Items of stock will be added throughout 2015


I. Smith after W. Wissing?

[Portrait of Thomas Herbert, 8th Earl of Pembroke, 5th Earl of Montgomery]

18th century mezzotint printed on rolled paper.

Sheet size: 260 x 353 mm

Trimmed within the plate mark. Some spotting. Damage to the top left-hand corner. A good impression.

Price: £65

A three-quarter length portrait of Thomas Herbert, 8th Earl of Pembroke and 5th Earl of Montgomery. He is portrayed wearing his dress armour. To the left of the image in the background, a sea battle can be seen taking place, which could be seen as a reference to the Earl holding the position of First Lord of the Admiralty, which he held between 1690 and 1692.


James Watson after Joshua Reynolds

James Beattie, L.L.D.

Published August 24th 1775 by John Boydell, engraver in Cheapside, London.

Mezzotint printed on laid paper.

Plate size: 410 x 358 mm

Marginal tear (top margin). Some time staining. A good impression.

Price: £sold

An allegorical image of James Beattie, in doctor’s gown with a volume under his arm (entitled ‘Truth’), alongside the figure of ‘Truth’ who is suppressing the demons of ‘Error’.


Captain Hackett after L. E. Reed ***

Peter Blundell, Founder of Tiverton School, 1604 – Died 1601

Tiverton & Exeter, c. 1840


Sheet size: 350 x 260 mm

Small surface scratches, neat repair (left border)

Price: £85

A portrait of the merchant and benefactor, Peter Blundell (1520-1601), who became successful in the kersey (woollen) trade. He was also the founder of Tiverton School in Devon.


Anon ***

John Bellingham who shot The Honourable Spencer Percival in the Lobby of the House of Commons on Monday, May 11th 1812

Burwood Neely & Jones, May 18th 1812 ?

Copper engraving on rolled paper.

Sheet size: 145 x 220 mm

Trimmed within the plate mark (some text missing). Some time staining.

Price: £12

A profile of John Bellingham, the man who assassinated the British prime-minister Spencer Perceval. Its thought that his family later changed their name to Bellingall, due to the shame brought upon by his actions.


Jacob Haid after Dathan ***

Paul Egell

Published in Augsburg by Jacob Haid.

18th century mezzotint printed on laid paper. Watermark visible.

Sheet: 280 x 413 mm

Some spotting and time stains.

Price: £sold

A half-length portrait of the German sculptor and plasterer, Paul Egell (1691-1752), who worked in Mannheim and Franfurt.


William Poole after Dighton

James Fraser, Aged 67

Early 19th century copper engraving, printed on rolled paper.

Sheet: 347 x 430 mm

A good impression in excellent condition.

Price: £100

A portrait of James Fraser (born 1740), a well known figure in the London book-binding trade. He is also known for being one of “The Prosecuting Masters” in a dispute in 1786, when 5 journeymen bookbinders were imprisoned for combination; the paper he holds in his hand refers to this early trade union action.


T. Gaugain after John Watson

[Portrait of John Langford Pritchard, 1799-1850]

Published August 1824 by T. Gaugain, 14 Waterloo Place, Edinburgh

Stipple engraving with some etched lines.

Sheet: 329 x 481 mm

In good condition.

Price: £60

A decorative portrait of the 19th century actor John Langford Pritchard (1799-1850). He is stood wearing period costume which suggests he is dressed for a particular role that he might have played. The background is most likely fictitious; it could possibly be a stage set.


John Vendramini after P. Jean

Miss Decamp in the character of Urania

London, John P. Thompson, Oct. 6th 1802

Stipple engraving with line engraved border.

Plate: 215 x 296 mm

In excellent condition.

Price: £65

A delicately executed portrait of Dibdin’s pupil Miss Decamp, playing the leading role in the Hon. William Spencer’s two act comedy ‘Urania or the Illuminé’; a burlesque of German ghost literature, which was successfully performed at Drury Lane in 1802-4.


Edward M. James after Sir Thomas Lawrence

The Baring Family

London, c. 1840

Steel mezzotint

Trimmed on top platemark, publication line partially obliterated, slight marginal dust staining.



