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Catalogue of Recent Acquisitions

Sanders of Oxford salutation House 104 High Street Oxford. OX1 4BW 01865 242590

Caricatures & Satires

2. High Life Below Stairs Copper engraving with etching James Caldwall after John Collett London, Printed for R. Sayer, No.53 Fleet Street, & J. Smith, No.35 Cheapfide. Published as the Act directs, 20 May, 1772. Image 345 x 240 mm, Plate 365 x 256 mm, Sheet 483 x 284 mm mounted A satirical print in which a group of servants attempt to amuse themselves. James Caldwall (1739 - 1822) was an engraver and occasional publisher. He was a pupil of John Keyse Sherwin and from 1769-76 he exhibited with the Society of Artists. John Collet (c. 1725 - 1780) was a painter and draughtman of genre scenes, he studied at St.Martin’s Lane Academy and was a pupil of George Lambert.

1. The Honest Tars and Marines of the Argonaut. Etching with original hand colour Isaac Cruickshank Published 12th, March 1798, by Laurie & Whittle, 53 Fleet Street, London. Image 169 x 237 mm, Plate 200 x 246 mm, Sheet 240 x 300 mm unmounted Inscription below reads: Contributing Nobly against the Enemies of Old Englam. With the original Letter Addtressed to their Commander Lieutenant P. Hue. Sir Argonaut, Jany. 31st 1798 “We the Seaman and Marines of his Majesty’s Ship Argonaut, under your command, desire to give 10s. each man out of our wages to drive before us into the sea all French scoundrels, and other blackgaurds that would take their parts” We are Your faithful servants. John Mitchell, Boatswain’s Mate, for Self and Ships Company. Alex. Hean, Serjeant for Self and Party. God save the King. BM Satires 9185 [31762] £100

BM Satires undescribed Condition: Light overall toning and staining to sheet and image [31466] £220 3. The Rake’s Progress at the University Etching and aquatint with hand colouring James Gillray Publish’d October 22nd 1806 by H. Humphrey No. 27 - St James’s Street London. Image 228 x 351 mm mounted Plate 1. Ah me! what perils doth that Youth encounter Who dares within the Fellows Bog to enter. Plate 2. Ah me! that thou the Freshman’s Guide should’st read Yet venture on the hallowed grass to tread. Plate 3. The Master’s Wig the guilty wight appals Who brings his Dog within the College walls. Plate 4. Expulsion waits that Son of Alma Mater Who dares to show his face in Boot or Gaiter. Plate 5. Convened for wearing Gaiters - sad offense! Expelled - nor e’en permitted a defense. James Gillray (c.1756-1815), was a British caricaturist and printmaker famous for his etched political and social satires. Born in Chelsea, Gillray studied letter-engraving, and was later admitted to the Royal Academy where he was influenced by the work of Hogarth. [31679] £1,500 set of five

3. The Rake’s Progress at the University

in caricature (where he often rides an ass). He is aquiline and bearded, holds a crosier, and wears a cope. His ass has blinkers, on which a satyr’s mask is freely drawn. He leans towards John, saying, “Mr Bull, I have been to Paris - and seen all the fine sights there - I now want to have a peep at that little Church on the Hill - therefore let me pass the turnpike.” John (r.), a fat yokel, looks up at the Pope with a suspicious scowl, pointing over his shoulder at a large open book, ‘Test Oath’, which is on a book-rest attached to the gate-post. He says: “If you want to go through - pay the Toll, what the devil do you think I keep a turnpike gate for?” Behind the Pope stand four dissenting ministers anxiously watching the interview. Three say sanctimoniously : “Though I boast not gaudy trappings, nor am I mounted on Ass back, - yet if he goeth through verily I should like to go through also!”; “Verily so should I.”; “We should all like to go through”. Text, British Museum.

BM Satires 10403a [31802] £65 4. The Doctor Too Many for Death Copper engraving with original hand colouring N.C. Goodnight after Samuel Collings Prined for Jno: Smith No. 35 Cheapside. April 12, 1786 Image 207 x 169 mm, Plate 235 x 186 mm, Sheet 257 x 215 mm framed Wellcome Library no. 11211i Condition: Reapaired tears, just affecting the image. [31734] £220

5. John Bulls Turnpike Gate Etching and aquatint after Thomas Rowlandson 1805 Image 165 x 215 mm, Sheet 187 x 233 mm unmounted The Pope, on a small ass decked with trappings, faces John Bull, who stands as toll-keeper before a closed five-barred gate. from the other side of the gate a path leads to a country church on a hill, irradiated, and framed by the semicircular inscription: ‘King - Church and Constitution’. The Pope, except that he wears a Papal crown instead of a mitre, resembles St. Patrick

6. The Church Choristers. Mezzotint after Samuel Hieronymous Grimm Printed for Carrington Bowles, at his Map & Print Warehouse, No. 69 in St. Pauls Church Yard, London. Published as the Act directs 2d. Seo. 1773. Image 330 x 250 mm, Plate 353 x 250 mm framed Eight male singers in a box pew inside a church singing from a book with one on the right playing a recorder and two holding a book with the inscription: Stephen and Time/ Are now both even; / Stephen beat Time / Now Time beat Stephen. on the wall in the background of the print. BM Satires 4533, BM Satires V, p. 159, Carington Bowles Catalogue, 1784 114/357, Carington Bowles Catalogue , 1790 104/372, State ii/ii Framed in an 18th Century frame. [31818] £450

Robert Laurie (c.1755 - 1836) was a British mezzotinter and inventor of colour printing in mezzotint in 1776, he later turned print publisher. He was the son of a trussmaker; and apprenticed to Robert Sayer later manager. In 1794, when Sayer died Laurie and James Whittle took over the business, trading as Laurie and Whittle. Both families lived at 53 Fleet Street, as well as domestic staff, warehousemen, assistants and printers. Laurie retired in 1812, moving to Broxbourne, Hertfordshire, where he died in 1836.

7. The Laughing Audience Mezzotint Charles Corbet after William Hogarth London, Printed for Robt. Sayer, Bo. 53 Fleet Street. Image 316 x 250 mm, Plate 355 x 253 mm, Sheet 402 x 290 mm framed A mezzotint copy of Hogarth’s The Laughing Audience.

Robert Dighton (1752 - 1814) was an English draughstman and printmaker. He was the son of the art dealer John Dighton and father of the artists Robert junior, Denis and Richard. Dighton was especially well known for his satirical prints, which he initially supplied to Carington Bowles and Haines. Later plates he etched, published and sold himself. Dighton infamously stole prints from the British Museum to stock his shop in Charing Cross. When this was discovered in 1806, Dighton escaped prosecution, but was forced to lie low in Oxford until the scandal died down. Chanlor Smith 40b [31794] £250

Not in Chanlor Smith. Condition: two very fine worm holes to lower centre of image. Framed in an 18th Century Frame. [31760] £500

Fine Prints 8. Genteel Amusement Mezzotint Robert Laurie after Robert Dighton London: Printed for J.Smith, No 35 Cheapside, & R.Sayer & J.Bennett. No.53 Fleet Street, as the Act directs, 15th Decembr. 1777 Image 220 x 190 mm, Plate 250 x 192 mm, Sheet 295 x 245 mm framed

9. A Lover of the Polite Arts making a drawing of his Wife and Child. Mezzotint Robert Laurie after Robert Dighton London: Printed for J.Smith, No 35 Cheapside, & R.Sayer & J.Bennett. No.53 Fleet Street, as the Act directs, 15th Decembr. 1777 Image 220 x 190 mm, Plate 250 x 192 mm, Sheet 295 x 245 mm framed [31793] £250

Luigi Rossini (1790-1857) was an Italian painter and etcher. Born in Ravenna, he studied art and architecture at the Academy of Bologna with Antonio Giuseppe Basoli and Giovanni Antonio Antolini. He graduated in 1813. Similarly to Giovanni Battista Piranesi, Rossini is best known for etchings of classical Roman architecture including the Pantheon, the Colosseum, the Appian Way, the Temple of Peace, and the Golden House of Nero. Rossini was also influenced by more rural settings, and produced etchings of the landscape surrounding Rome. His first series of views were published in 1814. He began his Roman antiquities series in 1819, completing 101 large folio plates which were published in Rome in 1825. [31723] £650

10. Jupiter and Antiope. Copper engraving Thomas A. E. Chambars after Andrea Casali Published by J. Boydell, Engraver in Cheapside London 1764. Image 300 x 235 mm, Sheet 340 x 245 mm mounted Inscription beneath title reads: From the Original Picture, in the Collection of Mr,, Reeves. Jupiter as a satyr, looks up at Antiope who sits on the right, semi-nude and dangling a bunch of grapes above his head while handing him an apple Boydell Catalogue 8 Condition: Trimmed to plate mark. [31811] £120 12. Veduta del Clivo Capitolino, ove passavano i Carri dei Trionfatori Copper engraving Luigi Rossini Roma 1822 Image 450 x 380 mm. unmounted From Le Antichita dei Contorni di Roma published 1824 -1826. Condition: Light creases to image. [31724] £650

11. Avanzi del Tempio di Giove Statore nel Foro Romano Copper engraving Luigi Rossini Roma 1821 Image 450 x 380 mm. unmounted

13. Veduta del Ponte Molle sul Tevere. Due miglia lontano da Roma. Questo Ponte e stato ristaurato, e construito l’Arco Trionfale.

