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Including portraits by and of :  Francis Barlow, Francesco Bartolozzi, Charles Burney, the Napoleonic Marshals Beurnonville & PichegruCharles 1st as Prince of Wales, Sir Robert Peel, Richard Elton, John Dryden, Gerard Edelinck, John Faber, General AndreossyPrincess VictoriaMaxim Gauci, Richard Gaywood, Polly KennedyPrince Albert, Mrs Siddons as the Tragic MuseThomas Hodgetts, George Steevens, Wencelaus Hollar, Richard Houston, The Baring Family, Thomas Paine, Fanny KembleSir John Barnard, Princess Charlotte, Viscount Curzon, Charles James Fox, Earl Spencer, William Pether, A Coffee drinker, American General George H. Thomas, Martha Washington, Thomas Maxwell, John Smith, the ballet dancer Mademoiselle Parisot, George Vertue, Oliver Cromwell, Jacob Bernhard Limburger, Jeremias Wolff

Medical Portraits (Doctors)


Siamese Priest.JPG (26435 bytes)Captain William Baillie after Sir Peter Paul Rubens

A Siamese Priest.

London, May 1st 1774. Soft ground etching. Grey and faint pink wash on borders and face. 440x285mm. Trimmed within platemark and close to side borders, small hole affecting left border, slight dust staining. 

Price: £100

A full length portrait of a Thai buddhist priest in his flowing robes and tall hat. He has a small goatee beard, and wide sleeves in which he has hidden his hands. Beneath the image is a letterpress explanation that this priest came to the Court of Charles 1st in the train of the Siamese Ambassador. The Irish amateur engraver Captain William Baillie (1723-1810), was sent to London to study law, but soon accepted a commission in the army, fighting at Culloden and Minden. Both before and after leaving the army Baillie devoted his leisure entirely to art, and he was considered one of the most accomplished connoisseurs of his time. He specialised in a combination of etching and mezzotint, and concentrated on producing prints after the great Dutch and Flemish masters, especially Rembrandt. 


Francis Barlow

Robertus Abbatus Epis: Sarum.

(London, c. 1656). Etching. 160x115mm. 

Price: £75

A small, half length portrait of Robert Abbot (1560-1617), Bishop of Salisbury. He sits in profile, looking front, wearing his bishop’s robes and a flat cap. He has a square trimmed beard and holds a book. A rabid anti-Catholic and opponent of the Jesuit Cardinal Robert Bellarmine, on the accession of James 1st he was appointed a Royal chaplain, becoming Bishop of Salisbury in 1615. He restored the cathedral which had fallen into decay, and devoted much time to improving the condition of the people of Salisbury. He died in March 1617-18 after much suffering from a painful malady induced (according to the DNB) by his “sedentary habits”.


Burney.JPG (98055 bytes)Francesco Bartolozzi after Sir Joshua Reynolds

Charles Burney Mus: Doct: Oxon. F.R.S.

London, April 1st 1784. Stipple engraving. 260x210mm. Trimmed on platemark. 

Price: £130

A delicately executed half length portrait of Charles Burney (1726-1814), musician, author and father of the novelist Fanny Burney. He sits beating time with a musical score, wearing elaborate academic robes and clerical bands. The success of his most famous work, the History of Music published between 1782-89, brought him public acclamation and Royal favour, and this print was probably published to mark his membership of the Literary Club and appointment as organist of Chelsea Hospital in 1783-4.


Farren Miss.JPG (205249 bytes)Francesco Bartolozzi after Sir Thomas Lawrence. 

Miss Farren . 

London, Bull & Jeffryes June 1st 1792. Stipple engraving. 550x365mm. Narrow margins.

Price:  £380

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


Beresford.JPG (25702 bytes)Anon

Lieut. Genl. Lord Beresford, K.B. &c. 

London, J. Jenkins March 2nd 1816. Etching, with stipple engraving, partly printed in colours. 420x330mm. 

Price: £100

A delicately executed full length portrait of William Carr Beresford, Viscount Beresford 1768-1854, General, and illegitimate son of George de la Poer Beresford, Earl of Tyrone, and later first Marquis of Waterford. A distinguished and effective soldier and a specialist in Portuguese affairs, in 1809 he was sent to assist Wellington in the Peninsula. The Portuguese government, recognising the utter disorganization of their forces had requested an English general to effect a reform. The appointment was much coveted, but the choice fell upon Beresford, not so much on account of his parliamentary influence, which was great, as his thorough knowledge of the Portuguese language and his local knowledge of the country acquired in the last campaign. In February 1809 he was made a local lieutenant-general in Portugal in the British Army, though but a major-general of one year's standing, and a marshal in the Portuguese army, and landed at Lisbon on 2nd  March to begin his difficult task. Beresford distributed the British officers he had brought with him to a very few regiments, and, by steadily weeding out some three-fourths of the most inferior material into a militia, formed a small serviceable Portuguese army instead of a large unwieldy mass of men. He further perceived the fitness of the Portuguese for light troops, and by a process of selection formed the famous Caçadores, who proved themselves worthy to be brigaded with the famous Light Division. He died at his estate at Bedgebury, Kent aged 85. Possessed of great courage and physical strength, Beresford had the qualities which made an admirable officer, but not those which made a great general, and Wellington paid the greatest tribute to him when he declared that if he were removed by death or illness he would recommend Beresford to succeed him, not because he was a great general, but because he alone could ‘feed an army.’


Dawson Sedbergh.JPG (30553 bytes)W. W. Burney after Joseph Allen

Mr. Dawson of Sedbergh.

London, Colnaghi & Co 1809. Mezzotint. 530x400mm. Slight marginal foxing. 

Price: £185

A three quarter length portrait, paid for by his friends and pupils, of the surgeon and mathematician John Dawson of Sedbergh (1734-1820). He has a benevolent, aquiline face, and stands, wearing a dark suit, one hand holding his spectacles and the other pointing to an illustration in a large book, which is being pored over by one of his pupils. Born the son of a poor sheep farmer at Rangill farm in Garsdale, near Sedbergh in Yorkshire, he is popularly supposed to have taught himself mathematics while looking after his father’s sheep on the mountainside. He soon learnt enough to become an itinerant schoolmaster, and saved enough to enable him to take a course of medical instruction at Edinburgh, until the exhaustion of his funds compelled him to trudge home again. But the medical knowledge obtained at Edinburgh stood him in good stead, and his practice increased so largely that before long he had saved about £300. With this sum he went to London, partly on foot, partly in a wagon, and stayed long enough to obtain a diploma, and to make the personal acquaintance of several leading mathematicians. Having become a qualified member of the medical profession, he returned to Sedbergh as a surgeon and general practitioner. Before long he had an extensive and profitable practice in the neighbourhood. Meanwhile, however, his favourite study of mathematics was not neglected. It was said that he could solve a problem better in the saddle than at a desk. He kept abreast of the mathematical knowledge of the day, took part in various controversies, but always with modesty, and gradually acquired so great a reputation as a teacher that pupils flocked to him from all parts of England. His charge for instruction was only five shillings per week, for which sum he would teach for as many hours as his pupils would work. He continued to take pupils till the end of the summer of 1812, when enfeebled health and a failing memory compelled him to desist. He died 19th Sept. 1820, aged 86, and was buried in Sedbergh churchyard. Shortly afterwards a monument was erected to his memory on the south side of the central aisle of the church, at the expense of some of his pupils.



Hungarian Patriots.JPG (25757 bytes)A. Collette

Les Derniers  Soutiens de La Hongrie.

Paris, Goupil, Vibert & Co. c. 1852. Tinted lithograph. 460x570mm. Neat marginal repairs, some affecting title area. 

Price: £180

An interesting portrait of the leaders of the Hungarian revolution of March 1848.  In the centre is the handsome, romantic figure of the revolutionary hero Louis (Lajos) Kossuth (1802-94) resting his hand on a map of the Austro-Hungarian empire, while ranged about him are General Goergey, with the military officers Perczel, Bem, Dembinski and Aulich. Descended from a noble Calvinist family, Kossuth began his career within his father's legal practise, where he soon became popular by taking up the causes of the peasants. Through the influence of his patron Count Hunyady he was appointed to the National Council of Pressburg, at a time when Hungarians were beginning to press for reform against the stagnant Austrian government. It was forbidden to circulate reports of the Council's proceedings. However, Kossuth sent back accounts in his letters to Hunyady, which were so excellently written that they were circulated amongst liberal magnates and soon developed into an organised Parliamentary gazette, which the government quickly tried to suppress. Kossuth was arrested for high treason and imprisoned for four years. Upon release he immediately became the leader of the Hungarian revolt against the Austrian overlords, and in March 1848 (the Year of Revolutions) when news of the rebellion in Paris reached Budapest, Kossuth gave a speech of surpassing power demanding separate Parliamentary government for Hungary. In July 1848 war  broke out with Austria and Kossuth was appointed President of the Committee of National Defence from then on he became in effect dictator of Hungary. After initial military successes Russia intervened on behalf of the Austrians and all Hungarian resistance was quickly crushed. A solitary fugitive, Kossuth fled to Turkey where he was kindly treated and reunited with his wife and children. In September 1851 he embarked on an American warship landing firstly at Marseilles where he was not welcomed by the French government, and subsequently at Southampton where he was rapturously welcomed as a hero by the British. He toured both Britain and America (his statue stands in the Capitol as a champion of liberty) eloquently pleading the cause of his unhappy country and had much to do with engendering the strong anti-Russian and pro Turkish sentiments which 3 years later made the Crimean War possible.  Kossuth remained in exile refusing to compromise his principles despite an amnesty from the Austrians, and died in Turin in March 1894 and was subsequently given a state funeral in Budapest.


