robert dighton (38 resultados)

No Binding. Condición: Very Good. No Jacket. Dighton, Robert Ilustrador. this is NOT a Book, "Women and wine game and deceit make the wealth small and the want great", "What maintains one vice would bring up two children", Reproduced on Franiscarn Masterpiece Keramos, 12 inches x12 inches, Original Box in Good shape with wear and cover soiling, 2 Page Flyer 12x12 with light edge wear, this is NOT a Book.

No Binding. Condición: Very Good. 1st Edition. Size: Mount 28 x 36 cm (will fit a 14 x 11 inch standard frame), print inside mount window 21.5 x 28 cm Condition: Print in excellent condition, mild age toning, mount new. Robert Dighton, a London portrait painter and caricaturist, was a colourful character. In 1806 it was discovered that some of his stock had been stolen from the British Museum. Dighton escaped prosecution but was forced to lie low in Oxford until the scandal had died down. While there he sketched and etched a series of caricatures of local worthies, of which this is one. Returning to London in 1810 he continued his trade there, passing on his skills to a dynasty of Dightons. This print is a portrait of Dr Robert Eveleigh, Provost of Oriel College Oxford at the time it was made. It is on laid paper of the period and has original hand colour. A very nice copy. Dighton's caricatures are on the whole gentler than his contemporaries Gilray and Cruikshank, and this one is a charming evocation of academia.

Loose Leaf. Condición: New. Reproduction. None. No.

Loose Leaf. Condición: New. Reproduction. Original title: A Lesson Westward - or A Morning Visit to Betsy Cole German: Eine Lektion Westward - oder ein Vormittagsbesuch bei Betsy Cole French: Une leçon vers l'ouest - ou une visite du matin à Betsy Cole Spanish: Una lección hacia el oeste - o una visita matutina a Betsy Cole High-quality fine-art reproduction based on an original work from the Ycba. Creation period: 18th century (1782). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Condición: New. Reproduction. Original title: Hamlet in Scotland German: Hamlet in Schottland French: Hameau en Écosse Spanish: Hamlet en Escocia High-quality fine-art reproduction based on an original work from the Ycba. Creation period: 18th century (1794). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Condición: New. Reproduction. Original title: Lord Dashalong Bent on Driving German: Lord Dashalong Bent auf dem Fahren French: Lord Dashalong Bent en route Spanish: Lord Dashlong se inclina a conducir High-quality fine-art reproduction based on an original work from the Ycba. Creation period: 19th century (1801). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Tapa blanda. Condición: Muy bien. Primera edición. John Cheever; Sheldon Wax; Stan Dryer; Ralph Schoenstein; Jean Shepherd; Thomas Mario; U.S. Senator J. William Fulbrisht; Robert L. Green; Newton Minow; Shel Silverstein; Damon Knight; Len Dighton; Arthur Knight and Hollis Alpert. Buen ejemplar. 202pp.

Soft cover. Condición: Good. 1st Edition. DIGHTON, Robert. A Walk from Bridge Street to St John's Hall (Sir Isaac Pennington, Regius Professor of Physics, Cambridge). London (or Brighton), published 1815. Etching with original hand colouring, 345 × 240 mm (paper size), printed on wove paper. states in the plate lower centre: Drawn Etch'd & Pub. by R. Dighton. 1815. paper toned at the edges from old mount, a few pin sized holes at lower edge, minor handling creases; side edges have been trimmed. A full-length walking profile of Sir Isaac Pennington (1745-1817), the celebrated Cambridge physician and Regius Professor of Physic, shown striding along the pavement in dark coat, breeches, and top hat, holding his hat and cane behind his back. The title alludes to Pennington's daily walk from his house in Bridge Street to St John's Hall. Executed in Robert Dighton's distinctive manner, the etched outline has been worked on by him with delicate hand-tinting in grey, brown and flesh tones. Although the National Portrait Gallery lists its impression under Richard Dighton (1752-1880), the inscriptional formula ? "Drawn Etch'd & Pub. by R. Dighton" ? and the 1815 date identify this as one of Robert Dighton's final works, probably drawn in 1814 and issued shortly after his death. The British Museum catalogue (BM Satires 12579) now attributes the plate correctly to Robert Dighton, whose "walking portraits" of Cambridge and Brighton figures form the last phase of his career. A rare late, posthumous work by Robert Dighton, recorded examples in the British Museum and National Portrait Gallery, London.

