A selection of stock we have recently added to our website.
A selection of stock we have recently added to our website.
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![[Illustration to 'The Second Punick War between Hannibal and the Romanes.']](jpegs/40471.jpg)
[Illustration to 'The Second Punick War between Hannibal and the Romanes.']
J. Lamorlet f [1661]
Engraving, platemark 320 x 215mm (12½ x 8½") large margins. Glued to backing sheet.
Historical scene with slaying of a dragon in the background, after Joseph Lamorlet, 17th century painter working in Antwerp. Plate from Thomas's Ross's translation of Silius Italiacus' epic poem 'Punica' into English as 'The Second Punick War Between Hannibal, and the Romanes'.
[Ref: 40471] £95.00 (£114.00 incl.VAT)
J. Lamorlet f [1661]
Engraving, platemark 320 x 215mm (12½ x 8½") large margins. Glued to backing sheet.
Historical scene with slaying of a dragon in the background, after Joseph Lamorlet, 17th century painter working in Antwerp. Plate from Thomas's Ross's translation of Silius Italiacus' epic poem 'Punica' into English as 'The Second Punick War Between Hannibal, and the Romanes'.
[Ref: 40471] £95.00 (£114.00 incl.VAT)
![[The Decision of the Doubts Concerning Mambrino's Helmet]](jpegs/40833.jpg)
[The Decision of the Doubts Concerning Mambrino's Helmet] Don Quixote
Stothard del Blake sculp
[Published as the Act directs, by Harrison & Co., May 4, 1782]
Engraving, sheet 165 x 105mm (6½ x 4"). Trimmed.
Scene from 'Don Quixote', in which Quixote gets the barber's basin that he believes to be the helmet of the fictional Moorish king Mabrino. Illustration to 'The History and Adventures of the Renowned Don Quixote, Translated from the Spanish of Miguel de Cervantes Saavedra, by Dr Smollett'. Smollett's translation was first published in 1755 but was republished along with other of his works in the 1780s, with engravings by the poet and artist William Blake (1757-1827). This early work was one of many Blake engraved from designs by his friend Thomas Stothard, Britain's most prolific book illustrator. While establishing himself as a copy engraver in the early 1780s, Blake was also studying at the Royal Academy and developing the highly personal approach he used in his original watercolours.
Russell 49A.i; for other illustrations from the same publication see refs 15430, 15431 and 27017.
[Ref: 40833] £95.00 (£114.00 incl.VAT)
Stothard del Blake sculp
[Published as the Act directs, by Harrison & Co., May 4, 1782]
Engraving, sheet 165 x 105mm (6½ x 4"). Trimmed.
Scene from 'Don Quixote', in which Quixote gets the barber's basin that he believes to be the helmet of the fictional Moorish king Mabrino. Illustration to 'The History and Adventures of the Renowned Don Quixote, Translated from the Spanish of Miguel de Cervantes Saavedra, by Dr Smollett'. Smollett's translation was first published in 1755 but was republished along with other of his works in the 1780s, with engravings by the poet and artist William Blake (1757-1827). This early work was one of many Blake engraved from designs by his friend Thomas Stothard, Britain's most prolific book illustrator. While establishing himself as a copy engraver in the early 1780s, Blake was also studying at the Royal Academy and developing the highly personal approach he used in his original watercolours.
Russell 49A.i; for other illustrations from the same publication see refs 15430, 15431 and 27017.
[Ref: 40833] £95.00 (£114.00 incl.VAT)
![[Sir Henry Raeburn.]](jpegs/40473.jpg)
[Sir Henry Raeburn.]
Ipse pinx WN ft 1818.
Fine etching on india, platemark 270 x 225mm (10½ x 9"), very large margins. Fine proof impression, before 'No 3' added upper right.
Engraving from Sir Henry Raeburn's 1815 self-portrait in the Scottish National Gallery. Raeburn's career had deteriorated in the early years of the 19th century, and he hoped to improve his fortunes by moving from his native Scotland to London in 1810. He was elected as a full member of the Royal Academy in 1815 and sent in the self-portrait as his diploma picture, not knowing that portraits of members could not be accepted. As Duncan Thomson (DNB) writes: 'great effort had gone into the making of this Olympian image, for its high seriousness was how he [Raeburn] wished to be perceived in London. His disappointment must have been extreme. It was eventually replaced by the sentimental 'Boy with Rabbit', a portrait of his stepgrandson Henry Raeburn Inglis'. Etching by William Nicholson (1781-1844), portrait painter and etcher. In 1818 Nicholson began to publish a series entitled 'Portraits of distinguished living characters of Scotland, drawn and etched by William Nicholson from his portraits and those by other painters', which included the lettered state of this print.
For another print in Nicholson's series see ref. 16377.
[Ref: 40473] £240.00 (£288.00 incl.VAT)
Ipse pinx WN ft 1818.
Fine etching on india, platemark 270 x 225mm (10½ x 9"), very large margins. Fine proof impression, before 'No 3' added upper right.
Engraving from Sir Henry Raeburn's 1815 self-portrait in the Scottish National Gallery. Raeburn's career had deteriorated in the early years of the 19th century, and he hoped to improve his fortunes by moving from his native Scotland to London in 1810. He was elected as a full member of the Royal Academy in 1815 and sent in the self-portrait as his diploma picture, not knowing that portraits of members could not be accepted. As Duncan Thomson (DNB) writes: 'great effort had gone into the making of this Olympian image, for its high seriousness was how he [Raeburn] wished to be perceived in London. His disappointment must have been extreme. It was eventually replaced by the sentimental 'Boy with Rabbit', a portrait of his stepgrandson Henry Raeburn Inglis'. Etching by William Nicholson (1781-1844), portrait painter and etcher. In 1818 Nicholson began to publish a series entitled 'Portraits of distinguished living characters of Scotland, drawn and etched by William Nicholson from his portraits and those by other painters', which included the lettered state of this print.