Beurnonville.JPG (53683 bytes)Pierre Charles Coqueret after Jean Baptiste Hilaire le Dru


Paris, Potrelle c. 1796. Mezzotint. 535x350mm. Trimmed to image and laid onto card, slight rubbing, traces of old fold, misc marginal repairs. 

Price: £220

A rare, full length portrait of Pierre Ruel, Comte and later Marquis de Beurnonville (1752-1821), Minister of War in the revolutionary regime, and later one of Napoleon’s generals. He stands looking out to the left, wearing military uniform, with braided cocked hat, tasselled sash and holding his sabre under his arm. In the background is a military camp, with an orderly holding his horse. A large map of a river system is pinned to a tree beside him. After service in the colonies, Beurnonville married a wealthy Creole lady, and returning to France purchased the post of lieutenant of the Swiss guard of the Comte de Provence. During the Revolution he was named lieutenant-general, and took an active part in the battles of Valmy and Jemmapes. Minister of War in February 1793, he denounced his old commander, Dumouriez, to the Convention, and was one of the four deputies sent to watch him. Betrayed to the Austrians on the 3rd of April 1793, Beurnonville was not exchanged until November 1795. He entered the service again, commanded the armies of the Sambre-et-Meuse and of the North, and was appointed Inspector of Infantry of the Army of England in 1798. In 1800 he was sent as Ambassador to Berlin, and in 1802 to Madrid. Napoleon subsequently made him a Senator and Count of the empire. In 1814, however, he abandoned Napoleon and was promptly made a member of the provisional government organized after the Emperor’s abdication. During the Hundred Days he followed Louis XVIII. to Ghent, and after the second restoration was made a Marquis and Marshal of France.


Pichegru.JPG (40178 bytes)Pierre Charles Coqueret after Jean Baptiste Hilaire le Dru


(Paris, c. 1796). Mezzotint. 530x360mm. Trimmed to image and laid onto card. 

Price: £250

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.


Thomas Cross

(Francis Roberts)

Vera Effigies Francisci Roberts in Artibus Magistri, Pastoris Ecclesiae apud Augustinian: London. London, 1651. Etching. 150x90mm. Trimmed to border and laid onto old album paper. 

Price: £65

A small contemporary portrait of the puritan divine and religious author Francis Roberts (1609-75). He sits half length, wearing religious dress and a small moustache and beard, holding a copy of his book A Communicant Instructed, to which this portrait was the frontispiece. He joined the Presbyterian party at the outbreak of the civil war, and took the covenant. In 1643 he was appointed to St. Augustine's, Watling Street and in 1649 was presented by his patron, Arthur Capel, first Earl of Essex to the living of Wrington, Somerset. He became a zealous partisan of the Somerset puritans, and was appointed in 1654 assistant to the commissioners to eject scandalous ministers. Essentially a pragmatist,  at the Restoration he conformed to the ceremonies, took the oaths and was allowed to keep his living. On the appointment of Lord Essex as lord-lieutenant of Ireland in 1673, Roberts became his first chaplain, and was created D.D. of Dublin. He died at Wrington in the end of 1675, and was buried near his wife, who predeceased him.


Charles I Prince of Wales.JPG (40013 bytes)Francis Delaram

(Charles 1st as Prince of Wales)

The Highe & Mightie Pr. Charles Pr. Of Wales. D. of Corn: Yor: Alb: & Roths: Marq. Of Orm. &c. London, 1616. Copper engraving. 190x125mm. 

Price: £85

An unusual portrait, enclosed in an oval, of Charles 1st (1600-49) as a young man aged 16. This view shows him wearing a broad, upstanding lace collar, elaborate doublet, fur trimmed coat, and hair waving back from his forehead. This portrait was probably executed to mark his creation as Prince of Wales (after the death of his elder brother Prince Henry in 1612) in November 1616. 


Peel Sir Robert.JPG (30465 bytes)William Dickinson after James Northcote

Sir Robert Peel Bart. M.P.. London, W. Dickinson & Messrs Colnaghi May 1st 1818. Mezzotint. 510x355mm. Trimmed to platemark. 


Price: £150

A three quarter length, seated portrait of the manufacturer and M.P. Sir Robert Peel, 1st baronet (1750-1830), father of the statesman Robert Peel 2nd baronet. An immensely plump, blunt faced, impressive figure, he sits in a carved armchair, one hand resting on a paper (probably his pamphlet entitled The National Debt productive of National Prosperity) on his desk, which covered by a turkey cloth. In the background, visible through an open window, is the park of his estate at Drayton Manor near Tamworth. 


Pembroke Earl of.jpg (45913 bytes)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. Mezzotint. 460x330mm. Trimmed to platemark. 

Price: £160

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. 


John Droeshout after W. S. (William Smith ?)

Vera et Accurata Effigies Richardi Eltoni Generosi Bristol. Nec Non Artis Militaris Magistri Ano. 1649.

London, 1650. Copper engraving. 240x135mm. Trimmed within platemark. 

Price: £85

A portrait of the military writer and parliamentary supporter Richard Elton of Bristol. He is enclosed in an oval, surrounded by military trophies supported by two entwined cannon, and wears armour and carries a baton. This portrait was engraved as a frontispiece for Elton’s military manual The Compleat Body of the Art Military, dedicated to Elton’s hero Sir Thomas Fairfax. Elton joined the militia of the city of London, and in 1649 had risen to the rank of major. In 1654 he was Parliamentary Deputy-Governor of Hull and two years later, rose to be Governor-General. He later retired to his home at Bristol. 


Astley.JPG (35342 bytes)Richard Earlom after Benjamin West 

Sir Edward Astley, Bart. Representative in Parliament for the County of Norfolk, and Grand [Master] of the most ancient and Honourable Order of Gregorians in Norwich, 1771. Taken from an original Painting in the Possession of that Society. (London, 1771). Mezzotint. 510x350mm. Traces of old folds, narrow margins, slight browning. 

Price: £180

A three quarter length, seated portrait of the handsome figure of Sir Edward Astley (1729-1802), 4th baronet of Melton Constable, Norfolk. He sits in a brocade chair, wearing a sword and his Order as Grand Master of the Gregorians, the fingers of one hand tucked into the buttons of his waistcoat and the other over the back of his chair. Another sword rests on a table at his right elbow and in the background is a draped curtain. He was High Sheriff of Norfolk from 1763 to 1764 and MP for Norfolk from 1768 to 1790. He considered himself an independent country gentleman but he sided with Rockingham against the Grafton and North administrations. He was returned unopposed in 1774 and opposed fighting the American War of Independence, in which three of his sons were engaged. He had a personal dislike for Lord North, enormous respect for Pitt and consistently supported parliamentary reform. In 1785 he proposed a tax on hairdressers, male milliners 'and all others who dealt in effeminate occupations'. His son the 5th baronet Sir Jacob Henry Astley won £2000 damages in 1802, over allegations that he had murdered his father. The Order of Gregorians or Bucks was the Norwich lodge of Freemasons.


Richard Earlom after Thomas Gainsborough

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

London, 1800. Mezzotint. 380x280mm. Repairs to left platemark and margin. 

Price: £180

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.


Dryden.JPG (46004 bytes)Gerard Edelinck after Sir Godfrey Kneller

Mr John Dryden. 

(Paris, c. 1700). Copper engraving with etching. 385x295mm. Trimmed within platemark. 

Price: £140

An important literary portrait. The poet John Dryden (1631-1700), sits half length, enclosed in an oval, directed to the right and glancing front over his shoulder. He wears a flowing satin robe and holds a crown of laurel in his hand (indicating his appointment as Poet Laureate in 1670). The painting by Kneller, now in the National Portrait Gallery, was executed in 1698, while Edelinck died in 1707, so it is likely that this portrait was issued to mark the poet’s death in 1700.  


Matthews Thomas The Hon.JPG (93440 bytes)John Faber

The Honourable Thomas Mathews Esqr. Rear-Admiral of Great Britain & Admiral of the White Squadron of His Majesties’ Fleet…taken on Board the Namur in Hieres Bay Jany. 1742/3.  

