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[Abraham offering up his son Isaac] [top left 37; top right 18 & 36]
[Abraham offering up his son Isaac] [top left 37; top right 18 & 36]
T Worlidge 1758.
Etching, platemark 195 x 155mm (7¾ x 6"). Fine impression; good condition with large margins.
Abraham offering up his son Isaac, as recounted in the Hebrew Bible. God asked Abraham to sacrifice Isaac, before preventing him from doing so at the last minute, having received proof that he is god-fearing. Etching by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Posthumous impression with number '36' added in top right by Worlidge's widow to correspond with number in her 1767 catalogue of his prints.
State ii/iii; W36; D2
[Ref: 32779]   £160.00   (£192.00 incl.VAT)
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[Abraham offering up his son Isaac]
[Abraham offering up his son Isaac]
T Worlidge 1758.
Etching, platemark 190 x 150mm (7¾ x 6"). Trimmed inside platemark; surface loss top right.
Abraham offering up his son Isaac, as recounted in the Hebrew Bible. God asked Abraham to sacrifice Isaac, before preventing him from doing so at the last minute, having received proof that he is god-fearing. Etching by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Later impression on wove paper after engraved numbers excised.
State iii/iii; W36; D2
[Ref: 32780]   £40.00   (£48.00 incl.VAT)
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[Abraham offering up his son Isaac]
[Abraham offering up his son Isaac]
T Worlidge 1758
Etching, platemark 195 x 155mm (7¾ x 6"). Ink stains top left and right (possibly to cover up etched numbers 37 and 18); good impression and margins.
Abraham offering up his son Isaac, as recounted in the Hebrew Bible. God asked Abraham to sacrifice Isaac, before preventing him from doing so at the last minute, having received proof that he is god-fearing. Etching by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Lifetime impression.
State i/iii; W36; D2
[Ref: 32777]   £110.00   (£132.00 incl.VAT)
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[Portrait of Sofonisba Anguissola at the Easel]
[Portrait of Sofonisba Anguissola at the Easel]
[Thomas Worlidge after Sofonisba Anguissola]
Etching, platmark 190 x 155mm (7½ x 6"). Large margins; good impression
Etching of Sofonisba Anguissola's famous 1556 self-portrait (Lancut Palace, Poland), although ms on this print suggests it was believed to be the wife of the artist printmaker Thomas Worlidge. Mary Worlidge (1767) titles the print 'a lady painting' while Dack (1907) also suggests it is Worlidge's wife, indicating the scarcity of knowledge of Anguissola's painting. Worlidge (1700-66), was pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. After his death, his widow Mary published further impressions of his plates, adding numbers to the plates to correspond with her own catalogue numbers (as here).
State ii/iiW130; D119.
[Ref: 32943]   £220.00  
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Apollo, on Cornelian, Duke of Marlborough.
Apollo, on Cornelian, Duke of Marlborough.
T. Worlidge sculp.
[British, n.d., c.1770.]
Etching with drypoint with very wide margins, laid paper. 135 x 95mm. 5¼ x 3¾". Fine.
A cameo of the Greek god Apollo, holding a lyre. Thomas Worlidge (1700-1766), portrait painter and etcher. Pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. His widow issued his plates in 1766 and 1767 after his death; very few impressions were issued and sold by Worlidge during his lifetime.
[Ref: 26464]   £70.00   (£84.00 incl.VAT)
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James Ashley, Who at the London Punch House at Ludgate hill 1731, First Reduc'd the Price of Punch & rais'd its Reputation.
James Ashley, Who at the London Punch House at Ludgate hill 1731, First Reduc'd the Price of Punch & rais'd its Reputation.
T.Worlidge fecit.
[n.d., c.1740.]
Engraving. 190 x 145mm. Narrow margins.
The Keeper of the London Punch House.
[Ref: 6705]   £330.00  
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Sir Bernard Astley.
Sir Bernard Astley.
[etched by Thomas Worlidge 1758.]
[published by T & H Rodd, 1827]
Etching, plate 165 x 132mm (6½ x 5¼"). Small margins.
Sir Bernard Astley (d.1645) was a Royalist who fell at Bristol; he was the son of Jacob Astley. Portrait study by Thomas Worlidge (1700 - 1766), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. This plate was seemingly not offered for sale in Mary Worlidge's 1767 sale of Worlidge prints. This impression is from a 19th century republication.
State ii/ii; D8; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32945]   £60.00   (£72.00 incl.VAT)
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Sir Bernard Astley.
Sir Bernard Astley.
