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William Powell Frith ‘The Derby Day’
£1,450 -
Henri Matisse, ‘The Last Works of Henri Matisse’
£900 eachHenri Matisse, ‘The Last Works of Henri Matisse’
From Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'£900 each -
Ramsgate Sands by William Powell Frith
£900Ramsgate Sands by William Powell Frith
Original steel engraving published 1854. Presented in a gilt frame with lower margin title, trimmed to the image area£900 -
The Strand, William Walcot
£850The Strand, William Walcot
Framed and mounted black line etching by the artist-engraver William Walcot showing the The Strand during the construction of the Aldwych in 1924. Issued as part of Walcot's London Set at the height of his success.£850 -
Napoleon-Le-Grand
£800Napoleon-Le-Grand
Jean-Charles Pellerin (1756 - 1836) was a French illustrator, artist, and printer. Born in Epinal, France.£800 -
The Battle at La Hogue
£750The Battle at La Hogue
A large framed and mounted black line engraving by William Wollett afer the painting by Benjamin West showing the Anglo-Dutch naval victory at La Hogue off the coast of Normandy in 1692. " Standing in a boat at the left ... Vice Admiral George Rooke embodies heroic command with his upright posture and raised sword... Beached in the center distance is the French flagship, the Royal Sun. Actually burned and sunk a few days before this encounter, the Royal Sun is here deliberately refloated -- only to be run against the cliffs so that West might symbolize the French defeat." U.S. National Gallery of Art, Washington D.C.£750 -
Our Fathers, To The Memory of the Nameless Killed and Wounded
£725 the pairOur Fathers, To The Memory of the Nameless Killed and Wounded
A set of four etchings in two frames depicting ships of war and life at sea in English history By William Wylie and accompanied by the words of Cpt. Ronald Hopwood's poem Our Fathers. William Lionel Wylie was the most distinguished marine artist of the late nineteenth and early twentieth centuries. He became almost a painter laureate to the Royal Navy, so much so that during his funeral, in a scene reminiscent of Nelson's state funeral in 1806, his body was rowed up Portsmouth Harbour in a naval cutter past battleships with dipped colours and bugles calling and quaysides lined with dockyard workers. Similarly Captain Ronald A Hopwood was described as the poet laureate of the Royal Navy by Time Magazine in 1941. His most enduring work, The Laws of the Navy, became and remains a sort of Works and Days primer for naval life, both inspiring and edifying seamen in the ways of the senior service. After the Battle of Jutland in 1916 when the press was critical of an apparent failure by the Royal Navy to achieve a clear victory against the Imperial German Navy the Times of London published The Old Ways, a poem by Hopwood and within this was a further poem, Our Fathers which was first written during the naval manoeuvres of 1913. Wyllie, we are told, was much taken with the verses and he arranged to illustrate them with the agreement of their author as a memorial of sorts to the dead (and perhaps as an apologia for the living) of the Battle of Jutland. The seaplane depicted appears to be a short type 184 used at Gallipoli where it became the first aircraft in the world to attack an enemy ship with an air-launched torpedo. The Battleship in the next image is of the King George V class and likely to be based on HMS Audacious, which Wylie had studied previously. The poem and illustrative etchings then go back in time to the navy of Elizabeth I's time. The sailing ships depicted are galleons of the type which chased the Spanish Armada out of the channel, a scene depicted at the bottom of the first print. The second framed picture depicts naval exercises and gunnery practice, with a galleon being scraped and caulked by hand on a secluded beach in the Spanish Main. It concludes with a scene of high-technology Super-Dreadnoughts of the Queen Elizabeth class - a naval nominative choice which perhaps inspires the scheme of the whole work of reflection.£725 the pair -
Poplar
£650Poplar
An original framed and mounted dry-point engraving by the artist engraver Frances Dodd RA showing Poplar Old Town hall on Newby Place in 1930. Hand signed in pencil by the artist.£650 -
St. James’s Church Clerkenwell
£650St. James’s Church Clerkenwell
A framed and mounted black line etching by the English artist Sir Henry Rushbury KCVO CBE RA (28 October 1889 – 5 July 1968) depicting St James's Church Clerkenwell. Signed in pencil by the artist. Clerkenwell contained a notorious slum at the turn of the 20h Century and was the setting for George Gissing's Novel, The Netherworld - "Opposite, the shapes of poverty-eaten houses and grimy workshops stood huddling in the obscurity. From near at hand came shrill voices of children chasing each other about – children playing at midnight between slum and gaol!"£650 -