Etching Luigi Rossini Rome, 1824-26 Image 445 x 610 mm. unmounted From Le Antichita dei Contorni di Roma published 1824 -1826. [31343] £750

14. Veduta del Prospetto dell’Arco di Giano Etching Luigi Rossini Rome, 1824-26. Image 510 x 444 mm, Plate 524 x 450 mm unmounted From Le Antichita dei Contorni di Roma published 1824 -1826. [31346] £675

Etching Luigi Rossini Rome, 1824-26 Image 440 x 355 mm, Plate 455 x 365 mm unmounted From Le Antichita dei Contorni di Roma published 1824 -1826. [31347] £550

16. Veduta di Ponte Cestio dal vulgo Ponte ferrato Etching Luigi Rossini Rome, 1824-26 Image 352 x 540 mm, Plate 365 x 550 mm unmounted From Le Antichita dei Contorni di Roma published 1824 -1826. [31410] £750

17. Veduta Generale del Monte Quirinale dal volgo Monte Cavallo. Etching Luigi Rossini Rome, 1824-26 Image 415 x 697 mm, Plate 440 x 710 mm unmounted From Le Antichita dei Contorni di Roma published 1824 -1826.

15. Veduta di fianco dell’Arco di Giano

Inscribed in plate, below image, left of center: A. Gran Colossi, opera di Fidia e Prastele. / B. Palazzo Pontificio Inscribed in plate, below image, center: Veduta Generale del Monte Quirinale / dal volgo Monte Cavallo. Inscribed in plate, below image, right of center: C. S. Pietro in Vaticano. [31345] £1,400

Pre-Raphaelite & Victorian

Only 390 editions were available. Reproduced by Messrs. Ibister and Co. from the wood engraving for the popular nineteenth-century magazine, ‘Good Words’. Established in 1860 by the Scottish publisher Alexander Strahan, the periodical was directed at evangelicals and nonconformists, and was thought to have a circulation of 160,000 readers in Britain. Condition: Sheet has been trimmed. [31738] £100 19. [The Nativity, St. Philip’s] Photogravure Edward Coley Burne-Jones [n.d. c.1887-88] Image 254 x 108 mm, Sheet 284 x 130 mm mounted

18. The Summer Snow Wood engraving Dalziel Brothers after Sir Edward Coley Burne-Jones 1863 Image 142 x 107 mm, Sheet 287 x 237 mm mounted Illustration to ‘Good Words’, 1863, p.330 with title printed below.

Edward Burne-Jones designed the windows for St. Philip’s Cathedral, Birmingham. Born locally, Burne-Jones remembered being “carried out of myself with a sort of rapture,” when he made the offer to design the other two windows, and said he hoped, “perhaps not unreasonably hoped, to make [the new ones] worthy of my former achievement” (qtd. in Georgiana Burne-Jones, Vol. 2: 172).

Edward Burne-Jones was commisioned to produce ‘Summer Snow’ in 1863 for the Christian periodical ‘Good Words’. The illustration accompanied a poem of the same title by the Victorian writer Dora Greenwell. It is believed that Holman Hunt endorsed Burne-Jones for the role, though the artist name that appeared in the index of the issue was ‘Christopher Jones’; a likely memorial to his son who had died in infancy the same year. Sir Edward Coley Burne-Jones, 1st Bt (1833-1898) was a painter and designer closely associated with the later phase of the Pre-Raphaelite movement. Burne-Jones met William Morris as an undergraduate of Exeter College, Oxford, whilst studying for a degree in theology. The pair went on to work very closely together on numerous decorative arts projects including stained glass windows, tapestries, and illustrations. Originally intending to become a church minister, Burne-Jones never finished his degree, choosing instead to pursue an artistic career under the influence of Dante Gabriel Rossetti. Rossetti heavily inspired his early work, but by the 1860’s his idiosyncratic style was beginning to develop. His mature work, however different in total effect, is rich in conscious echoes of Botticelli, Mantegna and other Italian masters of the Quattrocento. Thusly, Burne Jones’ later paintings of classical and medieval subjects are some of the most iconic of the Pre-Raphaelite movement. He was at the height of his popularity during the 1880’s, though his reputation began to decline with the onset of the Impressionists. He was created a baronet in 1894, when he formally hyphenated his name. This print is from ‘Edward Burne-Jones’, by Malcolm Bell, London & New York: George Bell & Sons. The reproductions were provided by a variety of different publishers, and were bound in this compendium celebrating Burne Jones’ career.

Conditon: Some overall staining. Manuscript writing in ink in lower margin. [31736] £110

British Topography

21. Young Love Etching Frederick Smallfield Published by the Junior Etching Club, 1858 Image 145 x 83 mm, Plate 179 x 128 mm, Sheet 430 x 285 mm unmounted Initialed within the plate Frederick Smallfield ARWS (1825-1915) was a Victorian English oil and watercolour artist [31763] £110

20. Love Among the Ruins Etching Luke Thompson Taylor after Edward Burne-Jones c. 1905, Virtue & Co, London. Image 253 x 164 mm, Sheet 298 x 229 mm mounted Edward Burne-Jones’ work depicts a youth and maiden embracing in an overgrown court of an Italian renaissance palace. They are situated beside a flowering rose with thorns. The print was published in the Art Journal by Virtue & Co, London. The journal existed in order to promote art by distributing specially commissioned works by means of a lottery amongst its members. Luke Thompson Taylor (1873 - 1916) was a British etcher who was an important exponent of the medium during its revival in the latter half of the nineteenth-century. Known to have produced works after Burne-Jones and Madox Brown. Condition: General time toning. The sheet trimmed and a lighter mark is made around the image by an acidic mount. The image itself is unaffected. Proof impression. Artist’s name and title are inscribed in pencil. This is not by the hand of BurneJones though, for the print was published posthumously. [31761] £290

22. Where the Bee Sucks Etching Henry James Townsend London published by Longman, Brown, Green & Longmans, 1853. Image 82 x 125 mm vignette and 40 x 50 mm vignette, Plate 300 x 214 mm, Sheet 373 x 270 mm mounted From Songs and Ballads of Shakespeare illustrated by the Etching Club. With all text printed in red. Henry Townsend (1810-1890) was one of the founders of the Etching Club and a painter of fairy pictures and historical subjects. [31764] £220

Walter Severn (1830-1904) was a British engraver and watercolour painter. The son of Joseph Severn, the painter and friend of John Keats, Walter’s siblings Arthur (1842-1931) and Mary (1832-1866) were also painters. Between 1853 and 1889, Severn was a regular exhibitor at the Dudley Gallery, Grosvenor Gallery, Agnew and Sons Gallery, Royal Cambrian Academy, Walker Art Gallery and Society of British Artists. He was elected a member of the Royal Cambrian Academy and was one of the founding members of the Dudley Gallery. Severn was also one of the original members of The Arts Club, London, in 1863.

23. The Haunted House Etching John Wright Oakes E. Gambart, London, 1858 Image 77 x 127 mm, Plate 125 x 175 mm mounted An etching from Passages from the Poems of Thomas Hood, illustrated by the Junior Etching Club

Condition: Overall staining in the margins not affecting the image. [31816] £150

John Wright Oakes (9 July 1820 – 8 July 1887) was an English landscape painter. While he premdominatly worked in oils, Oakes did produce watercolours and etchings. Oakes regularly exhibited at the Royal Academy. Oakes was made an Associate in 1876 and an honorary Royal Scottish Academician in 1883. [31822] £90 25. Ode to a Child Embracing His Mother Etching William Gayle E. Gambart, London, 1858 Image 100 x 160 mm, Pl. 125 x 178 mm, Sheet 285 x 428 mm mounted An etching from Passages from the Poems of Thomas Hood, illustrated by the Junior Etching Club. William Gale (1823–1909) was a history and genre painter. He exhibited at the Royal Academy from 1844. [31821] £90

24. Fair Inez Etching Walter Severn E. Gambart, London,1858 Image 113 x 160 mm oval, Plate 125 x 175 mm, Sheet 275 x 382 mm mounted An etching from Passages from the Poems of Thomas Hood, illustrated by the Junior Etching Club. Signed and inscribed in pencil in the plate mark. In the margins notes in pencil: Not finished (please return), No. 24., Would I had been, Fair Ines / That gallant cavalier / Who rode so gaily by thy side / And whispered thee so mean! Stanza

British Topography

26. A General View of the City of London, next the River Thames. Copper engraving with original hand colouring Anonymous Printed for Carington Bowles, Map & Printseller, No. 69 in St.Pauls Church Yard, London. [n.d. c. 1750] Image 247 x 372, Sheet 271 x 372 mm mounted A perspective view over London from the Tower of London and London Bridge , with St. Pauls beyond and Westminster in the distance.

