A selection of stock we have recently added to our website.
A selection of stock we have recently added to our website.
VAT included (see terms) | Exclude VAT
![[Concert ticket; For the Benefit of Mrs. Banti].](jpegs/32428.jpg)
[Concert ticket; For the Benefit of Mrs. Banti].
F. Bartolozzi inv.t Sculps.t.
Aetatis suae 69. 1797.
Engraving with large margins. Platemark: 138 x 172mm (5½ x 6¾").
A concert ticket for the benefit of singer Mrs Brigitta Giorgi Banti (1756 - 1806). A muse is seated on clouds, lifting her left hand, holding a lyre in her right. On the right, are two putti, holding a trumpet and two laurel crowns. On the left, another putto holds a banner over Muse.
De Vesme: 1914, iv of vii. See item 20507 and 21299 for earlier states.
[Ref: 32428] £230.00 (£276.00 incl.VAT)
F. Bartolozzi inv.t Sculps.t.
Aetatis suae 69. 1797.
Engraving with large margins. Platemark: 138 x 172mm (5½ x 6¾").
A concert ticket for the benefit of singer Mrs Brigitta Giorgi Banti (1756 - 1806). A muse is seated on clouds, lifting her left hand, holding a lyre in her right. On the right, are two putti, holding a trumpet and two laurel crowns. On the left, another putto holds a banner over Muse.
De Vesme: 1914, iv of vii. See item 20507 and 21299 for earlier states.
[Ref: 32428] £230.00 (£276.00 incl.VAT)
![[Concert ticket; For the Benefit of Mrs. Banti.]](jpegs/21299.jpg)
[Concert ticket; For the Benefit of Mrs. Banti.]
[F. Bartolozzi invt. Sculpst.]
[London, c.1797.]
Etching, proof before letters trimmed so roundel, diameter 185mm, 7¼". Small tear into plate lower left, plate mark cut small blemish in paper ower edge centre.
Muse seated on clouds holding a lyre with three putti; one holds a trumpet, another two laurel wreaths, the third holding the (unlettered) above. Ticket for the benefit of Brigitta Giorgi Banti (1756 - 1806), singer.
De Vesme: 1914, ii of vii. See item 20507.
[Ref: 21299] £180.00 (£216.00 incl.VAT)
[F. Bartolozzi invt. Sculpst.]
[London, c.1797.]
Etching, proof before letters trimmed so roundel, diameter 185mm, 7¼". Small tear into plate lower left, plate mark cut small blemish in paper ower edge centre.
Muse seated on clouds holding a lyre with three putti; one holds a trumpet, another two laurel wreaths, the third holding the (unlettered) above. Ticket for the benefit of Brigitta Giorgi Banti (1756 - 1806), singer.
De Vesme: 1914, ii of vii. See item 20507.
[Ref: 21299] £180.00 (£216.00 incl.VAT)
![[Boy Sleeping on a Bed.]](jpegs/21914.jpg)
[Boy Sleeping on a Bed.]
Elisabetta Sirani inv. F. Bartolozzi sculp.
[n.d. c.1780.]
Stipple and etching. 245 x 310mm (9¾ x 12¼"). Slight crease vertically down by torso.
A naked little boy sleeping on the bed, lying on his back with two pillows underneath his head. Elisabetta Sirani (1636-1665), painter and etcher of Bologna. The daughter of painter Giovanni Andrea Sirani, she took over his studio when he became incapacitated by gout. Her success was cut short by her death at 27.
Ex: Norman Blackburn Collection. De Vesme: 1225.
[Ref: 21914] £140.00 (£168.00 incl.VAT)
Elisabetta Sirani inv. F. Bartolozzi sculp.
[n.d. c.1780.]
Stipple and etching. 245 x 310mm (9¾ x 12¼"). Slight crease vertically down by torso.
A naked little boy sleeping on the bed, lying on his back with two pillows underneath his head. Elisabetta Sirani (1636-1665), painter and etcher of Bologna. The daughter of painter Giovanni Andrea Sirani, she took over his studio when he became incapacitated by gout. Her success was cut short by her death at 27.
Ex: Norman Blackburn Collection. De Vesme: 1225.
[Ref: 21914] £140.00 (£168.00 incl.VAT)
![[Boy Sleeping on a Bed.]](jpegs/53324.jpg)
[Boy Sleeping on a Bed.]
Elisabetta Sirani inv. F. Bartolozzi sculp.
[n.d. c.1780.]
Stipple and etching, printed in sepia. 245 x 310mm (9¾ x 12¼"), with large margins.
A naked little boy sleeping on the bed, lying on his back with two pillows underneath his head. Elisabetta Sirani (1636-1665), painter and etcher of Bologna. The daughter of painter Giovanni Andrea Sirani, she took over his studio when he became incapacitated by gout. Her success was cut short by her death at 27.
De Vesme: 1225.
[Ref: 53324] £280.00 (£336.00 incl.VAT)
Elisabetta Sirani inv. F. Bartolozzi sculp.
[n.d. c.1780.]
Stipple and etching, printed in sepia. 245 x 310mm (9¾ x 12¼"), with large margins.
A naked little boy sleeping on the bed, lying on his back with two pillows underneath his head. Elisabetta Sirani (1636-1665), painter and etcher of Bologna. The daughter of painter Giovanni Andrea Sirani, she took over his studio when he became incapacitated by gout. Her success was cut short by her death at 27.
De Vesme: 1225.
[Ref: 53324] £280.00 (£336.00 incl.VAT)
![[The Prosperity of Great Britain, Contrasted with the Misery of France]](jpegs/25360.jpg)
[The Prosperity of Great Britain, Contrasted with the Misery of France]
[T. Martyn inv. F. Bartolozzi R.A. sculp]
[London Published June 1794, by Thos. Martyn, No. 10 Great Marlborough Street.']
Stipple very rare Proof impression, 605 x 480mm Trimmed to plate nicks and tears around outer edges.
On an obelisk, 'by King Lords and Commons MDCCXCIV', is inscribed under portaits of George III and Charlotte. St Paul's in the background along side the Customs House. Britannia with lion, shield and spear acknowledges Abundance while Justice rests and Prudence holds up a Mirror to France in distress.
De Vesme:565
[Ref: 25360] £360.00
[T. Martyn inv. F. Bartolozzi R.A. sculp]
[London Published June 1794, by Thos. Martyn, No. 10 Great Marlborough Street.']
Stipple very rare Proof impression, 605 x 480mm Trimmed to plate nicks and tears around outer edges.
On an obelisk, 'by King Lords and Commons MDCCXCIV', is inscribed under portaits of George III and Charlotte. St Paul's in the background along side the Customs House. Britannia with lion, shield and spear acknowledges Abundance while Justice rests and Prudence holds up a Mirror to France in distress.
De Vesme:565
[Ref: 25360] £360.00
![[St Giles Beauty.]](jpegs/46716.jpg)
[St Giles Beauty.]
J.H. Benwell Pinx.t. F. Bartolozzi Sculp.t.
Pub.d 8. Sept. 1783 by E.M. Diemar Strand.
Stipple, printed in sepia, fine proof before title. Plate: 270 x 220mm (10¾ x 8¾") very large margins.
A portrait of Elizabeth Burrough, the St Giles Beauty shown in profile, wearing a bonnet with a satin sash.
De Vesme 1290.II of III. Provenance: Edge Hill, Cheshire.
[Ref: 46716] £360.00
J.H. Benwell Pinx.t. F. Bartolozzi Sculp.t.
Pub.d 8. Sept. 1783 by E.M. Diemar Strand.
Stipple, printed in sepia, fine proof before title. Plate: 270 x 220mm (10¾ x 8¾") very large margins.
A portrait of Elizabeth Burrough, the St Giles Beauty shown in profile, wearing a bonnet with a satin sash.
De Vesme 1290.II of III. Provenance: Edge Hill, Cheshire.
[Ref: 46716] £360.00
Callirhoe.
J. B. Cipriani inv.t. et del. F. Bartolozzi sculp.
Stipple. Sheet: 130 x 155mm, (5 x 6"). Trimmed within plate and publication line.
A half-length portrait of Callirhoe, a protagonist from Chariton's novel of the same name, set in 400 BC Syracuse, in which the supernaturally beautiful Callirhoe marries Chaereas. However, Chaereas' jealousy causes a chain of unfortunate events leading to years of separation. Evidence of Chariton's novel only appears in a 13th Century manuscript and the story was not published until the 18th Century.
de V: 376 II of II.
[Ref: 36856] £140.00 (£168.00 incl.VAT)
J. B. Cipriani inv.t. et del. F. Bartolozzi sculp.
Stipple. Sheet: 130 x 155mm, (5 x 6"). Trimmed within plate and publication line.
A half-length portrait of Callirhoe, a protagonist from Chariton's novel of the same name, set in 400 BC Syracuse, in which the supernaturally beautiful Callirhoe marries Chaereas. However, Chaereas' jealousy causes a chain of unfortunate events leading to years of separation. Evidence of Chariton's novel only appears in a 13th Century manuscript and the story was not published until the 18th Century.
de V: 376 II of II.
[Ref: 36856] £140.00 (£168.00 incl.VAT)
![[The Canterbury Tales] Griselda.](jpegs/60306.jpg)
[The Canterbury Tales] Griselda. There, lowly seated on the dewey ground, she feeds her little charge that bleats around.
Angelica Kauffman del.t. Fran. Bartolozzi sculp.t.
London Publish'd March 35, 1784 by Sus,a Vivares, No 13 Great Newport Street.
Fine stipple with etching, printed in colours. 385 x 290mm (15¼ x 11½"). Thread margins, repair to bottom left corner of plate.
Griselda sitting in a landscape with sheep, holding a spindle under her left arm and a shuttle in her right hand. From Chaucer's 'Clerk of Oxford's Tale'.
