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[Horse anatomy.] Plate I.
[Horse anatomy.] Plate I.
Andrea del. R. Parr Sculp.
[n.d., c.1750.]
Etching printed in brown. 426 x 531mm. 16¾ x 21". Some vertical creases. Crease bottom right-hand corner.
An anatomical bone structure of a horse.
Not in BM.
[Ref: 14518]   £280.00  
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The Annunciation
The Annunciation from the original Drawing of the same size by Andrea Meldolla
R. Ford [in image lower right]
Etching, sheet 185 x 235mm (7¼ x 9¼"). Ms verso in old hand: 'Retouched R. Ford / 3rd impression'
The Annunciation, after 16th century Venice-based artist Andrea Meldolla. Etched by Richard Ford (1796-1858), art connoisseur and author who travelled widely in Europe and wrote a guidebook to Spain. Correggio and Parmigianino were particular enthusiasms of his.
[Ref: 35499]   £130.00   (£156.00 incl.VAT)
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[Marc Antonio Pasqualini] Apollo rewarding Merit and punishing Arrogance.
[Marc Antonio Pasqualini] Apollo rewarding Merit and punishing Arrogance. From the Original Painting of Andrea Sacchi in the Collection of Henry Furnese Esq.r.
Andrea Sacchi pinx.t. Romæ. Rob.t. Strange delin.t et sculp.t Londini.
Sold by Rob.t Strange Engraver, at the Golden Head, in Henrietta Street, Covent Garden, London. Publish'd according to Act of Parliament. 1755. [1786.]
Engraving. 510 x 345mm (20 x 13"), large margins.
Apollo places a laurel wreath on the head of Marc Antonio Pasqualini (1614-91, an Italian castrato opera singer and composer) who stands playing a kind of clavicytherium decorated with figures of Daphne and Marsyas, wearing a leopard pelt. To the left is Marsyas himself, a satyr who lost a musical challenge with Apollo and is tied up prior to being skinned. From a collected edition of the engravings by Sir Robert Strange (1721-92) after famous paintings, in this case one by Andrea Sacchi, painted 1641, now in the Metropolitan Museum of Art. Sacchi's patron, Cardinal Antonio Barberini, is believed to have had a physical relationship with Pasqualini.
[Ref: 46532]   £320.00  

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Auszug aus einer See-Charte die Andreas Bianco im I[ahr] 1436 zu Venedig verfertigte...  Auszug aus einer Charte die Fr. Picigano im I[ahr] 1367 zu Venedig verfertigte...
Auszug aus einer See-Charte die Andreas Bianco im I[ahr] 1436 zu Venedig verfertigte... Auszug aus einer Charte die Fr. Picigano im I[ahr] 1367 zu Venedig verfertigte...
A.G. Ephem 1807. 10. stk.
Weimar, im Verlag des geograph. Instituts, 1807.
Engraved map. 180 x 230mm, 7 x 9".
Two facsimiles of Venetian charts of the 15th & 16th centuries, showing the Atlantic before the known discovery of America, The presence of 'Y.a d'Antilla', a large island west of Madeira, is often used to argue that the Portuguese discovered America before Colombus.
[Ref: 25769]   £140.00  
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Eight Curious prints of Fowl and Fish.
Eight Curious prints of Fowl and Fish.
P. And. Rÿsbrack Pinx. G: Vander Gucht Sculpt.
Published by John Boydell Engraver in Cheapside London.
Extremely scarce complete set of eight engravings, including one proof impression. Plates: 570 x 420mm (22½ x 16½").
Eight plates after Pieter Andreas Rysbrack's (1685-1748) series of four paintings showing fish and four paintings showing fowl. The fish are depicted lying haphazardly on tables next to baskets as if ready for preparation or on the market stall while the birds are all shown in landscape settings as if freshly shot, ready to be collected. Each bird is numbered and named in a key below the image. John Boydell reissued the plates in 1760s which had previously been published in 1735 by Richard Hylton.