London, J. Faber 1744. Mezzotint. 350x250mm. Trimmed to border and laid onto old album paper, slight rubbing. 

Price: £75

An interesting three quarter length portrait of Admiral Thomas Mathews (1676-1751). He wears a heavily braided, velvet, uniform coat and waistcoat, carries a telescope in one hand, and rests the other on a cannon. In the background is a naval battle. After a distinguished naval career Mathews had intended to retire, and in 1724 returned to his family seat at Llandaff (now the palace of the Bishops of Llandaff), Wales. In 1741 war broke out with the Spanish, and at the age of sixty-six Mathews was promoted and recalled to service to command the Mediterranean Fleet. In February 1743 the Fleet was moored in Hyéres Bay when the French made an attempt to join up with their Spanish allies, in preparation for an invasion of England. Mathews went after the French but due the incompetence and illwill of his second in command, a Rear Admiral Lestock, and a confusion over orders, the English were defeated by the inferior Franco Spanish fleet. In 1746 Mathews was court-martialled and and dismissed the service, although it was admitted that he had fought bravely, and the debâcle at Hyéres was largely the fault of Lestock. He retired to Llandaff in disgust and died in Bloomsbury Square, London, in 1751. He is buried in St. George’s Bloomsbury. 



Victoria Young girl.JPG (63314 bytes)Edward Finden after Richard Westall 

Her Royal Highness The Princess Victoria. London, Hodgson, Boys & Graves April 1834. Mixed method engraving. 360x260mm. 


Price: £85

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. 



Bertin.JPG (41795 bytes)Robert Gaillard after Alexander Roslin 

Henri Leonard Jean Baptiste Bertin, Commandeur des Ordres du Roi Ministre et Secretaire d’Etat. 

Paris, c. 1790. Copper engraving. 490x350mm. Misc neat marginal repairs. 

Price: £100

An almost full length, seated portrait of the plump, smiling figure of Jean Baptiste Bertin (1720-92). He sits in his study in an elaborately gilded armchair, wearing court dress and sword, holding his hat in his hands. An embroidered coat lies over the arm of his chair. In the background is his desk. From a recently ennobled family, Bertin rose rapidly to become a member of the government formed by the Duc de Choiseul. He was soon called to court, becoming an intimate of King Louis XVand a favourite of Madame de Pompadour. Innovative and intellectually brilliant, he persuaded the King to sanction the foundation of several technological institutions, including schools of Mines, Veterinary Science, Agriculture &c. eventually becoming Superintendant of Finances. He retired in 1776. 


Gauci.JPG (23483 bytes)Maxim Gauci 

(Portrait of a gentleman).

(London), 182[6 ?]. Lithograph, printed on paper watermarked ‘Whatman Turkey Mill’. 380x250mm. Neat marginal repairs, slight dust staining. 

Price: £140

An interesting and decorative, full length portrait of a gentleman standing in his study. He holds a book with one hand while the other rests on his hip. In the background his parrot sits on its perch. Possibly a self portrait of Gauci (fl. 1810-46), he wears a neat frock coat, knee breeches, tall neckcloth and has a watchfob dangling at his waist. 


Andreossy.JPG (41795 bytes)Thomas Gaugain after Anthony Cardon

Gl. Andreossy. The Ambassador from France to His Britannic Majesty.

London, A. Cardon 1803. Stipple engraving. 330x240mm. 

Price: £160

A delicately executed, half length portrait, enclosed in an oval of  General Andréossy, Napoleon's Ambassador to Britain during the short lived Peace of Amiens 1802-3. Of Hungarian descent, he looks sternly out, wearing a military coat embroidered with oak leaves and a black cravat. The Peace had been principally used by Napoleon as an opportunity to regroup and reorganise his armies. During that time the British Ambassador to France had been Charles, 1st Earl Whitworth (1752-1825). Napoleon had roughly demanded the British evacuation of Malta as a price of lasting peace, a demand that Whitworth had been firmly instructed by Hawkesbury to refuse. On March 13th 1803 Napoleon had summoned the Ambassador to the Tuileries and subjected to him to a violent tirade after which Whitworth noted 'the extreme impropriety of his conduct and the total want of dignity as well as of decency on the occasion.’ The interview was not, however, a final one Whitworth was received by the First Consul once again on 4th April, when the corps diplomatique were kept waiting for an audience for four hours while Napoleon inspected knapsacks. On 1st May an indisposition prevented Whitworth from attending the reception at the Tuileries, on 12th May he demanded his passports, and on 18th May Britain declared war against France. Whitworth reached London on 20th May, having encountered the French Ambassador, Andréossy, three days earlier at Dover. Throughout the trying scenes with the First Consul, Whitworth's demeanour was generally admitted to have been marked by a dignity and an impassibilité worthy of the best traditions of aristocratic diplomacy.


Trapp J Gaywood.JPG (47585 bytes)Richard Gaywood 

(Portrait of the Rev. John Trapp)

Vera Effigies Johanis Trapp: A.M. Ætat Suae 53 1654. London, 1654. Etching. 210x135mm. Trimmed on platemark, slight old glue and grease staining in margins.

Price:  £120

A rare early portrait, enclosed in an oval, of the divine and schoolmaster John Trapp (1601-69). He is seated, wearing a plain, dark doublet and cloak, turning the pages of a book. In 1622 he was made usher of the free school of Stratford-upon-Avon by the corporation of the town, and succeeded to the headmastership in 1624. On the breaking out of the civil war Trapp sided with the parliament and took the covenant in 1643. He suffered much at the hands of royalist soldiers at his parish of Weston, and acted as chaplain to the parliamentary soldiers in the garrison at Stratford for two years. In 1646 the assembly of divines gave him the rectory of Welford in Gloucestershire and Warwickshire, where he encountered difficulty in obtaining the tithes due to him through the opposition of the ejected royalist divine, Dr. Bowen. Although unable to obtain tithes through Bowen’s opposition, Trapp retained possession of the rectory of Welford until the Restoration in 1660, when Dr. Bowen was reinstated. Trapp died on 16th Oct. 1669, and was buried in the church at Weston-on-Avon, by the side of his wife. A prolific religious author, Trapp inspired much affection amongst his friends and parishioners, inspiring the verses inscribed beneath this portrait:

One of this Ages Greatest little men,

Great in his Good Workes, witnesse his golden Pen,

His Pen has drawn his Learned Head in part,

His Holy Life proclaims a Gracious Heart,

Should any mee consult how he might rise

Unto Compleatnesse, I would sat, TRAPPIZE.


Fabricius 1.JPG (42262 bytes)Richard Gaywood (after Claude Mellan) 

Nicolaus Claudius Fabricius de Peireso Senator Aqvensis. London, 1656. Etching. 145x95mm. 


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. 


Kennedy Polly.JPG (51142 bytes)Valentine Green after Edmund Francis Cunningham (pseud Calze) y

(Polly Kennedy, alias Jones).

London, Boydell May 1st 1771. Mezzotint, scratch proof before title. 410x300mm. Trimmed within bottom platemark, laid onto card. 

Price: £280

A fine, sparkling, early impression. A very decorative three quarter length, seated portrait of the courtesan Polly Kennedy, also sometimes called Polly Jones (d. 1781). She wears a high, elaborately ruffled lace cap, pearl necklace and bracelets, fur trimmed dress with gauze scarf around her shoulders, lace sleeves and loose dress embroidered with flowers. She has a small spaniel on her lap and leans her elbow on a table on which stands a tall vase of flowers. Beautiful and high spirited, Polly became the mistress of the Suffolk magnate, and racehorse owner Sir Charles Bunbury. Bunbury had divorced his wife Lady Sarah Lennox (daughter of the Duke of Richmomd) in 1776 after she eloped in 1769.


Bertoli JJ Haid.JPG (49448 bytes)Johann Jacob Haid after Martin de Meitens

(Anton Daniel Bertoli).

Augsburg, c. 1743. Mezzotint. 360x270mm. 

Price: £150

A fine, rare, beautifully detailed, three quarter length portrait of the Venetian watercolour painter and drawing master Anton Daniel Bertoli. He wears a very elaborately embroidered coat, holding a portfolio of drawings on his knee, with his greyhound at his side. In the background is the base of a column carved with classical bas reliefs, with a view of Trajan’s Column and a church tower in the background. He became Controller of the Emperor’s art collection in Vienna and a drawing master to the Empress Maria Theresa. 


(Eduard) Hammann 

v. Gluck. Berlin, W. Zawitz c. 1860. Lithograph by J. Druck & J. Hesse. 395x270mm. 

