Ventes d'œuvres le 1793.03.27

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  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Mrs. Abington as Miss Prue. Love for Love. Ditto, Estifania. Rule a Wife. Ditto, Estifania. Rule a Wife. Ditto, Amelia. Twin Rivals. Ditto, Amelia. Country Wife A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration (Mr. Roberts)|Mrs. Abington as Miss Prue. Love for Love. Ditto, Estifania. Rule a Wife. Ditto, Estifania. Rule a Wife. Ditto, Amelia. Twin Rivals. Ditto, Amelia. Country Wife A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration]] réalisée par Mr. Roberts. [6]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Mrs. Barry as Lady Randolph. Douglas. Mr. and Mrs. Barry, Jaffier and Belvidere. Venice Preserv'd. Mrs. Crauford, Sophonisba. Sophonisba. Ditto, Phaedra. Phaedra and Hyppolitus. Ditto, Athenais. Theodosius A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration (Mr. Roberts)|Mrs. Barry as Lady Randolph. Douglas. Mr. and Mrs. Barry, Jaffier and Belvidere. Venice Preserv'd. Mrs. Crauford, Sophonisba. Sophonisba. Ditto, Phaedra. Phaedra and Hyppolitus. Ditto, Athenais. Theodosius A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration]] réalisée par Mr. Roberts. [7]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Miss Brown as Polly. Polly. Ditto, Mandane. Artaxerxes. Mr. Brereton, Alonzo. Revenge. Mr. Bensley, Busiris. Busiris. Ditto, Mahomet. Mahomet. Mr. Booth, Lord Froth. Double Dealer A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration (Mr. Roberts)|Miss Brown as Polly. Polly. Ditto, Mandane. Artaxerxes. Mr. Brereton, Alonzo. Revenge. Mr. Bensley, Busiris. Busiris. Ditto, Mahomet. Mahomet. Mr. Booth, Lord Froth. Double Dealer A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration]] réalisée par Mr. Roberts. [8]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Mr. Baddeley as Petulent. Way of the World. Mrs. Baddeley, Clarissa. Lionel and Clarissa. Ditto, Clarissa. Lionel and Clarissa. Ditto, Pastoral Nymph. Comus. Mrs. Brereton, Aura. Country Lasses. Ditto, Miss Notable. Lady's Last Stake A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration (Mr. Roberts)|Mr. Baddeley as Petulent. Way of the World. Mrs. Baddeley, Clarissa. Lionel and Clarissa. Ditto, Clarissa. Lionel and Clarissa. Ditto, Pastoral Nymph. Comus. Mrs. Brereton, Aura. Country Lasses. Ditto, Miss Notable. Lady's Last Stake A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration]] réalisée par Mr. Roberts. [9]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Miss Catley as Polly. Beggar's Opera. Ditto, Rachel. Jovial Crew. Ditto, Euphrosyne. Comus. Mrs.Colles, Polly. Polly. Mr. Clarke, Procles. Eurydice A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration (Mr. Roberts)|Miss Catley as Polly. Beggar's Opera. Ditto, Rachel. Jovial Crew. Ditto, Euphrosyne. Comus. Mrs.Colles, Polly. Polly. Mr. Clarke, Procles. Eurydice A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration]] réalisée par Mr. Roberts. [10]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Mr. Dodd as Tinsel, Drummer. Mr. Digges, Cato. Cato. Mr. Edwin, Justice Woodcock. Love in a Village. Ditto, Jerry Blackacre. Plain Dealer A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration (Mr. Roberts)|Mr. Dodd as Tinsel, Drummer. Mr. Digges, Cato. Cato. Mr. Edwin, Justice Woodcock. Love in a Village. Ditto, Jerry Blackacre. Plain Dealer A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration]] réalisée par Mr. Roberts. [11]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Mr. Foote as Fondlewise. Old Batchelor. Mr. Garrick, Sir John Brute. Provok'd Wife. Ditto, Bayes. Rehearsal. Ditto, Demetrius. Brothers. Ditto, Abel Drugger. Alchymist. A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration (Mr. Roberts)|Mr. Foote as Fondlewise. Old Batchelor. Mr. Garrick, Sir John Brute. Provok'd Wife. Ditto, Bayes. Rehearsal. Ditto, Demetrius. Brothers. Ditto, Abel Drugger. Alchymist. A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration]] réalisée par Mr. Roberts. [12]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Miss Harper as Patty. Maid of the Mill. Mrs. Hopkins, Lady Brompton. Funeral. Mrs. Hunter, Boadicea. Boadicea. Mr. Hull, King Charles. King Charles. Ditto, Voltore. Volpone. Mr. Henderson, Bayes. Rehearsal A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration (Mr. Roberts)|Miss Harper as Patty. Maid of the Mill. Mrs. Hopkins, Lady Brompton. Funeral. Mrs. Hunter, Boadicea. Boadicea. Mr. Hull, King Charles. King Charles. Ditto, Voltore. Volpone. Mr. Henderson, Bayes. Rehearsal A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration]] réalisée par Mr. Roberts. [13]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Mrs. Hartley as Jane Shore. Jane Shore. Ditto, Jane Shore. Jane Shore. Ditto, Almeyda. Don Sebastian. Ditto, Elvira. Elvira. Ditto, Queen of Scots. Mary Queen of Scots. Ditto, Imoinda. Oronooko A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration (Mr. Roberts)|Mrs. Hartley as Jane Shore. Jane Shore. Ditto, Jane Shore. Jane Shore. Ditto, Almeyda. Don Sebastian. Ditto, Elvira. Elvira. Ditto, Queen of Scots. Mary Queen of Scots. Ditto, Imoinda. Oronooko A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration]] réalisée par Mr. Roberts. [14]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Mr. King as Liffardo. Wonder. Ditto, Marplot. Busy-Body. Mr. Lewis, Zamor. Alzira. Mrs, Mattocks, Elvira. Spanish Friar. Mr. Mattocks, Achilles. Achilles. Mrs. Mahon, Fanny. Accomplish'd Maid. Mrs. Massey, Christina. Gustavus Vasa A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration (Mr. Roberts)|Mr. King as Liffardo. Wonder. Ditto, Marplot. Busy-Body. Mr. Lewis, Zamor. Alzira. Mrs, Mattocks, Elvira. Spanish Friar. Mr. Mattocks, Achilles. Achilles. Mrs. Mahon, Fanny. Accomplish'd Maid. Mrs. Massey, Christina. Gustavus Vasa A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration]] réalisée par Mr. Roberts. [15]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Miss Macklin as Camilla. Mistake. Mr. Macklin, Sir Gilbert Wrangle. Refusal. Mr. Moody, Teague. Committe. Miss Pope. Biddy Tipkin. Tender Husband. Ditto, Dorcas Zeal. Fair Quaker. Ditto, Rosetta. Foundling. Ditto, Corinna. Confederacy A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration (Mr. Roberts)|Miss Macklin as Camilla. Mistake. Mr. Macklin, Sir Gilbert Wrangle. Refusal. Mr. Moody, Teague. Committe. Miss Pope. Biddy Tipkin. Tender Husband. Ditto, Dorcas Zeal. Fair Quaker. Ditto, Rosetta. Foundling. Ditto, Corinna. Confederacy A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration]] réalisée par Mr. Roberts. [16]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Miss Prudom as Arbaces. Artaxerxes. Mr. Parsons, Periwinkle. Bold Stroke for a Wife. Mr. Palmer, Stukeley. Gamester. Mr. Quick, Judge Gripus. Amphytrion. Mrs. Robinson, Amanda. Love's Last Shift. Mr. Reddish, Young Bevel. Conscious Lovers. Mrs. Sharp, Arethusa. Philaster A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration (Mr. Roberts)|Miss Prudom as Arbaces. Artaxerxes. Mr. Parsons, Periwinkle. Bold Stroke for a Wife. Mr. Palmer, Stukeley. Gamester. Mr. Quick, Judge Gripus. Amphytrion. Mrs. Robinson, Amanda. Love's Last Shift. Mr. Reddish, Young Bevel. Conscious Lovers. Mrs. Sharp, Arethusa. Philaster A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration]] réalisée par Mr. Roberts. [17]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Mr. Smith as Archer. Stratagem. Ditto, Phocyas. Siege of Damascus. Ditto, Montezuma. Montezuma. Ditto, Publius. Roman Father. Ditto, Lord Townly. Provok'd Husband. Ditto, Alexander. Rival Queens A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration (Mr. Roberts)|Mr. Smith as Archer. Stratagem. Ditto, Phocyas. Siege of Damascus. Ditto, Montezuma. Montezuma. Ditto, Publius. Roman Father. Ditto, Lord Townly. Provok'd Husband. Ditto, Alexander. Rival Queens A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration]] réalisée par Mr. Roberts. [18]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Mr. Shuter as Lovegold. Miser. Mr. Sheridan, Cato. Cato. Ditto, Cato. Cato. Mr. Vernon, Macheath. Beggar's Opera. Mrs. Wrighten, Peggy. Gentle Shepherd. Ditto, Madge. Love in a Village. Mr. Wroughton, Edward. Edward the Black Prince. Mr. Woodward, Captain Brazen. Recruiting Officer. Ditto, Captain Bobadil. Every Man in his Humour. Mrs. Yates, Calista. Fair Penitent. Ditto, Chrufers. Heroic Love. Mr. Yates, Don Manuel. She Would and She Would Not A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration (Mr. Roberts)|Mr. Shuter as Lovegold. Miser. Mr. Sheridan, Cato. Cato. Ditto, Cato. Cato. Mr. Vernon, Macheath. Beggar's Opera. Mrs. Wrighten, Peggy. Gentle Shepherd. Ditto, Madge. Love in a Village. Mr. Wroughton, Edward. Edward the Black Prince. Mr. Woodward, Captain Brazen. Recruiting Officer. Ditto, Captain Bobadil. Every Man in his Humour. Mrs. Yates, Calista. Fair Penitent. Ditto, Chrufers. Heroic Love. Mr. Yates, Don Manuel. She Would and She Would Not A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration]] réalisée par Mr. Roberts. [19]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Miss Young as Zara/ Mourning Bride. Ditto, Hermione. Distress'd Mother. Ditto, Creusa. Creusa. Ditto, Artemira. Ambitious Step-Mother A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration (Mr. Roberts)|Miss Young as Zara/ Mourning Bride. Ditto, Hermione. Distress'd Mother. Ditto, Creusa. Creusa. Ditto, Artemira. Ambitious Step-Mother A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration]] réalisée par Mr. Roberts. [20]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Mrs. Siddons as the Tragic Muse. Madame Simonet, Ninnette d'la Cour. M. Vestris, Ditto. M. Vestris, jun. Les Amans Surpris A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration (Mr. Roberts)|Mrs. Siddons as the Tragic Muse. Madame Simonet, Ninnette d'la Cour. M. Vestris, Ditto. M. Vestris, jun. Les Amans Surpris A Suite of Drawings representing the principal Performers on the London Stages in various favorite characters. These Subjects were the first Efforts of Mr. Roberts to delineate Dramatic Portraits, and may be deemed the Origin of the present improved State of Character Drawings. It is to be observed that the Drawings in the whole Collection are framed and glazed for the Purpose of Exhibition -- but they may be taken out for Port-Folios, or for better Decoration]] réalisée par Mr. Roberts. [21]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Macbeth, Act IV. Scene 2. Apparition. Macbeth! Macbeth! Macbeth!; Mac. Had I thee ears, I'd hear thee. Act II. Scene I. Mac. I'll go no more; I'm afraid to think what I have done As you like it, Act IV. Scene I. Oliver. Many will swoon when they do look on blood. All's well that ends well, Act IV. Parolles. That is no the Duke's letter. -- I pray you, Sir, put it up again (Edwards)|Macbeth, Act IV. Scene 2. Apparition. Macbeth! Macbeth! Macbeth!; Mac. Had I thee ears, I'd hear thee. Act II. Scene I. Mac. I'll go no more; I'm afraid to think what I have done As you like it, Act IV. Scene I. Oliver. Many will swoon when they do look on blood. All's well that ends well, Act IV. Parolles. That is no the Duke's letter. -- I pray you, Sir, put it up again]] réalisée par Edwards. [36]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[King Lear, Act III. Scene 3. Lear. Thou art the thing itself. -- Off, off, you lendings. Mr. Reddish as Edgar. Act III. Scene 3. Edgar. There could I have him now, and there, and here again, and there. Romeo and Juliet, Act V. Scene 3. Romeo. I sell the poison, thou hast sold me none. (Edwards)|King Lear, Act III. Scene 3. Lear. Thou art the thing itself. -- Off, off, you lendings. Mr. Reddish as Edgar. Act III. Scene 3. Edgar. There could I have him now, and there, and here again, and there. Romeo and Juliet, Act V. Scene 3. Romeo. I sell the poison, thou hast sold me none.]] réalisée par Edwards. [37]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[King Lear, Act III. Scene 3. Lear. Thou art the thing itself. -- Off, off, you lendings. Mr. Reddish as Edgar. Act III. Scene 3. Edgar. There could I have him now, and there, and here again, and there. Romeo and Juliet, Act V. Scene 3. Romeo. I sell the poison, thou hast sold me none. (Parkinson)|King Lear, Act III. Scene 3. Lear. Thou art the thing itself. -- Off, off, you lendings. Mr. Reddish as Edgar. Act III. Scene 3. Edgar. There could I have him now, and there, and here again, and there. Romeo and Juliet, Act V. Scene 3. Romeo. I sell the poison, thou hast sold me none.]] réalisée par Parkinson. [38]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Merchant of Venice, Act III. Scene 2. Bass. A gentle scrowl; fair lady, by your leave; I come by note to give, and to receive. Mr. Macklin as Shylock. Act IV. Scene I. Shylock. Most leaned judge! a sentence; come prepare. Mr. Macklin as Snylock. A Sketch (Edwards)|Merchant of Venice, Act III. Scene 2. Bass. A gentle scrowl; fair lady, by your leave; I come by note to give, and to receive. Mr. Macklin as Shylock. Act IV. Scene I. Shylock. Most leaned judge! a sentence; come prepare. Mr. Macklin as Snylock. A Sketch]] réalisée par Edwards. [39]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Merchant of Venice, Act III. Scene 2. Bass. A gentle scrowl; fair lady, by your leave; I come by note to give, and to receive. Mr. Macklin as Shylock. Act IV. Scene I. Shylock. Most leaned judge! a sentence; come prepare. Mr. Macklin as Snylock. A Sketch (Parkinson)|Merchant of Venice, Act III. Scene 2. Bass. A gentle scrowl; fair lady, by your leave; I come by note to give, and to receive. Mr. Macklin as Shylock. Act IV. Scene I. Shylock. Most leaned