De Vesme 1369. Ex: Oettingen-Wallerstein collection. Sotheby's London / Milan Nov 1997.
[Ref: 60306] £480.00
Angelica Kauffman del.t. Fran. Bartolozzi sculp.t.
London Publish'd March 35, 1784 by Sus,a Vivares, No 13 Great Newport Street.
Fine stipple with etching, printed in colours. 385 x 290mm (15¼ x 11½"). Thread margins, repair to bottom left corner of plate.
Griselda sitting in a landscape with sheep, holding a spindle under her left arm and a shuttle in her right hand. From Chaucer's 'Clerk of Oxford's Tale'.
De Vesme 1369. Ex: Oettingen-Wallerstein collection. Sotheby's London / Milan Nov 1997.
[Ref: 60306] £480.00
Edw. Capell.
F. Bartolozzi del. et sculps.
[n.d., c.1880.]
Stipple and line engraving. Sheet 255 x 190mm (10 x 7½"). Trimmed within plate.
Edward Capell (1713-81), Shakespearean commentator. Concerned with inaccuracies in Sir Thomas Hamner'd edition of Shakespeare, Capell spent three years collecting and comparing early folio and quarto editions, he published his ten-volume edition in 1768. Drawn and engraved by Bartolozzi from a plaster cameo by Louis François Roubiliac c.1770.
De Vesme 774.III.
[Ref: 35325] £50.00 (£60.00 incl.VAT)
F. Bartolozzi del. et sculps.
[n.d., c.1880.]
Stipple and line engraving. Sheet 255 x 190mm (10 x 7½"). Trimmed within plate.
Edward Capell (1713-81), Shakespearean commentator. Concerned with inaccuracies in Sir Thomas Hamner'd edition of Shakespeare, Capell spent three years collecting and comparing early folio and quarto editions, he published his ten-volume edition in 1768. Drawn and engraved by Bartolozzi from a plaster cameo by Louis François Roubiliac c.1770.
De Vesme 774.III.
[Ref: 35325] £50.00 (£60.00 incl.VAT)
Edw. Capell. From a model in plaster taken from the Life by Roubilliac 1759.
F. Bartolozzi del. et sculps.
[n.d., c.1770.] Bit later.
Stipple and line engraving. Sheet 245 x 200mm (9¾ x 8") Trimmed within plate on three sides.
Edward Capell (1713-81), Shakespearean commentator. Concerned with inaccuracies in Sir Thomas Hamner'd edition of Shakespeare, Capell After spent three years collecting and comparing early folio and quarto editions, he published his a ten-volume edition in 1768. Drawn and engraved by Bartolozzi from a plaster cameo by Louis François Roubiliac.
De Vesme 774.II.
[Ref: 35323] £60.00 (£72.00 incl.VAT)
F. Bartolozzi del. et sculps.
[n.d., c.1770.] Bit later.
Stipple and line engraving. Sheet 245 x 200mm (9¾ x 8") Trimmed within plate on three sides.
Edward Capell (1713-81), Shakespearean commentator. Concerned with inaccuracies in Sir Thomas Hamner'd edition of Shakespeare, Capell After spent three years collecting and comparing early folio and quarto editions, he published his a ten-volume edition in 1768. Drawn and engraved by Bartolozzi from a plaster cameo by Louis François Roubiliac.
De Vesme 774.II.
[Ref: 35323] £60.00 (£72.00 incl.VAT)
Mr. Dimond & Miss Wallis in the Characters of Romeo & Juliet. Romeo. "Let's fly together"
Ch.s Shirreff Pinx.t F. Bartolozzi R.A. sculp.t
London Publish'd as the Act directs by Ch.s Shirreff May 1796
Stipple, sheet 250 x 185mm (9¾ x 7¾"). Trimmed inside platemark.
Scene from Shakespeare's 'Romeo & Juliet' engraved by Francesco Bartolozzi (1725-1815) after Charles Shirreff (b.1750), British artist in India (Madras and Calcutta) 1796-1809. Bartolozzi (1725-1815) was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. This impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work. Inscription verso indicates this is the only impression of the print in this state seen by Calabi. This state is not in fact listed in the catalogue, which lists only different identifications of the actors playing the two roles on impressions in different collections.
Calabi & de Vesme 1213 (state not listed)
[Ref: 43138] £180.00 (£216.00 incl.VAT)
Ch.s Shirreff Pinx.t F. Bartolozzi R.A. sculp.t
London Publish'd as the Act directs by Ch.s Shirreff May 1796
Stipple, sheet 250 x 185mm (9¾ x 7¾"). Trimmed inside platemark.
Scene from Shakespeare's 'Romeo & Juliet' engraved by Francesco Bartolozzi (1725-1815) after Charles Shirreff (b.1750), British artist in India (Madras and Calcutta) 1796-1809. Bartolozzi (1725-1815) was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. This impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work. Inscription verso indicates this is the only impression of the print in this state seen by Calabi. This state is not in fact listed in the catalogue, which lists only different identifications of the actors playing the two roles on impressions in different collections.
Calabi & de Vesme 1213 (state not listed)
[Ref: 43138] £180.00 (£216.00 incl.VAT)
The Portrait of Anibale Caracci, Drawn by himself.
F. Bartolozzi Scolpi in Londra 1761.
Etching in red/brown ink. Plate 208 x 184mm. 8¼ x 7¼". A very fine impression.
Annibale Carracci (1560-1609) was an Italian Baroque painter. Famous for his landscapes and genre paintings, but primarily for his recommendation by the Duke of Parma to the Cardinal Odoardo Farnese ,who wished to decorate the piano nobile of the cavernous Roman Palazzo Farense.
De Vesme: 775.
[Ref: 21219] £220.00 (£264.00 incl.VAT)
F. Bartolozzi Scolpi in Londra 1761.
Etching in red/brown ink. Plate 208 x 184mm. 8¼ x 7¼". A very fine impression.
Annibale Carracci (1560-1609) was an Italian Baroque painter. Famous for his landscapes and genre paintings, but primarily for his recommendation by the Duke of Parma to the Cardinal Odoardo Farnese ,who wished to decorate the piano nobile of the cavernous Roman Palazzo Farense.
De Vesme: 775.
[Ref: 21219] £220.00 (£264.00 incl.VAT)
[The Gardens of Carleton-House with Neapolitan Ballad Singers Design'd 18th May 1784. To His Royal Highness George Prince of Wales this Print from the Original Drawing by H. Bunbury Esq,,r in the Possession of His Highness, is by Permission Dedicated by His Royal Highness's most faithfull Servant, W. Dickinson.]
[Engraved by Francesco Bartolozzi.]
London, Publish'd May 10th; 1785 by W. Dickinson, No. 158 Bond Street, & W. Austin, Drawing Master St. James Street.
Stipple, proof before title, printed in sepia, touches of hand colour. 510 x 660mm (20 x 26"), with large margins.
A proof state of one of the finest 18th century images: a scene of fashionably-dressed people promenading and listening to musicians in Carlton House gardens, under tall leafy trees with no sign of the house. At the centre is George, Prince of Wales, in a tricorn hat and with a lady on each arm. A group of musicians are on the far left, one playing a small trumpet. The Prince of Wales gave the ballad singers breakfast in his garden, where they were all drawn from life on the spot by Bunbury. According to De Vesme and Calabi, Bartolozzi only engraved the faces of the figures.
De Vesme 2549
[Ref: 49835] £1,650.00
[Engraved by Francesco Bartolozzi.]
London, Publish'd May 10th; 1785 by W. Dickinson, No. 158 Bond Street, & W. Austin, Drawing Master St. James Street.
Stipple, proof before title, printed in sepia, touches of hand colour. 510 x 660mm (20 x 26"), with large margins.
A proof state of one of the finest 18th century images: a scene of fashionably-dressed people promenading and listening to musicians in Carlton House gardens, under tall leafy trees with no sign of the house. At the centre is George, Prince of Wales, in a tricorn hat and with a lady on each arm. A group of musicians are on the far left, one playing a small trumpet. The Prince of Wales gave the ballad singers breakfast in his garden, where they were all drawn from life on the spot by Bunbury. According to De Vesme and Calabi, Bartolozzi only engraved the faces of the figures.
De Vesme 2549
[Ref: 49835] £1,650.00
![[Caroline, Princess of Wales, and Princess Charlotte.]](jpegs/1391.jpg)
[Caroline, Princess of Wales, and Princess Charlotte.]
[F.Bartolozzi] [R.Cosway]
[n.d. c.1800]
Proof stipple in frame. 359 x 258mm. Foxed, trimmed to plate mark.
George, Prince of Wales, was prevailed upon to marry his cousin Caroline of Brunswick as his part of a deal; in return, parliament promised to pay off his enormous debts. George had already married Maria Fitzherbert, a Roman Catholic widow; however, the marriage was void in accordance with the terms of the Royal Marriages Act of 1772. The Prince of Wales also had a number of mistresses; one of them, Lady Jersey, went to meet Caroline when she arrived from Brunswick on 5 April 1795. Caroline was twenty-six years old, of stocky build and little to her credit apart from a fine head of hair. She spoke too much and very coarsely, dressed dowdily, had little moral reticence or good sense. She seems to have had an aversion to washing either her person or her clothes. Consequently she smelled. When Princess Caroline arrived at St James' Palace the Prince of Wales came to visit her. After greeting her, he turned to the Earl of Malmesbury saying, 'Harris, I am not well. Pray get me a glass of brandy'. He then left the room. Caroline's comment to Malmesbury was , 'I find him very stout and by no means as handsome as his portrait'. The ill-matched pair were married on 8 April 1795 and it soon became clear that the Prince of Wales would not tolerate his wife's company unless he was drunk. The marriage was consummated and on 7 January 1796 a daughter, Charlotte, was born to the couple. By March, the proud parents were living separately and rarely spoke to each other.