[Thomas Worlidge.]
Published 1821 (from a Plate by Worlidge) by T. & H. Rodd, 71. Little Newport St. Long Acre.
Etching. Plate 165 x 132mm. 6½ x 5¼".
Sir Bernard Astley (d.1645) was a Royalist who fell at Bristol; he was the son of Jacob Astley.
[Ref: 23282]   £70.00   (£84.00 incl.VAT)
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[Sir Bernard Astley]
[Sir Bernard Astley]
Thos. Worlidge 1758
Etching, plate 165 x 132mm (6½ x 5¼"). Margins; cream laid paper.
Sir Bernard Astley (d.1645) was a Royalist who fell at Bristol; he was the son of Jacob Astley. Portrait study by Thomas Worlidge Senior (1700 - 1766), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. This plate was seemingly not offered for sale in Mary Worlidge's 1767 sale of Worlidge prints.
State i/ii; D8; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32944]   £130.00   (£156.00 incl.VAT)
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[Sir Jacob Astley] [57 top left]
[Sir Jacob Astley] [57 top left]
Thos. Worlidge Fecit 1757.
Etching, sheet 160 x 130mm (6¼ x 5"). Good impression; trimmed inside platemark. Early ms. verso
Sir Jacob Astley (1579-1652), royalist army officer and one of the best-known figures of the English civil war. After serving on the continent, Astley was appointed sergeant-major-general in the second bishops' war in 1640. In the civil war Astley led forces of up to 10,000 until his defeat and capture in Stow on the Wold in 1646. After time spent in prison, Astley spent his last years at the Old Palace, Maidstone, which he had inherited from a cousin. Portrait, probably after Van Dyck, etched by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Lifetime impression.
State ii/v; W56; D12; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32854]   £140.00   (£168.00 incl.VAT)
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Sir Jacob Astley [ms]
Sir Jacob Astley [ms]
Thos. Worlidge Fecit 1757.
Etching, platemark 165 x 130mm (6½ x 5"). Very good impression; thread margins; glued to album sheet.
Sir Jacob Astley (1579-1652), royalist army officer and one of the best-known figures of the English civil war. After serving on the continent, Astley was appointed sergeant-major-general in the second bishops' war in 1640. In the civil war Astley led forces of up to 10,000 until his defeat and capture in Stow on the Wold in 1646. After time spent in prison, Astley spent his last years at the Old Palace, Maidstone, which he had inherited from a cousin. Portrait, probably after Van Dyck, etched by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Lifetime impression.
State i/v; W56; D12.
[Ref: 32855]   £160.00   (£192.00 incl.VAT)
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[Sir Jacob Astley]
[Sir Jacob Astley]
Thos. Worlidge Fecit 1757.
Etching, sheet 165 x 130mm (6½ x 5"). Good margins; tipped into album sheet at edges; pencil annotations 'very fine', 'a proof' [incorrectly] etc. Later number removed.
Sir Jacob Astley (1579-1652), royalist army officer and one of the best-known figures of the English civil war. After serving on the continent, Astley was appointed sergeant-major-general in the second bishops' war in 1640. In the civil war Astley led forces of up to 10,000 until his defeat and capture in Stow on the Wold in 1646. After time spent in prison, Astley spent his last years at the Old Palace, Maidstone, which he had inherited from a cousin. Portrait, probably after Van Dyck, etched by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Posthumous impression after numbers erased.
State iv/v; W56; D12; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32856]   £60.00   (£72.00 incl.VAT)
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[Sir Jacob Astley]
[Sir Jacob Astley]
Thos. Worlidge Fecit 1757.
Etching, sheet 165 x 130mm (6½ x 5"). Large margins. Later number removed.
Sir Jacob Astley (1579-1652), royalist army officer and one of the best-known figures of the English civil war. After serving on the continent, Astley was appointed sergeant-major-general in the second bishops' war in 1640. In the civil war Astley led forces of up to 10,000 until his defeat and capture in Stow on the Wold in 1646. After time spent in prison, Astley spent his last years at the Old Palace, Maidstone, which he had inherited from a cousin. Portrait, probably after Van Dyck, etched by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Posthumous impression after numbers erased.
State iv/v; W56; D12.
[Ref: 32857]   £45.00   (£54.00 incl.VAT)
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Sir Jacob Astley.
Sir Jacob Astley.
Published Aug. 1821 (From a Plate by Worlidge) by T. & H. Rodd. 17 Little Newport St. Leicester Sq. / Proof.
