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How Pickles Scurried Away To Fight Another Day
£270How Pickles Scurried Away To Fight Another Day
A framed and mounted original Edwardian colour plate by the the British artist and illustrator Cecil Aldin.£270 -
How The Rocking Horse Falls Down Flat
£270How The Rocking Horse Falls Down Flat
A framed and mounted original Edwardian colour plate by the the British artist and illustrator Cecil Aldin.£270 -
How As His Mischief Increases He Pulls Poor Bunny To Pieces
£270How As His Mischief Increases He Pulls Poor Bunny To Pieces
A framed and mounted original Edwardian colour plate by the the British artist and illustrator Cecil Aldin.£270 -
How Pickles Thought it was Jolly To Be Rough With The Poor Dolly
£270How Pickles Thought it was Jolly To Be Rough With The Poor Dolly
A framed and mounted original Edwardian colour plate by the the British artist and illustrator Cecil Aldin.£270 -
Which Shows Sad But True, How Magog Was Bitten In Two
£270Which Shows Sad But True, How Magog Was Bitten In Two
A framed and mounted original Edwardian colour plate by the the British artist and illustrator Cecil Aldin.£270 -
Which Shows How A Naughty Dog Behaves To A Gollywog
£270Which Shows How A Naughty Dog Behaves To A Gollywog
A framed and mounted original Edwardian colour plate by the the British artist and illustrator Cecil Aldin.£270 -
Which Shows Pickles Enjoys Discovering Gwen’s Best Toys
£270Which Shows Pickles Enjoys Discovering Gwen’s Best Toys
A framed and mounted original Edwardian colour plate by the the British artist and illustrator Cecil Aldin.£270 -
A Puppy Dog’s Tale
£270A Puppy Dog’s Tale
A framed and mounted original Edwardian colour plate by the the British artist and illustrator Cecil Aldin.£270 -
A Successful First Speech,
£270A Successful First Speech,
Framed chromolithograph by SPY (Sir Leslie Ward) picturing Mr Fredrick Edwin Smith, later 1st Earl of Birkenhead, MP for Liverpool Walton and boon companion of Sir Winston Churchill until his early death. The subtitle, 'Moab is my Washpot', is from psalm 108 and is a proverbial declaration of total triumph over vanquished foes. F.E Smith is famed in Parliamentary history for his maiden speech in the House, known as 'I Warn The Government', described by the late Paul Johnson as "without question the most famous maiden speech in history, quite unprecedented, and never equalled since." In it he accused the Liberal government of arrogance, dishonesty and heavy handedness after their landslide victory at the election of 1906. He managed to catch David Lloyd George in a clear untruth and won the begrudging admiration of all sides of the house. He declared, in response to a suggestion by Lloyd George to the churches of Wales that the Tories wanted to 'introduce slavery to the hills of Wales' that: "I have no means of judging how heaven will deal with persons who think it decent to make such suggestions. The distinction drawn by the Right Hon. Gentleman is more worthy of the county court than of the Treasury Bench." He then went on famously to declare: "I venture to warn the government that the people of this country will neither forget nor forgive a party which, in the heyday of its triumph, denies to the infant Parliament of the Empire one jot or tittle of that ancient liberty of speech which our predecessors in this House vindicated for themselves at the point of the sword." He was a, according to the ONDB a 'champion of hard-drinking patriotic men' in the face of the temperance movement before his early death of cirrhosis of the liver.£270 -
Waltham Cross by Hubert Williams (1905-1989)
£260Waltham Cross by Hubert Williams (1905-1989)
Hubert Williams was an accomplished artist and illustrator who had the confidence to include the detail of everyday life in his views. Signed. Framed£260 -
Little Church Street, Chiswick’
£250Little Church Street, Chiswick’
A signed watercolour by Josephine Ghilchick (née Matley Duddle) showing Church Lane in Chiswick, West London.£250 -
Which Shows How There’s Many A Tip Between The Jug And Lip
£250Which Shows How There’s Many A Tip Between The Jug And Lip
A framed and mounted original Edwardian colour plate by the the British artist and illustrator Cecil Aldin.£250 -
Tess,
£250Tess,
Framed Chromolithograph by Spy (Leslie Ward) depicting Thomas Hardy, novelist author, poet and architect. Writer of controversial and socially engaged novels such as Tess if the D'urbervilles, Jude the Obscure and popular classics such as Far from the Madding Crowd and The Mayor of Casterbridge. He lived to be appointed to the Order of Merit and his ashes are interred in Poets Corner, Westminster Abbey.£250 -
Cricket, Railways, and Agriculture,
£250Cricket, Railways, and Agriculture,
A framed chromolithograph by Spy (Sir Leslie Ward) picturing Charles George Lyttleton, 8th Viscount Cobham, Liberal MP for East Worcestershire. A first class cricketer who played 35 first class matches in his life, he was elected President of the Marylebone Cricket Club in 1888. Cobham was also a member of the Tennis Committee of the MCC and was responsible for framing standardised rules for the new sport of lawn tennis. These unified Laws of Lawn Tennis were published on 29 May 1875.£250 -
The Effusions of Loyalty, to be performed this evening at Vauxhall Gardens
£240The Effusions of Loyalty, to be performed this evening at Vauxhall Gardens
Written by M.P. Andrews, Esq. and composed by Mr. Hook£240 -
Pair of faux bamboo picture frames,
£240 the pairPair of faux bamboo picture frames,
Smaller frame is 7 cm x 9 cm high x 2 cm deep, the aperture is 5 cm x 7 cm, Larger frame is 12 cm x 15 cm high x 2.5 cm deep, the aperture is 8.5 cm x 12 cm.£240 the pair -