The Baring Family

An interesting group portrait of three members of the Baring banking family, sitting around a large desk on which rests an enormous ledger inscribed HOPE and an Act of Parliament labelled 1807. On the left is the founder of the dynasty Sir Francis Baring (1740-1810), who sits in a large armchair, his hand cupped around his ear (he was deaf from early youth), in the centre is his elder brother John and on the right, leaning earnestly over the table is his son in law Charles Wall. In the background is a draped curtain and a classical column.


Thomas Cross

[Sir Richard Brownlow]

Vera Effigies Richardi Brownlowe Armigeri, Capitalis Protonotary in Curia de Banco.

London 1654

Copper engraving

Size: 190 x 120 mm

Narrow margins.

Price: £45

A rare, early portrait of the Protonotary of the Court of Common Pleas and lawyer of the Inner Temple, Richard Brownlow (1553-1638). He is seated three quarter length, wearing velvet trimmed robes, ruff and a cap. He holds a glove in one hand and a rolled paper in the other. This engraving is after a painting still preserved at his family home at Belton House, Lincs.

Richard Gaywood after Claude Mellan

Nicolaus Claudius Fabricius de Peireso Senator Aquensis

London 1656


Size: 145 x 95 mm

Price: £65

A small interesting portrait of the Senator Nicolaus Claudius Fabricius de Peireso of the German city of Aachen or Aix la Chapelle, situated near the Belgian border. This portrait was published in 1656 the year that most of Aachen was destroyed in a terrible fire. Peireso has a straggly beard, and wears a plain, broad collar, a belted black robe and a small skullcap.


George Vertue

Joannes Fletcher. Episcopi Lond. Fili

London, 1729

Copper engraving

Trimmed on platemark



Joannes Fletcher. Episcopi Lond. Fili

A rare and interesting portrait of the dramatist and poet John Fletcher (1579-1625). He sits, half length, enclosed in an oval architectural frame, surmounted by comic and tragic masks, with curly hair and beard and wearing a loosely buttoned jacket. This engraving is after a contemporary painting, now in the National Portrait Gallery, by an unknown artist. A son of Richard Fletcher, Bishop of London, he was one of the most important playwrights in Jacobean London. Fletcher is particularly known for his extremely successful collaborations with Francis Beaumont (1584-1616), which included the productions of Philaster (c.1609), The Maid’s Tragedy (c.1610) and A King and no King (1611). Fletcher also wrote several plays himself, and collaborated on works with other playwrights, including Shakespeare in Henry VIII and The Two Noble Kinsmen (both 1613). He died of the plague in 1625 and was buried in St. Saviour’s, Southwark in the same grave as his friend Philip Massinger. *


J. Porter after John Jackson

His Grace the Duke of Buckingham, and Chandos, Colonel of the Buckingham Yeomanry Cavalry

London, Henry Graves & Co. May 25th 1841

Mixed method mezzotint



His Grace the Duke of Buckingham, and Chandos, Colonel of the Buckingham Yeomanry Cavalry

A three quarter length portrait of the handsome Richard Grenville Plantagenet Temple Nugent Brydges Chandos, 2nd Duke of Buckingham and Chandos (1797-1861). He stands wearing his heavily gold braided cavalry uniform, with a view of Stowe Park in the background. An inveterate opponent of Reform and Peel’s intended Repeal of the Corn Laws, he inherited a huge fortune from his father, including Stowe Park, Buckinghamshire. One of his expensive habits was purchasing land with borrowed money, regardless of the fact that the interest of the money he borrowed was much heavier than the rental he recovered from the land. In 1844, on his eldest son coming of age, the entail to some of the estates was cut off, leaving intact the Chandos estates, which were entailed upon female heirs. Although it was known that the Duke was in financial difficulties, the Queen and Prince Albert paid him a visit at Stowe Park. This visit cost a large sum of money, and helped to precipitate the impending catastrophe. On 31st August 1847 the effects at Stowe and other residences were taken possession of by the bailiffs, and in September the Duke left England with debts estimated at upwards of a million pounds. Subsequently, his wife Lady Mary Campbell, daughter of the Marquis of Breadalbane, divorced him. The Duke died at the Great Western Hotel, Paddington, London, 29th July 1861.


James Watson after F. Cotes

Portrait of the Reverend Charles Lyttleton

Published in London 1770

18th century mezzotint printed onto laid paper.

Sheet: 397 x 282 mm

Slight creasing of the image. Otherwise, a good impression. Trimmed just outside the plate mark.