in the background. It was probably published for the Universal Magazine. Inscription beneath image reads: The Explanation. / From A to A is the full length of the Scheme including .1 Pavilions or Store Houses for the Emgineers use. 2 Arcades for planting the Cannon. 3 Flight of steps ascending to the Music - / Gallery. 4 The grand Area or Music Gallery. N.B. over the Entrance is the D. of Montagues Arms: above the music is Peace attended by Neptune and Mars, higher is a grand Basse - / Relievo to be illuminated in which the King is represented giving Peace to Britannia: over all is the Kings Arms, from whence rises a Pole 50 feet high with a Sun at top, 32 - / feet diameter, which will burn some hours . 5 The passage from the Mall in St. James’s Park into the Green Park up Constitution Hill. 6 Constitution Hill. 7 Hide Park Corner. 8 The - / E. of Chesterfields New House. 9. St. Georges Hospital. 10 The Pothouse. 11 Chelsea College. 12 Chelsea Church. 13. Surry Hills. 14 Buckingham House. 15 A Piece of Water in the Green Park. - / N.B. This Prospect is taken from the Library at St. James’s Palace. Crace XII.104 Condition: Wormhole in lower left corner of image, light vertical folds. [31807] £60

Condition: Some staining in the sky and trimmed within the platemark. [31759] £200

27. An Horizontal View of the Public Fireworks ordered to be exhibited on occasion of the General Peace concluded at Aix le Chapelle on November, 7,,th 1748. Copper engraving Anonymous c.1749 Image 151 x 258 mm, Plate 181 x 277 mm, Sheet 205 x 300 mm unmounted A numbered view of St James’s Park with the music gallery and pavillions erected for the fire work display, with Buckingham House on the left, the pothouse and countryside

28. A Night View of the Public Fireworks order’d to be exhibited on occasion of the General Peace. Copper engraving Anonymous Engrav’d for the Universal Magazine 1749 for J. Hinton at ye Kings Arms in St,, Pauls-Church Yard, London. Image 109 x 191 mm, Sheet 130 x 207 mm unmounted View of the fireworks and structure erected in Green Park, London to celebrate the Peace of Aix-la-Chapelle. Inscribed above image with title. John Hinton was a British bookseller active between 1739 and 1781. Based in London at Paternoster Row, St Paul’s Churchyard, Newgate Street, and Bow Street, he is best-known for publishing the Universal Magazine from 1747 onwards. Condition: Trimmed to plate mark on lower and left sides. Wormhole in lower left corner. [31804] £50

29. A North West View of the Tower of London. Copper engraving with original hand colouring Anonymous [n.d. London, c. 1750] Image 149 x 261 mm, Plate 178 x 280 mm, Sheet 260 x 400 mm unmounted A view of the Tower of London from the northwest across a field and the moat. Titles in English and French inscribed below and the number 12 in the upper right margin. [31737] £90

30. An oblique View of the East front of Hampton Court, with part of the Garden Copper engraving with original hand colouring Anonymous London, Printed for Robt. Sayer, at the Golden Buck near Serjeants Inn Fleet Street Image 150 x 265 mm, Plate 175 x 278 mm, Sheet 240 x 388 mm Condition: Some staining in the margins not affecting image or plate and a small tear in the lower margin not affecting image or plate. [31756] £90

A view of Charing Cross looking west with the Gold Cross on the left Northumberland House and the equestrian statue of Charles I on the right. A reduced copy of a Thomas Bowles print, with titles in English and French inscribed below the image and the number 9 inscribed in the upper right margin. [31753] £100

32. A View of the Custome House wth. part of the Tower, taken from the River Thames, London Copper engraving Anonymous London Printed for & Sold by C. Dicey & Co. in Aldermary Church Yard, c. 1750 Image 150 x 258 mm, Plate 177 x 275 mm, Sheet 254 x 390 mm unmounted A lovely copper engraving of the buildings along the Thames from Customs House to the Tower of London, with title in French and the number 9 in the upper right margin. This print is in excellent condition with full margins. [31732] £100

31. A View of Northumberland House, Charing Cross Copper engraving with original hand colouring Anonymous [n.d. London, c. 1750] Image 173 x 292 mm, Plate 200 x 310 mm, Sheet 248 x 398 mm unmounted 33. A View of the Monument, on Fish Street Hill.

Copper engraving with original hand colouring Anonymous [n.d. London, c. 1750] Image 173 x 293 mm, Plate 200 x 311 mm, Sheet 250 x 391 unmounted With titles in English and French. [31740] £100

34. A View of the Privy Gardens & Banquetting House at Whitehall Copper engraving with original hand colouring Anonymous [n.d., London, c. 1750] Image 150 x 265 mm, Plate 175 x 280 mm, Sheet 250 x 405 mm unmounted A view of the Privy Garden at Whitehall with Richmond House in the distance. Titles in English and French inscribed below and the number 10 in the upper right margin.

36. Ironmongers Hall in Fenchurch Street Copper engraving with original hand colouring T. Loveday [n.d., London, c 1750] Image 176 x 300 mm, Plate 198 x 310 mm, Sheet 257 x 395 mm unmounted A view of the new Ironmonngers Hall by Thomas Holden which was built in 1745. Engraved titles in English and French and the number 8 in the upper right margin. [31739] £90

Condition: Some staining in the margins not affecting the image or plate. [31755] £100

35. A View of St. James’s Palace, Pall Mall &c. Copper engraving with original hand colouring after Thomas Bowles [n.d., London, c. 1750] Image 149 x 260, Plate 178 x 280 mm, Sheet 255 x 405 mm unmounted A view St. James’s Palace with title in English and French inscribed below and the number 9 in the upper right margin. A reduced copy of a print by Thomas Bowles [31754] £100

37. A View of Somerset House and St. Mary’s Church in the Strand Copper engraving with original hand colouring T. Loveday [n.d., London, c. 1750] Image 173 x 300 mm, Plate 200 x 312 mm, Sheet 250 x 395 mm unmounted A view of St. Mary’s and Somerset House looking towards Temple Bar. This print is a reduced copy of an etching dated 1753 by Thomas Bowles, with titles in English and French below the image and the number seven inscribed in the upper right margin. Crace XVII.126 [31752] £140

38. A View of St. Mary le Bow en Cheapside Copper engraving with original hand colouring T. Loveday [n.d. London, c. 1750] Image 175 x 293 mm, Plate 198 x 311 mm, Sheet 250 x 400 mm unmounted A view looking down Cheapside with the church on the right, with titles in Emglish and French with the number 5 in the upper right margin. Condition: tear in left margin not affecting image or plate. [31751] £100

39. A View of the Parade in St. James’s Park, the New Buildings for the House Guards, the Admiralty & the King’s procession to House of Lords. Copper engraving with original hand colouring T. Loveday [n.d. London, c. 1750] Image 165 x 294, Plate 200 x 310 mm, Sheet 246 x 392 mm unmounted A view of St. James’s Park with Horse Guards building the background. This print a reduced engraving of the Thomas Bowlws after Caneletto print. Condition: Some creasing in the right and a worm hole in the sky. [31757] £100

40. A View of Covent Garden Copper engraving T. Loveday after Thomas Bowles London, c. 1750 Image 168 x 294 mm, Plate 200 x 310 mm, Sheet 248 x 400 mm unmounted A view of Covent Garden looking across the piazza with the market in progress, St Paul’s Church on the left, a column in the centre with titles in English and French and the number 8 in the upper right margin. [31733] £120

41. A North West View of St. Paul’s Cathedral London. Copper engraving with original hand colouring T.M. Miller Published according to Act of Parliment Published 12th. May, 1794, by Laurie & Whittle, 53 Fleet Street, London. Image 237 x 388 mm, Plate 259 x 399 mm, Sheet 290 x 440 mm unmounted A view of St. Paul’s from the North West. Title in English and French inscibed below and the number 10 in the upper right margin. Condition: Some light creasing and some short tears in margins not affecting the image but just affecting the plate mark in the bottom inscription space. One stain in the sky to the right of St. Pauls. [31758] £200

43. Dublin Fireworks Copper engraving Anonymous Engrav’d for the Universal Magazine 1749 for J. Hinton at ye Kings Arms in St,, Pauls-Church-Yard London. Image 175 x 251 mm, Sheet 208 x 266 mm unmounted A lettered view of the structure erected in St, Stephen’s Green, Dublin to celebrate the Peace of Aix-la-Chapelle. Inscription beneath image reads: This Perspective View, of the Illuminations and Fire-Works, to be Exhibited at St,, Stephens Green, at Dublin in Ireland. / on the Thanksgiving Day for the General Peace Concluded at Aix la Chapelle, 1748.

42. Bristol Hot-wells, on the Avon, with Steam Packets. Aquatint Anonymous Published by E. Wallis, 42 Skinner St, Snow Hill, London & O. C. Lane, Library, Clifton. [c.1823] Image 200 x 323 mm, Plate 251 x 350 mm framed Depiction of the river Avon with the rival steam packets, George IV of Bristol and St. Patrick of Liverpool, on the Bristol to Cork route in 1823.

