Sebra Prints

Copper-line engraving. From 'The book of trades, or library of the useful arts', published by Tabart, London. Benjamin Tabart (c.1767–1833) was a London bookseller and proprietor of the Juvenile Library on fashionable New Bond Street. Size: 95mm by 65mm (image) One small spot in the title area.

'Connoisseurs examining a collection of George Morlands' Etching with original hand-colouring. A reduced version of Gillray's 1807 etching published by John Miller in 1818. The etching depicts William Baillie (1723-1810), art dealer and printmaker, George Baker (1747-1811), art collector, Mr Mitchell (floruit 1807), banker, Mortimer (floruit 1796-1807), picture dealer and restorer, Caleb Whitefoord (1734-1810), diplomat. James Gillray (1756-1815)was a famous English caricaturist.In this etching he satirizes art lovers. The five men are examining a collection of paintings by George Morland (1763-1804). The 'connoisseurs' lack of real taste is epitomised by the foremost figure, Captain Baillie, an engraver, who peers through his glasses the wrong way round. Similarly, Mortimer, a picture dealer and restorer standing to the far right, puffs and spits with grossly protruding lips at a painting of an enormous boar. Size: 240mm by 195mm (image)

Etching by Cecil Aldin (1870 - 1935). Signed in pencil. Aldin worked as a comic illustrator in the 1890's before achieving great success as a sporting artist. His etchings of dogs are very collectible. Some faint rubbing lower right of the image. Size: 175mm by 125mm (platemark)

George French Angas (1822-1886) Tinted lithograph with hand-colouring. Pl No 4 from Angas' 'Six views of the gold field at Ophir. In April 1851 the first payable gold in NSW and Australia was discovered at Ophir. GAngas was an English explorer, naturalist and painter. He is reknown for his watercolours and lithographs of South Australia and the Goldfields. Size: 250mm by 320mm (image only) Framed.

French Steel-engraving with 5 vignettes depicting clockmaking and selling. From an early 19th century French series depicting various trades. Size: 125mm by 190mm (image)

'Chenopis Atrata (Wagl) - Black Swan' Chromolithograph by Gracius Joseph Broinowski (1837-1913). Broinowski was a Polish artist and ornithologist who arrived in Victoria c1857. From 1887 - 1891 he published 'The Birds of Australia' which contained about 300 chromolithographs. Size: 255mm by 355mm (sheet) A couple of small foxing spots outside image area. More Broinowski chromolithographs available, please ask.

'Dromaius Novae Hollandiae (GR Grey) The Emu' Chromolithograph by Gracius Joseph Broinowski (1837-1913). Broinowski was a Polish artist and ornithologist who arrived in Victoria c1857. From 1887 - 1891 he published 'The Birds of Australia' which contained about 300 chromolithographs. Accompanied by original descriptive text. Size: 355mm by 255mm (sheet) More Broinowski chromolithographs available, please ask.

'Charles I King of Great Britain & c' Copper-line engraving by Sir Robert Strange (1725-92). A fine full length portrait of King Charles 1st in his Coronation robes. In the background is a pillar and draped curtain, with his Crown and Orb propped carelessly (significantly) against the base of the pillar. The painting was in the Royal Collection until it was transported abroad by King James II when he fled to France in 1688. James gave it to Cardinal Phillip Howard and at Howard’s death it came into the possession of a James Edgar, secretary to the Old Pretender. The Scottish engraver Sir Robert Strange (1721-92), was an ardent Jacobite, and was advised to leave England after refusing to engrave a portrait of George III. He joined the Jacobite court in exile, and bought the painting when Edgar died in Rome. Size: 540mm by 360mm (platemark) Two small repaired tears in margins.