For another print in Nicholson's series see ref. 16377.
[Ref: 40473] £240.00 (£288.00 incl.VAT)
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Portrait de Raphaël. D'apres le Tableau de ce peintre qui est dans le Cabinet du Roy D'apres le Tableau de ce peintre qui est dans le Cabinet du Roy.
gravé par Nicholas Larmessin [after Raphael].
[n.d., c.1730.]
Engraving. 340 x 250mm (13½ x 9¾"), with very large margins. Outer margins frayed.
A reversed engraving of the so-called 'Raphael and his fencing master' portrait, with the two men shown half-length behind a parapet, Raphael behind with one hand on his friend's shoulder. The friend points to the viewer as he looks over his shoulder at the artist. The orignal oil, painted c.1518, is now in the Louvre.
[Ref: 40491] £95.00 (£114.00 incl.VAT)
gravé par Nicholas Larmessin [after Raphael].
[n.d., c.1730.]
Engraving. 340 x 250mm (13½ x 9¾"), with very large margins. Outer margins frayed.
A reversed engraving of the so-called 'Raphael and his fencing master' portrait, with the two men shown half-length behind a parapet, Raphael behind with one hand on his friend's shoulder. The friend points to the viewer as he looks over his shoulder at the artist. The orignal oil, painted c.1518, is now in the Louvre.
[Ref: 40491] £95.00 (£114.00 incl.VAT)
![[Seven plates of the Acts of St Peter and St Paul, after Raphael]](jpegs/40655.jpg)
[Seven plates of the Acts of St Peter and St Paul, after Raphael]
Sold by R. Sayer in Fleet Street [c.1750]
Seven mezzotints, rare in original wrappers, 210 x 300mm (8¼ x 11¾"); very large margins.
Reproductions of seven of the set of ten cartoons depicting the Acts of St Peter and St Paul commissioned from Raphael by Pope Leo X. The cartoons were used a designs from which tapestries were made to cover the lower walls of the Sistine Chapel. In 1623 seven of the cartoons, having spent the early 16th century being passed around weavers' workshops in Brussels, were brought to England by Charles I for £300. They were long displayed at Hampton Court (Charles had his own set of tapestries made) and by the end of the 17th century had become appreciated as important artworks in their own right. In the 18th century various sets of engravings such as these in the 18th reinforced the reputation of the cartoons as some of the most significant artworks in Britain. Since 1865 they have been on loan from the Royal Collection to London's Victoria & Albert Museum, where they are permanently displayed together. The seven scenes are: The Miraculous Draught of Fishes; Christ's Charge to Peter; The Lame Man Healed by Peter & John; The Death of Ananias; Elymas the Sorcerer, Struck with Blindness; Paul and Barnabas at Lystra; and Paul Preaching at Athens.
For a different set of engravings from the cartoons see ref. 38432
[Ref: 40655] £550.00 view all images for this item
Sold by R. Sayer in Fleet Street [c.1750]
Seven mezzotints, rare in original wrappers, 210 x 300mm (8¼ x 11¾"); very large margins.
Reproductions of seven of the set of ten cartoons depicting the Acts of St Peter and St Paul commissioned from Raphael by Pope Leo X. The cartoons were used a designs from which tapestries were made to cover the lower walls of the Sistine Chapel. In 1623 seven of the cartoons, having spent the early 16th century being passed around weavers' workshops in Brussels, were brought to England by Charles I for £300. They were long displayed at Hampton Court (Charles had his own set of tapestries made) and by the end of the 17th century had become appreciated as important artworks in their own right. In the 18th century various sets of engravings such as these in the 18th reinforced the reputation of the cartoons as some of the most significant artworks in Britain. Since 1865 they have been on loan from the Royal Collection to London's Victoria & Albert Museum, where they are permanently displayed together. The seven scenes are: The Miraculous Draught of Fishes; Christ's Charge to Peter; The Lame Man Healed by Peter & John; The Death of Ananias; Elymas the Sorcerer, Struck with Blindness; Paul and Barnabas at Lystra; and Paul Preaching at Athens.
For a different set of engravings from the cartoons see ref. 38432
[Ref: 40655] £550.00 view all images for this item
![[Disputation of the Holy Sacrament, left sheet only]](jpegs/40460.jpg)
[Disputation of the Holy Sacrament, left sheet only]
Raphael Urbin Pinxit in Vaticano Romae [in image lower left]
Phls Thomassinus excudit Romae 1617 cu privil S.mi Pont et supior licentia
Engraving, sheet 490 x 405mm (19¼ x 16"). Trimmed inside plate lower edge; glued to backing sheet
Left sheet of a large engraving printed on two sheets from two separate plates, reproducing Raphael's fresco 'La disputa del sacramento', painted in 1509-10 in the Vatican palace, as part of Raphael's work in what was originally the Stanza della Segnatura, the private papal library. The fresco shows theologians gathered around an altar, debating transubstantiation, with, above them, Christ and other biblical figures, and God the Father. The portraits on this sheet include: the artist Fra Angelico, a self-portrait of Raphael, the architect Bramante, Popes Gregory I and Jerome; and (upper level left-right) the Biblical figures of Peter, Adam, John the Evangelist, David, Stephen, Joshua and Mary. Engraving published in 1617 by the engraver and publisher Philippe Thomassin (1562-1622), who specialized in reproductive engravings by Italian and French artists, and whose apprentices included the great printmaker Jacques Callot. After Thomassin's death the plate was acquired by the Rossi firm, who published a new edition (with their publication line added) in 1648.
