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Sanders of Oxford ANTIQUE PRINTS & MAPS

Sanders of Oxford 104 High Street, Oxford. OX1 4BW

[email protected] - 01865 242590 - www.sandersofoxford.com

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Following the success of William Blake: Printmaker, Sanders of Oxford is pleased to

present a collection of prints and portraits exploring the art, literature, and music of the

Romantic Era in The Romantics: Influences, Personalities, and Aesthetics.

The prints in this collection trace the development of Romanticism during the late

eighteenth and early nineteenth century. Beginning with the origins of Romantic thought,

two series of stipple engravings after Westall and Bartolozzi reveal the profound

influence of John Milton on the Romantic mindset. Coupled with these are a series of

portraits of the poet himself, as well as other scenes from Paradise Lost and Bunyan’s

Pilgrim’s Progress. Milton’s visions of Heaven and Hell, the drama of the war in Heaven,

the fate of the Fallen Angels, and the ultimate loss of Paradise were heady subjects for a

new breed of Romantic artists like Fuseli, Blake, and John Martin. Milton’s Satan, a figure

of pathos even at his worst, provided the perfect avatar for a movement that placed the

highest value on innovation, individualism, emotion, subjectivity, and isolation.

Frankenstein’s monster, a figure hated and reviled by all mankind, is not alone in his

desperate affinity with Milton’s fallen angel. Through the Romantics, Satan became the

archetype of the Byronic antihero.

In many ways, the lives of the British Romantics were just as tumultuous, dramatic, and

tragic as the works they were rightly celebrated for. Elevated by fame, brought low by

misfortune, and often destructive to those around them, the men and women of the

British Romantic movement could all be described, as Lord Byron had been, as ‘mad,

bad, and dangerous to know.’ Presented here are the portraits of the leading figures of

the British Romantic Movement: the ‘Lake Poets’ Coleridge, Wordsworth, and Southey,

the political and social philosophers Mary Wollstonecraft and William Godwin, the artists

Henry Fuseli and James Barry, the debauched William Beckford, the doomed Percy

Shelley, the turbulent Lord Byron, and the many other brilliant and troubled individuals

that ensured the lasting appeal of the Romantic movement.

At its heart, Romanticism was a reaction to the prevailing Neo-Classical tastes of

European art, music, and literature. In place of harmony, purity, symmetry, and

perfection, the Romantics reveled in the chaos and uncertainty of the natural world.

From Wordsworth’s musings on the ruined Tintern Abbey to the otherwordly fairy-realms

of the Marble Grotto in the Island of Antiparos, the Romantics championed the sublime and

the supernatural, viewing nature in its purest elemental form. The Sturm und Drang (Storm

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and Stress) of the Germanic aesthetic imbued the Romantic Movement with scenes of

destruction, awe, and wonder. From Beethoven’s Fifth to Goethe’s Faust, the dark and

unnerving undertones of the early Romantic movement would inspire a younger

generation of Romantic artists to explore the aesthetics of human despair. In Martin’s

colossal Fall of Nineveh and his modest Gaius Marius Mourning Over the Ruins of Carthage, the

viewer is overwhelmed with desolate vistas, the destruction of once-mighty empires, and

the perception that, like Shelley’s Ozymandias, all things will one day come to ruin. In

Gericault’s monumental Les Naufragés de la Méduse, a viscerally tragic depiction of the ill-

fated hope of deliverance, the echoes of historic tragedy were replaced with a new and

potent vitality, inspired by the horrors of the Revolution.

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List of Contents Influences: Visions of Heaven and Hell 6 - 30

John Milton 6

Bartolozzi’s Paradise Lost 11

Boydell’s Milton 17

The Pilgrim’s Progress 27

John Martin 28

Personalities: Mad, Bad, and Dangerous to Know 31 - 50

The Lake Poets 31

Lord Byron 34

Shelley, Godwin, Wollstonecraft 43

Artists and Innovators 47

Aesthetics: Sturm und Drang 51 - 68

Natural and Supernatural 51

Storm and Stress 59

Desolation and Ruin 64

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Visions of Heaven and Hell John Milton John Milton (9th December 1608 – 8th November 1674) was an English poet, theologian, and civil servant during the Cromwellian Protectorate. Milton is regarded as one of the greatest English poets, often elevated to the equal of Shakespeare, and a master of political pamphleteering. Forceful and idealistic, he served the Commonwealth as Latin Secretary but was arrested upon the restoration of Charles II. The tragic circumstances of his life - an unhappy marriage, the premature death of his second wife and his eventual blindness in 1652 - are reflected in the often despairing tone of his work. Milton is best known for his epics, Paradise Lost (1667), Paradise Regain’d and Samson Agonistes (1671). Although Milton achieved widespread recognition during his own lifetime, being hailed as a master of the epic style, his legacy grew exponentially after his death. His style, fiercely defended by the poet in the prologue to Paradise Lost, was a reaction to rhyming verse, which was the popular fashion of his time. Describing rhyming verse as ‘vulgar’ and ‘Germanic,’ Milton aimed to return poetry to the purity of form found in the classical poets. This attitude had a profound effect on other English poets, including Dryden and Alexander Pope. Perhaps the most important legacy of Milton’s poetry was its affect on the literature of the Romantic movement. Milton’s characterisation of Satan in Paradise Lost heralded the birth of the Romantic anti-hero, a figure that would loom large in the works of the British Romantics. In Mary Shelley’s iconic Frankenstein, it is Milton’s Satan that the Creature sees as the most appropriate reflection of himself, a figure driven to terrible deeds, but worthy of pathos, tormented by the condemnation of an unfeeling creator. The tragic Byronic hero likewise draws much of its inspiration from Milton’s treatment of Satan, and the intense emotion of Milton’s text was an inspiration to artists and poets from William Blake to William Wordsworth.

1. Joannes Milton, Aetatis XXI [John Milton, Age 21]

George Vertue Copper engraving 1731 Image 234 x 152 mm, Sheet 243 x 174 mm Unmounted

Inscription reads: ‘Nascuntur Poetae, non fiunt.’ [Poets are born, not made]. Portrait of John Milton, half-length to right, with head turned to look to front; wearing a ruff and dark buttoned coat; in an oval within rectangular frame, decorated with scroll and garlands on top, placed over a pedestal with coat of arms on top in centre, and sculptured busts of Homer and Virgil on left and right; after Onslow portrait; illustration to Richard Bentley's edition of Milton's Paradise Lost, published by Jacob Tonson (London: 1732) George Vertue (1684-1756) was an antiquary and engraver. He was born in the parish of St. Martin-in-the-Fields, London. Vertue was apprenticed to a silver engraver and later to the Flemish engraver Michael Vandergucht. His early work includes plates after Kneller, whose academy he attended from 1711. Vertue had a deep interest in antiquarian research, and much of his work was devoted to this subject. He also served as the official engraver to the Society of Antiquaries (1717-56). From 1713 onwards, Vertue dedicated his research to the details

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of the history of British art, which resulted in an extensive collection of notebooks now in the British Library. The contents of which were the basis of Horace Walpole’s 1762 ‘Anecdotes of Painting’. There are approximately five hundred portraits attributed to Vertue, and an equivalent number of published plates which were devoted to antiquarian subjects. O’Donoghue 45, Alexander 624 Condition: Tipped to an album page [36401] £60 2. Milton.

Freeman Stipple London, Published by John Bumpus, Holborn, 1822. Image 92 x 75 mm, Plate 202 x 152 mm, Sheet 296 x 226 mm Unmounted Inscription reads: Engraved by Freeman, from a Portrait in the Collection of the late C. Lamb Esqre. South Sea House. [36336] £20

3. The Beauties of Milton, Thomson and Young.

Stipple and copper engraving Dublin, Printed for the Company of Booksellers, 1783. Sheet 165 x 95 mm Unmounted Inscription reads: ‘Tutor’d by thee, sweet Poetry exalts / Her voice thro’ ages; and informs the page / With music, image, sentiment, and thought, / Never to die! / Thomson.’ Frontispiece of The Beauties of Milton, Thomson, and Young. The portraits of the three poets are enclosed in roundels and decorated with medals and ribbons. O'Donoghue 5, Alexander 21 Condition: Water stain to right of title, not affecting image, surface dirt and creasing to sheet. [36387] £15

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4. John Milton

Giovanni Battista Cipriani after William Faithorne Etching 1780 Image 186 x 160 mm, Plate 270 x 178 mm, Sheet 420 x 288 mm Unmounted From Francis Blackburne's Memoirs of T. Hollis. O'Donoghue 47 [36338] £45 5. John Milton

Giovanni Battista Cipriani after William Faithorne Etching 1780 Image 189 x 149 mm, Plate 270 x 178 mm, Sheet 373 x 272 mm Unmounted From Memoirs of T. Hollis. O’Donoghue 13. [36337] £40 6. [Various John Milton Portraits]

Giovanni Battista Cipriani Etching c. 1780 Sheet 543 x 407 mm Unmounted Four plates from Memoirs of T. Hollis laid to a larger album page, with a small oval portrait in the middle. O’Donoghue 13, 39, 47 & 69. Ex. Col.: Earl de Gray, collector’s mark on verso Condition: Images trimmed within plate marks and several tears. Significant damage and staining to bottom right image. [36339] £80

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7. John Milton

after William Faithorne Mezzotint London, Printed for John Bowles, c. 1710-45 Image 156 x 122 mm, Sheet 278 x 189 mm Unmounted Part of a larger mezzotint featuring Shakespeare, Jonson, and Butler from a set of six titled Worthies of Britain. Chaloner Smith 13 (fragment) Condition: Trimmed within the image, with majority of text missing, window mountd to album page. [36341] £45

8. John Milton

Johann Elias Haid after Samuel Cooper Mezzotint Augsburg, c. 1760 - 1800 Image 191 x 153, Plate 226 x 146 mm, Sheet 382 x 273 mm Unmounted A portrait falsely attributed as ‘John Milton’ after a miniature by Samuel Cooper now at Rokeby. Johann Elias Haid (1739 - 5th April 1809) was a German engraver, portraitist, mezzotint artist, and printmaker. His most celebrated portraits include many leading members of the European Romantic and Neo-Classical movements, including Jean-Jacques Rousseau, Voltaire, Johann Joachim Winckelmann, and Johann Caspar Füssli, the father of Henry Fuseli. Samuel Cooper (1609 - 5th May, 1672) was a British miniature painter, and a personal acquaintance of Samuel Pepys and Alexander Pope. His most recognisable works include an unfinished miniature of Oliver Cromwell, and a portrait of John Aubrey now in the Ashmolean Museum. Condition: Trimmed close to plate mark, and tipped to later paper. [36340] £85

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9. John Milton

Caroline Watson after Samuel Cooper Stipple Publish’d according to Act of Parliament, Janry. 4. 1786, by Caroline Watson, Fitzroy Street Image 180 x 150 mm, Sheet 225 x 164 mm unmounted Inscription reads: ‘The above is a facsimile of the manuscript on the back of the picture, which appears to have been written sometime before the year 1693 when Mr. Somers was knighted, and afterwards created Baron Evesham, which brings it within nineteen years after Milton’s death. The writer was mistaken in supposing Deborah Milton to be dead at that time, she lived till 1727 but in indigence and obscurity, married to a weaver in Spital Fields. I have only to add that Cooper appears to have exerted his utmost abilities on his friend’s Picture, and that Miss Watson has shewn equal excellence in this specimen of her Art, the likeness to the original Picture which is in my possession is preserved with the utmost exactness. J. Reynolds.’ A portrait falsely attributed as ‘John Milton’ after a miniature by Samuel Cooper now at Rokeby. The portrait is enclosed in an oval frame, and mounted atop a pyramidal

monument, with a curtain behind. The monument base features two bas-reliefs of scenes from Paradise Lost. On the left side, Eve hands the apple to Adam, while the serpent watches, coiled around the Tree of Knowledge. On the front of the monument, the Archangel Michael, his sword drawn, leads a weeping Adam and a shamed Eve from the Garden. In the right corner, an oval cartouche explains the provenance of the image: ‘This picture belong’d to Deborah Milton who was her Father’s Amannuensis, at her death was sold to Fr. Willm- Davenant’s family. It was painted by Mr Sam Cooper who was painter to Oliver Cromwell at ye time Milton was Latin Secretary to the Protector. _ The Painter & Poet were near of the same age. Milton was born in 1608 & died in 1674. Cooper was born in 1609 & died in 1672 & were companions & friends till Death parted them. Several encouragers and lovers of ye fine Arts at that time wanted this picture. particularly Lord Dorset John Somers Esqr, Fr Robt. Howard, Dryden, Atterbury, Dr Aldrich & Sr John Denham.’ Caroline Watson (1761 - 1814) was a British stipple engraver, and the daughter of Irish engraver James Watson. She was appointed engraver to Queen Charlotte, and also worked for John Boydell for his Shakespeare Gallery. Samuel Cooper (1609 - 5th May, 1672) was a British miniature painter, and a personal acquaintance of Samuel Pepys and Alexander Pope. His most recognisable works include an unfinished miniature of Oliver Cromwell, and a portrait of John Aubrey now in the Ashmolean Museum. O'Donoghue 58, Alexander 21 Condition: Trimmed within plate mark, surface abrasions to portrait. [36386] £60

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Bartolozzi’s Paradise Lost A series of twelve plates engraved by Thomas Stothard after Francesco Bartolozzi. Bartolozzi’s Milton plates were reprinted a number of times in the early 19th century. In 1815, they were reprinted as an illustrative set by John Hill, and in 1818, were combined with Bartolozzi’s Shakespeare plates by H. M’Lean to ‘form an elegant library accompaniment to the various editions of these authors’ (De Vesme & Calabi, 1928: 438). The original publication line, for Jeffryes & Co, has been removed from the current printing. Thomas Stothard (17th August 1755 - 27th April 1834) was an English painter, illustrator, and engraver, best known for his illustrations to poetic work. He is particularly noted for his illustrations to the poems of Ossian, purported to be the author of an epic cycle published by James Macpherson and commonly hailed as a progenitor of the British Romantic movement. Francesco Bartolozzi (21st September 1727 - 7th March 1815) was an Italian engraver, best known for his engravings for Boydell’s Shakespeare Gallery, and those after Angelica Kauffman and Cipriani. Working initially on landscape and architectural engravings in Venice and Rome, in 1764 he moved to London, which began his most prolific period. 10. Satan, With head uplift above the wave, and eyes That sparkling blaz’d; his other parts besides Prone on the flood, extended long and large Lay floating many a rood. Paradise Lost, Book 1.

