1830s (13 results)

Condition: New.

Booklet - Unbound Pages. Condition: Very Good. 24 pages. Egyptian antiquities appear here at a moment of rapid scholarly acceleration, with Champollionâs decipherment of hieroglyphs reshaping every branch of inquiry. The contributor reviews major works by Rossellini, Champollion, and Wilkinson, using them to chart the expanding understanding of Egyptian civilisation - its architecture, dynasties, religious systems, and artistic conventions. The article contrasts Egyptâs monumental achievements with those of other ancient cultures, and reflects on how new inscriptions and temple reliefs were overturning long-held assumptions about chronology and cultural influence. There is a particular fascination with the precision of Egyptian workmanship and the sheer scale of their monuments, which the reviewer treats as evidence of a civilisation both technically advanced and intellectually coherent. The tone captures the optimism of 1836, when Egyptology felt like a field on the brink of revealing its entire buried world. An authentic standalone article, extracted from a larger volume. Not a reprint or reproduction, but an original work in its own right. Preserved in a modern card cover, prepared for practicality - an unassuming but serviceable presentation that favours function over finery. Size: 18 x 26 cms. Category: Foreign Quarterly Review; Special Interest. Cosmo Books : 29 years on ABE, 47 years taking care of customers. A bookseller you can rely on.

4to. 8 x 6 inches. 78 leaves (156 pages), 41 leaves in manuscript, final 37 leaves blank. The first leaf includes the index for the first part (library) which is partially covered by medical clippings dated 1861. Leaves toned and foxed. In the original newsprint covered boards, leather spine. Binding shaken with burn marks on covers. Top edge of rear board burnt and gnawed, with loss of board and top blank margins of final 6-8 leaves. Deaccessioned institutional copy with bookplate on front pastedown. Housed in a clamshell box with ties, gilt lettered spine. Good. According to the 'American Libraries before 1876' database at Princeton University Library, the earliest known library in Killingly was established in 1745, as the 'United English Library for the Propagation of Christian and Useful Knowledge'. This was followed by 4 other social libraries beginning in 1801. There is, however, no other information regarding these libraries and the first and last references to them are recorded in the same year, suggesting perhaps a very brief existence or accounts that did not survive. This ledger contains the minutes of a meeting, held at School House District No. 1. In October 1830, for the establishment of a library in the North Parish of Killingly. It includes the resolves, constitution, list of members, (officers) librarians, committees of selection and inspection, amendments to the constitution, list of books purchased, prices, book numbers, names of members who borrowed books and dates and an account of damages and fines (Dec. 9, 1830, to Sept. 5, 1837). A Feb. 28, 1839, entry records the dissolution of the library, naming Calvin Warren as the auctioneer tasked with selling the library for cash (96 cents per book). The money was then returned to the subscribers by H.W. Hough. Some of the subscribers and officers include, Leonard Ballou, Jabez Amsbury, George Weatherhead, Mowry Amsbury, Dr. Robert Grosvenor, Dr. William Grosvenor, Waldo Eddy, Calvin Warren, Silas Tucker, Delight Moffit, Chandler Spaulding, and others. Nearly all were connected to Providence, Rhode Island, either by birth or trade. Killingly, CT is 25 miles west of Providence and was settled by a number of families from that city who were involved in the wool/cotton trade, establishing woolen and cotton mills on the banks of Quinebaug River, Whetstone brook and the Five Mile River. One such mill was established by Comfort Tiffany, the father of Charles Lewis Tiffany, the founder of Tiffany & Co. Leonard Ballou's daughter, Lydia, married Charles Lewis Tiffany's partner, John B. Young, whose sister, Olivia, married Charles Lewis Tiffany. They were the parents of Louis Comfort Tiffany. This modest library contained 40 titles which included several sets, bringing the total book count to 86. The most expensive purchase by far was a 6-volume set, The works of Franklin which cost the subscribers $12, Adam Smith's Wealth of Nations, MacKenzie's 5000 receipts, Wilkins' Astronomy, Life of Washington by Bancroft, Silliman's Travels in Europe, etc. The second part includes a large number of curative recipes including cough mixtures, gastric remedies, laxatives, for habitual constipation, absorbent mixtures for children, for those with worms, Emplastrum Camphoratum, tinctures, pills, ointments, balsam for chapped nipples, smallpox, several for gonorrhea, etc. Few have the names of the authors while others were prescriptions for named individuals "Prescription for Mrs. Leavin". A U.S. Army Hospital paper prescription receipt (Rx), dated 7/4/1865, for a wounded soldier by name of Hughes, signed by the physician is pasted in. It is not clear how this travelled to Exeter, New Hampshire for Captain Nathaniel Gilman to sign, but it is possible that the prescriptions were the work of Dr. William Grosvenor (named above), who was a partner in the Grosvenor & Chace, a wholesale drug company in Providence, Rhode Island. [Killingly, Conn. - History] [Early American Libraries - History].

