After 1835 (19 results)

Single print. Original antique lithograph. Engraved area 140 x 190 mm plus title. 16 x 22.5 cm.

Condition: Good. Engraving on rag. Image 10" x 8.25". VG. In mylar protective sleeve. Scarce.Image from "The History of the Royal Residences.".

No Binding. Condition: Very Good. 1st Edition. High Quality Lithograph, 595 X 485Mm. A Single Plate, The Long-Talied Paradigalla, From One Of The Most Admired Bird Plate Books, 1873. Shallow Chipping At Edges, Far From The Illustrated Area.

Mezzotint. Proof before letters. Alternate state i/ii, before letters. In excellent condition apart from some light foxing in the margins. Image size: 11 3/4 x 9 7/8 inches. A lovely rich impression of S.W Reynolds' mezzotint portrait of General George Harris, who was wounded in the Battle of Bunker Hill. Lord Harris (1746- 1829), a distinguished British General, participated in most of the major engagements during the American revolution and made a name for himself in India with the defeat of Tippo Sahib and the capture of Seringapatam. Harris fought in Lexington and at the battle of Bunkers Hill, where he received a serious wound to the head. When he returned to active duty in 1776 he was present at every major engagement of the revolution until he left for St. Lucia in 1778. In 1780, Harris was sent to India where he participated in the war against Tippo Sahib, eventually being appointed commandant of Fort William. A valiant soldier and excellent leader, Harris was highly esteemed in his day for his altruistic personality. He is said to have lent his military prize money, at considerable personal loss, to the Madras government when they were in financial straits. He was created a Peer in 1815. Whitman, Samuel William Reynolds 134, not described; O'Donoghue, Catalogue of Engraved British Portraits. in the British Museum 2; Lennox-Boyd & Stogdon, state not described.

Aquatints. Printed on wove Whatman paper, some with watermarks. In excellent condition with the exception of some minor surface soiling in the margins. [Plate 1: Pytchley Hunt] heavy surface soiling in margins. Image size: 7 7/8 x 9 1/4 inches. Plate mark: 9 7/8 x 10 3/8 inches. Sheet size: 12 1/8 x 15 5/8 inches. [Plate 2: Push him up Tomboy] Image size: 7 3/4 x 9 1/4 inches. Plate mark: 9 3/8 x 10 1/8 inches. Sheet size: 12 5/16 x 15 5/8 inches. [Plate 3: Now Contrast.] Image size: 7 5/8 x 9 3/8 inches. Plate mark: 9 5/16 x 10 inches. Sheet size: 12 5/16 x 15 3/8 inches. [Plate 4: A Check] Image size: 7 3/4 x 9 1/4 inches. Plate mark: 9 3/4 x 10 1/4 inches. Sheet size: 12 1/4 x 15 1/2 inches. [Plate 5: The Trick] Image size: 7 13/16 x 9 1/4 inches. Plate mark: 9 7/8 x 10 1/4 inches. Sheet size: 12 1/8 x 15 5/8 inches. [Plate 6: Proof of Bottom] Image size: 7 3/16 x 9 1/2 inches. Plate mark: 9 13/16 x 10 3/8 inches. Sheet size: 12 1/8 x 15 11/16 inches. A fascinating set of eight hunting prints depicting the great Pytchley hunt led by Dick Knight. Loraine Smith was an amateur artist of high repute, and the present series is regarded as some of his best-known prints. This important set is the only visual record of the great Pytchley hunt led by the celebrated huntsmen Dick Knight. At the time of publication, there existed a great rivalry between the Quornites and the Pytchley followers, which is wittily referred to in this amusing series. The prints follow the various mishaps and eventual triumph of Dick Knight, and make a point to relate that Knight used three horses during the course of the run in order to achieve his victory. This set of eight prints by Jukes is intriguing since it appears that the series was originally published as a set of six. The present suite has an additional two plates, plate four entitled "The Check" and plate five entitled "The Trick," and has been hastily renumbered as a set of eight. If one examines the plate numbers carefully it is easy to see where the numbers have been doctored, indicating that the set was originally published as a set of six and not of eight as Siltzer suggests. Siltzer, The Story of British Sporting Prints, p. 251-256.

