord Mayor of the City of London Tho. Hudson pinx. / J. Faber fecit London Printed for J. Ryall at Hogarth's Head Fleet Street / Price 2s. Mezzotint with very large margins, platemark 355 x 255mm (14¼ x 10¼"). Rare. 240 Sir Robert Ladbrooke ( ), mayor of London in 1747 and a London MP from 1754 to His monument, by John Flaxman, is in Christ Church Spitalfields. After Thomas Hudson, a leading portrait painter to whom the young Joshua Reynolds was apprenticed. Ex Collection of the Late Hon. C. Lennox- Boyd; CS iii/iii. Ex Oettinger-Wallenstein Collection Sotheby's Lot 736, 18/11/97. Stock: [John Moyser. He was Member for Beverley 1708] [Engraved by F. Place. n.d., c.1670.] Mezzotint. Very rare. On watermarked paper. Proof before all letters, title etc filled in with contemporary ink; Sheet size: 310 x 220mm (12¼ x 8½"). Trimmed to platemark. Some light spotting. 220 A portrait of John Moyser (c ), half-length in an oval, wearing a wig, lace cravat, and robe. In December 1699 Moyser was appointed a deputylieutenant for East Riding, and in April 1705 he was made a freeman of Beverley, Yorkshire. He was considered suitable by Lord Keeper William Cowper for inclusion on the East Riding commission of the peace in 1707, but was not actually appointed. In an analysis of Parliament in early 1708 he was listed as a Tory. After the dissolution of Parliament later that year, he did not stand for re-election. Ex: Collection of Christopher Lennox-Boyd. Chaloner Smith: 9, I of II. C.E. Russell Sale Sotheby's 8/5/1947. Stock: [Lionel Cranfield Sackville Duke of Dorset.] [Engraved by George Vertue after Sir Godfrey Kneller.] [London: Vertue, c.1740.] Etching and engraving, unfinished proof before letters with large margins. 430 x 295mm (17 x 11½"). Printseller's ink stamp on reverse. 280 Lionel Cranfield Sackville ( ), 1st Duke of Dorset, Lord Lieutenant of Ireland and He informed George I of his accession to the throne and carried the sceptre at his coronation; at the coronation of George II he was Lord High Steward and carried St Edward's Crown.

81 433. The High and Mighty Prince Lodwick Duke of Richmond and Lenox... P. v. S. pinxit. Joannes Barra delingneavit sculpsit et excudit Engraving. Sheet 345 x 200mm (13½ x 8"). Trimmedd just within plate. 320 Ludovic Stewart ( ), 2nd Duke of Lennox in robes. A member of the court of James VI of Scotland, he was created Lord High Admiral of Scotland in James (by then James I of England) made him the 1stt Duke of Richmond in 1623, the year before Ludovic died. He was instrumental in the Plantation of Ulster and the colonization of Maine, where the town of Richmond, Richmond's Island and Capee Richmond are named for him Ex Collection of Christopher Lennox-- The finished plate has an extra border around the image, also filling the inscription area, in i the centre of which is a coat-of-arms. See BM: 1849, for proof before letters but with engraved borders. Alexander 825. Ex: Collection of The Hon. C. Lennox- Boyd. Stock: [The Right R Hon.ble Charles Townsend Esq.r late Chancellor of the Exchequer, and One of His Majesty's Most Privy Council &c.] J Reynolds pinx.t. J. Dixon Fecit. [Publish'd as the Act directs Dec the by the Proprietor W.m Wynn Ryland Engraver to His Majesty in Cornhill.] Mezzotint, scratch letter proof before publisher's incription. Sheet 390 x 270mm (15½ x 10½). Trimmed just within plate. Ink stamp of the Collection of Queen Victoria at Windsor and old ink signature in title area. 190 Charles Townshend ( ), Chancellor of the Exchequer at the time of his death. Burkee called him 'the delight andd ornament of the House, and the charm of every privatee society'. CS 34, state ii of iii. Hamilton: P69 I of II; Ex Collection of thee Hon. Christopher Lennox-Boyd. Stock: Boyd. Stock: The Last Return from Duty. Field Marshal The Duke of Wellington, K.G. leaving the Horse Guards Aug.t 20th Painted by James W. Glass. Engraved by James J Faed. London Published Sept.r 3rdd 1855 by Paull & Dominic Colnaghi & Co. 13 & 14 Palll Mall East, Publishers to Her Majesty. Coloured mezzotint. Image 580 x 865mm (22¾ x 34"), laid on backingg sheet with printed title. Cut to image with title in script. 420 A large image of o the first Duke of Wellington on horseback, returning the salute of a pair off Chelsea pensioners. Wellington had retired from political life in 1846 although he h kept his seat in the Lords, as well as the role of Chief Ranger and d Keeper of Hyde Park and St. James's Park. He died less than a month after this event. Stock: [Christoph Friedrich von Ammon] F. Bartolozzi R.A. R fecit London Published as the Act directs Nov Stipple printed in brown, sheet 180 x 130mm (5 x 7"). Trimmed to platemark. Rare Christoph Friedrich von Ammon ( ), German theological writer and preacher. Engraved by Francesco Bartlozzi ( ), Florentine engraver elected a founding member of the Royal Academyy in 1768 (thee RA did not admit a engravers at this time but made an exception in his

82 case). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. This portrait was published after Bartolozzi had left England for the continent. Not in De Vesme. Stock: Archibald Bower Esq.r George Knapton pinx.t / J.s Mc.Ardell fecit [n.d., c.1760] Mezzotint, platemark 350 x 250 (14 x 10"). Thread margins; slight crease through centre not showing on front; collector's stamp of Alfred Morrison verso. 260 Archibald Bower (1686x8-1766), religious controversialist and historical writer, born near Dundee. As a young man Bower entered the Society of Jesus in Rome and lectured at Jesuit colleges in Italy before suddently leaving Perugia to return to England, allegedly having been discovered in a love affair with a nun. In England Bower converted to the Church of England and wrote about bibliographic history and ancient Rome. His 'History of the Popes', a violent attack on papal supremacy, was published between 1748 and the 1760s. During the publication of the work letters emerged purporting to show that despite his protestant zeal Bower was flirting with Catholicism, shattering his reputation. This impression from the collection of Alfred Morrison ( ), one of the major collectors of his day. CS 27 (only state); Whiteman 174 ii/ii; L.151. Stock: Richard Brothers, Prince of the Hebrews. Fully believing this to be the Man Whom God has appointed; _ I engrave his likeness. William Sharp. Published at No.8 Charles Street, Midd.x Hospital, London, April 16, 1795, by W. Sharp. Engraving. 210 x 180mm (8¼ x 7"). 95 Richard Brothers ( ), religious eccentric and proponant of 'British Israelism', the belief that the British are descended from the Lost Tribes of Israel. After a brief career in the navy, he claimed to have been given a mission to save London from divine retribution and declared himself a 'Prince of the Hebrews', preparing 'the Restoration of the Hebrews to Jerusalem by the year of 1798 under their revealed Prince and Prophet' ('A Revealed Knowledge of the Prophecies and Times', 1794). In 1795, having prophesied the death of the King and the end of the monarchy, he was imprisoned as criminally insane, but continued to issue pamphlets. His many admirers included an M.P. and the engraver William Sharp who published in portrait in preparation for Brothers' Day of Revelation on November 19th, 1795, but after this day came and went without incident, Sharp became an adherent of Joanna Southcott instead. Brothers spent the rest of his life preparing for the advent of New Jerusalem. Stock: [Jesus Christ] This Present Figure Is The Similitude of Our Lord IHV Oure Savior Imprinted In Amirauld By The Predesessors Of The Greate Turke And Sent To The Pope Innosent The VIII At The Cost Of The Grete Turke For AS Token For This Cawse To Dedeme His Brother That Was Takyn Preso/nor. Pub.d August 1780 by Richard Godfrey N. 120 Long Acre. Stipple and etching with large margins. 240 x 200mm (9½ x 8"). 75 A rendering of an Emerald Icon, with the portrait painted on a gold-leaf background. These were copied from a gift sent to Pope Innocent VIII in the 1490s by the Great Turk, Bajazet, Sultan of the Ottoman Empire. Although the describes it as part of a ransom, Innocent was holding Bajazet s brother and rival Prince Dschem captive in Rome at the request of the Sultan. Six English Emerald Icons are known to exist, including one dating c.1500 in the National Portrait Gallery. The others are later, made for secret Catholic masses after relic worship was banned after Henry VIII's break from Rome. Stock: The Fair Quaker. Nor Gold, nor Gems are wanting to the Maid, [/] In neat simplicity, like this, Array'd; [/] Plain native Beauty,ore delights the hearts, [/] Than all the Glittering Ornaments of Art. R. Houton delin & fecit. Printed for John Bowles & Son at the Black Horse in Cornhill. Mezzotint with large margins top & bottom. Plate: 250 x 350mm, (9¾ x 13¾"). Trimmed to platemark left & right. Repaired tears in edges. Bit messy. 280 A three-quarter length portrait of Hannah Gurney (neé Middleton)( ) wife of the quaker Joseph Gurney. She is depicted in simple quaker dress and bonnet. CS: 132.II, Russell 132. Stock: The Lady Abbess of the English Nuns at Antwerp. Gab. Mathyas pinxt. Faber fect. Printed for John Bowles at the Black Horse in Cornhil, & Carington Bowles in St. Pauls Church Yard. [n.d., c.1750.] Mezzotint. Framed. Sheet size: 365 x 255mm (14¼ x 10"). Trimmed to image. Unexamined out of frame. 260 A three-quarter length portrait of a nun, seated to the right, wearing the habit. Her right hand lifted to the edge of her veil, and her left hand is resting on an open book on a table beside her, below a crucifix and skull. The sitter is indentified as English nun Mary Howard, of the Holy Cross ( ), daughter of English

83 443. The Rev.d Tho.s Pyle A.M. [n.d., c.1750.] Etching with small margins. 125 x 85mm (5 x 3½"). 95 The Reverend Thomas T Pyle ( ), Whig clergyman. Ex Collection of Christopher Lennox-Boyd. Stock: Richd Rawlinson R L.L.D. Vertue delin. Smith Fecit. [n.d., c ] Mezzotint with very large margins. Platemark: 255 x 175mm (10 x 7"). 220 English clergyman and antiquarian collector of books and manuscripts Richard Rawlinson ( ). He bequeathed his collection to the Bodleian Library, Oxford. Bust portrait in an oval frame directed slightly to the left, headd turned towards left shoulder, glancing towards the viewer. He is wearing a scholar's gown, bands and a chin-length wig with tight curls. Ex collection of Christopher Lennox Boyd. Chaloner Smith: 3, state II I of II. Stock: playwright and politician Sir Robert Howard ( ). Sold as part of a sale; 'Catalogue of Choice Engravings in Mezzotint t anf Line, consisting of the first portion of the magnificent collection of Archibald Cameron Norman Esq. of Bromley Common', at 'Sotheby,' Wilkinson & Hodge, Wellington Street,, Strand, London. 1914'. The original cover from the sale catalogue is glued to the reverse of the frame. f Chaloner Smith: 195. State II of II. Stock: The Reverend Mr. Madan. R. Manwaring fecit Printed for S. Hooper at the East Corner of the New Churchh in the Strand As the Act Directs [n.d., c.1750] Mezzotint, sheet 355 x 255mm (14¼ x 10¼"). Trimmed to platemark; slight crease top left. 180 Martin Madan ( ), Church of England clergyman and advocate of polygamy. A Londoner, Madan was trained as a lawyer, but sought holy orders after hearing John Wesley speak. He was appointed to All Hallows, Lombard Street in 1750, then chaplain of the Lock Hospital at Hyde Park Corner,, an institutionn for penitent prostitutes. There his preaching (which members of the public were free to attend) was so successful that a new chapel was built in Madan was also highly musical, and the annuall oratorio at the Lock chapel was a major event (Wesley attended in 1764 and 1765). In 1780 Madan published his 'Thelyphthora' in which, drawing upon his experiences with the inmates i at the e Lock Hospital, he argued at length for the social benefits of polygamy. Madan disclaimed any advocacy of polygamy for fulfilling sexual appetite, but the outcry the book produced caused Madan to resign hiss chaplaincy and retire to Epsom. Ex Collection of the Late Hon. C. Lennox-Boyd; CS 2 (only state) s Stock: M. Bailly élu Maire de la Ville de Paris de 15 Juillet [...] Dédié et Presenté à Messeigneurs s de l'assemblée Nationale, Par leur très humble et très Respectueux Serviteur Miger. Dessiné par Boizot S.D.R. / Gravé par Miger A Paris chez Miger graveur du Roi, Rue de 4 Vents, No. 5 en face de la rue de d Tournon. Etching, sheet 2952 x 180mm m (11½ x 7"). Trimmed inside platemark. 130 Jean-Sylvain Bailly ( ), French astronomer and politician, and a one of thee leaders of the early part of the French Revolution. R Hee served as thee mayor of Paris from to 1791 and d was ultimately guillotined during the Reign of Terror. As an astronomer, Bailly built an observatory in the Louvre and wass noted for hiss computation of an orbit for Halley's Comet in 1759 and his study of Jupiter's moons He was elected to the e Academy des Sciences in 1763 and befriended Franklinn in Paris. Meanwhile, his antiquarian interests led to works on the history of astronomy and the origins off science (written in response to Voltaire's ideas on the subject) ), which gain him membership in the French Academy. Bailly's high public standing g saw him made first President of thee National Assembly- he stands above the crowd of deputies in David's famous painting 'the Tennis Court Oath'. O However, his politicall authority had disappearedd by the time he and Lafayette imposed martial law andd had the national guard open fire on demonstrators on o July Bailly resigned as mayor soon after but was later arrested and executed. His subsequent influence hass been felt through his thesis about a Hyperborean H Atlantis dating to before recorded history, which while mocked by Jules Verne in '20,000 Leagues Under thee Sea', was incorporated by Madame Blavatsky into the mythos of Theosophy. For 'The Tennis Court Oath' see ref Stock: 36923

84 448. J. Locke Célèbre Philosophe Anglais. Imp. litho. de M.lle M Fomentin, rue St André des Arcs, No 59 [c.1840[ Lithograph withh large margins, printed area 210 x 175mm (8¼ x 7"). 7 Slight creasing; rare. 95 Bust portrait off John Locke F.R.S. ( ), after the portrait by Geoffrey G Kneller. Locke, the 'Father of Liberalism' andd the English philosopher and physician, was regarded ass one of the most influential of the Enlightenment thinkers. His contributions to classical republicanism and a liberal theory are reflected in the American Declaration of Independence. For an earlier version of the same image see ref Stock: [Joseph Banks.] H. Gievedon Lith de C. Motte. [Stampted:] Contemporains Estrangers. [n.d. c.1830.] Lithograph. Sheet size: 500 x 325mm (19¾ x 12¾"). Crease to upper right corner. Small stain in lower left. 300 Sir Joseph Banks ( ), the English botanist, naturalist and patron of the natural sciences. Banks took part in Captain James Cook's first great voyage ( ). He was the leading founder of the African Association, the British organization dedicated to the exploration of Africa, a member of the Society y of Dilettanti, which helped to establish the t Royal Academy. Stock: William Curtis Author of the Flora Londinensis / Botanical Magazine &c. [Anon] Stipple printed in blue, sheet 150 x 110mm (6 x 4½") ). Trimmed to image; false margins added. 95 Sir William Curtis ( ), botanist and a entomologist. Curtis established a botanical garden inn Bermondsey in 1773, then the more expansive London Botanic Garden at Lambeth in To escape smoke pollution, in 1789 he moved to a still larger garden inn Brompton (now occupied by Cadogan Place South Garden on Sloane Street). He also published numerous works on botany and entomology including the Floraa Londinensis (begun in 1775) which established his reputation. For Curtis' Brompton garden see ref ; for his Lambeth garden see ref Stock: Al. Monro Sen.r. M. D. and F..R.S. Fellow of the R. College of Physicians and P of Physic and Anatomy A in the University of Edinburgh A.D. A 1749 Aetat 52. A. Ramsay pinxit. Tho.s. Donaldson delin & sculp.t. [n.d., c.1749.] Etching. Sheet: 185 x 225mm, (7¼ x 8¾") ). Trimmed within plate. Laid on album sheet. 140 A Half-length portrait p of Alexander Monroo ( ) a physician and professor of anatomy at the University of Edinburgh, E he was also a founding member of the Edinburgh medical school. Not in Wellcome: Stock: Dr. Jacob de Castro Sarmento do Real Collegio des Medicos de Londres, e Socio da R. S. Aetat suae, H. Stevens Pinx.t 1729 / And.w Muller fecit Mezzotint, platemark 200 x 140mm (8 x 5½"). Thread margins; tippedd into album sheet. Very rare. 350 Jacob de Castroo Sarmento [formerly Henrique de Castro] (1692?-1762), physician and scientific writer.