Price: £85

Portrait of the Reverend Charles Lyttelton, Dean of Exeter. He was also the President of the Antiquarian Society.

George Vertue

The Rev. William Whiston M.A. sometime Professor of the Mathematicks in ye University of Cambridge

London, c. 1720

Copper engraving

Trimmed to platemark



The Rev. William Whiston M.A. sometime Professor of the Mathematicks in ye University of Cambridge

A half length portrait, enclosed in an architectural frame of the mathematician, cosmologist, religious writer, follower of the Arian heresy and erstwhile pupil of Sir Isaac Newton, William Whiston (1667-1752). He sits half length, smiling and turned slightly to the right, pointing to a passage in a book with one hand. *




Francis Holl after John Harrison


Published by J. Hogarth, Haymarket, London 1852

Steel engraving with stipple and line engraved background.

Plate: 558 x 432 mm

Time staining and slight spotting in the left hand margin.

Price: £48

A Head-and-shoulders portrait of and unidentified Military Commander. 


Richard Earlom after Thomas Gainsborough

Sir Charles Thompson Baronet; Vice Admiral of the Red. Obit. 17 March 1799

London, 1800


Repairs to left platemark and margin



Sir Charles Thompson Baronet; Vice Admiral of the Red. Obit. 17 March 1799

A three quarter length portrait of Vice Admiral Sir Charles Thompson (1740-99). He leans against a rock on the seashore, wearing his gold laced coat, and carrying an ornate telescope. Principally stationed in the West Indies, and subsequently in the Mediterranean, he incurred the enmity of Earl St. Vincent for presuming to object to the execution of four mutineers. Thompson was accordingly recalled, and appointed to a command in the fleet off Brest. He held this during 1798, but his health had for some time been failing, and early in 1799 he was obliged to strike his flag and go home. He died at Fareham.



[Portrait of Lord Raglan]

Mezzotint printed on chine collé.

Sheet: 786 x 502 mm

Tide marks in the margins. Very faint tide mark on the face of figure.

Price: £80

[Portrait of Lord Raglan]

Portrait of the late Lord Raglan, Field Marshal FitzRoy James Henry Somerset, 1st Baron Raglan, GCB, PC (17881855). He was the Duke of Wellington's Military Secretary until the Iron Duke's death in 1852. Appointed a general in 1854 he was made commander of the British troops in the Crimea. Unlike many of the officers who were in command during the Crimean War, Raglan had actually seen active service, having fought in the Peninsular Wars, where he proved his bravery and also his complete indifference to danger. He died whilst on the campaign, aged 66, but with his reputation in tatters due to appalling leadership and the infamous 'Charge of the Light Brigade' .


Charles Turner after John Saunders

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


Very slight overall browning



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

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 Dixon after Sir Joshua Reynolds

Henry Earl of Pembroke & Montogomery. Lord Lieut. & Custos Rotulorum of the County of Wilts, Major Genl. In the Army & Col. of the 1st or Royal Regimt. Of Dragoons

London, Feb. 5th 1772

Trimmed to platemark.




Henry Earl of Pembroke & Montogomery. Lord Lieut. & Custos Rotulorum of the County of Wilts, Major Genl. In the Army & Col. of the 1st or Royal Regimt. Of Dragoons

A three quarter length portrait of Henry Herbert, 10th Earl of Pembroke (1734-94). He is handsome and bare headed, his hand resting on his drawn sabre, wearing military uniform and a sash. A fine soldier, a Lord of the Bedchamber and an authority on the training of horses, he was nevertheless known to his contemporaries as an utter scoundrel. In 1755 he married the beautiful Elizabeth Spencer daughter of the 2nd Duke of Marlborough, but caused great scandal by throwing up his place at court and eloping (in a common packet-boat) with Miss Hunter, daughter of Charles Orby Hunter, then one of the Lords of the Admiralty. He afterwards returned to his wife, and the young lady, who had a child by him, is said to have married the future field-marshal, Sir Alured Clarke. He was restored to favour at court, was appointed colonel 1st royal dragoons in 1764, reappointed a Lord of the Bedchamber in 1769, and became a lieutenant-general in 1770. Reynolds’ painting is in the collection at Wilton House.