Francesco Bartolozzi after Thomas Stothard Stipple engraving 1792-1818 Image 104 x 210 mm, Plate 246 x 380 mm, Sheet 340 x 491 mm Mounted A proof plate of Satan, originally engraved for Jeffryes & Co.’s publication of Milton’s Paradise Lost (1792-3). In the illustration, Satan, having been cast out of Heaven, lies prone upon the Lake of Fire, surrounded by his fellow fallen angels in utmost pain and confusion. Bartolozzi’s physical depiction of the fallen angels also suggests their transition from Grace to Perdition. Whilst Satan’s upper half retains the beauty and perfection of form appropriate to his angelic origins, his legs already begin to show the scales of the serpent. Likewise,

although Satan still has his feathered wings, the visible part of the wings of the angel at his feet are dark and bat-like. [36296] £160 11. Pandemonium, Built like a Temple, where pilasters round Were set, and Dorick pillars overlaid With golden architrave

Francesco Bartolozzi after Thomas Stothard Stipple engraving 1792-1818 Image 123 x 270 mm, Plate 247 x 385 mm, Sheet 336 x 490 mm Mounted An illustrative plate of Pandaemonium, the Palace of Hell, originally engraved for Jeffryes & Co.’s publication of Milton’s Paradise Lost (1792-3). In the illustration, Satan, clad in classical attire, stands between the principle fiends of Hell, most likely Astoreth, Moloch, Dagon, and Belial. From his podium he addresses the collected

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councils of devils, proposing a new war on Earth. [36294] £110 12. Sin and Death

Francesco Bartolozzi after Thomas Stothard Stipple engraving 1792-1818 Image 122 x 176 mm, Plate 248 x 388 mm, Sheet 338 x 495 mm Mounted A proof plate of Sin and Death, originally engraved for Jeffryes & Co.’s publication of Milton’s Paradise Lost (1792-3). In the illustration, Sin and Death guard the adamantine Gate of Hell. Sin, depicted scylla-like with dog-headed serpents instead of legs, covers her face, ashamed of the incestuous union with her father, Satan, that gave birth to Death. Death himself sits against the opposing lintel, crowned, cloaked, and carrying a sceptre, his gaunt face obscured by darkness. [36295] £130

13. His oblique way Amongst innumerable Stars.

Francesco Bartolozzi after Thomas Stothard Stipple engraving [after 1792] Image 128 x 255 mm, Plate 246 x 386 mm, Sheet 344 x 492 mm Mounted An illustrative plate of Satan, originally engraved for Jeffryes & Co.’s publication of Milton’s Paradise Lost (1792-3). In the illustration, Satan, having passed through the primordial waste of Chaos, has made his way to the vault of the sky. Clad only in a robe which billows from his shoulders, and carrying a spear, he flies through a field of stars. Condition: Tears and stains to left margin not affecting image. Light creases to sheet. [36305] £110 14. Uriel and Satan

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Francesco Bartolozzi after Thomas Stothard Stipple engraving [c.1822] Image 325 x 265 mm, Sheet 470 x 310 mm Unmounted Inscription reads: The Arch-Angel Uriel, Regent of the Sun, Satan bowing low Down from th’ ecliptick, sped with hoped success, throws his steep flight in many an aery wheel. Paradise Lost Book III. An illustrative plate of the Archangel Uriel and Satan, originally engraved for Jeffryes & Co.’s publication of Milton’s Paradise Lost (1792-3). In the illustration, Satan, having escaped from Hell with the assistance of his children, Sin and Death, travels to Eden to pervert God’s new Creation. Travelling through the outer firmament, he encounters the Arch-Angel Uriel. To deceive Uriel, Satan disguises himself as a lesser angel, pretending that he wishes to pay tribute to Man. Condition: Gilt-edged sheet, tears to left and right margins not affecting image. [36297] £90

15. Uriel, gliding through the even On a sun-beam.

Francesco Bartolozzi after Thomas Stothard Stipple engraving 1792-1818 Image 120 x 170 mm, Plate 246 x 385 mm, Sheet 344 x 494 mm Mounted

A proof plate of the Archangel Uriel, originally engraved for Jeffryes & Co.’s publication of Milton’s Paradise Lost (1792-3). In the illustration, Uriel, holding a sceptre, glides in haste through the outer firmament to speak to his fellow Archangel, Gabriel. Having realised that the being he met earlier was actually Satan escaped from Hell, he warns Gabriel that Eden and Man are the object of Satan’s plans. [36299] £110 16. Adam and Eve

Francesco Bartolozzi after Thomas Stothard Stipple engraving [c.1822] Image 331 x 253 mm, Sheet 471 x 310 mm Unmounted Inscription reads: ‘Side-long as they sat recline On the soft downy bank damask’d with flowers. Paradise Lost Book IV.’ An illustrative plate of Adam and Eve, originally engraved for Jeffryes & Co.’s publication of Milton’s Paradise Lost (1792-3). In the illustration, Adam and Eve share a tender embrace, framed by the peace and tranquility of Eden. The bank on which they sit is garlanded by flowers, a variety of birds alight in trees and by the water, and a rabbit rests at Eve’s foot. Although the viewer is presented with a picture of serenity, this scene is described in the poem through the

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malevolent eyes of Satan, who spies upon God’s newest creations from his place atop the Tree of Knowledge, disguised as a great cormorant. Condition: Gilt-edged sheet, paper watermarked ‘1822’, marks to inscription space, tears to left margin not affecting image. [36310] £90 17. Eve. “As I bent down to look, just opposite A shape within the watery gleam appear’d, bending to look on me.”

Francesco Bartolozzi after Thomas Stothard Stipple engraving 1792-1818 Image 128 x 270 mm, Plate 248 x 388 mm, Sheet 341 x 486 mm Mounted A proof plate of Adam and Eve, originally engraved for Jeffryes & Co.’s publication of Milton’s Paradise Lost (1792-3). In the illustration, Eve’s admission of Vanity is given form. To the left of the scene, Eve sees her reflection for the first time in a small pool, and is pleased with her appearance. Above her head, a spirit explains that her image comes and goes as she does. To the right, Adam sleeps. [36300] £110

18. Morning. He on his side Leaning half rais’d, with looks of cordial love Hung over her enamour’d.

Francesco Bartolozzi after Thomas Stothard Stipple engraving [c.1822] Image 131 x 266 mm, Plate 250 x 388 mm, Sheet 309 x 472 mm Unmounted An illustrative plate of Adam and Eve, originally engraved for Jeffryes & Co.’s publication of Milton’s Paradise Lost (1792-3). In the illustration, Adam, awakened by the arrival of dawn, finds Eve still asleep and gazes with joy upon his partner. Their bower is framed by the flowers and verdant plants of Eden. Eve’s lingering in sleep is the result of an uneasy night plagued by dreams in which Satan tempted her to eat from the Tree of Knowledge. Condition: Gilt-edged sheet, one stain in lower margin not affecting image, a stain in Eve’s hip area, tears to top and bottom margins not affecting image. [36307] £80

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19. The Morning Hymn

Francesco Bartolozzi after Thomas Stothard Stipple engraving 1792-1818 Image 162 x 215 mm, Plate 248 x 385 mm, Sheet 338 x 490 mm Mounted A proof plate of Adam and Eve, originally engraved for Jeffryes & Co.’s publication of Milton’s Paradise Lost (1792-3). In the illustration, Adam and Eve, having emerged from their bower in the Garden of Eden, offer up orisons to their Creator. Eve has just finished explaining a troubling dream she had to Adam, brought about by Satan whispering in her ear as she slept. Condition: Crease lower right of sheet, not affecting the image. [36298] £110

20. Adam, Eve, and the Arch-Angel Raphael

Francesco Bartolozzi after Thomas Stothard Stipple engraving [c.1822] Image 331 x 262 mm, Sheet 471 x 309 mm Unmounted Inscription reads: ‘Fruit of all kinds, in coat Rough, or smooth rind, or bearded husk, or shell, She gathers, tribute large, and on the board Heaps with unsparing hand; for drink the grape She crushes. Paradise Lost Book V.’ An illustrative plate of Adam and Eve, originally engraved for Jeffryes & Co.’s publication of Milton’s Paradise Lost (1792-3). In the illustration, Eve gathers a meal from the bounty of Eden, as a means of welcoming the arrival of the Arch-Angel Raphael, who has been sent by God to admonish Adam for his obedience and free will, and to warn the pair of the coming of Satan their enemy. Adam and Raphael converse, seated at a natural table of rock, upon which is a heavily laden platter of fruit that Eve prepares. Condition: Gilt-edged sheet, paper watermarked ‘1822’, tears to left margin not affecting image. [36309] £90

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21. The Gate of Heaven.

Francesco Bartolozzi after Thomas Stothard Stipple engraving 1792-1818 Image 135 x 170 mm, Plate 250 x 386 mm, Sheet 342 x 488 mm Mounted An illustrative proof of the Gate of Heaven, originally engraved for Jeffryes & Co.’s publication of Milton’s Paradise Lost (1792-3). In the illustration, the Gate of Heaven is represented as a physical staircase in the clouds, ascending towards the pure light of God. The staircase is lined on either side with cherubim and seraphim, who gaze in rapture towards the Gate. [36306] £110

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Boydell’s Milton A series of stipple engravings after Richard Westall, the majority executed by Jean-Pierre Simon and Benjamin Smith, from John and Josiah Boydell’s The Poetical Works of John Milton (1794-1797). The publication of Boydell’s Milton followed the success of his Shakespeare Gallery, and included 28 plates by Richard Westall after works by Henry Fuseli. Fuseli, one of the Shakespeare Gallery’s key contributors, had been inspired by Boydell’s success, subsequently painting 40 large-scale scenes from Paradise Lost that he intended to form the core of his own ‘Milton Gallery’. Richard Westall RA (2nd January 1765 - 4th December 1836) was a British painter, illustrator, printmaker, and drawing master, best known for his portraits of Lord Byron, and his work as a painter for John Boydell’s Shakespeare Gallery, and Henry Fuseli’s failed Milton Gallery.

Benjamin Smith (1754-1833) was a British engraver, printseller, and publisher. A student of Francesco Bartolozzi, his most celebrated engravings were the series he undertook for Boydell’s editions of Shakespeare and Milton, though he also produced many fine plates after William Hogarth and George Romney, as well as portraits of George III.

Jean Pierre Simon (c.1750 - c.1810) was an Anglo-French stipple engraver.

22. Paradise Lost. B. 1. L. 315.

Jean-Pierre Simon after Richard Westall Stipple engraving Publish’d June 4. 1794, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery Pall Mall, & Cheapside. Image 226 x 159 mm, Sheet 380 x 277 mm Mounted An illustration of Book 1, Line 375 of Milton’s Paradise Lost. Satan, at centre, is depicted as a heroic nude in the classical mien. In his left hand he holds a staff, while his right hand is held up in exhortation as he delivers his rousing and charismatic address to the fallen angels. His wings, and those of his attendant, are framed by the

gloom that conquers all but the fire at his feet. Ex Col.: Hon. Christopher Lennox- Boyd, collector’s mark on verso. [36185] £130


Jean-Pierre Simon after Richard Westall Stipple engraving Publish’d June 4. 1794, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery Pall Mall, & Cheapside. Image 224 x 157 mm, Sheet 380 x 275 mm

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Mounted An illustration of Book 2, Line 752 of Milton’s Paradise Lost. Satan, having resolved to take his new war to earth, has approached the Gates of Hell, whose guardians are Sin and Death. After Death is revealed to be his own son through an incestuous union with his daughter Sin, Satan is forced to recall the moment of Sin’s creation, bursting forth ‘shining Heav’nly fair’ and fully armed from his head. Satan’s expression conveys not only the physical pain of Sin’s birth, but also the horror of realisation of his actions. Ex Col.: Hon. Christopher Lennox-Boyd, collector’s mark on verso. [36186] £130


Jean-Pierre Simon after Richard Westall Stipple engraving Publish’d June 4. 1794, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery Pall Mall, & Cheapside. Image 225 x 153 mm, Sheet 376 x 275 mm Mounted An illustration of Book 3, Line 260 of Milton’s Paradise Lost. God, having seen Satan’s approach, speaks of mankind’s temptation and death to Christ, who offers to suffer as man in atonement for their sins,

and then return in triumph to heaven. Christ, ascending at centre, is depicted surrounded by the redeemed and resurrected souls of mankind, who follow him to heaven. Ex Col.: Hon. Christopher Lennox-Boyd, collector’s mark on verso. [36187] £120


Jean-Pierre Simon after Richard Westall Stipple engraving Publish’d June 4. 1794, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery Pall Mall, & Cheapside. Image 222 x 155 mm, Sheet 379 x 274 mm Mounted An illustration of Book 4, Line 985 of Milton’s Paradise Lost. Satan, having reached Eden and formed a plan to lead Adam and Eve into temptation, is discovered by the Angelic Squadron sent by Gabriel. Satan, in response, has armed himself with shield and spear, and made his stature so large as to tower over the globe on which he stands. Ex Col.: Hon. Christopher Lennox-Boyd, collector’s mark on verso. [36189] £130

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Luigi Shiavonetti after Richard Westall Stipple engraving Publish’d June 4. 1794, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery Pall Mall, & Cheapside. Image 225 x 152 mm, Sheet 378 x 276 mm Mounted An illustration of Book 6, Line 834 of Milton’s Paradise Lost. In Book 6, Raphael relates the story of the War in Heaven, and how on the third day, God sent the Messiah to banish Satan and the rebel angels from the Heavenly Realm. Christ, depicted at centre as a heroic nude in the model of the Olympian Zeus, drives his enemies from Heaven with bolts of Thunder. The fallen angels are depicted in a tumult of confusion in the clouds under his feet. Luigi Schiavonetti (1765-1810) was an Italian-born stipple engraver and etcher, most famous for his reproductions of Bartolozzi and William Blake. Ex Col.: Hon. Christopher Lennox-Boyd, collector’s mark on verso. [36188] £130


Thomas Kirk after Richard Westall Stipple engraving Publish’d June 4. 1795, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Image 218 x 153 mm, Sheet 378 x 274 mm Mounted An illustration of Book 7, Line 535 of Milton’s Paradise Lost. Raphael, having come down to Eden at the behest of God, explains to Adam and Eve the reason for their creation, having finished his retelling of the War in Heaven. The inclusion of the bough of the fig-tree above Raphael’s head is a suggestive nod to the impending disgrace of mankind. Thomas Kirk (1765-1797) was a British artist, illustrator, and engraver most famous for his engravings after Angelica Kauffman, Robert Westall, and Sir Joshua Reynolds. Ex. Col.: Hon. Christopher Lennox-Boyd, collector’s mark on verso. [36190] £100

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John Ogborne after Richard Westall Stipple engraving Publish’d June 4. 1795, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Image 230 x 158 mm, Sheet 378 x 276 mm Mounted An illustration of Book 10, Line 272 of Milton’s Paradise Lost. Sin and Death, having reflected upon Satan’s success in Eden, resolve to leave the Gates of Hell, and build a road to better allow Hell’s access to the realms of Man. Sin, depicted as a snake-tailed maiden, gestures to the dark shadow of Death, his hand already grasping the threshold of Hell. John Ogborne (1755-1837) was a British stipple engraver, most famous for his work for Boydell’s Shakespeare Gallery. He was the son of David Ogborne, stipple engraver and publisher. Ex Col.: Hon. Christopher Lennox-Boyd, collector’s mark on verso. [36193] £160


John Ogborne after Richard Westall Stipple engraving Publish’d June 4. 1795, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Image 225 x 156 mm, Sheet 376 x 278 mm Mounted An illustration of Book 11, Line 652 of Milton’s Paradise Lost. The Archangel Michael, at the head of a band of Cherubim, is sent by God to drive Mankind from Eden. While doing so, he leads Adam to the top of a high mountain, and shows him scenes of mankind’s future. Michael, clad in heavenly raiment and wreathed in cloud, gestures a stricken Adam to witness the wars and sieges that will afflict the great cities of mankind, and the clamour and turmoil that will bring about the Great Flood. John Ogborne (1755-1837) was a British stipple engraver, most famous for his work for Boydell’s Shakespeare Gallery. He was the son of David Ogborne, stipple engraver and publisher. Ex Col.: Hon. Christopher Lennox-Boyd, collector’s mark on verso [36200] £100

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30. Paradise Regain’d. B. 1. L. 310.

Moses Haughton after Richard Westall Stipple engraving Publish’d June 4. 1795, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Image 221 x 150 mm, Sheet 380 x 276 mm Unmounted An illustration of Book 1, Line 310 of Milton’s Paradise Regain’d. Christ, having been sent by God to redeem mankind, walks unhurt amongst the wild beasts. Moses Haughton (Horton) the Younger (7th July 1773 - 26th June 1849) was a British artist, known chiefly as the resident engraver to Henry Fuseli. He was the nephew of fellow artist and engraver Moses Haughton the Elder (c.1734 - 24th December 1804). Ex Col.: Hon. Christopher Lennox-Boyd, collector’s mark on verso. [36206] £80


Benjamin Smith after Richard Westall Stipple engraving Publish’d June 4. 1795, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Image 220 x 154 mm, Sheet 376 x 274 mm Unmounted An illustration of Book 2, Line 66 of Milton’s Paradise Regain’d. The Virgin Mary sits in a state of consternation, awaiting the return of Christ from his baptism in the River Jordan, the banks of which are visible in the background. Ex Col.: Hon. Christopher Lennox-Boyd, collector’s mark on verso. [36226] £60

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Benjamin Smith after Richard Westall Stipple engraving Publish’d June 4. 1795, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Image 218 x 153 mm, Sheet 375 x 276 mm Unmounted An illustration of Book 4, Line 560 of Milton’s Paradise Regain’d. Christ, having been carried to the top of a high mountain, and there tormented by Satan, has admonished his foe not to ‘tempt the Lord thy God’. Satan, recoiling at Christ’s power, falls backward from the peak, his hand shielding his face. Ex Col.: Hon. Christopher Lennox-Boyd, collector’s mark on verso. [36227] £80

33. Comus. Page 133.

Benjamin Smith after Richard Westall Stipple engraving Publish’d March 25. 1797, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Image 214 x 148 mm, Sheet 377 x 275 mm Unmounted An illustration of Milton’s A Mask presented at Ludlow Castle, 1634, better known as Comus after its principle antagonist. The heroine of the masque, known only as Lady, has been left alone in the woods while her brothers search for assistance. Her virtue and chastity are depicted by her radiance, in contrast to the gloom that pervades the rest of the scene. Her would-be seducer, Comus, the personification of revelry, watches her from behind a tree, disguised as a villager and carrying a staff of necromantic power. Ex. Col.: Hon. Christopher Lennox-Boyd, collector’s mark on verso. [36283] £75

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Benjamin Duterrau & Benjamin Smith after Richard Westall Stipple engraving Publish’d March 25. 1797, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Image 222 x 154 mm, Sheet 378 x 276 mm Unmounted An illustration of Milton’s A Mask presented at Ludlow Castle, 1634, better known as Comus after its principle antagonist. Lady, the heroine of the masque, has been tricked into following Comus, the personification of revelry, back to his bower. Magically held by Comus’ chair, Lady is subjected to the temptations of sexual indulgence and gluttony, but her temperance, chastity, and reason defeat his advances. Behind them, satyrs and maenads revel in the night. Benjamin Duterrau (2nd March 1768 - 11th July 1851) was an English painter, printmaker, and art historian, most well known for his early paintings and engravings of Australian history and Indigenous Australians. Ex. Col.: Hon. Christopher Lennox-Boyd, collector’s mark on verso. [36291] £90


John Ogborne after Richard Westall Stipple engraving Published March 25. 1797, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Image 225 x 155 mm, Sheet 376 x 275 mm unmounted An illustration of Milton’s A Mask presented at Ludlow Castle, 1634, better known as Comus after its principle antagonist. Lady, the heroine of the masque, is liberated from the chair of Comus by the water nymph Sabrina. Lady’s brothers, accompanied by the Attendant Spirit dressed as a shepherd, look on apprehensively. John Ogborne (1755-1837) was a British stipple engraver, most famous for his work for Boydell’s Shakespeare Gallery. He was the son of David Ogborne, stipple engraver and publisher. Ex Col.: Hon. Christopher Lennox-Boyd, collectors’ mark on verso. [36292] £90

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36. Death of a Fair Infant. Page 77.