Etching, sheet 165 x 130mm (6½ x 5"). Small margins; glue stains to corners.
Sir Jacob Astley (1579-1652), royalist army officer and one of the best-known figures of the English civil war. After serving on the continent, Astley was appointed sergeant-major-general in the second bishops' war in 1640. In the civil war Astley led forces of up to 10,000 until his defeat and capture in Stow on the Wold in 1646. After time spent in prison, Astley spent his last years at the Old Palace, Maidstone, which he had inherited from a cousin. Portrait, probably after Van Dyck, etched by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Nineteenth century restrike of a plate etched by Worlidge in 1757.
State v/v; W56; D12; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32858]   £65.00   (£78.00 incl.VAT)
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Sir Jacob Astley.
Sir Jacob Astley.
Published Aug. 1821 (From a Plate by Worlidge) by T. & H. Rodd. 17 Little Newport St. Leicester Sq. / Proof.
Etching, sheet 165 x 130mm (6½ x 5"). Trimmed unevenly around platemark; glued to backing sheet.
Sir Jacob Astley (1579-1652), royalist army officer and one of the best-known figures of the English civil war. After serving on the continent, Astley was appointed sergeant-major-general in the second bishops' war in 1640. In the civil war Astley led forces of up to 10,000 until his defeat and capture in Stow on the Wold in 1646. After time spent in prison, Astley spent his last years at the Old Palace, Maidstone, which he had inherited from a cousin. Portrait, probably after Van Dyck, etched by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Nineteenth century restrike of a plate etched by Worlidge in 1757.
State v/v; W56; D12. Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32859]   £45.00   (£54.00 incl.VAT)
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[Lady's Head with feather in her hair] 15
[Lady's Head with feather in her hair] 15
Thos. Worlidge Fecit 1753.
Etching, platemark 195 x 155mm (7¾ x 6"). Very large margins; on cream laid paper. Slight creasing.
Female portrait study, 'supposed to be Lady Astley' according to Charles Dack's catalogue. By Thomas Worlidge (1700 - 1766), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married.
D118 (i/iii?); W102; Ex Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 33023]   £140.00   (£168.00 incl.VAT)
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[Dr Walter Baker] [61]
[Dr Walter Baker] [61]
[by Thomas Worlidge.]
Etching in sepia, Collector's mark at bottom; platemark 200 x 160mm (7¾ x 6½"). Printed on thick paper
Posthumous impression of an etching by Thomas Worlidge (1700-66). Born in Peterborough, Worlidge was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. After his death, his widow published further impressions of his plates, adding new numbers to the plates to correspond with her own catalogue numbers, as here. The identity of the sitter follows that on the British Museum's impression of the same print.
see BM 1877,0811.1275. Ex: Collection of the Late Honourable Christopher Lennox-Boyd.
[Ref: 32593]   £110.00   (£132.00 incl.VAT)
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Walter Baker by Worlidge [ms]
Walter Baker by Worlidge [ms]
[by Thomas Worlidge, c.1755]
Etching, platemark 200 x 155mm (8 x 6"). Fine impression; slight stains.
Portrait by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Lifetime impression before Worlidge's widow Mary issued new impressions in 1767 with number '61' added top right to correspond with the catalogue of his prints she produced. Dack reproduces an impression of this print with the following inscription in ms: 'This Portrait of Walter Baker (M.D. so created by himself) Painter, Designed & Etched by Thomas Worlidge Painter in the Little Piazza Covent Garden'.
State i/ii; W61; D15; O'D incorrectly identifies this as a portrait of scientist Henry Baker, F.R.S.
[Ref: 32864]   £260.00  
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[A Turk's Head]
[A Turk's Head]
Tho.s Worlidge Fec.t 1735.
Etching, sheet 135 x 100mm (5¼ x 4"). Trimmed to platemark; glued to backing sheet at corners;
Early print by Thomas Worlidge, one of several of men from the Near East. Born in Peterborough, Worlidge was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. His widow issued his plates in 1766 and 1767 afater his death with the numbers in the corners, but very few impressions were issued and sold by Worlidge during his lifetime.
For a 19th century copy of this print see ref. 20220. Ex: Collection Hon. C. Lennox-Boyd.
[Ref: 32572]   £95.00   (£114.00 incl.VAT)
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[Old man with a white beard]
[Old man with a white beard]
Etched by T. Worlidge / Pub. by R. Pollard, Spa Fields, 1790
Etching with very large margins, with Collector's mark at bottom; platemark 165 x 125mm (6½ x 5").