Original 18th century anatomy print,
£240Original 18th century anatomy print,
Copper engraving of the Science of Anatomy. Engraved by Royce and published by Alexander Hogg in1788. Framed.£240 -
Original 18th century anatomy print,
£240Original 18th century anatomy print,
Copper engraving of the Science of Anatomy. Engraved by Royce and published by Alexander Hogg in1788. Framed.£240 -
Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
£225Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
Mark Catesby was born in Essex to a family owned a farm and house, Holgate, in Sudbury, Suffolk. His acquaintance with the naturalist Reverend John Ray, a leading English naturalist of the late 17th century and co-author of an early classic study on birds started Catesby’s life-long becoming interest in natural history, which he went on to study in London. His life changes when in 1712, he arrived at Williamsburg, Virginia, accompanying his married sister Elizabeth Cocke and two of her children. During his seven-year stay in Virginia that Catesby developed a passionate in the native flora and fauna. He began collecting botanical specimens, especially seeds, and sending them to friends in England and he met William Byrd II, who was an amateur naturalist, a member of the colonial Council and a Fellow of the Royal Society. When he returned to England in 1719, influential members of the Royal Society, then chaired by Sir Isaac Newton, had learned of his work in the colonies. Led by William Sherard, “one of the most celebrated botanists of the age,” members began soliciting sponsors to finance Catesby for a botanical expedition to South Carolina. By 1722, Catesby was again crossing the Atlantic to further his work in the New World. Catesby, was one of the first people to recognize how natural and man-made destruction and depredation of a species’ habitat lead to extinction. He was the first to depict birds, in conjunction with environmentally relevant plants. He returned to England in 1726, and then spent the subsequent two decades years developing his work that would eventually be published as, "The Natural History of Carolina, Florida, and the Bahama Islands" It was first fully illustrated study of the natural history of North America and the most comprehensive to date. Working virtually alone, Catesby personally oversaw every aspect of the work’s production, even learning the difficult art of etching on copper plates. To finance this expensive printing project, Catesby sought subscriptions, offering his book in sections of 20 plates to be published every four months. Published in eleven sections and featuring more than 220 hand-coloured etchings. Published in eleven sections and featuring more than 220 hand-coloured etchings. He personally presented the first section to Her Majesty Queen Caroline in May 1729, and later he dedicated the first volume of the Natural History to her. Following a collapse, Mark Catesby died at his home on Old Street, London, on 23 December 1749, and he was buried in the churchyard of St Luke’s Church£225 -
Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
£225Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
Mark Catesby was born in Essex to a family owned a farm and house, Holgate, in Sudbury, Suffolk. His acquaintance with the naturalist Reverend John Ray, a leading English naturalist of the late 17th century and co-author of an early classic study on birds started Catesby’s life-long becoming interest in natural history, which he went on to study in London. His life changes when in 1712, he arrived at Williamsburg, Virginia, accompanying his married sister Elizabeth Cocke and two of her children. During his seven-year stay in Virginia that Catesby developed a passionate in the native flora and fauna. He began collecting botanical specimens, especially seeds, and sending them to friends in England and he met William Byrd II, who was an amateur naturalist, a member of the colonial Council and a Fellow of the Royal Society. When he returned to England in 1719, influential members of the Royal Society, then chaired by Sir Isaac Newton, had learned of his work in the colonies. Led by William Sherard, “one of the most celebrated botanists of the age,” members began soliciting sponsors to finance Catesby for a botanical expedition to South Carolina. By 1722, Catesby was again crossing the Atlantic to further his work in the New World. Catesby, was one of the first people to recognize how natural and man-made destruction and depredation of a species’ habitat lead to extinction. He was the first to depict birds, in conjunction with environmentally relevant plants. He returned to England in 1726, and then spent the subsequent two decades years developing his work that would eventually be published as, "The Natural History of Carolina, Florida, and the Bahama Islands" It was first fully illustrated study of the natural history of North America and the most comprehensive to date. Working virtually alone, Catesby personally oversaw every aspect of the work’s production, even learning the difficult art of etching on copper plates. To finance this expensive printing project, Catesby sought subscriptions, offering his book in sections of 20 plates to be published every four months. Published in eleven sections and featuring more than 220 hand-coloured etchings. Published in eleven sections and featuring more than 220 hand-coloured etchings. He personally presented the first section to Her Majesty Queen Caroline in May 1729, and later he dedicated the first volume of the Natural History to her. Following a collapse, Mark Catesby died at his home on Old Street, London, on 23 December 1749, and he was buried in the churchyard of St Luke’s Church£225 -
Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
£225Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
Mark Catesby was born in Essex to a family owned a farm and house, Holgate, in Sudbury, Suffolk. His acquaintance with the naturalist Reverend John Ray, a leading English naturalist of the late 17th century and co-author of an early classic study on birds started Catesby’s life-long becoming interest in natural history, which he went on to study in London. His life changes when in 1712, he arrived at Williamsburg, Virginia, accompanying his married sister Elizabeth Cocke and two of her children. During his seven-year stay in Virginia that Catesby developed a passionate in the native flora and fauna. He began collecting botanical specimens, especially seeds, and sending them to friends in England and he met William Byrd II, who was an amateur naturalist, a member of the colonial Council and a Fellow of the Royal Society. When he returned to England in 1719, influential members of the Royal Society, then chaired by Sir Isaac Newton, had learned of his work in the colonies. Led by William Sherard, “one of the most celebrated botanists of the age,” members began soliciting sponsors to finance Catesby for a botanical expedition to South Carolina. By 1722, Catesby was again crossing the Atlantic to further his work in the New World. Catesby, was one of the first people to recognize how natural and man-made destruction and depredation of a species’ habitat lead to extinction. He was the first to depict birds, in conjunction with environmentally relevant plants. He returned to England in 1726, and then spent the subsequent two decades years developing his work that would eventually be published as, "The Natural History of Carolina, Florida, and the Bahama Islands" It was first fully illustrated study of the natural history of North America and the most comprehensive to date. Working virtually alone, Catesby personally oversaw every aspect of the work’s production, even learning the difficult art of etching on copper plates. To finance this expensive printing project, Catesby sought subscriptions, offering his book in sections of 20 plates to be published every four months. Published in eleven sections and featuring more than 220 hand-coloured etchings. Published in eleven sections and featuring more than 220 hand-coloured etchings. He personally presented the first section to Her Majesty Queen Caroline in May 1729, and later he dedicated the first volume of the Natural History to her. Following a collapse, Mark Catesby died at his home on Old Street, London, on 23 December 1749, and he was buried in the churchyard of St Luke’s Church£225 -
Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
£225Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
Mark Catesby was born in Essex to a family owned a farm and house, Holgate, in Sudbury, Suffolk. His acquaintance with the naturalist Reverend John Ray, a leading English naturalist of the late 17th century and co-author of an early classic study on birds started Catesby’s life-long becoming interest in natural history, which he went on to study in London. His life changes when in 1712, he arrived at Williamsburg, Virginia, accompanying his married sister Elizabeth Cocke and two of her children. During his seven-year stay in Virginia that Catesby developed a passionate in the native flora and fauna. He began collecting botanical specimens, especially seeds, and sending them to friends in England and he met William Byrd II, who was an amateur naturalist, a member of the colonial Council and a Fellow of the Royal Society. When he returned to England in 1719, influential members of the Royal Society, then chaired by Sir Isaac Newton, had learned of his work in the colonies. Led by William Sherard, “one of the most celebrated botanists of the age,” members began soliciting sponsors to finance Catesby for a botanical expedition to South Carolina. By 1722, Catesby was again crossing the Atlantic to further his work in the New World. Catesby, was one of the first people to recognize how natural and man-made destruction and depredation of a species’ habitat lead to extinction. He was the first to depict birds, in conjunction with environmentally relevant plants. He returned to England in 1726, and then spent the subsequent two decades years developing his work that would eventually be published as, "The Natural History of Carolina, Florida, and the Bahama Islands" It was first fully illustrated study of the natural history of North America and the most comprehensive to date. Working virtually alone, Catesby personally oversaw every aspect of the work’s production, even learning the difficult art of etching on copper plates. To finance this expensive printing project, Catesby sought subscriptions, offering his book in sections of 20 plates to be published every four months. Published in eleven sections and featuring more than 220 hand-coloured etchings. Published in eleven sections and featuring more than 220 hand-coloured etchings. He personally presented the first section to Her Majesty Queen Caroline in May 1729, and later he dedicated the first volume of the Natural History to her. Following a collapse, Mark Catesby died at his home on Old Street, London, on 23 December 1749, and he was buried in the churchyard of St Luke’s Church£225 -
Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
£225Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
