after rowlandson (29 risultati)

Hardcover. Condizione: Fine. Condizione sovraccoperta: Fine. Jacket illustration after Thomas Rowlandson (illustratore). 1st Edition. First edition, first impression. Some slight creasing to top of spine, otherwise in almost 'as new' condition, not price clipped (£19.99), no inscriptions, internally clean tight and square, looks unread. 214pp, illustrated. Taunton, 1817. What seems a simple newspaper report of elopement gone wrong turns out to be a rollercoaster story of crime, coercion, illusory triumph and fraudulent defeat. Barrister George Tuckett wakes to discover that his 16 year old niece Maria Glenn, reputedly the heiress to West Indian sugar plantations, is missing. He discovers that she has been abducted by the Bowditches, a local farming family, who intend to force her to marry one of their sons. Maria is rescued and Tuckett starts investigating the crime himself, uncovering a complex and disturbing web of lies and impersonation. At a drama filled trial that is the talk of the country, four people are sentenced to prison. When a cabal of powerful people in Taunton begin a campaign to destroy Maria's testimony, her supporters fall away and she is openly vilified. Her enemies have her arrested for perjury and, after a ramshackle trial, she is forced to flee into exile. Yet the story of conspiracy and deception does not end there, as Maria and her uncle were to suffer one final and devastating betrayal. But was Maria telling the truth? Both sides had given utterly different versions of events during the trial so it was clear that someone had to be lying.

Condizione: Good. Hand-colored Aquatint. 10.5" x 8". Very Good. In mylar protective sleeve.

Condizione: Good. Color reproductive print. 27 x 39 cm (sheet). Very Good.

No Binding. Condizione: Very good. Stipple engraving, in sepia, from 'An Academy for Grown Horsemen, and Annals of Horsemanship', trimmed, Geoffrey Gambado is the pseudonym of Henry Bunbury.

Hardback. Condizione: Good. Multiple, including illustrations after Pugin and Rowlandson, Robert Cruikshank, and engravings from William Bond, James Bretherton. (illustratore). An uncommon edition of this work by Hackney-carriage-born John Thomas Smith, offering a nostalgic recollection of London. This edition is acknowledged by Wilfred Witten, the editor, to be the first thus annotated edition of the work. The first two editions of this work appeared in 1845, the third in 1861.Uncommon.Quarter paper vellum bound with gilt titles. Heartily illustrated with 47 plates, both monochrome and colour, including a frontispiece of the author (also, a plate missed from the work's 'List of Illustrations' titled 'Perdita Robinson' by J. T. Smith, on an unnumbered page [pp. 82-83]). Collated complete.Composed by a previous keeper of prints for the British Museum who was born in the back of a Hackney carriage, this work offers a nostalgic recollection of London, abounding with references to some of the city's best known areas and buildings. In the publisher's original quarter paper vellum binding. Externally, some marks and dulling to the colour of the boards and to the spine. Gilding bright. Some bumping to the head and tail of the spine, joints, and corners, which has resulted in a minor closed tear to spine's binding at rear joint, and minor loss of paper cover at corners. Hinges somewhat tender. Gift Inscription on first free endpaper. Internally, pages have spotting and toning throughout, not impacting readability. The odd minor closed tears to bottom edge; these are on plates between pp. 212-213, between pp. 302-303, between pp. 308-39, and between pp. 316-317, not to illustrations in any instance. Good. book.

Hardcover. Condizione: Very Good. No Jacket. Green cloth bound, hardback book with gilt decoration on front board, and gilt titles on spine. This wonderful old book, is in good condition, and as its a used book, normal wear, marks and tear apply consistent with use and age. 354 pages, all intact and a good binding, all pages, text and beautiful illustrations are in good, clean, readable order. Corners of boards slightly worn and bumped. Previous owners own label, with name pf owner and black & white drawing printed. Pencil signature on title page. "The Original Edition, Complete and Unabridged, With the Life and Adventures of the Author, Now First Written, By John Camden Hotten". No specific published date, assuming its around 1868 to 1869 as the back of the book, is "a list of very important new books, special list for 1869". 80 x stunning illustrations by Rowlandson. A fabulous book that has stood the test of time and deserves to be preserved for future literary generations.

Hardcover. Third Edition. Quarto, iv, [2], 319 pages. With 20 hand-colored engraved plates, including frontispiece and title page. In Very Good minus condition. Bound in full mottled calf with gilt ornamentation to boards, board edges, turn ins, and spine; green leather labels bearing gilt titling to spine. Light plus bumping and rubbing to corners of boards and light plus rubbing to joints; splits starting at joints. Spine labels sunned almost to brown. All text block edges gilt and still bright. Text block lightly age toned. Pencil annotations to first and second front free endpapers. Moderate offsetting to blank sheets inserted opposite plates. EH Consignment. Shelved Room G. 1381642. Special Collections.