85 Sarmento grew up in Portugal, where his parents were arrested by the Evora Inquisition and imprisoned, accused of Judaizing. Following his studies, Sarmento moved to London and converted to open Judaism, marrying at Bevis Marks Synagogue in the City, where he was briefly physician to the synagogue's poor. Sarmento overcame obstacles in London, surviving an investigationn following allegations that he betrayed Jews to the Inquisition, and becoming a fellow of the e Royal Society despite a campaign against his candidacy by Meyer Schomberg. Sarmento's works treated subjects such as smallpox, surgery, and mineral waters. He received an MD in 1739, founded a small infirmary for London's Portuguese Jewish communityy in 1747, and renounced Judaism late in life. Edgar Samuel (DNB) notes 'Sarmento was a scholar of distinction. As a refugee he was unusual in maintaining friendly contacts with Portuguese scholars and statesmen. It is possible that he influenced Pombal's determinationn to end the persecution of the New Christians in Portugal.' Sarmento wrote books in Portuguese, translated other works into his native language, and endeavouredd to improve the t state of scientific knowledge in his homeland. He also produced a quinine water, 'agoa de Inglaterra', made to a secret recipe and exported to Portugal as a cure for all fevers. Ex: collection of the Late Hon. C. Lennox-Boyd. C.S.: 108; Wellcome: 557. Stock: M.rs. Callander of Craigforth. [After Joshua Reynolds.] [n.d., c.1772.] Mezzotint. Sheet: 250 x 350mm, (9¾ x 13¾"). Trimmed within plate. 160 A half-lengthh portrait of Harriet Callander (née Dutens)( ) the second of threee wives of Sir James Callander of Craigforth and Arkinglass. CS 38; Hamilton: Pg 88. Stock: Charlotte Countess Cholmondeley and the Hon.ble Henry Cholmondeley.. Painted by J. Hoppner, Esq.r R.A. / Engraved by C. Turner. [London: Published by C. Turner, No 50 Warren Street, Fitzroy Square, July 15, 1805.] Mezzotint with small margins, platemark 620 x 380mm (24½ x 15"). Publication line faintly printed. Collectors' stamps of Christopher Lennox-Boyd and Mrs. E.M. Hamilton verso. Crease on left bottom corner. 230 Charlotte, Countess Cholmondeley, néee Georgiana Charlotte Bertie ( ), with her son s Henry. She married George, Earl (later Marquess) of Cholmondeley in W 110 (only state). Stock: Her Grace the Dutchess of Marlboroug gh. G. Kneller Pinx. J. Faber fecit. Sold by Rob.t Sayer near St Dunstans Church in Fleet-Street, & John Kingg at the Globe in the Poultry. [n.d., c Mezzotint. Sheet 460 x 310mm (18 x 12¼"). Trimmed into image on three sides, laid on album sheet. 230 A full-length portrait of Sarah Churchill, Duchess of Marlborough ( ), politician and a courtier. Wearing a loose dress and ermine robe, she holds her right hand to her breast. One e of the series 'Beauties of Hampton Court'. On this state the publication line has been moved from under the title to bottom right of the portrait, replacing the engraver's name: n it seemss the plate was broken, necessitating the change. Thee same portrait is the source of a head-and-shoulders oval mezzotint. Chaloner Smithh 28. Stock: Mrs. Crew. Painted by Sir Joshua J Reynolds. Engrav'd by Thomas Watson. Publish'd Octr. 25th for S. Hooper Ludgate Hill, W. W Shropshire No. 158 & T. Watson No. 142 New Bond Street. Mezzotint with thread margins. Framed. Platemark: 480 x 520mm (19( x 20½"). Frame size: 650 x 710mm (25 x 28"). Unexamined out of frame. Very fine A portrait of Mrs. M Frances Anne Crewe ( ) as St Genevieve. A leader of f fashion and whig hostess, she married John Crewe, 1st Baron Crewee of Crewe in Whole-length, sitting reading in front of a rocky mound, with her chin restingg on her right hand, and her hair dressed with a veil. She has a dog at her feet, with five lambss lying to the left, and one nibbling at a plant to right. A landscape with a river can be seen in the distance to the t left. Hamilton: Pg 93 III of II; CS: 10 III of III; Goodwin: 15 IV of IV. Stock: [The R.t R Hon.ble Lady Elizabeth Cromwell.] G. Kneller pinx: Sold by J. Smith at ye Lyon & Crown in Russell Street. Mezzotint with small margins; 240 x 190mm (9½ x 7½"). Foxing. 180 Lady Elizabeth Cromwell ( ), only child of the 7th Baron Cromwell, C diedd in childbirth. CS 68. Ex Collection of the Hon. Christopher Lennox-Boyd. Stock: The R.tt Hon.ble Elizabeth Dowager Lady Syttelton. Ob.t August 27th 1795.

86 R. Cosway RA. delin.t. Cha.s Townley Sculp.t. Publsihed by C. Townley 1;st Jan.y 1796, No.19 Panton Square, Haymarket. Stipple, very rare. Platemark: 205 x 145mm (8¼ x 5¾"). Thread margins. 140 A portrait of Lady Elizabeth Dowager Lyttleton ( ), seated half length to the left. Her hands are folded in her lap. She is wearing a frilled cap and matching gown, with straps around both wrists. Lyttleton was the daughter of British cavalry officer Sir Robert Rich, and the second wife of George Lyttleton, 1st Baron Lyttleton. Daniell: 97 Stock: Lady Erskine. A. Ramsay pinx.t. London, printed for Carrington Bowles, at No. 69 in St. Paul's Church Yard, & Robert Sayer, a No. 53 in Fleet Street. [n.d., c.1770.] Mezzotint. Platemark: 3555 x 250mm (14 x 9¾"). 290 A portrait of Janet, Lady Erskine, wife of Sir Henry Erskine, standing half-length in profile to t the left, herr head turned to face front, wearing a gown with ruffled sleeves, lace cape and small lace ruff. She has flowers in her simply dressed hair and at her breast. Ex collection of Christopher Lennox-Boyd. Chaloner Smith: 52 variant. Goodwin: 143. Stock: Stipple with etching. Platemark: 265 x 180mm (10¼ x 7" "). Crease on left. l 75 A head and shoulders portrait of British peer and politician George Townshend, 2nd Marquess Townshend ( ), known as The Lord Ferrers of Chartley fromm 1770 to 1784 and as Thee Earl of Leicester from 1784 to Facing right, within a decorative trompe l'oeil oval l on a plinth. Stock: The Countess of Litchfield. G. Kneller pinx. I. Beckett fe: et ex. [n.d., c.1685.] Mezzotint, rare. Collector's ink stamp on reverse, r 'E.M.H.' Mrs. E. E M. Hamilton. Sheet size: 425 x 245mm (16¾ x 9¾"). Trimmed to plate. Creases. 260 A full-length portrait of Charlotte Fitzroy ( ), daughter of Charles II by his s most famouss mistress, Barbara Villiers, and said to be his favourite child. She was married to Sir Edward Lee, Earl of Lichfield, at twelve years off age, having her first child (of 18) at thirteen. Ex collection Christopher Lennox-Boyd. CS: 66. Stock: Lady Erskine. A. Ramsay pinx.t. J. W. Watson fecit. London: Printed for Rob.t Sayer, Map and Printseller, at the Golden Buck near Serjeants Inn, in Fleet Street.. [n.d., c.1770.] Mezzotint. Collector's stamp on verso, ' E.M.H.' Mrs. E. M. Hamilton; Sheet size: 390 x 285mm (15¼ x 11¼" "). Trimmed to plate. Slight creasing top right. 220 A portrait of Janet, Lady Erskine, wife of Sir Henry Erskine, standing half-length in profile to t the left, herr head turned to face front, wearing a gown with ruffled sleeves, lace cape and small lace ruff. She has flowers in her simply dressed hair and at her breast. Ex collection of Christopher Lennox-Boyd. Chaloner Smith: 52. Goodwin: 143. Stock: The R.t. Honourable Lady Sophia Fermor, Married the 14.th. of April to John Lord Carteret Principal Secretary of State, since Earl of Granville. Lady Anne Wentworth, since Countess Fitzwilliam Pinx.t. John Faber fec.t Mezzotint, rare. Plate: 225 x 325mm, (9 x 12¾"). 330 A half-portrait of Sophia Fermor, Countess Granvillee ( ) who married John Carteret, Earl of Granville ( ). CS 168 Stock: George Ferrars Townshend. Earl of Leicester. President of the Society of Antiquaries, Trustee of the British Museum, F.R.S. and Joint Postmaster General. R. Cosway R.A. Pictor Principus Pinx.t. P. Condé Sculp.t. [n.d., c.1790.] 462. Daughters of Sir Thomas Frankland Bar.t Painted by J. Hoppner R.A. Portrait Painter to His Royal Higness the Prince of Wales / Engraved by W. Ward Publish'dd March by W. Ward, Delancy Place, Hampstead Road. Mezzotint, platemark 580 x 455mm (22¾ x 18"). Thread margins; rare. Good impression. 950 Marianne and Emilia E Frankland, two of the many daughters of thee naval officer and politician Sir Thomas Frankland, fifth baronet, with a spaniel asleep at their feet. Amelia holds a crayon and a portfolio of sketches. Engraved by William W Ward from the 1795 portrait by John Hoppner. The painting hangs in the National

87 Gallery of Art, Washington, D.C., having previously been in the collection of Andrew Mellon. CS 38 iii/iv; Frankau 125 iii/iv Stock: Miss Horneck. Painted by Sir Joshua Reynolds. Engrav'd by R. Dunkarton. Publish'd July 20.th 1778, by Wr. Shropshire, No.158, New Bond Street. Mezzotint, rare with very large margins; plate 508 x 356mm (20 x 14"). 580 Mary Horneck, later Mrs Francis Edward Gwyn (1752?-1840), bedchamber-woman to Queen Charlotte, in Persian dress. It was through Sir Joshua Reynolds that the writer Oliver Goldsmith met Horneck, who became close to her and her family, nicknaming Mary 'The Jessamy Bride'. She later married General Gwyn, equerry to George III. Engraved after the portrait (c.1775) by Reynolds, at the mansion of Cliveden in Buckinghamshire. Reynolds is believed to have considered the portrait one of his finest, and to have kept it in his studio right up to his death, leaving it to the sitter in his will. CS: 25 ii/ii; Hamilton: p.109 ii/ii Stock: Hannibal. Painted by Sir Joshua Reynolds. Engraved by C. Townley. Engraver to his Majesty the King of Prussia & Member of the Academies of Berlin & Florence. Published as the Act directs, April 20th, 1792, by Charles Townley, Greek Street, Soho. Mezzotint with small margins. Rare. Platemark: 330 x 230 (13 x 9"). 240 A half-length portrait of a young child in Roman costume, Master Coke of Holkham, with his right hand upon a sword and his left on his hip. Ex Collection of Christopher Lennox-Boyd. Hamilton: Pg 18; CS: Not in. Stock: Mary Isabella. Dutchess of Rutland. Painted by Mrs. Mee. Engraved in Mezzotinto by C. Turner. Published by Reeve & Jones, No.7 Vere Street, Bond Street, Nov.r Mezzotint printed in colour. On watermarked paper, 'J. Whatman. 1805'. Platemark: 245 x 185mm (9¾ x 7¼"). Large margins. 120 Mary Isabella Manners, Duchess of Rutland ( ), seated half-length against plain background. Within a rectangular border. Manners was the first wife of Charles Manners, 4th Duke of Rutland and daughter of Charles Somerset, 4th Duke of Beaufort. She was a politician, as well as a society hostess. For an earlier impression printed in colour, see item ref: For an uncoloured impression, see item ref: Ex collction of Christopher Lennox-Boyd. Whitman: 506. Stock: Mary Isabella. Dutchess of Rutland. Painted by Mrs. Mee. Engraved in Mezzotinto by C. Turner. London Published July 10, 1804, by C. Turner, No. 50, Warren Street, Fitzroy Square. Mezzotint. Platemark: 245 x 185mm (9¾ x 7¼"). Trimmed to plate. Crease lower right. 120 Mary Isabella Manners, Duchess of Rutland ( ), seated half-length against plain background. Within a rectangular border, above which is a crown. Manners was the first wife of Charles Manners, 4th Duke of Rutland and daughter of Charles Somerset, 4th Duke of Beaufort. She was a politician, as well as a society hostess. For an impression printed in colour, see item ref: For an alternative, slightly later impression, see item ref: Ex collection of Christopher Lennox- Boyd. Whitman: 506. Stock: Mary Isabella. Dutchess of Rutland. Painted by Mrs. Mee. Engraved in Mezzotinto by C. Turner. London Published July 10, 1804, by C. Turner, No. 50, Warren Street, Fitzroy Square. Mezzotint printed in colour with very large margins. Platemark: 245 x 185mm (9¾ x 7¼"). Uncut. Light creasing in lower half of sheet. 180 Mary Isabella Manners, Duchess of Rutland ( ), seated half-length against plain background. Within a rectangular border, above which is a crown. Manners was the first wife of Charles Manners, 4th Duke of Rutland and daughter of Charles Somerset, 4th Duke of Beaufort. She was a politician, as well as a society hostess. For an uncoloured impression see item ref: For an alternative, slightly later impression, see item ref: Ex collection of Christopher Lennox-Boyd. Whitman: 506. Stock: The Right Hon.ble S.r Robert Ladbrooke Lord Mayor of the City of London Tho.s Hudson pinx.t. I. Faber fecit. London Printed for J. Ryall at Hogarths Head Fleet Street. [1748.] Mezzotint, rare. 355 x 250mm (14 x 9¾"). Thread margins, mounted on album paper. 260 Sir Robert Ladbroke ( ), Alderman of London in 1741, Sheriff in 1743 and Lord Mayor of London in 1747, M.P. for London from From the Belton Album. Ex Collection of the Hon. Christopher Lennox- Boyd. Stock: [Lady Lucy Percy] [From the fine miniature by Isaac Oliver at Strawberry Hill] [S Harding del / A Birrell sculp] [Pub by S Harding 127 Pall Mall Jan ] Stipple, sheet 130 x 110mm (5 x 4¼"). Trimmed to plate. Proof before letters. 120 Lucy, countess of Carlisle ( ), an English courtier known for her beauty and wit. She was involved in many political intrigues during the English Civil War, and became second wife to James Hay, 1st Earl of Carlisle. She is known for disclosing to her cousin Robert Devereux, Earl of Essex of the King's intended arrest of the five members of Long Parliament, which enabled Essex and the others to

