Richard dighton (18 Ergebnisse)

Loose Leaf. Zustand: New. Reproduction. Original title: A Discharged Fifer German: Ein entladener Fifer French: Une fifre déchargée Spanish: Una flor descargada High-quality fine-art reproduction based on an original work from the Ycba. Creation period: 19th century (ca. 1821). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.…

Gebunden. Zustand: New. KlappentextThis work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original w.

Zustand: Very Good. Original souvenir theatre programme. 7½'' x 5''. 4 printed pages. 6d seal broken and Very Good condition. Member of the P.B.F.A. THEATRE PROGRAMMES.

Portrait, etching, 310 x 210 mm. This item may have at some time been mounted and will bear traces on the reverse of adhesive or removal of mounts. Originally published by Dighton in 1823, this is McLean's re-issue of 1824. A pencil note identifies the sitter as Sir W. Curtis, but he is in fact William's older brother James, a brewer.…

Hardcover. Zustand: Very good. First. Two volumes, octavo (published in 1821 and 1822). [2: title, verso blank], [iii]-x, [3]-656; [2: title, verso blank], [i]-ix, [1: blank], [3]-668 pp. Hand-colored engraved frontispiece and pictorial hand-colored title in each volume, plus 30 hand-colored aquatint plates in the text. Later full crimson morocco, triple-ruled in gilt; spine with raised bands, lettered in gilt; gilt turn-ins; all edges gilt. Spine extremities and bands rubbed. Occasional mild toning and smudges. Complete with all 28 text plates called for in the Directions to the Binder, along with an additional two plates, "Tom and Bob Catching a Charley Napping" (Abbey no. 34) and "St. George's Day, Presentation at the Levee" (Abbey no. 31). A very good or better set, in a handsome signed binding by Riviere and Son. First edition (later issue) of this imitation of Pierce Egan's Life in London (1821). While sometimes attributed to Egan, the work was possibly written by John Badcock. "Out of the sixty-five imitations of it which Egan stated that he had reckoned, the most important was Real Life in London. which was published in sixpenny numbers in 1821, with excellent illustrations by Heath, Alken, Dighton, Rowlandson and others. Real Life in London is a pleasanter book than its prototype. Some have held that Egan wrote it; but the author had a purer style, a cleaner mind and a wider knowledge of London than Egan" (The Cambridge History of English and American Literature). "From a bibliographical point of view, one of the most complicated and bewildering books ever published, rivaling Pickwick in the tangle of variant states that exist both in text and plates. The work had a tremendous success, probably out-rivaling in popularity its prototype. A difficult feature of the book is that two printers. printed copies, textually the same page by page, with only minor variations in the settings, and this, coupled with the fact that during the eight or nine years it was being reprinted, makes the whole vast output all 'first editions' but with innumerable states and variants that continually overlap one with the other" (Abbey). "Originally published in 56 parts, on completion the work was issued in boards. Later copies were bound in publisher's cloth. A book full of contrarities and difficulties for the bibliographer, there being innumerable variations of the plates. The difficulties are further increased by many copies in modern bindings having been completed or made up of different issues giving combinations that are not true variations" (Tooley). Printers: R. Bensley, Bolt Court, Fleet Street (vol. 1); A. Applegath Stamford-street (vol. 2). Second volume title and imprint: Real Life in London; or, The Further Rambles and Adventures [etc.] - Printed for Jones & Co. 3, Warwick Square. 1822. References: Abbey, Life 280 (1821-22 first edition); J. H. Slater, Illustrated Sporting Books (1899), p. 96; Tooley 198 (1821-22 first edition).…

Zustand: Good. Hand-colored etching. 35 x 22 cm (sheet). Very Good, light toning in margin areas, ink notes in the lower margin, tape on verso at top sheet edges showing through to recto.

Zustand: Good. Hand-colored etching. 34 x 22 cm (sheet). Very Good, light toning in margin areas.

Zustand: Good. 11" x 7.5" Very Good. Hand Colored Etching.