Price: £160

A late, full length portrait of the composer Christoph Willibald Gluck (1714-87). He stands in an elegant salon, wearing a dressing gown over his waistcoat and breeches, resting his hand on a desk covered with music manuscripts. His father was a forester fromthe Upper Palatinate (now the western extreme of Czechoslovakia), and Czech was his native tongue. At about 14 he left home to study in Prague, where he worked as an organist. He soon moved to Vienna and then to Milan, where his first opera was given in 1741. Others followed, elsewhere in Italy and during 1745-6 in London, where he discovered Handel's music. After further travel he settled in Vienna in 1752 as Konzertmeister of the Prince of Saxe-Hildburghausen's orchestra, then as Kapellmeister. He also became involved in performances at the court theatre of French opéras comiques, as arranger and composer, and he wrote Italian dramatic works for court entertainments. His friends tried, at first unsuccessfully, to procure a court post for him; but by 1759 he had a salaried position at the court theatre and soon after was granted a royal pension. In 1774 he gave Iphigénie en Aulide. Iphigénie en Tauride followed in 1776, and in 1779 - his greatest success, along with his greatest failure, Echo et Narcisse. He now acknowledged that his career was over; he revised Iphigénie en Tauride for German performance, and composed some songs, but abandoned plans for a journey to London to give his operas and died in autumn 1787, widely recognized as the doyen of Viennese composers and the man who had carried through important reforms to the art of opera.


Albert Prince Hofstaengl best.JPG (60985 bytes)Franz Hanfstaengl 

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

(London), 1840. Lithograph, printed on india paper. 470x345mm. Slight overall browning & dust staining. 

Price: £140

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.


Sddons Best.JPG (60392 bytes)Francis Haward after Sir Joshua Reynolds. 

(Mrs Siddons as the Tragic Muse).(London, c. 1785). Stipple engraving. 570x420mm. Trimmed to border and within title, slightly worn impression.


Price:  £180

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. 



Charles Howard Hodges after Sir Joshua Reynolds. 

Henry Hope, Esqr. of Amsterdam. London, John & Josiah Boydell Jan. 1st 1788. Mezzotint, open letter proof. 405x285mm. Slight browning and dust staining overall. Collector's stamp on verso.  



Price: £220

A rare, three quarter length portrait of Henry Hope, one of the family of  wealthy Amsterdam merchants founded by Henry Hope 1st, brother of Sir Thomas Hope of Kerse (d. 1646) Lord Advocate. His brother John Hope was an intimate friend of the Prince of Orange, whom he powerfully aided. Hope built a magnificent country house near Haarlem, at a cost of £50,000 and used  it to house his collection of rare pictures. The Prince of Orange was a frequent guest. Many members of the Hope family migrated to England after Napoleon's conquest, settling at Deepdene, Surrey. In 1788 (the year of publication of this engraving) the mezzotint engraver Charles Howard Hodges (1764-1837), being in financial difficulties, accompanied William  Humphreys, the print-dealer, to Amsterdam. He subsequently stayed for many years acting as an agent for the export of prints, copperplates, especially rare portraits, to England. He did not settle there at once, as he continued to publish engravings in England, but by 1794, however, he was settled in Amsterdam, and spent the remainder of his life there or at The  Hague. He devoted most of his time in Holland developing a successful practise portrait-painting in cray on.


Thomas Hodgetts after Sir William Beechey 

Rear Admiral Sir John Poo Beresford Bart. M.P. (London, c. 1815). Mezzotint. 305x230mm. Trimmed to image, slight scratch in sky. 

Price: £85

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. 


Lynedoch Lord.JPG (126867 bytes)Thomas Hodgetts after Sir Thomas Lawrence.

Thomas Lord Lynedoch. General in His Majesty’s Service, Colonel of the 14th Regiment of Foot; Grand Cross of the Military Order of the Bath. (London, c. 1826). Mezzotint, open letter proof. 690x410mm. Narrow margins, trimmed within bottom platemark. 

Price: £130

A fine, full length portrait of Thomas Graham, Lord Lynedoch (1748-1843). He stands wearing military uniform and spurred hessian boots, his sabre resting in his arms. In the background is a burning Spanish town. Agriculturist and soldier. Aide de Camp to Sir John Moore at Corunna and subsequently a highly competent and popular officer, he fought throughout the Peninsula Campaign, returning home to Perthshire at the peace. On 3rd  May 1814 he received the thanks of Parliament, and was created Baron Lynedoch of Balgowan in the peerage of the United Kingdom, but refused the pension of £2,000 a year offered with the title. He became a full general in 1821, was transferred to the colonelcy of the 58th foot in 1823, to the 14th foot in 1826, and to the 1st royals (now Royal Scots) in 1834. He succeeded Lord Harris as governor of Dumbarton Castle in 1829 and is chiefly famous for founding the United Services Club in Pall Mall.


Steevens George FRS.JPG (34287 bytes)Thomas Hodgetts after Johann Zoffany . 

George Steevens Esqr. F.R.S. &c. &c.

(London, c. 1825). Mezzotint with line engraved title area. 230x160mm. Trimmed within platemark and laid onto old album paper. 

Price: £65

A half length portrait, enclosed in an oval, of the literary historian, commentator on Shakespeare and collector of Hogarth’s plates George Steevens (1736-1800). He is depicted as a young man, wearing a dark overcoat, turned to the left and facing front. Born in Poplar, east London, the son of an East Indiaman captain, Steevens soon emigrated to Hampstead, where his cousin kept house for him. At his Hampstead residence he brought together a valuable library, mainly consisting of Elizabethan literature, and a fine collection of the engravings of Hogarth. ‘Mr. Steevens,’ wrote Malone to Lord Charlemont on 18 June 1781, ‘has gone so far as not only to collect a complete set of the first and best impressions of all his [i.e. Hogarth's] plates, but also the last and worst of the retouched ones, by way of contrast, to show at the same time all the varieties, and to set the value of the former in a more conspicuous light’ In June 1781 he ‘ransacked’ Mrs. Hogarth's house for obsolete and unfinished plates, and in the same year he made contributions to Nichols's Biographical Anecdotes of Mr. Hogarth, and his accumulated notes on the subject were incorporated after his death in The Genuine Works of Hogarth (1808-17). However, Steevens's most important work was the systematic study and annotation of Shakespeare. His earliest labours were a careful reprint of twenty of the quarto editions of Shakespeare's plays, many of which he borrowed for the purpose from Garrick's library. Steevens inaccurately claimed that this reprint, which appeared in four octavo volumes in 1766 and included the sonnets, dealt with ‘the whole number’ of Shakespeare's plays ‘printed in quarto in his lifetime.’ Steevens died unmarried at his house at Hampstead on 22 Jan. 1800, and was buried in the chapel at Poplar, beside other members of his family. A fine monument by Flaxman, with full-length portrait in bas-relief, still stands in the north aisle. The inscription describes Steevens as having cheerfully employed a considerable portion of his life and fortune in the illustration of Shakespeare. His collection of Hogarth plates was left to the statesman William Windham, and now forms the nucleus of the Lewis Collection at Yale University. 


Richard III Hollar.JPG (54079 bytes)(Wencelaus Hollar)

Richard the 3th King of England and France, Lord of Ireland. (London, T. Paine & M. Simmons 1641). Etching, on paper watermarked with a goblet. 104x65mm. Trimmed within platemark and laid onto ruled paper, neatly repaired loss to bottom right corner of title area. 

Price: £130

A rare, delicately executed, half length portrait of the usurper King Richard III (1452-85). He gazes out with a pensive expression, facing slightly to the right, wearing a soft velvet hat with a large jewel, a coat with ermine lined lapels and heavy chain. Hollar etched this portrait as the frontispiece to the second part of Sir Thomas More’s famous The Tragicall Historie of the Life and Reigne of Richard the Third, completed by William Sheares from Hall’s Chronicle of 1548. 


Jakob Houbraken after Constantine Netscher

Johan de Witt Raed-Pensionaris en Groot Zegel Bewaerder van Hollandt ende West Vrieslandt. Ætatis Suæ XLV.

Amsterdam, H. Scheurleer c. 1675. Etching. 210x165mm. Trimmed to image and laid onto card.

Price:  £65

A half length, early portrait of Johann de Witt (fl. 1653-72), of the ancient burgher-regent family of his native town of Dordrecht. He has an immense hooked nose, and stands holding the Dutch Great Seal, in the chamber of the Dutch parliament. One of the foremost European statesmen of the 17th century who as councillor pensionary (leading minister) of Holland, guided the United Provinces in the First and Second Anglo-Dutch wars (1652–54, 1665–67) and consolidated the nation's naval and commercial power during the minority of William Prince of Orange. Sadly, de Witt and his brother were brutally murdered at the Hague, in the disaster year of 1672 (in which the country suffered floods, hurricanes and the destruction of Utrecht) while French, German and English troops invaded the Netherlands.


Barrington Mrs.JPG (36692 bytes)Richard Houston after Sir Joshua Reynolds

The Honble. Mrs Barrington.

London, R. Houston 1758. Mezzotint. 330x230mm. Slightly worn impression. 