Single Sheet. Condition: Near Fine. Original Antique Engraving. Original Antique Color Stipple Etching, On Laid Paper. Text At Bottom Left "Peint A La Gouache Par Vangorp", At Bottom Right "Grave Par Malles [Sic] Sous La Direction De Bonnet", With Title "Le Dejeuner De Fanfan" Below In Large Script. Plate Mark 35.5 X 28 Cm. , Overall 18 3/8" X 12 5/8". Jean-Baptiste Mallet (1759-1835) , Was A French Painter. Pupil Of Simon Julien In Toulon , Then Of Pierre-Paul Prud'hon In Paris (It Is Also Said Pupil Of Mérimée ), Mallet Made Small Gouaches And Watercolors Which Constitute A True Chronicle Of The Society Of Directory And The First Empire . As A Genre Painter, He Also Created Troubadour Paintings ( Geneviève De Brabant , La Salle De Bains ) And Gallant Works ( L'heure De Rendez-Vous ). The Work Of Jean-Baptiste Mallet Was Influenced By Greuze , Fragonard , Born Like Him In Grasse, And Louis-Léopold Boilly .

Single Sheet. Condition: Near Fine. Original Antique Engraving. Original Antique Color Stipple Etching, On Laid Paper. Text At Bottom Left "Peint A La Gouache Par Vangorp", At Bottom Right "Grave Par Malles [Sic] Sous La Direction De Bonnet", With Title "Le Dejeuner De Fanfan" Below In Large Script. Plate Mark 35.5 X 28 Cm. , Overall 18 3/8" X 12 5/8". Jean-Baptiste Mallet (1759-1835) , Was A French Painter. Pupil Of Simon Julien In Toulon , Then Of Pierre-Paul Prud'hon In Paris (It Is Also Said Pupil Of Mérimée ), Mallet Made Small Gouaches And Watercolors Which Constitute A True Chronicle Of The Society Of Directory And The First Empire . As A Genre Painter, He Also Created Troubadour Paintings ( Geneviève De Brabant , La Salle De Bains ) And Gallant Works ( L'heure De Rendez-Vous ). The Work Of Jean-Baptiste Mallet Was Influenced By Greuze , Fragonard , Born Like Him In Grasse, And Louis-Léopold Boilly .

Single Sheet. Condition: Near Fine. Original Antique Engraving. Original Antique Color Engraving, On Laid Paper. 18 1/2" X 12 1/2" Text At Bottom Left "Peint A La Gouache Par Vangorp", At Bottom Right "Grave Par Malles" [Sic], With Title "Ah Qu'il Est Joli" Below In Large Script. This State Is Before The Addition Of The Line Indicating The Print Was Made Under The Direction Of Bonnet. Jean-Baptiste Mallet (1759-1835) , Was A French Painter. Pupil Of Simon Julien In Toulon , Then Of Pierre-Paul Prud'hon In Paris (It Is Also Said Pupil Of Mérimée ), Mallet Made Small Gouaches And Watercolors Which Constitute A True Chronicle Of The Society Of Directory And The First Empire . As A Genre Painter, He Also Created Troubadour Paintings ( Geneviève De Brabant , La Salle De Bains ) And Gallant Works ( L'heure De Rendez-Vous ). The Work Of Jean-Baptiste Mallet Was Influenced By Greuze , Fragonard , Born Like Him In Grasse, And Louis-Léopold Boilly .

Single Sheet. Condition: Near Fine. Original Antique Engraving. Original Antique Color Engraving, On Laid Paper. 18 1/2" X 12 1/2" Text At Bottom Left "Peint A La Gouache Par Vangorp", At Bottom Right "Grave Par Malles" [Sic], With Title "Ah Qu'il Est Joli" Below In Large Script. This State Is Before The Addition Of The Line Indicating The Print Was Made Under The Direction Of Bonnet. Jean-Baptiste Mallet (1759-1835) , Was A French Painter. Pupil Of Simon Julien In Toulon , Then Of Pierre-Paul Prud'hon In Paris (It Is Also Said Pupil Of Mérimée ), Mallet Made Small Gouaches And Watercolors Which Constitute A True Chronicle Of The Society Of Directory And The First Empire . As A Genre Painter, He Also Created Troubadour Paintings ( Geneviève De Brabant , La Salle De Bains ) And Gallant Works ( L'heure De Rendez-Vous ). The Work Of Jean-Baptiste Mallet Was Influenced By Greuze , Fragonard , Born Like Him In Grasse, And Louis-Léopold Boilly .

No Binding. Condition: Fair. Portrait of Mary, Queen of Scots. Born 8 December 1542 in Linlithgow, Scotland. Died 8 February 1587 in Fotheringhay, England. Etching by Charles Achille d'Hardivillier (1795 - after 1835), 1822. Reasonable condition. Paper slightly browned, with some faint staining. Verso: blank. Note: dimensions reflect the entire leaf. Dimensions: 242 x 156 mm. Mary, Queen of Scots was Queen, Queen consort of France, and Queen of Scotland. Print.