judge! a sentence; come prepare. Mr. Macklin as Snylock. A Sketch]] réalisée par Parkinson. [40]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Cymbeline, Act II. Jachimo. But my design's to note the chamber -- I will write all down Mr. Hall as Pisanio. Act III. Scene 4. Pisanio. How! That I should murder her. Merry Wives of Windsor, Act I. Scene 10. Caius. What shall de honest man do in my closet! Dere is no honest man dat shall come in my closet. Mrs. Lessingham as Ophelia. Hamlet, Act IV. Scene I. Ophelia. There's rue for you (Edwards)|Cymbeline, Act II. Jachimo. But my design's to note the chamber -- I will write all down Mr. Hall as Pisanio. Act III. Scene 4. Pisanio. How! That I should murder her. Merry Wives of Windsor, Act I. Scene 10. Caius. What shall de honest man do in my closet! Dere is no honest man dat shall come in my closet. Mrs. Lessingham as Ophelia. Hamlet, Act IV. Scene I. Ophelia. There's rue for you]] réalisée par Edwards. [41]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Cymbeline, Act II. Jachimo. But my design's to note the chamber -- I will write all down Mr. Hall as Pisanio. Act III. Scene 4. Pisanio. How! That I should murder her. Merry Wives of Windsor, Act I. Scene 10. Caius. What shall de honest man do in my closet! Dere is no honest man dat shall come in my closet. Mrs. Lessingham as Ophelia. Hamlet, Act IV. Scene I. Ophelia. There's rue for you (Parkinson)|Cymbeline, Act II. Jachimo. But my design's to note the chamber -- I will write all down Mr. Hall as Pisanio. Act III. Scene 4. Pisanio. How! That I should murder her. Merry Wives of Windsor, Act I. Scene 10. Caius. What shall de honest man do in my closet! Dere is no honest man dat shall come in my closet. Mrs. Lessingham as Ophelia. Hamlet, Act IV. Scene I. Ophelia. There's rue for you]] réalisée par Parkinson. [42]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Cymbeline, Act II. Jachimo. But my design's to note the chamber -- I will write all down Mr. Hall as Pisanio. Act III. Scene 4. Pisanio. How! That I should murder her. Merry Wives of Windsor, Act I. Scene 10. Caius. What shall de honest man do in my closet! Dere is no honest man dat shall come in my closet. Mrs. Lessingham as Ophelia. Hamlet, Act IV. Scene I. Ophelia. There's rue for you (Roberts)|Cymbeline, Act II. Jachimo. But my design's to note the chamber -- I will write all down Mr. Hall as Pisanio. Act III. Scene 4. Pisanio. How! That I should murder her. Merry Wives of Windsor, Act I. Scene 10. Caius. What shall de honest man do in my closet! Dere is no honest man dat shall come in my closet. Mrs. Lessingham as Ophelia. Hamlet, Act IV. Scene I. Ophelia. There's rue for you]] réalisée par Roberts. [43]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Tempest, Act II. Stephano. Come on, -- down and Swear. Mr. Baddely as Trinculo. Act IV. Scene 1. Trinculo. Ay, but to loose one bottle in the Pool. King John, Act V. Scene 1. Pandulph. Take again, from this my hand, as holding of the Pope, your sovereign greatness and authority. Mrs. Crawford as Constance. Act III. Constance. I will not keep this form upon my head. When there is such disorder in my wit (Edwards)|Tempest, Act II. Stephano. Come on, -- down and Swear. Mr. Baddely as Trinculo. Act IV. Scene 1. Trinculo. Ay, but to loose one bottle in the Pool. King John, Act V. Scene 1. Pandulph. Take again, from this my hand, as holding of the Pope, your sovereign greatness and authority. Mrs. Crawford as Constance. Act III. Constance. I will not keep this form upon my head. When there is such disorder in my wit]] réalisée par Edwards. [44]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Tempest, Act II. Stephano. Come on, -- down and Swear. Mr. Baddely as Trinculo. Act IV. Scene 1. Trinculo. Ay, but to loose one bottle in the Pool. King John, Act V. Scene 1. Pandulph. Take again, from this my hand, as holding of the Pope, your sovereign greatness and authority. Mrs. Crawford as Constance. Act III. Constance. I will not keep this form upon my head. When there is such disorder in my wit (Parkinson)|Tempest, Act II. Stephano. Come on, -- down and Swear. Mr. Baddely as Trinculo. Act IV. Scene 1. Trinculo. Ay, but to loose one bottle in the Pool. King John, Act V. Scene 1. Pandulph. Take again, from this my hand, as holding of the Pope, your sovereign greatness and authority. Mrs. Crawford as Constance. Act III. Constance. I will not keep this form upon my head. When there is such disorder in my wit]] réalisée par Parkinson. [45]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Tempest, Act II. Stephano. Come on, -- down and Swear. Mr. Baddely as Trinculo. Act IV. Scene 1. Trinculo. Ay, but to loose one bottle in the Pool. King John, Act V. Scene 1. Pandulph. Take again, from this my hand, as holding of the Pope, your sovereign greatness and authority. Mrs. Crawford as Constance. Act III. Constance. I will not keep this form upon my head. When there is such disorder in my wit (Roberts)|Tempest, Act II. Stephano. Come on, -- down and Swear. Mr. Baddely as Trinculo. Act IV. Scene 1. Trinculo. Ay, but to loose one bottle in the Pool. King John, Act V. Scene 1. Pandulph. Take again, from this my hand, as holding of the Pope, your sovereign greatness and authority. Mrs. Crawford as Constance. Act III. Constance. I will not keep this form upon my head. When there is such disorder in my wit]] réalisée par Roberts. [46]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Henry IV. par 1. Act V. Scene 11. Falstaff. I'll take't on my death, I gave him the wound on the thigh: Henry IV. par 2 Act IV. Scene 2. P. Henry. There is your crown; And he that wears the crown immortally, Lond guard it yours! Mr. Shuter as Falstaff. Act V. Scene 8. Fals. My King, my Jove, I speak to thee, my heart (Edwards)|Henry IV. par 1. Act V. Scene 11. Falstaff. I'll take't on my death, I gave him the wound on the thigh: Henry IV. par 2 Act IV. Scene 2. P. Henry. There is your crown; And he that wears the crown immortally, Lond guard it yours! Mr. Shuter as Falstaff. Act V. Scene 8. Fals. My King, my Jove, I speak to thee, my heart]] réalisée par Edwards. [47]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Henry IV. par 1. Act V. Scene 11. Falstaff. I'll take't on my death, I gave him the wound on the thigh: Henry IV. par 2 Act IV. Scene 2. P. Henry. There is your crown; And he that wears the crown immortally, Lond guard it yours! Mr. Shuter as Falstaff. Act V. Scene 8. Fals. My King, my Jove, I speak to thee, my heart (Parkinson)|Henry IV. par 1. Act V. Scene 11. Falstaff. I'll take't on my death, I gave him the wound on the thigh: Henry IV. par 2 Act IV. Scene 2. P. Henry. There is your crown; And he that wears the crown immortally, Lond guard it yours! Mr. Shuter as Falstaff. Act V. Scene 8. Fals. My King, my Jove, I speak to thee, my heart]] réalisée par Parkinson. [48]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Henry V. Act IV. Pistol. Perpend my word O Seigneur Dewe, and mark O Seigneur Dewe, thou diest in point of Fox, except O Seigneur thou do give me agregious ransom. Mrs. Mattocks as Princess Catherine. Act V. Princess. De tongues of de mans is be full of deceits. Julius Caesar, Act IV. Brutus. Speak to me what thou art; Ghost. Thy evil spirit Brutus. Mr. Sheridan as Brutust. Act II. Brutus It must be his death: and, for my part, I know no personal cause to spurn at him; But for the general (Edwards)|Henry V. Act IV. Pistol. Perpend my word O Seigneur Dewe, and mark O Seigneur Dewe, thou diest in point of Fox, except O Seigneur thou do give me agregious ransom. Mrs. Mattocks as Princess Catherine. Act V. Princess. De tongues of de mans is be full of deceits. Julius Caesar, Act IV. Brutus. Speak to me what thou art; Ghost. Thy evil spirit Brutus. Mr. Sheridan as Brutust. Act II. Brutus It must be his death: and, for my part, I know no personal cause to spurn at him; But for the general]] réalisée par Edwards. [49]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Henry V. Act IV. Pistol. Perpend my word O Seigneur Dewe, and mark O Seigneur Dewe, thou diest in point of Fox, except O Seigneur thou do give me agregious ransom. Mrs. Mattocks as Princess Catherine. Act V. Princess. De tongues of de mans is be full of deceits. Julius Caesar, Act IV. Brutus. Speak to me what thou art; Ghost. Thy evil spirit Brutus. Mr. Sheridan as Brutust. Act II. Brutus It must be his death: and, for my part, I know no personal cause to spurn at him; But for the general (Roberts)|Henry V. Act IV. Pistol. Perpend my word O Seigneur Dewe, and mark O Seigneur Dewe, thou diest in point of Fox, except O Seigneur thou do give me agregious ransom. Mrs. Mattocks as Princess Catherine. Act V. Princess. De tongues of de mans is be full of deceits. Julius Caesar, Act IV. Brutus. Speak to me what thou art; Ghost. Thy evil spirit Brutus. Mr. Sheridan as Brutust. Act II. Brutus It must be his death: and, for my part, I know no personal cause to spurn at him; But for the general]] réalisée par Roberts. [50]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Winter's Tale, Act III. Scene 4. Shepherd. This is fairy gold, boy and 'twill prove so. Coriolanus, Act II. Scene 7. Cor. I have wounds to shew you, what shall be yours in private. Mrs. Hopkins as Volumnia. Act V. Vol. Down, ladies; let us shame him with out knees (Edwards)|Winter's Tale, Act III. Scene 4. Shepherd. This is fairy gold, boy and 'twill prove so. Coriolanus, Act II. Scene 7. Cor. I have wounds to shew you, what shall be yours in private. Mrs. Hopkins as Volumnia. Act V. Vol. Down, ladies; let us shame him with out knees]] réalisée par Edwards. [51]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Winter's Tale, Act III. Scene 4. Shepherd. This is fairy gold, boy and 'twill prove so. Coriolanus, Act II. Scene 7. Cor. I have wounds to shew you, what shall be yours in private. Mrs. Hopkins as Volumnia. Act V. Vol. Down, ladies; let us shame him with out knees (Roberts)|Winter's Tale, Act III. Scene 4. Shepherd. This is fairy gold, boy and 'twill prove so. Coriolanus, Act II. Scene 7. Cor. I have wounds to shew you, what shall be yours in private. Mrs. Hopkins as Volumnia. Act V. Vol. Down, ladies; let us shame him with out knees]] réalisée par Roberts. [52]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Twelfth Night, Act III. Scene 7. Malvolio. This does make some obstruction in the blood, This cross-gartering, but what of that? Mr. Yates as Malvolio. Act III. Mal. Sweet lady, ha, ha, ha. Mr. Vernon as Thurio. Two Gentlemen of Verona, Act IV. Thurio. Then to Silvia let us sing, That Sivlia is excelling; Mr. Woodward as Petruchio. Taming the Shew, Act V. Pet. Catherine, that cap of yours becomes you not, Off with that bauble, throw it under foot (Edwards)|Twelfth Night, Act III. Scene 7. Malvolio. This does make some obstruction in the blood, This cross-gartering, but what of that? Mr. Yates as Malvolio. Act III. Mal. Sweet lady, ha, ha, ha. Mr. Vernon as Thurio. Two Gentlemen of Verona, Act IV. Thurio. Then to Silvia let us sing, That Sivlia is excelling; Mr. Woodward as Petruchio. Taming the Shew, Act V. Pet. Catherine, that cap of yours becomes you not, Off with that bauble, throw it under foot]] réalisée par Edwards. [53]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Twelfth Night, Act III. Scene 7. Malvolio. This does make some obstruction in the blood, This cross-gartering, but what of that? Mr. Yates as Malvolio. Act III. Mal. Sweet lady, ha, ha, ha. Mr. Vernon as Thurio. Two Gentlemen of Verona, Act IV. Thurio. Then to Silvia let us sing, That Sivlia is excelling; Mr. Woodward as Petruchio. Taming the Shew, Act V. Pet. Catherine, that cap of yours becomes you not, Off with that bauble, throw it under foot (Roberts)|Twelfth Night, Act III. Scene 7. Malvolio. This does make some obstruction in the blood, This cross-gartering, but what of that? Mr. Yates as Malvolio. Act III. Mal. Sweet lady, ha, ha, ha. Mr. Vernon as Thurio. Two Gentlemen of Verona, Act IV. Thurio. Then to Silvia let us sing, That Sivlia is excelling; Mr. Woodward as Petruchio. Taming the Shew, Act V. Pet. Catherine, that cap of yours becomes you not, Off with that bauble, throw it under foot]] réalisée par Roberts. [54]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Twelfth Night, Act III. Scene 7. Malvolio. This does make some obstruction in the blood, This cross-gartering, but what of that? Mr. Yates as Malvolio. Act III. Mal. Sweet lady, ha, ha, ha. Mr. Vernon as Thurio. Two Gentlemen of Verona, Act IV. Thurio. Then to Silvia let us sing, That Sivlia is excelling; Mr. Woodward as Petruchio. Taming the Shew, Act V. Pet. Catherine, that cap of yours becomes you not, Off with that bauble, throw it under foot (Sherwin)|Twelfth Night, Act III. Scene 7. Malvolio. This does make some obstruction in the blood, This cross-gartering, but what of that? Mr. Yates as Malvolio. Act III. Mal. Sweet lady, ha, ha, ha. Mr. Vernon as Thurio. Two Gentlemen of Verona, Act IV. Thurio. Then to Silvia let us sing, That Sivlia is excelling; Mr. Woodward as Petruchio. Taming the Shew, Act V. Pet. Catherine, that cap of yours becomes you not, Off with that bauble, throw it under foot]] réalisée par Sherwin. [55]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Troilus and Cressida, Act V. Cress. Here Diomede keep this sleeve. Mr. Brereton as Troilus. Act IV. Troilus. I tell thee Lord Gruce, She is as far high soaring o'er thy praises As thou unworthy to be call'd her servant. Antony and Cleopatra, Act III. Antony. Favours, by Jove that Thunders! (Edwards)|Troilus and Cressida, Act V. Cress. Here Diomede keep this sleeve. Mr. Brereton as Troilus. Act IV. Troilus. I tell thee Lord Gruce, She is as far high soaring o'er thy praises As thou unworthy to be call'd her servant. Antony and