Price: £140

The beautiful Elizabeth Barrington (née Vassall), wife of John Barrington, sits, three quarter length, leaning her head in her hand and enclosed in an oval. She wears an ermine trimmed robe over a quasi oriental dress, a pearl brooch and small, pearl trimmed turban. A noted beauty, sadly she died young in 1764. 


Elizabeth 1.JPG (28396 bytes)Richard Houston

Elisabetha D.G. Angliae, Franciae & Hiberniae, Regina, &c. London, E. Bakewell & H. Parker c. 1760. Mezzotint. 200x265mm. 


Price: £130

A handsome half length portrait of Queen Elizabeth 1st. She wears an elaborately embroidered chequered dress, her usual large ruff and carries her sceptre and orb, with a small coronet on her jewelled wig. 



Richard Houston after Sir Joshua Reynolds. 

William Kingsley Esqr. Major General of his Majesty's Forces, Colonel of the 20 Regiment of Foot, and Governor of Fort William in North Britain. London, R. Houston, T. Jefferys & Robert Sayer 1760. Mezzotint. 390x275mm. Minor defect top right.

Price: £140

A fine, half length portrait, enclosed in an oval of Lieutenant Colonel William Kingsley (1698-1769). He has a square, handsome face, and wears a military uniform coat over a steel cuirass. He was a direct descendant of William Kingsley, Archdeacon of Canterbury (d. 1647), from whom Charles Kingsley the novelist also traced his descent. He was aide-de-camp to his colonel, Lord Dunmore, at Dettingen, and was present with the 1st battalion of his regiment at the battle of Fontenoy, where a cannon-ball passed between his legs and killed four men behind him, on 11th May 1745. When the collected Grenadier companies of the several regiments of guards marched from London for the north to quell the Jacobite Rebellion in the following December (depicted in the ‘March to Finchley’ by Hogarth), he was one of the officers sent ahead into Northamptonshire by the Duke of Cumberland to obtain information of the enemy's movements. On 22nd May 1756 Kingsley was made colonel of the 20th Foot. James Wolfe (later hero of Quebec), then lieutenant-colonel of the regiment at Devizes, wrote of him: ‘Our new colonel is a sensible man, and very sociable and polite’. Kingsley was with his regiment in the Rochefort expedition of 1757, and afterwards went to Germany as major-general. He greatly distinguished himself at the battle of Minden on 1st Aug. 1759, at the head of a brigade which was very prominently engaged. ‘Kingsley's Grenadiers,’ as the 20th was popularly called, is said to have fought among some rose-gardens or hedges, a circumstance still commemorated by the regimental custom of wearing ‘Minden roses’ in the caps on each anniversary of the day. Known as an outspoken, independent Englishman, he was extremely popular with his soldiers, and an active Freemason. He was over seventy years of age and unmarried at the time of his death at Kingsley House, Maidstone, on 9th Oct. 1769. He is buried in the family vault at Kennington Ashford, Kent.


Barings.JPG (41462 bytes)Edward M. James after Sir Thomas Lawrence

The Baring Family

London, c. 1840. Steel mezzotint. 300x380mm. Trimmed on top platemark, publication line partially obliterated, slight marginal dust staining. 

Price: £75

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.


Paine Thomas.JPG (65470 bytes)A. Krause 

Thomas Paine. 

Leipzig Druck v. Zehl  c. 1840. Steel engraving. 390x320mm. Neatly repaired damage to right side of plate, affecting engraved surface, slight marginal dust staining. 

Price: £75

A half length portrait, enclosed in an oval within a line engraved border of the Quaker, native of Thetford in Norfolk, radical and author of the Rights of Man Thomas Paine (1737-1809). He wears a dark coat, braid trimmed waistcoat and in the background is his manuscripts of the Rights of Man and Common Sense. 


Kemble Fanny T. Lawrence.JPG (51828 bytes)After Sir Thomas Lawrence 

Miss Fanny Kemble.

(London, c. 1829). Lithograph, printed on india paper. 460x310mm. Neat marginal repair, slight dust and fingerprint staining. 

Price: £120

Printed dedication: ‘To Mrs Charles Kemble with Sir Thomas Lawrence’s respects’.

A three quarter length, seated portrait of the actress Fanny Kemble (1809-93). She sits looking front, smiling soulfully, wearing a lowcut dress, with balloon sleeves and dark hair dressed high. Fanny Kemble, the daughter of the actors Charles and Marie Kemble, was born in London on 27th November, 1809. She made her first appearance on the stage when she appeared as Juliet in her father's production of Romeo and Juliet on 5th October, 1829. Fanny was a great success and this role was followed by several others in her father's Covent Garden Theatre. The theatre was £13,000 in debt when Kemble started her career as an actress but she was so popular than within a short period it was back in profit. Fanny had a sparkling personality and she soon had several elderly admirers including Sidney Smith, Thomas Macaulay and George Stephenson, who invited her to the opening of the Liverpool and Manchester Railway. In 1833 Fanny Kemble toured America with her father. While in New York she met and married Pierce Butler, a southern planter. Fanny gave up acting for a while but after their divorce in 1848 she returned to the stage. Resuming her maiden name she subsequently retired for twenty years to Lennox, Massachusetts, reappearing in 1868 as a reader at Steinway Hall, New York. In 1873 she resided near Philadelphia, and in 1877-8 returned to England, dying at 86 Gloucester Place, London, the residence of her son-in-law, the Rev. Canon Leigh, on 15 Jan. 1893; she was buried at Kensal Green Cemetery.


Erskine Lady.JPG (78227 bytes)J. Johnson after Allan Ramsay. 

Lady Erskine.

(London, c. 1767). Mezzotint. 350x250mm. Slight rubbing and dust staining,traces of old folds. 

Price: £75

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.


Burgess Ynyr.JPG (62235 bytes)John Jones after George Romney

Ynyr Burges Esqr.

(London, J. Jones c. 1790). Mezzotint. 480x350mm. Trimmed to border and slightly within top engraved surface, neat repairs affecting edges of engraved surface. 

Price: £120

A rare and interesting portrait, commissioned by Burges’ friend Turner Canac of Green Mount Lodge, Ireland. The handsome and smiling figure of Ynyr Burges (d. 1792) sits three quarter length, in a brocade armchair by an open window. He wears a dark suit over a tightly buttoned waistcoat, neat wig, and is holding a paper in one hand. The Paymaster of Seamen’s wages for the East India Company, he was also involved with the introduction of copper coinage. From an Irish family of Parkanaur House, Castlecaulfield, Co. Tyrone, he settled in England at East Ham in East London. After his death without heirs, his property passed to John Ynyr Burges of Parkanaur, the grandson of his younger brother.


c McArdell Fitzpatrick.JPG (39614 bytes)James McArdell after Andrea Soldi 

The Honourable Susanna Fitzpatrick.

(London, c. 1760). Mezzotint. 320x230mm. Trimmed to border. 

Price: £150

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.  


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. 400x255mm. Trimmed within platemark, slight spotting. 

Price: £140

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. 


Oliver Isaac JS Muller.JPG (114688 bytes)Johann Sebastian Müller pseud John Miller 

Isaac Oliver.

(London, c. 1790). Copper engraving. 185x140mm. 

Price: £55

A small, half length, delicately executed portrait, enclosed in an oval, of the handsome French miniaturist Isaac Oliver (1565-1617). He wears an elaborately embroidered doublet, large ruff and has one hand on his hip. A Huguenot refugee from France, Isaac Oliver came to England with his family when he was a child. His miniature painting is distinguished from that of Nicholas Hilliard by softer modelling and a much greater use of shadows. Oliver was not, it seems, favoured by Elizabeth I but after her death he was appointed miniaturist to Anne of Denmark, and later to Henry, Prince of Wales, James 1st’s elder son. The magnificent miniature (now in the National Portrait Gallery), from which this engraving has been taken is one of two self-portraits by Oliver. The painting once belonged to Horace Walpole, who said of it, 'The art of the master and the imitation of nature are so great in it that the largest magnifying-glass only calls out new beauties'. 


Chesom Mrs.JPG (27746 bytes)William Pether after Stephen Elmer

(Mrs. Chelsum)

(London, c. 1795). Etching on laid paper. 350x255mm. 

Price: £150

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. 


Curzon Viscount.JPG (37560 bytes)Charles Picart after Henry Edridge 

Viscount Curzon. Aged 84. 

(London), Feb. 13th 1813. Stipple engraving. 490x390mm. Misc neat marginal repairs. 

Price: £140

A full length portrait of Pen Assheton Curzon (1729-1820), created 1st Viscount Curzon. He stands, hat in hand, wearing a frock coat, knee breeches and waistcoat in the grounds of his country estate at Hagley in Staffordshire, with a distant view of the house on a wooded knoll in the background. He married Sophia Charlotte, daughter of the gallant Admiral Howe, who died in 1799. Upon his Howe’s death his Earldom became extinct but the Barony of Howe descended to his daughter and was in turn inherited by their son and heir, Richard William Pen Asheton Curzon, created Earl Howe in 1821 soon after the death of his father.   