D: 22
[Ref: 1391] £180.00 (£216.00 incl.VAT)
[F.Bartolozzi] [R.Cosway]
[n.d. c.1800]
Proof stipple in frame. 359 x 258mm. Foxed, trimmed to plate mark.
George, Prince of Wales, was prevailed upon to marry his cousin Caroline of Brunswick as his part of a deal; in return, parliament promised to pay off his enormous debts. George had already married Maria Fitzherbert, a Roman Catholic widow; however, the marriage was void in accordance with the terms of the Royal Marriages Act of 1772. The Prince of Wales also had a number of mistresses; one of them, Lady Jersey, went to meet Caroline when she arrived from Brunswick on 5 April 1795. Caroline was twenty-six years old, of stocky build and little to her credit apart from a fine head of hair. She spoke too much and very coarsely, dressed dowdily, had little moral reticence or good sense. She seems to have had an aversion to washing either her person or her clothes. Consequently she smelled. When Princess Caroline arrived at St James' Palace the Prince of Wales came to visit her. After greeting her, he turned to the Earl of Malmesbury saying, 'Harris, I am not well. Pray get me a glass of brandy'. He then left the room. Caroline's comment to Malmesbury was , 'I find him very stout and by no means as handsome as his portrait'. The ill-matched pair were married on 8 April 1795 and it soon became clear that the Prince of Wales would not tolerate his wife's company unless he was drunk. The marriage was consummated and on 7 January 1796 a daughter, Charlotte, was born to the couple. By March, the proud parents were living separately and rarely spoke to each other.
D: 22
[Ref: 1391] £180.00 (£216.00 incl.VAT)
Gawin Carow Knight. In His Majesty's Collection.
From the Original Drawing by Hans Holbein. Engraved by F. Bartolozzi R.A. Historical Engraver to his Majesty.
Published as the Act directs June 7. 1796 by I. Chamberlaine Brompton Row Knightsbridge.
Coloured stipple and etching on roseate paper, 325 x 275mm. 12¾ x 10¾". Slightly soiled.
After Hans Holbein the Younger (1497/8 - 1543), for 'Portraits of Illustrious Personages of the Court of Henry VIII Engraved in imitation of the original drawings of Hans Holbein in the Collection of His Majesty, with biographical and historical memoirs' issued in parts between 1792 and 1800.
Not in BM or NPG. From the collection of Cecil Bisshopp Harmsworth, 1st Baron Harmsworth.
[Ref: 9642] £160.00 (£192.00 incl.VAT)
From the Original Drawing by Hans Holbein. Engraved by F. Bartolozzi R.A. Historical Engraver to his Majesty.
Published as the Act directs June 7. 1796 by I. Chamberlaine Brompton Row Knightsbridge.
Coloured stipple and etching on roseate paper, 325 x 275mm. 12¾ x 10¾". Slightly soiled.
After Hans Holbein the Younger (1497/8 - 1543), for 'Portraits of Illustrious Personages of the Court of Henry VIII Engraved in imitation of the original drawings of Hans Holbein in the Collection of His Majesty, with biographical and historical memoirs' issued in parts between 1792 and 1800.
Not in BM or NPG. From the collection of Cecil Bisshopp Harmsworth, 1st Baron Harmsworth.
[Ref: 9642] £160.00 (£192.00 incl.VAT)
![Signora Casentini in the Character of la Bella Pescatrice favorite Opera, performed [in] the Kings Theatre, Pantheon.](jpegs/47265.jpg)
Signora Casentini in the Character of la Bella Pescatrice favorite Opera, performed [in] the Kings Theatre, Pantheon.
P. Violet Pinxit 1792. F. Bartolozzi sculps.
[n.d., c.1792.]
Stipple, rare. Sheet: 155 x 105mm (6 x 4"). Trimmed.
A portrait of singer Anna Casentini in Guglielmi's opera La Bella Pescatrice.
De Vesme 1050.
[Ref: 47265] £110.00 (£132.00 incl.VAT)
P. Violet Pinxit 1792. F. Bartolozzi sculps.
[n.d., c.1792.]
Stipple, rare. Sheet: 155 x 105mm (6 x 4"). Trimmed.
A portrait of singer Anna Casentini in Guglielmi's opera La Bella Pescatrice.
De Vesme 1050.
[Ref: 47265] £110.00 (£132.00 incl.VAT)
Cato.
Burney pinx. Bartolozzi Sc.
London Printed for J. Bell, British Library, Strand, July 9, 1791.
Etching with engraving, pt 18th century watermark. 200 x 130mm (8 x 5"). Small margins. Some foxing, mainly in margins.
A warrior and a woman kneeling down over a corpse. One of six frontispieces to 'British Theatre'.
De Vesme 1672, state ii of iii.
[Ref: 55516] £65.00 (£78.00 incl.VAT)
Burney pinx. Bartolozzi Sc.
London Printed for J. Bell, British Library, Strand, July 9, 1791.
Etching with engraving, pt 18th century watermark. 200 x 130mm (8 x 5"). Small margins. Some foxing, mainly in margins.
A warrior and a woman kneeling down over a corpse. One of six frontispieces to 'British Theatre'.
De Vesme 1672, state ii of iii.
[Ref: 55516] £65.00 (£78.00 incl.VAT)
![[St Cecilia.]](jpegs/20481.jpg)
[St Cecilia.]
Benjamin West inv. F. Bartolozzi sculpst.
London. Published Jany 1.st 1783, by A. Poggi.
Stipple and etching, fine. 204 x 190mm. 8 x 7½". Trimmed, and cut inside platemark
St Cecilia playing an organ, with a cherub standing by her right shoulder pulling on a rope.
De Vesme: 2217; ii/iv. See Ref: 20448 for unknown cut state.
[Ref: 20481] £240.00 (£288.00 incl.VAT)
Benjamin West inv. F. Bartolozzi sculpst.
London. Published Jany 1.st 1783, by A. Poggi.
Stipple and etching, fine. 204 x 190mm. 8 x 7½". Trimmed, and cut inside platemark
St Cecilia playing an organ, with a cherub standing by her right shoulder pulling on a rope.
De Vesme: 2217; ii/iv. See Ref: 20448 for unknown cut state.
[Ref: 20481] £240.00 (£288.00 incl.VAT)
St. Cicilia.
G.B. Cipriani delin. F. Bartolozzi sculp.
Published according to Act of Parliament. Jun 1. 1774.
Very fine stipple printed in sanguine. Plate 280 x 252mm (11 x 10"), with wide margins.
Bust of St Cecilia, wearing a turban, turning to the right, her head lifted upwards and her eyes turned towards the sky; in a vertical oval.
See Calabi & De Vesme (1928): 239.
[Ref: 52411] £290.00 (£348.00 incl.VAT)
G.B. Cipriani delin. F. Bartolozzi sculp.
Published according to Act of Parliament. Jun 1. 1774.
Very fine stipple printed in sanguine. Plate 280 x 252mm (11 x 10"), with wide margins.
Bust of St Cecilia, wearing a turban, turning to the right, her head lifted upwards and her eyes turned towards the sky; in a vertical oval.
See Calabi & De Vesme (1928): 239.
[Ref: 52411] £290.00 (£348.00 incl.VAT)
S.t. Cecilia.
Benjamin West inv. F. Bartolozzi Sculpsit.
London Published June 1.st 1784, by A: Poggi, No.7, St. Georges Row, Hyde Park.
Stipple, printed in sepia. Plate: 220 x 190mm (8¾ x 7½'') very large margins.
A portrait of Saint Cecilia, the patron saint of music, shown playing the organ.
De Vesme 2217 III.
[Ref: 48293] £240.00 (£288.00 incl.VAT)
Benjamin West inv. F. Bartolozzi Sculpsit.
London Published June 1.st 1784, by A: Poggi, No.7, St. Georges Row, Hyde Park.
Stipple, printed in sepia. Plate: 220 x 190mm (8¾ x 7½'') very large margins.
A portrait of Saint Cecilia, the patron saint of music, shown playing the organ.
De Vesme 2217 III.
[Ref: 48293] £240.00 (£288.00 incl.VAT)
![[Cecilia.]](jpegs/52417.jpg)
[Cecilia.]
Tho.s Engleheart pinxt. Frans. Bartolozzi Sculp.
Publish'd as the Act directs Octr. 1.st 1783 by Anthy. Molten
Stipple and etching; in pencil at bottom "Miss Gibson". Plate 190 x 133mm (7½ x 5¼") with very large margins.
Portrait of a young woman, facing three-quarter to left, looking towards the viewer, peals on hair and ribbons tied under her chin, ribbon bow on her chest. 'Cecilia' is a book published by Frances Burney in 1782. The sitter is identified as Mrs Eastcote by Calabi & De Vesme, who does not seem to have any connection with the book itself.
Calabi & De Vesme (1928): 1279.iii.
[Ref: 52417] £140.00 (£168.00 incl.VAT)
Tho.s Engleheart pinxt. Frans. Bartolozzi Sculp.
Publish'd as the Act directs Octr. 1.st 1783 by Anthy. Molten
Stipple and etching; in pencil at bottom "Miss Gibson". Plate 190 x 133mm (7½ x 5¼") with very large margins.
Portrait of a young woman, facing three-quarter to left, looking towards the viewer, peals on hair and ribbons tied under her chin, ribbon bow on her chest. 'Cecilia' is a book published by Frances Burney in 1782. The sitter is identified as Mrs Eastcote by Calabi & De Vesme, who does not seem to have any connection with the book itself.
Calabi & De Vesme (1928): 1279.iii.
[Ref: 52417] £140.00 (£168.00 incl.VAT)
Charity.