John Hinton was a British bookseller active between 1739 and 1781. Based in London at Paternoster Row, St Paul’s Churchyard, Newgate Street, and Bow Street, he is best-known for publishing the Universal Magazine from 1747 onwards. Condition: Trimmed to plate mark on lower margin. Two vertical folds as issued. Wormhole in lower left corner of image. [31805] £60

The George IV was built of oak in 1822 by Hillhouse & Sons, Bristol. It was operated by the War Office Steam Packet Co. The service ran weekly from Bristol to Cork from 1822 to 1826 calling at Ilfracombe, leaving Bristol on Tuesdays and from Cork on Saturdays. The St. Patrick was built in 1822 by Motterhead & Haye, Liverpool. The ship was sold to Portugal in 1824 and sank off Aveiro in 1832. Edward Wallis was the son and business partner of John Wallis (d.1818), the English board game publisher, bookseller, map seller, print seller, music seller, and cartographer. Based at 42 Skinner Street, London, Wallis worked both alone, and with his father, publishing as Wallis and Son, and John & Edward Wallis. [31075] £250

44. The South Prospect of Preston in the County Palatine of Lancashire Copper engraving Samuel and Nathaniel Buck 1728 Image 240 x 692 mm, Plate 252 x 710 mm, Sheet 277 x 765 mm unmounted In 1727, Samuel Buck and his brother Nathaniel commenced sketching and engraving a series on the architectural remains of England and Wales. This series included 83 large prospects of the 70 principal towns in England and Wales. It took the Buck brothers 28 years to complete their venture and during this time changes to their style. The brothers began to use a less formal style in their later engravings by including figures in the foreground and using more subtle landscapes in the background. In 1774, Robert Sayer obtained the plates, added page numbers to them and published them as Buck’s Antiquities. Condition: Good clean impression, repaired split to centre fold, small scuff to top left of image and light ink staining to inscription space. [31825] £240

45. Gisburnensis (olim) Coenobij reliquiarum, sive ruderum, a circio, prospectus modernus, A.D. MDCIXI. [St Mary’s Priory, Gisburn, Lancashire] Etching Wenceslaus Hollar after Edward Mascall 1661 Image 160 x 269 mm, Plate 167 x 275 mm, Sheet 195 x 333 mm unmounted From Volume II of William Dugdale’s Monasticon Anglicanum or The History of the Ancient Abbies, and Other Monasteries, Hospitals, Cathedral and Collegiate Churches, in England and Wales With Divers French, Irish and Scotch Monasteries Formerly Relating to England (1661). Depiction of the ruins of St. Mary’s Priory, Gisburn, Lancashire, with Bruce family coat of arms in upper right, and dedication to Thomas Bruce, Earl of Elgin beneath. Wenceslaus Hollar (1607-1677) left his native Prague in 1627. He spent several years travelling and working in Germany before his patron, the Earl of Arundel brought him to London in 1636. During the civil wars, Hollar fought on the Royalist side, after which he spent the years 1644-52 in Antwerp. Hollar’s views of London form an important record of the city before the Great Fire of 1666. He was prolific and engraved a wide range of subjects, producing nearly 2,800 prints, numerous watercolours and many drawings. Edward Mascall was a British artist active in the midseventeenth century. He is best known for his portraits of Oliver Cromwell, and a portrait of the Royalist soldier and politician George Monck (now in All Souls College, Oxford). New Hollstein 1774, Pennington 974 Condition: Repaired tear to lower left of sheet. [31812] £90

Oxford 46. Oxford - Bath Place Etching Ferdinand Giele c. 1918 Image and plate 377 x 230 mm mounted Signed, numbered and inscribed in pencil Edition 3 of 75.

Ferdinand Giele was born at Louvain in 1867, son of the Director of the Botanical Gardens Louvain. Giele was trained as a graphic artist and printer there. By the start of the First World War, he was teaching at the Louvain Academy, was engraver to the University and to the Prince d’Arenberg. On the night when the newly billeted German troops thought that they were being attacked by French soldiers and opened fire at each other and then on civilians, Giele’s house, like the great university library, was burnt to the ground, prompting his move to the United Kingdom. From 1916 to 1919 Ferdinand Giele lived in England where he attended the famous etching classes given by Sir Frank Short at the Royal College of Art. Here he developed a fine linear style, and as Mons. Dumont wrote in the Biographie Nationale “il produit des oeuvres extremement remarkable en Angleterre”. Almost all of his etchings were of Oxford as he was probably drawn by the nature of the University, which like Louvain, was collegiate. During his time in England Giele visited other cities, producing etchings of Windsor and Eton, and exhibited two, of Bury-St-Edmunds and Windsor at the Royal Academy. It was these three that were the only non-Oxford etchings he sent to the exhibition organised by La Graveur Originale Belge at the Fine Art Society in 1927. Giele also had an affinity for church interiors and these are among his best productions. In all he produced some hundred works. Ferdinand Giele returned to Louvain at the end of the War where he produced a set of etchings of the havoc caused by the troubles on that night in 1914; he was a founder member of La Graveur Original Belge, and a member of the Belgian Societe des aquafortistes as well as being president of the Circle Royal Artistique de Leuven. He died in 1929. Condition: Repaired tear to top of sheet. [31814] £275

to architectural subjects. During the Second World War, Taylor was employed on naval camouflage. He also executed commissions for London Transport, including ‘Back Room Boys’, where the underlying concept and use of central image with a surrounding border were probably taken from A S Hartrick’s series of lithographs on war work called Playing the Game, 1918, although ‘their finely balanced colouring and their superb draughtsmanship are peculiar to Taylor at his best’. Married to Florence R Sarg, with a son and a daughter, Taylor is also remembered for his decorating work, most notably for ceilings for the former Underwriter’s Room at Lloyds of London, and murals for Austin Reed’s red laquer room in 1930. He was also the author of a number of publications.

47. Oxford Lithograph Fred Taylor Printed by Jordison & Co. Ltd. c.1950 Image 920 x 1160 mm framed The story of railways in Britain is reflected in the development of the railway poster. This commercial art form illustrates the major changes that have occurred in British society over the years and captures the spirit and character of British life. They are social documents of British culture, illustrating the changing styles of art, patterns of holidaymaking, urban and rural landscapes, architecture and fashion. They also reflect the development of railway companies and their design and advertising standards. It is hardly surprising that the “Golden Age” of British railway posters coincided with the quartercentury following the amalgamation in 1923 of almost all of the numerous small independent companies into what came to be known as the “Big Four” railways: the Great Western (GWR); the London, Midland, and Scottish (LMS); the London and North East (LNER); and the Southern (SR). The end of the Great War saw Britain with a public eager to travel - and possessing a well-developed taste for the poster as a medium of advertising. In the latter case the war itself provided continuity for initiatives that began in peacetime, for the recruiting and saving and funding campaigns needed to vanquish the Hun were waged largely on the hoardings. Nor is it surprising that the main visual thrust of the railway poster campaigns during these years was directed towards the anticipated delights of journey’s end, and copies of posters were routinely offered to - and eagerly purchased by - the public, some of whom might indeed have to settle more often for an idyllic image of Britain’s coasts or mountains in their rooms than for the real thing. Fred Taylor was born in London on March 22 1875, the son of William Taylor. Taylor studied briefly at Goldsmith’s College, London, where he won a gold medal for his posters, and a travelling scholarship to study in Italy. At some point working in the Waring and Gillow Studio, Taylor was a poster artist, illustrator, decorator and a watercolourist. Particularly noted as a poster artist from 1908 to the 1940s, and was regularly commissioned by the LNER, EMB and shipping companies. Taylor also exhibited regularly at the Royal Academy, and other provincial societies. Taylor’s designs frequently referred

Information from: Livingston, A. and Livingston, I., Dictionary of Graphic Design and Designers, 1992, p.187, London Transport Museum Database, February 2000, quoting Riddell, 1994, Darracott, J. and Loftus, B., Second World War Posters, 1981 (1972), p.55 [31845]


48. [Broad Street, Oxford] Etching printed in colours Fred Millar 1921 Image 155 x 265 mm, Plate 170 x 265 mm, Sheet 260 x 342 mm. mounted Signed and inscribed in pencil. Fine Art Trade Guild blindstamp lower left. Fred Millar (exh. 1915 - 1923). [31798] £240 49. [Oxford High Street] Etching printed in colours Fred Millar 1921 Image 230 x 230 mm, Plate 240 x 235 mm, Sheet 370 x 345 mm. mounted Signed and inscribed in pencil. Fine Art Trade Guild blindstamp lower left. [31799] £280

50. [Magdalen Bridge, Oxford] Etching printed in colours Fred Millar 1921 Image 250 x 192 mm, Plate 265 x 195 mm, Sheet 388 x 285 mm. mounted

51. [Catte Street, Oxford] Etching printed in colours Fred Millar 1922 Image 275 x 173 mm, Plate 290 x 176 mm, Sheet 347 x 267 mm. mounted Signed in pencil. Fine Art Trade Guild blindstamp lower left. [31800] £250