88 escape. She was a politicall friend of Strafford and Pym. Stock: blind stamp in lower l left corner. Platemark: 440 x 320mm (17¼ x 12½"). Uncut. 160 A portrait of Charlotte Anne,, Duchess of Buccleuch and Queensberry, with her children, William Henry Montagu Douglas Scott, 6th Duke of Buccleuch and 8th Duke of Queensberry ( ), and a Lord Henry Scott ( ), inn a landscape setting. PSA: Artist's Proof: 100; 1 L.P Stock: The Right Hon.ble. James Earl of Derby. [Hamlet Winstanley. Gerard Vandergucht.] [n.d., c ] Etching, very rare. Sheet: 260 x 350mm, ( 10¼ x 13¾"). Trimmed within plate. Small pin hole by pillar. Repaired damage by face. A few fox marks. 260 Three-quarter length portrait t of James Stanley, 10th Duke of Derby ( ),, who stands holding a crown in one hand while the other rests on his side. Stanley served in Parliament t for Preston and a Lancashire before becoming a peer. Stock: [The Standard-Bearer.] Done from a Picture in the Collection of S.r Joshua Reynolds, President of the Royal Academy. Rembrandt Pinx.t / W. Pether delin. & fecit f Rob.t Sayer Excudit / London, Printed for Rob.t Sayer Mapp & Printsellerr No. 53 Fleet Street. Mezzotint, platemark 510 x 360mm (20 x 14½"). Small margins. 480 Superb engraving after the 1654 painting by Rembrandt, now in the Metropolitan Museum of Art,, New York. As indicated, it was owned by the portraitt painter Sir Joshua Reynolds in the 18th century. The sitter has recently been identified as Floris Scoop ( ), a wealthy batchelor and collector. The mezzotint engraver William Pether (c ) reproduced several paintings by Rembrandt and another master of chiaroscuro, Joseph Wright, both of whose works were eminently suited to his dramatic handling of light. Charrington 127 iii/iii. Stock: [Her Grace the Duchess of Buccleuch & Queensberry, the Right Honb.le the Earl of Dalkeith, and the Right Honb.le Lord Henry Scott.] [Painted by F. Grant Esqre. A.R.A. / Engraved by S.W. Reynolds.] [London: Published Octr. 24th. 1850, by Paul & Dominic Colnaghi & Co. 13 & 14, Pall Mall East _ Publishers to her Majesty.] Mezzotint with very large margins. Proof before letters, rare. On India paper. 'Printsellers Association' ' 473. The Lady Williams. W. Wissing pinx. I Beckett fe: E. Cooper Ex. [n.d. c ] Mezzotint. Scarce. Collector's ink stamp on verso, 'E.M.H.' Platemark: 420 x 255mm (16½ x 10"). Trimmed to thee plate. Very small tear at bottom centre. 360 A portrait of Lady Williams,, mistress of James, Duke of York. Here she s stands in front of a column and velvet curtain with w one breast bared. For an earlier state see item ref: Exx collection of Christopher Lennox-Boyd. CS 97: III of IV. Stock: [Catherine Winstanley.] Hamlet Winstanley Pinxit. I. Faber fecit. Sold by Faber, at ye Golden Head in Bloomsbury Square. [n.d., c ] Mezzotint, fine & rare. Platemark: 375 x 255mm (14¾ x 10"). 280 A portrait of Mrs. M Catherine Winstanley, wife of the painter Hamlet Winstanley, seated slightly to the right beside tree and small fountain, her head turned to face the front and resting on her hand. She is holding open a sketchbook on her lap. A landscape can bee seen behind. Decorative artist's monogramm 'CW' is inscribed in the margin below the image. Ex collection of Christopher Lennox-Boyd. Chaloner C Smith: 389.I. Stock: Tho.s Cribb. C Eng.d by Percyy Roberts fromm a painting by Sharples. Published by Sherwood, Jones & co, May Stipple. Sheet size: s 215 x 135mm (8½ x 5¼"). Trimmed insidee platemark. 65 A bust portrait of English bare-knuckle boxer of the 19th century Tom Cribb ( ), directed to the left, facing the front, with hiss left fist raised in front of him. On 10th December D 1810, Cribb fought an American, former slave Tomm Molineaux, at a Sheningtonn

89 Hollow in Oxfordshire. Cribb beat Molineaux in 35 rounds and became World champion. Stock: Marguerite Georges ( , said to have had affairs with both Napoleon and Wellington). Stock: Celebrated Frenchh Actresses. 1. M.elle Taglioni. 2. M.elle Noblet. 3. M.elle Julia. 4. M.elle Montessu. 5. M.elle Lagallois. 6. M.elle Alexis. [after Jacques Francois F Gauderique Llanta?] [n.d., c ] Aquatint with very v large margins. 245 x 160mm (9¾ x 6¼"). 130 Half-length portrait of six famous actresses and dancers, including Marie Taglioni ( ) and Marie-Élisabeth h (Lise) Noblet ( ). Stock: Tregonwell Frampton Esq.r. Keeper off ye Running Horses at Newmarkett to King William ye 3d, Queen Ann, King George ye 1st. and King George ye 2d. Ao. AEtatt 87. [After John Wootton.] [John Faber the Younger. n.d.,, c.1728.] Mezzotint, very rare with large margins. Platemark: 355 x 250mmm (14 x 9¾"). 320 A three-quarter length portrait of English racehorse trainer, Tregonwell Frampton ( ) known as the father of the turf'. He is seated, leaning forward in an armchair, holding a handkerchief with his bandaged left hand, with his right hand holding a whip. A dog looks up at him from the right, with a game cock on the wall behind him. At Newmarket, Frampton was 'keeper of the running horses' to William III, Queen Anne, George I and George II. Stock: Les Artistes Contemporaines. 1. M.ellee Mars. 2. M.elle Sontag. 3. M.elle Malibran Garcia. 4. M.elle Damoreau Cinti.. 5. M.elle Pasta. 6. M.elle Georges. [after Jacques Francois Gauderique Llanta.] [n.d., c.1832.] Aquatint with very large margins. 245 x 160mm (9¾ x 6¼"). Some light staining. 130 Half-length portrait of six actresses and singers: Mademoiselle Mars (Anne Françoise Hyppolyte Boutet Salvetat, ); Henriette Sontag ( ); Maria Malibran Garcia ( ); Laure Cinti- Damoreau ( ); Giuditta Pasta ( ); 479. Signoraa Baccelli [inn image lower left] Painted by T. Gainsborough G R.A. / Engraved by John Jones London Pub.d P Feb.y 5th 1784 by J. Jones No. 63 Great Portland Street Marylebone Mezzotint with large margins, platemark 535 x 350mm (21 x 13¾"). Very fine Giovanna Baccelli (1774, fl.-- d.1801), dancer. Baccelli, first appeared at a the King's Theatre, Haymarket in She reached the peak of her career during the season when w she appeared with Gaetan Vestris and his son Auguste in several important ballets devised by Noverre. She alsoo danced in Venice in , and at the t Paris Opéra as late as Baccelli was equally known as a mistress of John Frederick Sackville, 3rd Duke of Dorset ( ), who had set up Baccelli in a suite of rooms at Knole by October Baccelli B accompanied him to Paris in 1783 when he was w appointedd Ambassadorr to France. They entertained lavishly, patronising the Paris Opéra, and were admitted to the friendship of Queen Mariewhen the Antoinette. Horace Walpole records that Duke was awarded the Orderr of the Garterr in 1788, Baccelli dancedd at the Opéraa wearing the blue Garter

90 ribbon around her head. As the events of the French Revolution unfolded, the pair returned to Knole, where Baccelli remained until their amicable parting in Engraved by John Jones after the portrait by Thomas Gainsborough (exhibited 1782) which hangs in Tate Britain. Gainsborough was well-acquainted with many theatre people, including Richard Brinsley Sheridan, the famous dramatist and part-owner of the King's Theatre. When this portrait was exhibited at the Royal Academy in 1782, Gainsborough's portrait of the Duke of Dorset was withdrawn, presumably for reasons of decorum. As well as commissioning this portrait, the Duke also patronised Gainsborough's great rival Joshua Reynolds, who painted Baccelli in Ex: collection of the late Hon C. Lennox-Boyd; CS 3 ii/iii; Horne 7 ii/iii; CS 131 ii Stock: Miss Harper R. Dighton Pinx.t / R. Laurie Sculp. Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn Mezzotint, rare, with very large margins; platemark 155 x 115mm (6 x 4½"). Good impression; glued to backing sheet along left edge at corners; uncut. 240 Elizabeth Bannister (née Harper) ( ), actress and singer. She also accompanied herself on the guitar, as shown in John Russell's 1799 portrait. At the time this print was made Harper was only three years into her career but was already earning high salaries. In 1778 she was contracted to perform at the Pantheon (on London's Oxford Street) for two years, earning one thousand pounds in the process. In 1783 she married the actor and comedian John Bannister, and she retired in From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similar set of actor portraits published the previous year. Engraved after a painting by draughtsman and singer Robert Dighton ( ) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area. Ex: Oettingen-Wallenstein collection, and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. Stock: Miss Harper [in pencil] R. Dighton Pinx.t / R. Laurie Sculp. Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn Mezzotint, rare with very large margins; platemark 155 x 115mm (6 x 4½"). Good impression; glued to backing sheet along left edge. Uncut. 240 Elizabeth Bannister (née Harper) ( ), actress and singer. She also accompanied herself on the guitar, as shown in John Russell's 1799 portrait. At the time this print was made Harper was only three years into her career but was already earning high salaries. In 1778 she was contracted to perform at the Pantheon (on London's Oxford Street) for two years, earning one thousand pounds in the process. In 1783 she married the actor and comedian John Bannister, and she retired in From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similar set of actor portraits published the previous year. Engraved after a painting by draughtsman and singer Robert Dighton ( ) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area. Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 ii/iii. Ex: Oettingen-Wallerstein Collection. Stock: Mr. Dodd. R. Dighton Pinx.t. R. Laurie Sculp. Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn Mezzotint. 155 x 115mm (6 x 4½"). Good impression with very large margins, uncut. 240 The prominent Georgian actor, James William Dodd (1740? 1796), engraved Robert Laurie (1755?-1836) after Robert Dighton ( ), as part of a series of small portraits of actors. Ex: Oettingen-Wallenstein collection; CS 1 iii/iii. For individual portraits see refs Stock: Mr. Dodd. R. Dighton Pinx.t. R. Laurie Sculp Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn Mezzotint with thread margins, platemark 155 x 115mm (6 x 4½"). 160 James William Dodd (c ), actor. Dodd became a strolling player aged sixteen, and acted in Sheffield, Norfolk and Bath before Garrick recruited him for his Drury Lane company in Dodd was to remain at Drury Lane for the next thirty years, and while he never challenged Tom King as the principal comedian of the company, Engraved after a painting by draughtsman and singer Robert Dighton ( ) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area. Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. Stock: Mr. Garrick. R. Dighton Pinx.t / R. Laurie Sculp. Pub.d as the Act Directs July by W. Richardson No. 68 High Holborn. Mezzotint, platemark 155 x 115mm (6 x 4½"). Thread (partly damaged) margins; water staining not showing on front. 220 David Garrick ( ), English actor and theatrical manager. The most celebrated actor of his day, he did more than anyone else to change the British acting style, which prioritised energy and engagement above accuracy and control. As a manager (primarily of the Drury Lane Theatre, Covent Garden) he presided over the creation of Shakespeare as national poet and icon, while shaping the texts to suit the demands of his patrons. The supremacy of Drury Lane during Garrick's management was not to be matched until Irving's reign