James Watson after William Hoare

The Right Honourable George Grenville, First Lord of the Admiralty, And One of His Majesty's Most Honourable. Privy Council

London, John Bowles c. 1740


Printing smudge and collector's mark in title area



The Right Honourable George Grenville, First Lord of the Admiralty, And One of His Majesty's Most Honourable. Privy Council

An interesting, three quarter length, seated portrait of the statesman and naval reformer George Grenville (1712-70). He is depicted in a large leather armchair, a bookcase in the background, wearing an elaborate velvet coat and breeches and lace cravat and cuffs. In his right hand he holds a paper inscribed An Act for the Encouragement of Seamen employed in the Royal Navy, and for establishing a regular method for the punctual, frequent and certain Payment of their Wages ... &c. In December 1744 Grenville had been appointed a Lord of the Admiralty in Pelham's administration. He immediately instituted an inquiry into reported abuses of seamen and the long standing grievance of the erratic payment of their wages and destitution of their families. On 10th April 1763, Grenville was appointed Chancellor of the Exchequer, his first act in office being to make the huge mistake of prosecuting John Wilkes for libel, and his second even worst mistake being to impose certain stamp duties on the American Colonies. The prosecution of Wilkes led to the discredit of the executive and the legislature alike. His ill-considered attempts to enforce the trade laws, to establish a permanent force of some ten thousand English soldiers in America, and to raise money by parliamentary taxation of the colonies, in order to defray the expense of protecting them, led directly to the American Revolution and subsequent independence.


Thomas Hodgetts after Sir William Beechey

Rear Admiral Sir John Poo Beresford Bart. M.P.

London, c. 1815


Trimmed to image, slight scratch in sky



Rear Admiral Sir John Poo Beresford Bart. M.P.

A half length portrait. An illegitimate son of Lord de la Poer, afterwards first Marquis of Waterford, Beresford (1766-1844), wears naval uniform, with an order around his neck on a broad ribbon, and a distant view of the sea in the background. Entering the navy in 1782 on board the Alexander, under the protection of Lord Longford, Beresford enjoyed a adventurous and successful naval career. Early in 1814 he was appointed to the Royal Sovereign yacht, and on 24th April had the honour of carrying the Louis XVIII, the newly restored King of France over to Calais. In May he was created a baronet, and attained the rank of Rear-Admiral. In the following September he hoisted his flag in the Duncan, and was sent to Rio de Janeiro to carry home the Prince Regent of Portugal. The prince, however, decided not to return to Lisbon at that time, and Beresford, after receiving from him the order of the Tower and Sword, returned to England. M.P. for Coleraine since 1809, in 1832, he was unseated on petition; in 1835 he was elected for Chatham, and became a junior Lord of the Admiralty. After this he lived in comparative retirement at his seat at Bedale in Yorkshire, where he died, after a long illness. This portrait was probably published to mark his promotion to Rear-Admiral.  *


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

Trimmed within platemark



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

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.


Pierre Charles Coqueret after Jean Baptiste Hilaire le Dru


Paris, c. 1796


Trimmed to image and laid onto card




A rare full length portrait of the French Revolutionary general Jean-Charles Pichegru (1761-1804). He is depicted here peering craftily out to the right, chin resting on his left hand, and with his right hand, holding a bunch of dispatches, resting on the hilt of his sabre. He wears a braided, military frock coat and hat with a bunch of feathers as a cockade. In the background is a military camp. Born into a peasant family, Pichegru taught mathematics at the military academy at Brienne before he joined an artillery regiment in 1780. He was sergeant major at the outbreak of the Revolution in 1789 and in 1792 became lieutenant colonel. Appointed commander of the Army of the Rhine in October 1793, he helped General Lazare Hoche drive the Austro-Prussian armies from Alsace in December. Nevertheless, Pichegru was jealous of Hoche. By convincing the government that Hoche was a traitor, he managed to have his rival imprisoned in March 1794. Pichegru was given command of the 150,000-man Army of the North. In April 1794, Pichegru and General Jean-Baptiste Jourdan, commander of the Army of the Moselle, launched an invasion of the Austrian Netherlands, capturing Amsterdam by January 1795. Returning to Paris, he was hailed as a saviour of his country. Although he was appointed Commander of the Armies of the Rhine and Moselle in mid-1795, he had already begun to turn against France's republican regime. He initiated secret contacts with agents of French émigrés in August, and in March 1796, Pichegru resigned his commission. Elected president of the Council of Five Hundred (the lower chamber of the legislature) in May 1797, he sided with the royalist deputies. Nevertheless, word of his previous treasonable contacts reached Paris, and when the royalists were expelled from the government in the coup d'etat of 18th Fructidor (Sept. 4th 1797), Pichegru was arrested and deported to the Guianas. Escaping from the islands, he made his way to Germany, then to England. In January 1804, he secretly entered France and began plotting to overthrow Bonaparte's military regime. Betrayed and arrested in Paris on February 28th , he was found strangled with his cravat in Temple prison on April 5th. It is not known whether he was murdered or committed suicide.