[Ref: 41786]   £6,500.00   view all images for this item
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Johannes est nomen eius. 7.
Johannes est nomen eius. 7.
Andrea del Sarto pinxit. Camillus Tinit sculpsit Romae 1771.
Florentiae in Aede vulgo della Compagnia della Scalzo.
Engraving. Plate 292 x 432mm (11½ x 17"). Water staining to left edge; creasing and tears. Bit messy.
The birth of St John the Baptist, with St Elizabeth on the right sitting in her bed dictating the child's name to Zacharias who is sitting by her side; a servant carrying the infant Baptist stands at centre with two more to the left. After the fresco by Andrea del Sarto for the Chiostro dell Scalzo, Florence. From "Schola Italica Picturae sive Selectae Quaedam Summorum e Schola Italica Pictorum Tabulae Aere Incisae Cura et Impensis Gavini Hamilton Pictoris", a series of forty plates.
[Ref: 31005]   £120.00   (£144.00 incl.VAT)
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[Napoleon Bonaparte in the ceremonial robes of the King of Italy.]
[Napoleon Bonaparte in the ceremonial robes of the King of Italy.]
[after Andrea Appiani.]
[n.d., c.1810.]
Etching with small margins, rare. 290 x 235mm (11½ x 9¼").
Napoleon Bonaparte was crowned King of Italy on the 17th March 1805 and deposed 11th April 1814. The artist, Andrea Appiani (17540817), was given a pension by the kingdom of Italy which was revoked after Napoleon's fall, leaving him in poverty.
[Ref: 36006]   £60.00   (£72.00 incl.VAT)

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[Titlepage of Andreas Cellarius's 'Harmonia Macrocosmica'.]
[Titlepage of Andreas Cellarius's 'Harmonia Macrocosmica'.]
F.H. v. Hoven ferc.
[Amsterdam, Johannes Jannson, 1660.]
Engraving. Sheet 225 x 270mm, 9 x 10½". Cut down.
Part of the allegorical titlepage to the only Dutch celestial atlas of the C17th, engraved by Frederik Hendrik van den Hove. The woman at the centre is Urania, the muse of astronomy, holding an armillary sphere and a ruler, mariner’s astrolabe and quadrant on the floor in front of her. On the left is the Dane Tycho Brahe (1546-1601), holding dividers against a celestial globe; on the right is the Polish astronomer Nicholas Copernicus (1473-1543) with a graphometer at his feet, pointing at an armillary sphere; behind left is Claudius Ptolemy of Alexandria (fl. A.D. 150), behind right is Dane Johan Philip Lansberge (1561–1632); second right is Castilian king Alfonso el Sabio (‘the Wise’, 1221-1284). The figure behind Urania has not been identified conclusively: theories include the Islamic astronomer al-Battani (c.850-929), Julius Schiller (c.1580–1627), who created constellations with Christian themes (reproduced by Cellarius in the Harmonia) and Cellarius himslef.
[Ref: 13166]   £380.00  
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[A specimen of sketching landscapes, in a free and masterly manner, with a pen or pencil:
[A specimen of sketching landscapes, in a free and masterly manner, with a pen or pencil: exemplified in thirty etchings, done from original drawings of Lucatelli, after the life, in and about Rome. By William Austin.]
[Published according to Act of Parliament, by the Author William Austin, in George-Street, Hanover-Square, where Drawing and Etching are taught in the most expeditious Manner.][n.d, 1781.]
Quarto, contemporary half calf and marbled boards; 30 etched plates, lacking title page. Binding rubbed.
One of the rarest of eighteenth century drawing books, containing 30 etched plates of vedute after Italian artist Andrea Locatelli (1695-1741), etched by William Austin. William Austin (1721 - 1820) was a pupil of George Bickham and worked with Paul Sandby and Francis Vivares. He ran a print-shop publishing some political caricatures, anti-French and pro-Fox, but gave up print making for teaching drawing, first in London and afterwards in Brighton. The title (as above) comes from the example in the Metropolitan Museum of Art; the Yale Center for British Art has a pirated version, 'exemplified in thirty-eight etchings', published by T. Simpson, 1781.