91 at the Lyceum in the following century, and in the names of pubs and streets, and the famous Garrick Club, Covent Garden is filled with echoes of one of the greatest men to have occupied the area. From a set of small mezzotint portraits of actors published by the printseller William Richardson in Garrick had died a few months before the printt was published. Engraved after a painting by draughtsman and singer r Robert Dighton ( ) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area. Ex: collection of the late Hon. C. Lennox-Boyd; ; CS 1 iii/iii. Stock: i/ii; CS 15 i/ii; for other prints of Garrick as Richard III see refs and Stock: Mr. Garrick. R. Dighton Pinx.t / R. Lauriee Sculp. Pub.d as the Act Directs July by W. Richardson No. 68 High Holborn Mezzotint, good impression with very large margins; platemark 155 x 115mm (6 x 4½"). Uncut. 330 David Garrick ( ),( English actor and theatrical manager. The mostt celebrated actor of his day, he did more than anyonee else to change the British acting style, which prioritisedd energy and engagement above accuracyy and control. As a managerr (primarily of the Drury Lane Theatre, Covent Garden) he presidedd over the creation of Shakespeare as national poet and icon, while shaping the texts to suit the demands of his patrons. The supremacy of Drury Lane during Garrick's management was not to be matched until Irving's I reign at the Lyceum in i the following century, and in the names of pubs and streets, and the famouss Garrick Club, Covent Garden G is filledd with echoes of one of the greatest men to have occupied the area. From a set of small mezzotint portraits of actors published by the printseller William Richardson in Garrick had h died a feww months before the print was published. Engraved after a painting by draughtsman and singer Robert Dightonn ( )) by the mezzotint engraver and printseller Robert R Lauriee (1755?-1836). Music, instruments andd mask (representing theatre) in title area. Ex: Oettingen-Wallenstein collection and collection of thee late Hon. C.. Lennox-Boyd; CS 1 iii/iii. Stock: [Mr Garrick in Richard the Third.] N. Dance pinx.t. J. Dixon Fecit Published according to Act of Parliament April by John Boydell Engraver, Cheapside, London Mezzotint, platemark 635 x 395mm (25 x 15½"). Finished proof with scratched inscription; small margins; slight foxing. 620 David Garrick ( ), English actor and theatrical manager, in the role of Richard III. By the time this print was published Garrick was particularlyy associated with this role. Hogarth also painted Garrick in the same role. Engraved from the painting by Nathaniel Dance shortly after it was exhibited at the Royal Academy in The painting is owned by Stratford-upon-Avon Townn Council. It was acquired by Sir Watkin Williams Wynne, who reputedly outbidded Garrick himself (who had promised to buy the painting for hiss wife!) Garrick is known to have admired this print and sent impressions to his friends with complimentary lines printed and pasted on the back. It was also used as thee model for Derby porcelain statuettes. Lennox-Boyd [Garrick leaning on bust of Shakespeare] T. Gainsborough pinxit / Val. Green fecit Published April 2nd 1769 By J. Boydell Cheapside No. 90 Mezzotint, platemark 625 x 385mm (24½ x 15¼"). On wove paper; repairs. 390

92 David Garrick ( ), actor, playwright, theatree manager and producer who was the most important theatrical figure of his age. Garrick was a friend and one-time pupil of Dr Samuel Johnson, who he followed to London to make his name. Engraved by Valentine Green (one of his earliest prints) from the portrait which Garrick commissionedc d from his friend Thomas Gainsborough (c ,( formerly in the Stratford-upon-Avon museum but since destroyed by fire). Garrick's pose, whichh shows the actor in the grounds of his Hampton-on-Thames Schneemakers' memorial to Shakespeare in Westminster Abbey. Ex: collectionn of the late Hon C. Lennox-Boyd; Whitman 7 i/ii; Horne 7 i; CS 46 i; for Schneemakers' Shakespeare memorial see ref residence, deliberately echoes Stock: [Dulll Reading: with portraits of Daniel and Elizabeth Terry] A Geddes ft [upper centre of image] Etching with very large margins, platemark 140 x 175mm (5½ x 7"). 120 Portraits of the actor Daniel Terry and his artist wife Elizabeth, seated in a dark room. Etched by the Scottish painter and etcher Andrew Geddes ( ). The Oxford DNB states that 'as an a etcher Geddes ranks higher than as a painter; his plates mayy be regarded as among the very earliest examples e in modern British art of the brilliancy, concentration, and spirited selection of line proper to a painter's-etching '. This plate was one of ten he published himself in CD 16.iii; Ex: collection of the Late Hon. C. Lennox-- Boyd. Stock: Mrs. Hartley. Distressed Mother / Act 4th last Scene / In the Character of Andromache [...] Painted & Engraved by J.K. Sherwin. Pub.d by J.K. Sherwin No. 28, St. James's Street, & W. Hainton, Sweetings Alley Royal Exchange Dec.rr the Etching and stipple printed in sepia, platemark 280 x 230mm (11 x 9"). Small margins; repaired tear on right; slight creasing. Nice impression. 240 Portrait of the actress Elizabeth Hartley (née White) (1750/1-1824) in the role of 'The Disstresst Mother' inn Philips' translation of Racine's 'Andromache'. Hartley was a popular actress throughout her career, and the subject of a number of paintingss by Sir Joshua Reynolds. An obituary after her death in 1824 acclaimed her as the greatest female actress before Mrs. [Sarah] Siddons. Mixed-method print by J.K. Sherwin, published in 1782 by which time Hartley had been etired for two years. O'D 222 Stock: Luigii Marchesi The Celebrated Singer. R. Cosway R.A. delt. / L. Schiavonetti inct. i London Pub: according to Act. June at No 127 Sloane Street. and by Colnaghi and Co. No. 132 Pall Mall. Stipple printed in sepia, sheet 190 x 120mm (7½ x 4½"). Trimmedd inside platemark 160 Luigi Marchesii ( ) was an Italian castrato singer. He was considered the greatest singer of his time and was also a composer. In London he published his own volumee set of 'Ariette Italiane'. Stock: Mrs. Martyr as Dolly Fairlop in the Woodman. Springsguth sculp. [n.d, c.1790.] Engraving, withh small margins, rare. Platemark: 155 x 100mm (6 x 4" ). 80 The actress Margaret Martyr r (or Thornton, d.1807) as Dolly Fairlop inn 'The Woodman' written by Bate Dudley, 1791, standing s in a woodland scene, holding a large bow with her left hand,, with her right arm outstretched. An archery target can be seen in the background. The Reverend Sir Henry Batee Dudley ( ) was a British minister, magistrate and playwright. Stock: [Mr. Mattocks.] R. Dighton Pinx.t / R. Lauriee Sculp [m.s.] Published as the act Directs July J 1st 1779 Mezzotint, good first state impression with very large margins; platemark 155 x 115mm (6 x 4½"). Slight paper tone. 240 George Mattocks (1734/5-1804), singer and theatre manager. Initially a singer inn Covent Garden and the provinces, Mattocks leased the Portsmouth theatre in 1771 and the following year leased the newly built Theatre Royal in i Liverpool alongside the Covent Garden prompter Joseph Younger. They also a took a twenty-one-year lease on thee Manchester theatre t in 1775 and Mattocks became involved with a Birmingham theatre in Mattocks concentrated on

93 management but began to lose singing roles in London to younger performers, and in 1784 moved with his wife, singer and actress Isabella Mattocks, to the north of England. Younger died that year, leaving Mattocks in sole charge of the Liverpool and Manchester theatres, sustaining heavy losses. Isabella returned to performing in London and George was declared bankrupt in 1788 after which he worked in administrative positions at other theatres. Engraved after a painting by draughtsman and singer Robert Dighton ( ) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area. Ex: collection of the late Hon. C. Lennox-Boyd; CS ii/iii. For Isabella Mattocks see refs Stock: Mr. Mattocks. R. Dighton Pinx.t / R. Laurie Sculp. Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn Mezzotint, platemark 155 x 115mm (6 x 4½"). Good impression with very large margins; glued to backing sheet along left edge. 260 George Mattocks (1734/5-1804), singer and theatre manager. Initially a singer in Covent Garden and the provinces, Mattocks leased the Portsmouth theatre in 1771 and the following year leased the newly built Theatre Royal in Liverpool alongside the Covent Garden prompter Joseph Younger. They also took a twenty-one-year lease on the Manchester theatre in 1775 and Mattocks became involved with a Birmingham theatre in Mattocks concentrated on management but began to lose singing roles in London to younger performers, and in 1784 moved with his wife, singer and actress Isabella Mattocks, to the north of England. Younger died that year, leaving Mattocks in sole charge of the Liverpool and Manchester theatres, sustaining heavy losses. Isabella returned to performing in London and George was declared bankrupt in 1788 after which he worked in administrative positions at other theatres. Engraved after a painting by draughtsman and singer Robert Dighton ( ) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area. Ex: Oettingen-Wallestein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. For Isabella Mattocks see refs Stock: Mrs. Mattocks. R. Dighton Pinx.t / R. Laurie Sculp. Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn Mezzotint, rare with very large margins; platemark 155 x 115mm (6 x 4½"). Good impression; glued to backing sheet along left edge at corners. Uncut. 240 Isabella Mattocks (née Hallam) ( ), actress and singer. Born into a theatrical family, her father Lewis moved to America in 1752, having run into financial difficulties. He took his wife and other children but left Isabella in the care of his sister and her second husband, actor John Barrington. Isabella probably made her stage debut that year, aged five, appearing intermittently on stage until she joined the Covent Garden company aged sixteen, where she spent most of her career. She married the young tenor George Mattocks, who performed alongside her, in In Mattocks left Covent Garden to work in Liverpool and Manchester where her husband managed theatres, but the enterprises ruined him financially and she subsequently returned to Covent Garden, although she generally returned to Liverpool in the summers. Mattocks retired in Engraved after a painting by draughtsman and singer Robert Dighton ( ) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area. Ex: Oettingen-Wallenstein collection, and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii; for George Mattocks see refs Stock: [Mrs. Mattocks.] R. Dighton Pinx.t / R. Laurie Sculp. Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn Mezzotint, good impression with large margins, rare; platemark 155 x 115mm (6 x 4½"). Uncut. Annotations in ink verso (ex Suckling). 240 Isabella Mattocks (née Hallam) ( ), actress and singer. Born into a theatrical family, her father Lewis moved to America in 1752, having run into financial difficulties. He took his wife and other children but left Isabella in the care of his sister and her second husband, actor John Barrington. Isabella probably made her stage debut that year, aged five, appearing intermittently on stage until she joined the Covent Garden company aged sixteen, where she spent most of her career. She married the young tenor George Mattocks, who performed alongside her, in In Mattocks left Covent Garden to work in Liverpool and Manchester where her husband managed theatres, but the enterprises ruined him financially and she subsequently returned to Covent Garden, although she generally returned to Liverpool in the summers. Mattocks retired in Engraved after a painting by draughtsman and singer Robert Dighton ( ) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area. Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 ii/iii; for George Mattocks see refs Stock: [Rudolf Nureyev and Ballerina.] [Ilse Voigt.] [signed in pencil.] [n.d., c.1970.] Etching with very large margins. Manche XVII 8/100. Plate: 300 x 390mm, (12 x 15¼"). 140 Portrait of Rudolf Nureyev ( ) and a ballerina by Dutch artist Ilse Voigt ( ). Nureyev, one of the most celebrated dancers of the Twentieth century, through his artistic skill and expressive style gave new importance to male roles. A sensation in Soviet Russia, Nureyev travelled to Europe with the

94 Kirov Ballet in However due to his mixing withh Europeans during his stay he was persuaded to returnn to Russia while the rest of the dancers went on to London, however sensing a trap, Nureyev defected too the West after approaching French police at Le Bourget Airport. Stock: singer Robert Dighton D ( ) by thee mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and maskk (representing theatre) in title area. Ex: collection of the late Hon. C. Lennox- see ref. Boyd; CS 1 iii/iii; O'D 7; forr the Royal Circus Ex: Oettingen-Wallerstein Collection. Stock: Mr. Palmer R. Dighton Pinx.t / R. Laurie Sculp. Pub.d as the Act t Directs July by W. Richardson No. 68 Highh Holborn Mezzotint, good impression with very large margins; platemark 155 x 115mm (6 x 4½"). Uncut. Glued to backing sheet top left corner. 220 John Palmer ( ), actor, also known as 'Plausible Jack'. A popular and versatile actor, Palmer was believed to have performed over 375 different parts inn his career. Palmer's remarkable career took him to many parts off the British Isles, including spells in Scotland and Ireland. After establishing himself as an actor, Palmer opened a new theatre, the Royalty, on Wellclose Square in East London. The theatre wass open for lesss than two years however, and failed to offer the alternative to the West End which Palmer hoped to provide. His later career involved producing spectacles at the Royal Circus, but he was an actorr to the last. Palmer had been beset by accidents throughout his career, including a near-fatal accident when a stage trap was released too quickly, and a stabbing when a spring in a dagger failed to work. He continued to work strenuously right up to his death, when taking t on a lead role in Benjamin Thompson's 'The Stranger' at short notice. Clearly struggling, Palmer collapsed on stage and died during the fourth act. From a set of small mezzotint portraits of actors published by the printseller William Richardson in Engraved after a painting by draughtsman and 498. Mademoiselle Parisot. Painted by A.W.Devis. Engraved by I.R.Smith Mezzotinto Engraver to his Royal Highness the Prince of Wales. London Published as the Act directs March by A.W.Devis. Mezzotint, openn letters; platemark 610 x 380mm. Trimmed to platemark at bottom Rose Parisot (c ), French opera singer and ballerina, 'celebrated for the scantiness of her draperies' (Frankau). Parisot made her debut in Pariss in 1789, and moved to London in 1796 (this print was published the following year) ). Her sheer costumes, which often exposed one breast, caused scandal, as recorded in many satirical prints p of the 1790s. The Bishop of Durham denounced Parisot's s costumes as 'indecent', and after an address to the House of Lordss in 1798 certain adjustments were made. Her celebrated career ended in 1807, after which she married a Soho florist. Engraved by the celebrated mezzotint engraver John Raphael Smith and publishedd by the portrait painter Arthur Williamm Devis ( ), from whose portrait the engraving is made. After a decade working in India, Devis struggled to establish himself in London in the late l 1790s, but by 1800 he was in dire financial straits, and was finally imprisoned in Ex: collection of o the late Honn C. Lennox-Boyd; D'Oench 335 (only state); Frankau ii/iii; CS 131 ii Stock: 36612