Colored Etching. Condición: Very Good. First Edition. Hand coloured etching of Dr David (later John) Hughes, Principal of Jesus College (1754-1817). drawn, etched and published by Dighton, Charing Cross May 1808. Some soiling, spotting, edgewear. [774] Size: 345mm. x 265mm.

Colored Etching. Condición: Very Good. First Edition. Hand coloured etching of Dr Henry Kett, Fellow of Trinity College (1761-1825). published by Dighton, Charing Cross June 1807, and lettered Dighton Fecit in plate. Some soiling, spotting, edgewear, inked 'Dr Kett' bottom right. [774] Size: 345mm. x 265mm.

34x24 cm. Hand-colored etching of an officer in the British Army. Trimmed and mounted. Very light soiling in margins, pinhole at right side of image. This appears to be a later issue from a series of prints first done in 1804. The early issues had a date in the title (See copy on the Royal Academy of Arts web site) and a slightly different depiction of the ground (rounded here, straighter on earlier imprint).

Condición: Fine. Hand-Colored (300 x 234mm) print of Stephen Kemble in the role of Hamlet, drawn and etched by Robert Dighton and signed by Kemble in red ink, lower right. "The enormously fat Stephen Kemble, as Hamlet, gesticulates, right arm extended, left arm thrown back, fingers (very large) pointing awkwardly; his head is turned in profile to the left. He wears quasi-contemporary dress, much dishevelled, with a star and ribbon from which hangs the elephant of the Danish order. Beneath the title: 'A Large manager in a Great Character . . . . . . that I have thought some of nature's journeymen had made men, and not made them well; they imitated humanity so abominably. 6 December 1794. Drawn & Etchd by R Dighton. 12 Charing Cross Pubd Decr 6t 1794.' (M. Dorothy George, Catalogue of Political and Personal Satires in the British Museum, VII, 1942) An excellent example, with wide margins and superb color, bright and fresh. BM1935,0522.17.3. George Stephen Kemble (1758-1822) was a theater manager, actor, and writer, and a member of the famous Kemble family (his sister was the actress Sarah Siddons). On 24 September 1783 he made his London début, as Othello, at Covent Garden. For fifteen years. Kemble managed the Theatre Royal, in Newcastle. His final performance was as the Miller in The King and the Miller of Mansfield, by Robert Dodsley, on 26 April 1820. N. B. With few exceptions (always identified), we only stock books and prints in exceptional condition, carefully preserved in archival, removable mylar sleeves. All orders are packaged with care and posted promptly. Satisfaction guaranteed. (Fine Editions Ltd is a member of the Independent Online Booksellers Association, and we subscribe to its codes of ethics.).

Hand-coloured etching, good margins, Edmund Kean [1787-1833] played in Howard Payne's 'Brutus, or the Fall of Tarquin', was first performed at Drury Lane on 3 December 1818.

Hand-coloured etching, good margins, some creasing, slight foxing, right top corner missing, not affecting image, Lord Harrington [1753-1829] became a General in 1803, and was Colonel of the 1st Life Guards and Gold Stick from 1792 to his death.

4pp., 12mo. Bifolium. In fair condition, lightly aged and a little smudged. He 'writes by direction of The Prince and Princess of Wales to invite him to pay their Royal Highnesses a visit at Sandringham from Saturday next the 22nd. Inst. to remain till Monday the 24th. He gives details of the best train to catch to 'Wolferton (the Station for Sandringham)', where there will be 'conveyances to take Sir Robert and the other Guests travelling by the same Train, from the Station to the House'.