Captain Sir Christopher Cole,
£605Captain Sir Christopher Cole,
A framed portrait engraving by George H Phillips from the painting by William Owen R.A. showing the Naval Officer an statesman Captain Sir Christopher Cole.£605 -
Princely Piety, or the worshippers at Wanstead,
£595Princely Piety, or the worshippers at Wanstead,
A hand-coloured etching by the caricaturist George Cruikshank depicting the wooing of a wealthy young heiress by a cast of reprobate suitors. Upon the death of her only brother James at the age of 11 in 1805 Catherine Tylney-Long became the richest commoner in England in her own right. At the tender of of 16 the 'Wiltshire Heiress' had come into a fortune of nearly £30,000,000 in today's money. This made the poor girl a prime target for every fortune hunter and indebted rake in England who wished to clear his creditors. The law as it stood in the early 19th Century had degenerated to such a degree that, under the principle of coverture, it denied a married woman any property at all in her own right while her legal existence as a feme covert was entirely subsumed in that of her husband. This left the wealthy orphan daughter of Sir James Tylney long, 7th Baronet in a difficult and precarious position, caught between the social stigma attached to unmarried womanhood and the appeals of a host of insinuating cads seeking her hand in marriage. Here Cruikshank depicts the many and assorted indigent suitors for the hand of the wealthy heiress. To the left of the dais are shown Lord Kilworth and William Wesley-Pole, later 4th Earl of Mornington a dissipated Anglo-Irish nobleman, who dueled over the courtship of Catherine. Kneeling at the foot of the steps we may also see the figure of Romeo Coates, unintentionally comic actor and 'improver' of Shakespeare included apparently 'not because of his pretensions, but his boasts and wishes'. Above him we see the fop and jobbing playwright, Sir Lumley Skeffington laying his poetic efforts at the feet of the heiress. On the right hand we see The Duke of Clarence, later William IV who by this point had debts of many hundreds of thousands of pounds holding back Baron-de-Geramb, a Spanish military adventurer and suspected Napoleonic spy who later became a Trappist monk where he used his position as procurator-general of that ancient order to defray his personal expenses. Above the Duke we see reproving the figure of Mrs Jordan, his 'common-law' wife with whom he had fathered many children at his retreat of Bushey Park. The farcical presentation of the situation belies it's tragic outcome. Perhaps cajoled by just such unkind insinuations as are repeated in this caricature Catherine would choose the worst-of-the-bunch, William Wesley-Pole, as her preferred suitor. William Wesley-Pole-Tylney-Long, as he became by Royal Licence in 1812, was an unredeemed rake and not only abused and impoverished his saintly young wife but also passed her a debilitating infection and caused her family seat at Wanstead House to be demolished and sold for salvage. After a short and unhappy marriage Catherine died at the age of only 35 after receiving a final brutal letter from her estranged husband, the contents of which apparently caused her to have some form of seizure. Frustrated in his efforts to gain custody of their son William, on whom the family fortune had devolved, William Pole Tylney-Long-Wellesley, 4th Earl of Mornington (the final name by which he was known) died in 1857 unwept, unhonoured and unsung if also unrepentant. His obituary in the Morning Star described him as "A spendthrift, a profligate, and a gambler in his youth, he became debauched in his manhood... redeemed by no single virtue, adorned by no single grace, his life gone out even without a flicker of repentance".£595 -
Buildings & Boats
£550Buildings & Boats
A framed and mounted black line etching by the artist-engraver Norman Jones RWS RE RSMA, showing a riverside wharf scene in the Lower Pool of the River Thames, possibly corresponding to the river frontage of Narrow Street, Limehouse. Signed in pencil by the artist.£550 -
‘A Young Poodle, but not one of the Sagacious Breed’
£520‘A Young Poodle, but not one of the Sagacious Breed’
Caricaturist, presumably of Irish background, but undocumented. Responsible for a small number of plates in a distinctive hand. Unclear whether he etched them all or only designed them. Never a publisher. Worked for P.Roberts and J.Aitken. Many unsigned prints by both men may well be by him.£520 -
A Bundle of Straw, My Spouse is Remarkable Tasty in his Dress & he likes to see me so.