'"A LONDON NUISANCE. PL. 1ST. PASSING A MUD CART."'A humorous depiction of a well-dressed man shielding his face as mud from a cart, drawn by a horse, splashes onto him. Set on a cobblestone street, the print humorously critiques the nuisances of urban living in early 19th-century London.Made by Richard Dighton after own design.Medium: Etching on wove (vellin) paper.Sheet size: 22 x 27 cm (8.66 x 10.63 inch).LONDON STREET SCENE, SATIRE, RICHARD DIGHTON, MUD CART, 19TH-CENTURY ETCHING, HUMOROUS CARICATURE, URBAN LIFE, SOCIAL COMMENTARY. | EXPO-472 (SATIRE)BACKGROUND INFORMATIONPublished by Thos. McLean, London, at 26 Haymarket, 1821.Reference: David Padfield, A View of Dightons: The Dighton Family, Their Times, Caricatures and Portraits, London 2007, p. 102.Biography engraver: Richard Dighton (1795-1880) was an English caricaturist and etcher known for his social and political satires, particularly of urban and street life in 19th-century England. Condition: good, given age. Light foxing and irregular paper edges. Remains of tape on rear from attachment. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Richard Dighton (illustrator).…

Zustand: Good. Etching on wove paper, Platemark: 8.5 x 11 inches, Good with small marginal tears, losses, faint staining & minor creasing.

Zustand: Good. Etching on wove paper, Platemark: 8.5 x 11 inches, Good with small marginal tears, losses, faint staining & minor creasing.

Etching, 185 x 210 mm. plate size, laid down on card. This print is always dated 1819 in institutional collections which is the date when it was drawn and etched (see lower left); the publication date on this, and all other copies traced, is actually 1824, as shown in the imprint (lower right). Sir Matthew Wood served as Lord Mayor of London from 1815 to 1817 and was a Whig MP from 1817 to 1843. At the age of fourteen he was apprenticed to his uncle, a chemist and druggist in Exeter. He moved to London in 1790 where he continued in this line of trade. In 1802, he patented a colouring matter for beer and went into business with a hop merchant. As Mayor of London Wood took a lead in many city improvements, and gained popularity for the way in which he promoted resistance to repressive government measures and for his campaign against the London underworld. He laid the foundation of a new debtors' prison in Whitecross Street, and encouraged the construction of the new London Bridge and formation of the Post Office.…

Zustand: Good. 9.5 x 13.5 inches. Unbound single sheet with deckled edges. English color aquatint. Very good. Lettered with publishing and printing lines: "Pub'd by Tho. Mc Lean. Hay Market. Nov. 1824," "Mr. Perry" and "Richard Dighton, 1824.".

Zustand: Good. Folio (8.5 x 13.75 inches). Oblong, Hand-colored etching on wove paper. Very Good.

"Drawn, Etched and Pubd. by Dighton, Jur., Charing Cross.". 1 vols. Image area 10" x 4 3/4" with ample margins. Robert Dighton (1750-1814) was a noted and popular cartoonist of his day. This is by his son Richard (1795-1880) who continued his father's work. The image depicts a rather portly man in a hat, standing, holding a walking stick upright. Tooley 181 Two spots of foxing , a little bit of mildew on image, else fine in a simple but handsome wood and gold frame, to an overall dimension of 17 1/8 " x 14" "Drawn, Etched and Pubd. by Dighton, Jur., Charing Cross.". 1 vols. Image area 10" x 4 3/4" with ample margins.…

Boxwood publisher's drum- sometimes called a cylindrical binding- 7 inches tall- with an engraved wrap around title as above, dated 1822 and 1823, with the virtues and talents, such as music and charity decoratively printed with a cloud. A CONTINUOUS STRIP APPROXIMATELY 11 FOOT LONG, rolled within the box, of hand coloured prints of male fashion costumes on the men of the day. On the verso of most are the names of the actual characters written in pencil. Sadly a slightly defective copy. Starting with Alspice and King Richard and ending with The Best Store in the Ordnance. According to a detailed description in the bibliography Abbey Life number 491 it should start with a horizontal title and Alpsice, but here starting in the middle of the image of Alspice, and there should be an additional 9 characters after the Best Store. Some repairs. VERY SCARCE WITH NO COPY SHOWING AT AUCTION SINCE 1960. No copy found on Worldcat or Copac.…