Signed in pencil. Fine Art Trade Guild blindstamp lower left. [31801] £240

52. Oxford a 52 milea Ouest de Londres. Copper engraving Anonymous c. 1700 74 x 103 mm mounted A rare miniature French map of Oxford based on Hollar’s 1643 plan cut from a larger sheet. [31823] £80

53. Oxford Chromolithograph J.P. Sayer Published by the Railway Executive (Western Region) P.W. 49, Printed in Great Britain by Chromoworks Limited London, c. 1933. Image 982 x 1230 mm framed J.P Sayer’s work emerged from a growing trend of railway poster design in the Thirties which sought to incorporate historical information into the image. One such example can be found in Sayer’s poster of Leamington Spa, in which trivia and local attractions sprout from the foliage of the Midland Oak; a one thousand year old tree believed to have been planted in the centre of England. Sayer’s pictographic map of Oxford was probably the artist’s most celebrated demonstration of the medium. The map focuses on the collegiate area of the city and includes crests, as well as small vignettes of the colleges and landmarks. The most entertaining aspect of this work is arguably the comic figures which elucidate various historical and contemporary references. Eccentric in their nature, and brightly coloured, some of Britain’s most infamous figures are shown interacting with students. A headless Charles I spooks a passing cyclist. Dr. Johnson drinks tea, whilst Erasmus has his nose in a book. Lewis Caroll introduces his character of Alice to William Gladstone, and Christopher Wren displays his designs for the Sheldonian theatre. Even the Devil features, as he carries away Edward Trafford, the leader of the Hell Fire Club; an occult group established at Brasenose College. J.P Sayer (fl. 1820 - 1835) was an English artist and graphic designer. He provided the illustrations for the Motorist’s Rhyme Book; a booklet produced by British Petroleum, which contorted popular nursery rhymes in order to sell its products. Sayer is best remembered for the posters that he designed for the Great Western Railway Company, and the uniquely pictographic style of his that emerged from these commissions. Works of Sayer’s include posters of Oxford, Leamington Spa, Somerset. Cornwall and the Cambrian Coast. Contains inscriptions concerning the history of Oxford, and a large cartouche of the British Railways in the bottom right hand corner. Condition: Small tears to the extremities of the sheet. Two at the top right which affect the image slightly. Vertical and horizontal fold lines. [29991] £1,400


56. The Colleges of Cambridge Lithograph in colours Fred Taylor Published by British Railways. Printed in Great Britain; Baynard Press. Published by the Railway Executive (Eastern Region) (AR 1043) c. 1950. Image 958 x 1215 mm, Sheet 1070 x 1328 mm framed Condition: Excellent [30459] £1,500

Foreign Topography

54. Collegii sive Aul: de Clare prospectus interior as Boream [Clare College] Copper engraving David Loggan 1690 Image 301 x 505 mm, Plate 350 x 512 mm, Sheet 415 x 560 mm unmounted [31828] £600 55. Sacelli Regalis apud Cantabrigienses Prospectus Interior ab Occidentali. Copper engraving David Loggan 1690 Image 440 x 352 mm, Plate 480 x 362 mm, Sheet 554 x 430 mm unmounted A superb engraving of the interior of King’s College Chaple, Cambridge from Cantabrigia Illustrata. Sive omnium celeberrimæ istius universitatis... Cambridge: Quam proprijs sumptibus typis mandavit & impressit Cantabrigiæ. [31774] £600

57. Tunxo in the Province of Peking. Chinese Pilgrimage of a Whole Village to the Temple Jugangu to obtain a fertile Year. Copper engraving Emanuel Bowen [c. 1748] Image 195 x 293 mm, Plate 205 x 302 mm, Sheet 253 x 411 mm unmounted From John Harris’ Navigantium atque Itinerantium Bibliotheca or A Compleat Collection of Voyages and Travels (first published 1705). Emmanuel Bowen (c.1693 - 1767), was one of the leading eighteenth century map and print sellers and engravers in London. He was appointed Engraver of maps to George II of England and possibly held a similar role for Louis XV of France. His apprentices included Thomas Kitchin and Thomas Jeffreys. He collaborated with other map makers of his time, including the Bowles family and John Owen. Condition: Some discolouration to sheet. Mark beneath bottom of platemark, not affecting image. [31237] £85

58. Panoramic View of the Southern Coast of the Crimea from Cape Meganom to Kaffa. Lithograph with hand colouring Capt.n W.H. Parker Lithographed and Published by Dickinson Bro.s New Bond St. c.1855 Image 172 x 1918 mm, Sheet 360 x 2016 mm unmounted Printed on four sheets and joined.

60. A Perspective View of the Place & Church of St. John Lateran at Rome Copper engraving with original hand colouring Anonymous Printed from. Robt. Sayer, No. 53 in Fleet Street [n.d. c. 1750] Image 160 x 257 mm, Plate 190 x 275 mm, Sheet 249 x 388 mm unmounted Number 7 inscribed in the upper right margin. [31772] £80

A spectacular large scale panorama of the Crimean coast line with key names listed below, including Cape Meganom, Mount Chernai, KiatLama Point, St.Elias’ Monastery, Theodosia Point and Kaffa (ancient Theodosia). Condition: Light staining to margins and joins. Staining to sky of right hand sheets. [31797] £450

61. A View of Trajan’s Pillar at Rome, &c. Copper engraving with original hand colouring Anonymous Printed from. Robt. Sayer, No. 53 in Fleet Street [n.d. c. 1750] Image 163 x 262 mm, Plate 190 x 275 mm, Sheet 255 x 400 mm unmounted Number 6 inscribed in the upper right margin.

59. A Perspective View of St. Peter’s Church at Rome. Copper engraving with original hand colouring Anonymous Printed from. Robt. Sayer, No. 53 in Fleet Street [n.d. c. 1750] Image 160 x 258 mm, Plate 185 x 273 mm, Sheet 247 x 397 mm unmounted A view of St Peter’s Square, Vatican City, Rome from Via della Conciliazone. Number 2 inscribed in the upper right margin. [31769] £90

Condition: Two stains affecting image: one in the upper left of the sky and one in the middle of the sky. [31771] £80

62. A Perspective View of Marcellus’s Theater &c at Rome. Copper engraving with original hand colouring after Piranesi Printed from. Robt. Sayer, No. 53 in Fleet Street [n.d. c. 1750] Image 160 x 258 mm, Plate 185 x 273 mm, Sheet 247 x 397 mm unmounted

This print is a reduction of a print by Thomas Bowles after Piranesi. Both Bowles’ print and this print do differ from the original Piranesi, Bowles’ attributes the source in this image to Piranesi. Number 4 inscribed in the upper right margin. [31770] £100

unmounted View of St. Isaac’s Square, Saint Petersburg from Sir Robert Ker Porter’s Travelling sketches in Russia and Sweden, during the years 1805, 1806, 1807, 1808 (London: Richard Phillips and T. Gillet, 1809). Joseph Constantine Stadler (active between 1780 and 1822) was a printmaker of German origins. He settled in London in the 1780’s and, specialising in aquatint engraving, became responsible for the successful production of many ambitious topographical works. Amongst these were Philippe Jacques de Loutherbourg’s Picturesque Scenery of Great Britain, and numerous commissions for Rudolph Ackermann including Views of London, and Public Schools. Sir Robert Ker Porter (1777-1842) was a noted artist, author, diplomat and traveler. Known today for his accounts of his travels in Spain, Portugal and Russia, he also served as the British consul in Venezuela.

63. A View of New York, Governors Island, the River &c. from Long Island. Copper engraving Anonymous Published as the Act directs by A. Hamilton Junr., near St. Johns Gate ,Novr. 1, 1776 Image 100 x 175 mm, Sheet 120 x 210 mm mounted A reduced copy of the P. Canot engraving entitled A South West View of the City of New York, in North America. Drawn on the Spot by by Capt. Thomas Howdell of the Royal Artillery from The town and country magazine, or, Universal repository of knowledge, instruction, and entertainment. London : Printed for A. Hamilton, Jr., October 1776, p. 537. This print shows a panoramic view of the Battle of Long Island.

[31810] £45

General Interest

Condition: two pin holes. Print crooked on paper. [31767] £90

65. Melanzana fructu pallido [Aubergine] Copper engraving with later hand colouring Basilius Besler 1713 Image 440 x 385 mm Plate 475 x 386 mm framed From Hortus Eystettensis.

64. The Place of St. Isaac Etching and aquatint Joseph Constantine Stadler & F. A. Hubert after Robert Ker Porter c.1809 Image 174 x 235 mm, Sheet 210 x 289 mm

Basilius Besler (1561 – 1629) was a respected Nuremberg apothecary and botanist, best known for his monumental Hortus Eystettensis. He was curator of the garden of Johann Konrad von Gemmingen, prince bishop of Eichstätt in Bavaria. The bishop commissioned Besler to compile a codex of the plants growing in his garden, a task which Besler took sixteen years to complete, Johann Konrad dying shortly before the work was published.