[Ref: 40460] £240.00 (£288.00 incl.VAT)
Raphael Urbin Pinxit in Vaticano Romae [in image lower left]
Phls Thomassinus excudit Romae 1617 cu privil S.mi Pont et supior licentia
Engraving, sheet 490 x 405mm (19¼ x 16"). Trimmed inside plate lower edge; glued to backing sheet
Left sheet of a large engraving printed on two sheets from two separate plates, reproducing Raphael's fresco 'La disputa del sacramento', painted in 1509-10 in the Vatican palace, as part of Raphael's work in what was originally the Stanza della Segnatura, the private papal library. The fresco shows theologians gathered around an altar, debating transubstantiation, with, above them, Christ and other biblical figures, and God the Father. The portraits on this sheet include: the artist Fra Angelico, a self-portrait of Raphael, the architect Bramante, Popes Gregory I and Jerome; and (upper level left-right) the Biblical figures of Peter, Adam, John the Evangelist, David, Stephen, Joshua and Mary. Engraving published in 1617 by the engraver and publisher Philippe Thomassin (1562-1622), who specialized in reproductive engravings by Italian and French artists, and whose apprentices included the great printmaker Jacques Callot. After Thomassin's death the plate was acquired by the Rossi firm, who published a new edition (with their publication line added) in 1648.
[Ref: 40460] £240.00 (£288.00 incl.VAT)
Francis Rawdon Hastings Earl of Moira. Engraved from the Original Picture, in the Possession of Dr. Hayes.
Painted by C.G. Stuart. Engraved by J. Collyer A.R.A. Engraver to Her Majesty
Stipple, "Commander of the Forces serving" printed in Malta in ink; sheet 245 x 160mm (9½ x 6¼"). Trimmed and false margins added. Hastings' signature on separate sheet attached.
Francis Rawdon Hastings, first marquess of Hastings and second earl of Moira (1754-1826), army officer and politician. Hastings fought with distinction in the American War of Independence and French Revolutionary Wars (he was commended for fearlessness at Bunker Hill in 1775, where two bullets passed through his hat), before becoming a politician, in which capacity he showed an ongoing concern for Ireland. Financial problems resulting from his extravagance led to him taking up the position of governor-general of India from 1813 to 1823.
[Ref: 40807] £160.00 (£192.00 incl.VAT)
Painted by C.G. Stuart. Engraved by J. Collyer A.R.A. Engraver to Her Majesty
Stipple, "Commander of the Forces serving" printed in Malta in ink; sheet 245 x 160mm (9½ x 6¼"). Trimmed and false margins added. Hastings' signature on separate sheet attached.
Francis Rawdon Hastings, first marquess of Hastings and second earl of Moira (1754-1826), army officer and politician. Hastings fought with distinction in the American War of Independence and French Revolutionary Wars (he was commended for fearlessness at Bunker Hill in 1775, where two bullets passed through his hat), before becoming a politician, in which capacity he showed an ongoing concern for Ireland. Financial problems resulting from his extravagance led to him taking up the position of governor-general of India from 1813 to 1823.
[Ref: 40807] £160.00 (£192.00 incl.VAT)
![[Nude with hands on head]](jpegs/40176.jpg)
[Nude with hands on head]
H:C T.R. del et fecit 1751.
Rare etching, 200 x 145mm (8 x 5¾"), with very large margins.
Etching by amateur printmaker and Fellow of the Royal Society, Sir Thomas Reeves (c.1744-88, fl.).
[Ref: 40176] £120.00 (£144.00 incl.VAT)
H:C T.R. del et fecit 1751.
Rare etching, 200 x 145mm (8 x 5¾"), with very large margins.
Etching by amateur printmaker and Fellow of the Royal Society, Sir Thomas Reeves (c.1744-88, fl.).
[Ref: 40176] £120.00 (£144.00 incl.VAT)
The Revd Samuel Reynolds, Father of Sir Joshua Reynolds. Proof.
Engraved by S.W. Reynolds, from the Original Picture by Sir Joshua Reynolds, in the Possession of J Palmer Esq.
Pub.d January 1 1823 by Colnaghi & C.o 23 Cockspur Street London..
Mezzotint, title in open letters. Plate: 280 x 380mm (11 x 15") very large margins. Crease in title area.
Portrait of Samuel Reynolds (1681-1746), Master of Plympton Grammar School; father of Sir Joshua Reynolds. Half-length in profile and looking to right, wearing loose gown; in an oval within a square frame. After Sir Joshua Reynolds (1723-1792).
Whitman 248.II. Hamilton p.58.II. Collection of the Hon. C. Lennox-Boyd.
[Ref: 39931] £160.00 (£192.00 incl.VAT)
Engraved by S.W. Reynolds, from the Original Picture by Sir Joshua Reynolds, in the Possession of J Palmer Esq.
Pub.d January 1 1823 by Colnaghi & C.o 23 Cockspur Street London..
Mezzotint, title in open letters. Plate: 280 x 380mm (11 x 15") very large margins. Crease in title area.
Portrait of Samuel Reynolds (1681-1746), Master of Plympton Grammar School; father of Sir Joshua Reynolds. Half-length in profile and looking to right, wearing loose gown; in an oval within a square frame. After Sir Joshua Reynolds (1723-1792).
Whitman 248.II. Hamilton p.58.II. Collection of the Hon. C. Lennox-Boyd.
[Ref: 39931] £160.00 (£192.00 incl.VAT)
Ridley, Kent.