Posthumous impression of an etching by Thomas Worlidge. Worlidge etched his plate in the 1750s (before aquatint was used in England), but Robert Pollard republished several of Worlidge's plates in 1790 with aquatint which he presumably added to take advantage of the popularity of the medium at that time. Born in Peterborough, Worlidge was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married.
For impression before aquatint see ref. 32571. Ex: Collection of the Late Honourable Christopher Lennox-Boyd.
[Ref: 32603]   £140.00   (£168.00 incl.VAT)
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[Old man with a white beard.]
[Old man with a white beard.]
[by Thomas Worlidge]
[n.d., c.1767]
Etching, sheet 140 x 130mm (5½ x 5"). Trimmed inside platemark at top edge; glued to backing sheet.
Pre-1790 impression of an etching by Thomas Worlidge (in 1790 the plate was republished by Robert Pollard with added aquatint). The trimmed top edge may have been trimmed to cut off a number in the top right corner (these were added by Worlidge's widow when she reissued the plates following the printmaker's death). Born in Peterborough, Worlidge was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married.
For later impression with aquatint see ref. 32603. Ex: Collection Hon. C. Lennox-Boyd.
[Ref: 32571]   £95.00   (£114.00 incl.VAT)
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[A Beggar Man]
[A Beggar Man]
Thos. Worlidge Fecit 1754.
Etching, platemark 160 x 115mm (6¼ x 4½"). Large margins; on cream laid paper; good impression.
Study of a man on crutches by Thomas Worlidge (1700 - 1766), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Later impression after number '80' in top right removed (this was first put there when Worlidge's widow Mary issued new impressions in 1767 with the number '80' corresponding with its number in the catalogue of his prints she produced, and in which this print was listed as 'a beggar man').
State ii/ii; W46; D17; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 33037]   £180.00   (£216.00 incl.VAT)
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[A Beggar Man]
[A Beggar Man]
Thos. Worlidge Fecit 1754.
Etching, platemark 160 x 115mm (6¼ x 4½"). Small margins; on cream laid paper; good impression.
Study of a man on crutches by Thomas Worlidge (1700 - 1766), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Posthumous impression after Worlidge's widow Mary issued new impressions in 1767 with the number '80' added upper right to correspond with the catalogue of his prints she produced (in which this print was listed as 'a beggar man').
State i/ii; W46; D17; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 33036]   £120.00   (£144.00 incl.VAT)
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[Portrait of a bishop]
[Portrait of a bishop]
TW [Thomas Worlidge.]
Etching, platemark 165 x 125mm (6½ x 5"). Trimmed on platemark; false margins added.
By Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Lifetime impression before Worlidge's widow issued new impressions in 1767 with number '4' added in top right.
State i/iii; W31; D21; Ex: collection of the Late Hon. C. Lennox-Boyd
[Ref: 32772]   £160.00   (£192.00 incl.VAT)
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[Portrait of a bishop] [top left 32 in reverse]
[Portrait of a bishop] [top left 32 in reverse]
TW [Thomas Worlidge.]
Etching, platemark 150 x 115mm (6 x 5½"). Trimmed inside platemark.
By Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Posthumous impression with number '4' added in top right.
State ii/iii; W31; D21.
[Ref: 32773]   £100.00   (£120.00 incl.VAT)
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[Portrait of a bishop] [top left 32 in reverse; 4 top right]
[Portrait of a bishop] [top left 32 in reverse; 4 top right]
TW [Thomas Worlidge]
Etching, platemark 160 x 120mm (6¼ x 5½"). Trimmed inside platemark.
By Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Later impression. Reworking to lower part of plate.
State iii/iii; W31; D21.
[Ref: 32774]   £100.00   (£120.00 incl.VAT)
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[Portrait of a bishop.]
[Portrait of a bishop.]
TW [Thomas Worlidge.]
Etching, platemark 165 x 125mm (6½ x 5"). Good impression on cream laid paper; good margins.
By Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Lifetime impression before Worlidge's widow issued new impressions in 1767 with number '4' added in top right.
State i/iii; W31; D21; Ex: collection of the Late Hon. C. Lennox-Boyd
[Ref: 32771]   £160.00   (£192.00 incl.VAT)
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[A boy's head.] [1 top left corner]
[A boy's head.] [1 top left corner]
T.W. 1751.
Etching, sheet 120 x 90mm (4¾ x 3½"). Trimmed inside platemark. Signed 'J.B.' verso for John Barnard (Lugt 1419).