'"A LONDON NUISANCE, PLR. 4TH. A PLEASANT WAY TO LOSE AN EYE."'A comedic scene illustrating the dangers of inattentive walking. A butcher's delivery boy, carrying a large meat tray, unknowingly pokes a man in the eye while looking in the opposite direction. The background depicts a cobblestone street and fencing.Made by Richard Dighton after own design.Medium: Etching on wove (vellin) paper.Sheet size: 21.1 x 26.5 cm (8.31 x 10.43 inch).LONDON STREET SCENE, SATIRE, RICHARD DIGHTON, 19TH-CENTURY ETCHING, BUTCHER DELIVERY BOY, HUMOROUS CARICATURE, URBAN LIFE. | EXPO-472 (SATIRE)BACKGROUND INFORMATIONPublished by Thos. McLean, London, at 26 Haymarket.Reference: British Museum, Catalogue of Political and Personal Satires, no. 14292.Biography engraver: Richard Dighton (17951880) was an English caricaturist and etcher known for his social and political satires, particularly of urban and street life in 19th-century England. Condition: good, given age. Light foxing and irregular paper edges. Remains of tape on rear from attachment. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Richard Dighton (illustrator).…

Full-length portrait of an unknown man with an umbrella under his arm. Typical profile portrait by caricaturist and watercolor portrait painter (an unfortunate art thief) Richard Dighton. His father Robert Dighton,had been a clever social satirist.Signed on the verso in pencil: 'Richard Dighton / 5 Hugh Street (West) / Eccleston square'. It is, therefore, possible to date the drawing between 1851 and 1852, when the artist lived at that address in Cheltenham. [see THE ILLUSTRATORS. THE BRITISH ART OF ILLUSTRATION 1800-2014, p. 9]."Richard Dighton published his first etching in 1815. By 1828 he had created over one hundred works of art in this medium. At that date he ceased etching and moved to the provinces, settling in both Cheltenham and Worcester. Over the next twenty years Dighton worked mainly as a watercolor portraitist. After 1835 he again produced original prints, this time in the medium of lithography. As accomplished portrait painter and etcher, Dighton exhibited at the Free Society of Artists from 1769 until 1773. In addition, he periodically exhibited at the Royal Academy. Dighton used his subtle style to produce a great number of humorous portraits of the leading figures in English society. In awkward poses and with ruddy faces, Dighton satirized lawyers, military officers, actor, and actresses who were seen about town. He also did a series of amusing portraits of Oxford professors and country gentlemen, which display the same subtle sense of humor typical of his caricatures. In 1806 the British Museum discovered that Dighton had been stealing prints from their print room and selling them on the open market. An art dealer by the name of Samuel Woodburn had purchased a copy of Rembrandt's "Coach Landscape" from Dighton for twelve guineas. Supposing it may be a copy, Woodburn took the print to the British Museum to compare it with their impression; upon which he discovered that their copy was missing. Upon investigation Dighton confessed that he befriended the museum officials by drawing portraits of them when he visited the museum. This relationship allowed him the freedom to steal prints from the print room and remove them from the museum in his portfolio. He then proceeded to supplement his artists' income by selling the pilfered items to the art trade. Although he had somewhat questionable morals, Dighton remains an important English caricaturist who brought the profession a refreshing subtlety and quiet wit. Ironically, many of Dighton's caricatures and some of his original drawings can now be found in the print room of the British Museum. Drawing and watercolor strengthened with gum on cardboard, total: 261 x 208 mm, some damages along the margins, probably the drawing was wrongly mounted. Some accidents on the lower part, yet the portrait is in great condition.…