[Anon., c.1840]
Very rare lithograph, printed area 135 x 180mm (5¼ x 7"); very large margins. Poorly printed towards top.
Unusual lithograph of Ridley, a hamlet in Kent between Sevenoaks and Chatham.
Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 40642] £65.00 (£78.00 incl.VAT)
[Anon., c.1840]
Very rare lithograph, printed area 135 x 180mm (5¼ x 7"); very large margins. Poorly printed towards top.
Unusual lithograph of Ridley, a hamlet in Kent between Sevenoaks and Chatham.
Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 40642] £65.00 (£78.00 incl.VAT)
![The Rights of Kings; or, Loyal Odes To Disloyal Academicians; by Peter Pindar, Esq. [John Walcot].](jpegs/40829.jpg)
The Rights of Kings; or, Loyal Odes To Disloyal Academicians; by Peter Pindar, Esq. [John Walcot]. A New Edition.
London: Printed for J. Evans, Paternoster-Row. M.DCC.XCI. [1791.]
4to, disbound; pp. (iv)+70+(ii)(publisher's ads). Wear on title page.
A satire on the George III's influence on selecting members of the Royal Academy, written by John Wolcot (1738-1819). The target of the satire is the election of Associates in 1790, when the competition was between Thomas Lawrence, favourite of the king (who is described as having 'a superior knowledge in painting) and Francis Wheatley. The author decries the disloyalty of the Academicians, of whom only three voted for the king's choice, against 16 for Wheatley. On the last page is 'A List of Peter Pindar's Works' with a price list.
[Ref: 40829] £280.00
London: Printed for J. Evans, Paternoster-Row. M.DCC.XCI. [1791.]
4to, disbound; pp. (iv)+70+(ii)(publisher's ads). Wear on title page.
A satire on the George III's influence on selecting members of the Royal Academy, written by John Wolcot (1738-1819). The target of the satire is the election of Associates in 1790, when the competition was between Thomas Lawrence, favourite of the king (who is described as having 'a superior knowledge in painting) and Francis Wheatley. The author decries the disloyalty of the Academicians, of whom only three voted for the king's choice, against 16 for Wheatley. On the last page is 'A List of Peter Pindar's Works' with a price list.
[Ref: 40829] £280.00
![[A streamside camp.]](jpegs/40427.jpg)
[A streamside camp.]
London Published Feb.y 1, 1801 by Random Stainbank & Sayer, 17, Old Bond Street.
Aquatint, coloured on both sides as a transparency, with gum arabic highlights. Sheet 205 x 255mm (8 x 10"). Trimmed within plate, hole in printed border, wax stains.
A camp with fire, between a wood and a stream with a bridge, lit by the moon.
Ex: collections of the Spencer Sisters and the Hon. Christopher Lennox Boyd.
[Ref: 40427] £160.00 (£192.00 incl.VAT) view all images for this item
London Published Feb.y 1, 1801 by Random Stainbank & Sayer, 17, Old Bond Street.
Aquatint, coloured on both sides as a transparency, with gum arabic highlights. Sheet 205 x 255mm (8 x 10"). Trimmed within plate, hole in printed border, wax stains.
A camp with fire, between a wood and a stream with a bridge, lit by the moon.
Ex: collections of the Spencer Sisters and the Hon. Christopher Lennox Boyd.
[Ref: 40427] £160.00 (£192.00 incl.VAT) view all images for this item
![[A riverside church, by moonlight.]](jpegs/40435.jpg)
[A riverside church, by moonlight.]
[n.d., c.1820.]
Ink and watercolour, coloured on both sides as a transparency. Sheet 335 x 260mm (13¼ x 10¼"). Trimmed to image, edges chipped.
Macbeth and Banquo visiting the witches, who are gathered around a cauldron on the left, with two skeletons in the bushes behind them. A watercolour copy of the mezzotint by Jehner after Holmes, published by Ackermann, 1799.
Ex: collection of the Hon. Christopher Lennox Boyd.
[Ref: 40435] £85.00 (£102.00 incl.VAT)
[n.d., c.1820.]
Ink and watercolour, coloured on both sides as a transparency. Sheet 335 x 260mm (13¼ x 10¼"). Trimmed to image, edges chipped.
Macbeth and Banquo visiting the witches, who are gathered around a cauldron on the left, with two skeletons in the bushes behind them. A watercolour copy of the mezzotint by Jehner after Holmes, published by Ackermann, 1799.
Ex: collection of the Hon. Christopher Lennox Boyd.
[Ref: 40435] £85.00 (£102.00 incl.VAT)
Sebastianus Rödinger. J.U.Dr: et Consiliarius Noribergemsis.
J.F.L. f. [Johann Friedrich Leonard].
[n.d., c.1670.]/
Very early mezzotint. 140 x 100mm (5½ x 4") Thread margins.
The Germanisches Nationalmuseum describes Sebastian Rödinger as jurist and Nürnberg councillor c.1570.
Germanisches Nationalmuseum A 17799.
[Ref: 40701] £180.00 (£216.00 incl.VAT)
J.F.L. f. [Johann Friedrich Leonard].
[n.d., c.1670.]/
Very early mezzotint. 140 x 100mm (5½ x 4") Thread margins.
The Germanisches Nationalmuseum describes Sebastian Rödinger as jurist and Nürnberg councillor c.1570.
Germanisches Nationalmuseum A 17799.
[Ref: 40701] £180.00 (£216.00 incl.VAT)
![[Old man holding a sword.]](jpegs/40379.jpg)
[Old man holding a sword.]
[Painted by Sal. Rosa. engraved by C.W. Baillie 1763.]