Cleopatra, Act III. Antony. Favours, by Jove that Thunders!]] réalisée par Edwards. [56]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Troilus and Cressida, Act V. Cress. Here Diomede keep this sleeve. Mr. Brereton as Troilus. Act IV. Troilus. I tell thee Lord Gruce, She is as far high soaring o'er thy praises As thou unworthy to be call'd her servant. Antony and Cleopatra, Act III. Antony. Favours, by Jove that Thunders! (Deighton)|Troilus and Cressida, Act V. Cress. Here Diomede keep this sleeve. Mr. Brereton as Troilus. Act IV. Troilus. I tell thee Lord Gruce, She is as far high soaring o'er thy praises As thou unworthy to be call'd her servant. Antony and Cleopatra, Act III. Antony. Favours, by Jove that Thunders!]] réalisée par Deighton. [57]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Richard II. Act V. King Henry. I pardon him, as Heaven shall pardon me. A Drawing from Shakspere's Poems; Love's Complaint. Mr. F. Aickin as Bolingbroke. Act IV. Boling. Go some of you, convey him to the Tower. Henry VI. par 1. Act II. Plantagenet. O, uncle, 'would some part of my young years, Might but redeem the passage of your age! (Edwards)|Richard II. Act V. King Henry. I pardon him, as Heaven shall pardon me. A Drawing from Shakspere's Poems; Love's Complaint. Mr. F. Aickin as Bolingbroke. Act IV. Boling. Go some of you, convey him to the Tower. Henry VI. par 1. Act II. Plantagenet. O, uncle, 'would some part of my young years, Might but redeem the passage of your age!]] réalisée par Edwards. [58]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Richard II. Act V. King Henry. I pardon him, as Heaven shall pardon me. A Drawing from Shakspere's Poems; Love's Complaint. Mr. F. Aickin as Bolingbroke. Act IV. Boling. Go some of you, convey him to the Tower. Henry VI. par 1. Act II. Plantagenet. O, uncle, 'would some part of my young years, Might but redeem the passage of your age! (Dighton)|Richard II. Act V. King Henry. I pardon him, as Heaven shall pardon me. A Drawing from Shakspere's Poems; Love's Complaint. Mr. F. Aickin as Bolingbroke. Act IV. Boling. Go some of you, convey him to the Tower. Henry VI. par 1. Act II. Plantagenet. O, uncle, 'would some part of my young years, Might but redeem the passage of your age!]] réalisée par Dighton. [59]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Henry VI. part 2. Act V. King. Iden, kneel down; not rise thou up a Knight; Mr. J. Aickin as King Henry. Act III. King. Fain would I go and chase his perly lips, With twenty thousand kisses. Henry VI. part 3. Act V. Warwick. Warick bids You all farewell to meet again in heaven. Mr. Palmer as Warwick. Act II. Warwick. Off with the Traitor's Head And rear it in the place your Father's stands. Mrs. Brereton (now Mrs. Kemble) as Lavinia. Titus Andronicus. Act. Lav. I say no! I have been broad awake two hours more (Edwards)|Henry VI. part 2. Act V. King. Iden, kneel down; not rise thou up a Knight; Mr. J. Aickin as King Henry. Act III. King. Fain would I go and chase his perly lips, With twenty thousand kisses. Henry VI. part 3. Act V. Warwick. Warick bids You all farewell to meet again in heaven. Mr. Palmer as Warwick. Act II. Warwick. Off with the Traitor's Head And rear it in the place your Father's stands. Mrs. Brereton (now Mrs. Kemble) as Lavinia. Titus Andronicus. Act. Lav. I say no! I have been broad awake two hours more]] réalisée par Edwards. [60]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Henry VI. part 2. Act V. King. Iden, kneel down; not rise thou up a Knight; Mr. J. Aickin as King Henry. Act III. King. Fain would I go and chase his perly lips, With twenty thousand kisses. Henry VI. part 3. Act V. Warwick. Warick bids You all farewell to meet again in heaven. Mr. Palmer as Warwick. Act II. Warwick. Off with the Traitor's Head And rear it in the place your Father's stands. Mrs. Brereton (now Mrs. Kemble) as Lavinia. Titus Andronicus. Act. Lav. I say no! I have been broad awake two hours more (Deighton)|Henry VI. part 2. Act V. King. Iden, kneel down; not rise thou up a Knight; Mr. J. Aickin as King Henry. Act III. King. Fain would I go and chase his perly lips, With twenty thousand kisses. Henry VI. part 3. Act V. Warwick. Warick bids You all farewell to meet again in heaven. Mr. Palmer as Warwick. Act II. Warwick. Off with the Traitor's Head And rear it in the place your Father's stands. Mrs. Brereton (now Mrs. Kemble) as Lavinia. Titus Andronicus. Act. Lav. I say no! I have been broad awake two hours more]] réalisée par Deighton. [61]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Henry VI. part 2. Act V. King. Iden, kneel down; not rise thou up a Knight; Mr. J. Aickin as King Henry. Act III. King. Fain would I go and chase his perly lips, With twenty thousand kisses. Henry VI. part 3. Act V. Warwick. Warick bids You all farewell to meet again in heaven. Mr. Palmer as Warwick. Act II. Warwick. Off with the Traitor's Head And rear it in the place your Father's stands. Mrs. Brereton (now Mrs. Kemble) as Lavinia. Titus Andronicus. Act. Lav. I say no! I have been broad awake two hours more (Parkinson)|Henry VI. part 2. Act V. King. Iden, kneel down; not rise thou up a Knight; Mr. J. Aickin as King Henry. Act III. King. Fain would I go and chase his perly lips, With twenty thousand kisses. Henry VI. part 3. Act V. Warwick. Warick bids You all farewell to meet again in heaven. Mr. Palmer as Warwick. Act II. Warwick. Off with the Traitor's Head And rear it in the place your Father's stands. Mrs. Brereton (now Mrs. Kemble) as Lavinia. Titus Andronicus. Act. Lav. I say no! I have been broad awake two hours more]] réalisée par Parkinson. [62]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Henry VI. part 2. Act V. King. Iden, kneel down; not rise thou up a Knight; Mr. J. Aickin as King Henry. Act III. King. Fain would I go and chase his perly lips, With twenty thousand kisses. Henry VI. part 3. Act V. Warwick. Warick bids You all farewell to meet again in heaven. Mr. Palmer as Warwick. Act II. Warwick. Off with the Traitor's Head And rear it in the place your Father's stands. Mrs. Brereton (now Mrs. Kemble) as Lavinia. Titus Andronicus. Act. Lav. I say no! I have been broad awake two hours more (Roberts)|Henry VI. part 2. Act V. King. Iden, kneel down; not rise thou up a Knight; Mr. J. Aickin as King Henry. Act III. King. Fain would I go and chase his perly lips, With twenty thousand kisses. Henry VI. part 3. Act V. Warwick. Warick bids You all farewell to meet again in heaven. Mr. Palmer as Warwick. Act II. Warwick. Off with the Traitor's Head And rear it in the place your Father's stands. Mrs. Brereton (now Mrs. Kemble) as Lavinia. Titus Andronicus. Act. Lav. I say no! I have been broad awake two hours more]] réalisée par Roberts. [63]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Comedy of Errors, Act V. Adriana. O, bind him, let him not come near me. Mr. Dunstall as Dromio. Act IV. Dromio. Here's that, I warrant you, you will pay them all. Midsummer Nights Dream, Act III. Snout. O Bottom, thou art chang'd! what do I see in thee!; Bottom. What do you see! you see an ass' head of your own; do you! Miss Barsante as Helene. Act III. Helena. And will you rent our ancient love assunder, To join with men in scorning your poor friends (Edwards)|Comedy of Errors, Act V. Adriana. O, bind him, let him not come near me. Mr. Dunstall as Dromio. Act IV. Dromio. Here's that, I warrant you, you will pay them all. Midsummer Nights Dream, Act III. Snout. O Bottom, thou art chang'd! what do I see in thee!; Bottom. What do you see! you see an ass' head of your own; do you! Miss Barsante as Helene. Act III. Helena. And will you rent our ancient love assunder, To join with men in scorning your poor friends]] réalisée par Edwards. [64]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Comedy of Errors, Act V. Adriana. O, bind him, let him not come near me. Mr. Dunstall as Dromio. Act IV. Dromio. Here's that, I warrant you, you will pay them all. Midsummer Nights Dream, Act III. Snout. O Bottom, thou art chang'd! what do I see in thee!; Bottom. What do you see! you see an ass' head of your own; do you! Miss Barsante as Helene. Act III. Helena. And will you rent our ancient love assunder, To join with men in scorning your poor friends (Parkinson)|Comedy of Errors, Act V. Adriana. O, bind him, let him not come near me. Mr. Dunstall as Dromio. Act IV. Dromio. Here's that, I warrant you, you will pay them all. Midsummer Nights Dream, Act III. Snout. O Bottom, thou art chang'd! what do I see in thee!; Bottom. What do you see! you see an ass' head of your own; do you! Miss Barsante as Helene. Act III. Helena. And will you rent our ancient love assunder, To join with men in scorning your poor friends]] réalisée par Parkinson. [65]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Love's Labour lost, Act IV. Biron. Ah you whoreson loggerhead, you were born to do me shame. -- Guilty my leige, guilty; I confess. Mr. Weston as Costard. Act I. Costard. I was taken with none Sir, I was taken with a Damsel. Venus and Adonis. -- desire doth lend her force Courageously to pluck him from his horse. Much ado about Nothing. Act II. Pedro. -- Come hither, Leonato! What was it you told me of, to day, that Your niece Beatrice was in love with Signor Benedick (Edwards)|Love's Labour lost, Act IV. Biron. Ah you whoreson loggerhead, you were born to do me shame. -- Guilty my leige, guilty; I confess. Mr. Weston as Costard. Act I. Costard. I was taken with none Sir, I was taken with a Damsel. Venus and Adonis. -- desire doth lend her force Courageously to pluck him from his horse. Much ado about Nothing. Act II. Pedro. -- Come hither, Leonato! What was it you told me of, to day, that Your niece Beatrice was in love with Signor Benedick]] réalisée par Edwards. [66]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Love's Labour lost, Act IV. Biron. Ah you whoreson loggerhead, you were born to do me shame. -- Guilty my leige, guilty; I confess. Mr. Weston as Costard. Act I. Costard. I was taken with none Sir, I was taken with a Damsel. Venus and Adonis. -- desire doth lend her force Courageously to pluck him from his horse. Much ado about Nothing. Act II. Pedro. -- Come hither, Leonato! What was it you told me of, to day, that Your niece Beatrice was in love with Signor Benedick (Dighton)|Love's Labour lost, Act IV. Biron. Ah you whoreson loggerhead, you were born to do me shame. -- Guilty my leige, guilty; I confess. Mr. Weston as Costard. Act I. Costard. I was taken with none Sir, I was taken with a Damsel. Venus and Adonis. -- desire doth lend her force Courageously to pluck him from his horse. Much ado about Nothing. Act II. Pedro. -- Come hither, Leonato! What was it you told me of, to day, that Your niece Beatrice was in love with Signor Benedick]] réalisée par Dighton. [67]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Four Drawings from Milton. With an engraved Portrait by Cooke. Samson Agonistes. 1 But here I feel a mends, the breath of heav'n fresh blowing. Paradise Lost, book 1. 2 Then with expanded wings, he steets his flight Aloft incumbent on the dusky air. Paradise Lost, book 8. 3 Rose wne went out among her fruits and flowers. Poem on the Passion. 4 My muse with angels did divide to sing. (Mortimer)|Four Drawings from Milton. With an engraved Portrait by Cooke. Samson Agonistes. 1 But here I feel a mends, the breath of heav'n fresh blowing. Paradise Lost, book 1. 2 Then with expanded wings, he steets his flight Aloft incumbent on the dusky air. Paradise Lost, book 8. 3 Rose wne went out among her fruits and flowers. Poem on the Passion. 4 My muse with angels did divide to sing.]] réalisée par Mortimer. [70]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Frame with Four Drawings From Pope. With an engraved Portrait by Cooke. Moral Essays. 1 White the gaunt mastiff growling at the gate, Affrights the beggar, whom he longs to eat. Imitations of Horace. 2 All human virtue to its latest breath, Finds envy never conquer'd but by death. Dunciad. 3 Then gnaw'd his pen, then dash'd it to the ground, Sinking from thought to though, a vast profound! Rape of the Lock. 4 Twas then Belinda, if report say true, Thy eyes, first open'd on a billet-doux (Mortimer)|A Frame with Four Drawings From Pope. With an engraved Portrait by Cooke. Moral Essays. 1 White the gaunt mastiff growling at the gate, Affrights the beggar, whom he longs to eat. Imitations of Horace. 2 All human virtue to its latest breath, Finds envy never conquer'd but by death. Dunciad. 3 Then gnaw'd his pen, then dash'd it to the ground, Sinking from thought to though, a vast profound! Rape of the Lock. 4 Twas then Belinda, if report say true, Thy eyes, first open'd on a billet-doux]] réalisée par Mortimer. [71]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Three Drawings From Butler. With an engraved Portrait by Cooke. Hudibrass, part 2. canto 3. 1 -- Well shot, Quoth Whachum, who right wisely thought He'ad levell'd at a star, and hit it. Hudibrass, part 1. canto 1. 2 Thus clad and fortify'd, sir knight From peacefull home, set forth to fight. Satires. 3 (Mortimer)|Three Drawings From Butler. With an engraved Portrait by Cooke. Hudibrass, part 2. canto 3. 1 -- Well shot, Quoth Whachum, who right wisely thought He'ad levell'd at a star, and hit it. Hudibrass, part 1. canto 1. 2 Thus clad and fortify'd, sir knight From peacefull home, set forth to fight. Satires. 3]] réalisée par Mortimer. [72]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Four Drawings from Young. With an engraved Portrait by Cooke. Ocean. 1 I lead the choir, And they conspire, With voice and shell, to lift it high. Satire the 2nd. 2 Seren, quoth Adam; lo 'twas crush'd by me: Fall'n is the Baal to which thou bowdst thy knee. Night Thoughts, night 1. 