£520A Bundle of Straw, My Spouse is Remarkable Tasty in his Dress & he likes to see me so.
Caricaturist, presumably of Irish background, but undocumented. Responsible for a small number of plates in a distinctive hand. Unclear whether he etched them all or only designed them. Never a publisher. Worked for P.Roberts and J.Aitken. Many unsigned prints by both men may well be by him.£520 -
Old Maid on a Journey,
£450Old Maid on a Journey,
An original framed hand-coloured etching and engraving by caricaturist James Gillray. The corpulent figure of the independent polymath, antiquarian and collector Miss Sarah Sophia Banks is depicted being shown into the best bedroom of an Inn followed by a grotesque retinue of gurning servants carrying her assorted baggage. Miss Banks was a prolific collector of printed emphemera including broadsheets, newspaper clippings, visiting cards, caricatures, advertisements and playbills as well as being a leading numismatist of her day. Her great library of volumes on ancient coins as well as her capacious collection of the coins themselves was gifted to the nation upon her death and are now spread over the Royal Mint, The British Library and British Museum. One of the 18th Century's brilliant but unacknowledged women, Sarah Banks was the sister of the famous botanist Joseph Banks who sailed with Captain Cook to New South Wales. According to recent scholarship as well as editing her brother's manuscripts she often conversed with him on their subjects and many of her ideas were incorporated into his writings. Perhaps puzzlingly, given the warm and close friendship which was said to exist between Gillray and his wealthy female patron, Miss Banks is depicted as a obscenely fat and ugly. One can only speculate on the nature of the comedy and manners of the time (not to mention the sense of humour of the subject) when interpreting the comic effect of this print.£450 -
The Cobbler’s Cure for a Scolding Wife
£395The Cobbler’s Cure for a Scolding Wife
A framed, hand-colored etching by Thomas Rowlandson, published by Thomas Tegg. A study in human savagery. A cobbler stands over his wife, a grimacing virago who is tied to a chair with her wrists bound. With his awl between his teeth he pulls at the thread with which he is stitching up her mouth. A buxom young woman leans delightedly over the pair, lighting the work with a small candle. Rowlandson was a chronicler of London life both low and high. Less inclined to political comment than his contemporaries Gilray and Cruikshank he chose instead to focus of the foibles, fancies and failings of common society. His drawings were always harsh and frequently grotesque, even repulsive. The figures in his work are rarely, if ever, held up for our admiration but rather in accordance with his maxim of 1802 that "Man is the only creature endowed with the power of laughter, is he not also the only one that deserves to be laughed at?" Rowlandson's designs were usually executed in outline with the reed-pen, and delicately washed with colour. They were then etched by the artist on the copper, and afterwards aqua-tinted usually by a professional engraver, the impressions being finally coloured by hand.£395 -
Awkward Squads Studying the Graces
£395Awkward Squads Studying the Graces
A framed, hand-colored etching by Thomas Rowlandson after G. M. Woodward, published by Thomas Tegg. Six comic, caricatured society types are cajoled and corrected by French dancing masters into performing the steps of a fashionable new dance. By the late 18th Century the term 'awkward squad' had passed from military cant into common usage as a description of a group of raw recruits incapable of understanding discipline or not yet sufficiently trained or disciplined to properly carry out their duties. Here Rowlandson, in one of his favourite recurring themes, lampoons the modish aspirations of the would-be fashionable set as they are 'drilled' by their hired dancing masters.£395 -