J. Faber after G. Kneller

Portrait of her Royal Highness, Mary II

Mezzotint printed onto laid paper. Watermark visible.

Sheet: 348 x 254 mm

Slight marginal tear (top left hand corner). Small wormhole (bottom of image.

Price: £60

Portrait of Mary II; Queen of England and Ireland from February 1689 and Queen of Scots from April 1689 till her death. Daughter of James II, she ruled jointly with her husband (and first cousin) William II. They ruled jointly due to the fact that Mary was the blood sovereign, and although William wielded more power when in England, he depended heavily on his wife; especially when he was out of the country on military campaigns. On these occasions, she ruled alone, proving herself to be a firm and powerful figure head. *

P.V Gunst after Van Dyke

Henrietta Maria, Queen of Great Britain

Published by Boydell of London.

Copper engraving printed onto rolled paper (19th Century)

Sheet: 521 x 327 mm

Small repaired marginal tears (top and bottom margin). Otherwise good impression.

Price: £75

Portrait of Henrietta Maria; a Princess of France and Queen Consort of England Scotland and Ireland (a title she obtained from becoming the wife Charles I). She was the mother of Charles II and James II who both became Kings of England, Scotland and Ireland). *





Wynne Ryland after Allan Ramsay

George the Third, King of Great Britain

Published March 1st  1794, by C. Knight.

18th century copper engraving printed on laid paper.

Sheet size: 361 x 586mm, 14 1/4" x 23"

Trimmed, stuck down; laid onto card. Other surface defects. A fair impression.

Price: £220

A very grand and regal portrait of the young George III. He is portrayed in his mid 20s and is lavishly decked out in rich fabrics and fur. Hanging round his neck is a ceremonial chain with the Greater George, which was the insignia of the Order of the garter.  


Marie Anne Bourher (?) ***

Her Royal Highness Princess Mary

Published in London by E.Harding, 19th May 1806

Late 19th century impression. Stipple engraving, printed using 3 different inks. Original hand-colouring.

Plate: 279 x 216 mm

Small worm-hole on the printed border. Good impression.

Price: £95

A portrait of Princess Mary; Duchess of Gloucester and Edinburgh. She was the 11th child and fourth daughter of George III. Married to Prince William Frederick (Duke of Gloucester and Edinburgh) she was the longest living of George’s children.


F. Green after H. Jones ***

Portrait of William George Frederick

Published by J. Green, No. 701 Oxford Street, 23rd January 1797

18th century mezzotint with some etching, printed on laid paper.

Sheet: 275 x 208 mm

Trimmed outside the plate mark. Small tear in the left-hand margin. A good impression.

Price: £45

William George Frederick / Prince of Orange & Nassau, Major General in the Imperial Service.

Portrait of William George Frederick, the son of William IV and Wilhelmina of Orange.


L. Sailliar after Richard Cosway

His Royal Highness George Prince of Wales

Published by Richard Cosway, August 24th 1787

18th Century stipple engraving printed onto laid  paper.

Plate: 328 x 239 mm

Excellent, clear impression.

Price: £100

Portrait of Prince George of Wales; the Prince Regent, who later became King George IV. *

William Skelton after Thomas Phillips RA ***

His most excellent Majesty, George IV by the Grace of God of the United Kingdom

19th century copper engraving

Sheet: 397 x 295 mm

Trimmed within the plate markPrinters crease running through the face and shoulder. Good Impression.

Price: £55

Portrait of George IV, who served as Prince Regent until the death of his father, George III, on the 29th January 1820, when he was then crowned King of Hanover,  the United Kingdom and Ireland.



His Most Gracious Majesty William IV King of Great Britain

Published by T. Bird, 40 Wigmore St. July 1st 1830

Mezzotint with original hand-colouring.

Sheet: 194 x 149 mm

Good Impression. In Good condition.