12mo. (7 1/4 x 4 1/4 inches). [4], 3-60, [2]pp. Lithographed plate. Explanation to the plate bound in the rear. Later green cloth Provenance: bookplate on the front pastedown First edition of a noted 19th century work on the cultivation of the cucumber. A well-recommended work on the subject, written by the long-time gardener to Dykes Alexander of Ipswich. The lithographed plate depicts the construction of a cucumber bed.

Hardcover. Condition: Good. _____Small full leather commercial volume, 7.75 x 4.75", titled "Album" in gilt on the spine._____ Ornate gilt and blind stamped borders on both covers and the spine. _____ Evidently assembled by a young woman beginning in 1829._____Includes a few full page manuscript sentiments, copied by friends, some identified: Elizabeth M. Mott (NY, 1828) and Levi Hart Goddard of Norwich, Connecticut (1831)._____Below Mr Goddard's initialed._____contribution is written in a different hand in pencil the writer's name in full._____ Below that is written "Mary W. Perkins" who would in 1835 marry Mr Goddard. _____ Most of the pages have mounted prints, some colored, removed from what appear to be a mix of books and periodicals._____ They include famous persons of the day and classic and contemporary architectural views._____ One is a newspaper banner, headline and views from the September 1839 fire which destroyed the French Episcopal Church in New York City. _____ Slipped in behind one we found a neat example of micro-writing._____On a 1.5" disc of card stock is mounted a 3/4" disc of paper on which the entire Lord's Prayer has been written._____ Signed at the bottom "Written with the Toes / M.A._____Honeywell." . _____ Martha Ann Honeywell of Lempster, New Hampshire, was born in 1787 without hands and forearms, and with only one foot and that with just three toes._____ With her toes and mouth, using pens and scissors, she created paper cutouts and specialized in writing._____the Lord's Prayer on dime-sized circles of paper which she placed in elaborate cutout paper frames._____ From 1798 to 1848, Miss Honeywell traveled around the United States making public appearances during which she demonstrated her talents and sold her creations._____ In August 1828 she began a long run at the Peale Museum in New York, lasting until 1830._____ This example almost certainly dates from that New York City period._____ (God Bless Google). _____.