A View of the Royal Exchange London
£370A View of the Royal Exchange London
A framed and mounted hand-coloured engraving showing the Royal Exchange in its second form as designed and built by the architect Edward Jarman in 1669.£370 -
A View from the Old South Sea House
£370A View from the Old South Sea House
A hand-coloured etching by the Regency satirist Richard Dighton showing the brewer James Curtis. Richard Dighton was the son and apprentice of another noted caricaturist Robert Dighton and brother of the battle-scene painter Denis Dighton. The works of Robert and Richard Dighton are regarded as predecessors of the Vanity Fair style of the late nineteenth century. The series of portraits of City and West End characters to which this etching belongs was started in 1817 and Dighton would go on to publish a number of etchings during the next decade before retiring early to Cheltenham. This edition, of 1824, was printed by Thomas McLean Printseller & Publisher at 26 Haymarket, on the eastern side just north of Panton Street. The subject of the print, James Curtis, was a prominent and prosperous London brewer of the early 19th Century and his portrait, painted by Thomas Lawrence, now hangs in the Manchester Art Gallery. The Old South Sea House mentioned was located on the Threadneedle Street corner of Bishopsgate. The back of it apparently burned down in 1826 and was subsequently rebuilt. The building was the headquarters of the South Sea Company. Incorporated in 1711, the company was assigned a monopoly on British trade with Spanish America but, when that failed, it embarked upon a speculative scheme that ended in the economic collapse known as the ‘South Sea Bubble’ which saw many investors ruined. The building was partly remodeled in the 1850s and was eventually demolished at the end of the 19th century£370 -
London Bridge
£295 -
View of the Antient Manor House of Fawkeshall
£280View of the Antient Manor House of Fawkeshall
Historical engraving featuring a map of the area. Presented in a Hogarth pattern frame.£280 -
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 -
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 -
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 -
Seven Shilling Pieces
£200Seven Shilling Pieces
A hand coloured Georgian satire on the cost of female companionship at the Covent Garden Opera. Two courtesans fashionably dressed in the style of the period are shown arm-in-arm, walking along a pavement. One (right) holds up an open sunshade and a card inscribed 'Miss Oldprice Covent Garden'.£200 -
The Ball,
£180 -
A Match for the King’s Plate,
£180A Match for the King’s Plate,
A hand coloured etching by George Cruikshank commenting on the contest for seat of Westminster. George Lamb and John Cam Hobhouse, 1st Baron Broughton are shown astride a lamb, Sir Francis Burdett, 5th Baronet, on a fine but injured charger and Henry 'Orator' Hunt straggles behind on an old carthorse representing the 'Father of Reform' Major John Cartwright. All five figures are shown racing for the winning post at the gate of His Majesty's Treasury with an implication that the contest is for one for both power and political patronage while the twin devils or radical reform and universal suffrage inadvertently 'steal a ride' on the Baronet's charger. The election of 1818 was the first to be staged after the end of the Napoleonic wars and was to become both a