Condition: Good. Original lithograph on chine colle. 52.5 x 34 cm (sheet). Very Good, some foxing, mostly in the margins. As published in "Galerie de son Altesse Royale Madame la Duchesse de Berry. Ecole Francaise. Peintres Modernes. Ouvrage Dedie a son Altesse Royale et Lithographie par d'Habiles Artistes sous la Direction de M. Le Chevalier Bonnemaison, Membre de la Legion d'Honneur, Directeur de la Restauration des Tableaux du Musee Royal, et Conservateur de la Galerie de son Altesse Royale".Marie Caroline Ferdinande Louise de Bourbon-Sicile, Duchesse de Barry; Daughter of Francis, Duke of Calabria, later King of the two Sicilies; m. Charles Ferdinand Duc de Berry (son of Charles X) in 1816. Mother of Henri Duc de Bordeaux, exiled with the rest of the court in 1830, came back clandestinely in April 1832 in an attempt to place her son on the throne with her as a regent. Arrested and imprisoned in November 1832, freed in 1833 and sent to Palermo; she settled in Austria where she died.She commissioned a series of 250 lithographs reproducing paintings from the collection of the Duc de Berry. The plates were published from 1822, and two volumes binding the plates together were issued in 1824 and 1826.

Condition: Good. Original lithograph on chine colle. 34 x 52.5 cm (sheet). Very Good, some foxing, mostly in the margins, some creases along bottom sheet edge. As published in "Galerie de son Altesse Royale Madame la Duchesse de Berry. Ecole Francaise. Peintres Modernes. Ouvrage Dedie a son Altesse Royale et Lithographie par d'Habiles Artistes sous la Direction de M. Le Chevalier Bonnemaison, Membre de la Legion d'Honneur, Directeur de la Restauration des Tableaux du Musee Royal, et Conservateur de la Galerie de son Altesse Royale".Marie Caroline Ferdinande Louise de Bourbon-Sicile, Duchesse de Barry; Daughter of Francis, Duke of Calabria, later King of the two Sicilies; m. Charles Ferdinand Duc de Berry (son of Charles X) in 1816. Mother of Henri Duc de Bordeaux, exiled with the rest of the court in 1830, came back clandestinely in April 1832 in an attempt to place her son on the throne with her as a regent. Arrested and imprisoned in November 1832, freed in 1833 and sent to Palermo; she settled in Austria where she died.She commissioned a series of 250 lithographs reproducing paintings from the collection of the Duc de Berry. The plates were published from 1822, and two volumes binding the plates together were issued in 1824 and 1826.

Condition: Good. Stipple engraving . 6 x 3.5 inches image size. Margins. Matted.J Archibald Robertson (1765-1835) was born in Scotland, and studied in London with the celebrated painters Sir Joshua Reynolds and Benjamin West. He emigrated to New York in the early 1790s, and became not only successful artistically as a painter of miniatures, but also socially, traveling in the best circles of Federalist New York City society. He knew Alexander Hamilton so well that he named his second son in Hamilton's honor. Around this time he painted a miniature portrait of Hamilton that is now lost; it was engraved, in 1834 by J.F.E. Prud'homme for the weighty collective biography National Portrait Gallery of Distinguished Americans. However, after Hamilton's death, Robertson made a second version of the miniature portrait that featured a 3/4 view of Hamilton, surrounded by law books, pamphlets, and scrolls to represent his various achievements. As a nod to his military career, his uniform hat, sword, and Cincinnati medal are (somewhat incongruously) on the shelf behind him. This version was engraved and sold as a popular, posthumous print of Hamilton, right, by William Rollinson. . Provenance: W. Bruce Fye.

Hand-coloured engraving heightened with touches of gum arabic. Printed on laid paper. Very good condition. Good condition apart from some overall light soiling, minor foxing, and a few small tears in the margins. A broad view of the opulent lodge and landscaped grounds of the Grand Trianon at Versailles. Built in 1678 by the royal architect Jules Hardouin-Mansart (1646-1708), the palatial Grand Trianon was erected on the site of the former Trianon of Porcelain, a small pavilion constructed for Louis XIV by Louis Le Vau (1612-1670) in 1670. It was primarily intended as a country retreat and was a sprawling Italianate edifice with a colonnaded portico designed under the specific direction of the Sun King. The landscape architect André Le Notre (1613-1700) laid out the extensive gardens surrounding it. Adjacent to the Grand Trianon, though not visible in this fine print, is the more modest Greek-style Petit Trianon, another country retreat that was later constructed in 1760s at the behest of Louis XV for his mistress, Madame de Pompadour.