Price: £sold

Portrait of William IV, King of Great Britain and Ireland between 1830 and 1837 the penultimate monarch of the House of Hanover. He was the third son of George III and younger brother and successor to George IV. *



Her Most Gracious Majesty  Adelaide, Queen of Great Britain

Published by T. Bird, 40 Wigmore St. July 1st 1830

Mezzotint with original hand-colouring

Sheet: 194 x 150 mm

Good Impression. In good condition.

Price: £sold

Portrait of Queen Adelaide, wife of William IV. Formerly known as the Princess of Saxe-Meiningen (daughter of the Duke of Saxe-Meiningen), she was 25 years of age when she married William; half his age. Despite this difference in age, the marriage was successful and lasted almost 20 years. *






Edward Finden after Richard Westall

Her Royal Highness The Princess Victoria

London, Hodgson, Boys & Graves April 1834

Mixed method engraving



Her Royal Highness The Princess Victoria

An idealised portrait of Princess (later Queen) Victoria depicted as a young girl. She sits under a tree, on a grassy bank beside a stream, evidently sketching the scene in her sketchbook. In the background is a classical urn.


R J Lane after A E Chalon

Her Royal Highness Queen Victoria

Published April 23 1838 by Thos Boys


Large margins: slightly dusty; repaired tear into the right margin, not affecting image

Sheet: 458 x 606 mm, 17 1/2" x 23 3/4"  . Actual image 304 x 443 mm


Listed Jan 2015

Her Royal Highness Queen Victoria (Reigned 1837-1901)

A romantic portrait of Queen Victoria as a young woman, just after her accession.





Henry Meyer after Alfred Edward Chalon

Her Royal Highness Princess Charlotte of Wales and of Saxe Coburg Saalfeld

London, R. Ackermann October 22nd 1816

Stipple engraving

Trimmed within platemark, slight spotting



Her Royal Highness Princess Charlotte of Wales and of Saxe Coburg Saalfeld

A decorative, full length portrait of Princess Charlotte of Wales (1796-1817), daughter of the Prince Regent. She stands on the terrace of Windsor Castle, wearing a satin striped dress, with broad flounces around the hem, and with a embroidered oriental shawl cast over her shoulder and over her arm. She wears a wreath of roses in her hair and little satin slippers on her feet. Evidently published to mark the Princesses marriage to the handsome Prince Leopold of Saxe-Coburg-Saalfeld (1790-65), son of Duke Francis of Saxe-Coburg, sadly their marriage did not last long as Princess Charlotte died in childbirth on 5th Nov. 1817. After a long labour the Princess had given birth to a stillborn son, dying herself a few hours later, largely due to the incompetence of the fashionable accoucheur, Sir Richard Croft (who later, overcome by guilt, committed suicide). In 1831 Prince Leopold was invited to become King of the Belgians, becoming an advisor to the young Queen Victoria to whom he suceeded in marrying his nephew Prince Albert, and was himself succeeded on the Belgian throne by Prince Francis his son by his second wife.


Franz Hanfstaengl

His Royal Highness Prince Albert of Saxe-Coburg & Gotha, Duke of Saxony

London, 1840

Lithograph, printed on india paper

Slight overall browning & dust staining



His Royal Highness Prince Albert of Saxe-Coburg & Gotha, Duke of Saxony

A fine, rare, half length portrait of the young Prince Albert (1819-61), taken soon after his marriage to Queen Victoria on Feb. 10th 1840, by the Munich artist Franz Hanfstaengl. He stands wearing resplendent military uniform, carrying his feathered cocked hat under his arm. In the background is a draped curtain and a framed portrait of the Queen. *


**J.A. Vinter after F. Winterhalter

Portrait of Prince Alfred 1865

Published by Day & Son Ltd.

Lithograph printed on chine collé, laid onto old mount-board.

Sheet: 570 x 440 mm

Slight spotting of image. Otherwise in good condition.

Price: £85

Portrait of Prince Alfred 1865

Portrait of the Duke of Saxe-Coburg and Gotha, Prince Alfred Ernest Albert; second son and fourth child of Queen Victoria. He received the titles of Duke of Edinburgh, Earl of Kent and Earl of Ulster on 24th May 1866 in the peerage of the United Kingdom. He later on succeeded his paternal Uncle Ernst as the reigning Duke of Saxe-Coburg and Gotha in the German Empire on August 23rd 1893.