distillation of the latent class-conflicts bubbling over in the United Kingdom, and a fore-warning of the growth of militant radicalism that was to envenom and fracture British politics in the early parts of the 19th Century. Sir Francis Burdett was the Radical incumbent in Westminster and yet was firmly set against the new Radicalism which was beginning to colour the politics of the manufacturing districts of the North. This extreme and confident movement for universal manhood suffrage and political reform was by now associated with Henry Hunt, Major Cartwright and the writer and journalist William Cobbett. Caught in a cleft stick by his need both to mollify the prosperous and respectable Westminster electorate and yet maintain his own character as a tribune of the plebeians and Radical leader, Burdett was in a classic political double-bind. To the eye of the exiled Cobbett the Baronet was a placeman and an establishment 'traitor' but to his Tory opponents and the wavering freeholders and burgesses of Westminster he was beginning to appear a dangerous extremist. The suicide of Sir Samuel Romilly, the second member for Westminster, in November 1818 threw the situation wide open and the resulting by-election became something of a national sensation.£180 -
Pont Neuf, Paris, by Herbert Hillier
£160 -
Antique engraving after Sir Martin Arthur Shee,
£150Antique engraving after Sir Martin Arthur Shee,
depicting a child with rife in landscape, engraved by T. Nugent, hand coloured. Framed£150 -
Nineteenth century, Bird-Egg lithographs,
£140Nineteenth century, Bird-Egg lithographs,
Carl Hoffmann (fl. ca. 1833-42) was a printer and publisher in Stuttgart£140 -
Nineteenth century, Bird-Egg lithographs,
£140Nineteenth century, Bird-Egg lithographs,
Carl Hoffmann (fl. ca. 1833-42) was a printer and publisher in Stuttgart£140 -
Nineteenth century, Bird-Egg lithographs,
£140Nineteenth century, Bird-Egg lithographs,
Carl Hoffmann (fl. ca. 1833-42) was a printer and publisher in Stuttgart£140 -
Nineteenth century, Bird-Egg lithographs,
£140Nineteenth century, Bird-Egg lithographs,
Carl Hoffmann (fl. ca. 1833-42) was a printer and publisher in Stuttgart£140 -
Sacred Physics by Johann Jakob Scheuchzer,
£140 each -
Sacred Physics by Johann Jakob Scheuchzer,
£140 each -
Sacred Physics by Johann Jakob Scheuchzer,
£140 each -
Sacred Physics by Johann Jakob Scheuchzer,
£140 each -
Sacred Physics by Johann Jakob Scheuchzer,
£140 each -
Sacred Physics by Johann Jakob Scheuchzer,
£140 each -
Sacred Physics by Johann Jakob Scheuchzer,
£140 each -
Sacred Physics by Johann Jakob Scheuchzer,
£140 each -
Sacred Physics by Johann Jakob Scheuchzer,
£140 each -
Sacred Physics by Johann Jakob Scheuchzer,
£140 each -
Picasso lithographs, published 1959, Women of Algiers,
£120Picasso lithographs, published 1959, Women of Algiers,
In 1959 when these prints were published, the 78 year old Picasso was in fashion as a gifted exhibitionist living his art in the public eye.£120 -
Picasso lithographs, published 1959, Tomato Plant & Decanter,
£120Picasso lithographs, published 1959, Tomato Plant & Decanter,
In 1959 when these prints were published, the 78 year old Picasso was in fashion as a gifted exhibitionist living his art in the public eye.£120 -
Picasso lithographs, published 1959, Daniel-Henry Kahnweiler,
£120Picasso lithographs, published 1959, Daniel-Henry Kahnweiler,
In 1959 when these prints were published, the 78 year old Picasso was in fashion as a gifted exhibitionist living his art in the public eye.£120 -
Picasso lithographs, published 1959, Paul as Pierrot,
£120Picasso lithographs, published 1959, Paul as Pierrot,
