Extraordinary grouping of ten 18th Century concert tickets, several from London, ca. 1700–1810, each featuring a beautiful engraved illustration, including two engraved by Bartolozzi after Cipriani. The majority clearly identified as concert tickets in their printing, while others, likewise almost certainly concert tickets, but lacking now whatever defining information had originally attended their fine engravings. Condition and measurements of each piece are given below. The largest measures 11 x 7.5 inches; 27.9 x 19 cm (with mounting).

Ticket of admission to Paul's Head Rooms, Cateaton Street, with a striking red illustration: "Phoenix Assembly, Paul's Head Rooms, Cateaton Street Admits M. _____, introduced by _____, Monday, __ of _____, 180_, to begin at 8 o Clock. Not Transferable. Leo Reed, Secretary." Engraving attributed to an unknown Blake. In the 1796 publication Roach's London Pocket Pilot, Paul's Head was included together with five other taverns on a list as having the best food in London. Light creases in righthand corners, mounting remnants along verso upper edge, light foxing, very fine given age. 8 x 7 inches; 20.3 x 17.8 cm.

Engraving by Bartolozzi after Cipriani, showing a woman sat next to a lyre with two cherubs by her side, one at her shoulder and the other crouched on the ground. An impression of the same engraving with different text is included in the collection of the Art Institute Chicago under the name Ticket for the Benefit of M. Gardini (1780). Beneath the image are the words "Publish'd as the Act Directs, Feb. 4th 1780." "[The Engraving Copyright Act] was passed in 1735 to protect artists against having their work copied without consent, a protection from inferior engravers [and] an early form of copyright." (Roger Baynton-Williams, The Art of the Printmaker: 1500–1860). Three vertical creases, one through the image, some edge wear, overall fine given age. Sheet 5.75 x 6.25 inches; 14.6 x 15.9 cm; image 5.25 x 5.75 inches; 13.3 x 14.6 cm.

Ticket bearing an unattributed image of a cherub holding printed music, granting admission to a concert "[f]or the benefit of Sigr. Viganoni at the Great Room Opera House Hay Market, May 20, 1805. Tickets 10s (shillings) 6d (pence)." Signor Viganoni is likely Giuseppe Viganoni (1754–1823), an opera singer of some renown. A contemporary review said of his performance in Due Gobbi at the King's Theatre: "[Viganoni] was most flatteringly received. His voice, though not powerful, is of the sweetest tenor kind, equally flexible to all the tender modulations, as to the most rapid divisions." (Theodore Fenner, Opera in London: Views of the Press 1785–1830). Mounting remnants to verso, else very fine. 3.5 x 4.5 inches; 8.9 x 11.4 cm.

Invitation "to dine with the practicers in the several courts of Laws and Equity on the _____ day of _____, 176_ at _____ At two o'clock," for five shillings. The illustration shows Law and Justice leaning against a portrait of an unknown man. The bottom of the ticket notes with great emphasis that "this ticket will admit only ONE." An unknown hand has written "Galston, John. No. 3929 of his great collection of engravings." The same number has been written to verso with an annotation that it was Galston's mark. Pencil marks to recto and verso, three vertical creases, toning to top edge, else fine. 7.5 x 6 inches; 19 x 15.2 cm.

Ticket to a concert for the benefit of the New Musical Fund at the Great Room in King's Theatre, on Thursday, March 17, 1808. The illustration is attributed to Niccolò Schiavonetti (1771–1813), an Italian engraver. Very fine, though mounted to another piece of paper. Approx. 7.5 x 5.5 inches; 19 x 14 cm (with mounting).

Image of Venus Anadyomene, engraved by Bartolozzi after Cipriani and dated 1778, on a ticket "for the benefit of Mr. Giaruini [sic]," referring to Felice Giardini, an Italian violinist and composer who found great success in England during the 1750s and 1760s. "Bartolozzi's very first admission ticket, in 1767, was for Giardini; between then and 1782 he produced twelve tickets for Giardini, more than any other performer." (Stephen A. Bergquist, "Francesco Bartolozzi's Musical Prints," Music in Art, Spring-Fall 2007, Vol. 32, No. 1/2). Foxing to recto and verso, light surface creases in upper left corner, informative pencil markings to verso, and pen inscription in an unknown hand to verso which has bled through, though it does not affect the image, else fine. 4.5 x 5.25 inches; 11.4 x 13.3 cm.

Unattributed engraving depicting a woman with three cherubs on her lap and back. Trimmed and mounted, else fine. Image 4 x 4 inches; 10.2 x 10.2 cm; 5.5 x 4.75 inches; 14 x 12.1 cm (mounted).

Unattributed engraving of a cherub holding a torch high while sitting atop a basket of flowers, watching two doves kiss below. To the left, a flute dangles from a shepherd's crook. Trimmed corners, light foxing to recto and verso, else fine. 5.25 x 6 inches; 13.3 x 15.2 cm.

Unattributed engraving of two cherubs engaged in song, one singing with sheet music in hand as the other plays the flute. Unevenly trimmed, with substantial imprint margins along three edges, else fine. Approx. 7.5 x 5.75 inches; 19 x 14.6 cm.

Large and striking unattributed illustration of two cherubs sitting atop a drum amidst a pile of instruments, including a violin, lute, cello, horn, tambourine, and others. This example likely the earliest of the collection, possibly even late 17th century. Printed on thin paper which has been mounted to a thicker sheet of blue paper, which has then been mounted again. Light foxing, else very fine given age and fragility of the paper. Image 7.5 x 4.75 inches; 19 x 12.1 cm; 11 x 7.5 inches; 27.9 x 19 cm (with mounting).

London was a "center for the production and distribution of prints. In the first half of the century Paris was the center of the art world," but by the 1750s, "the city was well on its way to becoming not only the principal market for old master prints but also the center for the production of new prints. There were a number of specialist print shops; print publishers advertised widely, produced catalogues of their stock, and offered subscriptions to series of new prints... The ownership of prints, as Timothy Clayton says, 'demonstrated possession of taste and knowledge of fashion.' In short, it was a propitious time" for engravers. (Bergquist, Music in Art, Spring-Fall 2007, Vol. 32, No. 1/2)

Francesco Bartolozzi was born in Florence in 1727 or 28. At the age of 36, he moved to Rome, and after "four or five months... he made the acquaintance of Richard Dalton, the librarian to George III, who had been sent there... to find an engraver who could produce engraved copies of paintings and drawings owned by the king. Dalton offered Bartolozzi £300 per year for three years... Bartolozzi accepted." (Bergquist)