Study of a head, by Thomas Worlidge (1700-66). The 'English Rembrandt', Worlidge was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Lifetime impression before number '11' added by Worlidge's widow in her posthumous sale of his prints. From John Barnard (1709-84), print-collector and one of the foremost connoisseurs of his day.
State ii/iv; W11; D29
[Ref: 32741]   £180.00   (£216.00 incl.VAT)
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[A boy's head.][11 left & right]
[A boy's head.][11 left & right]
T.W. 1751.
Etching, sheet 125 x 100mm (5 x 4"). Good margins.
Study of a head, by Thomas Worlidge (1700-66). The 'English Rembrandt', Worlidge was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Posthumous impression with number '11' added in top right by Worlidge's widow to correspond with number in her posthumous sale of his prints.
State iii/iv; W11; D29
[Ref: 32742]   £130.00   (£156.00 incl.VAT)
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[A boy's head.] [11 top right]
[A boy's head.] [11 top right]
Etched by T. Worlidge.
Publ by R. Pollard Spa Fields 1790
Etching, sheet 125 x 100mm (5 x 4"). Trimmed on platemark; nick to top left; on laid paper.
Study of a head, by Thomas Worlidge (1700-66). The 'English Rembrandt', Worlidge was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Posthumous impression reworked with aquatint added, as republished by Thomas Pollard after the plate was sold to him
State iv/iv; W11; D29
[Ref: 32743]   £60.00   (£72.00 incl.VAT)
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[A boy's head.]
[A boy's head.]
T.W. [Thomas Worlidge] Fecit 1752
Etching, platemark 195 x 145mm (7¾ x 5¾"). Very good impression; thread margins; white laid paper.
Portrait study by Thomas Worlidge (1700-66) who specialised in etchings either copied from, or in the style of Rembrandt. Born in Peterborough, Worlidge was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Lifetime impression.
State i/iii; W87. D27
[Ref: 32886]   £90.00   (£108.00 incl.VAT)
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[A boy's head.]
[A boy's head.]
T.W. [Thomas Worlidge] Fecit 1752
Etching, platemark 195 x 145mm (7¾ x 5¾"). Good impression; small margins; cream laid paper; staining.
Portrait study by Thomas Worlidge (1700-66) who specialised in etchings either copied from, or in the style of Rembrandt. Born in Peterborough, Worlidge was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Lifetime impression.
State i/iii; W87. D27.
[Ref: 32887]   £130.00   (£156.00 incl.VAT)
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[A boy's head.]
[A boy's head.]
T.W. [Thomas Worlidge] Fecit 1752
Etching, platemark 195 x 145mm (7¾ x 5¾"). Good impression; thread margins; white laid paper; false margins added.
Portrait study by Thomas Worlidge (1700-66) who specialised in etchings either copied from, or in the style of Rembrandt. Born in Peterborough, Worlidge was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Lifetime impression.
State ii/iii; W87, D27; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32888]   £140.00   (£168.00 incl.VAT)
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[A boy's head.]
[A boy's head.]
Etched by T. Worlidge / Pub.d by R. Pollard Spa Fields 1790.
Etching and aquatint, sheet 195 x 145mm (7¾ x 5¾"). Trimmed on platemark; white wove paper. Crease on lower left.
Portrait study by Thomas Worlidge (1700-66) who specialised in etchings either copied from, or in the style of Rembrandt. Born in Peterborough, Worlidge was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Later impression after the publisher Robert Pollard added aquatint to make new impressions in 1790 from a plate by that time nearly forty years old.
State iii/iii; W87, D28.
[Ref: 32889]   £70.00   (£84.00 incl.VAT)
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[A boy's head.]
[A boy's head.]
T.W. [Thomas Worlidge]
[n.d., c.1760]
Etching, platemark 85 x 70mm (3¼ x 2¾"). Good impression; small margins; cream laid paper; pencil inscription 'Worlidge___ Boy'
Portrait study of a long-haired youth by Thomas Worlidge Senior (1700 - 1766), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Early impression.
State i/iii; W100; D233.
[Ref: 32905]   £160.00   (£192.00 incl.VAT)
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[A boy's head.][No 5 top right]
[A boy's head.][No 5 top right]
T.W. [Thomas Worlidge]
[n.d., c.1760]
Etching, platemark 85 x 70mm (3¼ x 2¾"). Small margins; cream laid paper.
Portrait study of a long-haired youth by Thomas Worlidge Senior (1700 - 1766), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Lifetime impression before Worlidge's widow Mary issued new impressions in 1767 with the number '100' added top right to correspond with the catalogue of his prints she produced.