Where as previous botanical art had placed an emphasis only on medical or culinary herbs, often crudely executed, Besler’s Hortus Eystettensis depicted 1084 species including garden flowers, herbs and vegetables and exotic plants such as castor-oil and arum lilies. These were modern in concept and produced near life size in great detail. The work generally reflected the four seasons, showing first the flowering and then the fruiting stages. “Winter” was sparsely represented with a mere 7 plates. “Spring” was a season of abundance with 134 plates illustrating 454 plants and “Summer” in full swing showed 505 plants on 184 plates. “Autumn” closed off the work with 42 plates and 98 species. First published in 1613, two versions were produced, cheap black and white for use as a reference book, and a luxury version without text, printed on quality paper and lavishly hand-coloured. The work was published twice more in Nuremberg in 1640 and 1713. The plates were eventually destroyed by the Royal Mint of Munich in 1817. Condition. Beautiful contemporary colouring. In very fine condition. [31698] £1,700

67. British Humanity or African Felicity in the West Indies. This Plate being a slight Sketch of the Inhuman Punishments inflicted on the Miserable Slaves, is taken from an original drawing of a Wipping in a Market Place in the Island of Granada done upon the spot by the late H. Smeathman Esq:r Copper engraving After Henry Smeathman Published March 8, 1788, by G. Graham Nr.6 Broad St.t Carnaby Market Image 245 x 357 mm, Plate 282 x 395 mm, Sheet 310 x 485 mm unmounted Inscription beneath image reads: The Slaves both Male & female are fastend to four Stake’s in the Ground, and lashed till they are hardley able to walk without Assistance. This / shocking sight is so common that although it is executed in the Public Market Place, the People buy & Sell as though nothing was doing. Henry Smeathman (1742 - 1786) was an English naturalist. In 1771, three members of the Royal Society - John Fothergill, Sir Joseph Banks and Marmaduke Tunstall - sponsored Smeathman to spend four years in and around the Sierra Leone penininsula studying its natural history. Smeathman supplemented this work with a further four years spent in the Caribbean. Condition: Tearing to edges of sheet, not affecting image. [31239] £250

66. Poma amoris fructu rubro [Tomato] Copper engraving with later hand colouring Basilius Besler 1713 Image 470 x 390 mm, Plate 475 x 400 mm framed From Hortus Eystettensis. Condition. Beautiful contemporary colouring. Slight overall time toning. Otherwise in very fine condition. [31697] £1,700

68. Instruction in Writing Arithmetic, Mensuration, Algebra &c., Merchants’ Accounts, Geography, With the Use of the Globes, English, French, Latin, and Greek by James Fuller. Plain and Ornamental Writing neatly Executed. / Poikilographia, or Specimens of Various Hands; containing Forty Alphabets. / Table of the Comparative Heights of the Principal Mountains of the World & Table of the Comparative Lengths of the Principal Rivers in the World. / Table Shewing at one view the Points of the Compass, the Sign & Degree of the Sun, its N. or S. declination, Meridian Altitude at London, the length of the day, the time of Sunrise & Sunset for every Day in the Year, drawn by J. Fuller. Pen and ink James Fuller James Fuller. Scripsit, 1824 - 26. Image 545 x 431 mm, Sheet 563 x 455 mm each unmounted

Copper engraving Thornton after George Stubbs London: Published by Alexr. Hogg at the Kings Arms No. 16 Paternoster Row, c. 1790 Image 182 x 111 mm, Plate 205 x 128 mm, Sheet 228 x 146 mm mounted An engraving after the famous George Stubbs painting of a kangeroo and published by Alexander Hogg [31735] £70

Four extremely well executed sheets of calligraphy including an advertisement for the calligraphic instruction of Mr Fuller, specimens of various typefaces, geographical charts, and the points of the compass. Condition: Advertisement and typeface sheets laid to board. Some light dust soiling and marks. Crease in lower left corner of sheet with typeface samples. Crease in upper left corner of compass points sheet, not affecting image. [31813] £600 set of four.

69. An Animal found on the Coast of New Holland, called Kanguroo

70. Nelson’s First Lesson Eglomise glass painting Anonymous c. 1810 Image 260 x 185 mm framed A rare and unusual Eglomise glass silhouette of a young Horatio Nelson, with dog at his side, being taught by a seated figure holding a model ship. [31792] £250

71. A View on the Highgate Road Aquatint with original hand colouring George Hunt after James Pollard London, Published by J. Moore at his Picture Frane Manufactory, No. 1 West Street, Upper St, Martin’s Lane, 1830. Image 304 x 390 mm, Plate 355 x 484 mm, Sheet 380 x 488 mm mounted The Birmingham to London coach with passengers passing by a pub and nursery. Selway 42, Siltzer p.215 [31786] £400

Signature: Yosai Nobukazu Seal: Nobukazu Publisher: Yokoyama Sonomatsu “Nobushige hohitsu” (assisted by Nobushige) signed on left sheet. General Kato Kiyomasa on horseback during the Korea expedition. The legend said that he saw Mt.Fuji at the Horizon from the cliff of Sosup’o during the seven-year War (15921598) against the Korean dynasty of Joseon. [31829] £575


72. [Skeleton] Lithograph Anonymous c.1840 Image 1540 x 230 mm framed A very rare almost life-size print of a skeleton. Condition: Printed on three sheets and professionally joined together. No tears or repairs. [31641] £2,000 73. [General Kiyomasa at the cliff of Sosup’o] Woodblock print (nishiki-e) Nobukazu Watanabe Yokoyama Sonomatsu. 1903 Ôban tate-e triptych [Each sheet 9.5 x 14 inches] mounted

74. Fairburn’s Accurate Portraits of the Two Most Corpulent Englishmen ever known, with a Comparative Account of the Extraordinary Persons and Manners Copper engraving with original hand colouring Anonymous Second Edition. - Printed and published, May 26, 1806, by John Fairburn, 146 Minories, London. Price One Shilling coloured, or Sixpence plain. Images 175 x 260 mm and 167 x 147 mm, 180 x 270 mm and 180 x 170 mm, Sheets 385 x 290 mm and 380 x 185 mm unmounted Two portraits and descriptions of fat men on one broad sheet. Mr. Daniel Lambert and Mr. Edward Bright. Inscription beneath left image reads: Mr. Daniel Lambert, / Thirty-Six Years of Age, / Weighs upwards of Fifty Stone, (14lbs to the Stone,) or Seven Hundred and One Pounds, / Measures Three Yards Four Inches round the Body, and One Yard One Inch round the Leg, / Is Five Feet Eleven Inches in

Height, / And Has / No Blemish Whatever On Any Part of His Body. Also accompanied by 45 lines of biographical text beneath inscription: This truly astonishing prodigy of human dimensions was born at Leicester, and apprenticed to an engraver and die-sinker [...] An immense number of visitors, among whom are many of the first rank and fashion, flock daily to behold and converse with him. Inscription beneath right image reads: Mr. Edward Bright, / Who Weighed Forty-Four Stone, (14 lbs. to the Stone,) or 616 Pounds. / Measured, round the Chest (just under the Arms,) 5 Feet 6 Inches; round the Belly, 6 Feet 11 Inches; round / the Middle of his Arm, 2 Feet 2 Inches; and Round his Leg, 2 Feet 8 Inches; And Was Five Feet Nine Inches And A Half High. Also accompanied by 28 lines of biographical text beneath inscription: Mr. Bright was an eminent grocer at Malden, in Essex; he was descended from families greatly inclined to corpulency, and was always fat from a child, yet very strong and active [...] After his death, a wager between Mr. Codd and Mr. Hants, that five men of the age of 21 could be buttoned within his waistcoat was decided Dec. 1, 1750, at the Black Bull, in Malden, kept by the widow Day; when not only five men proposed, but seven men were actually inclosed therein, withour breaking a stitch or straining a button.

scientists of her time. Together with her husband Pierre (1859 - 1906), she was awarded the Nobel Prize for Physics in 1903, and went on to win another in 1911. The Curies worked together investigating radioactivity, and in July 1898, announced the discovery of a new chemical element, polonium. At the end of the year, they announced the discovery of another element, radium. After Pierre died in a road accident in 1906, Marie took over his teaching post, becoming the first woman to teach at the Sorbonne. She received a second Nobel Prize, for Chemistry, in 1911. Julius Mendes Price (1857 - 1924) was a British artist and war correspondent. He produced caricatures for Vanity Fair under the pseudonyms “Imp”, “Jmp” and “jmp”. Born in London he was educated at University College, London and studied art in Brussels and at the École des Beaux Arts, Paris. In 1904 he acted as both special artist of the Illustrated London News and as war correspondent of the Daily Telegraph during the RussoJapanese war. During the 1890s and early 1900s he contributed art and prose to various journals including the Fortnightly Review and the Pall Mall Gazette. He exhibited at the Royal Academy and the Paris Salon; and won a medal at the Paris Exhibition of 1900. [31809] £120

Wellcome Library no. 2348i Condition: Split into two between the platemarks of the images. ‘44 Stone’ written in ink at bottom of Edward Bright biography. [31773] £300

75. Radium [Pierre and Marie Curie] Chromolithograph Imp [Julius Mendes Price] [Vanity Fair, 22 December, 1904] Image 336 x 204 mm, Sheet 403 x 271 mm unmounted No.292 from the ‘People of the Day - No.1’ series published in Vanity Fair, 22nd December, 1904. Marie Curie (1867 - 1934) was one of the most famous

