The Baynton-Williams Gallery


General Prints
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Robert Adam: Design for a Sedan ChairRobert Adam.
Design of a Sedan Chair as executed for her Majesty.
[Engraved by P.Begbie after a design by Robert Adam, published, in London, 1775.]
Robert Adam, the formost architect of the period, designed this sedan chair for Queen Charlotte, with classical decoration including Græcian sphinxes. He chose to include the design in his Works in Architecture, a collection of elevations and views of his most famous works, including Syon House in Middlesex.
This must surely be the largest engraving of a sedan chair.
445 x 590mm.

Engravings by S. Watts after E. D. Smith, four to a page.
Published 1826-31.
Brilliant original colour
Each measures 16.5 x 12.5cms. to borders.
£30 each
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Wallich after Vishnupersaud: BegoniaWALLICH, Nathaniel.
Begonia pedunculosa (plate 97).
Rare lithograph in very fine original colour by M. Gauci, after Vishnupersaud. Printed by Engelmann, Graf, Coindet & Co.
From Wallich’s ‘Plantae Asiaticae Rariores’ published between 1829 and 1832. Image size including text 420 x 290mm.
Blunt considered Vishnupersaud ‘the most talented of the native Indian artists’

Military & Naval Prints

William Simpson.
Plates from The Seat of War in the East, from eighty-one drawings, one of the last great colour plate books on a war, depicting the events of the Crimean War (October 1853 – February 1856). It was one of the first wars to be extensively covered by newspaper correspondents, in particular William Russell for 'The Times', and photographers, including the first official war photographer, Roger Fenton. William Simpson (1823-99), an artist sent out to record the war for printseller's Colnaghi, was perhaps influenced by the realism of Fenton's photographs.

Simpson: Valley of The Shadow Of DeathThe Valley of The Shadow Of Death. Caves in the Woronzoff Road Behind the 21 Gun Battery.
W. Simpson delt. J. Needham lith. Day & Son, Lithrs. to the Queen. Published June 11th 1855 by Paul & Dominic Colnaghi & Co., 13 & 14 Pall Mall East – Publishers to her Majesty.
Tinted lithograph  with excellent hand colour.  Slight tape stain at the top edge.
Tennyson immortalised the Battle of Balaclava with his poem The Charge of the Light Brigade:

Half a league half a league,
Half a league onward,
All in the valley of Death
Rode the six hundred:
'Forward, the Light Brigade!
Charge for the guns' he said:
Into the valley of Death
Rode the six hundred.

Both Fenton and Simpson show the road strewn with cannon balls.
Image 255 x 445mm.

Simpson: Ditch of the Bastion du MatDitch of the Bastion du Mat.
W. Simpson del. E. Walker lith. Day & Son. Lithrs. to the Queen. Published Jany. 18th by Paul & Dominic Colnaghi & Co. 13 & 14 Pall Mall East – Publishers to her Majesty
Tinted lithograph  with excellent hand colour.  Slight tape stain at the top edge.
The French troops strengthening their fortifications during the Siege of Sevastapol.
Image 255 x 425mm.
Simpson: Bastion Du Mat, from the Central Bastion.Bastion Du Mat, from the Central Bastion.
W. Simpson del. E. Walker lith. Day & Son. Lithrs to the Queen. Published May 20th 1856 by Paul & Dominic Colnaghi & Co. 13 & 14 Pall Mall East – Publishers to her Majesty
Tinted lithograph  with excellent hand colour.  Slight tape stain at the top edge.
The allied troops enjoying a game of cards in their redoubt, during a lull in the fighting.
Image 315 x 500mm.
Knell: H. M. War  Steam Frigate The TerribleH. Paprill after W. Knell
H. M. War Steam Frigate The Terrible, of 1847, & 800 Horse power.
Painted by W. Knell. Engraved by H. Paprill. London, Published August 14th 1856 by Ackermann & Co. 96 Strand.
Aquatint in original colour. 
The Terrible, a steam frigate, was built from a design by Oliver Lang, the master shipwright of Woolwich Dock Yard. She was the largest steam-powered wooden paddle wheel frigate built for the Royal Navy. She served during the Crimean Watr and was involved in the siege of Sevastopol. In 1866 she helped the SS Great Eastern to lay the first successful Atlantic cable.
475 x 640mm.
Smirke: The Glorious First of JuneRobert Smirke.
Commemoration of the Victory of June 1st. MDCCXCIV.
R. Smirke, R.A. Del.t. The Figures Engraved by F. Bartolozzi, R.A. Landscape & Water Eng.d by Landseer. Portraits of the Eng. by Ryder. Portraits of the Capt.s by Stow. Pub. by R. Bowyer, 1803, Historic Gallery, Pall Mall.
Stipple    Good, clear impression with some staining, a repaired tear just entering the platemark at top, a few repaired tears in margins.
An allegorical scene, with Britannia overlooking the battle, about to be crowned with the victor's laurels. Above are cameo portraits of the British admirals, below the captains, a total of 34 portraits.
The Glorious 1st June commemorates a naval battle in 1794, otherwise known as the Third Battle of Ushant (an island off Brittany). Following the outbreak of war with Revolutionary France, and spectacular French victories on continental soil, many Britons feared the Revolution would 'jump the Channel'. The revolution, war and a failed harvest meant much of France was starving. In May 1794 the Admiral Lord Howe sought to prevent a grain convoy from America reaching France. The stage was set for the first great clash of fleets representing Liberte, Egalite and Fraternite with those of King and Country; between Revolutionary France and the Royal Navy.
It was fought some 300 miles west of Brittany with 34 ships of the Royal Navy under the command of the aging Admiral Lord Howe and the French fleet of 26 ships under Rear Admiral Villaret-Joyeuse.
All along the line the fighting was intense and by the time the firing had died away 11 British and 12 French ships were more or less dismasted. Human casualties were high on both sides.
Tactically, the British won the day, and the news of victory was greeted with wild enthusiasm in Britain, but the grain convoy from America had escaped intact and made its way to France.
800 x 426mm.

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