8vo and 12mo. Together 2½ pp. on bifolia. With one autograph address. In French. The earlier letter is addressed to the actor and playwright Louis Péricaud (1835-1909), urgently asking him for 25 francs: "You will get them back if we perform; if not . merde". - In the letter from 10 March 1875, Karoly expresses frustration with herself concerning the delivery of a role and asks the unidentified author of the play to tell her whether she may keep it or not: "Votre pièce me trotte par la tête, et vous me voyez furieuse après-moi de vous avoir si sottement rendu votre rôle. Je n'ose vous le redemander, il est plus que probable, que vous étés en pleine répétition, et que toute marche à la merveille en fin ! que voulez-vous ? on m'a si cruellement laissé dans l'ombre, que je me suis prêté à douter de moi. Ne m'en voulez-pas, et j'aime à espérer que j'aurai une revanche à prendre avec vous [.]". - Caroline Duveau was a student of her later husband Maubant (1821-1902). Following a short engagement at the Odéon, Duveau celebrated her debut at the Comédie-Française on 8 September 1868, where she would play alongside Maubant. - Traces of folds. Minimal browning.

Condition: Good. Platinum photograph after the painting. Image 24 x 17.7cm. Mounted on board with lettepress 32 x 26.5cm. Lower right corner on the board missing. A Rat seller during the seige of Paris in the Franco-Prussian warProvenance:Né en 1906 à Lezay (Deux-Sèvres), Jacques Cathy a exercé d'abord la profession de caricaturiste à l'hebdomadaire « Le Rire ». Il a rejoint vers 1927 l'équipe du Cabaret « La Vache Enragée » conduite par Roger Toziny. Jacques Cathy poursuit sa carrière de chansonnier après le décès de Toziny en 1939 et après la guerre il conduit parallèlement une carrière d'acteur dans le cinéma. Jacques Cathy était le 3ème Maire de La Commune Libre de Montmartre à partir de l'élection en 1949.Final provenance: Les Collections Aristophil - 164 bis avenue Charles-de-Gaulle 92200 Neuilly-sur-Seine.

Hand-coloured engraving heightened with touches of gum arabic. Printed on laid paper. Very good condition apart from some overall light soiling and minor foxing, two skillfully repaired small tears in the top margin, a couple of mild water stains in the left margin, and a few tiny nicks at the edges of the sheet. A stunning view of the impressive grand facade of the chateau of Versailles as seen from the garden. Originally a modest hunting lodge built by King Louis XIII in 1623, Versailles was transformed into one of the largest and most extravagant palaces in the world during the reign of Louis XIV (1643-1715). The self-proclaimed Sun King remodelled Versailles to demonstrate and symbolize his absolute power as monarch and the glory of France. He enlisted the services of the finest French architects of the era: Jules Hardouin-Mansart (1646-1708), Louis Le Vau (1612-1670), and Charles Le Brun (1619-1690). The extensive project of expansion and renovation began in 1661. The landscape architect André Le Notre (1613-1700) was responsible for redesigning the chateau's luxuriant park, including vast terraces and numerous fountains. In 1682, Versailles became the official royal residence.

Engraving, printed on fine laid paper. Very good condition apart from some overall light soiling, minor creasing in the bottom margin, and a few mild surface abrasions in the margins. Some faint writing in black pen is visible in the top right corner of the sheet. One of a pair of views of Windsor Castle engraved by Fittler after the celebrated landscape painter George Robertson. Towards the middle of the eighteenth century, a trend developed among English artists and printmakers who sought to visually record the natural beauties of England and Wales. Sparked by a sense of national confidence and patriotism, English printmakers began to publish topographical prints of the important sights in the British Isles. In addition to being a visual record of the countryside, they were meant to encourage public recognition of the beauty and history of England. They were aimed at English and foreign tourists who desired a memento of their travels, or at those armchair travelers who collected topographical prints instead of traveling. Trained at the schools of the Royal Academy, James Fittler was a skilled etcher and engraver, who established his reputation with the numerous plates he executed, many of them portraits, after artists such as Delamotte, de Loutherbourg, and Lorraine. In addition to his engravings, he contributed copious book illustrations to publications such as Dibdin's Aeds Althorpianae (1822). In 1800, Fittler became an associate at the Royal Academy, where he regularly exhibited throughout his life. Cf. Dictionary of National Biography; cf. Benezit, Dictionnaire Des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 5, p. 492.

No Binding. Condition: Very Good. 16 x 22 3/8 inches (40.6 x 56.8 cm., entire sheet). etching & engraving (some foxing to margins & title area). In the Second Battle of Porto, also known as the Battle of the Douro or the Crossing of the Douro, May 12, 1809, General Arthur Wellesley's Anglo-Portuguese army defeated Marshal Nicolas Soult's French troops and took back the city of Porto. The battle ended the second French invasion of Portugal. Second-in-command, Edward Paget, lost his right arm in the battle.