Heath William After (10 results)

Uniform matching hard back binding in contemporary calf, spine in six compartments with three red and black Morocco labels, (gilt author on red, volume number and title on black), London and date to the foot, gilt centre tools, lines and details, gilt barley twist design and three ruled gilt lines to the front and rear board perimeters, gilt lines to the edges and returns, black and brown marble page edges and end papers 8vo. 8½'' x 5½''. Portrait frontispiece to volume I. Engraved vignettes to title pages of each volume and to the title pages of each individual play. Volume One also containing Rowe's "Life of Shakespeare" and the text of his will. Corners rubbed and turned-in, small chips to the spine ends of volumes VI and X, volume VIII rebacked with new piece of leather added to the top of the spine, volume I rebacked and with new matching rear board, two contemporary ink names to each second front free end paper, without any foxing or age toning to the text block. Member of the P.B.F.A. SHAKESPEARE, William.…

Condition: Good. 17.5 x 12 inches. 18 x 13.5 inches mat. Unbound single sheet mounted on brown mat paper. Very good. English black and white lithograph. Lettered with publishing line: "Pub by T. McLean 26 Haymarket Nov 16th 1829.".

Condition: Good. 17.25 x 11.75. Unbound single sheet. Very good with slight shelfwear. English handcolored lithograph. William Heath's pseudonym 'Paul Pry' signature present in lower left corner: a figure of a small man with a walking stick.

Condition: Good. 12.75 x 10.75 inches. Unbound single sheet. English black and white lithograph. Very ood with tearing on corners. Lettered with publication line: "London Mes.rs Fores 41 Piccadilly" and "Printed by W. Kohler 22 Denmark St. Soho.".

Condition: Good. 16 x 11.5 inches. Unbound single sheet. English color etching. Very good with slightly toned edges. Lettered with publishing line: "Pub by T. McLeann 26 Haymarket." William Heath's pseudonym 'Paul Pry' signature present in lower left corner: a figure of a small man with a walking stick next to words "Esq. Del.".…

Condition: Good. Two engravings on one sheet, 25 x 19 inches. Few marginal tears.The top iamge is a copy of Paulson, 44.William Kent had painted at altarpiece for St. Clement Danes' church, depicting a celestial choir with five singing angels, a crowd of attendant cherubs, and the Holy Spirit in the shape of a Dove. The parishioners had commissioned the piece, because they were impressed by Kent's Court connections, however, they were greatly disappointed when the painting was unveiled, perhaps seeing a likeness in one of the angels to Priness Clementina Sobieski, wife of the Old Pretender, but more probably because Kent was, at times, a spectacularly bad painter. The congregation petitioned the Bishop of London, Edmund Gibson, to remove it; and it was duly removed to the vestry during September 1725, although it was borrowed from time to time by the Crown & Anchor Tavern for its Music Room. In a numbered, satirical key beneath the design, Hogarth highlights Kent's appallingly bad draughtsmanship and his out of proportion figures. The painting was destroyed by bombing in 1940. The plates were bought by the publisher Baldwin, Cradock and Joy at the Boydell sale in 1818. The Works of William Hogarth as published by Baldwin, Cradock and Joy in 1822 with the original plates restored by James Heath, engraver to His Majesty. The Heath edition was the last to print directly from Hogarth's original engraved plates.…

Condition: Good. Two engravings on one sheet, 25 x 19 inches. Few marginal tears.Two prints, on one sheet. The plates were bought by the publisher Baldwin, Cradock and Joy at the Boydell sale in 1818. The Works of William Hogarth as published by Baldwin, Cradock and Joy in 1822 with the original plates restored by James Heath, engraver to His Majesty. The Heath edition was the last to print directly from Hogarth's original engraved plates.…

Condition: Good. Very good with small dampstain on lower margin. Lettered with publishing line: "Pub April 1829 by TMcLean 26 Haymarket." William Heath's pseudonym 'Paul Pry' signature present in lower left corner: a figure of a small man with a walking stick next to words "Esq. Del.".