Hardcover. Condition: Very Good. No Jacket. 2nd Edition. 12mo. (19 cm.) vi, 118p. Plus 4p. ads. Illustrated with a folding map of Gulf of St. Vincent with inset map of Adelaide. Various lists of persons throughout: committee to establish a Chartered Company [= South Australian Association in 1834] whose members are listed in a second list; Table of Sailing Distances from/to Port Adelaide; two lists of items emigrants should have with them, one for females, the other for males; list of victuals given to each person in steerage; list of the Chairman and Directors of The South Australian Company; a fold-out chart entitled "Statement of Ships Which have Proceeded to South Australia, With the Number of Labouring Emigrants and Persons of a Superior Class, to February, 1838"; an Appendix which contains numerous things: Commissioners appointed under the Act for Colonizing South Australia; Regulations for the Disposal of Land in the Colony; Regulations for the Sale of Land in this Country; Regulations for the Selection of Emigrant Labourers; and the like; and a lengthy section "New Colony of South Australia" containing descriptions of various things related to the new settlement, including a Schedule "Of the Occupations of the Emigrants of the Labouring Class who have sailed for South Australia, to the end of February, 1838, listed by gender; and a table designed to show the superiority of the Australian colony over the British settlements in North America, South Africa, and the East India Islands by listing the population, the exports and imports of the colony, and the like of each of the British settlements. Brown cloth over boards with letters in gilt within a gilt cartouche on the front cover. Wear to extremities with the corners just rubbed through, top and bottom of spine just beginning to fray, covers quite faded and somewhat soiled, gilt still bright, folding map and folding chart both in very good condition, previous owner's name, address and date on the rear of the frontispiece [Mr. Duncan Falconer Coupar-Angus, Perthshire N. 13 (N.B?) Scotland May 12th 1840], front hinge archivally reinforced with a piece of Japanese tissue, an occasional minor stain here and there, dampstain along bottom of folding map but not affecting the contents, title page soiled where it was not covered by the map, dampstain to the top of the last four pages but not affecting page contents, four pencil drawings on the rear free endpaper which bear the name "Willie Falconer" and appear to depict a young male in the clothing [sailor's?] of the era [Not clear whether name is that of the subject or artist, probably former.], just hints of foxing, else very good to near fine with no internal markings. Henry Capper was the emigration clerk to the Colonization Commissioners, South Australian Colonization Office in London who founded the South Australian Record ( 1837 ), a periodical published in London devoted to news from South Australia for the benefit of intending migrants and investors. Capper assembled two compendia of advice and useful information for emigrants, aimed at two distinct classes: South Australia, First edition November 1837, but greatly expanded in second edition May, 1838, and How to Get to South Australia, being information for Labouring Emigrants respecting the colony, first published in October 1839. Both books went through many editions. This is a rare piece of South Australianana. Despite obvious similarity in titles of their respective books, there appears to be no connection between Henry Capper and the Orientalist John Capper F.R.A.S., author of The Emigrant's Guide to Australia, which is mostly concerned the gold fields of New South Wales and Victoria. William Falconer (1810-1891) of Fife, Scotland. He died in 1891 at Williamstown, Victoria, Australia. Is he "Willie Falconer" of the drawings in this book?

No Binding. Condition: Good. J.H. (or H.J, I.H. or H.I.) Unidentified , but very much in the style of John Doyle [1797-1868], the leading English caricaturist of the 1830s to 1850s. (illustrator). 14-3/4" x 10-1/2" hand-colored lithograph in vivid colors. The print is too large to scan in its entirely on the scanner's glass platen, so several partial scans appear here. Ejection & Symptoms of Rejection is commentary on the work of the 1832 Royal Commission into the Operation of the Poor Laws, which drafted the Poor Law Amendment Act. Passed in 1834, it created the system of laws and workhouses described by Dickens. Not in the published catalogs of the British Museum," compiled in 1968 (NC 1470.M4. Vol.1). Not found in British Museum Catalogue (BMC). Not in the British Museum. The print is protected in an acid free mylar envelope.