3 Such is the earth's melancholy map, but far More sad, this earth is a true map on man. Night Thoughts, night 7. 4 Deists perform your quarantine: and then Fall prostrate, e're you touch it, lest you die (Mortimer)|Four Drawings from Young. With an engraved Portrait by Cooke. Ocean. 1 I lead the choir, And they conspire, With voice and shell, to lift it high. Satire the 2nd. 2 Seren, quoth Adam; lo 'twas crush'd by me: Fall'n is the Baal to which thou bowdst thy knee. Night Thoughts, night 1. 3 Such is the earth's melancholy map, but far More sad, this earth is a true map on man. Night Thoughts, night 7. 4 Deists perform your quarantine: and then Fall prostrate, e're you touch it, lest you die]] réalisée par Mortimer. [73]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Four Drawings From Cowley. With an engraved Portrait by Cooke. Mistress, weeping. 1 See where she sits, and in what comely wise Drops tears more fair than other's eyes! Davideis. 2 Envy at last crawls forth from that dire throng, Of all the direfull'st; her black locks hung long, Attir'd with curling serpents; Plants, book 1. 3 Assist me, Phoebus! with of heav'n, whose care So bounteously both plants and poets share: Miscellanies. 4 What shall I do to be for ever known, And make the age to come my own? (Mortimer)|Four Drawings From Cowley. With an engraved Portrait by Cooke. Mistress, weeping. 1 See where she sits, and in what comely wise Drops tears more fair than other's eyes! Davideis. 2 Envy at last crawls forth from that dire throng, Of all the direfull'st; her black locks hung long, Attir'd with curling serpents; Plants, book 1. 3 Assist me, Phoebus! with of heav'n, whose care So bounteously both plants and poets share: Miscellanies. 4 What shall I do to be for ever known, And make the age to come my own?]] réalisée par Mortimer. [74]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Frame with Two Drawings. Engraved Portraits of Addison and Congreve by Cooke. Song for St. Cecilia. 1 For ever consecrate the day To music and Cecilia. Addison The Tears of Amaryllis for Amyntas. 2 Along the ground her colder limbs she laid, Where late the grave was for Amyntas made; Congreve (Mortimer)|A Frame with Two Drawings. Engraved Portraits of Addison and Congreve by Cooke. Song for St. Cecilia. 1 For ever consecrate the day To music and Cecilia. Addison The Tears of Amaryllis for Amyntas. 2 Along the ground her colder limbs she laid, Where late the grave was for Amyntas made; Congreve]] réalisée par Mortimer. [75]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Frame with Four Drawings From Swift/ With the Portrait engraved by Cooke. Corinna. 1 But Cupid with a satyr comes, Both softly to the cradle creep; Both stroke her hands and rub her gums While the poor child lay fast asleep. Journal of a Modern Lady. With empty purse and aching head Steals to her sleeping spouse's bed. Cassinus and Peter. 3 "And yet I dare confide in you; "So take my secret and adieut. Dermot and Sheelah. 4 As to their works they sat in counter view, With mutual beauty smit, their passions grew (Mortimer)|A Frame with Four Drawings From Swift/ With the Portrait engraved by Cooke. Corinna. 1 But Cupid with a satyr comes, Both softly to the cradle creep; Both stroke her hands and rub her gums While the poor child lay fast asleep. Journal of a Modern Lady. With empty purse and aching head Steals to her sleeping spouse's bed. Cassinus and Peter. 3 "And yet I dare confide in you; "So take my secret and adieut. Dermot and Sheelah. 4 As to their works they sat in counter view, With mutual beauty smit, their passions grew]] réalisée par Mortimer. [76]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Frame with Three Drawings From Parnell. The Hermit. 1 Moses; 2 Portrait of Dr. Parnell; 3 For this commision'd I forsook the sky: Nay, cease to kneel -- thy fellow servant I. Two Drawings From Shenstone. With an engraved Portrait by Cooke. Ophelia's Urn. 4 Constant, as crystal dews impearl the lawn, Shall Strephon's tear bedew Ophelia's urn. The Dying Kid. 5 And tears bedew her tender eve, To think the playful kid must die! (Mortimer)|A Frame with Three Drawings From Parnell. The Hermit. 1 Moses; 2 Portrait of Dr. Parnell; 3 For this commision'd I forsook the sky: Nay, cease to kneel -- thy fellow servant I. Two Drawings From Shenstone. With an engraved Portrait by Cooke. Ophelia's Urn. 4 Constant, as crystal dews impearl the lawn, Shall Strephon's tear bedew Ophelia's urn. The Dying Kid. 5 And tears bedew her tender eve, To think the playful kid must die!]] réalisée par Mortimer. [77]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Frame with Four Drawings From Spencer. Faery Queen, book 5. canto 1, stanza 14. 1 To who as they approached, they espide A sorie sight as ever sceene with eye; An headless ladie lying him beside, Faery Queen, book 6. canto 1, stanza 11. 2 Sir Calidore thence travelled not long, When as by chance a comely squire he found, That thorough some more might enemies wrong, Both hand and foote unto a tree was bound. The Shepherd's Calendar, January. 3 All as the sheep, such was the shepherd's look, For palce and wan he was (alas the while) Ruins of Time. 4 There on the other side, I did behold A woman sitting sorrowfully wailing, Rending her yellow locks, (Mortimer)|A Frame with Four Drawings From Spencer. Faery Queen, book 5. canto 1, stanza 14. 1 To who as they approached, they espide A sorie sight as ever sceene with eye; An headless ladie lying him beside, Faery Queen, book 6. canto 1, stanza 11. 2 Sir Calidore thence travelled not long, When as by chance a comely squire he found, That thorough some more might enemies wrong, Both hand and foote unto a tree was bound. The Shepherd's Calendar, January. 3 All as the sheep, such was the shepherd's look, For palce and wan he was (alas the while) Ruins of Time. 4 There on the other side, I did behold A woman sitting sorrowfully wailing, Rending her yellow locks,]] réalisée par Mortimer. [78]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[One Drawing from Thomson. Britannia. 1 Bare was her throbbing bosom in the gale. One Drawing from Thomson. Spring. Come, gentle spring -- And from the bosom of you' dropping cloud, -- descend. One Drawing from Roscommon. Ode Upon Solitude. 3. Hail, sacred solitude! from this calm bay I view the world's tempestuous sea, 4 Also an engraved portrait of Thomason by Cooke (Mortimer)|One Drawing from Thomson. Britannia. 1 Bare was her throbbing bosom in the gale. One Drawing from Thomson. Spring. Come, gentle spring -- And from the bosom of you' dropping cloud, -- descend. One Drawing from Roscommon. Ode Upon Solitude. 3. Hail, sacred solitude! from this calm bay I view the world's tempestuous sea, 4 Also an engraved portrait of Thomason by Cooke]] réalisée par Mortimer. [79]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[One Drawing from Thomson. Britannia. 1 Bare was her throbbing bosom in the gale. One Drawing from Thomson. Spring. Come, gentle spring -- And from the bosom of you' dropping cloud, -- descend. One Drawing from Roscommon. Ode Upon Solitude. 3. Hail, sacred solitude! from this calm bay I view the world's tempestuous sea, 4 Also an engraved portrait of Thomason by Cooke (Edwards)|One Drawing from Thomson. Britannia. 1 Bare was her throbbing bosom in the gale. One Drawing from Thomson. Spring. Come, gentle spring -- And from the bosom of you' dropping cloud, -- descend. One Drawing from Roscommon. Ode Upon Solitude. 3. Hail, sacred solitude! from this calm bay I view the world's tempestuous sea, 4 Also an engraved portrait of Thomason by Cooke]] réalisée par Edwards. [80]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[One Drawing from Thomson. Britannia. 1 Bare was her throbbing bosom in the gale. One Drawing from Thomson. Spring. Come, gentle spring -- And from the bosom of you' dropping cloud, -- descend. One Drawing from Roscommon. Ode Upon Solitude. 3. Hail, sacred solitude! from this calm bay I view the world's tempestuous sea, 4 Also an engraved portrait of Thomason by Cooke (Stodhart)|One Drawing from Thomson. Britannia. 1 Bare was her throbbing bosom in the gale. One Drawing from Thomson. Spring. Come, gentle spring -- And from the bosom of you' dropping cloud, -- descend. One Drawing from Roscommon. Ode Upon Solitude. 3. Hail, sacred solitude! from this calm bay I view the world's tempestuous sea, 4 Also an engraved portrait of Thomason by Cooke]] réalisée par Stodhart. [81]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Frame with Eight Drawings From Gay and Dryden. With an engraved Portrait of each by Cooke. Shepherd's Week. Thursday. 1 O'er yonder stile see Lubberkin appears. Ecologues. The Birth of the Squire. 2 Triumphant, o'er the prostrate brutes he stands, The mighty bumper trembles in his hands; Introduction to the Fables. 3 And in my service copy Tray. Character of Dryden from an Ode of Gray's. 4 Hark, his hands the lyre explore! 5 Bright-ey'd fancy hov'ring o'er Alexander's Feasst. 6 "She drew and angel down." 7. Miscellaneous 8. Ditto (Edwards)|A Frame with Eight Drawings From Gay and Dryden. With an engraved Portrait of each by Cooke. Shepherd's Week. Thursday. 1 O'er yonder stile see Lubberkin appears. Ecologues. The Birth of the Squire. 2 Triumphant, o'er the prostrate brutes he stands, The mighty bumper trembles in his hands; Introduction to the Fables. 3 And in my service copy Tray. Character of Dryden from an Ode of Gray's. 4 Hark, his hands the lyre explore! 5 Bright-ey'd fancy hov'ring o'er Alexander's Feasst. 6 "She drew and angel down." 7. Miscellaneous 8. Ditto]] réalisée par Edwards. [82]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Two Drawings From Waller. 1. Engraved Portrait of Walle by Cooke. Pheobus and Daphne. 2 He catch'd at love, and fill'd his arms with bays, 3 Take heed, fair Eve! you do not make Another tempter of this snake. 4. Miscellaneous. 5. Engraved portrait of Priot by Cooke. Three Drawings From Prior The Garland. 6 See, friend, in some few fleeting hours, See yonder what a change is made. Love Disarmed. 7 And thrice in vain he shook his wings, Incumber'd in the silken string. Solomon. 8 Love had ordain'd that it was Abra's turn To mix the sweets and minister the urn. 9 Miscellaneous. One Drawing From Donne. The Citizen and Wife. 10 A citizen and his wife the other day, Both riding on one horse, upon the way I overtook (Lowe)|Two Drawings From Waller. 1. Engraved Portrait of Walle by Cooke. Pheobus and Daphne. 2 He catch'd at love, and fill'd his arms with bays, 3 Take heed, fair Eve! you do not make Another tempter of this snake. 4. Miscellaneous. 5. Engraved portrait of Priot by Cooke. Three Drawings From Prior The Garland. 6 See, friend, in some few fleeting hours, See yonder what a change is made. Love Disarmed. 7 And thrice in vain he shook his wings, Incumber'd in the silken string. Solomon. 8 Love had ordain'd that it was Abra's turn To mix the sweets and minister the urn. 9 Miscellaneous. One Drawing From Donne. The Citizen and Wife. 10 A citizen and his wife the other day, Both riding on one horse, upon the way I overtook]] réalisée par Lowe. [83]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Two Drawings From Waller. 1. Engraved Portrait of Walle by Cooke. Pheobus and Daphne. 2 He catch'd at love, and fill'd his arms with bays, 3 Take heed, fair Eve! you do not make Another tempter of this snake. 4. Miscellaneous. 5. Engraved portrait of Priot by Cooke. Three Drawings From Prior The Garland. 6 See, friend, in some few fleeting hours, See yonder what a change is made. Love Disarmed. 7 And thrice in vain he shook his wings, Incumber'd in the silken string. Solomon. 8 Love had ordain'd that it was Abra's turn To mix the sweets and minister the urn. 9 Miscellaneous. One Drawing From Donne. The Citizen and Wife. 10 A citizen and his wife the other day, Both riding on one horse, upon the way I overtook (Edwards)|Two Drawings From Waller. 1. Engraved Portrait of Walle by Cooke. Pheobus and Daphne. 2 He catch'd at love, and fill'd his arms with bays, 3 Take heed, fair Eve! you do not make Another tempter of this snake. 4. Miscellaneous. 5. Engraved portrait of Priot by Cooke. Three Drawings From Prior The Garland. 6 See, friend, in some few fleeting hours, See yonder what a change is made. Love Disarmed. 7 And thrice in vain he shook his wings, Incumber'd in the silken string. Solomon. 8 Love had ordain'd that it was Abra's turn To mix the sweets and minister the urn. 9 Miscellaneous. One Drawing From Donne. The Citizen and Wife. 10 A citizen and his wife the other day, Both riding on one horse, upon the way I overtook]] réalisée par Edwards. [84]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Frame with Three Drawings From Chaucer. 1 Engraved portrait of Chaucer by Cooke. The Coke's Tale of Gamelyn. 2 Then seide to them the master, That king was of outlawes, What do ye seke, ye yonge men. Under the wode shawes? The Wife of Bathe's Tale. 3 -- on the grene he saw sitting a wif, A fouler wight their may no mad devise. Pilgrimage to Canterbury. 4 (Stodhart)|A Frame with Three Drawings From Chaucer. 1 Engraved portrait of Chaucer by Cooke. The Coke's Tale of Gamelyn. 2 Then seide to them the master, That king was of outlawes, What do ye seke, ye yonge men. Under the wode shawes? The Wife of Bathe's Tale. 3 -- on the grene he saw sitting a wif, A fouler wight their may no mad devise. Pilgrimage to Canterbury. 4]] réalisée par Stodhart. [85]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Frame with Four Drawings From Chaucer. The Second Nonne's Tale. 1 And first to Cecile, as I understonde, He yaf that on, and after gan he take That other to Valerian hire make. The Knight's Tale. 2 She gathereth floures, partie white and red, To make a sotel gerlond for hire hed; In Praise of Women. 