Hand coloured portrait of Mr Baxter. Reads: Drawn Etch'd & Pubd. by Dighton. 6. Charg. Cross. Jany. 1810. Shows Baxter full length, standing with his body turned to the left, not quite in profile. Very clean and fresh looking. According to the National Portrait Gallery Baxter was: Livery stable owner. Just one from a collection of 40 that Dighton published in the 1800s. This is sold in a frame, under glass. Can be sold without frame, if desired. Frame weight will affect cost of shipping. Area visible inside mount: 280 x 200 mm (11 x 7¾ inches). Entire item in frame: 430 x 320 mm (17 x 12½ inches). .

Condición: Good. Hand-colored etching. 28 x 21 cm (sheet). Good, stains along sheet edges and around the figure.

No Binding. Condición: Very Good. Hand coloured etching dated May 1809. James Wood (1760 - 1839) was Master of St. John's College Cambridge. He was a mathematician publishing 'The Principles of Mathematics and Natural Philosophy' in 1795He was a major benefactor of the College, bequeathing his library to St. John's. He was Dean of Ely 1820 -1839. Image is 28 x 20cm, and is mounted and framed.

Condición: Very good condition. Robert Dighton (1752-1814) British portrait painter, etcher & caricaturist. Hand colored engraving depicting the famous jockey Francis Buckle and Colonel Mellish, the jockey in pink and white, his agent in blue and white with tall black hat. With "Drawn, Etched & Pub. by R. Dighton", Char l Cross 1806" below the 2 figures, and Mellish and Buckle written in contemporary hand at the extreme lower right. Buckle was a distinguished jockey, having won nine Oaks and 27 Classic wins, an astonishing record which would not be defeated for 150 years! 8 x 11" paper size.

Condición: Good. Handcoloured etching.37 x 26.5cm. sheet size. Creases in right margin. Robert Dighton's "A Celebrated Public Orator" is a hand-colored etching from January 1808 depicting the Reverend William Crowe (1745-1829), a noted poet, divine, and public orator at Oxford.William Crowe stands in profile to the right holding his mortar-board in his right hand, his left hand extended, slightly stooping, as if making a speech. He has short thick hair (or wig) and wears bands and cassock under his gown."--British Museum online catalogue.Yale University . Lewis Walpole LibraryCall Number 808.01.00.02.

Condición: Good. Handcoloured etching. 26.3 x 19cm. Diagonal cuts in upper corners. By and published by Robert Dightonhand-coloured etching, published January 180911 1/8 in. x 8 in. (283 mm x 203 mm)UK National Portrait Gallery: Reference Collection NPG D8860: Sir George Young (1732-1810), Admiral.

Condición: Good. Handcoloured etching. 27 x 20cm. MattedRef: Yale Library:Lewis Walpole Library Call Number Quarto 75 D569 812; National Portrait Gallery, London, NPG D13474. "Dr. Barnes, wearing cap and gown, a clerical wig, and bands, stands in profile to the right. He is tall, with a fierce Punch-like profile. A second imprint is etched in reversed characters in the shadow at his feet: 'Whitt . . . N° 31 Shoe La[ne], London'."--British Museum online catalogue "Francis Barnes, D.D., Master of Peterhouse from 1788, was Knightsbridge Professor of Moral Philosophy from 1813 to 1838, but gave no lectures. He was 'a disreputable survival from the eighteenth century'. Winstanley, 'Early Victorian Cambridge', 1940, pp. 80, 175."--. From the collection of Frederick Gale Ruffner Jr (1926-2014) , the founder of Gale Research, Detroit.

Condición: Good. Color aquatint. 34 x 24cm. sheet size. Creasing. Caricature portrait of the Rev. Henry ('Horse') Kett, Fellow of Trinity College (1761-1825). Lettered with title and 'Dighton Fecit. pubd. June, 1807, by Dighton, Charg Cross'. V&A ACCESSION NUMBERE.4-1954.