'The Match Between the All-England Eleven and Twenty Two of the New South Wales Cricketeers, Played in the Domain at Sydney'. Wood-engraving with later hand-colouring from the 'Illustrated London News', 1862. Framed with acid free mount. Size: 410mm by 520mm (frame)

Tinted lithograph by Louis Haghe after David Roberts. Please note this lithograph is in it's original state, with no modern hand-colouring. Roberts (1796-1864) traveled throughout Egypt and the Holy Land in the late 1830s producing watercolours and drawings of the architecture and landscape. When he returned to London Louis Haghe (1829-1898) made tinted lithographs from the watercolours which were published by the best printers of the day. Size: 420mm by 605mm (sheet). Acid free mount.

Copper-line engraving by Peter Mazell. From 'The voyage of Governor Phillip to Botany Bay' by Arthur Phillip, published by Thomas Stockdale in 1789. Size: 260mm by 190mm (platemark)

Chromolithograph with some added original hand-colouring. Published by Louis Van Houtte. Louis Van Houtte was the founder, publisher and part-editor the " Flore des serres et des jardins de l’Europe". He was also the propietor of the largest nursery of its time on the continent. The periodicial appeared monthly for almost 40 years and was published by his own printing office in the middle of his gardens, the Horto van Houtteano. The work is notable for the craftmanship of the Belgian lithographers Severeyns, Stroobant and De Pannemaker, who had mastered the art of colour-printing from stone. With original text description in French. Size: 170mm by 248mm (sheet)

'Le Contre-Amiral Dumont D'Urville' Lithograph by P Daniel, from 'Le Charivari', text on the reverse as issued. Published in Paris in 1842, the year of Dumont D'Urville's death. Size: 335mm by 245mm (sheet) Faint horizontal and vertical fold as issued.

Ella Dwyer (Australian 1887-1979) Limited edition aquatint printed in green ink. Signed, titled and editioned (7/50) in pencil by the artist. Circa 1925. Ella Dwyer was an early 20th century Australian intaglio printmaker. She was born in Hobart and worked in NSW. Her works are held in the National Gallery in Canberra. Size: 155mm by 250mm (platemark)

Tinted lithograph by Eugene Von Guerard (1812-1901) Size: 325mm by 530mm(image only) From Von Guerard's 'Australian Landscapes, A Series of 24 Tinted Lithographs', published in Melbourne in 1867. By the early 1860s von Guerard was recognized as the foremost landscape artist in the colonies, touring Southeast Australia and New Zealand in pursuit of the sublime and the picturesque. Good condition, full sheet, blind stamp of Hamel and Ferguson. Acid free mount.

Pochoir from 'Les Creations Parisiennes' with descriptions of each model below in French. Designs by Jean Patou. 'Jean Patou Model No 516. An ideal Two-piece Sporting Garment; Red Kasha Skirt and White and Red Jersey Sweater.' 'Jean Patou Model No 517. Amusing and very original in cut this Robe isi n Green Kasha of two shades; Skirt is in form.' Size: 270mm by 180mm (sheet)

Charles Motte (1785-1836) after Jean-Baptiste Meunier (1786-1858) 'L’Eléphant d'Asie, Femelle' (Asian female elephant) Lithograph with original hand-colouring from Oeuvres complètes de Buffon, published in Paris in 1832. Size: 100mm by 160mm (image only)

Charles Motte (1785-1836) after Jean-Baptiste Meunier (1786-1858) 'Rhinocéros d'Asie' (Asian rhinoceros) Lithograph with original hand-colouring from Oeuvres complètes de Buffon, published in Paris in 1832. Size: 100mm by 160mm (image only)

Charles Motte (1785-1836) after Jean-Baptiste Meunier (1786-1858) 'Le petit Eléphant telant sa mere' (Young Elephant and her mother) Lithograph with original hand-colouring from Oeuvres complètes de Buffon, published in Paris in 1832. Size: 100mm by 160mm (image only)

Etching signed in pencil by the artist. Size: 207mm by 308mm (platemark) Marples was a painter, etcher, writer on ornithology, and principal of Huddersfield, Hull and Liverpool School of Art. He specialized in etchings of fish and birds.