Napoleon Caught Between the Russian Bear and Wellington's Bulldog A Fine Original Pen-and-Ink and Watercolor Drawing of the Celebrated 1812 Anti-Napoleonic Caricature [HEATH, William, after, attributed design]. The Bear the Bull Dog and the Monkey. [England, ca. 1812]. Original pen and ink and watercolor drawing on wove paper. Sheet size 16 3/8 x 11 1/2 inches (415 x 291 mm.). The complete title and eight-line manuscript verse preserved beneath the image, the final line formerly concealed beneath the mount. Evidence of former mounting on verso. A remarkably fresh and attractive survival, the watercolor retaining strong and vivid coloring. A fine original contemporary watercolor drawing after one of the most striking British anti-Napoleonic caricatures produced during Napoleon's disastrous Russian campaign of 1812. Napoleon is grotesquely transformed into a monkey in military uniform and enormous bicorne hat, simultaneously assailed by two formidable adversaries. Behind him the Russian bear envelops Napoleon in its paws, while from the front the British bulldog - its collar prominently inscribed "Wellington" - tears at his chest and decorations. Beneath the struggling group lies a sheet inscribed "French Policy / French Cruelty / & Plunder." The allegory is wonderfully direct. Napoleon, reduced to the role of a troublesome performing monkey, is caught between Russia and Britain. The bear represents the Russian Empire, invaded by Napoleon's Grande Armée in June 1812, while the bulldog represents Wellington and the continuing British pressure upon French forces in the Peninsular War. Beneath the large carefully executed title, "THE BEAR the BULL DOG and the MONKEY," appears the complete manuscript verse: "Dame Mischief may say 'spare my Monkey good Sirs But I'll tell you what's best to be done The Villain delights in such mischievous stirs That 'tis wisest to stop all his fun So Bruin & Growler each play your part And worry this troublesome Blade, Then Peace shall again delight evr'y Heart And the Rogue will be robbed of his Trade" The published caricature appeared in London on 24 August 1812, scarcely two months after Napoleon's invasion of Russia. The Bodleian Library's impression, published by William Holland, has a platemark measuring 358 x 250 mm. and is catalogued as attributed to William Heath. The attribution of the design is not entirely settled. The Bodleian attribution supports the traditional association with William Heath, under whose name the present drawing has previously been catalogued, while the National Gallery of Art catalogs The Bear, the Bull Dog and the Monkey under Thomas Rowlandson. In the absence of a signature or other definitive evidence on the present sheet, it seems prudent to retain the traditional Heath association while describing the work as an original contemporary drawing after the published design, rather than attributing the drawing itself directly to either Heath or Rowlandson. Close examination of the present sheet supports its identification as a drawing rather than a hand-colored impression of the published etching: the pen lines exhibit variations in width and ink density, freely executed hatching and stippling, and occasional pooling and interruption characteristic of work executed directly upon the paper. The watercolor washes similarly display the irregular edges and concentrations of pigment expected of hand application. The exceptionally close correspondence between this drawing and the published caricature - in composition, lettering, coloring and minute details - is noteworthy. Whether the drawing was produced simply as a contemporary copy of the celebrated satire or had some closer relationship to its production cannot presently be established. An unusually large and highly accomplished contemporary watercolor rendering of a memorable image of Napoleonic satire, preserving its complete title and verse. Cf. British Museum Satires 11896.…

Good. Old verso repair of tear extending 3.5 inches into printed area. Closed tear extending 1.5 inches into printed area professionally repaired on verso. Blank on verso. Size 10 x 14 Inches. This is an 1830 William Heath political cartoon of King William IV and was published soon after his ascension. In the cartoon, King William IV is speaking to Sir Robert Peel and Arthur Wellesley, the 1st Duke of Wellington, who are both dressed as workmen. King William IV, dressed in an admiral's uniform (he was often depicted in naval uniform), gestures at a railing and says, 'Come I say, my hearties you must pull these rails down again. I'm not going to shut out my tenants so down with it let's no jaw about it.' The Duke of Wellington, who was Prime Minister at the time, and is illustrated holding a mallet, responds, 'Do you think his honor is serious Bob?'. Sir Robert Peel, the Home Secretary, who is kneeling and holding a trowel, responds, 'Why he looks so'. This exchange is referring to one of King William IV's first popular acts as king, the opening of a public passage between Waterloo Place and St. James Park in London. This cartoon is rather scarce. We were able to locate examples in the collections of the British Museum and the Victoria and Albert Museum in London. It was created by William Heath and published by Thomas McLean in July 1830.…