Metropolitan Museum of Art 60.574.3.
[Ref: 33204]   £720.00   view all images for this item
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S. Giovanni Battista.
S. Giovanni Battista.
Andrea del Sarto dipinse. Gio. Batta. Nocchi di: ed inc.
[n.d., c.1820.]
Etching, open letter proof. 350 x 260mm (14¼ x 10¼"), very large margins.
Half-length portrait of John the Baptist, bare-chested and with halo, after Florentine painter Andrea del Sarto (1486-1530). Giovanni Battista Nocchi etched a series of prints after paintings in the Uffizi; this painting is now in the Palazzo Pitti museum.
[Ref: 39715]   £180.00   (£216.00 incl.VAT)
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[Madonna and child?]
[Madonna and child?] From a very rare etching of the same size by Andrea Meldolla in the Collection of Richard Ford.
R.F. Scul. only 20 taken off. 1823.
Crayon-manner etching, all text in ink mss, very scarce. Image 170 x 90mm (10½ x 3½")
An amateur etching after Andrea Meldolla (c. 1510/5-1563, also known as Andrea Schiavone). Richard Ford (1796-1858) was an art connoisseur who travelled widely in Europe and wrote a guidebook to Spain. When he died of Bright's disease he left a fine collection of pictures to his widow Mary.
[Ref: 36479]   £80.00   (£96.00 incl.VAT)
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Noah Sacrificing.
Noah Sacrificing. From the Original Picture Painted by Andrea Sacchi, In the Collection of his Grace the Duke of Devonshire, at Chiswickl To whom this Place is Most Humbly Dedicated, By his Grace's most Obliged & most Obedient Servant, John Boydell.
Andrea Sacchi pinxit. E.Edwards delin.t. Mathew Liart Sculpsit.
Published by J. Boydell Engraver, in Cheapside, London; March 25th 1767.
Engraving. 485 x 510mm (19 x 21"). Small margin at top, very large margins on 3 sides.
Noah and his family sacrificing to God after finding land, the Ark resting on a cliff behind. Number 36 from "The Most Capital Paintings in England", a series of engravings in five volumes published from the late 1760s to 1786 (although the first three originally published as 'Sculptura Britannica'). These were a critical and financial success for the publisher John Boydell (later a Lord Major of London) and helped establish a tradition for collecting prints in Britain.
Ex Collection Duke of Westminster.
[Ref: 38294]   £340.00  
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A Sacrifice to Pan.
A Sacrifice to Pan. From the Original Picture Painted by Andrea Sacchi, In the Collection of the Right Honourable the Earl of Lincoln; To whom this plate is Dedicated by his Lordship's most Obliged and most Obedient Servant John Boydell. No. 49.
Andrea Sacchi Pinx.t. F. Aliamet Sculpsit.
Published according to Act of Parliament, Jan: 1.st 1769.
Engraving. Platemark: 480 x 600mm (19 x 23½"). Small margins. Light spotting in margins.
A mythological scene in which several figures are shown sacrificing goats to Pan, the classical god of flocks and shepherds. Being a rustic god Pan was not worshipped in temples but in natural settings such as the landscape depicted. Pan, shown with legs of a goat and holding his characteristic pipes watches the proceedings from the left while a druid prepares a sacred fire to the right of the image. From the series 'The Most Capital Paintings in England', Boydell's first major initiative as a pioneering publisher of fine engravings.
Ex Collection Duke of Westminster.
[Ref: 38301]   £280.00  
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To His Grace the Duke of Montagu, Master General of His Majesty's Ordnance &c, &c, &c, This Plate is Humbly dedicated by his Grace's most Devoted & most Obedient Humble Servant, Che.r And.e Casali.