W. Nutter after Sir Joshua Reynolds ***

Portrait of the Marchioness of Hertford

Published 1st July 1797 by R. Cribb, 288 Holborn

19th century impression of a stipple engraving. Printed in different coloured inks.

Plate: 215 x 280 mm

A good impression.

Price: £38

A half-length portrait of Isabella Ingram-Seymour-Conway, the Marchioness of Hertford. Daughter of Charles Ingram (9th Viscount of Irvine), she was the mistress of George IV when he was Prince of Wales.



James Watson after Peter Lion

Miss Carpenter’s. Daughters of Gen. Carpenter

Published according to the Act of Parliament, April 20th 1772 by T. Jarvis, Printseller, Bedford Court Covent Garden.

18th century mezzotint printed onto laid paper.

 Sheet size: 355 x 503 mm

Repaired tear (bottom margin). Some surface abrasions.

Price: £100

A delicate and sentimental portrait of two young girls in a familial embrace, framed (in the image) within an oval frame.


J. Mc Ardell after A. Ramsay

[Portrait of Woman with fur coat]

Published by J. Mc Ardell (Painting by Ramsay done in 1753)

18th century mezzotint printed on laid paper.

Sheet: 238 x 333 mm

Trimmed outside the plate mark. Good impression.

Price: £100

A portrait of an unidentified woman wearing a fur-trimmed coat. The original image was painted by Allan Ramsay – a Scottish portrait painter – who was one of the leading figures in portraiture painting of the period. His style was heavily influenced by French art of the time and can be seen in the elegance of his compositions and the delicate handling of the paint in the form of soft colours and execution of the flesh tones.


Wilson after Reynolds

Lady Broughton

London, Printed for Robert Sayer Map & Printseller, 53 Fleet Street, as the Act directs 1st September 1771

18th century mixed method print (mezzotint with some etched lines), printed on laid paper.

Sheet: 269 x 361 mm

Trimmed within the plate mark (bottom margin only). Slight surface abrasion near the left-hand margin and on the book. Otherwise, a good impression.

Price: £

A three-quarter length portrait of Maria, Lady Broughton.  


John Smith after Sir Godfrey Kneller

The Countess of Salisbury

London, J. Smith 1699




The Countess of Salisbury

A three quarter length, seated portrait of the daughter and co-heir of Simon Bennett of Beechampton, Bucks. She is depicted as a young, pretty widow, and wears a black dress and veil over her hair. She married James 4th Earl of Salisbury who died in Dec. 1694, and for whom she appears in mourning in this engraving.

William Pether after Stephen Elmer

 Mrs. Chelsum

London, c. 1795

Etching on laid paper



Mrs. Chelsum

A rare, three quarter length portrait of an old lady wearing a black shawl and lace bonnet, with a dress with frilled sleeves and long mittens on her folded hands. Beneath are a set of laudatory verses. Mrs Chelsum was the mother of James Chelsum D.D., author, print collector and authority on mezzotint engraving. Chelsum was educated at Christ Church, Oxford, and who subsequently became chaplain to the Bishop of Winchester, who gave him the living of Droxford in Hampshire where he died in 1801.

Watson after H. D. Hamilton

 Portrait of Ann, Countess of Cork and Orrery

 Printed for R. Sayer in January 1772

 18th C. mezzotint on laid paper

 Sheet: 384 x 288 mm

Small area of surface abrasion to the left of her forehead; some other areas of slight rubbing. Otherwise, an excellent impression.

Price: £135

Portrait of Anne Courtenay, Countess of Cork and Orrery; wife of Edmund Boyle, 7th Earl of Cork and Orrery. She is most famous for being put on trail for adultery and violating her marriage vows. *

J. Johnson after Allan Ramsay

Lady Erskine

London, c. 1767


Slight rubbing and dust staining,traces of old folds



Lady Erskine

A half length, standing portrait of Janet Lady Erskine (d. 1797). Her fair hair is dressed in a simple swept back style, and she wears a high, lace ruffled collar and elaborate lace shawl over a loose silk robe. A rose is fastened in her bodice. Daughter of Peter Wedderburn of Chesterhall, in 1761 she married Lieutenant General Sir Henry Erskine 5th baronet of Alva and Cambuskenneth in Clackmannanshire, who sadly died soon after in 1765. Janet was the sister of Alexander Wedderburn, afterwards Lord Chancellor of England, and first Earl of Rosslyn, and the eldest of her two sons succeeded his maternal uncle as second Earl of Rosslyn.


