Search Results: Authors starting with G from Sebra Prints

1810. Soft ground etching. 370mm by 320mm (plate mark) 535mm by 350mm (sheet). Thomas Gainsborough FRSA (1727 - 1788) was an English portrait and landscape painter, draughtsman, and printmaker. Along with his bitter rival Sir Joshua Reynolds, he is considered one of the most important British portrait artists of the second half of the 18th century. CONDITION : Good. Library ink stamp on the reverse. Full sheet, trimmed just within platemark on right hand side as issued.

1870. Lithograph. 175mm by 245mm (image) 295mm by 440mm (sheet). Published by M. Moss, Bookseller, Guernsey. Mount Orgueil Castle, Jersey, overlooks the harbour of Gorey. India-laid, supporting sheet toned.

1832. Lithograph. 265mm by 205mm (sheet). Pour justifier sa presence chez la femme d'un dentiste ce pauvre Adolphe se fait arracher une dent par le mari' (roughly translates to 'To justify its presence in the wife of a dentist, poor Adolphe had a tooth by the husband. ) French lithograph from 'Musee pour rire', published by Aubert in Paris, Text on reverse, a few small marks in the margins.

1845. Lithograph. 355mm by 250mm (sheet). Original lithograph by Gavarni published in Paris 1845. Signed in the image. From a series titled Le Eloquence de la Chair which was published in the French magazine 'Le Charivari'. Paul Gavarni was the nom de plume of Sulpice Guillaume Chevalier (1804-1866), a French caricaturist, born in Paris. He began life as an engineer's draughtsman, but soon turned his attention to his proper vocation as a cartoonist. Most of his best work appeared in Le Charivari.Folds as issued, text on the reverse as issued. Some off-setting.

1870. Tinted lithograph. 460mm by 320mm (image) 570mm by 450mm (sheet). Initial 'H' lower right corner. From 'The Illustrated Sydney News'.Central horizontal fold as issued. A few foxing spots at the very edge of the sheet.

1790. Copper-line engraving. 175mm by 110mm (platemark). John Flamsteed FRS (1646 - 1719) was an English astronomer and the first Astronomer Royal. He catalogued over 3000 stars.

1849. Tinted lithograph. 95mm by 170mm (image only). From Charles Sturt's 'Narrative of an expedition into Central Australia performed under the authority of Her Majesty's government, during the years 1844, 5, and 6.' Slight cockling to the paper.

Wood-engraving, 1870. 275mm by 400mm (sheet). From 'The Illustrated London News' of 26 March 1870 (text on the reverse).

1880. Wood-engraving with original hand-colouring. 500mm by 330mm (sheet). The front cover from 'Le Don Quichotte', the caricature periodical which Gilbert-Martin founded in Bordeaux in 1874. Whole issue intact.Dentistry interest.

1900. Chromolithograph. 395mm by 265mm (sheet). 'The Cavalry Division'. Vanity Fair portrait of Field Marshall John French (1852-1925). He was an English commander who served in the Soudan, Boer War and World War I.

1895. Chromolithograph. 345mm by 275mm (sheet). French chromolithograph garden design features. From 'Architecture Nouvelle', printed by Monrocq after drawings by E Gillet.A couple of small crease at the edges of the sheet.

1895. Chromolithograph. 275mm by 345mm (sheet). Maison de Campagne pour deux locataires. M Duval, Architecte a Puteaux (Seine)'. French chromolithograph depicting a French house in the country.From 'Architecture Nouvelle', printed by Monrocq after drawings by E Gillet.

1895. Chromolithograph. 275mm by 345mm (sheet). 'Petite Maison de Campagne a Dourdan, (SO). Mr GM proprietaire. Mr Ducastel, Architecte'. French chromolithograph depicting a French house in the country.From 'Architecture Nouvelle', printed by Monrocq after drawings by E Gillet.A couple of faint handling creases in the margins.

1895. Chromolithograph. 275mm by 345mm (sheet). Maison de Rapport a Juvisy (S & O). Mr Ducastel, Architecte'. French chromolithograph depicting a French apartments.From 'Architecture Nouvelle', printed by Monrocq after drawings by E Gillet.A couple of small spots / marks in margins.