Benjamin Smith after Richard Westall Stipple engraving Published March 25. 1797, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Image 214 x 150 mm, Sheet 376 x 275 mm Mounted An illustration of Verse VII of Milton’s On the Death of a Fair Infant Dying of a Cough. The author imagines the child as a star fallen from Heaven, gathered up, mid-swoon, by Jove, who will bear her back to her eternal place in the firmament. Ex. Col.: Hon. Christopher Lennox-Boyd, collector’s mark on verso. [36270] £110

37. Elegia Quinta. Page 247.

Thomas Kirk after Richard Westall Stipple engraving Published March 25. 1797, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Image 223 x 155 mm, Sheet 376 x 276 mm Mounted An illustration of Lines 125-130 of Milton’s Elegia Quinta, On the Approach of Spring. The goatlike Faunus, deity of rustic Italy, fights off a fellow satyr to carry away an Oread, a mountain nymph. Two more nymphs can be seen in the background, dancing to welcome the coming Springtime. Thomas Kirk (1765-1797) was a British artist, illustrator, and engraver most famous for his engravings after Angelica Kauffman, Robert Westall, and Sir Joshua Reynolds. Ex. Col.: Hon. Christopher Lennox-Boyd, collector’s mark on verso [36245] £130

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38. Hymn to the Nativity. Stan. 23 & 24-Page 92.

Jean Pierre Simon after Richard Westall Stipple engraving Published March 25. 1797, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Image 219 x 154 mm, Sheet 379 x 274 mm Unmounted An illustration of Stanzas 23 and 24 of Milton’s Hymn to the Nativity. The infant Christ, carrying the olive sprig of peace and basking in Heaven’s radiance, banishes the various gods of paganism. Anubis, dog-headed, falls over a sacrificial bull in his haste to escape, whilst the horned avatar of Moloch cringes behind him. The dark clouds of the pagan altar are likewise swept away by the heavenly firmament at Christ’s feet. Jean Pierre Simon (c.1750 - c.1810) was an Anglo-French stipple engraver. Ex Col.: Hon. Christopher Lennox-Boyd, collector’s mark on verso [36229] £100

39. Lycidas. Page 165

Benjamin Smith after Richard Westall Stipple engraving Published March 25. 1797, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Image 214 x 151 mm, Sheet 378 x 277 mm Unmounted An illustration of Milton’s Lycidas. The poem was written in memory of Milton’s friend, the clergyman Edward King, who was drowned in a shipwreck on the Irish Sea. Lycidas, a poetic cipher for King, reposes in pastoral tranquility by a small brook, surrounded by a flock of sheep. Aside from being a popular name for shepherds and rustics in classical poetry, Lycidas also held connotations of sacrifice, being the name of an Athenian councillor who was stoned to death by his peers for suggesting the Greeks consider peace-terms with the Persian King Xerxes. In this role, Milton’s King is a criticism of his fellow clergymen, whom Milton viewed as dissolute and corrupt. Ex Col.: Hon. Christopher Lennox-Boyd, collectors’ mark on verso. [36293] £75

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40. Poems. Page 189.

Charles Bestland after Richard Westall Stipple engraving Publish’d March 25. 1797, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Image 224 x 156 mm, Sheet 380 x 276 mm Mounted An illustration of Milton’s Sonnet XXIII: On his Deceased Wife. The author, asleep, dreams that he is visited by the veiled and shining spirit of his wife, described as his ‘late espous’d Saint.’ Charles Bestland (fl. 1790s) was a British artist, engraver, and publisher, best known for his portraits of British nobles and members of the clergy. Ex Col.: Christopher Lennox-Boyd, collector’s mark on verso. Condition: Light water stain to bottom of sheet. [36257] £85

41. Samson Agonistes. Page 9.

Thomas Kirk after Richard Westall Stipple engraving Published March 25th. 1797, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Image 220 x 154 mm, Sheet 379 x 274 mm Unmounted An illustration of Lines 10-114 of Milton’s tragic play Samson Agonistes. Samson, blinded and in chains, has left his prison cell in Gaza to seek a quiet place in the open air where he can be alone in his misery. Thomas Kirk (1765-1797) was a British artist, illustrator, and engraver most famous for his engravings after Angelica Kauffman, Robert Westall, and Sir Joshua Reynolds. Ex. Col.: Hon. Christopher Lennox-Boyd, collector’s mark on verso [36246] £75

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42. Samson Agonistes. Page 67.

Thomas Kirk after Richard Westall Stipple engraving Publish’d March 25th. 1797, by J.&J. Boydell, & G. Nicol, Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Image 218 x 155 mm, Sheet 378 x 272 mm Unmounted

An illustration of Line 1570 of Milton’s tragic play Samson Agonistes. Manoa, having toiled for his son Samson’s release, returns to the Chorus just as a fellow Hebrew arrives bearing terrible news of Samson’s suicide. Samson, brought before the Palestinian nobility in chains to demonstrate his strength, had taken his vengeance by pulling down the building, ‘at once both to destroy and be destroy’d.’ Thomas Kirk (1765-1797) was a British artist, illustrator, and engraver most famous for his engravings after Angelica Kauffman, Robert Westall, and Sir Joshua Reynolds. Ex Col.: Hon. Christopher Lennox-Boyd, collector’s mark on verso. [36254] £75

The Pilgrim’s Progress Two illustrations by Joseph Strutt after Thomas Stothard of scenes from “The Pilgrim's Progress from This World to That Which Is to Come” by John Bunyan. Bunyan’s allegorical story of the journey from worldly life to heavenly life was a major inspiration for a number of Romantic artists and poets, chief amongst these being William Blake and his followers, The Ancients. Thomas Stothard (17th August 1755 - 27th April 1834) was an English painter, illustrator, and engraver, best known for his illustrations to poetic work. He is particularly noted for his illustrations to the poems of Ossian, purported to be the author of an epic cycle published by James Macpherson and commonly hailed as a progenitor of the British Romantic movement. Joseph Strutt (1749-1802) Joseph Strutt, engraver, artist, antiquary and author, was born at Chelmsford in 1749. In 1770 he became a student of the Royal Academy, and in the following year secured both the gold and silver medals, the former for oil painting and the latter "for the best Academy figure." He wrote the "Regal and Ecclesiastical Antiquities of England," followed by other works on the manners and customs of the English people, that on their "Sports and Pastimes" the chief.

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43. The Victory

Joseph Strutt after Thomas Stothard Stipple London Published November 25 1789 by J.Thane, Rupert Street, Hay Market Image 160 x 200 mm, Plate 204 x 215 mm, Sheet 289 x 321 mm Unmounted Inscription reads: Christian’s sword by the last & furious attack of Apollyon was driven out of his hand, but he instantly recovered it again, giving him so deadly a Thrust, that he gave back, spread forth his Wings & fled. See Bunyan’s Pilgrim p.1. Christian, the poem’s protagonist, defends himself against the demon Apollyon, ‘The Destroyer,’ in the rocky Valley of Humiliation. Apollyon is one of Satan’s Archdevils, the antithesis of Heaven’s Archangels. His form is dragon-like, with scales wings and serpentine tail. Christian is clad in the garb of a knight, using his shield to ward off the fiery darts that Apollyon throws at him. [11694] £150

44. The Protection

Joseph Strutt after Thomas Stothard Stipple London Published November 25 1789 by J.Thane, Rupert Street, Hay Market Image 160 x 200 mm, Plate 204 x 215 mm, Sheet 285 x 320 mm Unmounted Inscription reads: As Christiana &c were passing through the dreadful Valley, Mercy looking back saw a frightful Fiend coming towards them, which Greatheart made a stand to receive, but it came no further. See Bunyan’s Pilgrim p.2. In the Second Part of Bunyan’s work, Christiana, the wife of Christian, follows her husband’s journey accompanied by her children and her neighbour, Mercy, robed all in white. They are assisted on their journey by Greatheart, armed and armoured in the same garb as Christian. To the right of the image, the Fiend is just visible in the darkness, advancing on the valiant Greatheart. [11695] £150

John Martin

John Martin (1789-1854) was an English painter, illustrator and mezzotint engraver. He achieved huge popular acclaim with his historical landscape paintings which featured melodramatic scenes of apocalyptic events taken from the Bible and other mythological sources. Influenced by the work of J.M.W. Turner (1775-1851) as well as Theodore Gericault (1791–1824), Eugene Delacroix (1798–1863) and Paul Delaroche (1797–1856), his paintings are characterised by dramatic lighting and vast architectural settings. Most of his pictures were reproduced in the form of engravings, and book engravings, from which he derived his fortune. Despite his popularity, Martin’s work was spurned by the critics, notably John Ruskin, and he was not elected to the

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Royal Academy. His fame declined rapidly after his death, although three of his best known works of religious art toured Britain and America in the 1870s: The Great Day of his Wrath (1853, Tate, London), The Last Judgment (1853, Tate) and The Plains of Heaven (1851-3, Tate). A great contributor to English landscape painting, Martin was a key influence on Thomas Cole (1801-48), one of the founding members of the Hudson River School. In 1824, John Martin was contracted by the London publisher Septimus Prowett to produce mezzotint illustrations to John Milton’s epic poem Paradise Lost. The project carried significant risk for Prowett was not a noted publisher, nor Martin a seasoned printmaker. Subjects from Milton’s great work had also been portrayed by several renowned predecessors such as William Hogarth, William Blake, Richard Westall, and Henry Fuseli, who had gone so far as to open a gallery dedicated to Milton in 1799. The series, however, was a critical and commerical triumph, and stands as one of the central achievements of Martin’s oeuvre. In emphasising the preternatural vistas of the text, Martin’s engravings of Hell, Paradise and Pandemonium infused Milton’s verse with a boldness and grandeur previously unrealised. This print derives from the Imperial Octavo sized edition that Martin released in accompaniment to the folio sized series. 45. Book 1, Line 44. [The Fall of the Rebel Angels]

John Martin Mezzotint London, Published by Septimus Prowett, 23 Old Bond Street, 1827. Image 192 x 150 mm, Plate 185 x 260 mm Mounted Fully lettered proof. CW 26; Campbell, Visionary Printmaker, p. 42. [34871] £160

46. Book 4, Line 813. [Eve’s Dream - Satan Aroused]

John Martin Mezzotint London, Published by Septimus Prowett, 23 Old Bond Street, 1827. Image 202 x 142 mm, Plate 185 x 260 mm Mounted Fully lettered proof. CW 36; Campbell, Visionary Printmaker, p. 52. [34001] £150

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The Amulet was one of several annuals which served as a lucrative outlet for engravers. Introduced in the 1820’s, these annuals were an outgrowth of earlier pocket-books or almanacs, and were usually published during festive periods in order to attract buyers. Amongst Martin’s literary friends were Alaric Watts of the Literary Souvenir and Samuel Carter Hall of The Amulet, so it was somewhat inevitable that Martin should participate in this fashionable and profitable form of publication. In addition to this print, Martin provided over twenty designs for annuals between the years of 1826 and 1837. 47. The Prophet in the Wilderness

John Martin Mezzotint 1826 Image 105 x 71 mm, Sheet 116 x 76 mm Mounted Illustration to James Montgomery’s Elijah in the Wilderness. The poem was based on Kings 1:19, and published in The Amulet; or, Christian and Literary Remembrancer. Elijah, having fled from the wrath of Jezebel, takes shelter and rest under a juniper tree. It is here that the angel visits him and Martin’s print shows this very act. The spirit, who illuminates the wilderness, brings Elijah bread and water in order to sustain his trip to Mount Horeb. CW 76; Campbell, Visionary Printmaker, p. 93. Condition: Trimmed within plate mark. [36385] £160

48. [The Angel Prophesying the Destruction of Babylon]

John Martin Mezzotint 1826 Image 103 x 69 mm, Sheet 123 x 73 mm Mounted Inscription beneath image reads: And a mighty angel took up a stone like a great millstone, and/ cast it into the sea, saying, Thus with violence shall that great city/ Babylon be thrown down, and shall be found no more at all./ Revelations: Chap.18.v.21. Illustration to Edwin Atherstone’s From the Revelation. The poem was based on The Book of Revelation, and published in The Amulet; or, Christian and Literary Remembrancer. CW 75; Campbell, Visionary Printmaker, p. 92. Condition: Trimmed within plate, slightly worn impression. [36384] £130

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Mad, Bad, and Dangerous to Know The Lake Poets 49. William Wordsworth, Esqr.

Henry Meyer after Richard Carruthers Stipple H. Colburn, 1819 Image 124 x 100 mm, Sheet 158 x 112 mm unmounted From New Monthly Magazine. A stipple of William Wordsworth after the painting by Richard Carruthers. The poet, dressed in a coat and high-collared shirt with an elaborate cravat, faces slightly right, wresting his head in his right hand. His left hand is tucked into his waistcoat. Behind the sitter is a landscape featuring mountains and a waterfall. William Wordsworth (7th April 1770 - 23rd April 1850) was a British poet, and, along with the other ‘Lake Poets’ Coleridge and Southey, a founding father of the British Romantic movement. Wordsworth’s preface to Lyrical Ballads essentially outlined the tenets of English Romantic poetry, defined by the poet as ‘the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquility.’ Wordsworth and his early Romantic peers also placed a great emphasis on the raw power of nature, and the value of originality and experiment. One of the most significant of Wordsworth’s early works in the

development of the Romantic mood was the poem Tintern Abbey, named after the ruined monastery in Monmouthshire. Wordsworth was a great lover of ruins, and his poem was a major forerunner in the Romantics’ love of crumbling antiquity, reflections on the ravages of time, and the inevitability of destruction. Wordsworth’s later career led him away from his Romantic roots, and as Poet Laureate he gained a level of legitimacy in the mainstream that set him at odds with the increasing focus on ‘the outsider’ that was championed by the younger generation of Romantic poets. The Reign of Terror had also dampened the revolutionary zeal that had inspired the poet as a younger man during his time in France. Henry Hoppner Meyer (12th June 1780 - 28th May 1847) was a British portrait painter, and stipple and mezzotint engraver. He studied engraving techniques at the Royal Academy Schools under Francesco Bartolozzi. His most celebrated works include portraits of Lord Byron, Lady Emma Hamilton, and Admiral Nelson. Richard Carruthers (20th September 1792 - 21st September 1876) was a British artist and founding partner of Carruthers & Co, and import business based in Portugal and Brazil. Carruthers only notable work was a portrait of the poet William Wordsworth, commissioned in 1817. Although the portrait received initial praise, it failed to launch Carruthers as an artist, and in 1828, Wordsworth himself referred to the painting as a ‘wretched Thing.’ O’Donoghue 3 Condition: Trimmed within plate mark, and some faint discolouration. [36342] £30

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50. Samuel Taylor Coleridge. Born 1772; Died 1834.