I.H. Ramberg delin. F. Bartolozzi Sculpt.
London Published 1st. Janry. 1787. by Robert Wilkinson No.58 Cornhill London.
Stipple with etching on india paper, printed in brown ink. 200 x 225mm. 8 x 9". Small upper and lower margin, one rust spot to plate; else a fine impression.
Allegorical representation of Charity, as a woman comforting a little girl and two naked putti; basket of fruit far left. In an oval. After Johann Heinrich Ramberg (1763 - 1840).
De Vesme 581, III of III. Oettingen-Wallerstein Collection.
[Ref: 21194] £190.00 (£228.00 incl.VAT)
I.H. Ramberg delin. F. Bartolozzi Sculpt.
London Published 1st. Janry. 1787. by Robert Wilkinson No.58 Cornhill London.
Stipple with etching on india paper, printed in brown ink. 200 x 225mm. 8 x 9". Small upper and lower margin, one rust spot to plate; else a fine impression.
Allegorical representation of Charity, as a woman comforting a little girl and two naked putti; basket of fruit far left. In an oval. After Johann Heinrich Ramberg (1763 - 1840).
De Vesme 581, III of III. Oettingen-Wallerstein Collection.
[Ref: 21194] £190.00 (£228.00 incl.VAT)
![[Lady Smyth.]](jpegs/60347.jpg)
[Lady Smyth.]
Painted by Sir Joshua Reynolds. Engraved by F. Bartolozzi, R.A.
Publish'd Mar. 15 1789, by F. Bartolozzi & C.o.
Stipple with etching, proof before title, 18th century watermark; 380 x 300mm (15 x 11¾") with small margins. Repaired nicks in margins.
Three-quarter length portrait of Charlotte, Lady Smyth (1776-1823), seated wearing black broad-brimmed hat with white feathers and black transparent shawl, with her two daughters holding their brother up between them.
De Vesme 1221 iii of iv. Provenance Brussels Gentleman's Club.
[Ref: 60347] £280.00 (£336.00 incl.VAT)
Painted by Sir Joshua Reynolds. Engraved by F. Bartolozzi, R.A.
Publish'd Mar. 15 1789, by F. Bartolozzi & C.o.
Stipple with etching, proof before title, 18th century watermark; 380 x 300mm (15 x 11¾") with small margins. Repaired nicks in margins.
Three-quarter length portrait of Charlotte, Lady Smyth (1776-1823), seated wearing black broad-brimmed hat with white feathers and black transparent shawl, with her two daughters holding their brother up between them.
De Vesme 1221 iii of iv. Provenance Brussels Gentleman's Club.
[Ref: 60347] £280.00 (£336.00 incl.VAT)
![[Monument to William Pitt the Elder, 1st Earl of Chatham.]](jpegs/39818.jpg)
[Monument to William Pitt the Elder, 1st Earl of Chatham.] Lord Chatham is represented holding the Cap of Liberty, and leaning on a Rudder...
John Bacon Invt. F. Bartolozzi Etch'd.
Publish'd as the Act directs Nov. 12, 1779.
Engraving. Plate: 355 x 230mm (14 x 9"), with very large margins.
Monument by sculptor John Bacon (1740 - 1799) with portrait of the Earl of Chatham (1708 - 1778) standing dressed in classical drapery, holding pike with Phrygian cap, surrounded by the three female allegories; they are Britannia, Commerce and the City. Three putti on left represent the four parts of the world. Explanatory text on pedestal below.
De Vesme: 777
[Ref: 39818] £240.00 (£288.00 incl.VAT)
John Bacon Invt. F. Bartolozzi Etch'd.
Publish'd as the Act directs Nov. 12, 1779.
Engraving. Plate: 355 x 230mm (14 x 9"), with very large margins.
Monument by sculptor John Bacon (1740 - 1799) with portrait of the Earl of Chatham (1708 - 1778) standing dressed in classical drapery, holding pike with Phrygian cap, surrounded by the three female allegories; they are Britannia, Commerce and the City. Three putti on left represent the four parts of the world. Explanatory text on pedestal below.
De Vesme: 777
[Ref: 39818] £240.00 (£288.00 incl.VAT)
![[A pauper lying in bed; possibly the boy poet Thomas Chatterton?]](jpegs/21188.jpg)
[A pauper lying in bed; possibly the boy poet Thomas Chatterton?]
R. L. West pinxt. F. Bartolozzi R A sculps. 1801.
[London, 1801.]
Etching on india paper, sheet 170 x 195mm. 6¾ x 7¾". Sheet trimmed; some spotting.
A young man with bare torso lying on a straw bed in an impoverished interior, looking up to the ceiling, his head bandaged; two mice, a spoon and a plate on the floor. Shafts of light from a window upper left. The plate was used to illustrate 'Juvenilia, or a Collection of poems' by James Henry Leigh Hunt. The artist Raphael Lamar West (1769 - 1850) seems to have been inspired by the story of Thomas Chatterton (1752 - 1770), a poet who spent his last months in poverty in a London attic before committing suicide at the age of 17. The print has been labelled 'The Death of Chatterton', as indeed this impression is captioned, in pencil, to verso. Chatterton's life and work had a powerful effect on the Romantic imagination; witness Wordsworth's tribute: 'the marvellous boy, The sleepless soul, that perished in his pride'. Raphael Lamar West, painter and lithographer, was the son of Benjamin West.
De Vesme 1738, III of IV. See NPG D1372.
[Ref: 21188] £260.00 (£312.00 incl.VAT)
R. L. West pinxt. F. Bartolozzi R A sculps. 1801.
[London, 1801.]
Etching on india paper, sheet 170 x 195mm. 6¾ x 7¾". Sheet trimmed; some spotting.
A young man with bare torso lying on a straw bed in an impoverished interior, looking up to the ceiling, his head bandaged; two mice, a spoon and a plate on the floor. Shafts of light from a window upper left. The plate was used to illustrate 'Juvenilia, or a Collection of poems' by James Henry Leigh Hunt. The artist Raphael Lamar West (1769 - 1850) seems to have been inspired by the story of Thomas Chatterton (1752 - 1770), a poet who spent his last months in poverty in a London attic before committing suicide at the age of 17. The print has been labelled 'The Death of Chatterton', as indeed this impression is captioned, in pencil, to verso. Chatterton's life and work had a powerful effect on the Romantic imagination; witness Wordsworth's tribute: 'the marvellous boy, The sleepless soul, that perished in his pride'. Raphael Lamar West, painter and lithographer, was the son of Benjamin West.
De Vesme 1738, III of IV. See NPG D1372.
[Ref: 21188] £260.00 (£312.00 incl.VAT)
Henri: Chichele Fundator
Drawn by John Taylor 1771 from an ancient Window in All Souls College. Engraved by F. Bartolozzi 1772
Engraving, sheet 445 x 245mm (17½ x 9½"). Trimmed to image and pasted to album sheet.
Henry Chichele (c.1362-1443), administrator and archbishop of Canterbury. Chichele was also involved with the foundation of Alls Souls College, Oxford, although he took care to associate Henry VI with the college as nominal founder.
[Ref: 44071] £110.00 (£132.00 incl.VAT)
Drawn by John Taylor 1771 from an ancient Window in All Souls College. Engraved by F. Bartolozzi 1772
Engraving, sheet 445 x 245mm (17½ x 9½"). Trimmed to image and pasted to album sheet.
Henry Chichele (c.1362-1443), administrator and archbishop of Canterbury. Chichele was also involved with the foundation of Alls Souls College, Oxford, although he took care to associate Henry VI with the college as nominal founder.
[Ref: 44071] £110.00 (£132.00 incl.VAT)
Children at Play.
[Francesco Bartolozzi.]
[n.d., c.1773.]
Stipple, printed in sepia. Plate: 255 x 230mm (10 x 9"), with large margins
A scene showing three putti playing whilst riding a goat.
De Vesme 1250 Variant of IV. Provenance: Edge Hall Library, Cheshire
[Ref: 46718] £260.00 (£312.00 incl.VAT)
[Francesco Bartolozzi.]
[n.d., c.1773.]
Stipple, printed in sepia. Plate: 255 x 230mm (10 x 9"), with large margins
A scene showing three putti playing whilst riding a goat.
De Vesme 1250 Variant of IV. Provenance: Edge Hall Library, Cheshire
[Ref: 46718] £260.00 (£312.00 incl.VAT)
![[Group of Boys]](jpegs/43418.jpg)
[Group of Boys]
G.B. Cipriani invt. F. Bartolozzi sculpt.
London Pubd. as the Act directs March. 1 1787 by F. Bartolozzi.
Etching printed in sepia, platemark 190 x 250mm (7½ x 9¾") very large margins.
Group of boys, catalogued by Calabi and De Vesme as crying at the death of a friend. Etching by Francesco Bartolozzi (1725-1815), Florentine engraver and founding member of the Royal Academy in 1768. After meeting George III's librarian Richard Dalton in Italy in 1763, Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. This is the medium employed here, one of many prints he made from designs by his fellow Italian, G.B. Cipriani (it was published in 'A Set of Etchings by Francis Bartolozzi R.A. in Imitation of Drawings from the Sketches of the Late John Baptist Cipriani R.A.' in 1788.
Calabi & De Vesme 1249.ii
[Ref: 43418] £160.00 (£192.00 incl.VAT)
G.B. Cipriani invt. F. Bartolozzi sculpt.
London Pubd. as the Act directs March. 1 1787 by F. Bartolozzi.
Etching printed in sepia, platemark 190 x 250mm (7½ x 9¾") very large margins.