'The Great South Sea Caterpillar - transform’d into a Bath Butterfly' Etching by James Gillray (1756-1815) with later hand-colouring. Originally published in 1795, 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. The cartoon shows the metamorphosis of Sir Joseph Banks from a caterpillar to a butterfly upon his investiture with the Order of the Bath as a result of his South Sea expedition. Draped with the ribbon, and wearing the jewel, of Bath, he rises, chrysalis shaped, from the mudflats on butterfly wings emblazoned with sea creatures towards a radiant sun enclosing a crown. Size: 355mm by 250mm (platemark)

'Mantled Kingfisher (Dacelo tyro)', Lithograph with original hand-colouring by John Gould and H.C. Richter. From John Gould's 'Birds of Asia' published 1850-1883. John Gould (1804 – 1881) was an English ornithologist and bird artist. He published a number of monographs on birds, illustrated by plates that he produced with the assistance of his wife, Elizabeth Gould and several other artists including Edward Lear, Henry Constantine Richter, Joseph Wolf and William Matthew Hart. Modern blackwood frame. Size: 710mm by 545mm (frame)

After P Mahler French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of sporting dogs. Accompanied by descriptive text in French. Size: 195mm by 280mm (sheet)

Colour aquatint by Mathew Dubourg (1786-1838) after John Heavenside Clark (c1770-1863) From ‘Field Sports & c of the native inhabitants of New South Wales’, a series of ten colour aquatint plates depicting scenes of aboriginal life. It was the first series devoted solely to the aborigines. It was also published in 1814 as a supplement to ‘Foreign Field Spots’. Size: 180mm by 235mm (platemark) A couple of spots outside the platemark.

Etching with aquatint. Signed, editioned (1/15) and titled in pencil below the image. Size: 350mm by 455mm (platemark) James Flett was an early 20th Australian printmaker from Melbourne. Two small light scratch marks across bottom right hand-corner.

James Gillray (1756-1815) 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. Size: 255mm by 385mm (platemark)

John Shirlow (1869-1936) Signed and editioned in pencil below the image. Signed and dated 1922 in the plate. Shirlow was a Melbourne printmaker who specialized in views of Melbourne. His works are in several State Galleries. A couple of foxing spots. Size: 220mm by 150m (platemark) Acid free mount.

John William Ashton (1881-1963) Etching signed in pencil. Circa 1925. Ashton arrived in Adelaide in 1884. He became a prolific painter of picturesque works. Some toning in margins, outside the platemark. Size: 220mm by 123mm (platemark)

Sir Lionel Lindsay (Australian 1874-1961) Limited edition etching, signed in pencil. Editioned ‘200’ in pencil. Size: 250mm by 175mm (platemark) Ref: Mendelssohn No 545. Acid free mount.

'Dryandra Longifolia - Long-Leaved Dryandra' Copper-line engraving with original hand-colouring by Francis Sansom after Sydenham Edwards (1768 – 1819). Australian native botanical engraving from Curtis’ Botanical Magazine. William Curtis (1746-1799) was a trained pharmacist, in London, who maintained a large garden and devoted himself to the study of its flora. He began publishing the Curtis Botanical Magazine in 1787. Francis Sansom was a leading London botanical engraver. Sydenham Teast Edwards (1768 – 1819) was a natural history illustrator. He was the first full-time artist to work for Curtis's Botanical Magazine. He served as that magazine's principal artist for 27 years. Accompanied by original text describing features of the plant, when it was introduced and by whom, and whose collection it comes from. Folds as issued. One light foxing spot on left on edge of platemark. Size: 190mm by 235mm (platemark)

'Veduta del Tempio della Fortuna Virile' Etching with engraving by Luigi Rossini (1790-1857). Size: 400mm by 545mm (platemark) Rossini was an architect, painter and watercolourist. Born in Ravenna, as a young man he went to Bologna where he studied art and architecture at the academy and won the prize of the Regno Italico for Architecture. He arrived in Rome around the end of 1813 and beginning of 1814, but after meeting with repeated failures in his attempts to gain architectural commissions decided to follow in the footsteps of Piranesi and began work on a series of views of Rome. Rossini published his Le Antichita Romane between 1819 and 1823 in the later neoclassical period of the 19th century, 101 plates depicting views of ancient Rome. Rossini took his initial inspiration from the famous views of Giovanni Battista Piranesi, published in works such as Vedute di Roma. Like Piranesi's work, Rossini’s prints frequently served as Grand Tour souvenirs, and provided influential source material for European architects and designers interested in classical motifs. Framed in Italian antique style moulding.