Buckingham & Chandos Duke of.JPG (30176 bytes)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. 500x360mm. 

Price: £85

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.


Fox Charles James.JPG (36850 bytes)Samuel William Reynolds after John Raphael Smith 

The Right Honble. Charles James Fox.

(London, c. 1806). Stipple engraving, within line engraved border. 390x290mm. Narrow margins. 

Price: £140

A full length, seated portrait of the Whig statesman Charles James Fox (1749-1806). He sits comfortably in an empire style armchair, pushed back from his desk, with one hand in his lap and the other holding his spectacles and resting on his desk. Books and a writing set are on his desk and scrolls of paper and a large book are on the floor. A vista of parkland is visible through the open window. Probably published to mark his death from dropsy at the age of 58 in September 1806. he is buried in Westminster Abbey.


Samuel William Reynolds after John Hoppner

George John, Earl Spencer.  

London, R. Cribb March 1st 1802. Mezzotint, open letter proof. 360x250mm. 

Price: £85

A half length portrait of George John Spencer (1758-1834), 2nd Earl Spencer and brother of Georgiana the beautiful Duchess of Devonshire. he wears a high collared coat, neat wig and Garter Star. On 23rd  Oct. 1783 he succeeded his father as Earl Spencer. On the break up of the Whig party after the execution of the French king and the declaration of war between France and England, he became an admirer of Pitt, and on 11 June 1794 he was nominated a privy councillor and lord keeper of the privy seal. A few days later he was sent to Vienna as ambassador extraordinary, and on his return was appointed on 17th  Dec. 1794, First Lord of the Admiralty. This office he held for upwards of six years, and it was under his rule that the battles of St. Vincent and Camperdown were fought and won; that the mutiny of Spithead, the outcome of years of neglect, was happily ended; that the treasonable revolt at the Nore was suppressed; and it was still more directly by him that Nelson was singled out for independent command and sent into the Mediterranean to win the battle of the Nile. His famous library was bought in 1892 by Mrs. Rylands, and was removed to Manchester to form a memorial of her husband, and called the ‘John Rylands Library’. Spencer died at Althorp on 10th  Nov. 1834.


Coffee Ridinger.JPG (30682 bytes)Johann Elias Ridinger 

Die hize lochendes heises..... &c. 

Augsburg, c. 1750. Mezzotint. 480x350mm. Slight overall browning, wormholes in margin. 

Price: £380

An exceedingly rare, large mezzotint on the pleasures and benefits of drinking coffee. A portrait of a gentleman seated in a carved armchair, wearing a fur trimmed dressing gown and cap, holding a delicately decorated, oriental porcelain cup of steaming coffee in his left hand. On the mantelshelf behind him are an interesting row of porcelain cannisters and jars. 


Thomas George H Maj Gen U.s.a.JPG (29676 bytes)Max Rosenthal 

(Major General George H. Thomas).

(Philadephia), 1894. Mezzotint, printed on india paper. 440x335mm. 

Price: £150

A fine, three quarter length portrait of the hero of the American Civil War Major General George H. Thomas (1816-70). He stands wearing military uniform, his sabre at his belt, with his right hand tucked into the breast of his coat. In the background is a dark landscape. A graduate of the U.S. Military Academy, West Point, NY in 1840, George H. Thomas served in the Mexican War (1846-48) and as an artillery and cavalry instructor at West Point. Despite his Southern birth he remained loyal to the Union when the Civil War broke out. In command of an independent force in eastern Kentucky, Thomas defeated the Confederates under Crittenden on 19 Jan. 1862 at Mill Springs and gained the first important Union victory in the war, thus undermining the entire western defense of the Confederate General Albert Sydney Johnston. Thomas then served under General Don Carlos Buell and arrived too late at Shiloh in order to participate in the second day of the battle. After the battle Halleck put Thomas in command of Grant's Army of the Tennessee while Grant was apparently sidelined as second in command under Halleck with no responsibility. Later, when politically motivated complaints against Buell's lack of initiative against Bragg become more and more strident, Thomas was offered but refused the chief command. At the battle of Perryville his 14th  corps was not engaged. Bragg was forced to withdraw into East Tennessee, but Buell was faulted for lack of pursuit, and he was replaced by William S. Rosecrans. Under  Rosecrans Thomas was instrumental in holding the center with his artillery at Murfreeboro (Stones River), Tenn. on 31 Dec. 1862 and 2 Jan. 1863. Thomas was in charge of the most important part of the maneuvering during the Tullahoma Campaign on 22-29 June 1863 and the entry into Chattanooga, Tenn. (8 Sept. 1863). On 19-20 Sept. 1863, after two days of battle along Chickamauga Creek in Georgia 12 miles south of Chattanooga, General Thomas steadfastly organized Union defenses after the collapse of the Union right wing and withstood all afternoon long violent attacks on the left wing by the entire Confederate army until the arrival of reserve units under Granger allowed an orderly withdrawal of Union troops back to Chattanooga. For this action Thomas was called the "Rock of Chickamauga" and later promoted to brigadier general of the regular army (maintaining his rank of major general of the volunteers). Thomas succeeded Rosecrans in command of the Army of the Cumberland on 19th Oct. 1863. Thomas and his Army of the Cumberland played the determining role in the great victory at Chattanooga on 23-25 Nov. 1863. This battle opened the door to the deep South and made possible the subsequent capture of Atlanta on 2nd Sept. 1864 which helped assure Lincoln's re-election. Before Sherman's march to the sea in the autumn of 1864, Thomas was ordered back to Nashville to deal with the threat to Union communications by the Confederate forces of General John B. Hood. Thomas had achieved his objective by Christmas, checking the enemy army at Franklin, Tenn. on 30 Nov. 1864, and finally at Nashville, Tenn. on 15th -16th  Dec. 1864. At that historic battle, Thomas inflicted on Hood the worst defeat sustained in the open field on either side during the war. Thomas then directed the forces which captured Selma and pursued and captured Jefferson Davis on10th May 1865. Thomas was made a major general of the regular army and received the thanks of Congress. Toward the end of the war and afterward Thomas was the military governor in charge of Kentucky, Tennessee, Mississippi, Alabama, and Georgia. Thomas wholeheartedly supported the reconstruction policies of Lincoln and Johnson and is recognized as being the most effective of all of the military governors. In 1869 Thomas accepted the onerous command of the Division of the Pacific with headquarters at San Francisco although his health had begun to deteriorate. He complicated matters greatly for future biographers by destroying all of his personal papers, saying: "All that I did for my government are matters of history, but my private life is my own and I will not have it hawked about for the amusement of the curious." He died at the age of 54 in his office in San Francisco.


Washington Martha.JPG (29016 bytes)John Sartain after Gilbert Stuart

Martha Washington. (Philadelphia), 1865. Mixed method mezzotint, printed on india paper. 350x300mm. Misc marginal repairs, some affecting platemark, slight dust staining. 

Price: £140

A very famous bust portrait of the first First Lady, enclosed in an oval. Martha Dandridge Washington (1731-1802), is directed slightly to the left, looking staright out and wears a ruffled lace cap and gauze scarf and dark dress. Martha Dandridge Washington (1731-1802) grew up on a large plantation in Virginia. At 18 she married a prosperous planter named Daniel Parke Custis. Seven years after their marriage Custis died, leaving Martha a wealthy young widow with two small children. Martha Custis first met Colonel George Washington a year after her husband's death. They were married in 1759 and settled down at Mount Vernon, Washington's plantation. 

During the war years Lady Washington, as she was called, did not spare herself. She joined her husband at winter headquarters every year for eight winters. She did everything she could to encourage and help the tattered soldiers. Although she always remained cheerful and happy, Mrs. Washington felt she led an extremely dull life in New York City. She was more content when the capital moved to Philadelphia in 1790. They spent the balance of the President's first term and his second term in Philadelphia. In 1797 they returned to Mount Vernon, where they spent their final years. The artist Gilbert Stuart (1755-1828), was commissioned to paint this portrait opf the First Lady and one of the President in 1796. Now in the Presidential Collection, they are called the "Athenaeum portraits" because they were owned by the Boston Athenaeum for more than 150 years.


PrinceEdward.JPG (45093 bytes)William Skelton after Sir William Beechey. 

His Royal Highness Prince Edward, Duke of Kent and Strathearn, Earl of Dublin, Field Marshal of His Majesty’s Forces, K.G. G.C.B. K.S.P. Governor of Gibraltar and Colonel of the 1st or the Royal Scots regiment or Foot, &c. &c. &c. 

London, W. Skelton Nov. 1st 1815. Copper engraving. 500x390mm. Trimmed on platemark. 