Group of boys, catalogued by Calabi and De Vesme as crying at the death of a friend. Etching by Francesco Bartolozzi (1725-1815), Florentine engraver and founding member of the Royal Academy in 1768. After meeting George III's librarian Richard Dalton in Italy in 1763, Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. This is the medium employed here, one of many prints he made from designs by his fellow Italian, G.B. Cipriani (it was published in 'A Set of Etchings by Francis Bartolozzi R.A. in Imitation of Drawings from the Sketches of the Late John Baptist Cipriani R.A.' in 1788.
Calabi & De Vesme 1249.ii
[Ref: 43418] £160.00 (£192.00 incl.VAT)
![[Boys Fighting]](jpegs/43424.jpg)
[Boys Fighting]
G.B. Cipriani invt. F. Bartolozzi sculpt.
London Pub'd. as the Act directs Mar.h 1 1787 by F. Bartolozzi.
Etching printed in sepia, platemark 230 x 290mm (9 x 11½") very large margins.
Etching by Francesco Bartolozzi (1725-1815), Florentine engraver and founding member of the Royal Academy in 1768. After meeting George III's librarian Richard Dalton in Italy in 1763, Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. This is the medium employed here, one of many prints he made from designs by his fellow Italian, G.B. Cipriani (it was published in 'A Set of Etchings by Francis Bartolozzi R.A. in Imitation of Drawings from the Sketches of the Late John Baptist Cipriani R.A.' in 1788.
Calabi & De Vesme 1253.iii
[Ref: 43424] £180.00 (£216.00 incl.VAT)
G.B. Cipriani invt. F. Bartolozzi sculpt.
London Pub'd. as the Act directs Mar.h 1 1787 by F. Bartolozzi.
Etching printed in sepia, platemark 230 x 290mm (9 x 11½") very large margins.
Etching by Francesco Bartolozzi (1725-1815), Florentine engraver and founding member of the Royal Academy in 1768. After meeting George III's librarian Richard Dalton in Italy in 1763, Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. This is the medium employed here, one of many prints he made from designs by his fellow Italian, G.B. Cipriani (it was published in 'A Set of Etchings by Francis Bartolozzi R.A. in Imitation of Drawings from the Sketches of the Late John Baptist Cipriani R.A.' in 1788.
Calabi & De Vesme 1253.iii
[Ref: 43424] £180.00 (£216.00 incl.VAT)
![[Salvator Mundi (Christ as a child).]](jpegs/21165.jpg)
[Salvator Mundi (Christ as a child).]
C. Le Brun pinxit. F. Bartolozzi sculpsit.
Pub: March 10 1775, by V.M. Picot No.16 Strand.
Stipple engraving printed in sanguine, proof before title with scratched publication line. 185 x 145mm, 7¼ x 5¾". A fine impression, with full margins, slight stain top right just inside platemark.
Child Christ, in a roundel, leaning on a table, holding an inscribed parchment and looking upwards. After Charles Le Brun (French, 1619 - 1690).
De Vesme 304, I of II.
[Ref: 21165] £220.00 (£264.00 incl.VAT)
C. Le Brun pinxit. F. Bartolozzi sculpsit.
Pub: March 10 1775, by V.M. Picot No.16 Strand.
Stipple engraving printed in sanguine, proof before title with scratched publication line. 185 x 145mm, 7¼ x 5¾". A fine impression, with full margins, slight stain top right just inside platemark.
Child Christ, in a roundel, leaning on a table, holding an inscribed parchment and looking upwards. After Charles Le Brun (French, 1619 - 1690).
De Vesme 304, I of II.
[Ref: 21165] £220.00 (£264.00 incl.VAT)
Presentatio B.M.V. ad Templum.
Piazzetta inv. F. Bartolozzi sc.
Ap. T.Viero Ven.us. [n.d. c.1760.]
Etching and engraving. Plate 140 x 94mm. 5½ x 3¾". Trimmed very close to the plate.
The presentation in the temple. At the altar the new-born Christ is presented to the priest.
De Vesme: 36; ii/ii.
[Ref: 21221] £75.00 (£90.00 incl.VAT)
Piazzetta inv. F. Bartolozzi sc.
Ap. T.Viero Ven.us. [n.d. c.1760.]
Etching and engraving. Plate 140 x 94mm. 5½ x 3¾". Trimmed very close to the plate.
The presentation in the temple. At the altar the new-born Christ is presented to the priest.
De Vesme: 36; ii/ii.
[Ref: 21221] £75.00 (£90.00 incl.VAT)
![[Chryseis Restored to her Father, parallel text in French]](jpegs/46757.jpg)
[Chryseis Restored to her Father, parallel text in French]
[G.B. Cipriani inv. et del. - F. Bartolozzi sculp. 1786.]
[London, Publish'd June 12.th 1786, by S. Vivares]
A rare stipple, printed in sepia, platemark 390 x 450mm (15¼ x 17¾"). Proof before all letters. Small margins.
Scene from Homer's 'The Odyssey' in which the enslaved Trojan woman Chryseis is returned to her father after Apollo unleashes a plague on her Greek captors. Stipple engraving by Francesco Bartolozzi (1725-1815) after his frequent collaborator Giovanni Battista Cipriani (1727-85). Bartolozzi was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case, getting around the rules by electing Bartolozzi as a painter). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton enticed Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal.
Calabi & de Vesme 381 ii/v (before all letters, with etched border). Provenance: Edge Hill, Cheshire.
[Ref: 46757] £420.00
[G.B. Cipriani inv. et del. - F. Bartolozzi sculp. 1786.]
[London, Publish'd June 12.th 1786, by S. Vivares]
A rare stipple, printed in sepia, platemark 390 x 450mm (15¼ x 17¾"). Proof before all letters. Small margins.
Scene from Homer's 'The Odyssey' in which the enslaved Trojan woman Chryseis is returned to her father after Apollo unleashes a plague on her Greek captors. Stipple engraving by Francesco Bartolozzi (1725-1815) after his frequent collaborator Giovanni Battista Cipriani (1727-85). Bartolozzi was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case, getting around the rules by electing Bartolozzi as a painter). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton enticed Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal.
Calabi & de Vesme 381 ii/v (before all letters, with etched border). Provenance: Edge Hill, Cheshire.
[Ref: 46757] £420.00
Chryseis Restored To Her Father. Chrïseis Rendue a fon Pere. They land, that expiations may be pay'd... With whom Ulysses to the Altar went... Les Nochers jettent... au pied des saints autels... [quotation from Homer's Iliad in English and French.]
G.B. Cipriani inv. et del. F. Bartolozzi sculpx [sic] 1786.
London, Publish'd June 12th. 1787, by S. Vivares No.13, Great Newport Street.
Stipple and etching, 385 x 440mm. 15¼ x 17¼". A fine impression. Repaired top middle near platemark.
A scene from the 'Iliad' epic poem, presumed to be by Homer (9th century BC - 8th century BC; fl.c.): Chryseis, priestess of Apollo on the island of Chryse near Troy, in classical dress, ascending the steps of a colonnaded porch to embrace her father Chryses, who leans forward, wearing a cape decorated with a sun and a laurel wreath. A soldier and a youth stand behind to right, restraining a garlanded bull; women behind them and a girl standing in the left foreground, holding censers. In an oval. After Giovanni Battista Cipriani (1727 - 1785).
From the Norman Blackburn Collection.
[Ref: 18276] £320.00
G.B. Cipriani inv. et del. F. Bartolozzi sculpx [sic] 1786.
London, Publish'd June 12th. 1787, by S. Vivares No.13, Great Newport Street.
Stipple and etching, 385 x 440mm. 15¼ x 17¼". A fine impression. Repaired top middle near platemark.
A scene from the 'Iliad' epic poem, presumed to be by Homer (9th century BC - 8th century BC; fl.c.): Chryseis, priestess of Apollo on the island of Chryse near Troy, in classical dress, ascending the steps of a colonnaded porch to embrace her father Chryses, who leans forward, wearing a cape decorated with a sun and a laurel wreath. A soldier and a youth stand behind to right, restraining a garlanded bull; women behind them and a girl standing in the left foreground, holding censers. In an oval. After Giovanni Battista Cipriani (1727 - 1785).
From the Norman Blackburn Collection.
[Ref: 18276] £320.00
![[Proof frontispiece from John Bell's 'The poets of Great Britain, complete from Chaucer to Churchill]](jpegs/43130.jpg)
[Proof frontispiece from John Bell's 'The poets of Great Britain, complete from Chaucer to Churchill] [Churchill vol. 1 / Let one poor sprig of Bay around my head / Bloom... Candidate line 145]
[Cipriani del. Bartolozzi sculp.t]
[Printed for John Bell ... London Jul. 19th 1779]
Etching and engraving printed in sepia, platemark 140 x 95mm (5½ x 3¾"). Thread margins; glued to backing sheet; glue stains at corners. Fine proof impression before all letters.
Proof impression of one of twenty-one frontispieces that Francesco Bartolozzi (1725-1815) made for John Bell's 'The Poets of Great Britain', which he published from 1777-82. Bell's edition consisted of 109 volumes in a relatively cheap yet well-produced pocket format, and was a great success. This print, in its later lettered state, was the frontispiece to the first of Bell's edition of poems by Charles Churchill (1732-64). It included a line from his poem 'The Candidate', an attack on John Montagu, earl of Sandwich (1718-92) and his candidature for the high stewardship of Cambridge University. Bartolozzi (1725-1815) was a Florentine engraver who in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. Fine impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work.
Calabi & de Vesme 1651 i/ii; for a portrait of Churchill see ref. 27339.
[Ref: 43130] £110.00 (£132.00 incl.VAT)
[Cipriani del. Bartolozzi sculp.t]
[Printed for John Bell ... London Jul. 19th 1779]
Etching and engraving printed in sepia, platemark 140 x 95mm (5½ x 3¾"). Thread margins; glued to backing sheet; glue stains at corners. Fine proof impression before all letters.
