Sebra Prints

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)

Chikanobu (1838-1912) 'Ladies from Chiyoda Inner Palace out for Cherry Blossoms' Japanese colour woodblock.Triptych O-ban. Circa 1894. Chikanobu was a student of the great Kuniyoshi, Kunisada and Kunichika and was one of the most famous woodblock print artists of Meiji Period. Acid free mount. Size: 360mm by 720mm (image) 600mm by 940mm (mount)

'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)

'Modern mansions, showing the Arabesque architecture of Cairo.' 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: 605mm by 420mm (sheet)

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.

'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.

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)

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.

'Eucalyptus Pulverulenta - Heart-leaved Eucalyptus' Copper-line engraving with original hand-colouring by Weddell after Curtis. 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 photocopy of the original text describing features of the plant, when it was introduced and by whom, and whose collection it comes from. Size: 230mm by 140mm (sheet)

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.

'Quadrupede nomme KANGUROO, trouve sur la Cote de la Nle Hollande' Copper-line engraving by Godefroi (publisher). Size: 230mm by 185mm (platemark) Sketch of a Kangaroo, engraved from an oil painting by George Stubbs, who used as a model a skin brought back to England by Joseph Banks, who accompanied Capt. James Cook on his first voyage to the Pacific in 1768-1771. From the 1st French Edition of “Cook's Voyages”. Light cockling, one very light vertical crease.

'Snow scene' Japanese Colour woodblock by Kochoro (1848-1920) The artist’s signature with Toshidama Seal, the chop marks of the publisher’s name and address, and publication date and the carver’s chop mark are close to the middle left corner of the left panel. Kochoro was a Meiji period Japanese woodblock printmaker. Acid free mount.

Sir Lionel Lindsay (1874-1961) - Old Government House, Windsor, NSW. 1918. Etching, pencil signed, inscribed "Artist Proof", signed in the plate lower left. From an edition of 50. Size: 160mm by 238mm (platemark) 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.

Wood-engraving after Champin, a Supplement to the Illustrated London News, 1848. Folds as issued. Size: 360mm by 1010mm (image only) 685mm by1200mm (mount) A dramatic woodblock view of the western side of Paris taken as from a balloon above Notre Dame. The heights of Mont Martre are shown to the right with the Arc de Triomphe in the centre distance.

'Veduta interna del Sepulcro di S Costantiza, Fabricato da Costantino Magno, ed errone amente detto il Tempio di Bacco, inoggi chiesa della Medesima Santa' Etching by Giovanni Battista Piranesi (1720-1778). From Piranesi’s Veduta di Roma, published in 1756. Hind 37 iii/vi. Roman edition. 18th century laid paper. Size: 415mm by 555mm (platemark) Piranesi was an Italian architect and etcher. He published series of etchings of archaeological interest, views of Rome and an imaginary series of prisons. He was a very important figure in late 18th century Italian culture and knighted by the pope in 1765. Framed.

'Banksia Aemula - Rival Banksia' Copper-line engraving with original hand-colouring by Weddell after Curtis.Copper-line engraving with original hand-colouring by Weddell after Curtis. 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. A few very light foxing spots. Size: 235mm by 200mm (platemark)

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)

Limited edition wood-engraving, signed and editioned (77/100) and annotated 'Artist's Proof' in pencil below the image. 1925. Size: 153mm by 148mm (image only)

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.

'Banksia australis - Tree Banksia' Copper-line engraving with original hand-colouring by S Watts after M Hart. Australian native botanical engraving from 'Edward's Botanical Register', published by John Lindley. Accompanied by original text describing features of the plant, when it was introduced and by whom, and whose collection it comes from. Sarah Ann Drake was an English botanical illustrator. She came from the same area of Norfolk as John Lindley, and in 1830 moved into the Lindley home in London. She appears to have had a number of roles in the Lindley home, including that of governess, but eventually she took up botanical art, gradually taking over from Lindley the illustration of his botanical publications. Size: 240mm by 150mm (sheet)

'Geishas' Japanese Colour woodblock by Utagawa Kunimasa IV (1848 – 1920). The artist’s signature and Toshidama Seal, the chop marks of the publisher’s name, address and the publication date are close to the left edge of the left panel. Utagawa Kunimasa IV studied under Toyokuni III at age 11 and then under Utagawa Kunisada I (1786–1865), Utagawa Kunisada II (1823-1880) and Tokokuni III. He specialized in Meiji actor prints and is considered by some as one of the best of the yakush-e artists. Acid free mount. Size: 300mm by 750mm (image)

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.

Colour lithograph, published in Paris, c1880, by Gustave David (1824-1891). Size: 445mm by 695mm (image only) Gustave David (1824-1891) was a late 19th century French artist and printmaker. Vincennes is famous in France for trotting. Acid free mount.

'Embothrium Speciosissimum - The Waratah' 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: 200mm by 230mm (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)