To His Grace the Duke of Montagu, Master General of His Majesty's Ordnance &c, &c, &c, This Plate is Humbly dedicated by his Grace's most Devoted & most Obedient Humble Servant, Che.r And.e Casali. A Group of Statues, representing Peace Supported by Neptune and Mars.
Equ.s: An: Casali Inv.t. J. Bonneau Sculp.t.
Publish'd by Permission, June 6, 1757, according to Act of Parliam.t for I.G. at ye Jarr in Princes-Street, Cavendish Square.
Engraving. Sheet size: 410 x 275mm (16 x 10¾"). Trimmed to image on three sides and into plate at bottom.
The personification of Peace, sitting on a pedestal, flanked by Neptune (representing the British Navy) on the left and Mars (the army) on the right. Below the image are the arms of the Duke of Montagu. From a series of prints reproducing the pictures created by Casali for the firework machine set in St James' Park for the celebrations of the Treaty of Aix-la-Chapelle in 1748.
[Ref: 38433]   £240.00  
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To His Grace the Duke of Montagu, Master General of His Majesty's Ordnance &c, &c, &c, This Plate is Humbly dedicated by his Grace's most Devoted & most Obedient Humble Servant, Che.r And.e Casali.
To His Grace the Duke of Montagu, Master General of His Majesty's Ordnance &c, &c, &c, This Plate is Humbly dedicated by his Grace's most Devoted & most Obedient Humble Servant, Che.r And.e Casali. A Group of Statues, representing Peace Supported by Neptune and Mars.
Equ.s: An: Casali Inv.t. J. Bonneau Sculp.t.
Publish'd by Permission, June 6, 1757, according to Act of Parliam.t for I.G. at ye Jarr in Princes-Street, Cavendish Square.
Engraving. Sheet size: 425 x 295mm (16¾ x 11½"); very large margins; uncut.
The personification of Peace, sitting on a pedestal, flanked by Neptune (representing the British Navy) on the left and Mars (the army) on the right. Below the image are the arms of the Duke of Montagu. From a series of prints reproducing the pictures created by Casali for the firework machine set in St James' Park for the celebrations of the Treaty of Aix-la-Chapelle in 1748.
[Ref: 40595]   £330.00  
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To His Grace the Duke of Montagu, Master General of His Majesty's Ordnance &c, &c, &c, This Plate is Humbly dedicated by his Grace's most Devoted and most Obedient Humble Servant, Che.r And.e Casali.
To His Grace the Duke of Montagu, Master General of His Majesty's Ordnance &c, &c, &c, This Plate is Humbly dedicated by his Grace's most Devoted and most Obedient Humble Servant, Che.r And.e Casali. The Return of Mars.
Che.r And.e Casali inv.t. C. Grignon Sculp.
Printed by Permission, June 6, 1757, according to Act of Parliam.t for I.G. at ye Jarr in Princes-Street, Cavendish Square.
Engraving. Sheet size: 325 x 520mm (12¾ x 20½"); very large margins. Tear in bottom margin.
Mars seated in a chariot drawn by lions, his warriors behind him and a winged figure of Victory heralding his approach. Below the image are the arms of the Duke of Montagu. From a series of prints reproducing the pictures created by Casali for the firework machine set in St James' Park for the celebrations of the Treaty of Aix-la-Chapelle in 1748.
[Ref: 40596]   £320.00  
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To His Grace the Duke of Montagu, Master General of His Majesty's Ordnance &c, &c, &c, This Plate is Humbly dedicated by his Grace's most Devoted and most Obedient Humble Servant, Che.r And.e Casali.
To His Grace the Duke of Montagu, Master General of His Majesty's Ordnance &c, &c, &c, This Plate is Humbly dedicated by his Grace's most Devoted and most Obedient Humble Servant, Che.r And.e Casali. The Return of Neptune.