3 Sampson y had experience. That women were full true i found. Prologue to the Canterbury Tales. 4 Fayn wolde I do you mirthe and I wiste how; And of a mirthe I am right now bethoughte To do you ese (Stodhart)|A Frame with Four Drawings From Chaucer. The Second Nonne's Tale. 1 And first to Cecile, as I understonde, He yaf that on, and after gan he take That other to Valerian hire make. The Knight's Tale. 2 She gathereth floures, partie white and red, To make a sotel gerlond for hire hed; In Praise of Women. 3 Sampson y had experience. That women were full true i found. Prologue to the Canterbury Tales. 4 Fayn wolde I do you mirthe and I wiste how; And of a mirthe I am right now bethoughte To do you ese]] réalisée par Stodhart. [86]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Frame with Four Drawings From Chaucer. Chaucer's Dreame. 1 For why! he hinge his head adowne, And why a dedly sorrowful sowne The Shipmanne's Tale. 2 Telleth your grese, left that he come adoun And hasteth you, and goth away anon. The Romaunt of the Rose. 3 Whan that this dore had opened me This maiden semely for to se, I thonked her as I best might, And asked her how that she hight. Troilus and Creseide. 4 Creseide anone gan all his chere espien, And let it in her herte to softly sinke That to herself she sayed, Ho! give me drinke (Stodhart)|A Frame with Four Drawings From Chaucer. Chaucer's Dreame. 1 For why! he hinge his head adowne, And why a dedly sorrowful sowne The Shipmanne's Tale. 2 Telleth your grese, left that he come adoun And hasteth you, and goth away anon. The Romaunt of the Rose. 3 Whan that this dore had opened me This maiden semely for to se, I thonked her as I best might, And asked her how that she hight. Troilus and Creseide. 4 Creseide anone gan all his chere espien, And let it in her herte to softly sinke That to herself she sayed, Ho! give me drinke]] réalisée par Stodhart. [87]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Frame with Four Drawings From Chaucer. Pilgrimage to Canterbury. 1 Troilus and Creseide. 2 And ther withall her arme ovre' him she laied, And all foryave, and oftin time him kest: Legende of Ariadne. 3 And saw his barge y sailing in the se, Colde wox her hert, The Floure and the Leafe. 4 Madame, quoth I, if that I durst enquere Of you, I would sain of the company With they be that passed by this harbere (Stodhart)|A Frame with Four Drawings From Chaucer. Pilgrimage to Canterbury. 1 Troilus and Creseide. 2 And ther withall her arme ovre' him she laied, And all foryave, and oftin time him kest: Legende of Ariadne. 3 And saw his barge y sailing in the se, Colde wox her hert, The Floure and the Leafe. 4 Madame, quoth I, if that I durst enquere Of you, I would sain of the company With they be that passed by this harbere]] réalisée par Stodhart. [88]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Frame with Three Drawings From Watts. 1 Engraved portrait by Trotter Psalms. 2 In vain the rebel seeks to stand In judgment with the pious race. Psalms. 3 In Moses' hand he puts the rod, And cleave the frighted seas. Hymns. 4 To bring the glorious news A heavenly form appears (Stodhart)|A Frame with Three Drawings From Watts. 1 Engraved portrait by Trotter Psalms. 2 In vain the rebel seeks to stand In judgment with the pious race. Psalms. 3 In Moses' hand he puts the rod, And cleave the frighted seas. Hymns. 4 To bring the glorious news A heavenly form appears]] réalisée par Stodhart. [89]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Frame with Four Drawings From Watts. Hymns. 1 The glorious tenants of the place Stand bending round the throne, The Atheist's Mistake. 2 Behold the saints rejoice to die, For heaven shines round their heads, Lyric Poems. 3 The rising God forsakes the tomb, Up to his Father's court he flies, Cradel Hymn. 4 See the kinder shepherds round him Telling wonders from the sky, (Stodhart)|A Frame with Four Drawings From Watts. Hymns. 1 The glorious tenants of the place Stand bending round the throne, The Atheist's Mistake. 2 Behold the saints rejoice to die, For heaven shines round their heads, Lyric Poems. 3 The rising God forsakes the tomb, Up to his Father's court he flies, Cradel Hymn. 4 See the kinder shepherds round him Telling wonders from the sky,]] réalisée par Stodhart. [90]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Drawing From Rowe. Glaucus and Scylla. 1 Her Glaucus saw, as o'er the deep he rode, Forbear, he cried, fond maid this needless fear. 2. Engraved portrait of Rowe by Cooke. 3 Engraved portrait of Armstrong by Cooke. Drawing From Armstrong. Art of Preserving Health. 4 Time shakes the stable tyranny of thrones And tottering empires rush by their own weight (Stodhart)|Drawing From Rowe. Glaucus and Scylla. 1 Her Glaucus saw, as o'er the deep he rode, Forbear, he cried, fond maid this needless fear. 2. Engraved portrait of Rowe by Cooke. 3 Engraved portrait of Armstrong by Cooke. Drawing From Armstrong. Art of Preserving Health. 4 Time shakes the stable tyranny of thrones And tottering empires rush by their own weight]] réalisée par Stodhart. [91]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Drawing From Buckingham. Orpheus. 1 The nymph, fore-doom'd that fatal way to pass, Spy'd not the serpent lurking in the grass: 2. Engraved portrait of the Earl of Buckingham by Cooke. Drawing From Pitt. , book 2. 3 His hand a wreath of peaceful olive bore, With this he touch'd the sleeping monarch's breast. 4 Engraved portrait of Pitt by Cooke (Stodhart)|Drawing From Buckingham. Orpheus. 1 The nymph, fore-doom'd that fatal way to pass, Spy'd not the serpent lurking in the grass: 2. Engraved portrait of the Earl of Buckingham by Cooke. Drawing From Pitt. , book 2. 3 His hand a wreath of peaceful olive bore, With this he touch'd the sleeping monarch's breast. 4 Engraved portrait of Pitt by Cooke]] réalisée par Stodhart. [92]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Two Drawings From Akenside. Ode the 13th. 1 But lo! to Sappho's melting airs Descends the radiant queen of love: Pleasures of Imagination, book 1. 2 Indulgent fancy! from the fruitful banks of Avon, whence thy rosy fingers cull Fresh flowers and dews to sprinkle on the turf Where Shakspere lies. 3 Engraved portrait of Akenside by Cooke. Two Drawings From King. Art of Love, part 13. 4 Thus with his harp and voice Arion rode On the mute fish safe thro' the rolling flood. The Fisherman. 5 "They cannot boil, nor wash, nor rinse, they say, "With water, sometimes ink and sometimes whey, "According as you meet with mud or clay. 6 Engraved portrait of King by Cooke (Stodhart)|Two Drawings From Akenside. Ode the 13th. 1 But lo! to Sappho's melting airs Descends the radiant queen of love: Pleasures of Imagination, book 1. 2 Indulgent fancy! from the fruitful banks of Avon, whence thy rosy fingers cull Fresh flowers and dews to sprinkle on the turf Where Shakspere lies. 3 Engraved portrait of Akenside by Cooke. Two Drawings From King. Art of Love, part 13. 4 Thus with his harp and voice Arion rode On the mute fish safe thro' the rolling flood. The Fisherman. 5 "They cannot boil, nor wash, nor rinse, they say, "With water, sometimes ink and sometimes whey, "According as you meet with mud or clay. 6 Engraved portrait of King by Cooke]] réalisée par Stodhart. [93]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[One Drawing From Cunningham. Anacreon, Ode 14. 1 Till (because I would not yield) Cupid dar'd me to the field. Now I'm in my armour clasp'd, Now the mighty lance is grasp'd; 2 Engraved portrait of Cunningham by Cooke. One Drawing From Dyer. Ruins of Rome. 3 They thro' all shapes of peril and of pain, Intent on honour, dar'd in thickest death To snatch the glorious deed. 4 Engraved portrait of Dyer by Cooke (Stodhart)|One Drawing From Cunningham. Anacreon, Ode 14. 1 Till (because I would not yield) Cupid dar'd me to the field. Now I'm in my armour clasp'd, Now the mighty lance is grasp'd; 2 Engraved portrait of Cunningham by Cooke. One Drawing From Dyer. Ruins of Rome. 3 They thro' all shapes of peril and of pain, Intent on honour, dar'd in thickest death To snatch the glorious deed. 4 Engraved portrait of Dyer by Cooke]] réalisée par Stodhart. [94]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Three Drawings From Donne. 1 Engraved portrait of Donne by Cooke. Satire I. 2 And in this coarse attire which I now wear, With God and with the Muses I confer. Divine Poems. 3 Blow your trumpets angels. Citizen and his Wife. 4 To get acquaintance with him I began, And fore discourse for so fine a man (Stodhart)|Three Drawings From Donne. 1 Engraved portrait of Donne by Cooke. Satire I. 2 And in this coarse attire which I now wear, With God and with the Muses I confer. Divine Poems. 3 Blow your trumpets angels. Citizen and his Wife. 4 To get acquaintance with him I began, And fore discourse for so fine a man]] réalisée par Stodhart. [95]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Two Drawings From Hughes. Epistle to Urania. 1 So from the sea when Venus rode serene, And by the nymphs and Tritons first was seen, Cantata V. 2 Love stole the pipe of sleeping Pan, and play'd Then with his voice decoys the list'ning swain. 3 Engraved portrait of Hughes by Cooke. 4. Ditto of Denham by ditto. One Drawing From Denham. Dido. 5 Her fainting hand let fall the sword besmear'd With blood, and then the mortal wound appear'd (Stodhart)|Two Drawings From Hughes. Epistle to Urania. 1 So from the sea when Venus rode serene, And by the nymphs and Tritons first was seen, Cantata V. 2 Love stole the pipe of sleeping Pan, and play'd Then with his voice decoys the list'ning swain. 3 Engraved portrait of Hughes by Cooke. 4. Ditto of Denham by ditto. One Drawing From Denham. Dido. 5 Her fainting hand let fall the sword besmear'd With blood, and then the mortal wound appear'd]] réalisée par Stodhart. [96]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Drawing From Pomfret. Cruelty and Lust. 1 There, under a wide oak, disconsolate, And drown'd in tears. a mournful widow fate; High in the boughs the murder'd father hung; Beneath, the children round the mother clung: 2 Engraved portrait of Garth, by Cooke Drawing From Garth. Enchantments of Circe. 3 The sad spectators, stiffen'd with their fears, She sees; and sudden every limb she smears; Then each of savage beasts the figure bears. Drawing From Sommerville. The Chase, Book I. 4 -- When Nimrod bold, That mighty hunter! first made war on beasts, And stain'd the woodland green with purple dye, New and unpolish'd was the hunstman's art. Drawing From Tickel. Kensington Gardens. 5 Beneath a lofty tulip's ample shade, Sat the young lover and th' immortal maid. Drawing From Fenton. Phaon to Sappho. 6 When Orpheus in the woods began to play, Sooth'd with his airs the leopard's round him lay; (Stodhart)|Drawing From Pomfret. Cruelty and Lust. 1 There, under a wide oak, disconsolate, And drown'd in tears. a mournful widow fate; High in the boughs the murder'd father hung; Beneath, the children round the mother clung: 2 Engraved portrait of Garth, by Cooke Drawing From Garth. Enchantments of Circe. 3 The sad spectators, stiffen'd with their fears, She sees; and sudden every limb she smears; Then each of savage beasts the figure bears. Drawing From Sommerville. The Chase, Book I. 4 -- When Nimrod bold, That mighty hunter! first made war on beasts, And stain'd the woodland green with purple dye, New and unpolish'd was the hunstman's art. Drawing From Tickel. Kensington Gardens. 5 Beneath a lofty tulip's ample shade, Sat the young lover and th' immortal maid. Drawing From Fenton. Phaon to Sappho. 6 When Orpheus in the woods began to play, Sooth'd with his airs the leopard's round him lay;]] réalisée par Stodhart. [98]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Frame with Six Drawings. 1 Engraved portrait of Ambrose Phillips by Cooke, 2 Ditto of John Phillips by ditto. 3 Ditto of Gray by Trotter. Pastoral. 4 O come my love! not think th' employment mean The dams to milk and little lambkins wean, A. Phillips. Splendid Shilling. 5 Mean-while he smokes 2nd laughs at merry tale, Or pun ambiguous or conundrum quaint; J. Phillips. On the Progress of Poesy. 6 On Thracia's hills the lord of war Has curb'd the fury of his car, And dropp's his thirsty lance at thy command: Gray. On the Abuse of Travelling. 7 Learn virtue, justice, constancy of mind, Not to be mov'd by feat or pleasure's train; Be these your arts, ye brave! these only are humane. Gilbert West. Fable on Love and Vanity. 8 Then bending drew it to the head; Moore. The Bard. 9 On a rock, whose haughty brow Frowns o'er old Conway's foaming flood, Rob'd in the fable garb of woe, With haggard eyes the poet stood; Gray (Rebecca)|A Frame with Six Drawings. 1 Engraved portrait of Ambrose Phillips by Cooke, 2 Ditto of John Phillips by ditto. 3 Ditto of Gray by Trotter. Pastoral. 4 O come my love! not think th' employment mean The dams to milk and little lambkins wean, A. Phillips. Splendid Shilling. 5 Mean-while he smokes 2nd laughs at merry tale, Or pun ambiguous or conundrum quaint; J. Phillips. On the Progress of Poesy. 6 On Thracia's hills the lord of war Has curb'd the fury of his car, And dropp's his thirsty lance at thy command: Gray. On the Abuse of Travelling. 7 Learn virtue, justice, constancy of mind, Not to be mov'd by feat or pleasure's train; Be these your arts, ye brave! these only are humane. Gilbert West. Fable on Love and Vanity. 8 Then bending drew it to the head; Moore. The Bard. 9 On a rock, whose haughty brow Frowns o'er old Conway's foaming flood, Rob'd in the fable garb of woe, With haggard eyes the poet stood; Gray]] réalisée par Rebecca. [99]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Drawing From Churchill. (by Angelica Kauffman) 1. Engraved portrait of Churchill by Cooke. The Author. 