'Dryandra Floribunda - Many-Flowered Dryandra' Copper-line engraving with original hand-colouring by Francis Sansom after Sydenham Edwards (1768 – 1819). Australian native botanical engraving from Curtis’ Botanical Magazine. William Curtis (1746-1799) was a trained pharmacist, in London, who maintained a large garden and devoted himself to the study of its flora. He began publishing the Curtis Botanical Magazine in 1787. Francis Sansom was a leading London botanical engraver. Sydenham Teast Edwards (1768 – 1819) was a natural history illustrator. He was the first full-time artist to work for Curtis's Botanical Magazine. He served as that magazine's principal artist for 27 years. Accompanied by original text describing features of the plant, when it was introduced and by whom, and whose collection it comes from. Size: 220mm by 140mm (sheet)

Etching. Signed in pencil below the image. Size: 200mm by 200mm (platemark) Menpes was an artist and engraver, author, printmaker and illustrator. He was born in Port Adelaide, South Australia. Menpes moved to London in 1875 and became a member of the Royal Society of Painter-Etchers and Engravers (RE)in 1881. Menpes traveled widely and executed many etchings of where he traveled.

Etching. Signed in pencil below the image. Signed and dated in the plate. The number '319' inscribed in pencil in lower margin. Size: 135mm by 175mm (platemark) Menpes was an artist and engraver, author, printmaker and illustrator. He was born in Port Adelaide, South Australia. Menpes moved to London in 1875 and became a member of the Royal Society of Painter-Etchers and Engravers (RE)in 1881. Menpes traveled widely and executed many etchings of where he traveled.

Etching. Signed in pencil below the image. The number '48' inscribed in pencil in lower margin. Size: 200mm by 300mm (platemark) Menpes was an artist and engraver, author, printmaker and illustrator. He was born in Port Adelaide, South Australia. Menpes moved to London in 1875 and became a member of the Royal Society of Painter-Etchers and Engravers (RE)in 1881. Menpes traveled widely and executed many etchings of where he traveled.

Colour linocut from multiple blocks. Editioned 3/28,titled, signed and dated '51' in pencil below the image. Size: 340mm by 150mm (image) Griffin was born in Melbourne and studied at the National Gallery School 1919-22. Griffin was appointed official war artist in 1941 to Malaya. Faint mark from a previous mount.

Steel-engraving by C Barth after François Gérard (1770-1837) depicting Napoleon in his coronation robes. Size: 100mm by 75mm (image) 235mm by 145mm (sheet)

Photogravure after Ernest Prater (1864-1950) Size: 370mm by 540mm (sheet) Fold out page from the 'Black and White' of January 1897. Prater was a noted English artist and book illustrator. Vertical crease at centre as issued.

'England Versus Scotland - The International Football Match Played at Raeburn Place, Edinburgh - Alderson relieves the English line' Wood-engraving after Stewart Browne. Fold out page from the 'Black and White' of March 1892. Size: 365mm by 540mm (sheet) The names of the players are identified at the top and bottom of the image. Vertical fold at centre as issued. A couple of small holes and small spot at the top of the sheet in the title area.

'Blandfordia Nobilis - Showy Blandfordia' Copper-line engraving with original hand-colouring by Weddell. Australian native botanical engraving from Curtis’ Botanical Magazine. William Curtis (1746-1799) was a trained pharmacist, in London, who maintained a large garden and devoted himself to the study of its flora. He began publishing the Curtis Botanical Magazine in 1787. Accompanied by original text describing features of the plant, when it was introduced and by whom, and whose collection it comes from. A couple of very faint foxing spots. Size: 240mm by 150mm (sheet)

Colour lithographic transfer from wood block after Sir William Nicholson (1872-1949). Size: 310mm by 240mm (sheet) 200mm by 200mm (image) Nicholson was a famous British graphic artist who produced a series of months of the year illustrated by sports - 'An Almanac of Twelve sports'. Unrelated text on the reverse.