95 501. Mr. Parsons. R. Dighton Pinx.t / R. Lauriee Sculp. Published as the act Directs Julyy 10th 1779 byy W.m Richardson No.68 High Holborn Mezzotint, good impression with very large margins; sheet 155 x 115mm (6 x 4½" "). Uncut; glued to backing sheet along leftt edge. 230 William Parsons ( ), actor. Beginning his career in York and Edinburgh, he was brought to London by the great Davidd Garrick and eventually joined the company at the Haymarket Theatre. A popular and versatile actor, Parsons was also a keen painter of landscapes influenced by those of Richard Wilson. Engraved after a painting by draughtsman and singer Robert Dightonn ( )) by the mezzotint engraver and printseller Robert R Lauriee (1755?-1836). Music, instruments andd mask (representing theatre) in title area. Ex: Oettingen-Wallenstein collection and collection of thee late Hon. C.. Lennox-Boyd; CS 1 iii/iii. O'D 8 Stock: Mademoiselle Parisot. Painted by A.W.Devis. Engraved by I.R.Smith Mezzotinto Engraver to his Royal Highness the Prince of Wales. London Published as the Act directs Marchh by A.W.Devis. Ex: collection of the late Hon C. Lennox-Boyd; D'Oench 335 (only state); Frankau ii/iii; for uncoloured impressions see refs 5612 and Stock: Mr. Parsons. R. Dighton Pinx.t / R. Laurie Sculp. Published as the act Directs July 10th 1779 by W.m Richardson No.688 High Holborn Mezzotint, sheet 155 x 115mm (6 x 4½" "). Trimmed to margins. 140 William Parsons ( ), actor. Beginning his career in York and Edinburgh, he was broughtt to London byy the great David Garrick and eventually joined j the company at the Haymarket Theatre. A popular and versatile actor, Parsons was also a keen painter of landscapes influenced by those of Richard Wilson. Engraved after a painting by draughtsman and singer r Robert Dighton ( ) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area. Ex: collection of the late Hon. C. Lennox-Boyd; ; CS 1 iii/iii. O'D 8 Stock: [Miss Young] Y W. Dighton Pinx.t / R. Laurie Sculp. Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn Mezzotint, good impression with very large margins; platemark 155 x 115mm (6 x 4½"). Slight mount paper tone. 260 Elizabeth Pope (née Younge) ) (1739x ), actress. She joined David Garrick's company at Drury Lane, where she madee her debut in n 1768 and spent most of her career (except for brief spells in Dublin, Bristol and the rival Covent Garden theatre as the result of pay disputes). She continued c to act in provincial cities during the summers, however, and met her husband, the Irish artist and a actor Alexander Pope ( ) while acting in Ireland. While not among the t greats of either tragedy or o comedy, Pope was a versatile performer and Garrick G seemed to have much affection for her. She died in 1797 shortly after withdrawing from a new theatrical role due to illness. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, 1 apparently to follow up a similar set of actor portraits published the previous year. Engraved by the mezzotint engraver and printseller Robert Laurie (1755?-1836).(. Music, instruments and mask (representing theatre) in title area. Ex: collection of the late Hon.. C. Lennox-Boyd; CS 1 ii/iii. Stock: Miss Young W. Dighton Pinx.t / R. Laurie Sculp. Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn Mezzotint, good impression with very large margins; platemark 155 x 115mm (6 x 4½"). Uncut; glued to backing sheet along a left corners. 260 Elizabeth Pope (née Younge) ) (1739x ), actress. She joined David Garrick's company at Drury Lane, where she madee her debut in n 1768 and spent most of her career (except for brief spells in Dublin, Bristol and the rival Covent Garden theatre as the result of pay

96 disputes). She continued to act in provincial cities during the summers, however, and met her husband, the Irish artist and actor Alexander Popee ( )) while acting in Ireland. While not among the greats of either tragedy or comedy, Pope was a versatile performer and Garrick seemed to have much affectionn for her. She died in 1797 shortly after withdrawing from a new theatrical role due to illness. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similarr set of actor portraits published the previous year. Engraved by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.. Ex: Oettingen- Wallenstein collection and collection off the late Hon.. C. Lennox-Boyd; CS 1 iii/iii. Stock: Miss Pope. W. Dighton Pinx.t / R. Laurie Sculp. Pub.d as the Actt Directs March 1st 1780 by W. Richardson No. 68 High Holborn Mezzotint with very large margins, platemark 155 x 115mm (6 x 4½"). 260 Jane Pope ( ), actress. Pope's father Williamm was barber and wigmaker for the Theatre Royal, Drury Lane in Covent Garden, near to which his shop was located. Pope made her adult debut alongside Kitty Clive as part of Garrick's company at Drury Lane, and inherited many of Clive's roles after the elder actress retired. Pope was a reliable comic actress, a talented dancer (until a rapid weight gain led her to abandon dancing) ) celebrated for the clarity of her speaking voice. Pope retired in 1808, and had amassed sufficient wealth to bequeath significant money and property to her sisterr Susanna at her death. Engraved after a painting by draughtsman and singer Robert Dightonn ( )) by the mezzotint engraver and printseller Robert R Lauriee (1755?-1836) as part of a series of mezzotints of actresses and singers. Music, instruments andd mask (representing theatre) in title area. Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. Forr Kitty Clive see ref Stock: Miss Pope W. Dighton Pinx.t / R. Laurie Sculp. Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn Mezzotint, good impression with very large margins; platemark 155 x 115mm (6 x 4½"). Uncut. 260 Jane Pope ( ), actress. Pope's father William was barber and wigmaker forr the Theatre Royal, Drury Lane in Coventt Garden, nearr to which his shop was located. Pope made m her adultt debut alongside Kitty Clive as part off Garrick's company at Drury Lane, and inherited many of Clive's roles after the elder actress retired. Pope was a reliable comic actress, a talented dancer (until a rapid weight w gain ledd her to abandon dancing) celebrated for the clarity of her speaking voice. Pope retired in 1808, and had amassed sufficient wealth to bequeath significant money and property to t her sister Susanna at her death. Engraved after a painting by draughtsman and singer Robert Dightonn ( )) by the mezzotint engraver and printseller Robert R Lauriee (1755?-1836) as part of a series of mezzotints of actresses and singers. Music, instruments andd mask (representing theatre) in title area. Ex: Oettingen-Wallenstein collection and collection of thee late Hon. C.. Lennox-Boyd; CS 1 iii/iii. For Kitty Clive see ref Stock: Ignaz Schuster S als falsche Prima Donna in Krähwinkl. Gemahlt von B. von Schrötter. Gestochen von C. Pfeifferm Mitgued d. k.k. Academie d. bildenden Künste. [n.d., c.1820.] Stipple with hand colour, rare with large margins. 300 x 210mm (11¾¾ x 8¼"), on Whatman paper. Paper lightly toned. 160 Ignaz Schuster ( ),, Austrian actor and composer in Viennese popular theatre. Here he is shown in drag acting a the partt of Catalina in i his own work 'Die falsche Primadonna in Krähwinkel', premiered Krähwinkel is a fictitious small town, associated with narrow-mindedd and self-important provincial manners. Stock: Tragic Muse. G.B. Cipriani del.t. d F. Bartolozzi Sculp.t. [London[ Publish'd Feb.yy 1.at 1784 by J. Matthews N.o 438 Strand.] Stipple with small margins, printed in sepia, very fine. Publication linee removed from plate. Platemark: 190 x 145mm (7½ x 5¾") A portrait of the actress Sarahah Siddons in the t character of the Tragic Muse. M Half-length with her head in

97 profile to the left, holding a dagger in her right hand. She is wearing a cameo in the shape of a mask of a bearded man. Within a vertical oval. Dee Vesme 450. IV of IV. Stock: Skeggs, In the Character of Seignor Bumbasto. Tho.s King pinx.t. Rich.d Houston fecit. Sold by the proprietors M. Jackson the corner of Bride Court, in fleetstreet, & M. Skeggs at the Hoop and bunch of Grapes in St Albans Street. [London, c ] Mezzotint, rare. Sheet 360 x 250mm (14¼ x 9¾"). Trimmed to plate. 280 Portrait of Matthew Skeggs (d.1773), proprietor of the Hoop and Bunch of Grapes (a public house in St Albans Street). He also performed in a burlesque called 'Mother Midnight's Oratorio' at the Haymarket, in which he 'played' a concerto on a broomstick, makingg the sound of the instrument with his mouth. Horace Walpole saw the 'Oratorio' in 1752, calling it the 'lowest buffoonery in the world'. Chaloner Smith: 111, iii of iii. For a proof impression see ref Ex Collection of the Hon. Christopher Lennox-Boyd. Stock: [Mrs. Wrighten] R. Dighton Pinx.t / R. Laurie Sculp. Pub.d as the Act t Directs March 1st 1780 by W. Richardson No. 68 High Holborn Mezzotint, good impression with very large margins; platemark 155 x 115mm (6 x 4½"). Slight mount paper tone. 260 Mary Ann Wrighten (later Pownall) ( ), singer and actress. Born in Hoxton, London in 1751, she married the actor James Wrighten in 1769 and was enaged by David Garrick for his Drury Lane Theatre in She was a leading singer at the theatre for the next sixteen years, and was also a favourite performer at Vauxhall Gardens. Wrighten had six children with only brief respites from the stage in between, and was seriously ill in both 1784 and In December her marriagee broke down and she left herr husband and d children and abandoned the theatre, andd went to live in Southwark with Hugh Pownall, a manufacturer of sulphuric acid. As a result her father cut her out of his will. The couple moved to America wheree they married, and the now Mrs Pownalll sang to much acclaim in Philadelphia, New York, Boston and Charleston (somee considered her the best vocalist heard in America upp to that point) ). James Wrighten having died in the meantime, her daughters joined her in America where e they performed alongisde her. Mary Ann died in Charleston. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, 1 apparently to follow up a similar set of actor portraits published the previous year. Engraved after a painting by draughtsman and singer Robert Dightonn ( )) by the mezzotint engraver and printseller Robert R Lauriee (1755?-1836). Music, instruments andd mask (representing theatre) in title area; sitter holding manuscript. Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 ii/iii. Stock: Mrs. Wrighten R. Dighton Pinx.t / R. Lauriee Sculp. Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn Mezzotint, good impression with very large margins; platemark 155 x 115mm (6 x 4½"). Uncut. 260 Mary Ann Wrighten (later Pownall) ( ), singer and actress. Born in Hoxton, London in 1751, she married the actor James Wrighten in 1769 and was enaged by David Garrick forr his Drury Lane Theatre in She was a leading singer at the theatre for the next sixteen years, and was also a favourite performer at Vauxhall Gardens. Wrighten had six children with only brief respites from the stage in between, and was seriously ill in both 1784 and In December her marriagee broke down and she left herr husband and d children and abandoned the theatre, andd went to live in Southwark with Hugh Pownall, a manufacturer of sulphuric acid. As a result her father cut her out of his will. The couple moved to America wheree they married, and the now Mrs Pownalll sang to much acclaim in Philadelphia, New York, Boston and Charleston (somee considered her the best vocalist heard in America upp to that point) ). James Wrighten having died in the meantime, her daughters joined her in America where e they performed alongisde her. Mary Ann died in Charleston. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, 1 apparently to follow up a similar set of actor portraits published the previous year. Engraved after a painting by draughtsman and singer Robert Dightonn ( )) by the mezzotint engraver and printseller Robert R Lauriee (1755?-1836). Music, instruments andd mask (representing theatre) in title

98 511. Mr. Wroughton. R. Dighton Pinx.t. R. Laurie Sculp. Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn Mezzotint. 155 x 115mm (6 x 4½"). Good impressionn with very large margins, uncut. 240 The prominent Georgian actor, Richard Wroughton ( ), engraved Robert Laurie ( 1755?-1836) after Robert Dighton ( ), as part of a series of small portraits of actors. Ex: Oettingen-Wallenstein collection; CS 1 iii/iii. area; sitter holding manuscript. Ex: Oettingen- the late Hon. C. Lennox-Boyd; CS 1 iii/iii. Wallenstein collection, and collection of Stock: Stock: Mr. Wroughton. R. Dighton Pinx.t. R. Laurie Sculp Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn Mezzotint, platemark 155 x 115mm (6 x 4½"). Smalll margins; glued to backing sheet; m.s. in ink verso. 190 Richard Wroughton (real name Richard Rotten) ( ), actor and theatre manager. Wroughton made his debut at Covent Garden in 1768, staying there until an argument with management led to the familiar defection to Drury Lane. Wroughton briefly retired between 1798 and 1800 before returning to Drury Lane as an actor-manager (he had previously managed Sadlers Wells so had management experience), remaining in the position until the end of the season. While unpopular with critics, Wroughton wass a competent actor liked by audiences. Engraved after a painting by draughtsman and singer r Robert Dighton ( ) by the mezzotint engraver and printseller Robert R Lauriee (1755?-1836), as part of a series of small portraits p of actors published by Richardson in Music, instruments and mask (representing theatre) in title area. Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii; O'D 3. Stock: Mr. Wicherley. [John Simon after Sir Peter Lely] London Printed for John Bowles Mezzotint, veryy scarce, sheett 200 x 150mmm (8 x 6"). Trimmed to platemark and glued to album sheet with letterpress clippings pasted below and another print verso. 260 William Wycherley ( ), playwright. Like his contemporary the earl of Rochester, posterity saw Wycherley as the epitome off the attractive, wicked, brillant Restoration wit and rake (Charles II's notorious and beautiful former mistresss Barbara Villiers was his lover for a time). His greatest plays 'The Plain-Dealer' and 'The Country-Wife'. Thee young Alexander Pope was a friend towards the end d of Wycherley's life, and helped to edit and a publish hiss works after his death. According to the British Museum cataloguing, engraved by John Simon, andd probably copied from the similar John Smith engraving. The youthful appearancee reproduced here was ironic: when Wycherley commissioned John J Smith too engrave Peter Lely's handsome portrait of him in 1703 he accompanied it with the Virgilian motto 'Quantum mutatiss ab illo' ('how changed from that'). For Smith's engraving of Wycherley see ref. r CS: Not in. Stock: [Mrs. Yates] Y R. Dighton Pinx.t / R. Lauriee Sculp. Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn Mezzotint with very large margins, platemark 155 x 115mm (6 x 4½"). Good impression; slight foxing. 260 Mary Ann Yates (née Graham) ( ), actress and theatre manager. She made her debut with

99 Garrick's Drury Lane company in 1754 and in 1756 married another member of the company, the recently- widowed comedian Richard Yates (1706?-1796). Shee remained a regular member of Garrick'ss company until 1767, when she switched her allegiances to the rival Covent Garden Theatre, allegedly for financial reasons (although Yates denied this). She then broke with Covent Garden, less for financial reasons than the company' 's reluctance to retain Richard Yates, and in 1773 she took over management, with novelist and playwright Frances Brooke, of the King' 's Theatre, then London's home of opera. Around this time Richard Yates took over a playhouse in Birmingham, where Mary Ann sometimes performed. Having improved the fortunes of the King's Theatre, Yates returned to Drury Lane and sold her share in the King's Theatre. London's leading tragedienne of the period, Yates was admired by the public, with notable admirers including Horace Walpole and William Godwin. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similarr set of actor portraits published the previous year. Engraved after a painting by draughtsman and singer r Robert Dighton ( ) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area. Ex: Oettingen-Wallenstein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 ii/iii; for Yates and Garrick, seee ref Stock: collection of thee late Hon. C.. Lennox-Boyd; CS 20 (before first listed state) Stock: [La Signora Zamperini in the Character of Cecchina. La Buona Figliuola, Act 2d Scene 3d.] N. Hone pinx.t / J. Finlaysonn fec.t / Publish'd Feb.y 1st [Sold by Mr Parker Noo 82 Cornhill, & Mr Finlayson in Berwick Street Soho.] Mezzotint, sheet 380 x 280mm (15 x 11"). Trimmed inside platemark; name of sitter in pencil 240 Anna Zamperini, singer believed to be thee mistress of George Hobart,, third earl of Buckinghamshire. Here portrayed in thee lead role in Niccolò Piccinni's 'La buona figliuola' ('the good-natured maid'), adapted from Samuel Richardson's R novel 'Pamela'. Zamperini was portrayed in i the same role by Scottish painter John Paxton. After a portrait by Nathaniel Hone ( ), one of two Irish founder members of the Royal Academy. Ex: collection of thee late Hon. C.. Lennox-Boyd; CS 20.i Stock: Mrs. Yates R. Dighton Pinx.t / R. Laurie Sculp. Pub.d as the Act t Directs March 1st 1780 by W. Richardson No. 68 High Holborn Mezzotint with very large margins; platemark 155 x 115mm (6 x 4½"). Uncut; glued to backing sheet on left corner. 260 Ex: Oettingen-Wallensteinn collection and collection of the late Hon.. C. Lennox-Boyd; CS 1 iii/ iii; for Yates and Garrick, see ref Stock: [La Signora Zamperini in the Character of Cecchina. La Buona Figliuola, Act 2d Scene 3d.] [N. Hone pinx.t / J. Finlayson fec.t / Publish'd Feb.y 1st 1769.] [Sold by Mr Parkerr No 82 Cornhill, & Mr Finlayson in Berwick Street Soho.] Mezzotint, very scarce; platemark 380 x 280mm (15 x 11"). Trimmed to plate; early proof before any text; small tear lower right. 280 Anna Zamperini, singer believed to be the t mistress off George Hobart, third earl of Buckinghamshire. Here portrayed in the lead role in Niccolò Piccinni's 'La buona figliuola' ('the good-natured maid'), adapted from Samuel Richardson'ss novel 'Pamela'. Zamperinii was portrayed in the same role by Scottish painter John Paxton. After a portrait by Nathaniel Hone ( ), one of two Irish founder members of the Royall Academy Ex: 518. [La Signora Zamperini in the Character of Cecchina. La Buona Figliuola, Act 2d Scene 3d.] N. Hone pinx.t / J. Finlaysonn fec.t / Publish'd Feb.y 1st [Sold by Mr Parker Noo 82 Cornhill, & Mr Finlayson in Berwick Street Soho.] Mezzotint, platemark 380 x 280mm (15 x 11"). Small margins; rubbed; slight creasing 320 Anna Zamperini, singer believed to be thee mistress of George Hobart,, third earl of Buckinghamshire. Here portrayed in thee lead role in Niccolò Piccinni's 'La buona figliuola' ('the good-natured maid'), adapted from Samuel Richardson's R novel 'Pamela'. Zamperini