76. Gulielmus Lillius Astrologus Natus Comitat:Leicest: 10 May 1602 [William Lilly] Copper engraving William Marshall 1647 Image 148 x 110 mm, Sheet 166 x 117 mm unmounted A portrait of the astrologer William Lilly (1602 - 1681) published as the frontispiece to his ‘Christian astrology’, from a picture now in the Ashmolean Museum. Seated at a table with a printed horoscope and sheet engraved with the words ‘Non cogunt’ laid out in front of him. His right hand rests on a celestial globe. O’Donoghue 1 Condition: Good impression, light staining from ink marks on verson. [31808] £95

77. [Henley - Outside the Leander Enclosure] Photogravure Dickinsons London, November 12, 1907, Published by Dickinson, Publishers to the late Queen, 114 New Bond Street, W. Copyright Registered. Image 420 x 850 mm, Plate 560 x 955 mm, Sheet 770 x 1170 mm framed Signed and dated in the plate. Signed in pencil below the image. Dickinsons Artists Proof blind stamp. A rare large scale view of the crowds at Henley Regatta ammased infront of the Leander Rowing Club enclosure. Proof impression printed on India Laid paper. [31815] ÂŁ975

78. Ethel Chromolithograph John Swain & Son c. 1900 Image 330 x 200 mm. mounted From Vanity Fair Supplement. Bottom right hand corner inscription reads: ‘(Mr. EtheringtonSmith, Captain, Leander Eight)’ [31577] £185

79. Flea Chromolithograph Spy Vincent Brooks, Day & Son. March 18, 1893 Image 316 x 188 mm. mounted From Vanity Fair Men of the Day No. 559 Mr. William Alfred Littledale Fletcher [31574] £140

80. Crumbo [ Sir Walter Erskine Crum] Chromolithograph Spy [Sir Leslie Ward] Vincent Brooks day & Son, Lith. March 19, 1896 Image 310 x 190 mm, Sheet 392 x 265 mm unmounted Sir Walter Erskine Crum; rowed for Oxford. [31789] £120

81. “Tarka” [Mr.Harcourt Gilbey Gold] Chromolithograph Spy [Sir Leslie Ward] Vincent Brooks Day & Son, Ltd lith. March 23rd 1899. Image 345 x 192 mm, Sheet 400 x 271 mm mounted Mr.Harcourt Gilbey Gold, The President of the Oxford University Boat Club. [31787] £150

82. O. U. B. C [Charles Murray Pitman] Chromolithograph Vincent Brooks, Day & Son March 21, 1891 Image 322 x 188 mm. mounted From Vanity Fair Like H.B. Cotton, his predecessor as O.U.B.C. President, Charles Murray Pitman (1872-1948) won four successive Boat Races. In addition to the races listed in Vanity Fair, he rowed for New College in the Grand (1895-96), the Stewards’ (1895), and the Silver Goblets (1895-96). [31576] £120

83. Games With The Ball - Tennis , The Court at Lords Lithograph with hand colour R.S. Groom, Wilkinson & Co London: Henry Lea & Co 125, Fleet Street. 1863 Image 165 x 251 mm mounted A lovely print illustrating real tennis from The Sportsman’s Companion by Henry Downes Miles, Esqr [29753] £250

84. [Ancient and Honourable Order of Screws] Lithograph Anonymous August 1898 Image 365 x 255 mm, Sheet 515 x 410 mm mounted A very scarce decorative cricketing certificate confirming the acceptance of an Oxford Undergraduate into the Ancient and Honourable Order of Screws. The text reads: Be it known unto all men and women that Frederick Good, presently Undergraduate Oxford University having been duly initiated into the Dread and awful Mysteries of the Ancient and Honourable Order of “Screws”, and having thoroughly qualified himself therefore as a very indifferent Cricketer but otherwise good fellow, is herby authorised to wear the colours and insignia of the said Ancient and Honourable Order. Spence? A Whitelaw Captain A.H.O.S William Whitelaw Hon.Secretary A.H.O.S August 1898. [31791] £475

class cricket for Middlesex between 1898 and 1919, appeared in seven Test matches for England as an all-rounder. He was chosen as a Wisden Cricketer of the Year in 1905. [31575] £190

Hunting, Riding & Shooting

85. English Cricket Chromolithograph Ape Vincent Brooks, Day & Son. September 20 1884 Image 316 x 188 mm. mounted From Vanity Fair The Hon A. Lyttelton [31573] £250

86. An Artful Bowler [Bernard James Tindall Bosanquet] Chromolithograph Vincent Brooks, Day & Son September 15th, 1904 Image 347 x 205 mm. mounted From Vanity Fair Bernard James Tindal Bosanquet (1877 – 1936) was a English cricketer best-known for inventing the googly, a delivery designed to deceive the batsman. Bosanquet, who played first-

87. Eagle and Eleanor. A Match for 200 Gs. run across the Flat Newmarket -Octr. Meeting 1804 Mezzotint with hand colour John Whessell Pubd. March 1, 1809 by Edwd. Orme Printseller to the King. Engraver & Publisher. Bond St. corner of Brook St. London. Image 295 x 312mm, Plate 388 x 312 mm, Sheet 359 x 435 mm mounted Not in Siltzer. Printed on Whatman paper with good colour and full margins. [31778] £1,000

88. Epsom Races. Now They’re Off & Epsom Races.Here They come Aquatint with hand colouring J. Pollard, delin. Smart & Hunt, sculpt. London published June 2. 1834 by S &J Fuller, at their sporting gallery. 34 Rathbone Place Each image 412 x 603 mm framed £950 the pair Inscriptions below the images read: To the Noblemen and Gentlemen of the Turf and the Subscribers this print representing the Start for the Derby Stakes is most respectfully dedicated by their obedient and much obliged Servants S & J Fuller. To the Noblemen and Gentlemen of the Turf and the Subscribers this print representing the Horses passing Tattenham Corner for the Derby Stakes is most respectfully dedicated by their obedient and much obliged Servants S & J Fuller. [31353] £950

Titles inscribed beneath images in English and French. Preparing to Start: A humorous depiction of a racecourse, probably York, featuring spectators of different classes in the foreground, a sailor using the back of a post-chaise as a platform, and a man standing on the shoulders of a fat woman. To the right, a horse has just been stripped, and is about to be given a draught of wine, and a jockey covertly takes money from a man. In the middle distance, behind rails, more spectators are visible. Four men stand in the judge’s box, including one blowing a trumpet. To the left is a row of four crowded stands, three of which are entitled ‘Grand Betting Stand by T M Sweap-All’, ‘Red-Lyon’ and ‘Ladies Booth’. In the background more spectators, coaches and horses are visible against the landscape. Running: features the same line of stands as in the background of A Country Race Course with Horses Preparing to Start. In the foreground pedestrian spectators are in close proximity to three racehorses which are followed by a crowd of men on horseback. On the left is a high phaeton carriage with a lady seated next to the driver. On the right a fat woman with a basket of pies falls over, and a boy throws himself on the ground to grab the pies. In the distance are many spectators, some stationary, but many riding and driving along the course. James Jenkins was a British printmaker, printseller and bookseller active in London between 1780 and 1819. Based at 48 Strand, he was the father of the engraver and watercolourist Joseph John Jenkins. Francis Jukes (1747 - 1812) was a British engraver and very early specialist in aquatint. Based in London at 1 Great Marylebone Street (May 1783), 3 Howland Street (October 1784), 10 Howland Street (1787 - 1808), and 57, Upper John Street, Fitzroy Square (1797-1812), he sometimes published in conjunction with Sarjent. William Mason (1724 - 1797) was a British cleric, amateur draughtsman, poet, author and garden designer. Born in Hull, he entered the Church in 1754, and in 1762 became the Precentor of York Minster. A friend of Horace Walpole and Reynolds, he died in Aston, Yorkshire, where he was rector. BM Satires 8255 & 8256, Siltzer 334 Condition: Creasing to upper right corner, and lower edge of sheet. [31844] £2,000 the pair

89. A Country Race Course with Horses Preparing to Start & A Country Race Course with Horses Running. Etching and aquatint James Jenkins & Francis Jukes after William Mason Publish’d May 20, 1786, as the Act directs By R. Pollard, Braynes Row, Spa Fields. Each Image 446 x 640 mm mounted

90. November Woodcock Shooting Aquatint with hand colouring Hunt after J.M.W Turner London Published 1841 by J.W Laird 1, Leadenhall Street Image 410 x 485mm framed One of a set of six hunting plates [31298] £450

Etching and aquatint with hand colouring John Scott after Philip Reinagle c. 1805 Image 203 x 252 mm, Plate 231 x 270 mm. mounted Philip Reingale (1749 - 1833) was a portrait painter who trained under Allan Ramsey. He later specialised in animal painting and sporting pictures, botanical subjects and landscapes. John Scott (1774 - 1827) was an engraver and specialist in animals who worked for the ‘Sporting Magazine’ and other similar publications. [31586] £70 90. November Woodcock Shooting

91. September Partridge Shooting Aquatint with hand colouring Hunt after J.M.W Turner London Published 1841 by J.W Laird 1, Leadenhall Street Image 410 x 485mm framed One of a set of six hunting plates [31350] £450

93. Royal Hunt in Windsor Park & His Majesty King Geo. III Returning from Hunting Etching and aquatint with hand colouring Matthew Dubourg after James Pollard London, Published & Sold, Jany. 1, 1820 by Edwd. Orme, Bond Street, Publisher & Printseller to the King & Prince Regent Image 305 x 450 mm each mounted King George III and a group of horsemen following a pack of hounds in pursuit across an open area, with Windsor Castle in the distance. King George III riding to right in the grounds of Windsor, raising his hat, surrounded by other members of the hunt, including a woman on the right riding sidesaddle.