2 Where Nature list'ning stood whilst Shakspere play'd, And wonder'd at the work herself had made? Drawing From Churchill. (by Cipriani) The Candidate. 3 Let one poor sprig of bay around my head Bloom whilst I live, and point me out when dead; Drawing from Churchill (by Angelica Kauffman.) Gotham, book I. 4 Infancy, straining backward from the breast; The mother eyes the wrangler with a smile, And the fond father on the other side, Laughs at his moods, and views his spleen with pride. Drawing From Broome. (by Angelica Kauffman.) 5 Engraved portrait of Broome by Cooke. Daphnis and Lycidas. 6 Soft I approach'd, and raptur'd with the bliss At leisure gaz'd, then stole a silent kiss. Drawing From Lyttleton. (by Angelica Kauffman.) 7 Engraved portrait of Lord Lyttelton by Cooke. Eclogue the 1st. 8 To the green margin of a lonely wood Whose pendent shades o'erlook'd a silver flood Young Damon came, unknowing where he stray'd, Full of the image of his beauteous maid; Drawing From Somerville. (by Angelica Kauffman.) Miser's Speech. 9 Under an oak's protecting shade, In flowery meads, profusely gay, Supine he leans his peaceful head, And gently loiters life away. Drawing From Hammond. (by Angelica Kauffman.) Love Elegies. 10 I view'd my state, too little weigh'd before, And Love himself could flatter me no more. Drawing From Savage. (Angelica Kauffman.) Wanderer, canto I. 11 Then waft me to some olive bow'ry green, Where, cloth'd in white, thou shew'st a mind serence; Where kind consent from noise and court retires, And smiling sits, while Muses tune their lyres: Drawing From Collins. (by Angelica Kaufmman.) Eclogue III. 12 The royal lover bore her from the plain, Yet still her crook and bleating flock remain: (Angelica Kauffman)|Drawing From Churchill. (by Angelica Kauffman) 1. Engraved portrait of Churchill by Cooke. The Author. 2 Where Nature list'ning stood whilst Shakspere play'd, And wonder'd at the work herself had made? Drawing From Churchill. (by Cipriani) The Candidate. 3 Let one poor sprig of bay around my head Bloom whilst I live, and point me out when dead; Drawing from Churchill (by Angelica Kauffman.) Gotham, book I. 4 Infancy, straining backward from the breast; The mother eyes the wrangler with a smile, And the fond father on the other side, Laughs at his moods, and views his spleen with pride. Drawing From Broome. (by Angelica Kauffman.) 5 Engraved portrait of Broome by Cooke. Daphnis and Lycidas. 6 Soft I approach'd, and raptur'd with the bliss At leisure gaz'd, then stole a silent kiss. Drawing From Lyttleton. (by Angelica Kauffman.) 7 Engraved portrait of Lord Lyttelton by Cooke. Eclogue the 1st. 8 To the green margin of a lonely wood Whose pendent shades o'erlook'd a silver flood Young Damon came, unknowing where he stray'd, Full of the image of his beauteous maid; Drawing From Somerville. (by Angelica Kauffman.) Miser's Speech. 9 Under an oak's protecting shade, In flowery meads, profusely gay, Supine he leans his peaceful head, And gently loiters life away. Drawing From Hammond. (by Angelica Kauffman.) Love Elegies. 10 I view'd my state, too little weigh'd before, And Love himself could flatter me no more. Drawing From Savage. (Angelica Kauffman.) Wanderer, canto I. 11 Then waft me to some olive bow'ry green, Where, cloth'd in white, thou shew'st a mind serence; Where kind consent from noise and court retires, And smiling sits, while Muses tune their lyres: Drawing From Collins. (by Angelica Kaufmman.) Eclogue III. 12 The royal lover bore her from the plain, Yet still her crook and bleating flock remain:]] réalisée par Angelica Kauffman. [100]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Drawing From Churchill. (by Angelica Kauffman) 1. Engraved portrait of Churchill by Cooke. The Author. 2 Where Nature list'ning stood whilst Shakspere play'd, And wonder'd at the work herself had made? Drawing From Churchill. (by Cipriani) The Candidate. 3 Let one poor sprig of bay around my head Bloom whilst I live, and point me out when dead; Drawing from Churchill (by Angelica Kauffman.) Gotham, book I. 4 Infancy, straining backward from the breast; The mother eyes the wrangler with a smile, And the fond father on the other side, Laughs at his moods, and views his spleen with pride. Drawing From Broome. (by Angelica Kauffman.) 5 Engraved portrait of Broome by Cooke. Daphnis and Lycidas. 6 Soft I approach'd, and raptur'd with the bliss At leisure gaz'd, then stole a silent kiss. Drawing From Lyttleton. (by Angelica Kauffman.) 7 Engraved portrait of Lord Lyttelton by Cooke. Eclogue the 1st. 8 To the green margin of a lonely wood Whose pendent shades o'erlook'd a silver flood Young Damon came, unknowing where he stray'd, Full of the image of his beauteous maid; Drawing From Somerville. (by Angelica Kauffman.) Miser's Speech. 9 Under an oak's protecting shade, In flowery meads, profusely gay, Supine he leans his peaceful head, And gently loiters life away. Drawing From Hammond. (by Angelica Kauffman.) Love Elegies. 10 I view'd my state, too little weigh'd before, And Love himself could flatter me no more. Drawing From Savage. (Angelica Kauffman.) Wanderer, canto I. 11 Then waft me to some olive bow'ry green, Where, cloth'd in white, thou shew'st a mind serence; Where kind consent from noise and court retires, And smiling sits, while Muses tune their lyres: Drawing From Collins. (by Angelica Kaufmman.) Eclogue III. 12 The royal lover bore her from the plain, Yet still her crook and bleating flock remain: (Cipriani)|Drawing From Churchill. (by Angelica Kauffman) 1. Engraved portrait of Churchill by Cooke. The Author. 2 Where Nature list'ning stood whilst Shakspere play'd, And wonder'd at the work herself had made? Drawing From Churchill. (by Cipriani) The Candidate. 3 Let one poor sprig of bay around my head Bloom whilst I live, and point me out when dead; Drawing from Churchill (by Angelica Kauffman.) Gotham, book I. 4 Infancy, straining backward from the breast; The mother eyes the wrangler with a smile, And the fond father on the other side, Laughs at his moods, and views his spleen with pride. Drawing From Broome. (by Angelica Kauffman.) 5 Engraved portrait of Broome by Cooke. Daphnis and Lycidas. 6 Soft I approach'd, and raptur'd with the bliss At leisure gaz'd, then stole a silent kiss. Drawing From Lyttleton. (by Angelica Kauffman.) 7 Engraved portrait of Lord Lyttelton by Cooke. Eclogue the 1st. 8 To the green margin of a lonely wood Whose pendent shades o'erlook'd a silver flood Young Damon came, unknowing where he stray'd, Full of the image of his beauteous maid; Drawing From Somerville. (by Angelica Kauffman.) Miser's Speech. 9 Under an oak's protecting shade, In flowery meads, profusely gay, Supine he leans his peaceful head, And gently loiters life away. Drawing From Hammond. (by Angelica Kauffman.) Love Elegies. 10 I view'd my state, too little weigh'd before, And Love himself could flatter me no more. Drawing From Savage. (Angelica Kauffman.) Wanderer, canto I. 11 Then waft me to some olive bow'ry green, Where, cloth'd in white, thou shew'st a mind serence; Where kind consent from noise and court retires, And smiling sits, while Muses tune their lyres: Drawing From Collins. (by Angelica Kaufmman.) Eclogue III. 12 The royal lover bore her from the plain, Yet still her crook and bleating flock remain:]] réalisée par Cipriani. [101]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Small Drawing (by Loutherbourg). Tempest. Act I. Scene II. Miranda. If by your art, my dearest father, you have Put the wild water in this war, allay them: Miss Phillips now Mrs. Crouch, in Miranda. (Ramberg.) O, the cry did knock Against my very heart! poor souls, they perished! (Loutherbourg)|A Small Drawing (by Loutherbourg). Tempest. Act I. Scene II. Miranda. If by your art, my dearest father, you have Put the wild water in this war, allay them: Miss Phillips now Mrs. Crouch, in Miranda. (Ramberg.) O, the cry did knock Against my very heart! poor souls, they perished!]] réalisée par Loutherbourg. [102]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Small Drawing (by Loutherbourg). Tempest. Act I. Scene II. Miranda. If by your art, my dearest father, you have Put the wild water in this war, allay them: Miss Phillips now Mrs. Crouch, in Miranda. (Ramberg.) O, the cry did knock Against my very heart! poor souls, they perished! (Ramberg)|A Small Drawing (by Loutherbourg). Tempest. Act I. Scene II. Miranda. If by your art, my dearest father, you have Put the wild water in this war, allay them: Miss Phillips now Mrs. Crouch, in Miranda. (Ramberg.) O, the cry did knock Against my very heart! poor souls, they perished!]] réalisée par Ramberg. [103]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. (Loutherbourg.) Measure for Measure. Act IV. Scene III. Duke. This letter then to Friar Peter give; A Drawing. (Ramberg.) Act V. Scene I. Mrs. Siddons in Isabella. Justice. O Royal Duke! veil your regard Upon a wrong'd, I'd fain have said, a maid! (Loutherbourg)|A Drawing. (Loutherbourg.) Measure for Measure. Act IV. Scene III. Duke. This letter then to Friar Peter give; A Drawing. (Ramberg.) Act V. Scene I. Mrs. Siddons in Isabella. Justice. O Royal Duke! veil your regard Upon a wrong'd, I'd fain have said, a maid!]] réalisée par Loutherbourg. [104]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. (Loutherbourg.) Measure for Measure. Act IV. Scene III. Duke. This letter then to Friar Peter give; A Drawing. (Ramberg.) Act V. Scene I. Mrs. Siddons in Isabella. Justice. O Royal Duke! veil your regard Upon a wrong'd, I'd fain have said, a maid! (Ramberg)|A Drawing. (Loutherbourg.) Measure for Measure. Act IV. Scene III. Duke. This letter then to Friar Peter give; A Drawing. (Ramberg.) Act V. Scene I. Mrs. Siddons in Isabella. Justice. O Royal Duke! veil your regard Upon a wrong'd, I'd fain have said, a maid!]] réalisée par Ramberg. [105]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Much Ado About Nothing. Act IV. Scene I. Leonato. Dost thou look up? Friar. Yea; wherefore should she not? A Drawing. Mrs. Abington as Beatrice. Act III. Scene I. Ursula. So angle we for Beatrice; who even now Is couched in the woodbine coverture: A Drawing. Mrs. Abington as Beatrice. (Ramberg)|A Drawing. Much Ado About Nothing. Act IV. Scene I. Leonato. Dost thou look up? Friar. Yea; wherefore should she not? A Drawing. Mrs. Abington as Beatrice. Act III. Scene I. Ursula. So angle we for Beatrice; who even now Is couched in the woodbine coverture: A Drawing. Mrs. Abington as Beatrice.]] réalisée par Ramberg. [108]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Much Ado About Nothing. Act IV. Scene I. Leonato. Dost thou look up? Friar. Yea; wherefore should she not? A Drawing. Mrs. Abington as Beatrice. Act III. Scene I. Ursula. So angle we for Beatrice; who even now Is couched in the woodbine coverture: A Drawing. Mrs. Abington as Beatrice. (Loutherbourg)|A Drawing. Much Ado About Nothing. Act IV. Scene I. Leonato. Dost thou look up? Friar. Yea; wherefore should she not? A Drawing. Mrs. Abington as Beatrice. Act III. Scene I. Ursula. So angle we for Beatrice; who even now Is couched in the woodbine coverture: A Drawing. Mrs. Abington as Beatrice.]] réalisée par Loutherbourg. [109]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Much Ado About Nothing. Act IV. Scene I. Leonato. Dost thou look up? Friar. Yea; wherefore should she not? A Drawing. Mrs. Abington as Beatrice. Act III. Scene I. Ursula. So angle we for Beatrice; who even now Is couched in the woodbine coverture: A Drawing. Mrs. Abington as Beatrice. (Roberts)|A Drawing. Much Ado About Nothing. Act IV. Scene I. Leonato. Dost thou look up? Friar. Yea; wherefore should she not? A Drawing. Mrs. Abington as Beatrice. Act III. Scene I. Ursula. So angle we for Beatrice; who even now Is couched in the woodbine coverture: A Drawing. Mrs. Abington as Beatrice.]] réalisée par Roberts. [110]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Romeo and Juliet. Act V. Scene III. Juliet. What's here? a cup, -- Poison, I see, hath been his timeless end: -- A Drawing. Act V. Scene I. Romeo. Thous know'st my lodging: get me ink and paper, And hire post horses; I will hence to night. A Drawing. Mrs Kemble in Juliet. Act V. Scene III. Juliet Yea, noise! -- then I'll be brief, O happy dagger! (Loutherbourg)|A Drawing. Romeo and Juliet. Act V. Scene III. Juliet. What's here? a cup, -- Poison, I see, hath been his timeless end: -- A Drawing. Act V. Scene I. Romeo. Thous know'st my lodging: get me ink and paper, And hire post horses; I will hence to night. A Drawing. Mrs Kemble in Juliet. Act V. Scene III. Juliet Yea, noise! -- then I'll be brief, O happy dagger!]] réalisée par Loutherbourg. [112]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Romeo and Juliet. Act V. Scene III. Juliet. What's here? a cup, -- Poison, I see, hath been his timeless end: -- A Drawing. Act V. Scene I. Romeo. Thous know'st my lodging: get me ink and paper, And hire post horses; I will hence to night. A Drawing. Mrs Kemble in Juliet. Act V. Scene III. Juliet Yea, noise! -- then I'll be brief, O happy dagger! (Ramberg)|A Drawing. Romeo and Juliet. Act V. Scene III. Juliet. What's here? a cup, -- Poison, I see, hath been his timeless end: -- A Drawing. Act V. Scene I. Romeo. Thous know'st my lodging: get me ink and paper, And hire post horses; I will hence to night. A Drawing. Mrs Kemble in Juliet. Act V. Scene III. Juliet Yea, noise! -- then I'll be brief, O happy dagger!]] réalisée par Ramberg. [113]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Merchant of Venice. Act IV. Scene I. Gratiano. In christening thou shalt have two godfathers; To bring thee to the gallows, not the font. A Drawing from the same subject. Act IV. Scene