Etching, platemark 215 x 160mm (8½ x 6¼"), with very large margins. Proof before all letters.
Etching supposedly after Salvator Rosa, the Italian artist whose work, including vertiginous landscapes and genre paintings of banditti, was immensely popular in England in the 18th century. This is an unusual image which may be taken from a painting no longer attributed to Rosa. Engraved by Captain William Baillie (1723-1810). Baillie retired from the army in 1761 with the rank of Captain and thereafter devoted himself to printmaking and dealing. He specialised in imitating old-master drawings and prints, using a variety of printmaking techniques.
[Ref: 40379] £180.00 (£216.00 incl.VAT)
[Painted by Sal. Rosa. engraved by C.W. Baillie 1763.]
Etching, platemark 215 x 160mm (8½ x 6¼"), with very large margins. Proof before all letters.
Etching supposedly after Salvator Rosa, the Italian artist whose work, including vertiginous landscapes and genre paintings of banditti, was immensely popular in England in the 18th century. This is an unusual image which may be taken from a painting no longer attributed to Rosa. Engraved by Captain William Baillie (1723-1810). Baillie retired from the army in 1761 with the rank of Captain and thereafter devoted himself to printmaking and dealing. He specialised in imitating old-master drawings and prints, using a variety of printmaking techniques.
[Ref: 40379] £180.00 (£216.00 incl.VAT)
![The Exhibition of the Royal Academy of Painting, in the Year 1771. From an Original Drawing in the Possession of Rob.t Sayer. [&] The Inside of the Pantheon in Oxford Road. L'Intérior du Panthéon de Londres.](jpegs/40707.jpg)
The Exhibition of the Royal Academy of Painting, in the Year 1771. From an Original Drawing in the Possession of Rob.t Sayer. [&] The Inside of the Pantheon in Oxford Road. L'Intérior du Panthéon de Londres. From an Original Drawing in the Possession of Rob.t Sayer.
Chas. Brandoin inv.t. et delin. Rich.d Earlom fecit. R. Sayer Excudit.
London, Printed for Robt. Sayer No. 53 in Fleet Street. Published as the Act directs 20 May 1772 [& 30 August 1772].
Pair of mezzotints, fine impression. Each sheet: 470 x 555mm (18½ x 22"). Cut to image. Overall paper tone and pin holes. Crease on Pantheon.
A fine pair of satires on the contemporary social scene, showing the well-do-do at the Royal Academy and Pantheon. In the Royal Academy view James Barry's 'Temptation of Adam' takes pride of place on the walls. The Pantheon was a place of public entertainment on the south side of Oxford Street, designed by James Wyatt. It opened in 1772, when the main rotunda was one of the largest rooms in England. Orginally built as a set of winter assembly rooms, it was later briefly converted into a theatre. Before being demolished in 1937, it was a bazaar and a wine merchant's show room for over a hundred years. Michel Vincent Brandoin (1733 - 1790), known as Charles Brandoin, was a Swiss painter, watercolourist, draughtsman, and caricaturist who working out of London.
[Ref: 40707] £1,750.00 view all images for this item
Chas. Brandoin inv.t. et delin. Rich.d Earlom fecit. R. Sayer Excudit.
London, Printed for Robt. Sayer No. 53 in Fleet Street. Published as the Act directs 20 May 1772 [& 30 August 1772].
Pair of mezzotints, fine impression. Each sheet: 470 x 555mm (18½ x 22"). Cut to image. Overall paper tone and pin holes. Crease on Pantheon.
A fine pair of satires on the contemporary social scene, showing the well-do-do at the Royal Academy and Pantheon. In the Royal Academy view James Barry's 'Temptation of Adam' takes pride of place on the walls. The Pantheon was a place of public entertainment on the south side of Oxford Street, designed by James Wyatt. It opened in 1772, when the main rotunda was one of the largest rooms in England. Orginally built as a set of winter assembly rooms, it was later briefly converted into a theatre. Before being demolished in 1937, it was a bazaar and a wine merchant's show room for over a hundred years. Michel Vincent Brandoin (1733 - 1790), known as Charles Brandoin, was a Swiss painter, watercolourist, draughtsman, and caricaturist who working out of London.
[Ref: 40707] £1,750.00 view all images for this item
The Exhibition of the Royal Academy, M.DCCCXIII. The Forty-Fifth.
London: Printed by B. McMillan, Bow Street, Covent Garden, Printer to the Royal Academy. (Price One Shilling.)
4to pamphlet, pp. 42 (list of exhibits)+(8)(lists of members & exhibitors). Some usage wear, contemporary ink marginalia throughout.
The brochure to the Royal Academy Exhibition of 1813, with manuscript notes to the paintings by 'Richard James'. Among the exhibits are J.M.W. Turner's 'Frosty Morning' (described by James as 'a large picture much below what I conceived of Turner'); Philip Reinagle's 'group of stages' ('tame and mannered'); Arnaud's 'Boar that killed Adonis' ('a very good picture - but too gaudy'); and James Ward's 'A favourite hunter ' ('excellent') and 'A hunter' ('capital').
[Ref: 40875] £260.00 view all images for this item
London: Printed by B. McMillan, Bow Street, Covent Garden, Printer to the Royal Academy. (Price One Shilling.)
4to pamphlet, pp. 42 (list of exhibits)+(8)(lists of members & exhibitors). Some usage wear, contemporary ink marginalia throughout.
The brochure to the Royal Academy Exhibition of 1813, with manuscript notes to the paintings by 'Richard James'. Among the exhibits are J.M.W. Turner's 'Frosty Morning' (described by James as 'a large picture much below what I conceived of Turner'); Philip Reinagle's 'group of stages' ('tame and mannered'); Arnaud's 'Boar that killed Adonis' ('a very good picture - but too gaudy'); and James Ward's 'A favourite hunter ' ('excellent') and 'A hunter' ('capital').