12mo, 14.5x9.5cm. The three-volume 'miniature' edition, first edition thus. PICTURESQUE (Vol. I): pp(2)/(2)276(2)(2)(18)/(2) including blank preliminary leaf, preface, directions to binder, 18pp publisher's list, and blank final leaf; with frontispiece, engraved title-page with colour vignette, 29 plates in text, and vignette tailpiece at page 276. CONSOLATION (Vol. II): pp(4)/(4)277(1)(2)/(4) including two blank preliminary leaves, letterpress title, introduction, directions to binder, and two blank final leaves; with frontispiece, and 23 plates in text. WIFE (Vol. III): pp(4)/(2)(2)279(1)/(2) including two blank preliminary leaves, preface, directions to binder, and blank final leaf; with frontispiece, engraved title-page with colour vignette, 23 plates in text, and tinted vignette tailpiece at page 279. Recent uniform half blond calf, marbled paper-covered boards, plain white endpapers. Smooth spines with modest gilt decorations, and gilt title and volume number on separate maroon leather labels. Uniform marbled edges of text-blocks of Vols. II & III contrasting with bright recently-cut edges of Vol. I. Edges of Vols. II & III toned, with marbling faint and top edges darkened and a little marked. Contents of all three volumes occasionally lightly toned, here & there lightly spotted or with isolated spots, with a few minor dust- & handling-marks, and variable offsetting from plates; Vols. II & III also with a number of creased and/or furled corner tips. Vol. I with owner's name of some age at upper edge of engraved title, Vols. II & III with more recent owner's surname on rectos of first preliminary leaves. Bindings in fine condition, holding firmly and of pleasing appearance; contents complete, and generally clean and tight. VERY GOOD set.

Hardcover. Condizione: Very Good. Condizione sovraccoperta: No Jacket, As Issued. Later Edition. (iii)-xlviii, (1), 354, 19 (publisher's catalogue, pp. No Date, circa 1869, date of publisher's catalogue at end. List of the Plates lists 79 colored plates while title page states there are 80. The original ed., complete and unabridged, with the life and adventures of the author, now first written, by John Camden Hotten. Very Good, bound in contemporary half polished calf over, red morocco label with gilt back, top edge gilt, marbled end papers, rubs to calf at spine and edges, prior owner name in ink and stamp at title page. interior clean and bright. Size: 8vo - over 7¾" - 9¾" tall. Book.

Quarter Calf. Cloth slipcase. Condizione: Very Good. First Edition. Scarce hand-colored copy of work, two parts bound in one. Oblong, 27 by 34.5 cm. 20 hand-colored etched plates. The prints are inspired by Boswell's "Journal of a Tour in the Hebrides with Samuel Johnson", which originally appeared in 1785. Additional plates include an engraved portrait of Johnson by Thomas Trotter, two hand-colored Cruikshank plates satirizing life in Scotland, and the seven etched plates from "Outlines of the Opposition Collected from the Designs of the Most Capital Jacobin Artists", published by Hannah Humphrey in 1794 -- these plates are not colored. Binding heavily rubbed along edges, with some chipping and loss of paper pastedown. Calf abraded. Title written in ink on front cover. The etched plate series with a fair amount of light foxing.

Condizione: Good. Hand-colored engraving taken from the Tours of Doctor Syntax. Image measures 19 x 11 cm.

No Binding. Condizione: Good. A Grinning Match (antique hand colored etching) Etched by Thomas Rowlandson , after a drawing by Henry William Bunbury Publisher not stated but believed to be Rudolph Ackermann, London, c 1803. plate no.XV. Grego describes a 1799 version of this image as designed by Bunbury, and characterizes the scene as "a party of rustics, whose rude features are more rudely burlesqued, are grouped around a barrel to assist in an exhibition of "face-making." The challenge runs thus: "A gold Ring to be Grinned for the frightfu'lest Grinner to be the winner." Mounted on a tub is one of the champions, round his head is the traditional setting for a horse collar, and he is succeeding in making the most fearful grimaces, to the consequent delight of the spectators." oTHER versions of this print can be found in the British Museum, Metropolitan Museum of Art, National Gallery of Art. "some edge wear, folded in 3, otherwise good, a few light marks and spots" TUR41.

