Trade label (72 x 68 mm), pasted on verso of linen backed print: ‘Cupid Sleeping. From a painting of Guido Reni, in the Collection of Sir Laurence Dundas Bar.’ Engraved by Robert Strange, cut close to plate mark (380 x 440 mm).
US $687 €585
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Printed trade label. ‘Thomas Fentham, Carver, Gilder, and Picture-Frame Maker, at No. 52, opposite Old Round Court, Strand, London. Sells all Sorts of Picture, Print and Looking-Glass Frames, of any colour to match Rooms; various Sorts of Green and Gold Dressing-Glasses, rich Girandoles, &c. and Green and Blue Venetian Window-Blinds. Old Pictures and Prints cleaned, lined, repaired, and secured from Dust. [
Thomas Fentham (1774-1808) ‘was a leading looking glass and picture framer in the Strand, whose business was carried on after his death by his son’.
The label offered here is not known to the National Portrait Gallery’s Directory of British Frame makers (online). They know of two different worded labels from this address.
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[CAROLINE of Brunswick, Queen.]
The Trial at large of Her Majesty Caroline Amelia Elizabeth, Queen of Great Britain, in the House of Lords, on Charges of adulterous Intercourse, containing a full and accurate Detail of the Evidence of the Witnesses, the Speeches of Counsel, and all other Proceedings in this extraordinary Trial, the Examination of the Witnesses, and the documentary Testimony, printed verbatim from the authenticated Journals of the House of Peers, the whole illustrated by explanatory Notes and embellished with faithful and highly-finished Portraits, &c … Vol. I, containing the Evidence in Support of the Charges [– Vol. II, containing the Evidence and Speeches for the Defence].
First edition of the trial of Queen Caroline. Defended by Henry Brougham and Thomas Denman against allegations presented to the House of Lords on behalf of George IV, Queen Caroline’s cause proved enormously popular; though the bill of pains and penalties, intended to end the King’s marriage and deprive the Queen of her title, narrowly passed its third reading in the Lords, Liverpool’s government withdrew it before it came to the Commons, fearing ‘popular rioting or even revolution’ (ODNB) and further damage to the King’s reputation.
Souscription patriotique de la part du beau-sexe de Strasbourg.
Rare first edition of this entertaining satirical piece on women's clothing, published in the aftermath of the French Revolution. After complaining that the recent craze for ‘gauze, muslin, linen and feathers’ had brought the country to its knees, the text describes how the patriotic women of Strasbourg had decided to surrender their diaphanous fashionable clothing to be put to the use of la patrie. All donations were to be stored at the local stud farm and were to be used, for example, to 'cover' the national debt, to protect walkers from insects sucking their patriotic blood, and to dress scarecrows. Red, white and blue feathers were to be made into patriotic plumes. The most generous donors were to have their silhouettes published in the nation's newspapers, and statues of themselves, made from pink papier-mâché, erected in the town hall.