[Ref: 40875] £260.00 view all images for this item
![[Ruined abbey.]](jpegs/40420.jpg)
[Ruined abbey.]
[n.d., c.1820.]
Ink & watercolour, coloured on both sides as a transparency. Sheet 285 x 360mm (11¼ x 14¼"). Creased.
Ex: collection of the Hon. Christopher Lennox Boyd.
[Ref: 40420] £160.00 (£192.00 incl.VAT)
[n.d., c.1820.]
Ink & watercolour, coloured on both sides as a transparency. Sheet 285 x 360mm (11¼ x 14¼"). Creased.
Ex: collection of the Hon. Christopher Lennox Boyd.
[Ref: 40420] £160.00 (£192.00 incl.VAT)
![[A campfire in a ruined abbey.]](jpegs/40439.jpg)
[A campfire in a ruined abbey.]
[n.d., c.1820.]
Watercolour, coloured on both sides as a transparency with some varnish. Image 230 x 280mm (9 x 11"). Some creasing.
Ex: collections of the Spencer Sisters and the Hon. Christopher Lennox Boyd.
[Ref: 40439] £220.00 (£264.00 incl.VAT)
[n.d., c.1820.]
Watercolour, coloured on both sides as a transparency with some varnish. Image 230 x 280mm (9 x 11"). Some creasing.
Ex: collections of the Spencer Sisters and the Hon. Christopher Lennox Boyd.
[Ref: 40439] £220.00 (£264.00 incl.VAT)
Running away with an Heiress.
Giles Grinagain inv.t et fec.t.
Pub.d by S.W. Fores No 50 Piccadilly Jan.y 2.d 1804.
Coloured etching; 18th century watermark; bottom right stamped in ink S.W.F.. 200 x 230mm (8 x 9"). Trimmed to plate at bottom with slight loss to right.
A fat middle-aged woman, lightly clad in indoor dress, sits on the shoulders of a man smaller and older than herself, who runs in profile to the right. He bends under his burden, using a stick, and saying, 'I think I have got a great Prize at last! 40,000 £ in Bank Stock is a weighty Consideration'. She says: 'How I do long for the Blacksmith! When shall we get to Gretna Green!". Behind them is a short ladder leading from a ground-floor window. 'Giles Grinagain' (fl. 1801-7) made a series of prints published by Samuel Howitt in 1801-2, so is probably a pseudonym for Howitt himself. Some were re-issued by S W Fores in 1804, and in 1807 he is listed as a publisher at 7 Artillery Street, of a print by Rowlandson.
BM Satires 10337.
[Ref: 40615] £180.00 (£216.00 incl.VAT)
Giles Grinagain inv.t et fec.t.
Pub.d by S.W. Fores No 50 Piccadilly Jan.y 2.d 1804.
Coloured etching; 18th century watermark; bottom right stamped in ink S.W.F.. 200 x 230mm (8 x 9"). Trimmed to plate at bottom with slight loss to right.
A fat middle-aged woman, lightly clad in indoor dress, sits on the shoulders of a man smaller and older than herself, who runs in profile to the right. He bends under his burden, using a stick, and saying, 'I think I have got a great Prize at last! 40,000 £ in Bank Stock is a weighty Consideration'. She says: 'How I do long for the Blacksmith! When shall we get to Gretna Green!". Behind them is a short ladder leading from a ground-floor window. 'Giles Grinagain' (fl. 1801-7) made a series of prints published by Samuel Howitt in 1801-2, so is probably a pseudonym for Howitt himself. Some were re-issued by S W Fores in 1804, and in 1807 he is listed as a publisher at 7 Artillery Street, of a print by Rowlandson.
BM Satires 10337.
[Ref: 40615] £180.00 (£216.00 incl.VAT)
Francis Duke of Bedford
Drawn by J. Lonsdale from the Original Bust by J. Nollekens Esq.r R.A. Exhibited at the Royal Academy 1802, Engraved by L. Sailliar.
Published Jan.y 12 1802 by Charlotte Brydon No 4 Charing Cross
Very rare stipple, platemark 285 x 240mm (11¼ x 9½"). Small margins. Glued to backing sheet.
Francis Russell, fifth duke of Bedford (1765-1802), agriculturalist and politician. Bedford became known as a leading promoter of agricultural development. He was an original member of the board of agriculture set up in 1793, and the first president of the Smithfield Club in 1798, while he also instituted the annual agricultural fair at Woburn. Russell was also an ambitious urban developer, and used his 119 acres of land around London's West End to develop much of the Bloomsbury estate (including Bedford Square, Russell Square, and Bloomsbury Square). After Russell's death a statue was erected in Russell Square, showing Russell with one hand resting on a plough and the other holding ears of corn. Stipple after one of the three busts of Russell sculpted by Joseph Nollekens (1737-1823), whose many portrait busts make up a visual record of the personalities of late Georgian Britain.
[Ref: 40800] £160.00 (£192.00 incl.VAT)
Drawn by J. Lonsdale from the Original Bust by J. Nollekens Esq.r R.A. Exhibited at the Royal Academy 1802, Engraved by L. Sailliar.
Published Jan.y 12 1802 by Charlotte Brydon No 4 Charing Cross
Very rare stipple, platemark 285 x 240mm (11¼ x 9½"). Small margins. Glued to backing sheet.