Condición: Good. 2 sheets each with 8 small handcolored etchings of one or two children playing. Sheet sizes 34.6 x 21.7cm. Very rare.Similar to OCLC Number / Unique Identifier:463706573; BnF, Identifiant de la notice : ark:/12148/cb35490436q.

The scarce first edition of Bowles's Moral Pictures, or, Poor Richard Illustrated, a collection of charmingly illustrated maxims from Benjamin Franklin's Way to Wealth, published in many shapes and forms over the years for the entertainment and edification of young people in Britain and America. The artist, Robert Dighton, was a prolific caricaturist and printseller who worked primarily in partnership with the publisher, Carington Bowles. While his caricatures were what made ends meet, he may be best known for the present series of illustrations, which have appeared in a profusion of editions and formats over the years in both England and America, including a Manchester edition only a year after this first, a Boston edition printed just after the Civil War, contemporary and later jigsaw puzzles, folding pocket issues, and even a 20th-century series printed on individual ceramic tiles. The sense of humor and eye-catching scenes which served Dighton well as a contemporary of Gilray and Cruikshank are on full display in this print, with entertaining vignettes illustrating such classic maxims as "Three removes are as bad as a fire; and a rolling stone gathers no moss," "The eye of the master will do more work than both his hands," and "Early to bed, and early to rise, makes a man healthy, wealthy and wise." "Not to oversee workmen, is to leave them your purse open," portraying a comedy of errors occurring near a barn, is perhaps particularly appropriate Dighton himself would soon be discovered stealing and reselling prints from the British Museum with the help of a Museum employee. OCLC records copies of this edition at four institutions: the Huntington Library, Yale, Princeton, and the University of Wisconsin (with Yale and Princeton holding also the folding and jigsaw issues). We also locate a copy at the Met. A rare and enduring series of illustrations for a classic piece of Frankliniana. OCLC 45449290. FORD, FRANKLIN 137* (Manchester ed.). Top margin trimmed unevenly, not touching image or text. Tanned, light foxing to image, heavier outside platemark. Laid down on card and evidently removed from a prior frame. Good plus.

Condición: Good. Color aquatint 32.5 x 24.7cm. sheet size.Signed and dated in the plate.'Drawn, Etchd, & Pubd, by Dighton, 6, Charg Cross, March. 1810'. Crease in lower right corner."Bill Richmond, the black pugilist, stands directed to the right, left leg advanced, fists raised. He is stripped to the waist, wearing a spotted handkerchief for belt, with neat breeches, stockings, and tied shoes."--British Museum online catalogue.Bill Richmond, whose skills in the boxing ring earned him the nickname the 'Black Terror', was born in Staten Island, New York. Lord Percy - the general who commanded the British Forces occupying the city during the American Revolution - witnessed Richmond's victory in a tavern brawl and took him in as a servant. In a number of matches against British soldiers, arranged by Percy for the entertainment of guests, Richmond was unbeaten. Percy brought him back to England in 1777 and Richmond began to fight on a regular basis. The most famous match of his career was against the British champion Tom Cribb in 1805 which he lost in the seventy-sixth round. Although he continued to fight intermittently, he became better known as the trainer of Tom Molyneaux, another black American fighter who eventually suffered the same fate at Cribb's hands.William 'Bill' Richmond (1763-1829) was a champion boxer and Britain's first black sporting superstar. His parents were enslaved in America when he was born but he was brought to England by an influential white family who helped him to become free and secure an apprenticeship as a cabinet maker, in Yorkshire, in his mid teens. For former enslaved people to start an apprenticeship was not common at this time.He eventually moved to London and it was here that he established himself as a champion boxer fighting some of the top boxers of the time. The sport was brutal during this period as it was fought without gloves and there was usually no limit to the number of rounds. It showed Bill's ability and physical prowess to have a long lasting and successful career. .After retiring from fighting he became a boxing trainer at a gym in St Martins Street, Westminster. Here his celebrity helped him build a list of MP's, nobility and even the famous poet Lord Byron as training clients. Perhaps the pinnacle of his celebrity was being one of the Guards of Honour at King George IV coronation in 1821 - a unique experience for a person born enslaved.References: V & A Museum, London E.71-1954; National Portrait Gallery London, Reference CollectionNPG D10726.