1796. Stipple engraving with original colouring. 240mm by 274mm (sheet). Gillray was an important English caricaturist. In 1796 he published this caricature of the discovery of Cymon by Iphigenia from Garrick's adaption of Dryden's version of the Boccaccio tale. The episode of Iphigenia and Cymon intended to demonstrate the power of love. As Iphigenia sleeps in a grove by the sea, a noble but coarse and unlettered Cypriot youth, Cymon, seeing Iphigenia's beauty, falls in love with her, and, by the power of lobe, becomes an educated and polished courtier.T Adams is cited as the engraver - this is one of Gillray's pseudonyms.CONDITION: Trimmed to the image. A couple of small rubbed spots.

1850. Etching. 360mm by 265mm (platemark). Originally published in 1801, this impression is from Henry Bohn's folio of Gillray's etchings - note the plate is numbered top right and the reverse also has another Gillray etching on it. Charles Howard, 11th Duke of Norfolk (1746-1815) salutes the majesty of the people a list of his various offices and titles is being shredded behind him. The Duke was dismissed from all his official positions, including his position on the Privy Council and the Lord Lieutenancy of the West Riding. Signalling that the Duke's powerful friendships would not protect him, the notification of dismissal was sent during a dinner with the Prince Regent. Despite eventually satisfying the King with proclamations of loyalty, he was not reinstated to his official post until 1807. Francis Russell, 5th Duke of Bedford (1765-1802), is seated in the foreground, Charles James Fox (1749-1806) opposite him.

1851. Etching. 253mm by 360mm (platemark). James Gillray caricatures Thomas Pitt, 2nd Baron Camelford, (1775-1804) streetcorner assault on George Vancouver. Pitt came aboard HMS Discovery to partake in the Vancouver Expedition of diplomacy and exploration. When the expedition reached Tahiti, Pitt was flogged for trying to trade a piece of broken barrel-hoop for the romantic favours of an island woman. Vancouver had given strict orders against romancing the natives. Pitt was flogged again for unauthorized trade with Indians at Port Stewart and then again for breaking the binnacle glass while skylarking with another gentleman. On their return to England, Pitt challenged Vancouver to a duel. Vancouver gravely replied that he was unable "in a private capacity to answer for his public conduct in his official duty" and offered instead to submit to formal examination by flag officers. Pitt chose instead to stalk Vancouver, ultimately assaulting him on a London street corner. The terms of their legal dispute… Read More

1851. Etching. 245mm by 365mm (image). Consequences of a Successful French Invasion - No1 Plate 1st. We Come to Recover your long lost Liberties. Scene. The House of Commons.' The back of the Speaker's Chair reads 'This House Adjourned to Botany Bay. Sine Die'.Originally published in 1804, this impression is from Henry Bohn's folio of Gillray's etchings - note the plate is numbered top right and the reverse also has another Gillray etching on it.Faint line across top of image from platemark of reverse image. Impression slightly weak in bottom left and top right.

1850. Etching. 260mm by 365mm (platemark). Pitt (left) fires his pistol into the air; Tierney (right) fires straight at Pitt, saying, "Missed him! by G . . " Each has a second pistol in his left hand. Pitt, in profile, says: "The only Explanation I give is this! There! - that's to shew you, that I bear no Personal Enmity! - but that no consideration of my own Safety, shall deter me from doing my duty to King & Country!!! - so Fire away!" His second, Dudley Ryder, stands behind (left) holding a sheathed sword; he adds: "no nor unsay any thing which we know to be true, neither." Tierney faces three-quarter to the left; in his belt, inscribed 'Egalit_', are two daggers dripping blood; a tricolour cockade decorates his round hat. Behind him (right) and on a smaller scale than the other second is George Walpole, both fists clenched, a pair of large pistols under his left arm; he says: "Missed him? - O Lord! Its worse than ye Morroon business! O Lord! O Lord! - if he had but been popp'd off, how nicely we… Read More

1851. Etching. 255mm by 385mm (platemark). The subject of this Gillray satire is Sarah Sophia Banks (1744-1818) who was an English collector of antiquarian items and sister of the naturalist Joseph Banks. She collected coins and medals and ephemera which is now historically valuable like broadsheets, newspaper clippings, visiting cards, engravings, advertisements, and playbills. Joseph Banks lived with his sister until 1779, and she lived with him and his wife until her death. Her collections were given to the British Museum and British Library.Originally published in 1804, this impression is from Henry Bohn's folio of Gillray's etchings - note the plate is numbered top right and the reverse also has another Gillray etching on it.