Che.r And.e Casali inv.t. Ravenet Sculp.
Publish'd by Permission, June 6, 1757, according to Act of Parliam.t for I.G. at ye Jarr in Princes-Street, Cavendish Square.
Engraving. Sheet size: 325 x 520mm (12¾ x 20½") very large margins.
Neptune seated in his sea-chariot drawn by horses, surrounded by tritons and with a putto heralding his approach. Below the image are the arms of the Duke of Montagu. From a series of prints reproducing the pictures created by Casali for the firework machine set in St James' Park for the celebrations of the Treaty of Aix-la-Chapelle in 1748.
[Ref: 40597]   £320.00  
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[Peddlar and man with walking stick]
[Peddlar and man with walking stick]
[probably by J.A.B. Nothnagel, c.1770]
Etching, platemark 95 x 65mm (3¾ x 2½). Foxing. Small margins.
Rembrandtesque etching believed to be by J.A.B. Nothnagel (1729-1804), painter and engraver, whose etchings were either after of 'in the style of'' the Dutchman.
[Ref: 38360]   £140.00   (£168.00 incl.VAT)
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[Horse anatomy.] Plate VII.
[Horse anatomy.] Plate VII.
Andrea del. R. Parr Sculp.
[n.d., c.1750.]
Etching printed in brown. 424 x 490mm. 16¾ x 19¼". Some vertical creases.
A muscular anatomy of a horse.
Not in BM.
[Ref: 14516]   £280.00  
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Ioannes 4 Lusitanie Rex 21. natus 19 Mart. 1603. Ex Ducatu Bragantie_omnium voce clamante...suscepta cura, quatuor ab Hispanis reportatis victorijs, regalis Bragantie Do:mus perenniter firmatur in Solia.
Ioannes 4 Lusitanie Rex 21. natus 19 Mart. 1603. Ex Ducatu Bragantie_omnium voce clamante...suscepta cura, quatuor ab Hispanis reportatis victorijs, regalis Bragantie Do:mus perenniter firmatur in Solia. [In frame around portrait:] Neque alienam terram sumpsimus, neque aliena detinemus, sed hereditatem patrum nostrorum, queab inimicis nostris aliquo tempore possessa est. Machab.1.C.15.
[Andreas Antonius Horatiis Romanus pinxt. Bendictus Fariat sculp.t]
[n.d. c.1680.]
A rare engraving. 271 x 182mm. 10¾ x 7¼". Trimmed to image false margins added.
John IV of Portugal (1603-1656). He was patron of music and arts and was considered a sophisticated writer on music and of music. His library, one of the largest in the world, was destroyed in the Lisbon earthquake of 1755. His most famous composition is a setting of the Crux fidelis, a work that remains highly popular during Lent amongst church choirs. His daughter, Catherine of Braganza, marrieed Charles II of England. In politics and military he led the Portuguese Restoration War against Spain, and was so successful that on the eve of his death in 1656, the Portuguese empire had reached its zenith spanning almost 3 billion acres.
[Ref: 20683]   £120.00   (£144.00 incl.VAT)
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Le Patisser,
Le Patisser, Vide Yorkicks Sentimental Journey Page 58 / In a wide World without Friend without a Livre___ & indeed without any thing but this
Inv.t & Engrav'd by J.R. Smith.
Published April 15.th 1775, by T. Bradshaw, James Street Covent Garden, & J.R. Smith, No. 10 Batemans Buildings, Soho Square.
Mezzotint with small margins, platemark 355 x 255mm (14 x 10"). Repairs on platemark.
