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[Landscape with large trees.]
[Landscape with large trees.]
Ric. Cooper del. 1802
Pen lithograph, rare; sheet 235 x 325mm (9¼ x 12¾"). Glued to backing sheet at corners; unidentified collector's stamp verso. Trimmed to image as usual.
One of the twelve pen lithographs from 'Specimens of Polyauthography', the first set of artist's lithographs ever published (by Philipp André in 1803). The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography. Cooper (1740-1814) had studied in Paris with the famous engraver J.-P. Le Bas and earned the nickname 'the English Poussin' for his depictions of Rome and its surroundings. After succeeding Alexander Cozens as drawing master at Eton in 1768, in later life he became drawing master to Princess Charlotte (1796-1814).
For a print by Princess Charlotte, see ref. 23168; Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35463]   £240.00  
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[Blasted tree with pensive traveller.]
[Blasted tree with pensive traveller.]
Ric. Cooper del. 1802
Pen lithograph, scarce; sheet 230 x 320mm (9¼ x 12½"). Nicks and tears to edges; hole middle right, losses on left & right bottom, trimmed.
Early lithograph by Richard Cooper (1740-1814). The son of another engraver, Cooper worked for a time in Italy, where he befriended Alexander Runciman and developed a style of landscape painting similar to that of Runciman (he became known as the 'English Poussin'). After marrying in Edinburgh in 1777, Cooper settled in London around 1787, where he dedicated himself to drawing (he became drawing master at Eton) and printmaking. This lithograph was included in the first portfolio of artists' lithographs, 'Specimens of Polyauthography'. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36947]   £140.00   (£168.00 incl.VAT)
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[Ruined abbey among trees]
[Ruined abbey among trees]
[by Richard Cooper, 1802]
Pen lithograph, sheet 220 x 325mm (9 x 12½"). Glued to backing sheet. Trimmed to subject.
Early lithograph by Richard Cooper (1740-1814). The son of another engraver, Cooper worked for a time in Italy, where he befriended Alexander Runciman and developed a style of landscape painting similar to that of Runciman (he became known as the 'English Poussin'). After marrying in Edinburgh in 1777, Cooper settled in London around 1787, where he dedicated himself to drawing (he became drawing master at Eton) and occasionally printmaking. This lithograph was included in the 1807 edition of the first portfolio of artists' lithographs, 'Specimens of Polyauthography'. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36948]   £240.00  
enquire about this item add to your wishlist