Riddle & Couchman Colour lithograph Riddle & Couchman, Lith., London. “Our Poet’s Corner” Plate No. 19. Masterpiece Library, November, 1895. Image 280 x 210 mm, Sheet 380 x 280 mm. Mounted A portrait of the English poet, literary critic, and philosopher, Samuel Taylor Coleridge (21st October 1772 - 25th July 1834), after the painting by Washington Allston. Alongside his fellow ‘Lake’ poets, William Wordsworth and Robert Southey, Coleridge is typically considered the founding father of the British Romantic movement, and celebrated chiefly for his poetic works, particularly the Rime of the Ancient Mariner and Kubla Khan. Coleridge was a leading figure in the movement, and is mentioned by name by many other prominent Romantics, including Byron, Thomas de Quincey, Mary Shelley, and even Göethe, whose Faust Coleridge intended to translate into English. In many respects, Coleridge’s life mirrored the standard image of the Romantic hero. As a youth, he was solitary and withdrawn, prone to bouts of melancholia, and, by his own admission, haunted by spectres whenever he was in the dark. After University, he and Southey moved to Pennsylvania, in a failed attempt to establish a communal utopian society. Much of the

rest of Coleridge’s life was an ongoing battle with fits of anxiety and depression, combined with increasing abuse of opium and laudanum. His death in 1834 is often used as a convenient bookend for the Romantic movement, having followed the deaths of most of the other pre-eminent Romantics, including Keats in 1821, Shelley the following year, Byron in 1824, the elderly Blake in 1827, and Goethe in 1832. [6338] £35 51. Robert Southey Esqr. Poet Laureat

after Henry Edridge Stipple London_ Published by J. Asperne 32 Cornhill first August 1814 Image 116 x 94 mm, Plate 187 x 112 mm, Sheet 222 x 127 mm Unmounted From the European Magazine. Inscription reads: ‘Engraved by Blood for the European Magazine from an original Drawing by Edridge in the Possession of G. C. Bedford Esqr.’ A stipple of the poet Robert Southey, after the sketch by Henry Edridge now in the National Portrait Gallery. The poet in depicted half-length, facing slightly left, seated on a high backed chair and wearing coat, waistcoat, high-collared shirt, and

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cravat. Through the window behind the sitter is a scene of the Lakes District. Robert Southey (12th August 1774 - 21st March 1843) was a British poet, and, along with the other ‘Lake Poets’ Coleridge and Wordsworth, a founding father of the British Romantic movement. Aside from his poetry, Southey was also a prolific writer of literary criticism, biography, history, and political treatises and pamphlets. His Story of the Three Bears is today a children’s classic. Southey’s early literary career is closely entwined with his fellow Lake Poets. With Coleridge he planned to found a utopian community in America, and later Wales, though the plan never came to fruition. He and Coleridge were also involved in early experiments with nitrous oxide. Like Wordsworth, as a young man Southey was inspired by the French revolution, but the Reign of Terror changed his political attitudes in later life, and his appointment as Poet Laureate brought him further in line with the Tory Establishment. Southey, like Wordsworth, grew apart from the Romantic movement in later life. Aside from his career in conservative politics, perhaps the most aggressive break from the younger generation of Romantics came

about from a long and venomous feud with Lord Byron. Byron was openly critical of Southey’s literary ability, and his dedication of Don Juan to Southey is one of the best examples of his acerbic wit and relentless talent for irony. Part of the feud between the two poets seems to have arisen from Byron’s belief that Southey had been instrumental in spreading rumours of depravity between Byron and the Shelleys during their time together at the Villa Diodati. Southey’s own response, in which he attacked a group of unnamed poets in what he called the ‘Satanic School’ was met with yet another biting lampoon from Byron in The Vision of Judgement. Henry Edridge ARA (1768 - 23rd April 1821) was a British portrait, landscape, and miniature painter. His most famous works are the portraits of Lord Nelson and William Pitt, and a sketch of the poet Robert Southey. O’Donoghue 2. Condition: Trimmed, with part of the plate mark missing along right edge. Foxing along left margin and below inscription area, and a faint mark on image to left of sitters head. [36343] £40

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Lord Byron George Gordon Byron, 6th Baron Byron (22nd January 1788 - 19th April 1824) was a celebrated British poet and leading figure of the British Romantic movement. A legend in his own lifetime throughout Europe, Byron was famous for his good looks and his brilliant, reckless personality. A poet of travel and romance, and a scintillating satirist, he lived abroad from 1816 in self-imposed exile and died of fever at Missolonghi where he had joined the Greeks in their fight for independence from Turkish rule. Byron’s tragic demise placed the poet alongside his departed friends and fellow poets, Keats and Shelley, and secured his immortality with the British public. 52. To John C. Hobhouse, Esqr. M.P. F.R.S. This Portrait of Lord Byron is most respectfully dedicated By His Obliged & humble Servants, Colnaghi, Son & Co.

Charles Turner after William Edward West Mezzotint Painted by W.E. West Esqr. at Pisa in 1822. London, Published Jany. 1st. 1826 by Paul Colnaghi and Son, Pall Mall, East. Engraved by C. Turner, Mezzotinto Engraver in Ordinary to His Majesty & Member of the American Academy of Fine Arts, from the Original Picture. Image 262 x 216 mm, Sheet 473 x 353 mm Mounted Inscription Reads: ‘Noel Byron.’ This print is based upon a profile portrait by William Edward West, now in the National Galleries Scotland. The poet is depicted half-length, to the left, with his head turned to face the viewer. He wears a heavy cloak, and a shirt with a richly-embroidered, open collar. The portrait was taken during the poet’s residence in Italy. West complained

that Byron was a difficult sitter to work with. In return, Byron’s lover, Countess Teresa Guiccioli, described the finished portrait as a ‘frightful caricature.’ The poet’s signature appears below his portrait. Charles Turner (1774-1857) was was an English mezzotint engraver and draughtsman. Hailing from Woodstock, Oxfordshire, Turner moved to London at the age of fifteen. He enrolled in The Royal Academy and, like many other engravers of the time, initially relied upon the patronage of wealthy and influential people. Turner had the considerable backing of the Marlborough family, for his grandmother had been a close companion of the Duchess. This relation led to important commissions. Turner would, for instance, engrave the Marlborough family portrait after the painting by Sir Joshua Reynolds. He was subsequently employed by the influential publisher John Boydell. Diversely gifted, Turner was as adept in the medium of mezzotint as he was in stipple and aquatint. This leant great scope to the subjects he could depict. Whether it was the engraving of Van Dyck or Rembrandt, or the topography of his namesake, Turner excelled. William Edward West (1788 - 1857) was an American portrait painter and miniaturist. Among his sitters were a number of prominent American and British Romantics, including Lord Byron, Percy Shelley, and Washington Irving. O’Donoghue 34, Whitman 86 iii/iii, Lennox-Boyd iii/iii Condition: Silver-fish damage to inscription space and right margins, not affecting image, creases and tears to left and right edges of sheet. [36399] £150

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53. Lord Byron

William Holl after George Sanders Stipple and line engraving A. Fullarton & Co. London & Edinburgh. [after 1834] Image 145 x 110 mm, Plate 205 x 175 mm, Sheet 270 x 205 mm Mounted Inscription reads: Byron sometimes Biron. In the 1807-1809 painting of Byron, upon which this print was based, the poet is depicted alighting from a small boat on a dramatic rocky seashore. The figure behind him is usually identified as his servant Robert Rushton, and it is believed that the painting was commissioned by Byron to commemorate a journey to the Hebrides. The print captures the poet from the waist up, his cravat and outer coat blowing in the wind. Unlike the earlier impressions of Sanders portrait engraved by Edward Finden, also printed by Fullarton, Holl’s engraving renders the poet in full frame rather than vignette. The background features a seascape in place of the mountainous coast in the original painting, and the poet is depicted leaning on a balustrade rather than free-standing. William Holl the Younger (February 1807 - 30th January 1871) was a British engraver and printmaker. The son of the engraver William Holl the Elder (1771-1838), he is best known for his book engravings, particularly portraiture.

George Sanders, sometimes Saunders, (1774-1846) was a Scottish painter and miniaturist best known for his painting of Lord Byron, commissioned by the poet and now in the Royal Collection. Not in O’Donoghue. Condition: Time-toning to sheet, foxing to inscription space, tears and creases to left margin and right top and bottom corners of sheet not affecting image. [36328] £55 54. Byron

Edward Finden after George Sanders Stipple and line engraving A. Fullarton & Co. London & Edinburgh. [after 1834] Image 125 x 118 mm, Sheet 257 x 165 mm Unmounted Inscription reads: My dear Murray, yrs very sincerely, Byron sometimes Biron. In the 1807-1809 painting of Byron, upon which this print was based, the poet is depicted alighting from a small boat on a dramatic rocky seashore. The figure behind him is usually identified as his servant Robert Rushton, and it is believed that the painting was commissioned by Byron to commemorate a journey to the Hebrides. The print captures the poet from the waist up, his cravat and outer coat blowing in the

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wind. The ‘Murray’ referred to in the inscription was Byron’s publisher, and the plate for this print was originally prepared for Murray’s 1834 edition of the Life and Works of Lord Byron. O’Donoghue 32, later state, printed by Fullarton Edward Francis Finden (1791-1857) was an English line and stipple engraver. Based in London, he mainly worked in collaboration with his older brother, the engraver William Finden (1787-1852). His separate works include a set of etchings for Richard Duppa's ‘Miscellaneous Opinions and Observations on the Continent’ (1825), and ‘Illustrations of the Vaudois in a Series of Views’ (1831). He was also a large contributor of illustrations to the annuals, books of beauty and poetry then in vogue. George Sanders, sometimes Saunders, (1774-1846) was a Scottish painter and miniaturist best known for his painting of Lord Byron, commissioned by the poet and now in the Royal Collection. Condition: Light time-toning to sheet, small water stain and tear to right margin not affecting image. [36327] £40 55. Lord Byron

Thomas Blood after Richard Westall Stipple

Engraved by T Blood for the European Magazine from an original Painting by R. Westall, Esqr. RA. London. Published by J. Asperne 32 Cornhill 1st. February, 1814. Image 115 x 100 mm, Plate 163 x 112 mm, Sheet 181 x 139 mm Mounted The profile portrait by Richard Westall, upon which this drawing was based, was painted in 1813 when Byron was twenty-five; he died eleven years later. Richard Westall (1765-1836) was a history painter. He was apprenticed to a heraldic silver engraver in London in 1779 before studying at the Royal Academy Schools from 1785. He exhibited at the Academy regularly between 1784 and 1836, became an Associate in November 1792 and was elected an Academician in 1794. O’Donoghue 43 Condition: 3 small holes to right margin, not affecting image. [36325] £65 56. [Lord Byron]

after Richard Westall Pencil drawing c.1820 Image & Sheet 203 x 158 mm unmounted

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The profile portrait by Richard Westall, upon which this drawing was based, was painted in 1813 when Byron was twenty-five; he died eleven years later. Richard Westall (1765-1836) was a history painter. He was apprenticed to a heraldic silver engraver in London in 1779 before studying at the Royal Academy Schools from 1785. He exhibited at the Academy regularly between 1784 and 1836, became an Associate in November 1792 and was elected an Academician in 1794. Condition: Laid to album page, very small water stains to centre of image. Horizontal scratch to image surface to the bottom of image. [25203] £100 57. George Gordon, Lord Byron

Thomas Illman after Richard Westall Stipple and line engraving [c.1830] Image 115 x 100 mm, Plate 163 x 112 mm, Sheet 181 x 139 mm Mounted The profile portrait by Richard Westall, upon which this drawing was based, was painted in 1813 when Byron was twenty-five; he died eleven years later. In this print, the poet is seated in front of a large rock, his face in profile to the left and supported by his left arm. His open collared shirt is

secured with a jewel, and he wears an open robe over his jacket. The landscape behind is suggestive of moonlight. The poet’s signature forms the ‘Byron’ in the title. Thomas Illman (active 1812-1860) was a British stipple engraver. Richard Westall (1765-1836) was a history painter. He was apprenticed to a heraldic silver engraver in London in 1779 before studying at the Royal Academy Schools from 1785. He exhibited at the Academy regularly between 1784 and 1836, became an Associate in November 1792 and was elected an Academician in 1794. Not in O’Donoghue. Condition: Trimmed within plate and window mounted to an album page. [36330] £50 58. Lord Byron

H. R. Cook after Thomas Phillips Steel engraving and stipple London: Published by Thomas Kelly, 17. Paternoster Row, April 1 1830 Image 168 x 107 mm, Sheet 198 x 119 mm Unmounted This print is based upon a profile portrait by Thomas Philips, who also painted the celebrated portrait of the poet in Albanian national dress, now on display in the National Portrait Gallery. The portrait of

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the poet is surrounded by a large decorative border, crowned by a helmeted bust of Athena flanked by two muses, whose attributes, a globe, a kithara, a set of tragic and comic masks, and a scroll, sit between them. The portrait is set between a book and chalice, and a painter’s palette. The poet’s signature is reproduced below. Thomas Phillips (18th October 1770 - 20th April 1845) was a British portrait and subject painter, and the successor to Henry Fuseli as professor of painting at the Royal Academy. Phillips painted many of the great men of his day, including a number of the most prominent members of the Romantic movement, including William Blake, Lord Byron, Walter Scott, Robert Southey, and Samuel Taylor Coleridge. Condition: Trimmed within plate and window mounted within an album page. [29138] £25 59. Lord Byron

after Thomas Phillips Stipple c.1835 Image 82 x 67 mm, Sheet 104 x 78 mm Unmounted This print is based upon a profile portrait by Thomas Philips, who also painted the celebrated portrait of the poet in Albanian national dress, now on display in the

National Portrait Gallery. The portrait is framed by a decorative border, featuring lions-head bosses in the corners. Thomas Phillips (18th October 1770 - 20th April 1845) was a British portrait and subject painter, and the successor to Henry Fuseli as professor of painting at the Royal Academy. Phillips painted many of the great men of his day, including a number of the most prominent members of the Romantic movement, including William Blake, Lord Byron, Walter Scott, Robert Southey, and Samuel Taylor Coleridge. Condition: Time toning to sheet, light staining and foxing to portrait, top left corner torn, small stains to inscription space, small holes down right side of sheet not affecting image. [36365] £10 60. Lord Byron

Ferdinand Delannoy after Thomas Phillips Steel engraving c.1835 Image 149 x 109 mm, Sheet 181 x 119 mm Unmounted This print is based upon a profile portrait by Thomas Philips, who also painted the celebrated portrait of the poet in Albanian national dress, now on display in the National Portrait Gallery.

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Thomas Phillips (18th October 1770 - 20th April 1845) was a British portrait and subject painter, and the successor to Henry Fuseli as professor of painting at the Royal Academy. Phillips painted many of the great men of his day, including a number of the most prominent members of the Romantic movement, including William Blake, Lord Byron, Walter Scott, Robert Southey, and Samuel Taylor Coleridge. Condition: Trimmed within plate and window mounted within an album page. [29137] £25 61. Byron. Born at Dover 22nd. Jany. 1788. Died 19th. April 1824.

W. Clerk after Thomas Phillips Lithograph Published by E Glover, Water Lane, Fleet Street. [c.1835] Image 82 x 67 mm, Sheet 104 x 78 mm Mounted This print is based upon a profile portrait by Thomas Philips, who also painted the celebrated portrait of the poet in Albanian national dress, now on display in the National Portrait Gallery. The poet is depicted half-length, facing left. He wears a heavy travelling-cloak, a waistcoat, and an open-collared shirt cinched with a jewel. The background depicts a Greek landscape, a large fluted column to left and ruined colonnades in the distance to right. The

lithographic plate is signed ‘J.C.W.’ to the right of Byron’s arm. W. Clerk (fl. 1830s) was a British lithographer and printmaker. Thomas Phillips (18th October 1770 - 20th April 1845) was a British portrait and subject painter, and the successor to Henry Fuseli as professor of painting at the Royal Academy. Phillips painted many of the great men of his day, including a number of the most prominent members of the Romantic movement, including William Blake, Lord Byron, Walter Scott, Robert Southey, and Samuel Taylor Coleridge. Not in O’Donoghue. Condition: Trimmed, light foxing and staining to top and bottom right corners of sheet. [36366] £60 62. Byron

after Thomas Phillips Stipple and line engraving [c.1830] Image 90 x 85 mm, Sheet 281 x 194 mm Unmounted This print is based upon a profile portrait by Thomas Philips, who also painted the celebrated portrait of the poet in Albanian national dress, now on display in the National Portrait Gallery. The vignette

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depicts the poet directed right, looking back over his shoulder to left. He wears a heavy velvet robe and his open collar is cinched by a large jewel. His signature ‘Byron’ appears below. Thomas Phillips (18th October 1770 - 20th April 1845) was a British portrait and subject painter, and the successor to Henry Fuseli as professor of painting at the Royal Academy. Phillips painted many of the great men of his day, including a number of the most prominent members of the Romantic movement, including William Blake, Lord Byron, Walter Scott, Robert Southey, and Samuel Taylor Coleridge. Condition: Small tear to top right corner of sheet, not affecting image. [36329] £40

63. Lord Byron

after Thomas Phillips Stipple c.1835 Image 142 x 114 mm, Sheet 205 x 130 mm Unmounted This print is based upon a profile portrait by Thomas Philips, who also painted the celebrated portrait of the poet in Albanian national dress, now on display in the National Portrait Gallery. The portrait is framed by a decorative floral border.