'A singular animal called Kanguroo found on the Coast of New Holland' Copper-line engraving after the picture by George Stubbs. This image, which was published with the journals of Cook's first voyage, was the first recorded European depiction of a kangaroo. Size: 155mm by 210mm (platemark) Faint crease top left corner.

Copper-line engraving with original hand-colouring. From Bilderbuch Zum Nutzen und Vergnugen Der Jugend by Friedrich Justin Bertuch (1747-1822), an encyclopedic collection of Interesting Animals, Plants, Flowers, Fruits, Minerals, Costumes, Antiquities and other Interesting Objects published in multiple volumes between 1801 and 1815. Size: 175mm by 225mm (platemark)

Spy (Sir Leslie Ward) - Heads of the Law Vanity Fair Supplement chromolithograph published 1902. Size: 410mm by 550mm (sheet) Group portrait of 10 British justices at the bench.

'Sammy' Vanity Fair chromolithograph by Stuff. Vanity Fair portrait of the Australian cricketeer Samuel Moses James Woods (1867-1931) Born Glenfield Sydney, he was a Test and first-class cricketer. He is one of only five cricketers to have represented both Australia and England at Test cricket. Size: 390mm by 265mm (sheet)

Giuseppe Agostino Vasi (1710 - 1782) Etching with engraving. Dedicated to Pius VI, the engraving depicts the interior view and investiture of the Pope within the church of St Peter's in the Vatican, Rome. In the title area, there is a key to various monuments etc numbered in the engraving. The Papal Coat of Arms are in the centre of the title area. Vasi was an Italian engraver and architect, best known for his vedute. He was born in Corleone, Sicily and later moved to Rome. From 1746 to 1761 he published a series of ten volumes including 240 engravings of vedute of Rome. His pupils include Giovanni Battista Piranesi. Size: 720mm by 980mm (platemark)

Signed and titled by the artist below the image. Size: 145mm by 190mm (platemark) Satirical scene of Dr Sigmund Freud pointing the way to a spirit figure representing "scandal". Will Dyson was an influential Australian satirical artist. Slight acid stain from a previous mount and a couple of very small spots.

Copper-line engraving with original hand-colouring of a Greek vase-painting. From d’Hancarville’s famous work on Sir William Hamilton's collection of antique vases – Antiquites Etrusques, Grecques et Romaines, tirees du Cabinet de M. William Hamilton…. . Published in 1767. Sir William Hamilton (1730-1803) was the British ambassador to the Court of the Two Sicilys. Living in Naples, he was in a perfect position to acquire the Greek, Roman, and Etruscan vases being unearthed around Naples. He was quick to understand the importance of the vases to the study of ancient art and history. His first collection of vases was sold to the British Museum in 1772. 172mm by 182mm (platemark) 495mm by 360mm (sheet)

Copper-line engraving with original hand-colouring of a Greek vase-painting. From d’Hancarville’s famous work on Sir William Hamilton's collection of antique vases – Antiquites Etrusques, Grecques et Romaines, tirees du Cabinet de M. William Hamilton…. . Published in 1767. Sir William Hamilton (1730-1803) was the British ambassador to the Court of the Two Sicilys. Living in Naples, he was in a perfect position to acquire the Greek, Roman, and Etruscan vases being unearthed around Naples. He was quick to understand the importance of the vases to the study of ancient art and history. His first collection of vases was sold to the British Museum in 1772. 185mm by 155mm (platemark) 495mm by 360mm (sheet)

'Entrepot des Vins de Paris' Wood-engraving by Ed Riou, from 'Le monde Illustre' of 1858. Text on the reverse. Four illustrations titled - La cave, La sole, Le dépôtoir and La cave aux esprits. Light crease bottom right hand corner of sheet, not affecting the image. Size: 260mm by 365mm (sheet)