Mark Catesby was born in Essex to a family owned a farm and house, Holgate, in Sudbury, Suffolk. His acquaintance with the naturalist Reverend John Ray, a leading English naturalist of the late 17th century and co-author of an early classic study on birds started Catesby’s life-long becoming interest in natural history, which he went on to study in London. His life changes when in 1712, he arrived at Williamsburg, Virginia, accompanying his married sister Elizabeth Cocke and two of her children. During his seven-year stay in Virginia that Catesby developed a passionate in the native flora and fauna. He began collecting botanical specimens, especially seeds, and sending them to friends in England and he met William Byrd II, who was an amateur naturalist, a member of the colonial Council and a Fellow of the Royal Society. When he returned to England in 1719, influential members of the Royal Society, then chaired by Sir Isaac Newton, had learned of his work in the colonies. Led by William Sherard, “one of the most celebrated botanists of the age,” members began soliciting sponsors to finance Catesby for a botanical expedition to South Carolina. By 1722, Catesby was again crossing the Atlantic to further his work in the New World. Catesby, was one of the first people to recognize how natural and man-made destruction and depredation of a species’ habitat lead to extinction. He was the first to depict birds, in conjunction with environmentally relevant plants. He returned to England in 1726, and then spent the subsequent two decades years developing his work that would eventually be published as, "The Natural History of Carolina, Florida, and the Bahama Islands" It was first fully illustrated study of the natural history of North America and the most comprehensive to date. Working virtually alone, Catesby personally oversaw every aspect of the work’s production, even learning the difficult art of etching on copper plates. To finance this expensive printing project, Catesby sought subscriptions, offering his book in sections of 20 plates to be published every four months. Published in eleven sections and featuring more than 220 hand-coloured etchings. Published in eleven sections and featuring more than 220 hand-coloured etchings. He personally presented the first section to Her Majesty Queen Caroline in May 1729, and later he dedicated the first volume of the Natural History to her. Following a collapse, Mark Catesby died at his home on Old Street, London, on 23 December 1749, and he was buried in the churchyard of St Luke’s Church£225 -
Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
£225Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
Mark Catesby was born in Essex to a family owned a farm and house, Holgate, in Sudbury, Suffolk. His acquaintance with the naturalist Reverend John Ray, a leading English naturalist of the late 17th century and co-author of an early classic study on birds started Catesby’s life-long becoming interest in natural history, which he went on to study in London. His life changes when in 1712, he arrived at Williamsburg, Virginia, accompanying his married sister Elizabeth Cocke and two of her children. During his seven-year stay in Virginia that Catesby developed a passionate in the native flora and fauna. He began collecting botanical specimens, especially seeds, and sending them to friends in England and he met William Byrd II, who was an amateur naturalist, a member of the colonial Council and a Fellow of the Royal Society. When he returned to England in 1719, influential members of the Royal Society, then chaired by Sir Isaac Newton, had learned of his work in the colonies. Led by William Sherard, “one of the most celebrated botanists of the age,” members began soliciting sponsors to finance Catesby for a botanical expedition to South Carolina. By 1722, Catesby was again crossing the Atlantic to further his work in the New World. Catesby, was one of the first people to recognize how natural and man-made destruction and depredation of a species’ habitat lead to extinction. He was the first to depict birds, in conjunction with environmentally relevant plants. He returned to England in 1726, and then spent the subsequent two decades years developing his work that would eventually be published as, "The Natural History of Carolina, Florida, and the Bahama Islands" It was first fully illustrated study of the natural history of North America and the most comprehensive to date. Working virtually alone, Catesby personally oversaw every aspect of the work’s production, even learning the difficult art of etching on copper plates. To finance this expensive printing project, Catesby sought subscriptions, offering his book in sections of 20 plates to be published every four months. Published in eleven sections and featuring more than 220 hand-coloured etchings. Published in eleven sections and featuring more than 220 hand-coloured etchings. He personally presented the first section to Her Majesty Queen Caroline in May 1729, and later he dedicated the first volume of the Natural History to her. Following a collapse, Mark Catesby died at his home on Old Street, London, on 23 December 1749, and he was buried in the churchyard of St Luke’s Church£225 -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘The Crescent Moon No.1’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘The Crescent Moon No.1’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘The Phenomena of the Seasons No.2’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘The Phenomena of the Seasons No.2’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Constellations of the Northern Hemisphere’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Constellations of the Northern Hemisphere’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Constellations of the Southern Hemisphere’.
