LITHOGRAPHIC

Haghe features prominently in William Day’s entry in the Oxford DNB, in which their firm’s publication of Robert’s ‘Holy Land’ (1842-49) is described as ‘the most ambitious lithographic work ever published’, for which ‘Haghe, praised by Roberts for the faithful and artistic interpretation of his drawings, must bear most of the credit for the success of this publication’. See also the entry on the recipient Charles Manby (1804-1884), Secretary of the Institution of Civil Engineers. 2pp, 12mo. On the first leaf of a 12mo bifolium.

Haghe features prominently in William Day’s entry in the Oxford DNB, in which their firm’s publication of Robert’s ‘Holy Land’ (1842-49) is described as ‘the most ambitious lithographic work ever published’, for which ‘Haghe, praised by Roberts for the faithful and artistic interpretation of his drawings, must bear most of the credit for the success of this publication’. See also the entry on the recipient Charles Manby (1804-1884), Secretary of the Institution of Civil Engineers. 2pp, 12mo. On the first leaf of a 12mo bifolium.

A nice piece of First World War ephemera, from the period of transition from volunteering to conscription. Newnes was a leading British publisher of the period, and the present item may have been inserted in one of its periodicals, which included ‘The Strand Magazine’, ‘Women’s Own’ and ‘John O’London’s Weekly’. It is printed on a leaf of good quality cream 4to wove paper, and was intended for completion. In fair condition, lightly aged, with light wear and creasing to extremities.

Two etchings in black ink, printed side by side on a 23.5 x 18 cm piece of wove paper, with a thin printed line dividing them. Possibly proofs of two plates on conjoined leaves in a book. In fair condition, lightly aged and creased, with a tiny nick at foot and dog-eared corners. Each of the sketches is full-length, and has a caption at foot, in a facsimile of D'Orsay's hand.

Two etchings in black ink, printed side by side on a 23.5 x 18 cm piece of wove paper, with a thin printed line dividing them. Possibly proofs of two plates on conjoined leaves in a book. In fair condition, lightly aged and creased, with a tiny nick at foot and dog-eared corners. Each of the sketches is full-length, and has a caption at foot, in a facsimile of D'Orsay's hand.

On one side of a 38 x 24 cm piece of wove paper with watermarked date 1828. In fair condition, lightly worn and creased. The engraving is roughly 21 cm square, and shows three figures gathered around a table, their arms tangled as they reach forward to sign a document.

Total 73pp., 4to, crude brown paper wraps, sewn, chipped and crumpled at the edge, contents good. Comprising four sermons based on Revelations, pp.15, 20,, 19, and 19. The titles of the 52 sermons already published are printed (also in MS.) on the inside covers, some titles faded. The lithographic process has been used to give the effect of a manuscript perhaps to deceive the eye of the sermon's audience into thinking it the sermoniser's own work.

All twenty-four illustrations have been laid down on leaves removed from an album of prints. Both series are numbered to twelve, and each is complete. The plates in the Retzsch series appear to have had their margins cropped. All images clear and complete, on lightly-aged paper, with occasional light spotting and discoloration. Laid down at the head of the first illustration in the first series, and slightly (0.5 cm) encroaching onto it, is a printed label reading 'Illustrations to Shakespeare's | TEMPEST | in 12 plates'.

1p., 12mo. In good condition, lightly aged and worn, with 'Conversazione' in a contemporary hand at head of first page. Addressing his letter to 'Dear Sir', Haghe begins by acknowledging the receipt of 'a card for the conversasione [sic] of the 5th. of June next', adding that he will be pleased 'to send you a couple of pictures at the appointed time'. He gives the dimensions of the two pictures. He ends by reminding the recipient that 'my brother Charles has not yet received the card you have usualy [sic] been kind enough to send him'.

Hand-coloured lithographic prints. Nine panels, each roughly 10 x 18cm, attached to make one accordion-folded strip. In fair condition, aged and worn, with three blank panels inserted in the strip to fill up gaps. Captions along the foot read: '12 Members of the Common Council in their Mazarine Gowns', 'The Sheriffs', 'Aldermens Carriages', 'The Queen's Household', 'Royal Footmen', 'Life Guards Police Officers'. The last panel shows the head of the procession arriving at the new building. The set of prints was sold by the publishers in a blue cloth folder, with title leaf.

1p., 12mo. In fair condition, on lightly-aged paper, with small piece cut away from one corner, and traces of mount adhering to the blank reverse, which also carries a few marks in ink, with a couple of minor marks in the margin at the foot of the recto. At the head of the page is the engraving, roughly 12.5 x 12 cm, attractively done, and showing Gough in cutaway jacket and waistcoat, standing behind a table, with a seated audience behind him, holding aloft a glass of water.

Text: 2pp., foolscap 8vo (35 x 20.5cm.). Engraving: 12 x 16cm with corners clipped. Both items in fair condition, on aged paper. The text is cropped at the head, through a royal crest, and has rounded corners at the head and trimmed corners at the foot. The engraving has traces of grey paper mount on reverse. The text has lithograph illustrations of two side-views of four-wheel carriages with the drag applied, beneath the cropped crest and above the title 'WRIGHT'S PATENT DRAG.' Text consists of around 60 lines in copperplate.