Condición: Good. Color aquatint 32.5 x 24.7cm. sheet size.Signed and dated in the plate; Loss in upper left corner blank area.Born into enslavement on a Virginia plantation, Tom Molineaux (1784-1818) fought fellow enslaved people while plantation owners wagered on the contests. After winning one of these matches against a rival, Molineaux was granted his freedom and the sum of $500. By 1809, he had traveled to New York and subsequently to England where he pursued a title in London's boxing rings.Two notorious fights with English champion Tom Cribb in 1810 and 1811 won him a place in boxing history. In December 1810, Molineaux challenged Crib in a classic encounter. After some 39 rounds of give and take, Molineaux finally collapsed from exhaustion. British journalist Pierce Egan wrote of the contest: "Molyneux [sic] proved himself as courageous a man as ever an adversary contended with.[He] astonished everyone, not only by his extraordinary power of hitting and his gigantic strength, but also by his acquaintance with the science, which was far greater than any had given him credit for." In the rematch on September 28, 1811, Crib had an easier time retaining his title with an 11th-round knockout. In 1814, Molineaux defeated William Fuller in a two-round fight that lasted over an hour. Egan was so impressed by the intense action and stamina of the combatants, that he wrote the fight was, "without parallel." The two Crib fights made Molineaux a celebrity in England. But he fought only sporadically, opting to engage in numerous sparring exhibitions. In 1818, he died in Dublin, Ireland.Molineaux is considered the second notable American boxer, preceded by his Virginia-born trainer, Bill Richmond. References: V & A Museum, London E.71-1954; National Portrait Gallery London, Reference Collection,NPG D13314.

Early wash colour; stuck on card, possibly from a scrap album, from the same source. Light soiling and slight surface abrasions, other very minor defects, overall in very good condition. A rare and highly desirable set of three caricature postcard sized maps of England and Wales, Scotland and Ireland, after Robert Dighton (1752-1814), a well known 18th century painter of portraits and caricatures. Initially he often worked anonymously for Carington Bowles. It wasn't until the 1790's that his series of caricatures earned him praise. However, he achieved notoriety when he took some Rembrandt engravings from the British Museum and replaced them with copies. They were all located in his rooms and returned to the B.M. The precise date of issue is unknown, but the first catalogue in which they are listed is dated 1795. They were so successful that the Bowles firm issued this reduced version 1808. No specific reason has been identified for the depiction and they are merely intended for amusement. FEAVER (1988) p.60; Worms & Baynton-Williams (2011).

Early wash colour, possibly original; stuck on card, possibly from a scrap album, light age-toning from a previous framing, otherwise a good example. A desirable caricature map of England and Wales after Robert Dighton (1752-1814), a well known 18th century painter of portraits and caricatures. Initially he often worked anonymously for Carington Bowles. It wasn't until the 1790's that his series of caricatures earned him praise. However, he achieved notoriety when he took some Rembrandt engravings from the British Museum and replaced them with copies. They were all located in his rooms and returned to the B.M. The date of issue is unknown, but the first catalogue in which they are listed is dated 1795. They were so successful that the Bowles firm issued this reduced version 1808. No specific reason has been identified for the depiction and they are merely intended for amusement. FEAVER (1988) p.60; Worms & Baynton-Williams (2011).

Condición: Good. Soft ground etching on laid paper. 25.3 x 35.5 cm. platemark. With margins. Loss in lower right blank corner. Without text but another impression had this text: Printed for Carington Bowles, 69, St. Paul's Church Yard, published in 1773. Actual text is Connisseurs and not Connoisseurs. From the collection of Frederic Gale Ruffner, Jr., the founder of Gale Research, Detroit.