100 was portrayed in the same role by Scottish painter John Paxton. After a portrait by Nathaniel Hone ( ), one of two Irish founder members of the Royal Academy. CS 20.i Stock: Benevolus His is the thought continual how to ease / The wayward fortunes of this fickle World / And in the wounds of suffering Innocence / The Balm of mental Comfort to instill P. Jean pinx.t / P.W. Tomkins sculpt. [1793] Stipple printed in brown, with small margins; sheet 115 x 70mm (4½ x 2¾"). Trimmed inside platemark. 90 Portrait, listed by O'Donoghue as 'Birch; banker, of Bond Street'. After Jersey-born miniaturist Philip Jean ( ). O'D 1 (only likeness) Stock: [Sir William Chambers Engraved from the Original Picture in the Council Chamber of the Royal Academy] [Sir Joshua Reynolds pinx] [published c ] Stipple, platemark 175 x 115mm (7 x 4½"). Thread margins; unfinished proof. Touched proof with pencil marks to upper part of image. 160 Sir William Chambers ( ), architect. Born in Gothenburg, Sweden, Chambers worked initially for the Swedish East India Company, travelling to China where he studied Chinese architecture and decoration. Returning to Europe, he studied architecture in Paris and Italy before moving to London in Chambers is best remembered for designing and building Somerset House, a project he worked on from 1775 to He was a founder member of the Royal Academy and was its first Professor of Architecture. Engraved after the portrait c.1780 by Sir Joshua Reynolds (London, Royal Academy of Arts), and cropping the composition so that the Strand facade of Somerset House, clearly visible in the painting, is unidentifiable here. Stock: Sir William Chambers. Engraved from the Original Picture in the Council Chamber of the Royal Academy. Sir Joshua Reynolds pinxt. Josh. Collyer Sculpt. Published as the Act directs, by J. Collyer 1st. March Sold by J. Cary, Strand, W. Darling Newport Street, E. Scott, Hyde Street Bloomsbury, and J. Collyer, White Lion Row, Islington. Stipple with large margins. Platemark: 180 x 115mm (7 x 4¼"). Light foxing in margins. Small rust spot on reverse. 140 A portrait of Sir William Chambers ( ), Architect. Born in Gothenburg, Sweden, Chambers worked initially for the Swedish East India Company, travelling to China where he studied Chinese architecture and decoration. Returning to Europe, he studied architecture in Paris and Italy before moving to London in Chambers is best remembered for designing and building Somerset House, a project he worked on from 1775 to This Neoclassical development housed many government offices and provided accommodation for various learned societies, including the Royal Academy, the Royal Society, and the Society of Antiquaries. He was a founder member of the Royal Academy and was its first Professor of Architecture. Hamilton: Not in. Stock: Robert Forfeit, Huntsman to John Warde Esq.r. Biederman Pinx.t. E. Harding Exc. Pub.d. Jan.y, 1803 by E. Harding Pall Mall. Stipple, very scarce with large margins. Platemark: 505 x 400mm (20 x 15¾"). Creases, very tatty. 360 A three quarter length portrait of Robert Forfeit, inclined to the left. He wears a plain coat with a belt, and holds a horn in his right hand A woodland with foliage can be seen in the background. Stock: L'Abbé Gaultier. I always thought that learning might be [/] made a play and recreation to Children. [/] Lock on Education. Painted by H. Johns. Engraved by Anth.y. Cardon. London, Published Jan.y by. A.C. de Poggi, 91 Bond Street. Stipple. Sheet: 210 x 150mm, (8¼ x 6"). Trimmed within plate. Slight stain around title. 65 Portrait of Abbé Aloisius Gaultier ( ) a French priest who, after escaping the French Revolution, set up a school in London for the children of refugees which focussed on learning through play, and which was commended by the universities of Oxford and Cambridge. For example printed in sepia see ref: Stock: This Portrait of Nathaniel Kent Esq.r is most respectfully Dedicated to the Friends of Agriculture by their most obedient H.ble Serv.t John Rising. Painted by Jn.o Rising. Engraved by Jn.o Young Engraver to H.R.H. the Prince of Wales. [c.1800.] Mezzotint with large margins, very scarce; 505 x 355mm (20 x 14"). Some creasing and wear to edges, short tear entering inscription area at bottom. Bit messy. 320 Nathaniel Kent ( ), seated with books and map of Norfolk Farm by his elbow, a landscape through a window behind. Kent, was a land valuer, agriculturist, author, and manager of George III's estates at Windsor and Richmond. He wrote 'Hints to Gentlemen of Landed Property' in 1775; his 'General View of the Agriculture of the County of Norfolk' was included in the Survey of Norfolk issued by the Board of Agriculture in Kent assisted in the creation of Norfolk Farm in Windsor Great Park, introducing the Nofolk system of crop rotation. CS: 44; Ex: collection of the Late Hon. C. Lennox-Boyd. Stock: 36545

101 525. Sir Hugh Myddelton Knightt & Baronet. The famous Aqueduct call'd the New River was performed at his Charge... C.J. fe Ad Tabula, Cornelii Janssonii, jam penes Illustriss. Comitem Oxoniensem, Georgius Vertue sculpsit, A.D [London, c.1722, later.] Engraving. 375 x 280mm (14¾ x 11"). 160 Sir Hugh Myddelton ( ), goldsmith and entrepreneur. Early in the seventeenth century Myddelton became involved in the successful projectt to bring a supply of water to London, which was still the most important source of piped water into the metropolis two hundred years later. In 1605 an act of parliament was obtained to bring water from springs near Hertford to north London (a distance of nearly forty miles), as surveyed by the mathmatician Edward Wright ( , famed for r his correction of Mercator's Projection).. Myddelton's involvement is not recorded until 1609, when he tookk the lead in the project which was completed in The establishment of the New River was Myddelton'ss main claim to fame, and he was involved with the running of the company for the rest of his life, although he was also involved in mining and land draining projects. Ex: Collection of The Hon. C. Lennox-Boyd. Alexander: 962. Stock: in a low landscape dotted with trees, looking towards the viewer. With both hands in front of him he holds a snake. He is wearing a plain coat buttoned at the waist, with a broad belt, spotted neckerchief and wide- near brimmed roundd hat. Continuation off title below reads, 'of Huntington York Aged 94 Years, Y Very remarkable forr his abilities in catching Vipers, Snakes, Addres, &c, which he used frequently to carry about with him in his Bosom - and he is not less celebrated for destroying of Rats, Moles and every otherr Species of Vermin of the Quadrupede as well as of thee Reptile Race.' Ex collection of Christopher Lennox-Boyd. Chaloner Smith: 61. Stock: Richard Reynolds.. Engraved by H.Meyer, from the Original Picture by N.Branwhite, inn the Possesion of the Family. Published as the Act directs, March 1st. 1817, by N. Branwhite, Queen Square, Bristol. Stipple. Platemark: 300 x 250mm (11¾ x 9¾"). Foxing. 120 A portrait of Bristolian Quaker, Philanthropist and 'Ironmaster', Richard Reynolds ( ). Half- A manuscript dedication d is cut and pasted below the length, seated to the right, facing forwards. image. It reads,, 'The Gift of Rich.d Reynolds. St. James' Square. To Will.m Wilson. 23rd May Bristol.' Stock: Richard Penrose. Painted by S. Hewson. Engraved by I. Jones J Engraver Extraordinary to His R.H. the Prince of Wales and Principal Engraver ro His R.H. the Duke of York. London. Pub.d as the Act directs. Aug.t 10th 1792 byy S. Hewson. No. 48 Frith Street, Soho. Mezzotint, very scarce. Sheet size: 515 x 360mm (20¼ x 14¼"). Light creases. Trimmed insidee plate. Top left corner repaired. 380 A portrait of famed vermin catcher Richard Penrose, three-quarterr length standing three-quarter to the left,, 528. A Collection of Engraved Portraits Exhibited by the late James Anderson Rose at the Opening of the new Library and Museum of the Corperation of London, November Vols 1. [&] Vol V 2. Marcus Ward & Co. Limited Book. 4to. Halff velum. Half tone illustrations. Uncut. Complete. Front and back boards stained. 130 Two volumes of o the illustrated catalogue of engraved portraits lent byy businessmann James Anderson Rose ( ) to the Corporation of Londonn for an exhition in 1872 marking thee opening of their new Library and museum. Ex: Collection the Hon. Christopher Lennox-Boyd. Stock: Benjamin West. Graham Gallery. New York Madison Avenue. May 22-June 30, Pamphlet. 8to (200( x 230mm). 20 A brief guide too an exhibitionn of paintingss and drawings by Benjamin West,, held in the Graham

102 Gallery, New York in Ex Collection of the Hon. Christopher Lennox-Boyd. Stock: A Catalogue Raisonné of The Engraved Works of Richard Cosway, R.A. by Fredk. B. Daniell. Published Dryden Press: J. Davy and Sons, 137, Long Acre, London Book. 4to (200 x 300mm). Inscribed by the author. Gilt title stamped on spine and front. Complete. Rare. 140 A catalogue of the engraved works of british artist Richard Cosway ( ). Ex: Collection the Hon. Christopher Lennox-Boyd. Stock: Currier & Ives. Printmakers to the American People. Harry T. Peters. Published by Doubleday, Doran & Co. Inc. garden City, New York. MCMXLII. Book 4to (230 x 310mm). Cloth binding. Gilt title stamped on spine. Printed title glued to front, stamped decoration. 45 Illustrated narrative describing the lithographic works of Nathaniel Currier ( ) and James Merrit Ives ( ) American "Publishers of Cheap and Popular Prints". Ex Collection of the Hon. Christopher Lennox-Boyd. Stock: Currier & Ives: A Manuel for Collectors. By Jane Cooper Bland. Publsihed by Double Day, Doran and Company, Inc. Garden City, New York Book. 4to (230 x 300mm). Cloth binding. Title stamped on binding. 65 An alphabetical catalogue of the prints (including auction prices) published by American publishers and lithographers Nathaniel Currier ( ), Charles Currier ( ) and James Merrit Ives ( ). Ex Collection of the Hon. Christopher Lennox- Boyd. Stock: Mr. Currier and Mr. Ives: A Note on Their Lives and Times. Russel Crouse. Published by Garden City Publishing Company, Inc. Garden City MCMXXXVI New York. Book: 4to (230 x 300mm). Cloth binding with title stamped on spine and front cover. 45 An illustrated narrative dicsussing the lithographic works of American printers Nathaniel Currier ( ) and James Merrit Ives ( ). Ex Collection of the Hon. Christopher Lennox-Boyd. Stock: A Descriptive Catalogue of the Engraved Works of William Faithorne. by Louis Fagan. Bernard Quaritch. 15, Picadilly, W. London Book. 4to (200 x 290mm). Very scarce, only 46 Subscribers. Cloth binding, gilt title stamped on spine. Broken back inside. 350 A catalogue of works by English engraver William Faithorne ( ). Ex: Collection the Hon. Christopher Lennox-Boyd. Stock: The Graphic Art of Winslow Homer. By Lloyd Goodrich. Published for The Museum of Graphic Art by the Smithsonian Institution Press Book. 4to (220 x 255mm). Cloth binding, gilt title stamped on spine. In original dust cover. 50 An illustrated narrative of the printed work of American artist Winslow Homer ( ). Ex Collection of the Hon. Christopher Lennox-Boyd. Stock: Nineteenth Century Mezzotinters. Samuel William Reynolds. by Alfred Whitman of the Department of Prints and Drawings, British Museum. London. George Bell & Son Book: 4to (290 x 211). Cloth binding with title stamped in gilt on spine and front cover. Complete. Binding worn and scuffed. 65 This catalogue does not claim to be a catalogue raisonné, but has aimed to compile the majority of the portrait work engraved both by Samuel Reynolds Jr and Senior. Ex: Collection the Hon. Christopher Lennox-Boyd. Stock: An Eighteenth Century Artist & Engraver. John Raphael Smith His Life and Works. by Julia Frankau. Published by Macmillan and Co., Limited. London Book. 4to (180 x 260mm). Cloth binding with gilt title stamped on spine and front. Binding worn, some staining. Foxing on pages. 65 The definitive work on the paintings and mezzotints of British artist and engraver John Raphael Smith ( ). Since updated by D' Oench. Ex: Collection the Hon. Christopher Lennox-Boyd. Stock: American Naval Broadsides. A Collection of Early Naval Prints ( ). by Edgar Newbold Smith. Philadelphia Maritime Museum and Clarkson N. Potter, Inc./Publisher, New York. Book. 4to (220 x 285mm). Cloth bindings, gilt title stamped on spine and front. Original dust cover. Dust cover, damaged with some tears. 160 An illustrated catalogue of prints depicting American naval battles between 1745 and 1815 in the collection of Edgar Newbold Smith. The catalogue of 117 prints is accompanied by a chronological narrative with special attention paid to French and Indian War, The American Revolution, the Federal Period and the War of Ex Collection of the Hon. Christopher Lennox-Boyd. Stock: 36435