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Constellations of the Southern Hemisphere’.
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Phases of the Planet Saturn’
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Phases of the Planet Saturn’
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
Early British natural history copper engravings – A Roe Buck, The Hart,
£220 eachEarly British natural history copper engravings – A Roe Buck, The Hart,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Merlin, The Honey Buzzard,
£220 eachEarly British natural history copper engravings – A Merlin, The Honey Buzzard,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Kite, The Mountain Falcon,
£220 eachEarly British natural history copper engravings – A Kite, The Mountain Falcon,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – An Ape, The Bear Ape, The Fox Ape,
£220 eachEarly British natural history copper engravings – An Ape, The Bear Ape, The Fox Ape,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Porcupine, A Badger, A Hedg Hog,
£220 eachEarly British natural history copper engravings – A Porcupine, A Badger, A Hedg Hog,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Jay, The Toucan, The Roller,
£220 eachEarly British natural history copper engravings – A Jay, The Toucan, The Roller,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Robin Red Breast, Sky Lark,
£220 eachEarly British natural history copper engravings – Robin Red Breast, Sky Lark,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Turtle Dove, Stock Dove, Runt, Cropper, Broad-Tail’d Shaker,
£220 eachEarly British natural history copper engravings – Turtle Dove, Stock Dove, Runt, Cropper, Broad-Tail’d Shaker,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Marsh Titmouse, A Wren, Crested Titmouse, Blue Titmouse, Indian Sparrow, Long-Tailed Titmouse,
£220 eachEarly British natural history copper engravings – Marsh Titmouse, A Wren, Crested Titmouse, Blue Titmouse, Indian Sparrow, Long-Tailed Titmouse,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – The Ounce, A Rompo, A Buffalo
£220 eachEarly British natural history copper engravings – The Ounce, A Rompo, A Buffalo
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – The Vulture, The Buzzard,
£220 eachEarly British natural history copper engravings – The Vulture, The Buzzard,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Sterling, Ring Ouzel, Black Martin, The Martin,
£220 eachEarly British natural history copper engravings – Sterling, Ring Ouzel, Black Martin, The Martin,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Opossum, The Potto, The Coati Mondi, The Tatus,
£220 eachEarly British natural history copper engravings – Opossum, The Potto, The Coati Mondi, The Tatus,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Turkey, A Cock, A Pheasant’,
£220 eachEarly British natural history copper engravings – A Turkey, A Cock, A Pheasant’,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Baboon, Monkeys,
£220 eachEarly British natural history copper engravings – A Baboon, Monkeys,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Kingfisher, Hoopoe, Bee-Eater, Water Ouzel,
£220 eachEarly British natural history copper engravings – Kingfisher, Hoopoe, Bee-Eater, Water Ouzel,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Mastiff, A Bull Dog, A Greyhound,
£220 eachEarly British natural history copper engravings – A Mastiff, A Bull Dog, A Greyhound,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – The Camelopardal, A Rain Deer,
£220 eachEarly British natural history copper engravings – The Camelopardal, A Rain Deer,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Ruff, Tamatia, Coot,
£220 eachEarly British natural history copper engravings – Ruff, Tamatia, Coot,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Raven, A Crow,
£220 eachEarly British natural history copper engravings – A Raven, A Crow,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Crocodile,
£220 eachEarly British natural history copper engravings – A Crocodile,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Virginian Nightingale,
£220 eachEarly British natural history copper engravings – Virginian Nightingale,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Civet Cat, A Gennet Cat, A Pole Cat, A Common Cat,
£220 eachEarly British natural history copper engravings – A Civet Cat, A Gennet Cat, A Pole Cat, A Common Cat,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Cetus’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Cetus’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Canis Major’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Canis