Price: £75

A half length portrait of Prince Edward Augustus Duke of Kent (1767-1820), fourth son of George III and father of Queen Victoria. he stands against a stormy sky, wearing military unifrom and his Garter Star. After a somewhat disastrous military career, in 1818 the Duke married, for reasons of state, Victoria Mary Louisa widow of Emich Charles, Prince of Leiningen. Returning with his bride to the continent, he lived with her at her palace of Amorbach, Leiningen, until the spring of 1819, when he brought her to England for her confinement. After the birth of the child (Queen Victoria) on 24th  May, at Kensington Palace, he took the Duchess and the Princess to Sidmouth, Devonshire, and applied to parliament for authority to dispose of his house at Ealing by lottery, for the benefit of his creditors. The petition was refused, and the Duke had made up his mind to return to Amorbach, when he died suddenly of inflammation of the lungs at Sidmouth on 23rd Jan. 1820. During his illness he was attended with the utmost devotion by the Duchess, to whom he left his entire property. He was buried in St. George's Chapel, Windsor, on 11th Feb.


Clayton Mezzo.JPG (58175 bytes)John Smith after John Riley

The Right Honble. Rob. Clayton Kt. Lord Mayor of ye City of London 1680.

London, c. 1685. Mezzotint. 410x290mm. Neat marginal repairs, some affecting engraved surface. 

Price: £140

A rare portrait of Alderman Sir Robert Clayton (1629-1707). He is depicted half length, enclosed in an oval frame which is decorated with medallions of the City’s Coat of Arms and his own. Beneath is the crossed Mace and Sword of the City of London, topped with an upturned fur cap. Clayton wears his Alderman’s robes and the Lord Mayor’s Chain of office. A member of the Scriveners Guild, Clayton became an Alderman in 1670 and Lord Mayor in 1679-80.  


John Smith after Johann Closterman 

Thomas Maxwell Esqr. Major General of the Army, and Commander of the Dragoons in Ireland &c. London, c. 1690. Mezzotint. 340x240mm. Traces of old fold, small repaired hole. 

Price: £120

A three quarter length portrait of the Catholic General Thomas Maxwell (d. 1693). He carries a baton and wears an immense blond periwig, lace cravat, full armour, with his helmet resting on a wall beside him. An adherent of King James II, after the King’s flight he retired to Ireland, becoming a friend of the Earl of Tyrconnel and fighting for James during the King’s abortive attempt to regain his throne, culminating in the defeat at the Battle of the Boyne in 1690. He married Jane Bickerton, mistress and second wife of Henry Howard 6th Duke of Norfolk (1628-84).  


John Smith after Sir Godfrey Kneller. The Rt. Honble. Lady Elizabeth Cromwell. London, J. Smith c. 1695. Mezzotint 350x250mm. Faint stain affecting title area. 


Price: £130

A charming half length portrait, enclosed in an oval of the beautiful Lady Elizabeth Cromwell (1674-1709). She faces front, looking slightly to the right, wearing a loose flowing robe and long tresses of hair over her left shoulder. Descended from Thomas Cromwell, chief secretary to Henry VIII, she was the only child and considerable heiress of Vere Essex Cromwell, 7th Baron Cromwell and later 4th Earl of Ardglass. In 1703 she married the politician Edward Southwell, by whom she had three children, dying in childbed in 1709. .


John Smith after Sir Godfrey Kneller.

The Countess of Salisbury. 

(London, J. Smith 1699). Mezzotint. 340x245mm. 

Price: £120

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.  


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



Very slight overall browning



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.


Parisot Madame.JPG (31639 bytes)Charles Turner after John James Masquerier 

Mademoiselle Parisot.

London, C. Turner Jan. 17th 1799. Stipple engraving. 300x200mm. Trimmed within side platemarks, slight old fingerprint staining. 

Price: £250

A charming, semi erotic, full length portrait of the beautiful Mademoiselle Celine Parisot, celebrated principal dancer in the London romantic ballet. She dances across the stage, one breast daringly exposed, wearing a diaphanous gauzy robe, and waving a garland of flowers above her head. In the background the stage set is an arcadian landscape.   


Fletcher.JPG (38946 bytes)George Vertue 

Joannes Fletcher. Episcopi Lond. Fili. 

London, 1729. Copper engraving. 365x235mm. Trimmed on platemark. 

Price: £120

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. 


Whiston William.JPG (53613 bytes)George Vertue 

The Rev. William Whiston M.A. sometime Professor of the Mathematicks in ye University of Cambridge. London, c. 1720. Copper engraving. 355x250mm. Trimmed to platemark. 

Price: £140

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.


Cromwell.JPG (47274 bytes)After Robert Walker 

Oliver Cromwell Lord Protector. (London, c. 1800). Copper engraving, printed on vellum. Slight dust staining in margins. 180x135mm. 


Price: £75

A small interesting engraved, three quarter length portrait, after the famous painting (executed c. 1649) by Robert Walker in the National Portrait Gallery, unusually printed on vellum.This view shows the great Lord Protector (1599-1658), wearing armour and carrying a baton, with a page adjusting his sash.


Grenville George.JPG (48039 bytes)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. Mezzotint. 350x250mm. Printing smudge and collector's mark in title area.

Price: £140

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.


Brown John .JPG (33043 bytes)Robert White 

John Brown, Surgeon to King Charles II)

Vera Effigies Joannis Brown, Ragis Majestati Chirurg. Ordinar. Ætatis suæ 36 Ano. Dom. 1678. (London, c. 1680). Copper engraving with etching. 215x150mm. £85

A small, half length portrait, enclosed in an elaborately engraved carved frame, composed of scrolls and cherubs, of the surgeon John Brown of Norwich. A plump gentleman, he is directed right and faces front, wearing a lace cravat and large fair periwig. A surgeon at St. Thomas’s Hospital, he was appointed surgeon in ordinary to King Charles II, and is principally famous for his numerous books on surgery and comparative anatomy. In addition he published accounts of sixty cases of persons cured of scrofula or the ‘King’s Evil’, having been ‘touched’ and therefore cured by the King. Charles, during his reign ‘touched’ nearly one hundred thousand persons, and the outlay for gold medals issued to the afflicted on these occasions rose in some years as high as ten thousand pounds.


Carl Wildt after Gem. Von Hennig

Jacob Bernhard Limburger.

Berlin, Druck des Konigl Institut c. 1850. Lithograph, printed in india paper. 440x360mm. Slight marginal foxing. £220

An interesting half length portrait of the German composer and pianist J. B. Limburger. He has dark hair, and stands, wearing a neat dark coat and black cravat, holding a sheet of music in one hand, and leaning his other arm on a piano.  


de Paulmy.JPG (50836 bytes)Jeremias Wolff

M. de Voyer de Paulmy Marquis d’Argenson, Garde des Seaux de France, President General des Finances. Augsburg, c. 1720. Copper engraving. 440x365mm. Narrow margins, misc neat marginal repairs, traces of old crease. £85

A half length portrait, enclosed in an oval, of Marc René Voyer de Paulmy, 1st Marquis d’Argenson (1652-1721). He wears lawyer’s robes and bands and a large black periwig, and has a smile and cunning expression on his face. General of Louis XIV’s police force in 1687, he is notorious for organizing the repressive system of the Lettres des Cachets. He became Minister of Justice and President of the Council of Finances from 1718 to 1720.


Wollaston GH.JPG (27554 bytes)Anon  

(George Hyde Wollaston). 

(London, c. 1823). Mezzotint, proof before all lettering. 455x300mm. 

Price: £150

A privately published three quarter length mezzotint portrait of the chairman of the Thames Tunnel Company George Hyde Wollaston of Clapham Common (1765-1841), and brother of the chemist and physicist William Hyde Wollaston. An admirer of the Brunels, Wollaston was chairman of the Company between 1824 and the suspension of tunnelling operations due to lack of funds in 1829. Enclosed in a square frame, he sits in a comfortable armchair, hand tucked into the front of his coat and the other hand holding a paper.  


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



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.



Medical Portraits


Thomas Oldham Barlow after Daniel Maclise

Richard Quain M.D.

(London, c. 1891)

Mixed method mezzotint on india paper, proof before lettering, title written inpencil in a contemporary hand.

505x410mm    Lateral brown staining/wood burn in two strips across image; repaired tear into right margin


A half length seated portrait of the physician and chest specialist Sir Richard Quain (1816-98). He sits in a chair reading a book and facing to the right, while on the table at his elbow is a letter from the artist Daniel Maclise. A large elaborate inkwell weights the letter down and on the left is a microscope. In 1848 he was elected assistant physician at the Brompton Hospital for Diseases of the Chest, where he became full physician in 1855, and consulting physician in 1875. Later in life he was consulting physician to the Seamen's Hospital at Greenwich and to the Royal Hospital for Consumption at Ventnor. He became Vice President of the Royal College of Physicians in 1889. Quain died at his house in Harley Street and is buried in the Hampstead Cemetery.