103 539. Mezzotints. by Cyril Davenport, F.S.A. Methuen and Co. 36 Essex Street. London. 1904, Book. 4to (190 x 260mm). Cloth binding, title stamped in gilt on spine and front. Complete. Binding worn. 45 A detailed examination of the methods, examples, history and artists of mezotints from thee mid seventeeth century to the late nineteenth century. Ex: Collection of the Hon Christopher Lennox-Boyd. Stock: [Woman in enormous hat.] Rob. Dighton pinxit / R. Laurie Fecit. London: Printed for R. Sayer & J. Bennett No 53 Fleet Street, 26 Feb.yy 1778, as the Act directs. Rare mezzotint. Platemark 110 x 90mmm (4¼ x 3½"). Uncut; good impression with very largee margins. 280 Extremely decorative mezzotint by engraver and printseller Robert Laurie ( 1755?-1836), after Robert Dighton ( ), draughtsman and singer. After r the death of John Collett in 1780, Dighton became the foremost designer of droll mezzotints such as this. Chaloner Smith suggests it may be a portrait of the actress and favourite subject of Joshua Reynolds, Elizabeth Hartley. As business in the art world declined during the Napoleonic Wars, Dighton began stealing prints fromm the British Museum, only getting caught after severall years of theft. Ex: collection of the late Hon. C. Lennox-Boyd; CS 40 Stock: A risque image showing six French émigrés grouped at the roadside beside a signpost pointing to 'London' in one direction, and a to 'Dover' in the other. A lean and elderly woman holding a poodle stands with her left hand in the armm of a man wearing a cocked hat with. On the right aree two women holding large muffs. A second clipped poodle runs beside them. In the background is a coach inscribed 'London Dover Canterbury' is driving d towards London with outside passengers; one, a sailor, waves his hat. The gable end of a cottage andd trees complete the background. BM Satires ref: Stock: French Privateers, Cruising in the English Channel. [After Robert Dighton.] Printed for Carrington Bowles. No.69 St. Paul's Church Yard, London. Published as the Act directs, 4 June Hand coloured mezzotint, very fine. Platemark: 355 x 255mm (14 x 10"). Very slight damage in title area The Heir Disinherited. Drawn by Collings. Eng. by F. Jukes. Pub.d by R. Pollard, Printseller Spafields London. A pair of hand coloured aquatints with etching, very rare. Printed area: 310 x 365mm (12¼ x 14¼") each. Frame size: 4100 x 460m (16 x 18") each. Light creases. 520 A pair of framed aquatints after amateur draughtsman, caricaturist andd genre painterr Samuel Collings, each lettered with eight lines of verse below image. The Heir Disinherited; A family group listens to the reading of a will by an elderly lawyer seated on the right, a deed-box on the ground beside him. The will which he holds is inscribed 'In the Name of Amen I publish and Protest... To my Eldest Son in consequencee I bequeath One Shilling'. Thee heir, a young man sitting to the left, looks towards himm with an expression of

104 rage, spilling a glass of wine into his lap. A folding screen behind is covered with a map on which 'Africa', 'Cape of Good Hope', 'Egypt', and 'Indostan' are indicated. The Disinherited Heir; An interior scene with a family. The mother, seated in the centre, is flirting coyly with a man who stands beside her. Seated next to her is the younger brother, slightly older, with outstretched arms directing a servant in to push his plainly dressed brother through the door. An old lawyer and young woman sit side by side on the left, not distressed at the ejection. Pictures on the wall behind are, 'Prodigal Returned', 'Ephesian Matron' (above the widow), and 'Shylock and Antonio'. Stock: The Refusal. From an Original Picture of Mr. John Collett in the Possesion of Mr. Sayer. 402 J. Collett Pinx.t. Phi. Daw Fecit. London, Printed for Rob.t Sayer No.53 in Fleet Street, as the Act directs 25 Feb.y Mezzotint with large margins, very fine impression. 'CLB' collector's stamp on verso. Platemark: 250 x 350mm (9¾ x 13¾"). 370 An interior scene with a young man sitting with his arms folded, looking at a woman who leans across the round table in front of him, on which are empty glasses and a bottle of wine, putting one arm on his shoulder persuasively. An elderly woman can be seen standing behind her on the left, drinking from a punch bowl. There is an open door behind her. Ex collection of Christopher Lennox-Boyd. Stock: [The Mineral Water lunch of Count Cagliostro] Le Dejeune avec les Eau Minerale du Comte Cagliastro [anon., c.1790] Etching with large margins, platemark 140 x 180mm (5½ x 7"). Folds, rust spot lower right. 120 Satire on the infamous Count Alessandro di Cagliostro ( ), adventurer, freemason, charlatan, radical politician and occultist. Cagliostro sits at ease while numerous figures around him sleep or vomit. Cagliostro's life is shrouded in mystery but involved forging and swindling of various kinds (and alleged involvement in the 'Affair of the Diamond Necklace' in which Marie Antoinette was thought to have defrauded the crown jewellers of the cost of an expensive necklace). He travelled around Europe, including time spent in London, and died in prison in Rome after he had been sentenced to life for being a Freemason. The error-strewn French and style of this print suggests it may have been made in Italy. Since his death, Cagliostro has been of tremendous cultural interest. He has been the subject of literary works by Goethe and Tolstoy amongst others. Stock: [Theriac vendor] Au grand Magazin de Tériaque / Les voilà donc surpris mais cet air patelin / Trouvera des nigauds qui si laisseront prendre [...] [Anon., published 8 March 1761? (date on poster in image)] Etching with small margins, rare, platemark 125 x 160mm (5 x 6¼"). 140 Anti-jesuit satire, whose subject is made explicit by a notice on the wall which forbids jesuits from any commercial activities. Theriac was a medical concoction formulated by the Greeks in the first century AD and sold up until the 19th century. Here the medicine, sometimes sold by jesuit traders, is seen as a quack treatment, as the text below explains, saying that if France welcomes the jesuits, they will deceive those who trusted in them. This print is probably a copy of a more skilfully-etched version, copies of which are in the BNF and Waddesdon. Stock: Paris & Helen, directing Cupid to Inflame each others Heart w.th Love [after Angelica Kauffman] Published 12th May 1794 by Laurie & Whittle, No 53 Fleet Street, London Mezzotint with small margins, platemark 350 x 250mm (13¾ x 9¾"). 'CL-B' collector's stamp verso. 280 Interesting example of fine art repurposed as a popular humorous print. Valentine Green's mezzotint of Angelica Kauffman's painting of Paris and Helen was an example of one of the finest printmakers in the country treating reproducing mythological subject matter by one of the most esteemed painters in the country. Here the composition becomes light-hearted and domestic. Originally a pair with 'Renaldo arresting the Arm of Armida', apparently also after Kauffman. Ex: collection of the Late Hon. C. Lennox-Boyd; for Green's mezzotint from which this derives, see ref Stock: [The Vile Ephesian.] The Vile Ephesian to obtain / A Name- A Temple fires, / Observe friend H-g-th 'twas in Vain He had not his desires [...] [by Paul Sandby, 1753.] Etching, sheet 225 x 185mm (8¾ x 7¼"). Trimmed inside platemark. 160 Satire against Hogarth by Paul Sandby, who produced the most potent work in this vein in response to Hogarth's theoretical treatise 'The Analysis of Beauty' in 1753 (this impressive scene also demonstrates his skill in architectural draughtsmanship) Here Hogarth is shown as Herostratus, the 'vile Ephesian' who to gain fame set fire to the Temple of Diana on the same night Alexander the Great was born. His collaborator on the 'Analysis', Benjamin Hoadly, is also represented. Hogarth was opposed to the Palladian classicism of Burlington and his acolytes (alluded to here by the Palladian style of the temple), and having set fire to the temple he now attempts to light a fire under a column commemorating great artists of the past. Paulson,

105 'Hogarth, Art and Politics, ' p.137; Bindman, 'Hogarth and his Times: Serious Comedy', cat Stock: The Taking of the Bastille on the 14th of July Prise de la Bastile, le 14 Juillet Drawn on the Spot by an eminent Artistt [Charles Benazech]. Designé sur le Lieu par an Amateur distingué. J. Wells Aqua Tinta. London Publish'd Nov , by B. Vander Gucht, Lower Brook Street & J. White Tavistock Street. A Londres chez B. Vanderr Gucht & J. White. Coloured aquatint with etching, very scarce, 18th century watermarked paper GR & Crest. Sheet 350 x 505mm (13¾ x 20"). Trimmed to plate, small tear in upper edge. Crease. 550 A near contemporary record, published only four months after the event. In the centre Governor Delauney is seized by a soldier and civilian. Charles Benazech ( ) was in Paris at the outbreak of revolution. His suite of four paintings of the last dayss of Louis XVI, engraved by Luigi Schiavonetti, are his best known works. Stock: Fredericus II Rex Bohemiae. Fredericus Rex Bohemiæ, Comes Palatinus ad Rhenum, et Sacri Imperij Elector, Dux utriusque Bavariæ, Marchio Moraviæ, Dux Silesiæ et Lutsenburgi, Marchio Lusatiæ, etc. [&] Elizabetha Regina Bohemiæ, Frederici conjux, Magnæ Britanniææ Regis Filia unica. [Anon.] [n.d., c.1619.] Etching with engraving. Very scarce. Sheet size: 402 x 460mm (16 x 18"). Cut to image. Light creasing in places. Damaged. 330 A print commemorating the coronation of Frederick V, Elector Palatine, and Elizabeth, daughter of James I, as King and Queen of Bohemia. On the left, Frederick, standing within an arched niche beneath a coat of arms, wearing a crown, ruff, and ermine robe,, and holding a sceptre. On the right, also in an arched niche beneath a coat of arms, Elizabeth, the Winter Queen, wearing a crown, high collar, jewels, wide dress, ermine e robe, and holding a sceptre. Between them, and at the bottom, ten numbered panelss depicting scenes from the coronation ceremony and feasting and revelry after it. Stock: [Louis XIV receiving James III and Mary of Modena] De D Koning van Vranckryck, ontfangt den gevlugte Koning en Koninginne van Engelant. fig 10. [Anon, c.1689] Engraving withh very large margins, platemark 185 x 140mm (7¼ x 5½") Following the Glorious G Revolution of 1688 (as a result of which William of Orange would replace James II as King of England, Scotland and Ireland), William allowed James to escape to France, where Louis XIV offered him a palace and pension. Stock: Destruction of the Armoury &c. in the Tower of London. By Fire as it appeared on Saturday night, the 30th Pctober From a sketch taken t on the spot. J. R. Jobbins del. & lith. [n.d., c.1841.] Lithograph, rare. Sheet size: 215 x 270mmm (8½ x 10½"). Cut to image. 130 A dramatic vieww of the destruction of the Armoury in the Tower of London, based on a sketch drawn by the artist taken on the t spot. Late on Saturday, 30 October 1841, a spectacular fire broke out at the Tower of London, the ancient fortress guarding the city c by the River Thames. Stock: Edward and Eleanora. Dedicated by Permission too the Queen n by Her Majesty's most Dutiful and Devoted Servant, W:Martin. From the Original Picture in the Town Hall, Norwich. W.m. Martin pinxit. Francis Bartolozzi R. A. Historical Engraver to Hiss Majesty, sculp. London, Publish'd Sep.r. 1:1790, by b W.m. Martin, Leicester Square, & W.m. Dickinson Engraver N.o.158 New Bond Street. Stipple printed in sepia. Plate: 430 x 360mm, (17 x 14"). Trimmed to platemark A scene in which a dying Eleanor of Castille is surrounded by her h family andd courtiers. On the left her husband King Edward E I looks lovingly into her eyes. Eleanor died onn the 28th November 1290 in Harby, Nottinghamshir re while on a tour of the North. Stock: Eleanora sucking the Venom cut out of the wound which Edward I, her royal Consort, received fromm a poisonedd dagger by an assassin in Palestine. Rapin's R Hist. Vol. III Page 179. Dedicated to the Queen by her Majesty'd dutiful and most m obedient humble servant W. Wynne Ryland. Angelica Kauffman ex academia Regali Artium Londini Pinx.t. Guliemus Wynne Ryland Chalcographus Regis Brittannia sculp.t. Publish'd as

106 the Act directs March 1, 1780 for the Proprietor W.W.Ryland N.o.159 Strand, London. Stipple with large margins left & right, small marginss top & bottom. Plate: 390 x 330mm, (15¼ x 13"). 230 A scene set in the back drop of the crusades, Edward I injured, sits in his tent while his wife Eleanor of Castille sucks the poison from an injury in his arm. Two ladies in waiting watch on concerned, while several soldiers hold up an injured comrade. Stock: Chaloner Smith: 11. Ex collection of Christopher Lennox-Boyd. Ex E Oettingen-Wallerstein Collection, Sotheby's 13/11/97. Stock: Boadicea. Craig del. Raddon sc. Published by Nuttall, Fisher & C.o. Liverpool, Jan.y Engraving withh etching. Sheet: 130 x 210mm, (5 x 8¼"). Trimmedd within plate. Some pin holes on left edge. Some creasing. 60 Depiction of Boadicea, queenn of the Iceni tribe, praying, alongside a druid to o her Celtic god before battle with the Romans. R Stock: Cornelia Mother of the Gracchi. Cornelia Daughter of Scipio Africanus and Mother of thee racchi, being desired by a lady who had beenn shewing her fine jewels & trinkets indulge her withh a sight of hers; Cornelia presented Children to her, saying she loked on themm as her principal treasure having educated themm with caree for the service of their country. Ang. Kauffmann pinx. F. Bartolozzi sculp. Publish'd Nov.r. 1788, byy M.Ryland N.o.102, New Bond Street. Stipple. Sheet: 400 x 345mm, (15¾ x 13½"). Trimmed. Repaired tears in i edges. Bit messy. 160 A scene in which Cornelia Africana presents her children to a woman sitting beside her. Cornelia was seen as the prototypical example of a virtuous Roman woman. Stock: The Miseries of Idleness. [&] The Comforts of Industry. Painted by G. Morland. Engrav'd by H. Hudson. London Publish'd Jany 20, 1790 by J.R.. Smith No. 311 King Street Covent Garden. Pair of very rare & fine mezzotints, with large margins. Platemark: 335 x 375mm (13¼ x 14¾") ) each. 620 A bare interior with a man sitting smoking at a table with a tankard at his elbow, his wife sitting with her head bowed beside him, a little girl pawing at her skirts, a baby turning on a straw bed, itss clothes in disarray, and a little boy gnawing on a bone in front of the table, next to a barrel, with a dog jumping up at him. Tattered clothes form curtains around a bed behind them. [&] A cottage interior with a man wearing a round-brimmed hat decoratedd with straw, returning home, holding his son's hand, and droppingg some coins into his wife's apron, as she sits to right holding a sleeping baby, while a little girl sits on the floor with a doll, raising her arms to greet her brother Isaac the Tyrant brought before Richard the 1st. Afterr a great slaughter of the Cyprian Troops Isaac was obligedd to abandon the Coast. The English improving this advantage marched forward attacked the Town of Limosoo carried it at the t first assault and took Isaac with his only Daughter prisoners; Few days after this pretended Emperor found means to escape, but none wou'd receive him, he resolved uponn a voluntary surrender to the King of England whom he asked as the [only