Goldgeprägter Leder-Einband mit Buchschließe und Goldschnitt [ca. 25,5 x 30 cm]. -- Format der Fotos: von ca. 13 x 12,5 cm bis zu ca. 15 x 19,5 cm. -- Einband nur leicht berieben, sonst gut erhalten. || Leather binding with metal book clasp and gold trim. -- Binding only slightly rubbed, otherwise in very good condition. || Sehr seltenes Fotoalbum aus dem 19. Jahrhundert mit Orig.-Fotos der schon damals sehr seltenen erotischen Kupferstiche Rowlandsons. // // Very rare photo album with original photos from the 19th century from the at that time also rare erotic engravings by Rowlandson. -- -- Thomas Rowlandson (17571827) was an English artist and caricaturist known for his satirical depictions of 18th and early 19th-century British society. Born in London, he studied at the Royal Academy and spent time in Paris, where he honed his skills in both classical art and caricature. Rowlandson gained widespread fame for his humorous, often exaggerated portrayals of everyday life, politics, and social customs. His work often featured vibrant, expressive lines and a keen eye for character. Rowlandson's illustrations, widely published in print, helped shape the visual culture of Georgian England. His erotic illustrations are very rare. They were often created privately or published anonymously, and depicted scenes of sexual encounters with a humorous, exaggerated style typical of his broader work. Rowlandson's erotic art, like his social satires, poked fun at the customs and hypocrisies of Georgian society, though with a much more explicit focus. His illustrations often combined humor, bawdiness, and a playful approach to sexuality. They were circulated among collectors and the upper classes, who appreciated his wit and the risqué nature of the drawings. || Thomas Rowlandson (17571827) war ein englischer Künstler und Karikaturist, bekannt für seine satirischen Darstellungen der britischen Gesellschaft des 18. und frühen 19. Jahrhunderts. Geboren in London, studierte er an der Royal Academy und verbrachte Zeit in Paris, wo er sowohl seine Fähigkeiten in der klassischen Kunst als auch in der Karikatur weiterentwickelte. Rowlandson erlangte breite Berühmtheit für seine humorvollen, oft übertriebenen Darstellungen des Alltagslebens, der Politik und der gesellschaftlichen Sitten. Seine Werke zeichneten sich häufig durch lebendige, ausdrucksstarke Linien und ein scharfes Auge für Charaktere aus. Rowlandsons Illustrationen, die weit verbreitet im Druck erschienen, prägten die visuelle Kultur des georgianischen Englands. Seine erotischen Illustrationen sind sehr selten. Sie wurden oft privat angefertigt oder anonym veröffentlicht und stellten Szenen sexueller Begegnungen in einem humorvollen, übertriebenen Stil dar, der typisch für seine breiteren Werke war. Rowlandsons erotische Kunst, wie auch seine sozialen Satiren, verspottete die Sitten und Heucheleien der georgianischen Gesellschaft, wenn auch mit einem viel expliziteren Fokus. Seine Illustrationen verbanden oft Humor, Derbheit und einen spielerischen Umgang mit Sexualität. Sie wurden unter Sammlern und in den oberen Gesellschaftsschichten verbreitet, die seinen Witz und den anstößigen Charakter der Zeichnungen zu schätzen wussten. -- // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Deutsch Gewicht in Gramm: 550.

No Binding. Condizione: Good. Cracking a Joke!! a Thomas Rowlandson engraving After a design by George Murgatroyd Woodward. Hand-colored. Publisher Thomas Tegg, no.111 Cheapside. 1813? Inscription: in plate, upper right: "296" in plate, below image left: "Woodward Delin."; center: "Pub.d November [date scratched out] by Tho.s Tegg No. 111 Cheapside"; right: "Rowlandson scul."; titled bottom center: "CRACKING A JOKE!!" plate approx 9 3/4 x 13 3/4 ins. Overall 10 1/4 x 16 1/2 ins. Two men drink and smoke together, a jug of 'Stingo' on the table between them. The man at right turns up his eyes to see a large louse on his forehead, and says, "Whats that you say Neighbour? You see a Creeper on my Forhead! Come Come you Joke!" The older man at left answers: "I tell you what my good Friend if you have any more such Jokes I advise you to crack them as soon as possible." Other copies of this print can be found in the Metropolitan Museum, Royal Collection, Fine Arts Museum of San Francisco, Yale University Library, National Gallery of Art and the British Museum. "some marks and spots, mostly on right side, one above right figures head, much of which can be matted out when framing".