Hardcover. Condition: Very good. First. AN 1830'S ALBUM OF PACIFIC SKETCHES, WITH THE EARLIEST DETAILED VIEW OF HONOLULU. Ca. 1837-1840. Oblong quarto (9 3/16" x 11 5/8", 234mm x 295mm). 28 leaves, of which 6 are blank. With a pen-and-ink sketch torn and mounted to the front paste-down and one to the rear paste-down, a pen-and-ink drawing laid in at the rear paste-down, a watercolor on paper laid in, a pen-and-ink drawing mounted to a leaf with "remarks" to the leaf itself, and 20 drawings or paintings to the leaves, of which one is double-page (the view of Honolulu is continuous but in two ruled panels facing, counted here as two drawings). Bound by Ackermann in contemporary half red sheep (re-backed) over grey boards. Conserved in 2025 by Brockman (full report available), including re-backing. A persistent ink-stain to the lower edge of the boards and text-block, not affecting the images. Scattered soiling. Binder's ticket of "Ackermann & Co. Repository of Arts. 96, Strand." to the front paste-down. Ink ownership signature of "Jane Ross/ H M. S. President/ Valparaiso May 7th/1838" to the front paste-down. As the Royal Navy followed in the tracks of Cook and Vancouver in the Pacific, it became more and more common for sailors to spend extended periods either on vessels or else stationed around the Pacific. The west coast of South America, the islands of the Pacific and southeast Asia nevertheless retained a powerful allure not only for servicemen but for their families and those who never left the shores of Albion. There arose, therefore, the particularly British phenomenon of the gifted amateur military artist, who recorded his time pictorially as well as in diaries and letters. These artists ranged in rank from midshipman to admiral. The present album was doubtless brought aboard -- explaining, perhaps, the inkspill across its face and edges -- from 1837 till about 1840. The album has at least two quite distinct British artists, suggesting that it was passed from one artist to another -- and not necessarily filled chronologically (it's also possible that the sheets were dis- and re-bound, or perhaps even loose within the boards before being bound). Thus the album can be split according to artist, and then further subdivided by locale. Putting aside, for the moment, the sketch affixed to the front, the first five pictures (nos. 2-6 below), all watercolor over graphite, come from Peru (the first, uncaptioned, is identifiable by dress). All but the last are signed (in ink) either "F.C." or "F. Carmichael" at lower right. The second block of nine sketches (nos. 7-15) are all executed in a black ink (nos. 12-14 with watercolor washes) and within single-, double- or triple-ruled panels; they are altogether more professional -- more in line with the engraved or lithographed style common in printed books of voyages in this period. Nos. 9-11 (no. 9 in two parts) depict Hawaii. The two-part "View of the Town Harbor of Honolulu, Woahoo, Sandwich Islands" is the earliest detailed view of the growing metropolis of O'ahu; an earlier panorama (dated 1834) is in the Bishop Museum, but is taken from far further out to sea, with far less detail. No. 10, showing Karakakoa Bay -- site of the death of Captain Cook in 1779 -- is the earliest recorded drawing from the perspective of Ka'awaloa in the north of the bay, looking south. David W. Forbes, scholar of early Hawaii, connects the sketchbook closely with H.M.S. Imogene, which sailed among Hawaii, the Marquesas, Pitcairn, Valparaiso and Callo 1837-1838. The final section brings, at last, an identifiable artist: Charles Chatworthy Wood (Taylor, 1792-1856). Wood was born in Liverpool and emigrated to the United States, working as a painter in Boston. His picture Naufragio del 'Arethusa' is a highlight of the Museo Nacional de Bellas Artes; he eventually designed the arms of Chile. What remains is the ownership signature of Jane Ross on H.M.S. President in Valparaiso 7 May 1838. A FULL DESCRIPTION CAN BE FOUND ON OUR WEB SITE.