Major’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Ophiucus’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Ophiucus’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Aquila’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Aquila’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Lynx’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Lynx’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Cepheus’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Cepheus’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Orion’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Orion’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Indus’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Indus’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Hercules’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Hercules’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Centaur’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Centaur’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Bootes’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Bootes’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Auriga’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Auriga’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Arco Navis’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Arco Navis’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Pegasus’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Pegasus’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Cygnus & Lyra’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Cygnus & Lyra’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
The Burning of the Vauxhall Railway Station, seen from Battersea-Bridge
£220The Burning of the Vauxhall Railway Station, seen from Battersea-Bridge
The Burning of the Vauxhall Railway Station, seen from Battersea-Bridge, 1856. '...a sudden alarm of fire arose, and the same instant it was discovered that a small ante-room adjoining the booking-office, and occupied by the clerk in charge, was in flames. In a very few moments the fire had extended to the booking office itself; and so remarkably rapid was its progress that the officials present, so far from being able to stay its ravages, were compelled to make a hasty retreat...the fire travelled with the rapidity ot electricity, seizing upon the whole of the offices, then extending to the ticket depots, and finally seizing upon the roof of the station; and burning both upwards and downwards, it assumed such a formidable aspect as to convince everyone that the entire station was doomed to be wholly destroyed...[fortunately] not a single person was injured'.£220 -
Vauxhall Bridge by Willian Tombleson
£220Vauxhall Bridge by Willian Tombleson
Engraved by Henry Winkles from the original study by William Tombleson. Originally published in the part-work series “Tombleson’s Views of the Thames and Medway” (London : 1833-1834).£220 -
Birds of New Guinea by John Gould,
£220Birds of New Guinea by John Gould,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould,
£220Birds of New Guinea by John Gould,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould,
£220Birds of New Guinea by John Gould,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould,
£220Birds of New Guinea by John Gould,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould,
£220Birds of New Guinea by John Gould,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould,
£220Birds of New Guinea by John Gould,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould,
£220Birds of New Guinea by John Gould,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould,
£220Birds of New Guinea by John Gould,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould,
£220Birds of New Guinea by John Gould,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould,
£220Birds of New Guinea by John Gould,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould,
£220Birds of New Guinea by John Gould,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould ,
£220Birds of New Guinea by John Gould ,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould
£220Birds of New Guinea by John Gould
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Picasso, lithographs,
£220Picasso, lithographs,
Produced for 'Editions des Chroniques du Jour' an important early work on Picasso.£220 -
Picasso, lithographs,
£220Picasso, lithographs,
Produced for 'Editions des Chroniques du Jour' an important early work on Picasso.£220 -
Picasso, lithographs
£220Picasso, lithographs
Produced for 'Editions des Chroniques du Jour' an important early work on Picasso.£220 -
Plan of Vauxhall Gardens
£220Plan of Vauxhall Gardens
Originally engraved by William Simpkins (fl.1784-1825) for Owen Manning and William Bray’s “History and Antiquities of Surrey” (1804-1814).£220 -
Cahiers D’Art 1953
£220Cahiers D’Art 1953
Cahiers D’Art was a journal, founded by the art critic Christian Zervos, in Paris at 14, rue du Dragon. It was published from 1926 to 1960, with a wartime interruption 1941 to 1943. Zervos was a Greek-French art historian, critic, collector, writer and publisher. The journal was noted for the quality of its articles and illustrations which unusually promoted Modern Art from all over the world rather than just Europe.£220 -
Cahiers D’Art 1953
£220Cahiers D’Art 1953
Cahiers D’Art was a journal, founded by the art critic Christian Zervos, in Paris at 14, rue du Dragon. It was published from 1926 to 1960, with a wartime interruption 1941 to 1943. Zervos was a Greek-French art historian, critic, collector, writer and publisher. The journal was noted for the quality of its articles and illustrations which unusually promoted Modern Art from all over the world rather than just Europe.£220 -
Cahiers D’Art 1953
£220Cahiers D’Art 1953