Mezzotint by J.R. Smith after a miniature by A.V. Rymsdyk exhibited at the Royal Academy, 1775, illustrating the scene 'Le Patisser, Versailles' from Sterne's 'Sentimental Journey' in which Sterne's narrator encounters a Chevalier de St Louis reduced to selling pastries. The Chevalier, who had spent much of his life in service, wears the cross he obtained in service, which arouses the curiosity of passers-by. One of two prints after paintings by Andreas van Rymsdyk (1756-86) engraved by J.R. Smith as part of a set of four mezzotints inspired by 'The Sentimental Journey'. 'John Raphael Smith (1752-1812) was the finest artist among English mezzotint engravers and gave great charm to many of the prints he engraved. He designed many prints himself, including a number of stipples. He became a successful publisher, notably of the rustic genre pictures painted by George Morland, but even so skilled and experienced an engraver as Smith found the economic difficulties brought by the war with France too difficult and in his last years he worked primarily as a painter of pastel pictures in the north of England.' (David Alexander, 'Affecting Moments: Prints of English Literature made in the Age of Romantic Sensibility, 1775-1800', p.16).
D'Oench 58; Frankau 272 (as after George Carter)
[Ref: 32529]   £240.00  
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The Sword. Rennes.
The Sword. Rennes. Vide Yorkicks Sentimental Journey, Vol. 2 Page 58, / I think I saw a tear fall upon the Place, I could not be mistaken, by what follow'd.
Inv.t & Engrav'd by J.R. Smith.
Published April 15.th 1775, by T. Bradshaw, James Street Covent Garden, & J.R. Smith, No. 10 Batemans Buildings, Soho Square.
Mezzotint with small margins, platemark 355 x 255mm (14 x 10"). Repairs at top outside image.
Mezzotint by J.R. Smith after a painting by A.V. Rymsdyk exhibited at the Royal Academy, 1775, illustrating Sterne's 'Sentimental Journey', a popular source for pictures in the late 18th century. 'This print shows the touching moment when the Marquis d'E**, who had relinquished his nobility for many years in order to enter trade and repair the family fortune, reclaims his sword. He sheds a tear as he draws it almost out of the scabbard and notices a patch of rust. Yorick witness the scene: 'O how I envied him his feelings'. 'Andreas van Rymsdyk (1756-86) was primarily a portrait painter. This early subject picture was engraved as one of a set of four mezzotints [...] 'John Raphael Smith (1752-1812) was the finest artist among English mezzotint engravers and gave great charm to many of the prints he engraved. He designed many prints himself, including a number of stipples. He became a successful publisher, notably of the rustic genre pictures painted by George Morland, but even so skilled and experienced an engraver as Smith found the economic difficulties brought by the war with France too difficult and in his last years he worked primarily as a painter of pastel pictures in the north of England.' (David Alexander, 'Affecting Moments: Prints of English Literature made in the Age of Romantic Sensibility, 1775-1800', p.16).
Alexander 2; D'Oench 59; Frankau 341 (as after George Carter); for a different print showing this scene see ref. 18274.
[Ref: 32528]   £220.00  
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[The Death of St. Anne]
[The Death of St. Anne] Placita enim erat Deo anima illius. Sap.ae cap. 4.n.14
Andrea Sacchi inv. Et pinx. Iacob. Frey delin. Et sculp. Romae sup. Lic. An. 1726
Fine copper engraving, with large margins, 645 x 350mm (25½ x 13¾") to platemark. Central fold as issued.
St. Anne, the mother of the Virgin, on her deathbed. Engraved after the painting by Andrea Sacchi in S.Carlo ai Catenari, Rome.
[Ref: 19711]   £230.00  
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[Charity]
[Charity]
Andrea del Sarto Invent. Teodoro Kruger 1617
Engraving, sheet 265 x 205mm (10½ x 8"). Trimmed, losing text below figure; creased; glued to backing sheet. Top corner missing.
One from a set of four prints representing the Cardinal Virtues, each taken from grisaille figures flanking the doorways among Andrea del Sarto's frescoes in the Choistro dello Scalzo, Florence. The German engraver Theodor Kruger (1613-24, fl.) worked in Italy from around 1617 onwards.
[Ref: 32548]   £65.00   (£78.00 incl.VAT)
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