On a piece of paper 20 x 22.5 cm, with the dimensions of the image 16.5 x 22 cm. Caption at foot: 'A Drawing on Paper transferred on Stone', with 'Drawn by S. Prout' beneath the bottom left-hand corner of the image. In fair condition, on lightly-aged paper, with the image clean, and foxing to the caption strip at the foot. Laid down on a leaf removed from an album. The original print, from the English edition of Senefelder's book, published by Ackermann in 1819, and not the version reprinted in 'Lithography and Lithographers' by E. R. and J. Pennell (London: T. Fisher Unwin, 1915).

Dimensions: 18.5 x 25.5 cm. Laid down on a piece of 19.5 x 26.5 cm grey paper. The print has been trimmed, so that there is no margin. In good condition, lightly-aged and ruckled. Against a rocky backdrop, with aborigines viewing from the top of a hill, a group of six aborigines are shown to the right, naked and waving sticks and spears. To the left are the five Frenchmen, with a stack of rifles in front of a tent at far left. In the centre of the image the leading Frenchman places gifts on the end of a long stick held by one of the aborigines.

2pp., 16mo. On bifolium. Good, on lightly-aged paper. After presenting his respects, Lane states that he'regrets that he is so engaged for three or four months that he must not undertake any more - / He has found the copying miniatures so injurious to his eyes and the drawings so unsatisfactory in the printing that he is at all times unwilling to engage in very small Drawings -'. He concludes by thanking her for 'her most kind & gratifying note'.

Printed in black and white on piece of paper approximately 24.5 x 27.5 cm. In good condition, on lightly-aged paper. Tipped in into modern white card mount with window frame. From his series of 'English Portraits' (1898). A facsimile of Rothenstein's initials and his dating are in the bottom left-hand corner of the engraving ('W. x R 97'), with Way's slug in the bottom right-hand corner. Fine representation of Hardy, staring warily at the viewer with hands in pockets.

Landscape card, 7.5 x 11.5 cm. Designed to show off the firm's capabilities, and printed on one side in purple, green, light brown and gold, with fancy lettering within florally-decorated body and border, around a small central illustration of three men working a press. Printers' details in small letters at foot, reading 'F. Bentley & Co. Lth' and 'Shoe Lane, London.' The almanac on the reverse is a more restrained affair, stylishly printed in purple and gold. Fair: lightly-aged, with small closed hole to one corner, and slight wear at foot of almanac.

On piece of paper roughly 29.5 x 44 cm. The image itself is 30 cm wide, with an arched top 18 cm high at sides and 22 cm at the highest point. The image is clear and complete, on dusty spotted paper with fraying and loss to top edge especially. A charming image, showing Victorian middle-class townsfolk comporting in the town centre, with a wide main street with two carriages, and shop names including 'ELLIS' and 'WILSHER BUILDER'. Towards the centre is 'CHEEKS PRINTING OFFICE', 'BOOKSELLER STATIONER'.

The collection assembled by William Done Bushell (see Item Nine), later a senior master at Harrow School. All nine items clear and complete. On aged paper, discoloured by the glue used in mounting. The first eight are printed, and the last is in manuscript. ITEM ONE: 'Classical Tripos. | 1861.' 4to, 1 p. Names the examiners, and those of the students (with colleges), under columns for the first, second and third classes. ITEM TWO: Headed 'List of Honors at the Bachelor of Arts' Commencement, January 26, 1861.' 4to, 1 p.

Dimensions of print 11.5 x 19.5 cm. At the head of the recto of the first leaf of a bifolium (leaf dimensions 28 x 22.5 cm). The print itself is clear and undamaged, on aged paper. With traces of cuttings mounted onto the internal pages, and closed tear to the blank second leaf. An impressively detailed engraving, showing the bustling port and layout of the city, with church spires and prominent buildings. A copy of the item survives used as a letter home from a German girl in 1855. The copy in the New York Public Library is ascribed to 'C. Magnus, Lith. 22 N. William St.'

Printed on one side of a piece of stiff art paper (shiny on printed side, matt on reverse), dimensions roughly 245 x 160 mm). Very good. The name of the firm is not stated, and dabs of colour in 3 mm margins as printing guide. Attractive and characteristic illustration, in eight (?) colours: dark brown, beige, green, red, pink, yellow, dark and light blue, showing a carriage clock surrounded by plate, jewellery (including a goblet, a fan, a pearl necklace, a fob watch, decanters) and a profusion of flowers. The calendar in twelve tiny squares, six at the head at six at the foot.

Dimensions of paper roughly eight and a half inches by six and a half wide. Illustration roughly five and a half inches by five wide. Good on slightly aged and creased paper. A grey-haired Gregory, fashionably dressed in striped waistcoat and cravat, and wearing a white apron, stares at the viewer while holding a book in his left hand and writing its details in a ledger with a quill in his right hand. BBTI gives Robert Loder's trading dates as 1822-39, and Gregory's as 1793-1851.

EXCESSIVELY RARE. Apparently not present in the National Portrait Gallery collection. The portrait is on a piece of India paper roughly four and a half inches by three and a half wide, mounted on a piece of thick wove paper roughly eleven inches by eight and a half wide. The mount bears the text. Good, though somewhat grubby, and with the mount lightly creased and foxed. While Sayers is best-known as a Pittite caricaturist this image is certainly not a caricature.

English painter and sculptor (1781-1841). The recipient (1780-1860) was an English artist of Swiss descent. One page, quarto. Good, but with traces of previous brown-paper mount adhering to rear and minor damage to several corners. Reads 'My Dear Sir | When I asked you for an impression I had not seen the composition & had no idea that I was asking so much - believe me I feel very grateful for your kindness in putting me in possession of so very interesting a work - I do not mean to be understood as speaking of Lithography only.