4to (192 x 235 mm). 26 written pp. and 21 pp. of drawings on 36 ff. Paper watermarked "R Tassell 1831". Handwritten text in ink, with 31 drawings in various inks and pencil. Contemporary half dark green morocco with marbled sides. Marbled endpapers. Finely illustrated manuscript notebook of an 1834 voyage to India with over twenty pages of beautifully drawn Indian boats, carefully sketched from life along the rivers of Bengal. Altogether, 14 large and 4 smaller drawings illustrate indigenous boats and ships of all kinds. Other sketches cover landscapes, and one is signed "Cornelius Sawyer", who remains unidentified. - Sawyer's sketchbook in fact begins as a ship's log, setting out from Portsmouth, England in March of 1834 towards India, and passing the Cape of Good Hope on May 15th. The log, with similar exactitude as the following drawings, mentions the names and destinations of ships encountered along the journey; for example, one is informed of a meeting with the Minerva, which had set out from Liverpool and was bound for Bombay. The log ends rather abruptly prior to arrival on Thursday, June 26th, and two pages of handwritten notes on Russian currencies and measures follow. Alongside this is a transcription from the biography of Reginald Herber (published in London, 1830; the transcript is from volume 1, p. 118), the Lord Bishop of Calcutta (today Kolkata), the capital of Bengal. Between Herber and the notes on Russian currency, one might wonder if the author was planning to do business with Russians in Bengal. - Regardless of his business aims, the true interest of Cornelius Sawyer clearly lay in ships, and his skilled sketches complete the rest of the notebook, of which they are the highlight. These comprise 14 brown ink drawings of Indian boats, some identified as a kutwa panswai; a Calcutta panswai; a budgerow; a jumlook salt boat; a Deccan pulwa; a small meeg boat of the Sundarbans; a nudder panswai for grain. Then pencil drawings: a mix of boats and views from the water drawn in pencil: a Western sail ship; view of Sultangunge (Sultanganj on the Ganges); a view "not far from Mongfui (?) Sunday August 24, 1834"; two boats; "bridge over the Sunna" (Sone River). This is followed by various seemingly unrelated sketches and doodles including several of Heidelberg, one signed. Lastly follow smaller sketches of various Indian boats with their names and studies in pencil of antelope horns. Altogether, a fantastic nautical collection. - Light rubbing to covers; some offsetting in logbook, but not among sketches, which are bright and clean; overall quite well preserved.

338 x 440 mm. Charcoal on paper. Charming dressage scene between an Arab in back view and two bridled Arabian horses with luxurious saddles and a backdrop of tents. The stallion on the left is carrying a round shield and a bow. The signing artist Charles Paris was probably an amateur and is not otherwise known. - Professionally restored. The upper and right margins show traces of tears and brittleness, probably due to old water damage. Browning and minor foxing overall. Some light spotting to the lower margin. The drawing is little affected by the paper flaws.

4to and 8vo. Together 17 pp. on 7 bifolia. Each with autograph address on verso. Friendly correspondence with the architect Antoine Jean-Baptiste Rondelet (1785-1863), the son of the architect Jean-Baptiste Rondelet (1743-1829), whose "Traité théorique et pratique de l'art de bâtir" Distelbarth translated into German. - About his travels through the Champagne and the half-timbered houses he saw there, which reminded him of the well-insulating building methods used in Germany: "J'ai remarqué que la charpente et en général les maisons sont mieux faites à partir de Châlons s. Marn. jusqu'à Strasbourg, que dans la Bourgogne et dans les environs de Paris, où j'étais, la charpente s'approche dans la Champagne à la manière Allemande et garantit plus contre le froid [.]" (Ludwigsburg, 9 Feb. 1829). - About his ambition to write a book on stone cutting, preferably in Paris, as well as discussing two chain bridges in St. Petersburg: "Je ne puis encore rien vous dire de mon entreprise relativement à mon traité de la coupe des pierres [.] je ne recule point devant mon projet que je veux absolument continuer [.] Mais si le libraire me traite honnêtement, j'aurai l'envie d'écrire mon ouvrage à Paris, je veux dire que mon ouvrage sera fait plus parfait à Paris qu'ailleurs [.] Si je n'abuse pas trop de votre temps, je passe des affaires de mon interêt au vôtre et je vous communique quelques expériences de 2 ponts en chaines exécutés à Petersbourg en 1824 [.]" (Ludwigsburg, 27 April 1829). - Two letters discussing his plan to translate Pierre-François-Léonard Fontaine's "Résidences des souverains" (1833), with the addition of the facade of the Stuttgart Royal Palace: "Mr. Fontaine m'a envoyé de plus 1 exemplaire de son ouvrage sur les palais de souverains, que vous m'avez mentionnés [.] Comme le roi d'ici prend un intérêt tout particulier à cet ouvrage et désire que les façades y seraint jointes, je me décidai de le traduire et s'il veut porter les frais de gravoure, je publierai aussi les façades [.]" (Stuttgart, 19 Feb. 1835). - A letter adressed to "Romain Rondelet", but likely to Antoine Jean-Baptiste Rondelet as well, looking forward to the illustrations of churches and bridges in a later edition of the "Traité", and mentioning an 18th century work on bridges: "Je suis chargé en même temps des autres Mrs. les souscripteurs de la 5me édition, de vous demander, si vous ne nous donnez pas bientôt le 4me volume annoncé dans le dernier prospectus comme paraissant bientôt, on est curieux de voir les plans d'églises et de ponts [.] On trouve des descriptions historiques de ponts dans un livre allemand, publié en 1774 à Leipsic, intitulé: Leupold's Schauplatz der Brücken [.] Voici ce qu'il dit du pont de Schaffhouse [.]" (Ludwigsburg, 3 May 1830). - In the remaining two letters Distelbarth mentions his anticipation to obtain a copy of a soon-to-be published work and recommends a young colleague. - With annotations by the recipient. Three letters glued together near the lower left corner.