Thomas Phillips (18th October 1770 - 20th April 1845) was a British portrait and subject painter, and the successor to Henry Fuseli as professor of painting at the Royal Academy. Phillips painted many of the great men of his day, including a number of the most prominent members of the Romantic movement, including William Blake, Lord Byron, Walter Scott, Robert Southey, and Samuel Taylor Coleridge. Condition: Time toning to sheet, light staining and foxing to portrait, top left corner torn, small stains to inscription space, small holes down right side of sheet not affecting image. [36364] £15

64. Sir Walter Scotts Vision of Lord Byron

Engelmans & Co. Lithograph Published Jany. 3rd. 1832. By W Spooner, 259 Regent St Image 135 x 175 mm Mounted Inscription reads: “The individual, of whom I speak saw light before him and in a standing posture the exact representation of his departed friend. Sensible however of the delusion he felt no sentiment save that of wonder at the extraordinary accuracy of the resemblance and stepped onwards towards the figure, which resolved itself, as he approached into the various materials of which it was composed” - see page 59. Letters on Demonology.

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A scarce shadow print of Lord Byron. Walter Scott, seated at a table and perusing a volume of the Life of Lord Byron, looks up and is confronted by a vision of his recently departed friend and fellow poet. Upon examining further, he discovers that the vision is little more than an optical illusion, caused by a tartan cloak, a dressing screen, the contours of a curtain, and a few other miscellaneous items. The experience was related by Scott in his Letters on Demonology and Witchcraft, in which he posits that his mind was made more receptive to the vision by the general gloom of the room by moonlight, the curios and antiques that surrounded him, and his long musing on the life, manners, and appearance of his friend. Aside from depicting the scene with a clever optical trick, the artist has also referenced two of Byron’s portraits in his composition. The silhouette of Byron’s face, created by the edge of the large urn above the fireplace, captures the mien of the 1815 chalk sketch of the poet by GH Harlow, particularly the prominent chin. Likewise the tartan cloak matches very closely that which Byron wears in the portrait by Adam Friedel. Byron’s Royal Stewart Tartan cloak became a standard addition to the poet’s dress while in Greece. Condition: Small tears to right and bottom margins not affecting image. [9810] £100

65. The Right Honble. Anne Isabella Lady Noel Byron

William Henry Mote after William John Newton Stipple London, Published 1832, by J. Murray & Sold by C. Tilt, 86, Fleet Street. Image 124 x 96 mm, Sheet 224 x 158 mm unmounted A half-length portrait of Lady Byron after the miniature on ivory by Sir William Newton. Lady Byron is shown frontally, with her head inclined to the right, veiled, and with her right hand over her heart. Anne-Isabella, Baroness Byron (17th May 1792 - 18th May 1860) was the wife of the British poet Lord Byron and mother of his only legitimate child, Ada Lovelace. Anne-Isabella was a talented and intelligent woman, and her relationship with Byron was tragically chaotic. Anne’s moral and religious temperament was at odds with Byron’s reputation, and his early interests in her were spurned. Her rejections only increased Byron’s advances, and the couple married in 1815 after his second proposal. Byron’s debts and various public scandals led to a short and unhappy marriage plagued by alcoholism and affairs, and the couple divorced barely a year later. Her later life was spent on social reform and lobbying for the abolition of slavery, and encouraging her daughter in the study of mathematics. The story of her marriage, published after her death, was the first open avowal of her husband’s relationship with his half sister

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Augusta Leigh, a rumour that had circulated widely during his lifetime. William Henry Mote (1803 - 1871) was a British stipple and line engraver and member of the Royal Academy, chiefly celebrated for his portraits. Sir William John Newton (1785 - 1869) was a British engraver and miniature painter. Although he was one of the most popular miniaturists of his day, and frequently exhibited in Royal Academy shows, he was never elected to the Royal Academy. O'Donoghue 2 Condition: Small hole in top right corner not affecting image. [36354] £40 66. The Countess of Lovelace (Daughter of the late Lord Byron)

William Henry Mote after Alfred Edward Chalon Stipple [c.1839] Image 300 x 225 mm, Plate 335 x 256 mm, Sheet 378 x 280 mm mounted A stipple of Ada Lovelace, after the portrait by Chalon. She is depicted three-quarter length, standing in profile to left, and turning to face the viewer. She wears a ball dress, gloves, and carries a fan. Her hair is arranged into buns framing her face, and

secured with a hair-band featuring an elaborate floral arrangement. The vignette is bordered by a highly ornamented octagonal frame. Augusta Ada Byron, better known as Ada Lovelace (10th December 1815 - 27th November 1852) was a British writer and mathematician. The wife of William King, 1st Earl Lovelace, Ada was the only child of the poet Lord Byron and his wife Anne Isabella Byron. Taking after her mother, Ada was a gifted mathematician and she is primarily celebrated for her work on Charles Babbage’s Analytical Engine. Having written the first algorithm to be carried out by machine, she is often hailed as the world’s first computer programmer. William Henry Mote (1803 - 1871) was a British stipple and line engraver and member of the Royal Academy, chiefly celebrated for his portraits. Alfred Edward Chalon (15th February 1780 - 3rd October 1860) was a Swiss-born, London-based, portrait painter. O’ Donoghue 1 Condition: Small holes to corners of sheet not affecting image. [16602] £160 67. Lady Caroline Lamb.

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Henry Meyer Stipple London, Published May 1st 1819, by Henry Colburn, Conduit Street Image 120 x 101 mm, Sheet 189 x 121 mm unmounted From New Monthly Magazine. Inscription reads: ‘Engraved by Henry Meyer from an original Miniature.’ A half-length portrait of Lady Caroline Lamb, wearing a low cut dress, necklace, and shawl, with cropped hair, seated to the left of a classical column draped with a tasselled curtain. Lady Caroline Lamb (13th November 1785 - 26th January 1828) was a British novelist and aristocrat, best known as the lover of the poet Lord Byron. She was the daughter of Frederick Ponsony, 3rd Earl of Bessborough, who inherited a significant collection of antiquities and fine art, and the wife of William Lamb, 2nd Viscount Melbourne and future Prime Minister of the United Kingdom. Her most important contribution to literature is her first novel Glenarvon, the first piece of Gothic fiction to formally adopt the Byronic hero. Although Caroline was a talented and intelligent literary figure in her own right,

she is chiefly remembered for her public and dramatic affair with Lord Byron. The relationship was a short one, with both partners running increasingly hot and cold towards one another to the amusement and shock of British society. The climax of the relationship occurred at a ball held by Lady Heathcote, where Caroline was publicly rebuked by Byron, though for the rest of her life, the two continued to exchange messages both affectionate and vitriolic through their poems. Byron’s nickname for Caroline, ‘Caro,’ was adopted as her public nickname. In return, her description of Byron as ‘mad, bad, and dangerous to know’ has remained his lasting epitaph. Henry Hoppner Meyer (12th June 1780 - 28th May 1847) was a British portrait painter, and stipple and mezzotint engraver. He studied engraving techniques at the Royal Academy Schools under Francesco Bartolozzi. His most celebrated works include portraits of Lord Byron, Lady Emma Hamilton, and Admiral Nelson. O’Donoghue 3. Condition: Light crease to centre of sheet and dirt build up to margins, not affecting image. [36356] £45

Shelley, Godwin, Wollstonecraft Percy Bysshe Shelley (4th August 1792 - 8th July 1822) was a British poet, one of the key members of the British Romantic movement, and commonly regarded as one of the finest English lyric poets. The husband of the novelist Mary Shelley, and close acquaintance of fellow Romantic Lord Byron, Shelley’s poetry was a major inspiration for Victorian poets including Oscar Wilde, Yeats, and George Bernard Shaw. He was particularly beloved by the Pre-Raphaelite Brotherhood, largely due to the admiration of Dante Gabriel Rosetti. Shelley had a profound effect on British Romanticism. Although he did not achieve the fame he deserved during his lifetime, his life and works have come to epitomise the Romantic poets. Like his fellow poet Coleridge and his father in law William Godwin, Shelley was a political radical. His correspondence with Godwin resulted in his introduction to Godwin’s daughter Mary, who eloped with Shelley and married him in Europe. The pair met Lord Byron during their second visit to Switzerland, and together the poets spent a season in the Villa Diodati on Lake Geneva. The activities of the poets led to widespread gossip of incest, partner-swapping, and depravities of all kinds, but also saw the genesis of two landmark pieces of gothic Romantic literature in the form of Mary Shelley’s Frankenstein, and Polidori’s The Vampyre, inspired by Byron’s own abortive ghost-story.

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Shelley’s most famous work, Ozymandias, is a powerful reflection on desolation. Perhaps inspired by the colossal statue of Ramesses II that the adventurer Giovanni Belzoni had claimed for the British Museum, Ozymandias explores the ravages of time and the fall of empires. It remains one of the best examples of the Romantic fascination with the ruin, and the awesome and destructive power of nature and time. By contrast, his Adonaïs, written in memory of his friend and fellow poet Keats, shows his talent as a master of pastoral elegy, with the poem’s delicacy and melancholic grace owing much to Milton’s Lycidas. Shelley’s tragic death in the shipwreck of the Don Juan off the coast of Italy came barely a year after the death of Keats. His body was cremated on the seashore and his ashes buried, like Keats, in the Protestant Cemetery in Rome. 68. Percy B Shelley

William Finden after Amelia Curran Stipple [A Fullarton & Co, c. 1815] Image 100 x 95 mm, Sheet 197 x 171 mm Mounted Inscription reads: ‘(From an original picture in the possession of Mrs Shelley)’ A stipple of the poet Percy Shelley after the portrait by Amelia Curran. The youthful poet is depicted half length, facing slightly to the left. He wears a coat and open wide-collared shirt, and holds a quill in his right hand. Shelley’s signature is printed below the vignette of the poet. William Finden (1787 - 1852) was an English engraver. Based in London, he mainly worked in collaboration with his younger brother, the engraver Edward Francis Finden (1791 - 1857).

Amelia Curran (1775 - 1847) was an Irish painter. Curran was a personal friend of the political philosopher William Godwin and the poet Percy Shelley. She travelled extensively with Shelley, accompanying him to Ireland and Rome, where she cultivated a friendship with his wife, Mary Shelley. Her 1819 portrait of Shelley is now in the collection of the National Portrait Gallery. Not in O’Donoghue. [36363] £50

69. Percy B Shelley

Edwin Beyerhaus after Amelia Curran Lithograph London, Published January 23rd. 1867. By M & N Hanhart 83, Charlotte St. Rathbone Pl. Image 490 x 390 mm, Sheet 615 x 415 mm Mounted

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A large oval lithograph of the poet Percy Shelley after the portrait by Amelia Curran. The youthful poet is depicted facing slightly to the left. He wears a coat and open wide-collared shirt. Shelley’s signature is printed below the portrait as the title. Edwin Beyerhaus (fl. 1860s) was a British lithographer. Amelia Curran (1775 - 1847) was an Irish painter. Curran was a personal friend of the political philosopher William Godwin and the poet Percy Shelley. She travelled extensively with Shelley, accompanying him to Ireland and Rome, where she cultivated a friendship with his wife, Mary Shelley. Her 1819 portrait of Shelley is now in the collection of the National Portrait Gallery. Condition: Trimmed to oval, tear to bottom right of image. [36389] £100

70. Mary Wollstonecraft

after John Opie Mezzotint [n.d. c. 1880] Image 200 x 144 mm, Plate 235 x 178 mm, Sheet 444 x 296 mm Unmounted

A mezzotint portrait of Mary Wollstonecraft, after the 1797 portrait by John Opie, now in the National Portrait Gallery. Wollstonecraft is depicted half-length, seated, looking to the left. She wears a loose white gown and bonnet, very much in keeping with her philosophy that clothing should ‘adorn the person and not rival it,’ and her hair is worn loose at the front. Mary Wollstonecraft (27th April 1759 - 10th September 1797) was an English writer, philosopher, and advocate for women’s rights. Perhaps best known for A Vindication of the Rights of Woman, Wollstonecraft is generally acknowledged as a founding figure of feminism. The wife of fellow political philosopher and activist William Godwin, and mother of the author Mary Shelley, Mary was an intelligent, vocal, and dedicated advocate of gender equality. Although not a member of the Romantic movement directly, her political and social philosophies meant that her life was intimately intertwined with many prominent Romantics. She held unsuccessful romantic interests for American gothic writer Washington Irvine and the artist Henry Fuseli, and despite her death in childbirth, her memory and writings were a key influence on the career and life of her daughter, Mary Shelley. John Opie (16th May 1761 - 9th April 1807) was a British painter, best known for his portraits. A key contributor to Boydell’s Shakespeare Gallery, Opie was also a talented painter of historical scenes, being compared to Caravaggio and Velazquez. Among his most celebrated portraits are those of many leading leading members of the British Romantic movement, including fellow painter Henry Fuseli, poet Robert Southey, and the author Mary Shelley. [36346] £120

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71. [To the Right Honourable Charles, Earl Grey KG &c &c, This Plate of the late William Godwin, is with permission gratefully dedicated by His Wife.

George Dawe after James Northcote Mezzotint [London, Published June 1, 1836 by F. Graves & Co (Late Colnaghi & Co) 82 Cockspur Street, and John Macrone, 5 St. James Square] Image & Sheet 358 x 275 mm Unmounted A large mezzotint after the celebrated 1802 portrait of William Godwin by James Northcote. Godwin was very pleased with Northcote’s work, hailing it as ‘the principal memorandum of my corporeal existence that will remain after my death,’ an appropriate sentiment for a man whose philosophical and fictional works both explored themes of immortality and perfectibility through human progress. This print was commissioned shortly after Godwin’s death in April 1836. William Godwin (3rd March 1756 - 7th April 1836) was a British author, journalist, and political philosopher. One of the foremost British radicals of the late eighteenth century, his espousal of utilitarianism was a major forerunner of nineteenth century anarchist philosophy.

He was the husband of the philosopher and women’s rights activist, Mary Wollstonecraft, and father of Mary Shelley, the novelist, essayist, and travel writer. His daughter’s relationship with Percy Shelley put Godwin in contact with many of the famous British Romantics, though many were acquaintances of Godwin himself, including the artists John Martin and William Blake, and the poet William Wordsworth. George Dawe (6th February 1781 - 15th October 1829) was a British portraitist, painter, and printmaker, the son of mezzotint artist Philip Dawe. He is principally celebrated for his collection of 329 portraits of the Russian generals of the Napoleonic Wars. Between 1819 and 1828, Dawe lived and worked in St Petersburg, where he was eventually appointed First Portrait Painter to the Imperial Court of Nicholas I. James Northcote (22nd October 1746 - 13th July 1831) was a British painter, particularly celebrated for his portraits and scenes of animals. Northcote was a pupil of Sir Joshua Reynolds, and was elected to the Royal Academy in 1786. Although he worked on a number of paintings intended for Boydell’s Shakespeare Gallery, Northcote’s fellow contributors, John Opie and Henry Fuseli, were critical of his work. Chaloner Smith 4, Russell 4, O’Donoghue 3 Ex.Col.: Hon. Christopher Lennox-Boyd. Condition: Trimmed into image, minor surface rubbing, minor areas of foxing, minor creases to upper left corner. [36317] £55

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Artists and Innovators 72. James Barry Esqr. late R.A. & Professor of Painting to the Royal Academy.