State ii/iii; W100; D233.
[Ref: 32906]   £120.00   (£144.00 incl.VAT)
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[A boy's head.]
[A boy's head.]
T.W. [Thomas Worlidge]
[n.d., c.1760]
Etching, platemark 85 x 70mm (3¼ x 2¾"). Very large margins; uncut; cream laid paper.
Portrait study of a long-haired youth by Thomas Worlidge Senior (1700 - 1766), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Posthumous impression after Worlidge's widow Mary issued new impressions in 1767 with the number '100' & '5' added top right to correspond with the catalogue of his prints she produced.
State iii/iii; W100; D233.
[Ref: 32907]   £120.00   (£144.00 incl.VAT)
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[A boy's head.]
[A boy's head.]
T.W. 1751
Etching, sheet 120 x 90mm (4¾ x 3½"). Trimmed inside platemark; surface dirt; paper tone.
Study of a head, by Thomas Worlidge (1700-66). The 'English Rembrandt', Worlidge was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Lifetime impression before number '11' added by Worlidge's widow in her posthumous sale of his prints.
State i/iv; W11; D29
[Ref: 32740]   £160.00   (£192.00 incl.VAT)
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[Elizabeth Stanhope (née Butler), Countess of Chesterfield]
[Elizabeth Stanhope (née Butler), Countess of Chesterfield]
[by Thomas Worlidge]
Etching, sheet 70 x 60mm (2¾ x 2¼"). Trimmed inside platemark to oval shape; good impression; ms in old hand verso.
Portrait of Elizabeth Stanhope (née Butler), Countess of Chesterfield (1640-65), 2nd wife of Philip Stanhope. She died of 'spotted fever' in 1665. Her husband also contracted the disease, but recovered. By Thomas Worlidge (1700 - 1766), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Worlidge also etched Philip Stanhope's portrait.
D46; not in O'D; Ex collection of the Late Hon. C. Lennox-Boyd. See ref. 33028 for Philip Stanhope
[Ref: 33045]   £65.00   (£78.00 incl.VAT)
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Elizabeth Canning.
Elizabeth Canning.
TW 1754.
Etching with drypoint, small margins, paper watermarked. Plate 184 x 147mm (7¼ x 5¾"). Slight stain on right; glued to backing sheet at top corners.
Elizabeth Canning (1734-1773) in the witness box, portrayed here by Thomas Worlidge, the 'English Rembrandt'. Canning was a London scullerymaid whose alleged kidnapping caused a sensation in 1753. She disappeared for a month before returning to her mother's home. Susannah Wells and Mary Squires, Canning's alleged captors, were tried and found guilty. However, Crisp Gascoyne, trial judge and Lord Mayor of London, was unhappy with the verdict and began his own investigation which led to information proving Squires and her family to be innocent. Several of the prosecution witnesses recanted their earlier testimonies and Canning was tried and found guilty of perjury. She was sentenced to one month's imprisonment and seven years of transportation.
[Ref: 28956]   £180.00   (£216.00 incl.VAT)
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Elizabeth Canning.
Elizabeth Canning.
TW [Thomas Worlidge] 1754.
Etching,sheet 190 x 150mm (7½ x 6"). Trimmed on platemark; good impression on laid paper.
Elizabeth Canning (1734-1773) in the witness box, portrayed here by Thomas Worlidge, the 'English Rembrandt'. Canning was a London scullerymaid whose alleged kidnapping caused a sensation in 1753. She disappeared for a month before returning to her mother's home. Susannah Wells and Mary Squires, Canning's alleged captors, were tried and found guilty. However, Crisp Gascoyne, trial judge and Lord Mayor of London, was unhappy with the verdict and began his own investigation which led to information proving Squires and her family to be innocent. Several of the prosecution witnesses recanted their earlier testimonies and Canning was tried and found guilty of perjury. She was sentenced to one month's imprisonment and seven years of transportation. First state before the number '70' added on the right side.
State i/ii; D41; W69; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 33024]   £140.00   (£168.00 incl.VAT)
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Elizabeth Canning.
Elizabeth Canning.
TW [Thomas Worlidge] 1754.
Etching,sheet 190 x 150mm (7½ x 6"). Trimmed on platemark; good impression on laid paper; glued to backing sheet at corners.