Condizione: Good. Hand-colored aquatint after a drawing by Rowlandson. Image measures 14 x 22 cm.

No Binding. Condizione: Good. hand-coloured aquatint, 330 x 260 mm. (13 x 10 1/4 in), title cartouche within broad aquatint border.

Hand-colored lithograph, 9 1/4 x 11 inches (235 x 278 mm), margins trimmed 2 to 3 inches outside of platemark. Laid down to non-archival mat board with associated areas of adhesive residue and minor staining in the margins, as well as a 1-inch loss at the lower right corner, all well outside of image area. Scattered light soiling, colors slightly attenuated, however with good saturation. After the hand-colored etching and aquatint of the same title which appeared as plate No. 20 in Rudolph Ackermann's collaborative three volume masterpiece, The Microcosm of London.

Aquatint and engraving with hand coloring in watercolor on cream wove paper, 9 1/4 x 11 inches (234 x 278 mm), full margins. With an unidentified blindstamp in the lower right margin. In excellent condition with very minor, natural toning on the verso, as well as two tabs of archival tape from a former mount (outside of image area) along the tops sheet egde, verso. From The Microcosm of London, Volume 3, by Rudolph Ackermann, London, 1809. This aquatint is based on one by Augustus Charles Pugin (1762-1832) and Thomas Rowlandson (1756-1827), originally published in the popular magazine Ackermann's Repository of Arts. Pugin's depiction of the architecture appears to be quite reliable. Rowlandson, on the other hand, has filled the synagogue with praying Jews, many of whom conform to popular caricatures of the time. The building was repaired and redecorated several times over the years before it was completely destroyed in the German bombing of London during the Blitz in May of 1941.

Sole edition. A thin man in shabby clothes kneels in prayer before a candle on a chair, his toes poking through his worn shoes. The window panes above a heavy locked strongbox are broken. 'The miser confesses he owns nine houses, estates in Essex, mortgages in Hertford, large landed speculations in Russell Square and the neighbourhood, reversions of estates, trading ventures, "Mermaid" sloop, funded property, Government securities, &c. &c. he is beseeching an increase in his means, success in investments, and a rise in the "Stocks"' (Grego). Rowlandson produced a series of such 'Prayers' as squibs in 1801. Single sheet (400 × 253 mm) with hand-coloured etched print and letterpress text. Cut close as often (image just touched at head), small repair to lower right hand corner and couple of very small nicks at the head. Remains of old blue paper mounting to an album leaf on verso. [Grego, Rowlandson the Caricaturist, II, 30.].

Condizione: Good. Color aquatint. Sheet 33 x 39cm. Mounted on a support sheet. Central text beneath the image missing part of title and publisher's imprint.Walpole Library, Yale: In the center of a book-lined room the bookseller, with a pen behind his ear, his hands in his pockets, glasses pushed to the top of his head, stands looking down disdainfully at a manuscript being offered to him by a thin, timid looking man who stands nervously with his hat tucked under his arm. A clergyman with spectacles, his back to the two other gentlemen, perusing the shelves, stops to examine a volume. In the left foreground on the floor, in front of a library step stool, is a pile of books. Another pile of books lies in the right foreground in front of a door with a glass panel and curtains in the top half. To the left of the door is a sloping writing table with paper, ink stand, and pen.From the collection of Frederic Gale Ruffner, Jr., the founder of Gale Research, Detroit.

Etching and engraving with hand coloring in watercolor, 11 5/16 × 13 7/8 inches (287 x 353 mm), trimmed inside the platemark. Color is extensive, vibrant and fresh, condition is excellent, with some adhesive residue from a former mount along the top sheet edge. Published May 8, 1801. Impressions of this work may be viewed in many important institutional collections, including the Metropolitan Museum of Art, accession number 59.533.782. Contrasting physical types are used here to satirize British summer fashions of 1801. Both women show off revealing muslin dresses with high waists and short sleeves, a classically inspired style introduced from France that revealed every defeat of the figure. Headdresses consist of simple veiled caps, and parasols are carried for shade. The male outfits reflect precepts promoted by Beau Brummel. With the goal a kind of relaxed athleticism, snugly fitting trousers are paired with high Hessian boots. A carefully tied white neck stock is combined with a fitted tailcoat and short waistcoat and the look completed with top hats, unpowdered hair, riding crops and monocles. Fashions for men and women alike reflect growing appreciation for "the natural" but this design demonstrates the consequences for persons with less than ideal physiques. -Metropolitan Museum of Art.