James Heath after James Barry Copper engraving [c.1810] Image 132 x 109 mm, Sheet 174 x 114 mm Unmounted Inscription reads: ‘From a Picture painted by himself about the Year 1783. See page 57, of Mr Barry’s account of the series of Pictures at the Adelphi, printed by Adlard, London, the same year.’ An engraving of the artist James Barry, based on a self portrait of 1803 now in the National Gallery of Ireland in Dublin. The artist is depicted in half-length, holding a painting to his left featuring a neoclassical depiction of Pan or a shepherd. Behind the artist is the statue base of a classical sculpture. Only a colossal foot and the coils of a serpent can be seen, though it is perhaps a representation of Laocoon, or Hercules and the Hydra. James Barry (11th October 1741 - 22nd February 1806) was an Irish painter, whose work is often seen as one of the earliest examples of British Romanticism. Hailed as possessing a ‘notoriously belligerent personality,’ Barry’s career was typified by his refusal to work to the parameters of his patrons, preferring at all times to create art

based on his own principles. This focus on originality, personal response, and subjectivity meant that Barry’s methods were the very epitome of the spirit of Romanticism. Barry’s appreciation of the work of Raphael, Michelangelo, and Da Vinci was cultivated during a three year stay in Rome, but was at odds with the current vogue for the ‘Grand Style’ favoured by the majority of his fellow Academicians. In 1799, Barry was expelled from the Royal Academy after slandering a number of his colleagues in a letter to the Society of the Dilettanti, though his preference for the works of the Old Masters inspired the young William Blake, who would become both the most significant artist of the Romantic movement, and the most vocal critic of the ‘Grand Style’. James Heath (1757 - 1834) was an English engraver. Born in London, to the bookbinder George Heath (d. 1773), he was apprenticed to the engraver Joseph Collyer the younger. He was subsequently employed to engrave Thomas Stothard's designs for The Novelist's Magazine and Bell's Poets of Great Britain. Heath also provided engravings for Sharpe's British Classics, the Lady's Poetical Magazine, Forster's Arabian Nights, and Glover's Leonidas. He engraved some of the plates for John Boydell's Shakespeare and in 1802, published his own six-volume illustrated edition. In 1791, he was elected an associate engraver of the Royal Academy, and, in 1794, was appointed historical engraver to George III. Heath re-engraved the existing set of Hogarth's plates, and completed the engravings started by Schiavonetti for Stothard's Canterbury Pilgrims. His son, Charles Heath (1785 - 1848), was also an engraver. O’Donoghue 1. Condition: Trimmed within plate mark, and staining to inscription area. [36352] £70

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73. Henry Fuseli

T. Thomson after Edward Hodges Baily Stipple London, Pubd. for the Proprietors of the European Mag. by Sherwood, Jones & Co. Pater Noster Row, March 1 1825. Image 99 x 106 mm, Plate 223 x 139 mm, Sheet 277 x 203 mm Unmounted From The European Magazine. A stipple of the artist Henry Fuseli, after the bust by Edward Hodges Baily. The bust faces the front, the head turned slightly to the left. The portrait captures Fuseli’s characteristic gaze perfectly, and despite the fact that this bust was taken late in the artists life, the intensity of his facial expression is little changed from the dramatic portrait of the young Fuseli by Northcote. Below the portrait is a transcription of the dedication Fuseli suggested be added to the bust in Greek, ‘Look upon that which we now suppose to be.’ Henry Fuseli (7th February 1741 - 17th April 1825) was a Swiss-born Britain-based painter, draughtsman, art critic, and academic. A key early figure of the British Romantic art movement, he was a major source of inspiration for the young William Blake. Fuseli was the son of the painter Johann Kaspar Füssli, who intended that his son become a clergyman. From his early religious training, Fuseli gained a thorough education in classical, biblical, and germanic

history, mythology, and art, and the influence of this is clear in his works. He travelled extensively in Italy before settling in London, where he almost immediately established his reputation with heroic scale paintings of scenes from the works of Shakespeare for Boydell’s Shakespeare Gallery. Boydell’s success inspired Fuseli to attempt his own Milton Gallery, for which he began a series of very large paintings of scenes from Paradise Lost, though the project never came to fruition. Fuseli’s contribution to Romanticism came in his flair for the dramatic, and his ability to capture the turmoil, chaos, and desolation of his subjects. His paintings reveal a master of chiaroscuro, and his most famous gothic work, The Nightmare, is the perfect encapsulation of his love of the supernatural. Indeed, Fuseli’s own temperament was appropriately Romantic. During his time in Italy, it was reported that he would sit by the window at night, deep in contemplation, his figure framed by the flash of lightning or the encroaching dark. His career as an essay writer and art critic also placed him in the same social circles as the political philosophers William Godwin and Mary Wollstonecraft, the parents of Mary Shelley. T. Thomson (fl. 1820s) was a British engraver. Edward Hodges Baily RA FRS (10 March 1788 - 22 May 1867) was a British sculptor. His early work predominantly focussed on biblical and classical figural groups, though in later life he mainly worked on portrait busts and public monuments. Among his most notable works are the bas reliefs on the sides of Marble Arch in Hyde Park, and the statue of Nelson in Trafalgar Square. O’Donoghue 2. Condition: Foxing to sheet. [36362] £80

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74. William Beckford Esqr. of Fonthill

J. Singleton after Piat Sauvage Stipple [Published by John Sewell, 1st October 1797, for the European Magazine] Image 71 mm (Roundel), Sheet 129 x 99 mm Unmounted William Thomas Beckford (1st October 1760 - 2nd May 1844) was a British novelist, connoisseur, sometimes politician, and notorious playboy. He is best known for his vast collection of art and antiquities, his construction of the ambitious but architecturally unsound Fonthill Abbey, and his gothic novel Vathek. Beckford’s profligate lifestyle was largely funded by his inheritance, at age 10, of vast plantation lands in Jamaica. It was rumoured that he was the wealthiest commoner in England. His novel, Vathek, was purportedly inspired by the excesses of the author’s 21st birthday party, for which Beckford decorated his home as an elaborate Orientalist debauch. The dissolute Caliph after which the book is named embarks on a destructive whirlwind of murder and destruction in his quest for forbidden knowledge, a quest which ultimately leads him into the very halls of Hell. Beckford’s novel, while sensational, was supported by copious notes illustrative of the author’s intense interest in oriental studies, and became a source of inspiration for the emerging oriental interests of the later Romantic poets. Byron’s Turkish tales,

Keats’ Endymion, Shelley’s Ozymandias, and even the works of HP Lovecraft, owe much of their subject matter and style to Beckford’s Vathek. This debt is recognised by Byron himself, who praised the turbulent Beckford as a character ‘of Wit, in Genius, as in Wealth the first.’ This stipple of Beckford is based on a medallion by Piat Sauvage. The sitter is depicted in a roundel as a portrait bust, his long hair tied loosely with a white ribbon. Piat Joseph Sauvage (19th January 1744 - 11th June 1818) was a Belgian painter, glass-cutter, porcelain painter, and miniaturist. O’Donoghue 4. Condition: Trimmed within plate and window mounted to an album page. Album page watermarked ‘J Whatman 1825.’ [7362] £20 75. Horatio Walpole, Earl of Orford. From an original Drawing by T. Lawrence Esq.R.A in the Posession of Samuel Lysons, Esq

W. Evans after H. Meyer Lithograph Published Nov. 27, 1811 by T. Cadell & W. Davies Strand London Image 215 x 192 mm Vignette, Sheet 380 x 300 mm Mounted

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Full sheet with title below. Horatio Walpole, 4th Earl of Orford (24 September 1717 – 2 March 1797), more commonly known as Horace Walpole, was an art historian, writer, antiquarian and politician. Walpole’s interest in medieval history, and the antiquarian tastes he acquired from an extended Grand Tour, found a perfect outlet in his architectural and literary creations. His home, Strawberry Hill, is widely regarded as the first example of neo-Gothic architecture in Britain, and his authorship of The Castle of Otranto (1764) established many of the standard conventions for the Gothic novel genre. O’Donoghue 4. [8302] £60

76. Washington Irving

John Sartain after Gilbert Stuart Newton Mezzotint [c. 1824] Image 138 x 111 mm, Sheet 232 x 147 mm Mounted Irving sits in a large armchair, next to a side table with two books. Unlike the original painting by Newton, which shows him sitting upright, in this print he leans to the right, resting his head against his right arm. He wears a coat, waistcoat, high-collared shirt, and bow-tie. Irving’s signature is printed below as the title.

Washington Irving (3rd April 1783 - 28th November 1859) was an American biographer and novelist, whose most famous works, Rip Van Winkle (1819) and the Legend of Sleepy Hollow (1820) are the first examples of American gothic literature, and effectively launched the Romantic movement in America. In transporting the standard tropes of Romanticism from Italian castles to the wilds of New England and the American frontier, Irving established himself as the grandfather of American supernatural literature. His work has had a profound effect on the horror genre, inspiring authors from Edgar Allen Poe to Steven King. In his own lifetime, Irving was celebrated internationally, and received particular acclaim amongst the British Romantics. During his journeys in the United Kingdom, he met Coleridge, Walter Scott, and Mary Shelley. Lord Byron was among his many admirers. John Sartain (24th October 1808 - 25th October 1897) was a British-born American artist and printmaker, most celebrated as the pioneer of mezzotint in the United States. His output was vast and varied, and included book illustrations, vignettes for banknotes, oil portraits, ivory miniatures, mezzotints of popular figures and historical scenes, and engravings on all subjects for his own publication, Sartain’s Union Magazine. In addition to his artistic work, Sartain is also remembered as a close personal friend of romantic horror author, Edgar Allen Poe. In 1849, shortly before the author’s death, Poe visited Sartain in a state of consternation, raving about conspiracy and attempts on his life, and with ‘a wild and frightened expression in his eyes.’ Gilbert Stuart Newton (2nd September 1795 - 5th August 1835) was an American-born British artist. He painted a number of portraits of literary figures, including Walter Scott and Washington Irving, and entered the Royal Academy, but in 1832 began suffering from mental illness and was placed in an asylum in Chelsea, where he died of consumption. Condition: Creases to top left and right corners, not affecting image. [8773] £50

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Sturm und Drang Natural and Supernatural 77. J.J. Rousseau à l’âge de 22 ans.

Hipolyte Huet after Joseph Albrier Copper engraving Peint par Albrier. Gravé par Hipolyte Huet 1824. Imprimé par Chardon fils. Déposé à la Direction. A Paris chez l’Auteur, Rue Ste. Anne, No. 48. Image 291 x 244 mm, Plate 368 x 255 mm, Sheet 401 x 286 mm Mounted Inscription reads: J.J. sans argent, sans azile à Lyon, et pourtant sans souci sur l’avenir, passa souvent la nuit à la belle étoile. (Confessions Livre 4.) “Jean Jacques, without money, and without shelter in Lyon, yet without worry about the future, often spent the night under the stars (Confessions, Book 4).” Dédié à Mr. Huet, Artiste de l’Opera Comique. Par son Neveu. “Dedicated to Mr Huet, artist of the Opera Comique, by his nephew.” A highly romanticised image of Jean Jacques Rousseau, the great Swiss-French writer, composer, and political, sociological, and educational philosopher, at the age of 22. The young Rousseau, the very vision of a beautiful Romantic hero in the image of Shelley or Keats, sleeps in a picturesque

ruin, his face radiant in the moonlight. His hat, filled with parchment, has been set to one side, and his collars are almost fully unbuttoned. In his hand he holds a sprig of wildflowers. Jean Jacques Rousseau (28th June 1712 - 2nd July 1778) was one of the most significant forerunners of the Romantic movement, most notabe for his theories regarding a hypothetical ‘State of Nature,’ commonly referred to as the Theory of Natural Human. This idea of a return to nature and the emotional responses brought about by the chaos and drama of the natural world were central to the formation of the Romantic movement. Likewise, Rousseau’s political philosophy became a major ideological spur for the French Revolution. Condition: Embossed collectors’ mark, now illegible, to right of title. Watermarking to left bottom corner, light time toning to sheet, tape marks to top, left, and right margins, not affecting image. [36316] £280 78. The Marble Grotto in the Island of Antiparos

Herman Moll Copper engraving [London c. 1730] Image 210 x 332 mm, Plate 242 x 344 mm, Sheet 263 x 416 mm Unmounted

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From volume 5, page 365 of Modern history: or, the present state of all nations. Describing their respective situations, persons, habits, animals and minerals. By Mr. Salmon. Illustrated with cuts and maps by Herman Moll. The spectacular and otherworldly cave on the Greek island of Antiparos has been a source of inspiration for poets and artists since ancient times. During the eighteenth century, it became a highlight of the Grand Tour, and by the early nineteenth century was a standard pilgrimage site for followers of the Romantic movement. Foremost of these visitors was Lord Byron, who carved his name into the rocks of the cave, as he had done at many other sites and monuments across Europe. Herman Moll (1654 - 22nd September 1732) was a German-born cartographer, engraver, and publisher, based in London from the 1670s until his death. Moll established his own business and eventually dominated the early eighteenth century map trade. He produced many maps and atlases of England, Wales, Scotland, and Ireland. His county maps were all boldly engraved in a heavy style. Condition: Heavy creasing to margins, three small holes in right margin not affecting image, foxing to inscription space and lower right corner of image. Some creasing. [11519] £45 79. [Scene from Lord Byron’s Childe Harold’s Pilgrimage]

Robert Staines after Henry James Richter Steel engraving

London: Virtue & Co. Limited. c.1840 Image 76 x 101 mm, Sheet 160 x 248 mm Mounted Inscription below the image in the form of four lines of verse: ‘Oh! That the desert were my dwelling-place, With one fair spirit for my minister, That I might all forget the human race, And, hating no one, love but only her.’ Childe Harold, Canto 4, Stanza 177. Prints of scenes from Byron’s life and poems were extremely popular in both Britain and the Continent, and Byron’s death, so appropriately dramatic and in keeping with one of his very own Byronic heroes, only increased demand. Richter’s in one of a group of names mentioned in an advertisement from October 1832 for a series of prints available from the publisher Smith, Elder, & Co. of Cornhill. The prints, entitled The Byron Gallery, were described and sold as a series of ‘historical embellishments to illustrate the poetical works of Byron’. The publication also included directions for interleaving the prints in any edition of Byron’s works, from publishers in England, France, Germany, and America. This print is evidently a later printing from the edition of Byron’s poems published by Virtue & Co, as the original publication line for Smith, Elder, & Co. has been replaced. This scene is the perfect rendering of the Romantic hero. Byron sits atop a rocky outcrop, with his muse alone in all the world for company, an empty parchment at the poet’s feet. The desert invoked in the lines below is one of Romantic Nature, where one can be alone with one’s thoughts, rather than true desolation. In this image, it is a rugged landscape evocative of the Swiss Alps, or perhaps the Alban Hills Byron evokes in an earlier stanza. The escape from humanity back to the chaotic and emotional states of Nature was a central part of the Romantic movement, encapsulated perfectly by the following Stanza of Canto 4: There is a pleasure in the pathless woods, There is a rapture on the lonely shore, There is society, where none intrudes, By the deep Sea, and music in its roar: I love not Man the less, but Nature more. Henry James Richter (1772 - 1857) was a British printmaker, painter, poet, and philosopher. Richter was one of a circle of painters and printmakers heavily involved in

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the revival of the works of Milton and Shakespeare during the 1790s. In his youth he was apprenticed to Thomas Stothard, whose paintings of scenes from Milton’s Paradise Lost were engraved by Bartolozzi, and through Stothard began an association with William Blake. Richter was also a prolific painter of scenes from the works of Lord Byron, and engravings after his pictures accompany many of Byron’s works, including The Bride of Abydos, Don Juan, Mazeppa, Heaven and Earth, The Corsair, and Childe Harold’s Pilgrimage. [26453] £50 80. The Lady Edith Plantagenet dropping the rosebud at the feet of the Knight of the Leopard

John Mills Mezzotint c. 1825 Image 230 x 195 mm, Sheet 265 x 201 mm Unmounted A scene from Sir Walter Scott’s novel The Talisman, the second of his Tales of the Crusades, published in 1825. The medieval settings of Scott’s novels developed the trend for faux-historical stories begun by the early works of gothic Romanticism. Set in a church, a veiled women dressed in white walks from left to right. Central to the composition is Lady Edith Plantagenet, dropping a rosebud in front of Sir Kenneth,

the Knight of the Leopard, as she passes by. The Knight, kneeling and facing the women, is dressed in dark clothes with a white collar. To the right of the scene, another figure is seen walking with a cross on a rosary. Framing the scene is an arch, decorated with niches and statues. Oil lamps can be seen hanging from the ceiling on chains. John Mills (fl. 1801 - 1837) British printmaker. Lennox-Boyd state i/i Ex Col.: Hon. Christopher Lennox-Boyd Condition: Trimmed within plate, and heavy creasing to top left corner. Thinning to verso coming through upper left. [36140] £65

81. The haughty Baron, and the gentle Agnes

Copper engraving London, Printed for G. Robinson, No. 25 Paternoster Row [July 1809] Image 126 x 83 mm, Sheet 141 x 86 mm Unmounted Engraved as an accompanying plate for a short story published in The Lady’s Magazine or Entertaining Companion for the Fair Sex Appropriated solely to their Use and Amusement, for July 1809. The image depicts a darkened crypt with a high vaulted colonnade. Two

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men lower a body into a grave, the scene lighted by flaming torches carried by their compatriots. To the right, an elderly priest dressed in a cassock and carrying a large crucifix delivers the requiem while a young veiled woman is caught in a swoon by her friend. The story that this engraving accompanied was a moral commentary on the ‘fatal effects of immoderate pride and ungoverned passion.’ It concerns the obsession of the young and gentle Agnes for the haughty and evil-tempered Baron Randolph of Bohemia. The story itself is essentially a morally-loaded ‘penny-dreadful’ adaptation of The Monk, a highly controversial Gothic novel published by the Romantic author and playwright Matthew Lewis in 1796. Agnes and Elvira, the principle protagonists, both share names with leading characters in Lewis’ original, and the settings of the short story, a castle in Bohemia and a dark and necromantic

crypt, echo the settings of Bavaria and Madrid in The Monk. Lewis’ novel shocked British society with its graphic portrayals of sex, depravity, and violence. The Marquis de Sade was a vocal supporter of the book, particularly in its scathing presentation of Catholic monastic life and the hypocritical nature of supposed virtue. In Britain the book was seen as a perverting influence, and a social panic arose particularly amongst parents of young women. The story of The Haughty Baron, and the gentle Agnes seems to be an attempt at removing some of the racier aspects of Lewis’ tale, while retaining the moral messages associated with the book’s approach to pride, vanity, and lust. Condition: Staining in corners of sheet from adhesive on verso. [36350] £10