Francesco Bartolozzi after Sir Thomas Lawrence

Miss Farren

London, Bull & Jeffryes June 1st 1792

Stipple engraving

Narrow margins



Miss Farren

A fine, full length portrait of the beautiful comic actress Elizabeth Farren (1759-1829). Daughter of an Irish apothecary and the Liverpudlian actress Miss Wright, she was playing juvenile parts in Liverpool from a very early age. In 1777 she made her first London appearance at the Haymarket Theatre and became an overnight hit. For many years she was the mistress of the 12th Earl of Derby who was separated from his wife. In 1797 Lady Derby died and Miss Farren and the Earl were married almost immediately. It is said that after her farewell performance as Lady Teazle at the Haymarket she burst into a 'passion of tears'. She is depicted here standing full length, slightly in profile, in a pastoral landscape. She wears a gauze dress, fur trimmed pelisse and carries a huge fur muff and gloves  *


James McArdell after Andrea Soldi

The Honourable Susanna Fitzpatrick

London, c. 1760


Trimmed to border



The Honourable Susanna Fitzpatrick

A half length portrait of Susanna Fitzpatrick (née Usher), wife of Richard Fitzpatrick, grandson of the 1st Lord Gowran. She is directed slightly to the left, with her dark hair neatly pulled back, wearing a dress trimmed with roses at the bosom, lace edged fichu and lace trimmed sleeves. In the background is a panelled room and draped curtain. Sadly she seems to have died young in 1759.



[Lady Emma Hamilton]

19th C mezzotint

Sheet: 622 x 466 mm

Tide marks in the top corners of the margins.

Price: £86

Lady Emma Hamilton

A full length decorative portrait of Lady Emma Hamilton (born as Amy Lyon), best known as Lord Nelson’s Mistress. She acquired the name Hamilton from her husband, Sir William Hamilton who was the |British ambassador in Naples and was a big collector of classical objects and artefacts.   

Francis Haward after Sir Joshua Reynolds

 Mrs Siddons as the Tragic Muse

London, c. 1785

Stipple engraving

Trimmed to border and within title, slightly worn impression



Mrs Siddons as the Tragic Muse

One of the most famous full length portraits of the most popular actress of the late Georgian stage. Sarah Siddons (1751-1831), in the character of the Muse Melpomone, sits dramatically on an immense architectural throne, poised above roiling clouds, dressed in flowing robes and overskirt and looking slightly to the left. In the background are two shadowy male figures, one bearing a dagger and the other a chalice of poison. In a supreme compliment Reynolds has signed his name on the hem of her garment. The painting is now in the collection of the Dulwich Picture Gallery. This engraving has an interesting publishing history, and was the source of one of the most publicized quarrels between an artist and engraver. In view of the popularity of the actress and reputation of the artist any engraving from this painting was certain to be a profitable venture, and the mezzotint artist Valentine Green was extremely eager to secure the commission to engrave it. Green first approached Reynolds, who told the engraver that his application would be considered favourably, but he believed that Mrs Siddons wanted it engraved in stipple which would bear more copies in the print run and thus further enhance her reputation. However, when Mrs Siddons was approached she let Green believe that the decision rested entirely with Reynolds. The playwright Sheridan who had commissioned the portrait also promised to refer the matter to Reynolds. Green thus believed that he would be granted the commission, however, when the painting was ready to be engraved Green learnt that Francis Haward the stipple engraver had been awarded the rights to engrave and publish this lucrative print. Green was furious and wrote to Reynolds demanding an explanation of his deceitful conduct. Reynolds was naturally deeply offended and produced a note proving that Mrs Siddons had personally requested that the work be given to Haward. Green had to apologise, but the damage to his career had been done and he was never again invited to engrave any of Reynolds work. *



[Unidentified Lady]

Published by Thomas Mc Lean, London, July 1st 1896

Mixed Method engraving printed on chine collé

Plate: 666 x 423 mm

Scratch (approx. 3.5 mm long) under arm of the figure. Otherwise, a good impression.

Price: £88

A decorative full length portrait of a lady. The style of dress and hair is Neo-classical, as is the pillar on which she leans.

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