No Binding. Condition: Very Good. John Doyle (HB) [1797-1868], the leading English caricaturist of the 1830s to 1850s. (illustrator). Hand-colored lithograph in vivid colors. Title: Print made by John Doyle (HB). Published 25 May 1833. Alfred Ducôte (active 1830-1840), lithographer and lithographic printer. Thomas McLean (1788-1875), Publisher and dealer. The print features Lord Melbourne and Lord Brougham in the foreground, fencing over the honor of a friend. The six people depicted are Mr. Stanley and Lords Melbourne, Howick, Brougham, Ripon, Fitzwilliam. John Doyle (born Dublin, 1797, died London, 2 January 1868), known by the pen name HB, was a political cartoonist, caricaturist, painter and lithographer. He was the eldest son of a Dublin silk mercer, and came from a Catholic family which in the 17th century had been granted extensive estates, possibly in County Offaly or County Laois, and their own coat of arms, but had suffered for their religion and since been dispossessed. In his youth he learned to paint landscapes under Gaspare Gabrielli, and miniature portraits at the Royal Dublin Society's drawing school under John Comerfield. He won a gold medal in 1805. He was commissioned to paint equestrian portraits of the Marquess of Sligo and Lord Talbot, the Irish viceroy, and in 1822 he produced six prints entitled The Life of a Racehorse. That year he moved to London with his wife, Marianna Conan. His painting Turning out the Stag brought him recognition when it was exhibited at the Royal Academy in 1825. Marianna died in 1832, giving birth to their seventh child. Doyle continued to exhibit miniatures until 1835, but by then he was experiencing greater success with his political cartoons, printed using the new reproductive medium of lithography, beginning in 1827. These were issued once a month during parliamentary sessions, and continued for twenty-two years. His caricatures were mostly faithful likenesses of their subjects, with little exaggeration, treated with sarcastic humour, often alluding to popular plays. They were signed with the letters HB, constructed out of two Js and two Ds, Doyle's own initials. By 1840 he was prosperous enough to afford a fashionable house in Hyde Park, moving in the same circles as David Wilkie, Walter Scott, Samuel Taylor Coleridge, Charles Dickens, William Makepeace Thackeray, Thomas Macaulay, Thomas Moore, and Samuel Rogers¿ but HB's true identity remained a closely guarded secret until he revealed it in 1843 in a seventeen-page letter to Sir Robert Peel. In the 1840s, at the height of his popularity, indexes of HB's prints were published in The Times and by the publisher McLean, but his reputation faded. His later prints were gentle in their humor and drawn in a soft, indistinct style. Thackeray said his cartoons, although clever and witty, were too "genteel" to raise more than a gentlemanly smile¿"You will never hear any laughing at 'HB' " When he died in 1868, his obituary in the Art Journal did not appear until three months after his death, and a posthumous sale of his sketches at Christies in 1882 was cancelled for lack of buyers. However, he is considered a founder of the school of British cartoon satirists represen.

