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Caricatures

 

Henry William Bunbury

 

A Camp Scene.

London, J. Harris Nov. 17th 1794

Stipple engraving by C. White

Original hand-colouring

315x410mm

 

 

 

 

 

£160

A reissue of a caricature first published June 25th 1784. A scene in an army camp. Three fashionably dressed visitors and their black page, look on with amusement as an ugly stunted soldier, brandishing a cut throat razor, attempts to act as barber to a soldier who sits, his face covered in foam and his hair dangling down his back. Other soldiers look on with tolerant contempt. In the background are rows of tents. BM 6727.

 

 

Henry William Bunbury

 

Courier Anglois

London, J. Bretherton May 3rd 1774

Etching by James Bretherton, on full sheet of wove paper with deckle edges

Original hand-colouring

305x430mm

Neat repairs to right margin, very slight overall browning

 

 

£180

A fine example of a rare large caricature by Bunbury. A plump postman, blowing his horn, rides his horse, which is loaded with an immense sack of mail, past a gibbet on which hangs two dangling corpses. BM

 

Henry William Bunbury

Courier Francois

(London, July 1st 1771, this issue c. 1799)

Etching  with light mezzotint ground

Original hand-colouring

305x420mm

Trimmed to image and within right hand side of title area

 

 

 

 

£120

A large, lively, naively executed caricature of a French postman or mail courier. He gallops to the left, mounted on a scrawny horse, wearing the customary enormous boots, a long pigtail and low cocked hat, and carrying a long whip which he flourishes over his horse's head. Mountains are lightly sketched in the background and on the right is an inn with a Poste Royale sign hanging. outside. BM 5056.

 

Henry William Bunbury

Moses

London, J. Harris Feb. 27th 1799

Etching by James Bretherton

Original hand-colouring

290x410mm

Trimmed within bottom platemark

 

 

£160

First published by Bretherton in 1783. A Jewish merchant and his black manservant, who awkwardly clutches a rush basket and bag under his arm, ride sedately along, both with broad smiles on their faces. They pass a signpost pointing to Hackney Islington and Shoreditch. BM 6339.

 

Henry William Bunbury

Symptoms of Rearing.

London, J. Harris Feb. 27th 1799

Etching by James Bretherton

Original hand-colouring

290x410mm

Trimmed within bottom platemark

 

 

 

 

£160

First issued by Bretherton in 1783. An elderly country clergyman sits on a spirited horse, which rears almost vertically, brandishing its front feet in the face of his terrified Parish Clerk, who cowers back clutching the Registers in his arms. The parson, his sermon protruding from his pocket, clutches his horse around the neck and drops his whip, while a small dog barks at the scene. In the background are the outlines of a church. BM 6340.

 

Charon

 

Caricatures Parisiennes.

     

a.       Mr: Des - fadaiser ou L’Apollon-Zéphir des societés, courant donner le Ton et subjuquer les coeura. Dessiné à son arrivée dans un cercle par esprit pointu.

b.      Mlle. Des – fleurette. Ou la Terpsichore bourgeoise faisant briller ses pas ses appas et ses graces. Saisie en dansant dans un rond et croquée légèrement par Mordant.

Paris, Martinet c. 1814

Etchings

Original hand-colouring

310x240mm

Slight overall dust and time staining, colour slightly faded, misc marginal repairs

 

The pair £240

 

A pair of caricatures satirising the absurd extremes of Parisian fashion. In Plate ‘a’ a ridiculously dressed young man strides to the right, wearing a caped overcoat caught up over his arm, a small sugarloaf top hat, an absurd short tailed coat, enormous projecting shirt frill and neckcloth, knee breeches, silk stockings and black shoes tied with large bows. He carries a rose in one hand, a roll of his poems in the other hand, a roll of music and a flute case under his arm and papers inscribed Madrigales, Bon Mots, and Arlettes Nouvelles projecting from his back pocket. In plate ‘b’ a young lady dances in an indecently short dress trimmed all over with enormous silk roses. She wears a frilled, scalloped petticoat, dancing pumps, and has a ridiculous braided hairstyle, dressed high over he head in a stiff wave decorated with lilies.

 

Robert Dighton

A View from Baxter’s Livery Stables, Cambridge.

London, R. Dighton January 1810

Etching

Original hand-colouring

305x200mm

 

 

 

 

 

 

 

£120

 

A strong impression. Baxter the livery stable keeper, stands full length, facing slightly to the left. He is stout and smug, and wears brown coat, olive breeches, striped waistcoat and battered black top hat. BM 11586.

 

Henry Heath

Diogenes in Search of an Honest Ministry

London, T. McLean April 30th 1827

Etching

Original hand-colouring

270x375mm

 

 

 

 

 

£140

 

George Canning, wearing a large blue cloak, steps out of Brougham’s carriage, across the prostrate body of Eldon whose wig has fallen off. In the background Brougham leans out of the window of his carriage directing his coachman to drive to Downing Street. Canning shines his lantern on a large group of disconsolate Whigs, including Lansdowne, Holland, the Duke of Devonshire and Burdett, while Lyndhurst stealthily leans down to pinch Eldon’s wig. Having alienated both the reactionary and progressive Tories, Canning had been forced to seek support amongst the Whigs, and attempted to form a coalition ministry. A provisional arrangement was eventually reached by which the Whigs gained three Cabinet seats and Lyndhurst became Chancellor. Brougham was excluded by the King’s hostility, but became a K.C. BM 15378.