Francis Russell, fifth duke of Bedford (1765-1802), agriculturalist and politician. Bedford became known as a leading promoter of agricultural development. He was an original member of the board of agriculture set up in 1793, and the first president of the Smithfield Club in 1798, while he also instituted the annual agricultural fair at Woburn. Russell was also an ambitious urban developer, and used his 119 acres of land around London's West End to develop much of the Bloomsbury estate (including Bedford Square, Russell Square, and Bloomsbury Square). After Russell's death a statue was erected in Russell Square, showing Russell with one hand resting on a plough and the other holding ears of corn. Stipple after one of the three busts of Russell sculpted by Joseph Nollekens (1737-1823), whose many portrait busts make up a visual record of the personalities of late Georgian Britain.
[Ref: 40800] £160.00 (£192.00 incl.VAT)
![[A mounted woman talking to a man and child.]](jpegs/40412.jpg)
[A mounted woman talking to a man and child.]
[n.d., c.1820.]
Brown waxy tissue paper, paper and string. Oval image, 130 x 190mm (5¼ x 7½").
A transparency, with the image made up of darker areas created by the thicker paper and string, the colour coming from the tissue.
Ex: collections of the Spencer Sisters & the Hon. Christopher Lennox Boyd.
[Ref: 40412] £45.00 (£54.00 incl.VAT)
[n.d., c.1820.]
Brown waxy tissue paper, paper and string. Oval image, 130 x 190mm (5¼ x 7½").
A transparency, with the image made up of darker areas created by the thicker paper and string, the colour coming from the tissue.
Ex: collections of the Spencer Sisters & the Hon. Christopher Lennox Boyd.
[Ref: 40412] £45.00 (£54.00 incl.VAT)
Rustic Hours. Night. Les Heures Champetres. La Nuit.
Wheatley pinx.t H. Gillbank sculp.t.
London Published Sept.r 29.th 1800. by James Daniell & Co. No.6, Great Charlotte Street, Blackfriars Road. Se Vend à Londres chez James Daniell. Graveur, & Comp.ie
Fine mezzotint, printed in colours and hand-finished. 480 x 580mm (18¾ x 22¾"). Trimmed to the plate along lower edge.
Inside the cottage at night time; the man to the left has fallen asleep with his head in his arms, at the table, after a long day in the fields. The two younger women by the fireplace put the sleeping baby into the wicker cot and wrapping him in a blanket; a dog curled up to the side. Two young children in the centre; the boy seated holding a cat. One of the 'Four Times of the Day (Rustic Hours)' by Francis Wheatley.
Webster: 122.
[Ref: 20209] £320.00
Wheatley pinx.t H. Gillbank sculp.t.
London Published Sept.r 29.th 1800. by James Daniell & Co. No.6, Great Charlotte Street, Blackfriars Road. Se Vend à Londres chez James Daniell. Graveur, & Comp.ie
Fine mezzotint, printed in colours and hand-finished. 480 x 580mm (18¾ x 22¾"). Trimmed to the plate along lower edge.
Inside the cottage at night time; the man to the left has fallen asleep with his head in his arms, at the table, after a long day in the fields. The two younger women by the fireplace put the sleeping baby into the wicker cot and wrapping him in a blanket; a dog curled up to the side. Two young children in the centre; the boy seated holding a cat. One of the 'Four Times of the Day (Rustic Hours)' by Francis Wheatley.
Webster: 122.
[Ref: 20209] £320.00
To Charles Turner Esq. of Norwich, This Etching, from an Original Picture by Gainsborough now in his possession, and formerly in that of his Grace the Duke of Marlborough at White Knights, is dedicated and presented by Edmund Girling.
[n.d., c.1830.]
Etching on india. 260 x 305mm (10¼ x 12"), with large margins.
Landscape with a ruined church among trees on a cliff to right, with two shepherds under a pair of trees nearer the viewer on the left, donkeys and a foal near a fallen tree-trunk in the foreground, a river snaking through fields with houses and a church in the background below and a man leading a donkey up the path towards the shepherds. By Edmund Girling (1796-1871), an amateur draughtsman and etcher of the Norwich school.
See BM: 1902,0514.805 for a proof before letters.
[Ref: 40498] £230.00 (£276.00 incl.VAT)
[n.d., c.1830.]
Etching on india. 260 x 305mm (10¼ x 12"), with large margins.
Landscape with a ruined church among trees on a cliff to right, with two shepherds under a pair of trees nearer the viewer on the left, donkeys and a foal near a fallen tree-trunk in the foreground, a river snaking through fields with houses and a church in the background below and a man leading a donkey up the path towards the shepherds. By Edmund Girling (1796-1871), an amateur draughtsman and etcher of the Norwich school.
See BM: 1902,0514.805 for a proof before letters.
[Ref: 40498] £230.00 (£276.00 incl.VAT)
View near Ryde, Isle of Wight.
On Stone by Will.m Varley.
J. Boosey & Co, Lithog. 310 Strand.
Lithograph; watermark 1816; Sheet 315 x 410mm (12¼ x 16"). Torn. Bit messy.
From Varley's 'Four Views in the Isle of Wight'.
Abbey: 346. Ex: Collection of Hon. Christopher Lennox-Boyd.
[Ref: 40635] £120.00 (£144.00 incl.VAT)
On Stone by Will.m Varley.
J. Boosey & Co, Lithog. 310 Strand.
Lithograph; watermark 1816; Sheet 315 x 410mm (12¼ x 16"). Torn. Bit messy.
From Varley's 'Four Views in the Isle of Wight'.
Abbey: 346. Ex: Collection of Hon. Christopher Lennox-Boyd.
[Ref: 40635] £120.00 (£144.00 incl.VAT)
North & South of Great Britain.