Cahiers D’Art was a journal, founded by the art critic Christian Zervos, in Paris at 14, rue du Dragon. It was published from 1926 to 1960, with a wartime interruption 1941 to 1943. Zervos was a Greek-French art historian, critic, collector, writer and publisher. The journal was noted for the quality of its articles and illustrations which unusually promoted Modern Art from all over the world rather than just Europe.£220 -
Cahiers D’Art 1953
£220Cahiers D’Art 1953
Cahiers D’Art was a journal, founded by the art critic Christian Zervos, in Paris at 14, rue du Dragon. It was published from 1926 to 1960, with a wartime interruption 1941 to 1943. Zervos was a Greek-French art historian, critic, collector, writer and publisher. The journal was noted for the quality of its articles and illustrations which unusually promoted Modern Art from all over the world rather than just Europe.£220 -
Cahiers D’Art 1953
£220Cahiers D’Art 1953
Cahiers D’Art was a journal, founded by the art critic Christian Zervos, in Paris at 14, rue du Dragon. It was published from 1926 to 1960, with a wartime interruption 1941 to 1943. Zervos was a Greek-French art historian, critic, collector, writer and publisher. The journal was noted for the quality of its articles and illustrations which unusually promoted Modern Art from all over the world rather than just Europe.£220 -
Cahiers D’Art 1953
£220Cahiers D’Art 1953
Cahiers D’Art was a journal, founded by the art critic Christian Zervos, in Paris at 14, rue du Dragon. It was published from 1926 to 1960, with a wartime interruption 1941 to 1943. Zervos was a Greek-French art historian, critic, collector, writer and publisher. The journal was noted for the quality of its articles and illustrations which unusually promoted Modern Art from all over the world rather than just Europe.£220 -
Cahiers D’Art 1953
£220Cahiers D’Art 1953
Cahiers D’Art was a journal, founded by the art critic Christian Zervos, in Paris at 14, rue du Dragon. It was published from 1926 to 1960, with a wartime interruption 1941 to 1943. Zervos was a Greek-French art historian, critic, collector, writer and publisher. The journal was noted for the quality of its articles and illustrations which unusually promoted Modern Art from all over the world rather than just Europe.£220 -
The Bells,
£220The Bells,
Framed Chromolithograph by APE (Carlo Pellegrini) picturing the stage actor and impresario Henry Irving. Born into humble circumstances in the West Country, Irving went on to establish himself as a giant of the West End. During his long residence at the Lyceum, beginning with his production of The Bells in 1871, he cemented his own and his theatre company's position as the keeper and type of the English classical theatrical tradition. Irving would later became the model for Bram Stoker's Dracula and was the first actor to be conferred the honour of Knighthood. Irving died on stage in 1905 after giving the final lines of Beckett by Alfred Lord Tennyson ''Into thy hands, O Lord, into thy hands". His ashes are interred in Westminster Abbey, the first cremation prior to internment permitted at the Abbey.£220 -
The Intermezzo,
£220The Intermezzo,
Framed Chromolithograph by WH (Wallace Hester) picturing the Italian composer Pietro Mascagni. In 1890 Mascagni delighted the Italian nation with his exquisite opera 'Cavalleria Rusticana'. Written in response to a competition for young composers in 1888, Mascagni had not actually intended to finally submit his work as he doubted it's quality. The composer's wife found the draft hidden in a draw and, seeing it's worth, illicitly submitted it on his behalf on the final day of the competition. The opera was an instant and unqualified success, earning Mascagni 40 curtain calls on the first night as well as first prize in the contest and receiving a standing ovation such as the Teatro Constanzo in Rome had not seen 'in many years'. The 'intermezzo' from Cavaleria Rusticana was particularly noted for its beauty and charm and has become famous in it's own right, appearing in the soundtrack of the Martin Scorsese film 'Raging Bull'.£220 -
War And Peace,
£220War And Peace,
Framed Chromolithograph by SNAPP picturing Leo Tolstoy, Russian moralist, novelist and social theorist, author of War and Peace and Anna Karenina. Tolstoy visited England only once in his life. For sixteen days from the 2nd May 1861 he lodged with the philosopher Alexander Herzen and took in the sights of London as well as attending a reading by Charles Dickens of A Christmas Carol at St James' Hall on Piccadilly. He returned to Russia on the 17th, immediately upon learning of the emancipation of the Russian serfs by the Emperor Alexander II.£220 -
Shamrock,
£220Shamrock,
Framed chromolithograph picturing Sir Thomas Lipton, self made man, tea-merchant and founder of Lipton Tea, philanthropist and yachtsman. Sir Thomas became admired as 'the best of all losers' for his gracious and gentlemanly manner of defeat as he contested and lost 5 straight Americas cups in his yacht 'Shamrock', a standing record for failure in that contest. Inducted into the America's Cup Hall of Fame in 1993 he also inaugurated the Sir Thomas Lipton trophy, a forerunner of the football World Cup. He was admitted to the Royal Yacht Squadron shortly before his death, a great achievement for the son of an itinerant labourer born in a Gorbals tenement.£220 -
Persecution of the Saints.