Francesco Bartolozzi after Sir Joshua Reynolds

John Ash, M.D. Fellow of the Royal College of Physicians & of the Royal  & Antiqaurian Societies London, And late Physician to the General Hospital near Birmingham.

London, E. Walker & Co. March 1st 1791

Stipple engraving


Slight brown stained patch affecting bottom of image and title area, backed onto linen


A fine, rare, large, full length, seated portrait of Dr. John Ash (1723-98). He leans back in a large armchair, wearing a dark suit, elaborate lace cravat and his doctoral robes, with a plan of the hospital at Birmingham in one hand, and with the other resting on some papers on a sidetable covered with a turkey cloth. In the background a view of a country house is visible through a window and a statue of a mother and child labelled Benevolentia stands in a niche behind his chair. In 1752 before taking his M.D. he settled in Birmingham and soon acquired a large practice. The general hospital at Birmingham was founded through his influence, and he was its first physician. He became affected with temporary mental illness, seemingly finding a cure in the study of mathematics and botany. He was admitted a candidate of the Royal College of Physicians in 1786, and in the following year resigned his office in Birmingham and removed to London, where he achieved both social and professional success. His splendid portrait by Reynolds hangs in the boardroom of Birmingham Hospital. He is buried in Kensington church.



Henry Cousins after Sir Martin Archer Shee

Sir William Burnett K.C.H. M.D. F.R.S. Director General of the Medical Department of the Royal Navy.

(London, c. 1850)

Mixed method mezzotint


Misc marginal repairs, slight overall browning and time staining1607.


A full length, seated portrait of the naval physician Sir William Burnett (1779-1861). Sir William sits in a comfortably upholstered leather chair, writing at his desk, wearing his medals awarded by Queen Victoria. Two large books on medical practice in the navy are propped on the floor, and in the background is a draped curtain and classical columns. Born in Montrose, Scotland and apprenticed to a surgeon, he was appointed surgeon's mate on board the Edgar, 74 guns. Burnett went on the serve in most of the great fleet actions of the Napoleinic Wars, including the Nile and Trafalgar. Later he became Physician-General of the Navy, instituting many reforms in the medical care of seamen, and pioneering the use of disinfectants. In 1841 the naval medical corps testified their high regard Burnett had conferred on the Service by presenting him with this full-length portrait by Shee and a service of plate. He died at Chichester.



William Overend Geller after William Smellie Watson

John Fletcher M.D. F.R.S.E. Lecturer on Physiology and Medical Jurisprudence &c. Edinburgh.

London, H. Benham May 14th 1838

Mixed method mezzotint, open letter proof



A half length, seated portrait of John Fletcher (1792-1836), medical writer and lecturer on physiology. Son of a merchant of London, he soon left his father’s business and enrolled as a student at Edinburgh. He graduated M.D. in 1816. After making a start in practice at Henley-on-Thames, where his family had retreated after some financial reverses, he returned to Edinburgh and took private pupils in medicine. He subsequently became a popular lecturer on physiology, and medical jurisprudence and was much criticised after the trial of Robert Reid for the murder of his wife, after Reid got off after a medico-legal plea entered by Fletcher. He died in 1836 after a sudden illness.



James Heath after Sir Henry Raeburn

Joseph Black, M.D. F.R.S.E. Late Professor of Chemistry in the University of Edinburgh.

London, J. Heath & J. Thompson March 10th 1800

Stipple engraving


Slight spotting, traces of old creases


A half length portrait, enclosed in an oval of the eminent chemist Dr. Joseph Black (1728-99). Born at Bordeaux where his father was a wine merchant of Irish and Scottish descent, Black was sent to the University of Glasgow as a pupil of William Cullen. He is known today for his work upon alkalis and magnesia, and later on for his discovery of the principle of ‘latent heat’. In 1766 Black became Professor of Medicine and Chemistry at Edinburgh in succession to Cullen, and thereafter restricted his medical practice to a narrow circle of friends, and abandoning all thought of original research, concentrating on becoming one of the University’s most effective lecturers. Amongst other honours Black was elected member of the Paris and St. Petersburg Academies of Sciences, of the Society of Medicine of Paris, as well as of the Royal Society of Edinburgh, and of the Royal College of Physicians. He was also first physician to the King in Scotland. It is worth noticing that in 1767 he made the first attempt to inflate a balloon with hydrogen.



John Lewis after Thomas Phillips

John Birch Esqr. Late Surgeon Extraordinary to his Royal Highness the Prince Regent, and one of the Surgeons of St. Thomas’s Hospital.

(London, c. 1816)

Stipple with copper engraving


Trimmed on platemark, slight overall time staining and slight marginal creasing and spotting


A three quarter length, seated portrait of John Birch (1745-1815). He sits in a carved armchair, holding a book in one hand and resting his elbow on a small side table. In the background is a draped curtain. He wears a dark suit, with a white shirt, cravat and waistcoat. On the table beside him is a specimen jar and a rolled paper. Birch is now chiefly remembered as an advocate for the use of frictional electricity as a (ineffective !) therapy for gynaecological problems and as an ardent and obstinate opponent to Jenner’s inoculation with cow pox as a vaccine for the smallpox.


Daniel Orme after Richard Cosway

William Bromfield Esqr.

London, D. Orme July 21st 1792

Stipple engraving with etching on laid paper


Trimmed within left platemark


A half length, seated portrait of the surgeon William Bromfield (1712-92). A handsome man, he wears a neatly curled tie wig, dark coat and frilled cravat. He glances slightly to the right and is evidently giving a lecture as he has an anatomical specimen resting on a book in front of him, which he indicates with a small pointer. In 1741 he began a course of lectures on anatomy and surgery which attracted a large number of pupils and some years later he was instrumental in founding the Lock Hospital for the treatment of venereal diseases, to which he was subsequently appointed surgeon. He was appointed surgeon to St. George’s Hospital and became one of George III’s surgeons after his marriage to Queen Charlotte. He died in Chelsea.


William Say after Sir William Beechey

John Heaviside Esqr. Surgeon Extraordinary to the King. F.R.S. F.A.S.

London, (publisher illegible) July 6th 1803

Mezzotint, scratch proof


Slight overall browning, publication line abraded


A half length portrait of John Heaviside (c. 1748-1828), surgeon to George III, anatomist, friend of Sir Joseph Banks and specialist in bone diseases. Sadly Heaviside does not receive a notice in the D.N.B. and thus details of his life and achievements are sketchy.



William Say after Richard Evans

John Willis Esqr. M.D. Greatford, Lincolnshire.

Stamford, Henry Mortlock June 2nd 1834

Steel mezzotint


Repair to right margin and platemark


A large, rare, seated portrait of Dr. John Willis (1751-1835), son of the famous Francis Willis of Greatford, Lincolnshire, called in to treat the madness of King George III. John Willis is seated comfortably in a carved armchair, next to a small, velvet covered sidetable, with a vista of Lincolnshire visible through a colonnade in the background. He wears a dark coat, leather breeches and topboots. Willis attended the King with his father during the monarch’s first attack of mania (caused by the metabolic disorder porphyria) in 1788, and after his father’s death in 1807, he was called in again after the King’s final descent into madness in 1811. He died at Longhills, Lincolnshire after a party held by the Marquis of Exeter at Burleigh House the previous night.



Charles Turner after Charles William Pegler

John Abernethy, Lecturer on Surgery at St. Bartholomew’s Hospital, &. &c. &c.

(London, c. 1830)

Steel mezzotint


Trimmed on platemark, repairs to right margin affecting engraved surface


A three quarter length, seated portrait of the eminent surgeon and anatomist John Abernethy (1764-1831). He is seated in an armchair with basket woven arms, one hand tucked into the breast of his dark coat. Abernethy (1764-1831), was a pupil of John Hunter and founder of the Medical School at St. Bartholomew’s Hospital.  He became a Fellow of the Royal Society, was famous both as a teacher and for ‘the masterly roughness’ of his bedside manner. He died of heart disease at Enfield. 



Charles Turner after James Pegler

Doctor John Willis. Of Greatford near Stamford Lincolnshire.

London, C. Turner August 12th 1834

Steel mezzotint, open letter proof


Slight overall spotting


A three quarter length portrait of Doctor John Willis (1751-1835), son of the famous Francis Willis of Greatford, Lincolnshire, called in to treat the madness of King George III. He stands, his cane under his arm, gloves clutched in one hand and his upturned top hat in the other. Behind him a vista of Lincolnshire is visible through the open window. Willis attended the King with his father during the monarch’s first attack of mania (caused by the metabolic disorder porphyria) in 1788, and after his father’s death in 1807, he was called in again after the King’s final descent into madness in 1811. He died at Longhills, Lincolnshire after a party held by the Marquis of Exeter at Burleigh House the previous night.


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