I. Shylock. Most learned judge! -- a sentence; come, Prepare. A Drawing. Mr. Macklin as Shylock (Ramberg)|A Drawing. Merchant of Venice. Act IV. Scene I. Gratiano. In christening thou shalt have two godfathers; To bring thee to the gallows, not the font. A Drawing from the same subject. Act IV. Scene I. Shylock. Most learned judge! -- a sentence; come, Prepare. A Drawing. Mr. Macklin as Shylock]] réalisée par Ramberg. [114]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Merchant of Venice. Act IV. Scene I. Gratiano. In christening thou shalt have two godfathers; To bring thee to the gallows, not the font. A Drawing from the same subject. Act IV. Scene I. Shylock. Most learned judge! -- a sentence; come, Prepare. A Drawing. Mr. Macklin as Shylock (Loutherbourg)|A Drawing. Merchant of Venice. Act IV. Scene I. Gratiano. In christening thou shalt have two godfathers; To bring thee to the gallows, not the font. A Drawing from the same subject. Act IV. Scene I. Shylock. Most learned judge! -- a sentence; come, Prepare. A Drawing. Mr. Macklin as Shylock]] réalisée par Loutherbourg. [115]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Merry Wives of Windsor. Act III. Scene III. Falstaff. Let me see't, let me see't! O let me see't! I'll in, I'll in; -- follow your friend's counsel -- I'll in. A Drawing. Mr. Henderson as Falstaff. Quickly. Here is a letter will say somewhat. Falstaff. Come up into my chamber (Loutherbourg)|A Drawing. Merry Wives of Windsor. Act III. Scene III. Falstaff. Let me see't, let me see't! O let me see't! I'll in, I'll in; -- follow your friend's counsel -- I'll in. A Drawing. Mr. Henderson as Falstaff. Quickly. Here is a letter will say somewhat. Falstaff. Come up into my chamber]] réalisée par Loutherbourg. [116]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Merry Wives of Windsor. Act III. Scene III. Falstaff. Let me see't, let me see't! O let me see't! I'll in, I'll in; -- follow your friend's counsel -- I'll in. A Drawing. Mr. Henderson as Falstaff. Quickly. Here is a letter will say somewhat. Falstaff. Come up into my chamber (Ramberg)|A Drawing. Merry Wives of Windsor. Act III. Scene III. Falstaff. Let me see't, let me see't! O let me see't! I'll in, I'll in; -- follow your friend's counsel -- I'll in. A Drawing. Mr. Henderson as Falstaff. Quickly. Here is a letter will say somewhat. Falstaff. Come up into my chamber]] réalisée par Ramberg. [117]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Julius Caesar. Act III. Scene I. Antony. And Caesar's spirit, ranging for revenge, With Ate by his side, come hot from hell, Shall in these confines with a monarch's voice, Cry havock, and let slip the dogs of war. A Drawing. Act II. Scene II. Caesar. It seems to me most strange that men should fear; Seeing that death, a necessary end Will come, when it will come. A Drawing. Midsummer Night's Dream. Act II. Scene II. Oberon. -- and be thou here again, Ere the leviathan can swim a league. Puck. I'll put a girdle round about the earth In forty minutes (Ramberg)|A Drawing. Julius Caesar. Act III. Scene I. Antony. And Caesar's spirit, ranging for revenge, With Ate by his side, come hot from hell, Shall in these confines with a monarch's voice, Cry havock, and let slip the dogs of war. A Drawing. Act II. Scene II. Caesar. It seems to me most strange that men should fear; Seeing that death, a necessary end Will come, when it will come. A Drawing. Midsummer Night's Dream. Act II. Scene II. Oberon. -- and be thou here again, Ere the leviathan can swim a league. Puck. I'll put a girdle round about the earth In forty minutes]] réalisée par Ramberg. [118]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Julius Caesar. Act III. Scene I. Antony. And Caesar's spirit, ranging for revenge, With Ate by his side, come hot from hell, Shall in these confines with a monarch's voice, Cry havock, and let slip the dogs of war. A Drawing. Act II. Scene II. Caesar. It seems to me most strange that men should fear; Seeing that death, a necessary end Will come, when it will come. A Drawing. Midsummer Night's Dream. Act II. Scene II. Oberon. -- and be thou here again, Ere the leviathan can swim a league. Puck. I'll put a girdle round about the earth In forty minutes (Loutherbourg)|A Drawing. Julius Caesar. Act III. Scene I. Antony. And Caesar's spirit, ranging for revenge, With Ate by his side, come hot from hell, Shall in these confines with a monarch's voice, Cry havock, and let slip the dogs of war. A Drawing. Act II. Scene II. Caesar. It seems to me most strange that men should fear; Seeing that death, a necessary end Will come, when it will come. A Drawing. Midsummer Night's Dream. Act II. Scene II. Oberon. -- and be thou here again, Ere the leviathan can swim a league. Puck. I'll put a girdle round about the earth In forty minutes]] réalisée par Loutherbourg. [120]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Titus Andronicus. Act II. Scene IV. Quintus. Thy hand once more, I will not lose again, 'Till thou art here aloft, or below: A Drawing. Act III. Scene I. Titus. But wherefore stand'st thou with thy weapon drawn? Lucius. To rescue my two brothers from their death. A Drawing. Mrs. Wells as Lavinia. Ditto Ditto (Loutherbourg)|A Drawing. Titus Andronicus. Act II. Scene IV. Quintus. Thy hand once more, I will not lose again, 'Till thou art here aloft, or below: A Drawing. Act III. Scene I. Titus. But wherefore stand'st thou with thy weapon drawn? Lucius. To rescue my two brothers from their death. A Drawing. Mrs. Wells as Lavinia. Ditto Ditto]] réalisée par Loutherbourg. [121]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Titus Andronicus. Act II. Scene IV. Quintus. Thy hand once more, I will not lose again, 'Till thou art here aloft, or below: A Drawing. Act III. Scene I. Titus. But wherefore stand'st thou with thy weapon drawn? Lucius. To rescue my two brothers from their death. A Drawing. Mrs. Wells as Lavinia. Ditto Ditto (J. M. Moreau)|A Drawing. Titus Andronicus. Act II. Scene IV. Quintus. Thy hand once more, I will not lose again, 'Till thou art here aloft, or below: A Drawing. Act III. Scene I. Titus. But wherefore stand'st thou with thy weapon drawn? Lucius. To rescue my two brothers from their death. A Drawing. Mrs. Wells as Lavinia. Ditto Ditto]] réalisée par J. M. Moreau. [122]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Titus Andronicus. Act II. Scene IV. Quintus. Thy hand once more, I will not lose again, 'Till thou art here aloft, or below: A Drawing. Act III. Scene I. Titus. But wherefore stand'st thou with thy weapon drawn? Lucius. To rescue my two brothers from their death. A Drawing. Mrs. Wells as Lavinia. Ditto Ditto (Ramberg)|A Drawing. Titus Andronicus. Act II. Scene IV. Quintus. Thy hand once more, I will not lose again, 'Till thou art here aloft, or below: A Drawing. Act III. Scene I. Titus. But wherefore stand'st thou with thy weapon drawn? Lucius. To rescue my two brothers from their death. A Drawing. Mrs. Wells as Lavinia. Ditto Ditto]] réalisée par Ramberg. [123]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Love's Labour Lost. Act I. Scene II. Armado. Boy, what sign is it, when a man of great spirit grows melancholy? Moth. A great sign, sir, that he will look sad. A Drawing. Mrs. Bulkeley as Princess of France. Act V. Scene II. Princess. Tweny adieus. my frozen Muscovites! (Loutherbourg)|A Drawing. Love's Labour Lost. Act I. Scene II. Armado. Boy, what sign is it, when a man of great spirit grows melancholy? Moth. A great sign, sir, that he will look sad. A Drawing. Mrs. Bulkeley as Princess of France. Act V. Scene II. Princess. Tweny adieus. my frozen Muscovites!]] réalisée par Loutherbourg. [125]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Love's Labour Lost. Act I. Scene II. Armado. Boy, what sign is it, when a man of great spirit grows melancholy? Moth. A great sign, sir, that he will look sad. A Drawing. Mrs. Bulkeley as Princess of France. Act V. Scene II. Princess. Tweny adieus. my frozen Muscovites! (Ramberg)|A Drawing. Love's Labour Lost. Act I. Scene II. Armado. Boy, what sign is it, when a man of great spirit grows melancholy? Moth. A great sign, sir, that he will look sad. A Drawing. Mrs. Bulkeley as Princess of France. Act V. Scene II. Princess. Tweny adieus. my frozen Muscovites!]] réalisée par Ramberg. [126]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Henry V. Act IV. Scene IV. French Soldier. O prennez misericorde! ayez pitie de moy! Pistol. Moy shall not serve; I will have forty moy. A Drawing. King Lear. Act IV. Scene IV. Gloster. The trick of that voice I do well remember: Is't not the king? Lear. Ay, every inch a king (Burney)|A Drawing. Henry V. Act IV. Scene IV. French Soldier. O prennez misericorde! ayez pitie de moy! Pistol. Moy shall not serve; I will have forty moy. A Drawing. King Lear. Act IV. Scene IV. Gloster. The trick of that voice I do well remember: Is't not the king? Lear. Ay, every inch a king]] réalisée par Burney. [135]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Henry V. Act IV. Scene IV. French Soldier. O prennez misericorde! ayez pitie de moy! Pistol. Moy shall not serve; I will have forty moy. A Drawing. King Lear. Act IV. Scene IV. Gloster. The trick of that voice I do well remember: Is't not the king? Lear. Ay, every inch a king (Loutherbourg)|A Drawing. Henry V. Act IV. Scene IV. French Soldier. O prennez misericorde! ayez pitie de moy! Pistol. Moy shall not serve; I will have forty moy. A Drawing. King Lear. Act IV. Scene IV. Gloster. The trick of that voice I do well remember: Is't not the king? Lear. Ay, every inch a king]] réalisée par Loutherbourg. [136]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Henry IV. Part I. Act V. Scene IV. Falstaff. Therefore I'll make him sure: yea, and I'll swear I kill'd him. A Drawing. Mr. Lewis as Prince of Wales. A Drawing. Mr. Parsons as Justice Shallow, Henry IV. Part II. Act V. Scene III. Shallow. I beseech you, good Sir John, let me have five hundred of my thousand (Loutherbourg)|A Drawing. Henry IV. Part I. Act V. Scene IV. Falstaff. Therefore I'll make him sure: yea, and I'll swear I kill'd him. A Drawing. Mr. Lewis as Prince of Wales. A Drawing. Mr. Parsons as Justice Shallow, Henry IV. Part II. Act V. Scene III. Shallow. I beseech you, good Sir John, let me have five hundred of my thousand]] réalisée par Loutherbourg. [137]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Henry IV. Part I. Act V. Scene IV. Falstaff. Therefore I'll make him sure: yea, and I'll swear I kill'd him. A Drawing. Mr. Lewis as Prince of Wales. A Drawing. Mr. Parsons as Justice Shallow, Henry IV. Part II. Act V. Scene III. Shallow. I beseech you, good Sir John, let me have five hundred of my thousand (Ramberg)|A Drawing. Henry IV. Part I. Act V. Scene IV. Falstaff. Therefore I'll make him sure: yea, and I'll swear I kill'd him. A Drawing. Mr. Lewis as Prince of Wales. A Drawing. Mr. Parsons as Justice Shallow, Henry IV. Part II. Act V. Scene III. Shallow. I beseech you, good Sir John, let me have five hundred of my thousand]] réalisée par Ramberg. [138]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Cymbeline. Act III. Scene IV. Imogen. -- Take it; and hit The innocent mansion of my love, my heart. A Drawing. Act IV. Scene II. Imogen. A headless man! the garments of Posthumous: I know the shape of his leg: -- Murder in Heaven! -- How! -- 'tis gone. -- Pisanio! A Drawing. Mrs. Wells as Imogen (Burney)|A Drawing. Cymbeline. Act III. Scene IV. Imogen. -- Take it; and hit The innocent mansion of my love, my heart. A Drawing. Act IV. Scene II. Imogen. A headless man! the garments of Posthumous: I know the shape of his leg: -- Murder in Heaven! -- How! -- 'tis gone. -- Pisanio! A Drawing. Mrs. Wells as Imogen]] réalisée par Burney. [139]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Cymbeline. Act III. Scene IV. Imogen. -- Take it; and hit The innocent mansion of my love, my heart. A Drawing. Act IV. Scene II. Imogen. A headless man! the garments of Posthumous: I know the shape of his leg: -- Murder in Heaven! -- How! -- 'tis gone. -- Pisanio! A Drawing. Mrs. Wells as Imogen (Ramberg)|A Drawing. Cymbeline. Act III. Scene IV. Imogen. -- Take it; and hit The innocent mansion of my love, my heart. A Drawing. Act IV. Scene II. Imogen. A headless man! the garments of Posthumous: I know the shape of his leg: -- Murder in Heaven! -- How! -- 'tis gone. -- Pisanio! A Drawing. Mrs. Wells as Imogen]] réalisée par Ramberg. [140]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Henry VI. Part I. Act II. Scene V. Plantagenet. First, lean thine aged back against mine arm; And in that case, I'll tell thee my disease. Mr Baddeley as Peter. Henry VI. Part II. Act II. Scene III. Peter. I thank you all: drink, and pray for me, I pray for you; for I think I have taken my last Draught in this world. A Drawing. Henry VI. Part III. Act V. Scene II. Warwick. -- Of all my lands, Is nothing left me, but my body's length! (Hamilton)|A Drawing. Henry VI. Part I. Act II. Scene V. Plantagenet. First, lean thine aged back against mine arm; And in that case, I'll tell thee my disease. Mr Baddeley as Peter. Henry VI. Part II. Act II. Scene III. Peter. I thank you all: drink, and pray for me, I pray for you; for I think I have taken my last Draught in this world. A Drawing. Henry VI. Part III. Act V. Scene II. Warwick. -- Of all my lands, Is nothing left me, but my body's length!]] réalisée par Hamilton. [143]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Richard III. Act V. Scene III. Richard. Give me another horse -- bind up my wounds -- Have mercy, Jesu! -- Soft; I did but dream -- A Drawing. Act V. Scene III. Young Princes. Dream on thy cousins smother'd in the Tower; Let us be led within thy bosom, Richard. Mrs. Hunter, as Lady Anne. Act