£220Persecution of the Saints.
An original hand coloured etching by George Cruikshank.On 6 June 1820, Queen Caroline, estranged wife of George IV, returned from her exile on the continent, claiming her right to be crowned as Queen. The perceived harsh treatment of the Queen by the King and his Tory supporters caused her to become a figurehead for the political unrest that had been made worse by the Peterloo Massacre of 16 August 1819.In a desperate effort to rid himself of this turbulent wife George the IV ventured to have Caroline found guilty of adultery - the only legal justification for divorce at the time. All the while the King had preempitvely caused Caroline's name to be omitted from the Prayer for the Royal Family in churches throughout England.With tensions rising and both sides digging in over the contest the cause of Queen Caroline began to assume for the parties involved a symbolic and totemic significance. Queen Caroline, to the Whigs and Radicals represented injured honesty and probity in public life while her exclusion from the coronation and regal honours stood for the debasement of the constitution and the irregular, arbitrary and incompetent tyranny of the Tory loyalists. The situation was becoming so febrile that many feared political and factional violence was inevitable.Into this contest stepped William Wilberforce, the great independent MP and abolitionist campaigner. The small informal group of evangelical Christians who surrounded him in Parliament were known, perhaps mockingly, as The Saints. Wilberforce thought that by the force of his own unimpeachable integrity he could persuade Caroline to abdicate some of her rights as the Royal consort and thereby forestall what had begun to look like a revolutionary confrontation.Wilberforce attended at the Queen's residence on Portman Street in West London and presented a Motion for an Address to the Queen. He had been encouraged by Lord Brougham to believe that the Queen would accept the omission of her name from the public prayers. The Queen, standing in her rights and her honesty, flatly refused. Meanwhile the Radical London mob appears to have cajolled and roughed-up the sanctimonious delegation as they fled for their safety back to the House of Commons.As a result of the failure of Wilberforce’s attempts at mediation led to the trial of Queen Caroline and subsequent exclusion from the coronation ceremony.£220 -
A Muddy, a Sketch in Bond Street.
£220A Muddy, a Sketch in Bond Street.
A hand coloured etching by Isaac Cruikshank. A landau coach, nicknamed a 'Muddy' bespattered with grime, halts in Bond street, as two ladies look out of the window to chat with two fashionably dressed gentlemen. The coach driver is protected by a curtained seat, and two tall liveried attendants stand at the rear, eyeing the exchange archly. Before the rise and triumphant progress of Napoleon Bonaparte sparked a patriotic reaction in Britain, the circle of caricaturists and cartoonists working in London took their aim at the perceived voluptuary tendencies of the fashionable establishment in London. The French Wars and the Revolution had led to a period of social and economic hardship in Britain which seemingly left only the wealthy and well-connected untouched. Here Isaac Cruikshank takes aim at the folly and vice of a self-indulgent set. Isaac Cruikshank was the son of a dispossessed Jacobite customs inspector. After leaving Edinburgh for London in 1783 he sustained a precarious existence as an artist and caricaturist and, along with James Gillray and Thomas Rowlandson, contributed to what has been called 'the golden age of British caricature'. Isaac Cruikshank died of alcohol poisoning after a winning a drinking contest one evening in 1811. Two of his sons Isaac Robert Cruikshank, and George Cruikshank carried on the family tradition into the middle of the 19th Century.£220 -
Piranesi, Diverse maniere d’adornare i cammini ed ogni altra parte degli edifizi desunte dall’architettura egizia, Etrusca e Greca,
£200Piranesi, Diverse maniere d’adornare i cammini ed ogni altra parte degli edifizi desunte dall’architettura egizia, Etrusca e Greca,
Giovanni Battista Piranesi, was an etcher, engraver, designer, architect, archaeologist, and theorist.£200
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