 

William Hogarth

Marriage a la Mode

London, William Hogarth 1745 - c. 1760

Copper engravings

385x470mm

Trimmed on or just without platemarks, misc neat marginal repairs

Rare early states. Hogarth's cynical look at the evils of arranged marriages.

 

1.  The Marriage Contract.

The scene is the salon of impoverished, gouty, old Earl Squander, who sits under a throne like canopy, wearing an elaborately embroidered velvet coat, holding out his 'collateral', his family tree showing his descent from William the Conqueror. On the other side of the table sits the father of the bride, an elderly, stout, city merchant who earnestly peruses the marriage contract through his lorgnette. On the right sit the betrothed young couple. They obviously already dislike each other as they sit back to back on a small sofa. Viscount Squanderfield sits admiring his reflection in the mirror, while his bride disconsolately pulls her scarf through a wedding ring (symbolising her captivity), while being soothed by her future lover, the lawyer Silvertongue. Outside the window, one of the causes of the Earl's poverty is clearly visible, he has been building a grand new house (in the manner of Burlington), which is unfinished and covered with scaffolding. Paulson 158 VI/VIII.

 

2.

Early in the Morning.

The consequences of such a disastrous marriage are already apparent in this plate. The newlyweds live their lives quite separately and have nothing in common. The Viscount has evidently just returned from a night's debauch. He sprawls in his chair, legs outthrust, with what may be a used condom protruding from his pocket, which is being sniffed by a small poodle. Across the breakfast table his young wife stretches langorously, she has evidently already found consolation elsewhere. A chair is upturned and their steward, clutching a handful of unpaid bills, throws up his hands in despair. Paulson 159 IV/V.

 

 

 

 

3.

Consultation with a Quack Doctor.

The interior of the surgery of the eminent quack doctor and specialist in venereal disease Dr. Jean Misaubin. On the right stands Dr. Misaubin, diligently polishing his eyeglasses with his handkerchief, flanked by his huge, ugly Irish wife. The seated Viscount has brought his child mistress for a consultation, significantly a small pillbox sits on the chair between his legs. Around the doomed aristocrat and the sick child the dingy room is full of horrors and medical curiosities. A syphilitic skull rests on the table, in the cupboard is a skeleton and a pair of mummies, strange instruments and specimens hang on the walls. Paulson 160 II/III.

 

 

 

 

4.

The Countess's Levee.

The old Earl has died and his son has inherited. The scene is the young Countess's crowded, lavishly decorated bedroom. She sits before her dressing table, while her hair is arranged by a hook nosed French barber, talking to her lover, the lawyer Silvertongue, who lounges full length on the sofa. Behind her sits a pair of gossiping dandies talking to a young matron, while a fat Italian castrato sings to the music of a flute. On the floor a small black page plays with a basket of figurines, while another hands round a pot of chocolate. Paulson 161 III/IV.

 

 

 

 

 

5.

The Duel.

Silvertongue and the Countess have been surprised by the Earl, while making love at the Turk's Head Bagnio. Silvertongue has killed the Earl in the ensuing duel and is escaping through the window in his night shirt, while the dying Earl crumples against a table and the innkeeper and watch burst in through the door. The young wife kneels barefoot on the floor, clasping her hands in penitence.  Paulson 162 IV/V.

 

 

 

 

 

 

 

6.

The Death of the Countess.

In the first plate the scene was the old Earl's mansion in the fashionable West End, but now in the last, the scene has shifted to the City residence of the bride's money grubbing, arriviste, old merchant father. London bridge is visible through the window and the City arms are engraved on the window glass. After the murder of her husband and the subsequent hanging of her lover Silvertongue (a broadsheet with his last dying speech lies on the floor), the Countess has committed suicide by overdosing on laudanum. Her deformed (syphilitic) child (a girl, so the Squander line comes to an end despite the parents' scheming) is held up by her nurse to kiss her dying mother , a doctor shakes the dimwitted servant who procured the poison, and her father draws her rings off her stiffening fingers. Paulson 163 II/III.

 

Set of six plates £2500

 

Thomas Howell Jones

The Extinguisher – or putting out the Great Law-Luminary.

London, S. W. Fores 1829

Etching

Original hand-colouring

355x250mm

Trimmed on bottom platemark

 

 

 

 

 

 

£140

The anguished, melancholy face of Lord Eldon, faint rays emanating from his head, is stuck on the end of a candle, which rests in a huge golden candlestick. On the left is Wellington in military uniform. He has a complacent smile on his face and is placing a large candle snuffer inscribed Catholic Bill Majority 168 over Eldon’s head. On the right the head, shoulders and paunch of King George IV, saying Poor Old Bags, projects from the margin attempting to blow Eldon out. The Catholic Emancipation Bill had just passed all three readings with large majorities, much to the disappointment of the rabidly anti-Catholic Eldon. BM 15718.