A series of five aquatints of scenes from an uncommon publication of Byron’s poetical works, by an unknown engraver. It is possible that the plates were executed by the publisher Henry Pyall, who also worked in aquatint. Henry Pyall (1795-1833) was a British printmaker and publisher, known chiefly for his aquatint work with George Hunt and Rudolph Ackermann. 82. Childe Harold’s Pilgrimage, Byron

Aquatint with etching London, Pub. by Pyall & Stroud, 19, Hanway Street, Oxford Street, 1829. Image 84 x 102 mm, Plate 135 x 195, Sheet 185 x 279 mm Mounted

An accompanying illustration to the 66th stanza of the 4th Canto of Lord Byron’s epic poem Childe Harold’s Pilgrimage. The fourth stanza sees the wandering Byronic Hero in Venice, reflecting on the past glories of Italy. The inscription, ‘Surely that stream was unprofaned by slaughters, A mirror and a bath for beauty’s youngest daughters!’ refers to the River Clitumnus in Umbria, considered one of the most beautiful natural landscapes in Italy by 19th century tourists. The ‘youngest daughters’ of Venus were the river nymphs, seen here languishing on the banks of the Clitumnus and bathing in its waters. In the background, a small temple stands behind a weeping willow, many of which were planted along the river’s banks to enhance its poetic appeal. Condition: Large mark outside plate in bottom left corner, not affecting image. [36149] £50

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83. Heaven & Earth, Byron

Aquatint with etching London, Published for the Proprietor by T. Gillard, 40, Strand [c.1830] Image 81 x 101 mm, Plate 138 x 194, Sheet 192 x 279 mm Mounted An accompanying illustration to Scene 3 of Lord Byron’s biblical drama Heaven & Earth. Japhet, standing on a rock before a cavern in the Caucasus mountains, is confronted by the ghastly image of a Spirit, which mocks him for his weeping. The inscription below is the opening line of their encounter: ‘In the name of the Most High, what art thou.’ Condition: Light staining and abrasions to margins of plate, not affecting image. [36135] £70

84. Manfred, Byron

Aquatint with engraving London, Pub. by Pyall & Stroud, 19, Hanway Street, Oxford Street, 1829. Image 83 x 103 mm, Plate 135 x 195, Sheet 192 x 274 mm Mounted An accompanying illustration to Act 2 Scene 4 of Lord Byron’s dramatic poem Manfred. Penned while Byron was in social exile in the Swiss Alps, the poem tells the story of Manfred, a Faust-like character tormented by the death of his beloved. In this image, Manfred, having summoned the spirit Nemesis, looks on as she brings forth the naked spectre of Astarte. In the background, Arimanes, a poetic Persian analogue for Satan, sits upon a globe of fire, surrounded by his court of spirits. Nemesis bids the spectre speak to Manfred in the inscription: ‘By the power which hath broken the grave which enthrall’d thee, Speak to him who hath spoken, or those who have call’d thee.’ Condition: Small mark in top right corner, not affecting image. [36158] £70

85. The Age of Bronze, Byron

Aquatint with engraving London, Pubd. by Pyall & Stroud, 19, Hanway Street, Oxford Strt. [c.1830] Image 84 x 104 mm, Plate 136 x 195, Sheet 189 x 274 mm Mounted

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An accompanying illustration to the 7th chapter of Lord Byron’s poem The Age of bronze. The image depicts a group of Spaniards hiding behind a large rocky outcrop, near a cruciform tombstone. In the background, a cavalryman can be seen engaging with a number of foot-soldiers. The inscription, ‘The wild Sierra, with its wilder troop of vulture plum’d Guerrillas on the stoop for their incessant prey...’ refers to the recent Spanish resistance to Napoleon, portraying it as just the latest example of Spain’s long history of dominion by, and resistance to, foreign powers. [36138] £50

86. Marino Faliero, Byron

Aquatint with engraving Pubd. by Pyall & Stroud, 16 Grt. Russell Street, Covent Garden [c.1830] Image 102 x 82 mm, Plate 195 x 138, Sheet 273 x 182 mm Mounted

An accompanying illustration to the 5th Act of Lord Byron’s tragic play Marino Faliero. At the centre of the scene, the Duchess Angiolina addresses a final appeal for clemency to Benintende, Chief of the Council of Ten, who sits in judgement on the titular character, Doge Marino Faliero, on trial for treason against the Venetian Republic. Angiolina’s reply to the judge’s order for Faliero’s execution forms the print’s inscription: ‘Sage Benintende, now chief judge of Venice, I speak to thee in answer to you signor.’ Condition: Light foxing to margins, not affecting image. [36144] £50

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Thomas Landseer (1793/94 - 1880) was a draughtsman, engraver and painter. He is best-known for his engravings and etchings of paintings by his youngest brother Edwin Landseer. Born in London, the eldest of fourteen children, Landseer was taught artistic techniques by his father, the engraver John Landseer. He then studied under the painter Benjamin Robert Haydon. He began etching aged fourteen, copying his brother's drawings; and continued to make etched copies of Edwin's works in later life. He produced satirical etchings for Monkeyana, or, Men in Miniature (1827), and dedicated his Characteristic Sketches of Animals (1832) to the Zoological Society. He also produced illustrations for Samuel Taylor Coleridge's Devil's Walk (1831). He exhibited paintings at the British Institution and the Royal Academy, and was elected an Associate of the latter in 1867.

87. The Studio

Thomas Landseer Etching Thos. Landseer [c.1830] Image 179 x 236 mm, Sheet 195 x 249 mm Unmounted A rough cartoon, probably intended as one in a series of illustrations for an unknown publication. In the foreground of the scene, two figures sit at a table. An elderly bearded figure in a star-bordered robe, the probable protagonist of the work, gestures animatedly at a monk, who sits across from him, barefoot and dressed in a rough cowl tied with a large rosary. The rest of the scene is decorated with various objects of vertu, including gothic armour, death masks, skulls, works of Greek literature, Egyptian and Classical antiquities, and the skeleton of a large animal, perhaps an elephant or mammoth. The mysterious character of many of the objects, the prevalence of snakes and bats on many of the decorations, and the dejected pose of the monk, suggest the protagonist’s fascination with the occult. Condition: Trimmed within the plate and publication line. [36182] £120

88. The Sarcophagus

Thomas Landseer Etching Thos. Landseer [c.1830] Image 233 x 176 mm, Sheet 258 x 195 mm Unmounted A rough cartoon, probably intended as one in a series of illustrations for an unknown publication. In the scene, the elderly bearded protagonist, clad in a high-collared robe, cowers with eyes downcast before a spectre which rises from the sarcophagus of the title. The spectre, also bearded and wearing a head-dress and bandages suggesting that he is an Egyptian mummy, holds aloft an elaborately clasped book. Flanking him are two large, hairy, naked beings, which crouch malevolently on either side of the sarcophagus. Both are reminiscent in style and attitude to characters in the works of William Blake. The rest of the scene is decorated with various objects of vertu, including an Egyptian death-mask and the skeleton of a large elephant or mammoth, which appear, along

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with the protagonist, in another cartoon in the same series entitled ‘The Studio.’ Condition: Trimmed within the plate and publication line. Repaired tear top centre into image. [36181] £120

89. The Vision

Thomas Landseer Etching Thos. Landseer [c.1830] Image 188 x 230 mm, Sheet 202 x 242 mm Unmounted A rough cartoon, probably intended as one in a series of illustrations for an unknown publication. The ‘Vision’ of the title is one of great tumult and confusion. At the centre, a youthful figure, dressed in billowing raiment, gazes skyward where the vault of heaven displays a terrifying parody of The Judgement. In the middle of the clouds, a female figure in classical dress, holds aloft a tragic mask, a dagger in her belt. Behind her, a bearded figure prepares to stab a young woman, while another young woman faints in the arms of a grotesque winged demon. A skeleton armed with two daggers dances beside them. To the left of the youth, a dragon-like monster plunges through roiling clouds towards a distant city. In the bottom right corner below the youth, an ouroboros, the hermetic symbol for self-reflexivity, encircles a tragic scene of two young lovers, while a horrified face takes form in the cloud.

Condition: Trimmed within the plate and publication line. [36183] £120 90. The Chapel

Thomas Landseer Etching Thos. Landseer [c.1830] Image 231 x 177 mm, Sheet 260 x 200 mm Unmounted A rough cartoon, probably intended as one in a series of illustrations for an unknown publication. At the centre of the scene, a young woman with a rosary gazes in beatific adoration at the image of Christ bearing the cross. The figure of Christ, bearded with eyes downcast, is wreathed in smoke, and illuminated by beams of light which stream from a window behind the young woman. On either side of the chapel is a niche holding votive statues of female saints. At the young woman’s feet, an older woman with dishevelled hair and clothing shields her face from the image of Christ, though it is unclear whether this is due to fear or religious awe. Condition: Trimmed within the plate and through the publication line. [36184] £100

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Storm and Stress Johann Wolfgang von Goethe (28th August 1749 - 22nd March 1832) was a German writer, statesman, and polymath. Although best known for Faust and The Sorrows of Young Werther, Goethe also wrote works on literary criticism, aesthetics, philosophy, botany, anatomy, and prose and verse of all genres. He was one of the leading authors of the German Sturm und Drang (Storm and Stress) literary movement, and, later in life, a founding figure of Weimar Classicism. Goethe’s relationship with Romanticism was tumultuous. Although he is often identified as a key member of the German Romantic movement, in later life, Goethe vehemently distanced himself from Romanticism, seeing it as inferior both philosophically and emotionally to the humanist aims of Weimar Classicism. Despite this personal disavowal, Goethe was a key source of inspiration for the British Romantics. His first novel, The Sorrows of Young Werther, was written when Goethe was only 24, and immediately elevated him to international fame. The titular protagonist, Werther, is a delicate, melancholic, and intellectual young man, caught in a destructive love-triangle with the beautiful peasant girl Lotte and her older fiancé Albert. Unable to satisfy his love for Lotte, and unwilling to destroy Albert, Werther decides upon his own dramatic suicide. The demise of the talented, emotional, and tragic young Werther became emblematic of the real lives of many of the Romantic poets, sharing particularly close parallels with the supposed suicide of the young Thomas Chatterton, author of the gothic Rowley poems. The publication of The Sorrows of Young Werther even inspired a popular fashion amongst young men of the time, who began to ape Werther’s style of dress, his moody and intellectual demeanour, and even in extreme cases his suicide. Goethe’s play Faust is widely considered to be a high point of German literature. Based on German folk myths about a Doctor who makes a pact with the Devil in exchange for knowledge and worldly pleasures, the play shared many similarities with other works of gothic romanticism, including Beckford’s Vathek and Mary Shelley’s Frankenstein, and was translated, at least in part, by both Coleridge and Percy Shelley. 91. Göthe in sinniger Betrachtung unter römischen Antiquitäten [Goethe in thoughtful contemplation on Roman Antiquities]

Karl Joseph Brodtmann after J. Siebert after Johann Tischbein Lithograph [c.1830] Image 150 x 209 mm, Sheet 255 x 351 mm Mounted Inscription reads: Nach dem von Ihm Selbst gezeichneten Original, welches Er in Italien einem

Seiner begleitenden Freunde in den Jahren zwischen 1787 - 1788 zum Andenken gegeben hat. ‘After an original self-drawn portrait given to him as a souvenir by a friend who accompanied him in Italy between the years 1787- 1788.’ A lithograph of Johann von Goethe after the famous 1786 painting Goethe in the Roman Campagna by Johann Tischbein. The author, wrapped in a heavy travelling cloak and wearing a wide brimmed hat lies on a slab of antique marble, propped up on his right arm. Behind him is a classical bas relief, and in the distance the landscape of an Italian plain. Unlike the original painting, in which it is unadorned, the marble slab on which Goethe rests is here depicted covered in Egyptian hieroglyphs. Karl Joseph Brodtmann (3rd February 1787 - 14th May 1862) was a Zurich-based Swedish artist, lithographer, printmaker, publisher and bookseller, particularly known for his lithographs of natural history subjects.

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Johann Heinrich Wilhelm Tischbein (15th February 1751 - 26th February 1828) was a German painter, particularly celebrated for his Neoclassical landscapes, historical scenes, and still lifes. During his second stay in Rome he met the author Johann von Goethe, and accompanied him on part of his Italian Journey, painting a portrait of Goethe in the Roman Campagna. Condition: Light foxing and abrasions to margins, not affecting image. [36355] £100 92. Goethe.

Albert Henry Payne after Johann Tischbein Steel engraving London: Brain & Payne, 12, Paternoster Row. [c.1850] Image 160 x 145 mm, Sheet 262 x 210 mm Unmounted A steel engraving of Johann von Goethe after the famous 1786 painting Goethe in the Roman Campagna by Johann Tischbein. The author, wrapped in a heavy travelling cloak and wearing a wide brimmed hat lies on a slab of antique marble, propped up on his right arm. Behind him is a classical bas relief, and in the distance the landscape of an Italian plain. Unlike the original painting, in which it is unadorned, the marble slab on which Goethe rests is here depicted covered in Egyptian hieroglyphs. The scene is framed with a border of trees, and

surrounded by 6 smaller vignettes that are identified by a key in the inscription line. These are: The Fisherman from the ballad of the same name, a view of Goethe’s garden-house, a representation of the Alder-King (Erlkönig), a scene from Wilhelm Meister’s Apprenticeship, a view of Goethe’s house in Weimar, and a scene from Faust. Albert Henry Payne (14th December 1812 - 7th May 1902) was a British engraver, printmaker, and illustrator, who spent the majority of his life in Leipzig, Germany. Johann Heinrich Wilhelm Tischbein (15th February 1751 - 26th February 1828) was a German painter, particularly celebrated for his Neoclassical landscapes, historical scenes, and still lifes. During his second stay in Rome he met the author Johann von Goethe, and accompanied him on part of his Italian Journey, painting a portrait of Goethe in the Roman Campagna. Condition: Light foxing to sheet and image. [36353] £25 93. Goethe.

Isaac Weld Taylor Lithograph Printed by Maguire. London: Published by Effingham Wilson, Royal Exchange, Jany. 29, 1832. Image 99 x 81 mm, Sheet 286 x 217 mm Unmounted

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Condition: Trimmed within plate and tipped to album page. [36349] £20 94. Göthe. Monument in Frankfort a/m.

Albert Henry Payne after Ludwig Schwanthaler Steel engraving London: Brain & Payne, 12, Paternoster Row [c.1850] Image 184 x 157 mm, Sheet 274 x 208 mm unmounted This steel engraving is based on the sculpture of Goethe by Ludwig Schwanthaler, from the Goethe Memorial in Frankfurt. The author is depicted wearing the same heavy travellers cloak as in the famous portrait painted of him during his Italian Journey, though here he is standing rather than supine. His left arm rests on a tree trunk festooned with grapes, and he carries a scroll in his left hand. In his right he holds a laurel wreath, a symbol of poetic victory. The pillar on which the sculpture stands is surrounded by bas reliefs depicting the victory of the Muses, and scenes of Germanic pastoral life. Albert Henry Payne (14th December 1812 - 7th May 1902) was a British engraver, printmaker, and illustrator, who spent the majority of his life in Leipzig, Germany.