Proof impression of one of twenty-one frontispieces that Francesco Bartolozzi (1725-1815) made for John Bell's 'The Poets of Great Britain', which he published from 1777-82. Bell's edition consisted of 109 volumes in a relatively cheap yet well-produced pocket format, and was a great success. This print, in its later lettered state, was the frontispiece to the first of Bell's edition of poems by Charles Churchill (1732-64). It included a line from his poem 'The Candidate', an attack on John Montagu, earl of Sandwich (1718-92) and his candidature for the high stewardship of Cambridge University. Bartolozzi (1725-1815) was a Florentine engraver who in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. Fine impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work.
Calabi & de Vesme 1651 i/ii; for a portrait of Churchill see ref. 27339.
[Ref: 43130] £110.00 (£132.00 incl.VAT)
G.B. Cipriani R.A.
[Francesco Bartolozzi.]
Pubd. as the Act directs the 24 of decr. 1785 by M. Bova No.105 Swallow Street.
Stipple and etching printed in brown ink, 212 x 175mm. Trimmed to plate abrasion on left side of oval, damaged to left.
Portrait of Giovanni Battista Cipriani (1727 – 1785) in an oval, right profile, his hair tied at the nape in a bow. Although Giovanni Battista Cipriani was born in Florence, he worked mostly in England. He moved to London in 1755 under the guidance of Sir William Chambers and Joseph Wilton, both of whom he met in Rome. He decorated many public and private buildings and also taught at the Royal Academy.
See NPG: D14699 for similar engraving. From the Norman Blackburn Collection.
[Ref: 18236] £160.00 (£192.00 incl.VAT)
[Francesco Bartolozzi.]
Pubd. as the Act directs the 24 of decr. 1785 by M. Bova No.105 Swallow Street.
Stipple and etching printed in brown ink, 212 x 175mm. Trimmed to plate abrasion on left side of oval, damaged to left.
Portrait of Giovanni Battista Cipriani (1727 – 1785) in an oval, right profile, his hair tied at the nape in a bow. Although Giovanni Battista Cipriani was born in Florence, he worked mostly in England. He moved to London in 1755 under the guidance of Sir William Chambers and Joseph Wilton, both of whom he met in Rome. He decorated many public and private buildings and also taught at the Royal Academy.
See NPG: D14699 for similar engraving. From the Norman Blackburn Collection.
[Ref: 18236] £160.00 (£192.00 incl.VAT)
Unfortunately this item is either sold or reserved. If you are interested in similar items and cannot find what you're looking for on our website, please consider filling in our interests form. If you register, we can also send you items that match your interests when the website is updated.
![[The Circumcision.]](jpegs/21283.jpg)
[The Circumcision.]
[Guercino inv. F. Bartolozzi Sculp.]
[London: J. & J. Boydell, c.1790s.]
Etching printed in brown ink on watermarked laid paper, first state before all letters. 320 x 220mm (12½ x 8¾"). A fine impression with full margins. Uncut.
The circumcision of Christ after Giovanni Francesco Barbieri (1591 – 1666), known as Guercino. One of a number of prints after drawings by Guercino and other masters in the Royal Collection, etched by Francesco Bartolozzi (1728 - 1815). The original drawings by the Bolognese artist were acquired by the Earl of Bute while on his Grand Tour, and later given to George III. The king's librarian, Richard Dalton, met Bartolozzi in Italy in the early 1760s. This brought Bartolozzi to London in 1764 under Dalton’s employ. The plates were later bought by the London publishers John and Josiah Boydell, and published in two folio volumes. This appeared in Boydells' 'Eighty-two prints, engraved by F. Bartolozzi & c. from the original drawings of Guercino, in the collection of his Majesty'.
De Vesme 2169 [undescribed state].
[Ref: 21283] £140.00 (£168.00 incl.VAT)
[Guercino inv. F. Bartolozzi Sculp.]
[London: J. & J. Boydell, c.1790s.]
Etching printed in brown ink on watermarked laid paper, first state before all letters. 320 x 220mm (12½ x 8¾"). A fine impression with full margins. Uncut.
The circumcision of Christ after Giovanni Francesco Barbieri (1591 – 1666), known as Guercino. One of a number of prints after drawings by Guercino and other masters in the Royal Collection, etched by Francesco Bartolozzi (1728 - 1815). The original drawings by the Bolognese artist were acquired by the Earl of Bute while on his Grand Tour, and later given to George III. The king's librarian, Richard Dalton, met Bartolozzi in Italy in the early 1760s. This brought Bartolozzi to London in 1764 under Dalton’s employ. The plates were later bought by the London publishers John and Josiah Boydell, and published in two folio volumes. This appeared in Boydells' 'Eighty-two prints, engraved by F. Bartolozzi & c. from the original drawings of Guercino, in the collection of his Majesty'.
De Vesme 2169 [undescribed state].
[Ref: 21283] £140.00 (£168.00 incl.VAT)
![[The Circumcision of Christ.]](jpegs/18375.jpg)
[The Circumcision of Christ.]
[Guercino del.t. F. Bartolozzi sculp.t]
[n.d. c.1775.]
Etching and engraving. Scarce and fine Proof, faint outline of artist and engraver's names etched. Plate 578 x 364mm. 22¾ x 14¼".
The Circumcision of Christ; two priests, one sitting to the right and the other holding the infant Jesus. Three attendants behind them, while Christ looks to left, towards St Joseph, the Virgin and St Anne. A view of a castle viewed through an arch in the background.
From the Norman Blackburn Collection Collection N. Rapp. Tuer: 436.
[Ref: 18375] £420.00
[Guercino del.t. F. Bartolozzi sculp.t]
[n.d. c.1775.]
Etching and engraving. Scarce and fine Proof, faint outline of artist and engraver's names etched. Plate 578 x 364mm. 22¾ x 14¼".
The Circumcision of Christ; two priests, one sitting to the right and the other holding the infant Jesus. Three attendants behind them, while Christ looks to left, towards St Joseph, the Virgin and St Anne. A view of a castle viewed through an arch in the background.
From the Norman Blackburn Collection Collection N. Rapp. Tuer: 436.
[Ref: 18375] £420.00
![[The Athlete; a classical cameo] XXXV.](jpegs/21168.jpg)
[The Athlete; a classical cameo] XXXV.
G.B. Cipriani del. F. Bartolozzi sculp.
[London, c.1781-1791.]
Etching on india paper, 250 x 185mm. 9¾ x 7¼". Light spotting; a fine impression, with margins.
Nude young male figure with inscription and table with jar; in an oval design. After Giovanni Battista Cipriani's (1727 - 1785) study for 'Gemmarum antiquarum delectus: ex præstantioribus desumptus, quæ in Dactyliothecis Ducis Marlburiensis conservantur (Marlborough gems)'; a two volume folio of antiquities in the collection of George Spencer, 4th Duke of Marlborough.
De Vesme 2292. See BL 139.h.3,4. 683.k.9,10.
[Ref: 21168] £130.00 (£156.00 incl.VAT)
G.B. Cipriani del. F. Bartolozzi sculp.
[London, c.1781-1791.]
Etching on india paper, 250 x 185mm. 9¾ x 7¼". Light spotting; a fine impression, with margins.
Nude young male figure with inscription and table with jar; in an oval design. After Giovanni Battista Cipriani's (1727 - 1785) study for 'Gemmarum antiquarum delectus: ex præstantioribus desumptus, quæ in Dactyliothecis Ducis Marlburiensis conservantur (Marlborough gems)'; a two volume folio of antiquities in the collection of George Spencer, 4th Duke of Marlborough.
De Vesme 2292. See BL 139.h.3,4. 683.k.9,10.
[Ref: 21168] £130.00 (£156.00 incl.VAT)
![[Bacchus; a classical cameo]](jpegs/21171.jpg)
[Bacchus; a classical cameo] [Plate 13.]
[G.B. Cipriani. F. Bartolozzi.]
[London, c.1781-1791.]
Stipple and etching printed in brown ink on india paper, 270 x 210mm. 10½ x 8¼". Light spotting.
Bust of Bacchus, looking up towards top right; in an oval medallion. After Giovanni Battista Cipriani's (1727 - 1785) study for 'Gemmarum antiquarum delectus: ex præstantioribus desumptus, quæ in Dactyliothecis Ducis Marlburiensis conservantur (Marlborough gems)'; a two volume folio of antiquities in the collection of George Spencer, 4th Duke of Marlborough.
De Vesme 2320, I. See BL 139.h.3,4. 683.k.9,10.
[Ref: 21171] £75.00 (£90.00 incl.VAT)
[G.B. Cipriani. F. Bartolozzi.]
[London, c.1781-1791.]
Stipple and etching printed in brown ink on india paper, 270 x 210mm. 10½ x 8¼". Light spotting.
Bust of Bacchus, looking up towards top right; in an oval medallion. After Giovanni Battista Cipriani's (1727 - 1785) study for 'Gemmarum antiquarum delectus: ex præstantioribus desumptus, quæ in Dactyliothecis Ducis Marlburiensis conservantur (Marlborough gems)'; a two volume folio of antiquities in the collection of George Spencer, 4th Duke of Marlborough.
De Vesme 2320, I. See BL 139.h.3,4. 683.k.9,10.
[Ref: 21171] £75.00 (£90.00 incl.VAT)
![[Bacchanalian festival; a classical cameo] XLIX.](jpegs/21169.jpg)
[Bacchanalian festival; a classical cameo] XLIX.
G.B. Cipriani del. F. Bartolozzi sculp.
[London, c.1781-1791.]
Etching printed in brown ink on india paper, sheet 260 x 200mm. 10½ x 8". Trimmed within plate; light spotting.