No Binding. Condition: Very Good. John Doyle (HB) [1797-1868], the leading English caricaturist of the 1830s to 1850s. (illustrator). Hand-colored lithograph in vivid colors. Title: THE OLD WHITE LION Print made by John Doyle (HB). Date: July 1829. Schools/Styles: British satire [BM Satires 15831] Description: No.3. Eldon sits in his study in an arm-chair, surrounded by books and papers, directed slightly to the left, elbow on a pile of books. He scowls sideways at Wellington, who enters from the right, holding his hat. The Duke extends his hand, saying, 'Come my old friend - don't take your defeat so much to heart -You fought well! & altho' you did throw a large paving Stone at me, -I'. Eldon interrupts: 'Poh! I threw no paying stone at you - but you all like to have a dash at the Old Chancellor!' Behind (right), Lyndhurst, in wig and gown, looks round the door, saying, 'There he is -just like an old white Lion' [cf. BM Satires No. 16377]. British Museum Curator's comments (Description and comment from M. Dorothy George, 'Catalogue of Political and Personal Satires in the British Museum', XI, 1954) For the 'paving stone' see No. 15721. The final speeches of Eldon and Wellington on Emancipation were filled with bitter antagonism. 'Parl. Deb.', N.S. xxi. 622-40, 688-94; Greville, 'Memoirs', 1938, i. 288. In May reconciliation followed mutual courtesies in the Lords between Eldon and Lyndhurst. Atlay, 'Victorian Chancellors', i. 68. John Doyle (born Dublin, 1797, died London, 2 January 1868), known by the pen name HB, was a political cartoonist, caricaturist, painter and lithographer. He was the eldest son of a Dublin silk mercer, and came from a Catholic family which in the 17th century had been granted extensive estates, possibly in County Offaly or County Laois, and their own coat of arms, but had suffered for their religion and since been dispossessed. In his youth he learned to paint landscapes under Gaspare Gabrielli, and miniature portraits at the Royal Dublin Society's drawing school under John Comerfield. He won a gold medal in 1805. He was commissioned to paint equestrian portraits of the Marquess of Sligo and Lord Talbot, the Irish viceroy, and in 1822 he produced six prints entitled The Life of a Racehorse. That year he moved to London with his wife, Marianna Conan. His painting Turning out the Stag brought him recognition when it was exhibited at the Royal Academy in 1825. Marianna died in 1832, giving birth to their seventh child. Doyle continued to exhibit miniatures until 1835, but by then he was experiencing greater success with his political cartoons, printed using the new reproductive medium of lithography, beginning in 1827. These were issued once a month during parliamentary sessions, and continued for twenty-two years. His caricatures were mostly faithful likenesses of their subjects, with little exaggeration, treated with sarcastic humour, often alluding to popular plays. They were signed with the letters HB, constructed out of two Js and two Ds, Doyle's own initials. By 1840 he was prosperous enough to afford a fashionable house in Hyde Park, moving in the same circles as David Wilkie, Walter Scott, Samuel Taylor Coleridge, Charles Dickens, William Makepeace Thackeray, Thomas Macaulay, Thomas Moore, and Samuel Rogers - but HB's true identity remained a closely guarded secret until he revealed it in 1843 in a seventeen-page letter to Sir Robert Peel. In the 1840s, at the height of his popularity, indexes of HB's prints were published in The Times and by the publisher McLean, but his reputation faded. His later prints were gentle in their humor and drawn in a soft, indistinct style. Thackeray said his cartoons, although clever and witty, were too "genteel" to raise more than a gentlemanly smile" You will never hear any laughing at 'HB' " When he died in 1868, his obituary in the Art Journal did not appear until three months after his death, and a posthumous sale of his sketches at Christies in 1882 was cancelled for lack of buyers. However, he is considered a founder of the school of British cartoon satirists represen.