In 1959 when these prints were published, the 78 year old Picasso was in fashion as a gifted exhibitionist living his art in the public eye.£120 -
Picasso lithographs, published 1959, Still Life with Gourd,
£120Picasso lithographs, published 1959, Still Life with Gourd,
In 1959 when these prints were published, the 78 year old Picasso was in fashion as a gifted exhibitionist living his art in the public eye.£120 -
Picasso lithographs, published 1959, Card Player,
£120Picasso lithographs, published 1959, Card Player,
In 1959 when these prints were published, the 78 year old Picasso was in fashion as a gifted exhibitionist living his art in the public eye.£120 -
Picasso lithographs, published 1959, Les Desmoiselles D’Avignon,
£120Picasso lithographs, published 1959, Les Desmoiselles D’Avignon,
In 1959 when these prints were published, the 78 year old Picasso was in fashion as a gifted exhibitionist living his art in the public eye.£120 -
Picasso lithographs, published 1959, Mother & Child,
£120Picasso lithographs, published 1959, Mother & Child,
In 1959 when these prints were published, the 78 year old Picasso was in fashion as a gifted exhibitionist living his art in the public eye.£120 -
Picasso lithographs, published 1959, Maia with Sailor Doll,
£120Picasso lithographs, published 1959, Maia with Sailor Doll,
In 1959 when these prints were published, the 78 year old Picasso was in fashion as a gifted exhibitionist living his art in the public eye.£120 -
Picasso lithographs, published 1959, Three Dancers,
£120Picasso lithographs, published 1959, Three Dancers,
In 1959 when these prints were published, the 78 year old Picasso was in fashion as a gifted exhibitionist living his art in the public eye.£120 -
Picasso lithographs, published 1959, Faun & Goat,
£120Picasso lithographs, published 1959, Faun & Goat,
In 1959 when these prints were published, the 78 year old Picasso was in fashion as a gifted exhibitionist living his art in the public eye.£120 -
Picasso lithographs, published 1959, Three Musicians,
£120Picasso lithographs, published 1959, Three Musicians,
In 1959 when these prints were published, the 78 year old Picasso was in fashion as a gifted exhibitionist living his art in the public eye.£120 -
Copper-engravings by Jacobus Houbraken,
£120Copper-engravings by Jacobus Houbraken,
published between 1743 to 1752, framed. 'George Buchanan'.£120 -
Copper-engravings by Jacobus Houbraken,
£120Copper-engravings by Jacobus Houbraken,
published between 1743 to 1752, framed. 'Henry Prince of Wales, Son of King James I'.£120 -
Copper-engravings by Jacobus Houbraken,
£120 -
Copper-engravings by Jacobus Houbraken,
£120Copper-engravings by Jacobus Houbraken,
published between 1743 to 1752, framed. 'Francis Drake'.£120 -
Copper-engravings by Jacobus Houbraken,
£120Copper-engravings by Jacobus Houbraken,
published between 1743 to 1752, framed. 'Ann of Cleves, Queen of King Henry VIII'.£120 -
Copper-engravings by Jacobus Houbraken,
£120Copper-engravings by Jacobus Houbraken,
published between 1743 to 1752, framed. 'Catherine of Aragon Queen of Henry VIII'.£120 -
Copper-engravings by Jacobus Houbraken,
£120Copper-engravings by Jacobus Houbraken,
published between 1743 to 1752, framed. 'Elizabeth Queen of King Henry VII'.£120 -
Copper-engravings by Jacobus Houbraken,
£120Copper-engravings by Jacobus Houbraken,
published between 1743 to 1752, framed. 'Robert Earl of Orford'.£120 -
Copper-engravings by Jacobus Houbraken,
£120Copper-engravings by Jacobus Houbraken,
published between 1743 to 1752, framed. 'Charles Earl of Sunderland'.£120 -
Copper-engravings by Jacobus Houbraken,
£120Copper-engravings by Jacobus Houbraken,
published between 1743 to 1752, framed. 'George Savile Marquis of Halifax'.£120 -