107 favour not to be put in Irons, Richard insulting over his misfortunes literally granted his request, ordered him to be bound in chains of Silver.] [Sayer & Bennett. n.d., c.1777.] Mezzotint. Rare & very scarce. Central vertical crease. Cut inside image. Light creasing to sheet. 220 Isaac Komnenos (c.1155 c1195), ruler of Cyprus. bowing before King Richard I of England, who sits on a terrace in armour. He is seen gesturing towards silver shackles which are held by a soldier in the foreground, while Komnenos' daughter stands weeping beside him. Three soldiers wait behind them. Richard the Lionheart conquered the island in 1191 during the Third Crusade, in revenge for Isaac keeping Berengaria of Navarre and Joan of England (Richard's fiancée and sister) captive. Richard promised Isaac not to put him into irons and so kept him prisoner in chains of silver. Cyprus interest. Stock: Lady Elizabeth Grey imploring of Edward IV the restitution of her deceased Husbands Lands, forfeited in the dispute between the houses of York and Lancaster. Rapin's Hist, Vol V, Page 26. Dedicated to the Queen by her Majesty's dutiful and most obedient humble Servant W.W.Ryland. Angelica Kauffman ex academia Regali Londini pinx.t. Guliemus Wynne Ryland Chalcographus Regis Britannia sculp.t. Publish'd as the Act directs March 1, 1780 for the Proprietor W.W.Ryland N.o.159 Strand London. Stipple with large margins left & right. Plate: 390 x 330mm, (15½ x 13"). Trimmed to plate on upper and lower margins. 260 A scene in which Lady Elizabeth Grey, requests the lands of her late husband Sir John Grey of Groby who died fighting for the Lancastrians in the Second Battle of St Albans in 1641, from Yorkist king Edward IV. Elizabeth Grey would go on to marry Edward IV in Elizabeth kneels down before the king who takes her hand, several courtiers stand around and Elizabeth's two sons Richard and Thomas stand by her. Stock: The Bard, from Mr. Gray's Ode. Founded on a Tradition current in Wales, that Edward the 1st, when he compleated the Conquest of that Country, order'd all the Bards, that fell into his Hands to be put to Death. Painted by Tho.s Jones, F.S.A.G.B. Engraved by J.R. Smith. Engraved from an Original Painting, in the possesion of Oldfield Bowles Esq.r. to whom this plate is inscribed by his particularly obliged, and very obedient humble servant, J.R. Smith. Publish'd 30th March 1775 by J. Dodsley, Bookseller, Pall Mall. T. Bradshaw, James Street Covent Garden, and J.R.Smith, No. 10 Bateman's Buildings Soho Square. Mezzotint with small margins, very scarce. Platemark: 460 x 580mm (18 x 22¾"). Trimmed to plate at lower edge. Light rubbing and creases in places. Few repairs. A wild mountain top scene where an old bard, holding a harp, stands at the edge of a cliff, looking towards the sunrise and a deserted standing stone on the left. He is about to throw himself over the edge as Edward I's army approaches from behind the mountain in the distance on the right. An illustration to Thomas Gray's poem, 'The Bard. A Pindaric Ode', Set at the time of Edward I's conquest of Wales, the poem was inspired partly by his researches into medieval history and literature, and partly by his discovery of Welsh harp music. It was itself a potent influence on future generations of poets and painters, seen by many as the first creative work of the Celtic Revival and as lying at the root of the Romantic movement in Britain. Frankau: 27 II of II; D' Oench: 55 Stock: Cupidon Achette Trop Cher. Engraved from a fine high finished Painting in Water Colours after the Antique by F. Bartolozzi. Jos. Tturts pinx. F. Bartolozzi Sculps. London, Pub. Dec.r by J. Thane. Rupert Street, Hay Market. Stipple printed in colour with large margins. Platemark: 200 x 225mm (8 x 8¾"). Slight staining. 240 Mercury and Venus leading a young girl towards Jupiter and Juno, seated on a throne on the left. On the far right, Cupid is seen crying. Within an oval. After British printmaker, author and poet, Joseph Strutt ( ). Engraved by one of the founding members of the RA, and the founding President of the short-lived Society of Engravers, Francesco Bartolozzi ( ). De Vesme 389. V of V. Stock: Antiope, Sleeping, Suprized by Jupiter in the Form of a Satyr. Jupiter sous la Forme d'un Satyre, Suprenant Antiope Endormie. To The Most Serene Highness Charles Theodore, Elector Palatine Reigning Duke of Bavaria, &c. &c. &c. This Plate Engraved by His Gracious Permission from the Original Picture in the Electoral Gallery in Dusseldorf, is dedicated by His Most Devoted and Obedient Humble Servants. Valentine Gree. Rupert Green. Painted by Anthony Vandyke. Engraved by V. Green Mezzotinto Engraver to his Majesty, & to the Elector General. In Mons.r. Pigage's Catalogue of the Dusseldorf Gallery this Subject is N.o.22. Published Jan.y. 2.d.1792, by V. & R. Green Newman Street, London. Mezzotint with very large margins, rare; Plate: 510 x 610mm, (20 x 24"). Some light foxing. Repaired damage in margins. Stain on right. 520

108 564. Cupid and Psicah. [Attributed to Isaac Beckett.] ] Sold by J. Smith at ye Lyon & Crownn in Russell Street. [n.d., c ] Mezzotint. Collector's stampp on reverse, 'B.K.'. Very rare. Sheet size: 300 x 215mmm (11¾ x 8½"). Trimmed inside plate. 260 Psyche, nude and asleep on a rock, with an opened casket beside her; behind her, Cupid, winged and nude, gazes down at her; h bottom right, thistles; in i the background, trees. Ex collection of Christopher Lennox-Boyd Stock: A sleeping Antiope, daughter of the river god Asopus, is approached by the god Zeus in the form of a satyr. Several cherubs play amongst the tree tops while an eagle, the symbol of Zeus, holds thunderbolts in its mouth behind the couple. No. 113 in Green's Catalogue of his Dusseldorf Gallery Exhibition. Goodwin: 278 Stock: Les Enfants de Bacchus [parallel text inn Italian] Gravés d'après le Tableau original de Watteau haut d'un pied 10 poucess sur 2 piedss 3 pouces de large. / Ce Tableau apartient a Mr.. Morel Banquier à Paris. Watteau pinx. / Fessard sculp. a Paris chez la Veuve de F. Chereau, graveur du Roy rue St. Jacques aux deux x pilliers d'or Avec privilege du Roy. Etching, rare; platemark 350 x 415mm (13¾( x 16¼") ). Trimmed inside platemark; tears; good impression. 260 'The Children of Bacchus' playing on the edge of a wood, decorating and playing with a goat with pan's pipes. After Antoine Watteau ( ), from f the 'Recueil Jullienne' series, Plate 228 to 'L'Oeuvre d'antoine Watteau Peintree du Roy'. Jean de Julliennee ( ) was a Parisian collector and a patron of the arts who owned some 450 drawings by Watteau, and had them engraved. Stock: Clytie. In the collection of John Strange Esq.r. Annibal Caracci Pinxit. John Boydell excudit J. B. Michel Sculpsit. Published May 1st, 1778, by Johnn Boydell, Engraver, in Cheapside London. Stipple. Sheet size: 305 x 240mm (12¼ x 9½"). Trimmed inside plate at top and side edges. 160 Clytie, sitting on a rock to the right, holding a sunflower, pushing away Cupid with a thorny t branch, while he takes her hand, holding a blazing torch. Within a roundel. after Carracci; state with number added and title. Clytie was a character in Greek mythology who became jealous of her lover, the sun god Apollo. To punish her, he transformed her into a sunflower so that she would always facee towards himm in his daily journey acrosss the skies. Stock: Stock: Diana The bright Diana and her Nymph were found, / Laid Side by side, & both a sleeping sound [...] A. Watteau pinx. / T. Ryley fecit. Printed for John Bowles at the Black B Horse inn Cornhill London [c.1750] Mezzotint, rare; platemark 350 x 250mm (13¾( x 9¾"). Thread margins; 'CL-B' collector's stamp verso. 350 Diana and a nymph sleep, with a satyr looming over them. Mezzotint in reverse of an etching published in Jean de Jullienne's posthumous edition of prints after Watteau's drawings, traditionally known as a the 'Recueil Jullienne'. Jullienne was one of the leading French amateurs and collectors of the eighteenth century c and in assembling prints p reproducing Watteau' 's drawings he did much to spread the artist's reputation outside France. Ex: collection of the Late Hon. C. Lennox- Boyd [The Judgement off Paris. In the Drawing Room at Houghton.] Luca Giordano. [in printed area.] R Earlom Sculp.st [John Boydell.] Mezzotint with very large margins, proof before title. Plate: 460 x 390mm, (18 x 15¼"). 360 A scene upon Mount M Ida illustrating Paris' ' judgement of the three goddesses Hera, Aphrodite and Athena. The shepherd Paris, P holding the golden apple in his hand, looks upon the three goddesses, Athena in the middle sat alongside her helmet and armour, Aphrodite on the right surounded by putti and doves,, and Hera on the left. Hermes, who led thee three to Pariss lurks behind a tree. Stock: Apollo & Daphne. Ex Tabula Titiani. J. Smith fecit Londini Mezzotint with very large margins; platemark 415 x 280mm. 16¼ x 11". 350 Daphne, her hands beginningg to sprout leaves and branches, pursued by Apollo. In the foreground, Daphne's father, the river-god Peneus. From the seriess 'Tabulæ novem coelo elaboratæ ad totidem Titiani archetypos / Nine Prints from the Celebrated Paintings of Titian, in the Duke of Marlboroughs Gallery, G at Blenheim' by thee famous early mezzotinter John Smithh ( ). The series, commonly known as 'The Loves off the Gods', derives from a series of leather wall-hangings formerly in the Titian Room at Blenheim destroyedd by fire in

109 1861. The attribution to Titian is uncertain, however, and was doubted as early as 1766 (see G. Scharf, Catalogue Raisonné, Blenheim Palace, London, 1862, pp ). The designs relate to prints by Caraglio after Perino del Vaga and Rosso Fiorentino. Ex: collection of the Late Hon. C. Lennox-Boyd.; for impression printed in sepia see ref ; Wessely: 340 Stock: An illustration of Ovid's tale of Minerva and a Arachne, in which the goddess of wisdom and war shows s great anger when a mortal, m Arachne, boasts thatt her skill of spinning and weaving w is greater than that of Minerva. Minerva, seen on o the right, assumes the character of an old woman, andd in a friendlyy tone, warns the t 'foolish girl' against such a display off 'false pride'. A loom and large tapestry are a seen on thee left. By Elias Martin, A.R.A. Swedish, born Stockholm in 1739, died Stockholm He came to London in 1768, becomingg a Royal Academy studentt the next year and was elected A.R.A in Stock: [Nymph Carrying Cupid.] R.d. C. del. Maria Cosway scul. [n.d., c.1790.] Aquatint with some s etching, very large margins. Plate: 220 x 280mm, (8¾ x 11"). 75 A nymph-like figure f runs through the clouds carrying Cupid on her shoulders. Stock: Bacchus & Ariadne Ex Tabula Titiani. J. Smith fecit Londini Mezzotint with very large margins, platemark 415 x 280mm. 16¼ x 11". 500 Ariadne, discovered on the island of Naxos by the god Bacchus, having been left there by her lover l Theseus (whose ship sails away in the distance). A putto brings grapes to echo those worn by Bacchus, the god of wine. The cheetah is one of two which drew Bacchus' chariot. From the series 'Tabulæ novem coelo elaboratæ ad totidem Titiani archetypos / Nine Printss from the Celebrated Paintings of Titian, in the Duke of Marlboroughs Gallery, at Blenheim' by the famous early mezzotinter John Smith ( ). The series, commonly known as 'The Loves of the Gods', derives from a series of leather wall-hangings formerly in the Titian Room at Blenheim destroyed by fire in The attribution to Titian is uncertain, however, and was doubted as early as 1766 (see G. Scharf, Catalogue Raisonné, Blenheim Palace, London, 1862, pp ). The designs relate to prints by Caraglio after Perino del Vaga and Rosso Fiorentino. Ex: collection of the Late Hon. C. Lennox-Boyd. Ref: Wessely: 341. Stock: Minerva and Arachne. See Ovid. Metamor.s. E. Martin Inv.t & Sculp.t. Published as the t Act directs, Stipple with hand colour large margins, very fine. Platemark: 210 x 160mm (8¼ x 6¼") [Set of three printss in various states.] Penelope taking down the Bow of Ulysses. From the original Picture in the Collection of Lord Boringdon. A. Kauffman, R. R A. pin.t. T. Ryder Sculp. t. Publish'd July 1st. 1791,by B. B. Evans, Poultry London. Set of three stipple engravings. Platemark: 390 x 280mm (15¼ x 11") each. Hand lettered proof impression trimmed inside plate. Untitled proof impression has light surface marks and chips to right and top edges, cut c to platemark. Titled impression has light spotting inn very large margins. Foxing. 520 A set of three prints p in various states; two proof impressions printed in brownn ink. Lettered impression with full titles and a publication lines. Penelope, standing in profilee to left, reaches up to free the bow from the sash tying it to a column, while another womann crouches in the foreground, preparing a quiver. Published as a pair p to item ref: 36444, 'Venus shewing Aeneas the Road to Carthage', by Benjamin Beale Evans, After A Angelica a Kauffman, RA ( ), a Swiss-born a successful career in London and Rome. Austriann Neoclassicall painter who had Stock: [Set of three printss in various states.] Venus shewing Aeneas the Road to Carthage. From the original Picture in the Collection of Lord Boringdon. A. Kauffman R.A. R pin.t. T. Ryder Sculp.t. Publish'd July 1.st 1791, by B. B. Evans, Poultry London. Set of three stipple engravings. Platemark: 390 x 290mm (15¼ x 11¼") each. Two proof impressions are trimmed close to t platemarks; ; Impression printed in brown ink has light l spotting,, impression printed in black has a feww light surface marks with the top left corner missing. Lettered impression has full margins. Foxing. 590 A set of three prints p in various states; two proof before letter impressions, one of which is printed in brown

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