92. Breaking Cover

Matthew Dubourg was a British engraver and aquatinter, working in London between 1808 and 1838. He often collaborated with John Heaviside Clark, signing as ‘Clark & Dubourg’.

James Pollard (1792 - 1867) was a British painter specialising in coaching and sporting scenes. Born in Islington, he began his career as an engraver, and the pupil of his father Robert. He produced numerous plates between 1816 and 1821; then turned to painting, still engraving many of his own paintings. Siltzer p.214 [31581] £1200 the pair

94. Coursing the Hare Mezzotint with hand colouring Thomas Burford Invented & Published according to Act of Parliament by T. Burford, August 1757. mounted Two dogs chase a hare in the foreground. A beater in the background, waves his stick and hat in encouragement. Paired to Burford’s ‘Death of the Hare’ and is part of a large number of sporting prints published by Burford in the 1760s and 1770s. [31579] £300

The hunt is depicted in full chase, with the hare forcing the chase into the foreground. Thomas Burford (c.1710 - c.1779) was a painter, draughtsman and mezzotinter. He worked in the style of James Seymour and Francis Sartorius. There are mezzotints by Burford published as late as 1787 (eg ‘The Pointers & Pheasants’), although it is possible these could be reissues or posthumous publications. James Seymour (1702 - 1752) was a sporting painter. Son of Colonel James Seymour. [31578] £380

96. Pheasant Shooting. Partridge Shooting. Duck Shooting. Snipe Shooting. [Set of four prints] Etching and aquatint Thomas Rowlandson and Samuel Alken after George Morland Pub.d as the Act directs, Jan,,y 1.1790 by J.Harris, No.38, Dean Street, Soho & Tho,,s Merle, Leadenhall Street. Image 420 x 555 mm framed A rare set of four shooting prints etched by Thomas Rowlandson, with aquatint by Samuel Alken. First published on 10th February, 1789 by T. Smith of 35, New Bond Street, this set are the 1790 printing by J. Harris and Thomas Merle. The set was reissued again by Harris and Merle in January, 1791 and January and May, 1792. Gilbey 250, Schwerdt III.112, Siltzer 189, Snelgrove 122 Condition: General discolouration to all four sheets. [31803] £3,500 set of four.

95. The Chase Mezzotint with hand colouring Thomas Burford after James Seymour Published according to Act of Parliament, September 16th, 1754. Image 240 x 351 mm. mounted

96. Pheasant Shooting. Partridge Shooting. Duck Shooting. Snipe Shooting. [Set of four prints]


Image 170 x 103 mm, Sheet 208 x 125 mm framed A scarce map curiosity printed as the frontis to The Universal Magazine. Vol. IV.

Full title below image reads: The Explanation of the Frontispiece - Wisdom casting forthe the Rays of Learning and Knowledge over the Island of Great Britain & Ireland and Britania on her right hand with an Angel descending to her with a Crown of Laurel 97. Das Eider Buch Beschreibung Engellandts Und Scottlandts Woodblock with original colour Munster, Sebastian and H.Petri Basle, 1578 275 x 167 mm unmounted This unusual woodblock map of the British Isles was first included in the 1578 edition of Munster’s “Cosmography”, according to Shirley, probably by the printer Heinrich Petri. It is based on Munster’s own map but with some important differences; there are fewer place names shown in the southern part of the country, north is oriented to the top of the page (Munster’s map oriented north to the left), and, perhaps most obviously, Scotland slants eastwards in a style reminiscent of Ptolemy - even though this is a supposedly “new” and “modern” map. Shirley suggests that this curious Scotland may not have been a reversion in geographical thinking, but instead the size of this page was just too small to include Scotland and the engraver found a practical solution. One or two minor wormholes, otherwise in good condition.

Quote above image reads: Wisdom is the principal thing: therefore get Wisdom: get Understanding: forsake her not and she shal preserve thee: love her and she shall keep thee, and bring thee to honour: Prov.IV.5.6.7[31790] £110

Refrence: Shirley, Early Printed Maps Of The British Isles, 122. [29363] £750 98. [Frontispiece] Wisdom casting forthe the Rays of Learning and Knowledge over the Island of Great Britain & Ireland... Copper engraved John Hinton, at the King’s -Arms in St.Paul’s Church-yard, London. c.1760

99. Geological Map of the British Islands Based on the work of the Geological Survey 4th Edition 1957 Sir William J. Pugh, O.B.E., D.Sc., F.R.S., Director.

Lithograph Pugh, William J Made and published by the Ordanance Survey, Chessington Surrey, 1957, for the Geological Survey. 845 x 600 mm framed Geological map with index in right hand corner [31351] £200

100. A Chart of the Islands of Jersey and Guernsey, Sark, Herm and Alderney with the Adjacent Coast of France. Copper engraved with hand colour De La Rochette, Louis Stanislas d’Arcy London: Engraved & Published as the Act directs Jany. 1st, 1781 by W. Faden, successor to the late T. Jefferys, Geogr. to the King, Charing Cross. 695 x 505 mm unmounted A fine and detailed chart of the Channel Isalnds with engraved land profiles of the individual islands. Condition: Centre fold as issued. [31827] £500

101. L’Europe selon les Auth. les plus modernes Copper engraved with early hand colour Ogier, Matthieu Amsterdam, 1706 140 x 195 mm framed A scarce map of Europe showing the continent from Greenland and Iceland in the north-west to the Black Sea and Asia Minor in the south-east. Twenty armorial shields of various European Countries/States are engraved in the side margins. The allegorical title cartouche in the upper right corner shows Europa riding Zeus in his aspect as a bull. From Daniel del La Feuille’s Atlas Portatif, ou le nouveau Theatre de la Guerre en Europe; Contenants les cartes geographiques, avec les plans des Villes & Forteresses les plus exposees aux revolutions presentes. [31282] £225

102. China. Veteribus Sinarum Regio nunc Incolis Tame dicta. Copper engraved with hand colour Merian, Matthaus c.1646 269 x 342 mm unmounted A finely detailed 17th century map of eastern China and Japan based on Jansson’s map of 1633. The map includes the Great Wall running along it’s north west border. Korea mapped as an island, along with the three main islands of Japan. Taiwan is named Pakan al I. Formosa, and and Meaco, the early western name for Kyoto, is named on the main island of Japan.. The imaginary Chiamay Lacus or ‘Lake of Chiang Mai’ is featured in the west with five rivers flowing into India and Siam. The decorative title cartouche is flanked by two Chinese figures, with European and Chinese ships, and a sea monster featured in the map. Condition: Centre fold as issued, dirt build up to margins, not affecting printed area. [31549] £650

A banner above the map reads: In Principio Deus Creavit Terram. The map is drawn in the same hand as 31813 a collection of four calligraphy exercises. Condition: Laid to original card backing, stains to left hand margin, light surface dirt to edges of sheet. Light blind stamp to top left corner. [31851] £525

103. A Map of the Colony of Hongkong Lithograph Anonymous Waterlow & Sons Limited London Wall. London. c.1919 290 x 367 mm mounted A colony map of Hong Kong, highlighting and outlining the territory ceded under the convention of 1860 and the new territory ceded under the convention of 1898. Condition: Repaired tears to top right of map and right hand margin. Horizontal and vertical folds as issues. [31855] £180

105. Muggletonian Celestial Prints - Set of six Steel engraving with hand colouring W. P. Chubb & Son after Isaac Frost 1846 Each image 277 x 191 mm. mounted £850 for the set of six. Hand colouring by George Baxter.

104. Map of the World from the Best Authorities Pen and ink Fuller, James Drawn by Ja.s Fuller Stockwell Surrey, 1824 314 x 368 mm unmounted An extremely well executed manuscript world map with legends of Elevations of Mountains, Estimated Population in 1824, General Observations and the Surface of the Globe &c.

Isaac Frost was the leading developer of the Muggletonian view on astronomy. The Muggletonians were a small Protestant movement which began in 1651 and continued into the twentieth century. Their beliefs included a hostility to philosophical reason and a scriptural understanding of how the universe work, frowning upon modern science and heliocentric astronomy. Half of the set illustrate the Newtonian System, and the other half illustrate the ‘System According to the Holy Scriptures’. [31587] £850

A Catalogue of Recent Acquisitions