Elizabeth Canning (1734-1773) in the witness box, portrayed here by Thomas Worlidge, the 'English Rembrandt'. Canning was a London scullerymaid whose alleged kidnapping caused a sensation in 1753. She disappeared for a month before returning to her mother's home. Susannah Wells and Mary Squires, Canning's alleged captors, were tried and found guilty. However, Crisp Gascoyne, trial judge and Lord Mayor of London, was unhappy with the verdict and began his own investigation which led to information proving Squires and her family to be innocent. Several of the prosecution witnesses recanted their earlier testimonies and Canning was tried and found guilty of perjury. She was sentenced to one month's imprisonment and seven years of transportation. First state before the number '70' added on the right side.
State i/ii; D41; W69; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 33025]   £140.00   (£168.00 incl.VAT)
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Elizabeth Canning.
Elizabeth Canning.
TW [Thomas Worlidge] 1754.
Etching,sheet 190 x 150mm (7½ x 6"). Small margins; good impression on laid paper; soiling at top.
Elizabeth Canning (1734-1773) in the witness box, portrayed here by Thomas Worlidge, the 'English Rembrandt'. Canning was a London scullerymaid whose alleged kidnapping caused a sensation in 1753. She disappeared for a month before returning to her mother's home. Susannah Wells and Mary Squires, Canning's alleged captors, were tried and found guilty. However, Crisp Gascoyne, trial judge and Lord Mayor of London, was unhappy with the verdict and began his own investigation which led to information proving Squires and her family to be innocent. Several of the prosecution witnesses recanted their earlier testimonies and Canning was tried and found guilty of perjury. She was sentenced to one month's imprisonment and seven years of transportation. Second state after the number '70' added (in reverse) on the right side.
State ii/ii; D41; W69; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 33026]   £160.00   (£192.00 incl.VAT)
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Elizabeth Canning.
Elizabeth Canning.
TW [Thomas Worlidge] 1754.
Etching,sheet 190 x 150mm (7½ x 6"). Small margins; tipped into album sheet; worn later impression.
Elizabeth Canning (1734-1773) in the witness box, portrayed here by Thomas Worlidge, the 'English Rembrandt'. Canning was a London scullerymaid whose alleged kidnapping caused a sensation in 1753. She disappeared for a month before returning to her mother's home. Susannah Wells and Mary Squires, Canning's alleged captors, were tried and found guilty. However, Crisp Gascoyne, trial judge and Lord Mayor of London, was unhappy with the verdict and began his own investigation which led to information proving Squires and her family to be innocent. Several of the prosecution witnesses recanted their earlier testimonies and Canning was tried and found guilty of perjury. She was sentenced to one month's imprisonment and seven years of transportation. Second state after the number '70' added (in reverse) on the right side.
State ii/ii; D41; W69; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 33027]   £90.00   (£108.00 incl.VAT)
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[Cherubim's Head.]
[Cherubim's Head.]
[by Thomas Worlidge]
Etching, platemark 35 x 35mm (1¼ x 1¼"). Large margins; good impression on laid paper.
Study of a cherub by Thomas Worlidge (1700 - 1766), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Posthumous impression after Worlidge's widow Mary issued new impressions in 1767 with the number '119' added to correspond with the catalogue of his prints she produced.
W119; D45; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 33038]   £60.00   (£72.00 incl.VAT)
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[Philip Stanhope, Earl of Chesterfield]
[Philip Stanhope, Earl of Chesterfield]
[by Thomas Worlidge after Peter Lely]
Etching, platemark 80 x 55mm (3¼ x 2¼"). Thread margins; tipped into album sheet. Proof before letters.
Portrait of Philip Stanhope, second earl of Chesterfield (16331714), courtier and politician, etched by Thomas Worlidge (1700-66) after the portrait by Peter Lely (Melbourne Hall, Derbyshire). Under the Protectorate Chesterfield was involved in royalist plots but 'perceived as too far engaged with his mistresses to be a major influence' (DNB). After the Restoration he was made lord chamberlain to Catherine of Braganza, and later chief justice. Chesterfield was against declaring William and Mary king and queen after 1688, and subsequently refused all offers of employment from William although he remained active in local politics. One of only two engraved likenesses recorded by O'Donoghue. The printmaker Thomas Worlidge also etched his second wife Elizabeth.
O'D 2; D47/8 (i/iii?); W25; Ex Collection of the Late Hon. C. Lennox-Boyd. See 33045 for Elizabeth Stanhope's portrait.
[Ref: 33028]   £160.00   (£192.00 incl.VAT)
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[Christ healing the sick] [4 top left]
[Christ healing the sick] [4 top left]
T.W. 1758 [Thomas Worlidge after Rembrandt, published November 1758]
Etching, 275 x 390mm (10¾ x 15½"). On wove paper; trimmed along platemark; glued to backing sheet on left; crease on left; slight foxing lower left.