Ludwig Michael Schwanthaler (26th August 1802 - 14th November 1848) was a German sculptor and lecturer at the Munich Academy of Fine Arts. He is best known for the Mozart memorial in Salzburg and the Goethe memorial in Frankfurt. Condition: Very light foxing, not affecting image. [36344] £15 95. Johann Wolfgang von Goethe

after Louise Seidler Wood engraving Image 111 x 90 mm, Sheet 161 x 106 mm Unmounted This wood engraving is after the 1811 portrait of Goethe by Louise Seidler, of the author at age 60. The text below provides a short summary of the author’s life. Louise Seidler (15th May 1786 - 7th October 1866) was a German painter and close personal friend of the author Johann von Goethe. She is most remembered as a court painter and art collector for the Grand Dukes of Weimar. Condition: Very light foxing to margins, not affecting image. [36335] £10

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96. Faust

Louis Icart Etching with hand and printed colouring Copyright 1928 by L Icart - paris -. Edite par Les Graveurs Modernes 194 Rue de Rivoli_ Paris_ Image 520 x 325 mm, Plate 543 x 350 mm, Sheet 656 x 455 mm Framed Signed in pencil, proof inscribed 8/331, with artist's blindstamp. A brilliant example of 1920's French Art Deco by Louis Icart. The image depicts Mephistopheles and the young maiden Gretchen from Goethe’s Faust. There is something both sensuous and comedic in Icart’s depiction of Goethe’s Faust as Mephistopheles and Gretchen mirror each other. The features of the former are comedically pointy, whereas Gretchen is shown as both pious and lascivious, a combination that was well suited to the ‘Decadent’ style of French Belle Epoch art and literature, championed by the like of Toulouse-Lautrec, Aubrey Beardsley, and Oscar Wilde. Developing from the earlier Romantic taste for the chaos and imperfection of nature, the Decadent style became obsessed with the flaws of humanity. Rather than seeking to correct these flaws, Decadent artists sought to enhance them, seeing the deliberate exaggeration of the grotesque as a stripped-back form of beauty.

The Faust legend was the perfect subject matter for artists and poets of both the Romantic and Decadent movements. The story was a popular one, having come to the attention of British audiences through Marlowe’s 1604 play Doctor Faustus, but it was the publication of Goethe’s Faust that properly captivated the European imagination. Unlike the simple Christian morality in the original versions of the Faust story, Goethe’s presentation of the Doctor’s destructive search for arcane knowledge is far more subtle, and ultimately holds hope for the salvation of a flawed and melancholic protagonist. For the Romantics, Goethe’s Faust, like Milton’s Satan, was yet another flawed but empathetic Romantic hero. For the Decadents, he represented a figure who, in his quest for beauty and knowledge, refused to be bound by the false hopes of Christian morality. Louis Icart (1880 - 1950) was a famed French artist who worked in the Art Deco manner. Born in Toulouse, Icart intially pursued a career in fashion, and was employed in major design studios at a time when fashion was radically contorting. It was not until his move to Paris in 1907, and his subsequent concentration on painting, drawing and the production of countless etchings, that Icart’s name was indelibly preserved in twentieth-century art history. His sensuous and erotic depiction of women, often imbued with comedic undertones, struck a chord with Parisians at the height of the Art Deco epoch in the 1820’s. Condition: Excellent impression with strong original colour. Small professionally repaired tear to left hand margin not affecting plate or image. Framed in a rosewood frame. [30073] £1,400

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Ludwig van Beethoven (1770-1827), the prolific German composer whose symphonies, concertos, piano and choral music dominated the Romantic age. Beethoven studied under Joseph Haydn in Vienna before making his public debut as a virtuoso piano player in 1795. Despite the onset of deafness from 1801 Beethoven continued to compose until his death, producing some of his greatest work in his final years. His Fifth Symphony, first performed in Vienna in 1808, is often heralded as the watershed moment for the transition between the Classical and Romantic periods of Western classical music. Its famous opening four-note motif has had a lasting legacy in musical culture, inspiring the music of contemporary artists from Black Sabbath to Nick Cave. Highly emotionally charged and filled with allusions to the tempestuous, chaotic, and destructive powers of nature, the Fifth Symphony is one of the main expressions of the Germanic notion of ‘sturm und drang’ (Storm and Stress). Feelings of awe, terrible wonderment, and the anxiety of natural power were central to the Romantic movement, finding their outlet in the works of poets like Goethe, Coleridge, Shelley, and Byron. 97. L. v. Beethoven

Albert Henry Payne after Storck Steel engraving London: Brain & Payne, 12 Paternoster Row. [c.1850] Image 177 x 151 mm, Sheet 264 x 191 mm Unmounted

A portrait of Beethoven, shown in three-quarter view, turned slightly towards the right. He wears a heavy coat, long scarf, and open collared shirt, holding a folio in his left hand, and a pen in his right. To the composer’s left is a climbing rose, which stretches above his head. The scene is framed by a decorative floral border inscribed with the titles of three pieces composed by Beethoven: ‘Egmont’, ‘Simphonia’, and ‘Fidelio’. Albert Henry Payne (14th December 1812 - 7th May 1902) was a British engraver, printmaker, and illustrator, who spent the majority of his life in Leipzig, Germany. Condition: Slight creasing to edges of sheet not affecting image. [34052] £35

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Desolation and Ruin 98. [Tintern Abbey]

Edward Slocombe Etching London Published 1st July 1886 by Rob.t Dunthorne at the Rembrandt Head in Vigo Street Image 325 x 494 mm, Plate 382 x 537 mm Mounted A large Victorian etching of the ruined Cistercian Abbey at Tintern, Monmouthshire. The great abbey church and the chancel are depicted in their ivy-clad ruinous state, and a flock of sheep graze and rest in the foreground. Like many of the religious buildings across England and Wales, Tintern was abandoned during the Dissolution of the Monasteries. It lay in ruin for the next two centuries before becoming a favourite muse for poets and artists. Its fame was brought to the fore by the publication of the Reverend William Gilpin’s Observations of the River Wye (1782), the seminal work on the aesthetic of the ‘picturesque.’ Since Gilpin, the Abbey has served as a source of inspiration for Wordsworth, Alfred Lord Tennyson, JMW Turner, Allen Ginsberg, and even Iron Maiden. Tintern Abbey held a special reverence for the Romantic poets, following Wordsworth’s publication of Lines composed a few miles above Tintern Abbey. The poem was the last in a collection published by Wordsworth and Coleridge in 1798 in Lyrical Ballads, a work commonly accepted as beginning the British Romantic movement. Wordsworth’s poem mused on themes of collapse, the lapse of time, and, critically, the personal and philosophical engagement between man and nature. These

classic themes came to typify the Romantic aesthetic. Edward Slocombe (1850 - 1915) was born in London and part of a noted family of artists. Slocombe was a painter, etcher and mezzotint engraver. Some of his etchings were published in The Art Journal and the Portfolio, also a number of etchings of church bulidings were published by the Fine Art Society. Member of the RPE (Royal Society of Painter-Etchers [5798] £250 99. A View in Newstead Park, belonging to the Rr. Hon.ble the Lord Byron; to whom this Plate is inscribed by his Lordship most obed.t Serv.t

James Mason after Thomas Smith Copper engraving Published Oct.r 1764 Image 356 x 533mm Mounted A large copper engraving of Newstead Abbey in Nottinghamshire, the ancestral seat of the Byron family. The ‘abbey’ of the name was an Augustinian priory established by King Henry II as penance for his involvement in the murder of Thomas Becket. Following the Dissolution of the Monasteries, it was converted into a private residence. This print was made during the residency of William, 5th Baron Byron, commonly referred to as the ‘Wicked Lord’ or the ‘Devil Byron.’ William inherited the estate in its prime, following the redesigning of its gardens and the addition of Gothic follies by the 4th Baron. After a family row,

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William actively began running the estate into ruins in an attempt to destroy his son’s inheritance. His son died young, and the active ruination of the abbey ceased, but by the time of William’s death, the house was in an advanced state of decay as well as increasing debt. William’s legacy was passed to his great-nephew, the famous poet Lord Byron. Due to the expansive debts, and the cost of maintaining the property, Byron rarely lived in the abbey, seeing it instead as a poetic commentary on the decay of his family, and casting Newstead as a perfect example of the romantic ruin. His most well-known contribution to the estate was the erection of a grand monument for his Newfoundland dog Boatswain. The burial monument, larger than that which Byron himself would receive, contained a verse inscription, Epitaph to a Dog, which has become one of Byron’s most popular poetic works. James Mason (1710 - c.1785) was a British engraver, publisher, and printseller, best known for his series of views of stately homes. Thomas Smith of Derby (c. 1720-1767) was a landscape painter, the father of John Raphael Smith and grandfather of John Rubens Smith. [3279] £400 100. Mazeppa

Henry Dawe after Emile Jean Horace Vernet Mezzotint with etching

London Published by H. Dawe 6 Bartholomew Place Kentish Town Jan 1832 R. Ackermann, Strand & c. Tilt, Fleet Street. Image 123 x 168 mm, Plate 154 x 195 mm, Sheet 158 x 196 mm Mounted Below title reads the inscription extracted from Byron’s poem: A thousand Horse, the wild, the free, Like waves that follow O’er the sea, Came quickly thundering on. Mazeppa is a Romantic narrative poem written by Lord Byron in 1819, based on a popular legend about the early life of Ivan Mazepa (1639-1709), a Ukrainian gentleman who later became Hetman of the Ukrainian Cossacks. According to the poem, the young Mazeppa, while serving as a page at the Court of King John II Casimir Vasa, has a love affair with a Countess named Theresa, who was married to a much older man. The Count, on discovering the affair, punishes Mazeppa by tying him naked to a wild horse and setting the horse loose. The bulk of the poem describes the traumatic journey of the hero strapped to the horse. This poem also inspired Alexander Pushkin to write his poem Poltava as an answer to Byron's poem. Henry Edward Dawe (1790-1848) was a painter and printmaker, the son of engraver Philip Dawe, and the brother of portraitist George Dawe. Initially taught by his father, he then studied at the Royal Academy schools. In 1824, he exhibited two engravings of Russian military leaders, after portraits by his brother George, at the Society of British Artists. They were exhibited later that year at the Imperial Academy of Arts in St Petersburg, after which Dawe was appointed naznachennyi (associate). He spent several years working with his brother in St Petersburg making further engravings of his portraits. Dawe returned to London in 1827, where he continued engraving in line and mezzotint, producing works after a wide range of past and contemporary artists. Emile Jean Horace Vernet, (1789-1863), often referred to as simply ‘Horace Vernet’ was a French Painter who specialised in battle scenes. He was the son of Carle Vernet (1758-1836) who painted battle scenes for Napoleon I and sporting

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subjects, notably horses, for King Louis XVIII. Ex. Col.: Hon. Christopher Lennox-Boyd. Condition: Trimmed to plate on all but lower margin. Minor creases to the lower and left hand margins not affecting image. [24839] £95 101. Italian Banditti

Samuel Lover Lithograph

Drawn on Stone by S. Lover. Printed by M.H. & J.W. Allen, 32 Dame St. [c. 1826] Image 215 x 310 mm, Sheet 310 x 425 mm Unmounted A view of three Italian banditti (bandits), reposing amidst the rocks of a mountain pass. The character of the bandit found great currency in the 18th and early 19th centuries, particularly due to his use by poets and playwrights as a dramatic anti-hero. Away from the pages of literature, bandits were a very real danger to travelling Britons, particularly in the mountainous regions of Italy, Greece, and the Balkans, and it is no surprise that they appear as regularly in the travel narratives of Grand Tourists as they do the poems of the Romantics. Samuel Lover (24th February 1797 - 6th July 1868) was an Anglo-Irish painter, lithographer, poet, composer, and author. [3254] £100

John Martin (1789-1854) was an English painter, illustrator and mezzotint engraver. He achieved huge popular acclaim with his historical landscape paintings which featured melodramatic scenes of apocalyptic events taken from the Bible and other mythological sources. Influenced by the work of J.M.W. Turner (1775-1851) as well as Theodore Gericault (1791–1824), Eugene Delacroix (1798–1863) and Paul Delaroche (1797–1856), his paintings are characterised by dramatic lighting and vast architectural settings. Most of his pictures were reproduced in the form of engravings, and book engravings, from which he derived his fortune. Despite his popularity, Martin’s work was spurned by the critics, notably John Ruskin, and he was not elected to the Royal Academy. His fame declined rapidly after his death, although three of his best known works of religious art toured Britain and America in the 1870s: The Great Day of his Wrath (1853, Tate, London), The Last Judgment (1853, Tate) and The Plains of Heaven (1851-3, Tate). A great contributor to English landscape painting, Martin was a key influence on Thomas Cole (1801-48), one of the founding members of the Hudson River School. 102. [Caius Marius mourning over the Ruins of Carthage]

William Wallace after John Martin Steel engraving Printed by McQueen. [1833] Image 86 x 140 mm, Plate 151 x 213 mm, Sheet 299 x 437 mm Mounted Proof before title on india-laid paper. Plate on Page 65 of The Keepsake, 1833. The Roman general, Gaius Marius, sits with his head in his hand amongst the ruins of Carthage. Carthage was a major threat to

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Roman hegemony in the Mediterranean, and following Roman victory in the Third Punic War, the city was destroyed. The Byrsa, Carthage’s citadel, stands on a rocky outcrop on the right, looking out over a vast, but now empty, city. Serried ranks of soldiers disembark from the curled prows of warships in what was once the city’s famous harbour, and the rubble upon which Marius sits is all that now remains of the great public buildings of the Punic capital. The fascination with the ruin was a major aspect of the Romantic aesthetic, and the destruction of the great cities of the ancient world provided plentiful inspiration for Romantic artists and poets. Martin’s love of dramatic ruins is a common theme in his work. His corpus ranges from the tumultuous destruction of biblical sites like Tyre, Babylon, and Nineveh, to a London-esque city meeting its apocalyptic judgement in The Great Day of His Wrath. William Wallace, usually ‘Wallis,’ (b. 1796) was a British engraver and the brother of the cartographer and line-engraver, Robert Wallis. He is known only for a select group of engravings in various almanacs and annuals. Condition: Staining and silverfish damage to sheet, not affecting image. [36360] £110 103. The Fall of Nineveh

John Martin Mezzotint with etching Published by John Martin, 1830 Image 535 x 810 mm, Plate 654 x 903 mm Framed

Nineveh was the capital of Ancient Assyria and its downfall was graphically prophesised in the Book of Nahum. The Fall, of which Martin’s print conveys, came in 612 BC when the colossal city was overrun by the armies of Media and Babylon. Scripture tells the story of Sardanapalus, the last Assyrian King, who chose to burn himself and his possessions instead of risking capture from the rebellious generals. In Martin’s work, Sardanapalus is surrounded by his concubines whilst the enemy forces threaten in the foreground and stream through his defences in the distance. With his raised right hand he gestures towards the colossal funeral pyre that he has had erected so that he and all of his slaves and lovers can be destroyed. CW 82; Campbell, Visionary Printmaker, p. 102. Condition: Strong impression. Two inch repaired tear to the bottom of the sheet, image unaffected. Repaired tear to the right hand side of the sheet just into the image. [28695] £3,000

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Théodore Géricault (1791-1824) was a French painter and lithographer who exerted a seminal influence on the development of Romantic art in his country. He was born in Rouen, and from 1808 trained in Paris with Carle Vernet. Géricault was influenced by the military subjects of Baron Gros and by works in the Louvre, notably those by Rubens and Renaissance Venetian painters. He is known to have copied works from the Musée Napoléon and mastered classicist figure construction and composition under the academician Pierre Guérin. A visit to Italy in 1816-7 intensified Géricault’s admiration for classical art, and on his return to Paris he painted his most famous work, Les Naufragés de la Méduse. The painting was first exhibited at the Paris Salon of 1819. It then traveled to England in 1820, accompanied by Géricault himself, where it received much praise. Weakened by chronic tubercular infection, Géricault died in Paris in 1824 after a long period of suffering. 104. Les Naufragés de la Méduse [The Raft of the Medusa]

Samuel William Reynolds after Théodore Géricault Mezzotint A Paris chez Schroth Md.de Tabl. et de Dessins Brevite de S.A.R. Madame Duch.de Berry, Rue St. Honore No.353 bis./ London, Published January 1829 by Rittner, 8 Surrey Street, Strand. Image 541 x 785 mm Framed Théodore Géricault’s The Raft of the Medusa is generally regarded as an icon of Romanticism, and when it was exhibited at the Salon in 1819, the horror and terribilità of the subject fascinated the critics. Géricault’s work extolls the story of the Medusa; a French Royal Navy frigate that

set sail in 1816 to colonize Senegal. It was captained by an officer of the Ancien Régime who had not sailed for over twenty years and who ran the ship aground on a sandbank. Due to a shortage of lifeboats, the one hundred and fifty men who were stranded decided to build a raft. Brutality and cannibalism ensued as the float drifted for thirteen days. Only ten people survived the odyssey. Géricault represents the vain hope of the shipwrecked sailors. A rescue boat is visible on the horizon, but sails away without seeing them. Some of the bodies writhe in the elation of hope, while others are unaware of the passing ships as they bewail their own fates. Samuel William Reynolds (1773-1835) was a painter, mezzotinter and later in his life, a landscape gardener. Reynolds studied at the Royal Academy where he was taught engraving by John Raphael Smith. His first engraved portrait, a study of George III when still Prince of Wales, is dated 1794. Reynolds’ talent was regally acknowledged and he was appointed engraver to the King in 1820. He is also known to have trained Samuel Cousins and David Lucas. Whitman - S.W. Reynolds 370 [26875] £3,500

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