I. Scene II. Lady Anne. Either, heaven with lightning strike this murtherer dead, Or, earth gape open wide, and eat him quick. Mr. Kemble, as Richard. Act IV. Scene II. Richard. -- But I am in, So far in blood, that sin will pluck on sin (Ramberg)|A Drawing. Richard III. Act V. Scene III. Richard. Give me another horse -- bind up my wounds -- Have mercy, Jesu! -- Soft; I did but dream -- A Drawing. Act V. Scene III. Young Princes. Dream on thy cousins smother'd in the Tower; Let us be led within thy bosom, Richard. Mrs. Hunter, as Lady Anne. Act I. Scene II. Lady Anne. Either, heaven with lightning strike this murtherer dead, Or, earth gape open wide, and eat him quick. Mr. Kemble, as Richard. Act IV. Scene II. Richard. -- But I am in, So far in blood, that sin will pluck on sin]] réalisée par Ramberg. [144]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Henry VI. Part I. Act II. Scene V. Plantagenet. First, lean thine aged back against mine arm; And in that case, I'll tell thee my disease. Mr Baddeley as Peter. Henry VI. Part II. Act II. Scene III. Peter. I thank you all: drink, and pray for me, I pray for you; for I think I have taken my last Draught in this world. A Drawing. Henry VI. Part III. Act V. Scene II. Warwick. -- Of all my lands, Is nothing left me, but my body's length! (Loutherbourg)|A Drawing. Henry VI. Part I. Act II. Scene V. Plantagenet. First, lean thine aged back against mine arm; And in that case, I'll tell thee my disease. Mr Baddeley as Peter. Henry VI. Part II. Act II. Scene III. Peter. I thank you all: drink, and pray for me, I pray for you; for I think I have taken my last Draught in this world. A Drawing. Henry VI. Part III. Act V. Scene II. Warwick. -- Of all my lands, Is nothing left me, but my body's length!]] réalisée par Loutherbourg. [145]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Richard III. Act V. Scene III. Richard. Give me another horse -- bind up my wounds -- Have mercy, Jesu! -- Soft; I did but dream -- A Drawing. Act V. Scene III. Young Princes. Dream on thy cousins smother'd in the Tower; Let us be led within thy bosom, Richard. Mrs. Hunter, as Lady Anne. Act I. Scene II. Lady Anne. Either, heaven with lightning strike this murtherer dead, Or, earth gape open wide, and eat him quick. Mr. Kemble, as Richard. Act IV. Scene II. Richard. -- But I am in, So far in blood, that sin will pluck on sin (Loutherbourg)|A Drawing. Richard III. Act V. Scene III. Richard. Give me another horse -- bind up my wounds -- Have mercy, Jesu! -- Soft; I did but dream -- A Drawing. Act V. Scene III. Young Princes. Dream on thy cousins smother'd in the Tower; Let us be led within thy bosom, Richard. Mrs. Hunter, as Lady Anne. Act I. Scene II. Lady Anne. Either, heaven with lightning strike this murtherer dead, Or, earth gape open wide, and eat him quick. Mr. Kemble, as Richard. Act IV. Scene II. Richard. -- But I am in, So far in blood, that sin will pluck on sin]] réalisée par Loutherbourg. [146]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Richard III. Act V. Scene III. Richard. Give me another horse -- bind up my wounds -- Have mercy, Jesu! -- Soft; I did but dream -- A Drawing. Act V. Scene III. Young Princes. Dream on thy cousins smother'd in the Tower; Let us be led within thy bosom, Richard. Mrs. Hunter, as Lady Anne. Act I. Scene II. Lady Anne. Either, heaven with lightning strike this murtherer dead, Or, earth gape open wide, and eat him quick. Mr. Kemble, as Richard. Act IV. Scene II. Richard. -- But I am in, So far in blood, that sin will pluck on sin (Browne)|A Drawing. Richard III. Act V. Scene III. Richard. Give me another horse -- bind up my wounds -- Have mercy, Jesu! -- Soft; I did but dream -- A Drawing. Act V. Scene III. Young Princes. Dream on thy cousins smother'd in the Tower; Let us be led within thy bosom, Richard. Mrs. Hunter, as Lady Anne. Act I. Scene II. Lady Anne. Either, heaven with lightning strike this murtherer dead, Or, earth gape open wide, and eat him quick. Mr. Kemble, as Richard. Act IV. Scene II. Richard. -- But I am in, So far in blood, that sin will pluck on sin]] réalisée par Browne. [147]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. King John. Act IV. Scene I. Hubert. Can you not read it? is it not fair writ? Arthur. Too fairly, Hubert, for so foul effect. A Drawing. Act IV. Scene I. Hubert. His words do take possession of my bosom. Read here, young Arthur -- Mr. Holma as Faulconbridge. I. Scene II. Faulconbridge. -- Austria's head lie there (Loutherbourg)|A Drawing. King John. Act IV. Scene I. Hubert. Can you not read it? is it not fair writ? Arthur. Too fairly, Hubert, for so foul effect. A Drawing. Act IV. Scene I. Hubert. His words do take possession of my bosom. Read here, young Arthur -- Mr. Holma as Faulconbridge. I. Scene II. Faulconbridge. -- Austria's head lie there]] réalisée par Loutherbourg. [148]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. King John. Act IV. Scene I. Hubert. Can you not read it? is it not fair writ? Arthur. Too fairly, Hubert, for so foul effect. A Drawing. Act IV. Scene I. Hubert. His words do take possession of my bosom. Read here, young Arthur -- Mr. Holma as Faulconbridge. I. Scene II. Faulconbridge. -- Austria's head lie there (Burney)|A Drawing. King John. Act IV. Scene I. Hubert. Can you not read it? is it not fair writ? Arthur. Too fairly, Hubert, for so foul effect. A Drawing. Act IV. Scene I. Hubert. His words do take possession of my bosom. Read here, young Arthur -- Mr. Holma as Faulconbridge. I. Scene II. Faulconbridge. -- Austria's head lie there]] réalisée par Burney. [149]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. King John. Act IV. Scene I. Hubert. Can you not read it? is it not fair writ? Arthur. Too fairly, Hubert, for so foul effect. A Drawing. Act IV. Scene I. Hubert. His words do take possession of my bosom. Read here, young Arthur -- Mr. Holma as Faulconbridge. I. Scene II. Faulconbridge. -- Austria's head lie there (Brown)|A Drawing. King John. Act IV. Scene I. Hubert. Can you not read it? is it not fair writ? Arthur. Too fairly, Hubert, for so foul effect. A Drawing. Act IV. Scene I. Hubert. His words do take possession of my bosom. Read here, young Arthur -- Mr. Holma as Faulconbridge. I. Scene II. Faulconbridge. -- Austria's head lie there]] réalisée par Brown. [150]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Henry VIII. Act III. Scene II. Wolsey. So farewell to the little good you bear me. Farewell, a long farewell, to all my greatness! Mrs. Barnes, as Anna Bullen. Act II. Scene III. Anna Bullen. -- 'Beseech your lordship, Vouchsafe to speak my thanks, and my obedience (Burney)|A Drawing. Henry VIII. Act III. Scene II. Wolsey. So farewell to the little good you bear me. Farewell, a long farewell, to all my greatness! Mrs. Barnes, as Anna Bullen. Act II. Scene III. Anna Bullen. -- 'Beseech your lordship, Vouchsafe to speak my thanks, and my obedience]] réalisée par Burney. [152]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Two Gentlemen of Verona. Act V. Scene III. Outlaw. Come, come. Be patient, we must bring you to our captain. A Drawing. Act V. Scene IV. Valentine. Russian, let go that rude uncivil touch; Thou friend of an ill fashion! Mr. Quick as Launce. Act IV. Scene III. Launce. Here, I have bought him back again (Burney)|A Drawing. Two Gentlemen of Verona. Act V. Scene III. Outlaw. Come, come. Be patient, we must bring you to our captain. A Drawing. Act V. Scene IV. Valentine. Russian, let go that rude uncivil touch; Thou friend of an ill fashion! Mr. Quick as Launce. Act IV. Scene III. Launce. Here, I have bought him back again]] réalisée par Burney. [155]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Two Gentlemen of Verona. Act V. Scene III. Outlaw. Come, come. Be patient, we must bring you to our captain. A Drawing. Act V. Scene IV. Valentine. Russian, let go that rude uncivil touch; Thou friend of an ill fashion! Mr. Quick as Launce. Act IV. Scene III. Launce. Here, I have bought him back again (Ramberg)|A Drawing. Two Gentlemen of Verona. Act V. Scene III. Outlaw. Come, come. Be patient, we must bring you to our captain. A Drawing. Act V. Scene IV. Valentine. Russian, let go that rude uncivil touch; Thou friend of an ill fashion! Mr. Quick as Launce. Act IV. Scene III. Launce. Here, I have bought him back again]] réalisée par Ramberg. [156]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Coriolanus. Act I. Scene VIII. Ausidius. Wert thou that Hector, That was the whip of your bragg'd progeny, Tho should'st not 'scape me here. A Drawing. Coriolanus. Act V. Scene V. Since I have ever follow'd thee with hate, Drawn tuns of blood out of thy country's breast, And cannot live but to thy shame, unless It be to do thee service Mrs. Yates as Volumnia. Act V. Scene III. Volumnia. -- So well will home to Rome, and die among our neightbours (Loutherbourg)|A Drawing. Coriolanus. Act I. Scene VIII. Ausidius. Wert thou that Hector, That was the whip of your bragg'd progeny, Tho should'st not 'scape me here. A Drawing. Coriolanus. Act V. Scene V. Since I have ever follow'd thee with hate, Drawn tuns of blood out of thy country's breast, And cannot live but to thy shame, unless It be to do thee service Mrs. Yates as Volumnia. Act V. Scene III. Volumnia. -- So well will home to Rome, and die among our neightbours]] réalisée par Loutherbourg. [157]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Coriolanus. Act I. Scene VIII. Ausidius. Wert thou that Hector, That was the whip of your bragg'd progeny, Tho should'st not 'scape me here. A Drawing. Coriolanus. Act V. Scene V. Since I have ever follow'd thee with hate, Drawn tuns of blood out of thy country's breast, And cannot live but to thy shame, unless It be to do thee service Mrs. Yates as Volumnia. Act V. Scene III. Volumnia. -- So well will home to Rome, and die among our neightbours (J. M. Moreau)|A Drawing. Coriolanus. Act I. Scene VIII. Ausidius. Wert thou that Hector, That was the whip of your bragg'd progeny, Tho should'st not 'scape me here. A Drawing. Coriolanus. Act V. Scene V. Since I have ever follow'd thee with hate, Drawn tuns of blood out of thy country's breast, And cannot live but to thy shame, unless It be to do thee service Mrs. Yates as Volumnia. Act V. Scene III. Volumnia. -- So well will home to Rome, and die among our neightbours]] réalisée par J. M. Moreau. [158]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Drawing. Coriolanus. Act I. Scene VIII. Ausidius. Wert thou that Hector, That was the whip of your bragg'd progeny, Tho should'st not 'scape me here. A Drawing. Coriolanus. Act V. Scene V. Since I have ever follow'd thee with hate, Drawn tuns of blood out of thy country's breast, And cannot live but to thy shame, unless It be to do thee service Mrs. Yates as Volumnia. Act V. Scene III. Volumnia. -- So well will home to Rome, and die among our neightbours (Burney)|A Drawing. Coriolanus. Act I. Scene VIII. Ausidius. Wert thou that Hector, That was the whip of your bragg'd progeny, Tho should'st not 'scape me here. A Drawing. Coriolanus. Act V. Scene V. Since I have ever follow'd thee with hate, Drawn tuns of blood out of thy country's breast, And cannot live but to thy shame, unless It be to do thee service Mrs. Yates as Volumnia. Act V. Scene III. Volumnia. -- So well will home to Rome, and die among our neightbours]] réalisée par Burney. [159]
  • 1793.03.27/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Portrait of Shakspere to be Sold. Portrait of Shakspere. This is a very faithful Copy, by that great Artist Stewart, of the famous original Picture of our Bard in the possession of the Duchess of Chandos. That this is a correct resemblance of this dazzling Child of Nature cannot doubted; although by whom it was painted may very reasonably. There is but little of even traditional report concerning it, and that little perplexed by irreconcilable contradictions. It has been ascribed to Burbage, the Tragedian; but we have no record that he possessed the Painting, and the Work bears the semblance of theoretic and practic Art. John Taylor the Painter is supposed to have painted this Picture -- It is in his manner, but his Works date as late as 1655; and the Bard had then been deceased 39 Years, and the Picture is of a Man scarcely more than 40 Years old -- Now as Shakspere died aged 52, Taylor must have painted for more than 60 Years, and incredible supposition. If after the opinion of Sir Joshua Reynolds we must not ascribe it to Jansen, it will be difficult to fix upon any as the Artist, with likelihood to lead us (Stewart)|The Portrait of Shakspere to be Sold. Portrait of Shakspere. This is a very faithful Copy, by that great Artist Stewart, of the famous original Picture of our Bard in the possession of the Duchess of Chandos. That this is a correct resemblance of this dazzling Child of Nature cannot doubted; although by whom it was painted may very reasonably. There is but little of even traditional report concerning it, and that little perplexed by irreconcilable contradictions. It has been ascribed to Burbage, the Tragedian; but we have no record that he possessed the Painting, and the Work bears the semblance of theoretic and practic Art. John Taylor the Painter is supposed to have painted this Picture -- It is in his manner, but his Works date as late as 1655; and the Bard had then been deceased 39 Years, and the Picture is of a Man scarcely more than 40 Years old -- Now as Shakspere died aged 52, Taylor must have painted for more than 60 Years, and incredible supposition. If after the opinion of Sir Joshua Reynolds we must not ascribe it to Jansen, it will be difficult to fix upon any as the Artist, with likelihood to lead us]] réalisée par Stewart. [163]
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