Two satyr-type male figures and a female reveller. After Giovanni Battista Cipriani's (1727 - 1785) study for 'Gemmarum antiquarum delectus: ex præstantioribus desumptus, quæ in Dactyliothecis Ducis Marlburiensis conservantur (Marlborough gems)'; a two volume folio of antiquities in the collection of George Spencer, 4th Duke of Marlborough.
De Vesme 2306. See BL 139.h.3,4. 683.k.9,10.
[Ref: 21169] £75.00 (£90.00 incl.VAT)
G.B. Cipriani del. F. Bartolozzi sculp.
[London, c.1781-1791.]
Etching printed in brown ink on india paper, sheet 260 x 200mm. 10½ x 8". Trimmed within plate; light spotting.
Two satyr-type male figures and a female reveller. After Giovanni Battista Cipriani's (1727 - 1785) study for 'Gemmarum antiquarum delectus: ex præstantioribus desumptus, quæ in Dactyliothecis Ducis Marlburiensis conservantur (Marlborough gems)'; a two volume folio of antiquities in the collection of George Spencer, 4th Duke of Marlborough.
De Vesme 2306. See BL 139.h.3,4. 683.k.9,10.
[Ref: 21169] £75.00 (£90.00 incl.VAT)
Cleopatra and her Attendants Assisting to Arm Antony. Vide Shakspeare's Tragedy of Antony & Cleopatra, Act IV. Sc. 4.
Wm. Martin, Historic Painter to His Majesty Pinxt. F. Bartolozzi R.A. Sculpt.
Engraved from the Original Picture 12 feet by 9 (presented by the Artist &) placed in the Exchange of Liverpool. Published for the Proprietor August 11th. 1804, by Wm. Martin, Windsor Castle, and H. Macklin, 39 Fleet Street, London.
Stipple and etching, 510 x 635mm. 20 x 25". Tatty, torn and chipped margins, missing left margin.
A luxurious interior with Mark Antony standing in front of a pillar, one arm around Cleopatra, who comes forward from her throne, helping to arrange his sword belt. Women on the left bring forward his shield and helmet, a man bends to fasten his sandals; Egyptian courtiers watch from behind Cleopatra's throne and Roman soldiers wait outside in the background to left. Dedication to the Borough of Liverpool below title. After William Martin (1753 - c. 1831).
[Ref: 12769] £320.00
Wm. Martin, Historic Painter to His Majesty Pinxt. F. Bartolozzi R.A. Sculpt.
Engraved from the Original Picture 12 feet by 9 (presented by the Artist &) placed in the Exchange of Liverpool. Published for the Proprietor August 11th. 1804, by Wm. Martin, Windsor Castle, and H. Macklin, 39 Fleet Street, London.
Stipple and etching, 510 x 635mm. 20 x 25". Tatty, torn and chipped margins, missing left margin.
A luxurious interior with Mark Antony standing in front of a pillar, one arm around Cleopatra, who comes forward from her throne, helping to arrange his sword belt. Women on the left bring forward his shield and helmet, a man bends to fasten his sandals; Egyptian courtiers watch from behind Cleopatra's throne and Roman soldiers wait outside in the background to left. Dedication to the Borough of Liverpool below title. After William Martin (1753 - c. 1831).
[Ref: 12769] £320.00
An Indian Cacique of the Island of Cuba, addressing Columbus concerning a future state.
B. West delin.t. F. Bartolozzi sculp.t.
[n.d., c.1794.]
Engraving. Sheet size: 230 x 195mm (9 x 7¾"). Trimmed inside plate.
A meeting between Christopher Columbus and a cacique (Taino for chief) and his people. Columbus is backed by a priest and some soldiers to the left. The natives appear to have an offering of fruit, including pineapples, shown on the right. After Columbus' arrival, Cuba became a Spanish colony, ruled by a Spanish governor in Havana. In 1762, Havana was briefly occupied by Great Britain, before being returned to Spain in exchange for Florida.
[Ref: 37611] £140.00 (£168.00 incl.VAT)
B. West delin.t. F. Bartolozzi sculp.t.
[n.d., c.1794.]
Engraving. Sheet size: 230 x 195mm (9 x 7¾"). Trimmed inside plate.
A meeting between Christopher Columbus and a cacique (Taino for chief) and his people. Columbus is backed by a priest and some soldiers to the left. The natives appear to have an offering of fruit, including pineapples, shown on the right. After Columbus' arrival, Cuba became a Spanish colony, ruled by a Spanish governor in Havana. In 1762, Havana was briefly occupied by Great Britain, before being returned to Spain in exchange for Florida.
[Ref: 37611] £140.00 (£168.00 incl.VAT)
Commemoration Of The Victory Of June 1st. MDCCXCIV
R.Smirke, R.A.Delt. - The Figures Engraved by F.Bartolozzi, R.A. Landscape & Water Engd.by Landseer. Portraits of the Admls.Engd.by Ryder. - Portraits of the Capt.Engd.by Stow.
Pub, by R.Bowyer,1802. Historic Gallery, Pall Mall.
Line engraving. Plate 800 x 424mm. Proof, large sheet.
Britania overlooks the battle from a headland where an oak carries the portraits of Howe, Bridport, Paisley, Bowyer, Gardner, Caldwell, Graves - underneath are the portraits of Montague, Pigott, Mackenzie, Pringle, Curtis, H. Harvey, Parker, J. Harvey, Molloy, Bazeley, Gambier, H. Seymour, Cotton, Pakenham, Collingwood, Douglass, Duckworth, Payne, Berkeley, Bertie, Domett, Hutt, Nicols, Westcott, Schomberg, Elphinstone, Hope. The Glorious First of June (also known as the Third Battle of Ushant and in French as the Bataille du 13 prairial an 2) was a naval battle fought in the Atlantic Ocean on June 1, 1794 between the Royal Navy and the navy of Revolutionary France. It was the first major naval battle of the French Revolutionary Wars. On the 1st of June and at about a quarter past eight Howe bore down on the French, throwing his whole line on them at once from end to end, with orders to pass through from windward to leeward, and so to place the British ships on the French ships' line of retreat. It was a bold departure from the then established methods of fighting, and most honourable in a man of sixty-eight, who had been trained in the old school. Its essential merit was that it produced a close mêlée, in which the better average gunnery and seamanship of the British fleet would tell. Lord Howe's orders were not fully obeyed by all his captains, but a signal victory was won. The battle rapidly turned into a general mêlée which lasted all day. The French ships Sans-Pareil, Juste, America, Impétueux, Northumberland, and Achille were taken, and the Vengeur du Peuple sank after a four-hour duel with HMS Brunswick. When the French withdrew, many of the British ships were in no condition to pursue: Defence and Marlborough were completely dismasted and had to be towed back to port.
Parker:102
[Ref: 5572] £490.00 view all images for this item
R.Smirke, R.A.Delt. - The Figures Engraved by F.Bartolozzi, R.A. Landscape & Water Engd.by Landseer. Portraits of the Admls.Engd.by Ryder. - Portraits of the Capt.Engd.by Stow.
Pub, by R.Bowyer,1802. Historic Gallery, Pall Mall.
Line engraving. Plate 800 x 424mm. Proof, large sheet.
Britania overlooks the battle from a headland where an oak carries the portraits of Howe, Bridport, Paisley, Bowyer, Gardner, Caldwell, Graves - underneath are the portraits of Montague, Pigott, Mackenzie, Pringle, Curtis, H. Harvey, Parker, J. Harvey, Molloy, Bazeley, Gambier, H. Seymour, Cotton, Pakenham, Collingwood, Douglass, Duckworth, Payne, Berkeley, Bertie, Domett, Hutt, Nicols, Westcott, Schomberg, Elphinstone, Hope. The Glorious First of June (also known as the Third Battle of Ushant and in French as the Bataille du 13 prairial an 2) was a naval battle fought in the Atlantic Ocean on June 1, 1794 between the Royal Navy and the navy of Revolutionary France. It was the first major naval battle of the French Revolutionary Wars. On the 1st of June and at about a quarter past eight Howe bore down on the French, throwing his whole line on them at once from end to end, with orders to pass through from windward to leeward, and so to place the British ships on the French ships' line of retreat. It was a bold departure from the then established methods of fighting, and most honourable in a man of sixty-eight, who had been trained in the old school. Its essential merit was that it produced a close mêlée, in which the better average gunnery and seamanship of the British fleet would tell. Lord Howe's orders were not fully obeyed by all his captains, but a signal victory was won. The battle rapidly turned into a general mêlée which lasted all day. The French ships Sans-Pareil, Juste, America, Impétueux, Northumberland, and Achille were taken, and the Vengeur du Peuple sank after a four-hour duel with HMS Brunswick. When the French withdrew, many of the British ships were in no condition to pursue: Defence and Marlborough were completely dismasted and had to be towed back to port.
Parker:102
[Ref: 5572] £490.00 view all images for this item
![[Apollo holding his lyre, concert ticket.]](jpegs/10559.jpg)
[Apollo holding his lyre, concert ticket.]
G.B. Cipriani Inv. F. Bartolozzi sculpt.
Printed by W. Hinton St. James's Street [n.d., c.1780.]
Etching. Unidentified collector's mark on verso. 114 x 102mm. 4½ x 4". Trimmed just inside place.
With artist's and engraver's surnames fully inscribed. The cartouches above and below uninscribed. In classical mythology, as the leader of the Muses (Apollon Musagetes) Apollo functioned as the patron god of music and poetry.
De Vesme: 1915; iii/iv. Not in Lugt. See 10558, 9718, 21208 and 21209 for other states.
[Ref: 10559] £95.00 (£114.00 incl.VAT)
G.B. Cipriani Inv. F. Bartolozzi sculpt.
Printed by W. Hinton St. James's Street [n.d., c.1780.]
Etching. Unidentified collector's mark on verso. 114 x 102mm. 4½ x 4". Trimmed just inside place.