 

Thomas Rowlandson

The Gig Shop or Kicking up a Breeze at Nell Hammiltons Hop.

London, T. Tegg (Feb. 16th 1811)

Etching

Original hand-colouring

235x330mm

Trimmed to image, just clipping bottom right corner

 

 

 

£180

A scene in a panelled inn ballroom. At the far end is a low dais and on the right is a small gallery, in which two musicians play a small fiddle and a french horn. In the centre two men are sparring, one has stripped off his shirt, while the other bleeds profusely from his wounded nose. Both men are being encouraged by a pair of plump strident whores, while surrounding guests look either amused or alarmed. A young woman has fainted in the foreground, while on the right two young women also come to blows. Nell Hamilton  was a well known brothel keeper. BM 11796.

 

Samuel de Wilde

General Jail Delivery.

(London, the Satirist May 1st 1812)

Aquatint, printed in sepia

200x375mm

Repairs to right margin, traces of old folds, small repaired split on fold

 

£120

A scene outside Newgate Prison. Cobbett wearing leg irons and a noose around his neck, and carrying a paper inscribed Register, is being carried out in triumph by two ragamuffins, while being cheered by a disreputable crowd of jailbirds. On the right is Finnerty with a fragment of pillory around his neck, while on the left are the radical tailors Francis Place and Daniel Lovell holding a cabbage and yardstick. Cobbett had been tried for sedition, Finnerty had been sentenced to eighteen months for publishing a libel on Castlereagh’s cruelty in Ireland, Lovell had been condemned for complaining in the Manchester papers about the conduct of the military arresting Burdett. BM 11724.

 

Portraits

 

After Wencelaus Hollar

(King Charles 1st)

Serenissimus Princeps Carolus Dei Gratia Angliæ,  Scotiæ, Fraunciæ, & Hiberniæ Rex &c.

(Antwerp, c. 1655)

Etching

230x320mm

Trimmed to platemark, laid onto old album paper, neatly repaired hole in sky

 

 

 

 

 

 

 

 

 

 

£160

One of the many European copies of Hollar’s portrait in circulation, issued after Sir Antony Van Dyck in 1649. Charles stands on the south bank at Lambeth Marshes, with Westminster, Whitehall palace and the Banqueting House visible across the River in the background. He wears a broad brimmed hat, brushed up moustaches, customary neatly pointed beard, striped doublet and cloak embroidered with the Garter Star. His hand holding a glove protrudes from the folds of his cloak. Similar to Pennington 1432.

 

Charles Turner after John Saunders

The Late Admiral Sir Richard King, Bart. Vice Admiral of the Red, and Commander in Chief of the Nore.

London, F. G. Moon March 30th 1835

Mezzotint

500x360mm

Very slight overall browning

 

 

 

 

 

 

 

 

 

 

 

£140

A half length portrait of Admiral Sir Richard King (1774-1834). He wears a splendid naval uniform, with epaulettes and medals and Garter Star on a broad ribbon around his neck, with the sea and ships in the background. Sent to sea initially with the East India Company, he entered the navy in 1788 under Cornwallis. In 1805, he took part in the battle of Trafalgar, and on the death of his father in 1806, King succeeded to the baronetcy. In 1811 he was appointed Captain of the Fleet to Sir Charles Cotton in the Mediterranean and afterwards in the Channel. He was promoted to be Rear-Admiral in 1812, and for the rest of the war had his flag in the San Josef, in the Mediterranean, as second in command to the famous and dashing Sir Edward Pellew. He was commander-in-chief in the East Indies from 1816 to 1820, and became a Vice-Admiral in July 1821. In July 1833 he was appointed Commander-in-Chief at the Nore, and died at Admiralty House, Sheerness, on 5th Aug. 1834.

 

John Young after Edward Penny

Philp Affleck, Esqr. Rear Admiral of the White, Commander in Chief of His Majesty’s Ships at Jamaica & the Bahama Islands.

London, 1792

Mezzotint, partially filled open letter proof

500x350mm

Trimmed within platemark

 

 

 

 

 

 

 

 

 

 

 

£250

A particularly fine, strong impression of a rare portrait. A full length, seated portrait of Admiral Philip Affleck (1726-99). He is depicted seated at a small round table, on which rests a globe, a book, map and dividers. He wears his splendid naval uniform, with his sword by his side. A marine painting is on the wall behind him and a turkey patterned carpet on the floor. Sent to sea with the East India Company, he entered the navy as a lieutenant in 1755. In the spring of 1780 he was sent out to the West Indies to reinforce Sir George Rodney, and was with him at the capture of St. Eustatia in the following February, and returned with Rodney to England in August 1781. He became an Admiral in 1787, and in 1790 went out to the West Indies as commander-in-chief. On his return in 1793 he was appointed one of the Lords of the Admiralty under the Earl of Chatham, and continued in the post until 1796, when he retired.

 

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