Oil on wood panels, in early or contemporary frames, approximately 39.5 x 37 cm each. Two oil paintings after caricatures by Thomas Rowlandson, depicting tailors comically struggling with their patrons. The caricatures were produced as a pair of aquatint prints, published by S. W. Flores, 3 Piccadilly, dated 18 May, 1791, and are described in Joseph Gregoís Rowlandson the Caricaturist (London: Chatto and Windus, 1880), volume I, pages 292-93; additionally two sets of the aquatint prints are recorded sold at auction (Anderson Galleries in 1920 and Dominic Winter in 2005). Provenance: a manuscript label on the verso of A Little Tighter states that the paintings are from the collection of Dickson Q. Brown. A printed description adjacent to that describes the paintings, but adds no further information about the provenance. Brown (1873-1939) was a noted collector of graphic arts, particularly of British caricaturists of the 18th and 19th centuries. In 1928 he donated the majority of his collection (over 2800 works) to his alma mater, Princeton University, though he apparently continued his collecting until his death several years later. These two paintings were recently sold by Potter and Potter Auctions, Chicago, who stated in their catalogue description that ìEach painting is titled in the artistís hand at the bottom of the image.î When asked for further details about the provenance, Potter and Potter stated that their consignor had purchased the paintings at Sothebyís in the 1970s, without additional verification. Rowlandson was not known to work in oil, though caricaturists of his era and later did on occasion render their works in oil as well as print form, examples of which are usually rare. These two oil paintings are undoubtedly after caricatures by Rowlandson, but the question is: can it be substantiated that they are the work of Rowlandson. One frame is chipped and in need of minor restoration; overall in very good condition. Cf. Joseph Gregoís Rowlandson the Caricaturist (London: Chatto and Windus, 1880), volume I, pages 292-93; additionally two sets of the aquatint prints of these images are recorded sold at auction (Anderson Galleries in 1920 and Dominic Winter in 2005).

Original publication, 260 x 210 mm. In good condition except for frayes on the edges.[NL] Tekstblad met een verklaring op rijm van de voorstelling van de spotprent op Napoleon. Naar het origineel door Thomas Rowlandson.

Original publication, 260 x 210 mm. In good condition except for frayes on the edges.[NL] Spotprent op Napoleon na de verloren slag bij Leipzig, 16-19 oktober 1813. Napoleon zittend op een trommel en de Dood als skelet, tegenover hem zittend op een kanon, beiden verslagen met de ellebogen op de knieën en het hoofd rustend in de handen. Het Franse veldteken met een adelaar ligt gebroken op de grond. Links de oprukkende troepen van de bondgenoten met de vlaggen van Pruisen, Rusland en Oostenrijk, rechts het vluchtende Franse leger. Bij de prent behoort een afzonderlijke verklaring. Waarschijnlijk een Nederlandse uitgave van een Engelse plaat, de verklaring bij de prent is namelijk in het Nederlands. Prent aanwezig in Rijksmuseum in de Engelse versie naar Thomas Rowlandson onder de titel De twee koningen der verschrikking 1813: The two kings of terror.battle (+ land forces), Death as skeleton, Slag bij Leipzig, 1813-10 - 1813-10, Napoleon I (keizer der Fransen) .

An original hand-coloured aquatint for Ackermann's 'Microcosm of London' Vol III, 1811 Bluck after Pugin and Rowlandson St Margaret's Westminster An original hand-coloured aquatint for Ackermann's 'Microcosm of London' Vol III, 1811 275 x 230 mm. PS125.

An original hand-coloured aquatint for Ackermann's 'Microcosm of London' Vol II 1809 Bluck after Pugin and Rowlandson Magdalen Chapel An original hand-coloured aquatint for Ackermann's 'Microcosm of London' Vol II 1809 Landscape 225 x 270 mm PS125.

An original hand-coloured aquatint for Ackermann's 'Microcosm of London' Vol III, 1811 Sunderland after Pugin and Rowlandson Horse Armoury An original hand-coloured aquatint for Ackermann's 'Microcosm of London' Vol III, 1811 235 x 285 mm PS155.

A set of four charming watercolours taken from Rowlandson's Dr Syntax series. "Dr Syntax losing his way". "Dr Syntax copying the wit of the Window". "Rural Sports". "Dr Syntax disputing his bill with the landlady". Each image is 113x195mm. Mounted on cream card but unframed.

London, J. Johnston, no date (1820), 3rd ed. (part 1-2)/ 2nd ed. (part 3-7)/ 1st ed. (part 1), in 8 separate parts as originally published, (6 advert.),319,(3)p., handcoloured aquatint title-page.