Thomas Worlidge's (1700-66) copy of Rembrandt's famous 'hundred guilder print', depicting Christ healing the sick and debating with the Pharisees. Its sobriquet originated with a story that Rembrandt himself had to pay this (then exorbitant) price to buy back an impression. Since Rembrandt etched his plate in 1648 it was celebrated as his most complex and ambitious print, and its masterful lighting compared with his 'Night Watch'. Its lasting influence in England is demonstrated by both Worlidge's attempt to take up the challenge of emulating Rembrandt, and by Captain William Baillie's notorious reissuing of the (heavily-worked) original plate. Posthumous impression: after Worlidge's death, his prints were republished by his widow with numbers added in the plate corners to correspond with her 1767 sale catalogue of Worlidge prints. The 'English Rembrandt', Worlidge (1700-66) was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married.
State iii/iii; W4; D54
[Ref: 32719]   £320.00  
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[Christ healing the sick] [4 top left corner]
[Christ healing the sick] [4 top left corner]
T.W. 1758 [Thomas Worlidge after Rembrandt, published November 1758]
Etching, 275 x 390mm (10¾ x 15½"). Fine impression printed in brown; thread margins; glued to backing sheet at corners, stain, one small hole top centre.
Thomas Worlidge's (1700-66) copy of Rembrandt's famous 'hundred guilder print', depicting Christ healing the sick and debating with the Pharisees. Its sobriquet originated with a story that Rembrandt himself had to pay this (then exorbitant) price to buy back an impression. Since Rembrant etched his plate in 1648 it was celebrated as his most complex and ambitious print, and its masterful lighting compared with his 'Night Watch'. Its lasting influence in England is demonstrated by both Worlidge's attempt to take up the challenge of emulating Rembrandt, and by Captain William Baillie's notorious reissuing of the (heavily-worked) original plate. Posthumous impression: after Worlidge's death, his prints were republished by his widow with numbers added in the plate corners to correspond with her 1767 sale catalogue of Worlidge prints. The 'English Rembrandt', Worlidge (1700-66) was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married.
State iii/iii; W4; D54
[Ref: 32729]   £220.00  
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[Christ healing the sick]
[Christ healing the sick]
[by Thomas Worlidge, 1758]
Etching, platemark 275 x 390mm (10¾ x 15½"). Unfinished proof, very fine impression inscribed in pencil 'unfinished etching by Worlidge- the hundred guilder print'; central crease; glued to backing sheet at corners.
Rare first state of Thomas Worlidge's (1700-66) copy of Rembrandt's famous 'hundred guilder print', depicting Christ healing the sick and debating with the Pharisees. Its sobriquet originated with a story that Rembrandt himself had to pay this (then exorbitant) price to buy back an impression. Since Rembrant etched his plate in 1648 it was celebrated as his most complex and ambitious print, and its masterful lighting compared with his 'Night Watch'. Its lasting influence in England is demonstrated by both Worlidge's attempt to take up the challenge of emulating Rembrandt, and by Captain William Baillie's notorious reissuing of the (heavily-worked) original plate. The 'English Rembrandt', Worlidge (1700-66) was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married.
State i/iii; W4; D54
[Ref: 32728]   £950.00  
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[Christ healing the sick] [4 top left corner]
[Christ healing the sick] [4 top left corner]
T.W. 1758 [Thomas Worlidge after Rembrandt, published November 1758]
Etching, 275 x 390mm (10¾ x 15½"). On wove paper; margins (damaged).
Thomas Worlidge's (1700-66) copy of Rembrandt's famous 'hundred guilder print', depicting Christ healing the sick and debating with the Pharisees. Its sobriquet originated with a story that Rembrandt himself had to pay this (then exorbitant) price to buy back an impression. Since Rembrant etched his plate in 1648 it was celebrated as his most complex and ambitious print, and its masterful lighting compared with his 'Night Watch'. Its lasting influence in England is demonstrated by both Worlidge's attempt to take up the challenge of emulating Rembrandt, and by Captain William Baillie's notorious reissuing of the (heavily-worked) original plate. Posthumous impression: after Worlidge's death, his prints were republished by his widow with numbers added in the plate corners to correspond with her 1767 sale catalogue of Worlidge prints. The 'English Rembrandt', Worlidge (1700-66) was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married.
State iii/iii; W4; D54
[Ref: 32726]   £95.00   (£114.00 incl.VAT)
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