Copper-engravings by Jacobus Houbraken,
£120Copper-engravings by Jacobus Houbraken,
published between 1743 to 1752, framed. 'Sir William Wyndham Baronet'.£120 -
Copper-engravings by Jacobus Houbraken,
£120Copper-engravings by Jacobus Houbraken,
published between 1743 to 1752, framed. 'Frederick Duke of Schonberg'.£120 -
Copper-engravings by Jacobus Houbraken,
£120Copper-engravings by Jacobus Houbraken,
published between 1743 to 1752, framed. 'Thomas Marquis of Wharton.'£120 -
Copper-engravings by Jacobus Houbraken,
£120Copper-engravings by Jacobus Houbraken,
published between 1743 to 1752, framed. 'Lieutenant Talmarsh'.£120 -
Copper-engravings by Jacobus Houbraken,
£120Copper-engravings by Jacobus Houbraken,
published between 1743 to 1752, framed. 'George Byng Lord Torrington'.£120 -
Copper-engravings by Jacobus Houbraken,
£120Copper-engravings by Jacobus Houbraken,
published between 1743 to 1752, framed. 'Samuel Clarke D.D.'£120 -
Birds Eggs by Rev. F.O. Morris published 1879,
£75Birds Eggs by Rev. F.O. Morris published 1879,
Antique print, published by John C. Nimmo, London for "A Natural History of the Nests & Eggs of British Birds" By the Rev. F.O.Morris. Printed and hand-colour. Framed in natural oak. 'Plate CLXXXII'.£75 -
Birds Eggs by Rev. F.O. Morris published 1879,
£75Birds Eggs by Rev. F.O. Morris published 1879,
Antique print, published by John C. Nimmo, London for "A Natural History of the Nests & Eggs of British Birds" By the Rev. F.O.Morris. Printed and hand-colour. Framed in natural oak. 'Plate CLXXXV'.£75 -
Birds Eggs by Rev. F.O. Morris published 1879,
£75Birds Eggs by Rev. F.O. Morris published 1879,
Antique print, published by John C. Nimmo, London for "A Natural History of the Nests & Eggs of British Birds" By the Rev. F.O.Morris. Printed and hand-colour. Framed in natural oak. 'Plate CCXXII'.£75 -
Birds Eggs by Rev. F.O. Morris published 1879,
£75Birds Eggs by Rev. F.O. Morris published 1879,
Antique print, published by John C. Nimmo, London for "A Natural History of the Nests & Eggs of British Birds" By the Rev. F.O.Morris. Printed and hand-colour. Framed in natural oak. 'Plate CLXXVIII'.£75 -
Birds Eggs by Rev. F.O. Morris published 1879,
£75Birds Eggs by Rev. F.O. Morris published 1879,
Antique print, published by John C. Nimmo, London for "A Natural History of the Nests & Eggs of British Birds" By the Rev. F.O.Morris. Printed and hand-colour. Framed in natural oak. 'Plate CCXXVII'.£75 -
Birds Eggs by Rev. F.O. Morris published 1879,
£75Birds Eggs by Rev. F.O. Morris published 1879,
Antique print, published by John C. Nimmo, London for "A Natural History of the Nests & Eggs of British Birds" By the Rev. F.O.Morris. Printed and hand-colour. Framed in natural oak. 'Plate CCXXI'.£75 -
Birds Eggs by Rev. F.O. Morris published 1879,
£75Birds Eggs by Rev. F.O. Morris published 1879,
Antique print, published by John C. Nimmo, London for "A Natural History of the Nests & Eggs of British Birds" By the Rev. F.O.Morris. Printed and hand-colour. Framed in natural oak. 'Plate CLXXIX'.£75 -
Birds Eggs by Rev. F.O. Morris published 1879,
£75Birds Eggs by Rev. F.O. Morris published 1879,
Antique print, published by John C. Nimmo, London for "A Natural History of the Nests & Eggs of British Birds" By the Rev. F.O.Morris. Printed and hand-colour. Framed in natural oak. 'Plate CLXXX'.£75 -
Birds Eggs by Rev. F.O. Morris published 1879,
£75Birds Eggs by Rev. F.O. Morris published 1879,
Antique print, published by John C. Nimmo, London for "A Natural History of the Nests & Eggs of British Birds" By the Rev. F.O.Morris. Printed and hand-colour. Framed in natural oak. 'Plate CCXXVIII'.£75 -
Birds Eggs by Rev. F.O. Morris published 1879,