With artist's and engraver's surnames fully inscribed. The cartouches above and below uninscribed. In classical mythology, as the leader of the Muses (Apollon Musagetes) Apollo functioned as the patron god of music and poetry.
De Vesme: 1915; iii/iv. Not in Lugt. See 10558, 9718, 21208 and 21209 for other states.
[Ref: 10559] £95.00 (£114.00 incl.VAT)
![[Apollo holding his lyre, concert ticket.]](jpegs/10558.jpg)
[Apollo holding his lyre, concert ticket.]
I.B.C.Inv. F.B. sculp.
Printed by W. Hinton St. James's Street [n.d., c.1780.]
Etching, printed in red/brown ink. 120 x 106mm. 4¾ x 4¼". Trimmed inside plate to left and right side.
The cartouches above and below uninscribed. In classical mythology, as the leader of the Muses (Apollon Musagetes) Apollo functioned as the patron god of music and poetry. Engraved by Bartolozzi after Cipriani, their initials only inscribed.
De Vesme: 1915; iii/iv. See 10559, 9718, 21208 and 21209 for other states.
[Ref: 10558] £160.00 (£192.00 incl.VAT)
I.B.C.Inv. F.B. sculp.
Printed by W. Hinton St. James's Street [n.d., c.1780.]
Etching, printed in red/brown ink. 120 x 106mm. 4¾ x 4¼". Trimmed inside plate to left and right side.
The cartouches above and below uninscribed. In classical mythology, as the leader of the Muses (Apollon Musagetes) Apollo functioned as the patron god of music and poetry. Engraved by Bartolozzi after Cipriani, their initials only inscribed.
De Vesme: 1915; iii/iv. See 10559, 9718, 21208 and 21209 for other states.
[Ref: 10558] £160.00 (£192.00 incl.VAT)
For The Benefit Of Mr. Jones.
G.B. Cipriani inv. F. Bartolozzi sculp.
[n.d., c.1780.]
Concert ticket, etching. 95 x 90mm. 3¾ x 3½". Trimmed to plate, glued to album page at upper edge.
Two putti, one winged putto playing a lyre while the other holds a sheet of music. Edward Jones (1752 - 1824), known as Bardd y Brenin, or the King's Bard, was a musician and Welsh writer. He taught music to many persons of rank and was appointed bard to the Prince of Wales, an honorary office, in 1783. In 1784 he published ‘Musical and Poetical Relicks of the Welsh Bards, preserved by Tradition and Authentic Manuscripts from very remote Antiquity, with a Collection of the Pennillion and Englynion, Epigrammatic Stanzas or native Pastoral Sonnets of Wales, a History of the Bards from the Earliest Period, and an Account of their Music, Poetry, and Musical Instruments’. This work, largely based on the author's original researches among unpublished Welsh manuscripts, rescued and preserved some of the oldest Welsh airs extant. In many ways Jones can be said to have invented Wales as the 'land of song', while defining its people as 'aboriginal Britons' and as the oldest musical nation in Europe.
From the collection of Cecil Bisshopp Harmsworth, 1st Baron Harmsworth. De Vesme: 1932. See Ref: 20522.
[Ref: 9717] £140.00 (£168.00 incl.VAT)
G.B. Cipriani inv. F. Bartolozzi sculp.
[n.d., c.1780.]
Concert ticket, etching. 95 x 90mm. 3¾ x 3½". Trimmed to plate, glued to album page at upper edge.
Two putti, one winged putto playing a lyre while the other holds a sheet of music. Edward Jones (1752 - 1824), known as Bardd y Brenin, or the King's Bard, was a musician and Welsh writer. He taught music to many persons of rank and was appointed bard to the Prince of Wales, an honorary office, in 1783. In 1784 he published ‘Musical and Poetical Relicks of the Welsh Bards, preserved by Tradition and Authentic Manuscripts from very remote Antiquity, with a Collection of the Pennillion and Englynion, Epigrammatic Stanzas or native Pastoral Sonnets of Wales, a History of the Bards from the Earliest Period, and an Account of their Music, Poetry, and Musical Instruments’. This work, largely based on the author's original researches among unpublished Welsh manuscripts, rescued and preserved some of the oldest Welsh airs extant. In many ways Jones can be said to have invented Wales as the 'land of song', while defining its people as 'aboriginal Britons' and as the oldest musical nation in Europe.
From the collection of Cecil Bisshopp Harmsworth, 1st Baron Harmsworth. De Vesme: 1932. See Ref: 20522.
[Ref: 9717] £140.00 (£168.00 incl.VAT)
![[Concert Ticket, held at St. Margaret's Church, Westminster.]](jpegs/21215.jpg)
[Concert Ticket, held at St. Margaret's Church, Westminster.]
Smirke Invt. F. Bartolozzi sculp.
[n.d. c.1792.]
Engraving and etching, scarce proof. Plate 217 x 185mm 8½ x 7¼". Trimmed close to the plate. Light foxing.
St Cecilia is seated playing at an organ, with two winged figures standing looking over her. The relief below depicts Charity and three children, with a lion and a unicorn to either side.
De Vesme: 1948; v/v. See Ref 16047 for earlier state in red/brown ink & 20503 for earlier state.
[Ref: 21215] £260.00 (£312.00 incl.VAT)
Smirke Invt. F. Bartolozzi sculp.
[n.d. c.1792.]
Engraving and etching, scarce proof. Plate 217 x 185mm 8½ x 7¼". Trimmed close to the plate. Light foxing.
St Cecilia is seated playing at an organ, with two winged figures standing looking over her. The relief below depicts Charity and three children, with a lion and a unicorn to either side.
De Vesme: 1948; v/v. See Ref 16047 for earlier state in red/brown ink & 20503 for earlier state.
[Ref: 21215] £260.00 (£312.00 incl.VAT)
![[Apollo holding his lyre, concert ticket.]](jpegs/21209.jpg)
[Apollo holding his lyre, concert ticket.]
I.B.C.Inv. F.B. sculp.
[n.d., c.1780.]
Etching in black ink. 109 x 88mm. 4¼ x 3½". Trimmed.
The cartouches above and below uninscribed. In classical mythology, as the leader of the Muses (Apollon Musagetes) Apollo functioned as the patron god of music and poetry. Engraved by Bartolozzi after Cipriani, their initials only inscribed. Before publication line added.
De Vesme: 1915; i/iv. See 9718, 10558, 10559 and 21208 for other states.
[Ref: 21209] £130.00 (£156.00 incl.VAT)
I.B.C.Inv. F.B. sculp.
[n.d., c.1780.]
Etching in black ink. 109 x 88mm. 4¼ x 3½". Trimmed.
The cartouches above and below uninscribed. In classical mythology, as the leader of the Muses (Apollon Musagetes) Apollo functioned as the patron god of music and poetry. Engraved by Bartolozzi after Cipriani, their initials only inscribed. Before publication line added.
De Vesme: 1915; i/iv. See 9718, 10558, 10559 and 21208 for other states.
[Ref: 21209] £130.00 (£156.00 incl.VAT)
![[Apollo holding his lyre, concert ticket.]](jpegs/21208.jpg)
[Apollo holding his lyre, concert ticket.]
I.B.C.Inv. F.B. sculp.
Printed by W. Hinton St. James's Street [n.d., c.1780.]
Etching, printed in black ink. 115 x 108mm. 4½ x 4¼". Trimmed inside plate.
The cartouches above and below uninscribed. In classical mythology, as the leader of the Muses (Apollon Musagetes) Apollo functioned as the patron god of music and poetry. Engraved by Bartolozzi after Cipriani, their initials only inscribed.
De Vesme: 1915; iii/iv. See 9718, 10558, 10559 and 21209 for other states.
[Ref: 21208] £160.00 (£192.00 incl.VAT)
I.B.C.Inv. F.B. sculp.
Printed by W. Hinton St. James's Street [n.d., c.1780.]
Etching, printed in black ink. 115 x 108mm. 4½ x 4¼". Trimmed inside plate.
The cartouches above and below uninscribed. In classical mythology, as the leader of the Muses (Apollon Musagetes) Apollo functioned as the patron god of music and poetry. Engraved by Bartolozzi after Cipriani, their initials only inscribed.
De Vesme: 1915; iii/iv. See 9718, 10558, 10559 and 21209 for other states.
[Ref: 21208] £160.00 (£192.00 incl.VAT)
![[Apollo holding his lyre, concert ticket.]](jpegs/9718.jpg)
[Apollo holding his lyre, concert ticket.]
I.B.C.Inv. F.B. sculp.
[n.d., c.1780.]
Etching in sepia, with small margins. Plate 115 x 115mm. 4½ x 4½". Glued to album page at right edge.
The cartouches above and below uninscribed. In classical mythology, as the leader of the Muses (Apollon Musagetes) Apollo functioned as the patron god of music and poetry. Engraved by Bartolozzi after Cipriani, their initials only inscribed. Before publication line added.
From the collection of Cecil Bisshopp Harmsworth, 1st Baron Harmsworth. De Vesme: 1915; i/iv. See 10558, 10559, 21208 and 21209 for other states.
[Ref: 9718] £180.00 (£216.00 incl.VAT)
I.B.C.Inv. F.B. sculp.
[n.d., c.1780.]
Etching in sepia, with small margins. Plate 115 x 115mm. 4½ x 4½". Glued to album page at right edge.
The cartouches above and below uninscribed. In classical mythology, as the leader of the Muses (Apollon Musagetes) Apollo functioned as the patron god of music and poetry. Engraved by Bartolozzi after Cipriani, their initials only inscribed. Before publication line added.
From the collection of Cecil Bisshopp Harmsworth, 1st Baron Harmsworth. De Vesme: 1915; i/iv. See 10558, 10559, 21208 and 21209 for other states.
[Ref: 9718] £180.00 (£216.00 incl.VAT)