£75Birds Eggs by Rev. F.O. Morris published 1879,
Antique print, published by John C. Nimmo, London for "A Natural History of the Nests & Eggs of British Birds" By the Rev. F.O.Morris. Printed and hand-colour. Framed in natural oak. 'Plate CLXXXIV'£75 -
Birds Eggs by Rev. F.O. Morris published 1879,
£75Birds Eggs by Rev. F.O. Morris published 1879,
Antique print, published by John C. Nimmo, London for "A Natural History of the Nests & Eggs of British Birds" By the Rev. F.O.Morris. Printed and hand-colour. Framed in natural oak. 'Plate CCXX'£75 -
Ferns, 19th century scientific prints by Edward Lowe,
£75Ferns, 19th century scientific prints by Edward Lowe,
Chromolithographs published by Groombridge and Sons, London, 1865. Plain wood frames.'Blechnum Spicant:A. Var. Heterophyllum.B. Var. Imbricatum.C. Var. ContractumD. Var. Contractum-Ramosum.'£75 -
Ferns, 19th century scientific prints by Edward Lowe,
£75Ferns, 19th century scientific prints by Edward Lowe,
Chromolithographs published by Groombridge and Sons, London, 1865. Plain wood frames.'Nothochlaena Nivea'.£75 -
Ferns, 19th century scientific prints by Edward Lowe,
£75Ferns, 19th century scientific prints by Edward Lowe,
Chromolithographs published by Groombridge and Sons, London, 1865. Plain wood frames.'Polypodium Sporadocarpum'.£75
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18th Century French Engravings of Dogs
£175 each18th Century French Engravings of Dogs
Published for, Histoire naturelle, générale et particulière (1749–1804), which was the first modern attempt to systematically present all existing knowledge in the fields of natural history, geology, and anthropology.£175 each -
The Moon by André Masson, Verve Vol. 1 / No. 2.
£600The Moon by André Masson, Verve Vol. 1 / No. 2.
The Verve Review was a purposefully luxurious. It ran from 1937 to 1960, but with only 38 editions available, due to the high degree of design and editorial work dedicated to each issue. Each edition contained unique lithographic prints, commissioned by the editor, and each cover a double-page lithograph elaborated by one of the artists contained within. It was the brainchild of its editor Stratis Eleftheriades, a Greek National who moved to Paris in the early thirties to take part in the growing Modernist movement, writing under the name of Teriade.£600 -
Portraits Part I by Constantin Guys, Verve Vol 2 / No. 5-6.
£500Portraits Part I by Constantin Guys, Verve Vol 2 / No. 5-6.
The Verve Review was a purposefully luxurious. It ran from 1937 to 1960, but with only 38 editions available, due to the high degree of design and editorial work dedicated to each issue. Each edition contained unique lithographic prints, commissioned by the editor, and each cover a double-page lithograph elaborated by one of the artists contained within. It was the brainchild of its editor Stratis Eleftheriades, a Greek National who moved to Paris in the early thirties to take part in the growing Modernist movement, writing under the name of Teriade.£500 -
The Sun by André Masson, Verve Vol. 1 / No. 2.
£600The Sun by André Masson, Verve Vol. 1 / No. 2.
The Verve Review was a purposefully luxurious. It ran from 1937 to 1960, but with only 38 editions available, due to the high degree of design and editorial work dedicated to each issue. Each edition contained unique lithographic prints, commissioned by the editor, and each cover a double-page lithograph elaborated by one of the artists contained within. It was the brainchild of its editor Stratis Eleftheriades, a Greek National who moved to Paris in the early thirties to take part in the growing Modernist movement, writing under the name of Teriade.£600