Will.m Hogarth delin. F.B_ Sculp.
Published June the 11th, 1781 at the Ancient & Modern Print Warehouse No. 28 in the Hay Market by A. Torre and J. Thane.
Etching, proof? 150 x 185mm (6 x 7¼"); in ink verso "It is almost certain that this is an Imposition"; very large margins. Some soiling.
A satire on the perennial north-south divide, comparing an emaciated Scot dressed in rags in front of Edinburgh Castle with a portly Londoner with St Paul's Cathedral behind. A later state, with the same publication date but with added aquatint, has Paul Sandby's name instead of Hogarth's. This is the more likely attribution: certainly this print is not listed in Paulson's bibliography of Hogarth. The BM posits that the engraver might be Francesco Bartolozzi, but it most likely to be the work of Sandby as well. Anthony Torre and John Thane worked together only 1781-82, before handing over their business at the Ancient and Modern Print Warehouse to Paul Colnaghi.
See BM Satires 3799 for a state with Hogarth's name but without the engraver's initials, and the same number for the finished version.
[Ref: 40349] £220.00 (£264.00 incl.VAT)
Will.m Hogarth delin. F.B_ Sculp.
Published June the 11th, 1781 at the Ancient & Modern Print Warehouse No. 28 in the Hay Market by A. Torre and J. Thane.
Etching, proof? 150 x 185mm (6 x 7¼"); in ink verso "It is almost certain that this is an Imposition"; very large margins. Some soiling.
A satire on the perennial north-south divide, comparing an emaciated Scot dressed in rags in front of Edinburgh Castle with a portly Londoner with St Paul's Cathedral behind. A later state, with the same publication date but with added aquatint, has Paul Sandby's name instead of Hogarth's. This is the more likely attribution: certainly this print is not listed in Paulson's bibliography of Hogarth. The BM posits that the engraver might be Francesco Bartolozzi, but it most likely to be the work of Sandby as well. Anthony Torre and John Thane worked together only 1781-82, before handing over their business at the Ancient and Modern Print Warehouse to Paul Colnaghi.
See BM Satires 3799 for a state with Hogarth's name but without the engraver's initials, and the same number for the finished version.
[Ref: 40349] £220.00 (£264.00 incl.VAT)
Petite Ecoliere. Dedié à son Excellence Monsieur le Baron de Groschlag Premier Ministre d'Etat [...]
Peint par Schenau de SAE de Saxe Gravé par J.G. Wille Graveur du Roi 1771
A Paris chez l'Auteur Quay des Augustins Par Son très humble et très Obeissant Serviteur Wille.
Engraving, platemark 250 x 180mm (9¾ x 7") very large margins.
Young schoolgirl holding a bird, seen through trompe l'oeil niche. After Johann Eleazar Schenau (also identified as Johann Elias Zeissig, 1737-1806), painter and etcher born in Saxony who trained in Dresden, went to Paris 1756-70. He returned to Dresden as a member of the Academy, professor there in 1774. Director of the Meissen drawing school together with G B Casanova 1776, on his own from 1795. Engraved by J.G. Wille, engraver and publisher who became Schenau's patron, buying several paintings from the artist including that from which this print derives (now in the Dresden collection).
[Ref: 40287] £95.00 (£114.00 incl.VAT)
Peint par Schenau de SAE de Saxe Gravé par J.G. Wille Graveur du Roi 1771
A Paris chez l'Auteur Quay des Augustins Par Son très humble et très Obeissant Serviteur Wille.
Engraving, platemark 250 x 180mm (9¾ x 7") very large margins.
Young schoolgirl holding a bird, seen through trompe l'oeil niche. After Johann Eleazar Schenau (also identified as Johann Elias Zeissig, 1737-1806), painter and etcher born in Saxony who trained in Dresden, went to Paris 1756-70. He returned to Dresden as a member of the Academy, professor there in 1774. Director of the Meissen drawing school together with G B Casanova 1776, on his own from 1795. Engraved by J.G. Wille, engraver and publisher who became Schenau's patron, buying several paintings from the artist including that from which this print derives (now in the Dresden collection).
[Ref: 40287] £95.00 (£114.00 incl.VAT)
![[Petite Ecoliere.]](jpegs/40288.jpg)
[Petite Ecoliere.] [Dedié à son Excellence Monsieur le Baron de Groschlag Premier Ministre d'Etat...]
[Peint par Schenau de SAE de Saxe Gravé par J.G. Wille Graveur du Roi 1771]
[A Paris chez l'Auteur Quay des Augustins Par Son très humble et très Obeissant Serviteur Wille.]
Engraving, platemark 250 x 180mm (9¾ x 7"). Very scarce proof before all letters. Collector's stamp of Lewis Loyd bottom left.
Young schoolgirl holding a bird, seen through trompe l'oeil niche. After Johann Eleazar Schenau (also identified as Johann Elias Zeissig, 1737-1806), painter and etcher born in Saxony who trained in Dresden, went to Paris 1756-70. He returned to Dresden as a member of the Academy, professor there in 1774. Director of the Meissen drawing school together with G B Casanova 1776, on his own from 1795. Engraved by J.G. Wille, engraver and publisher who became Schenau's patron, buying several paintings from the artist including that from which this print derives (now in the Dresden collection). This impression was formerly in the collection of the banker and print collector Lewis Loyd (1811-91). Between 1840 and 1870 Loyd assembled a collection of prints distinguished by their fine condition and early states.
L.2802.
[Ref: 40288] £150.00 (£180.00 incl.VAT)
[Peint par Schenau de SAE de Saxe Gravé par J.G. Wille Graveur du Roi 1771]
[A Paris chez l'Auteur Quay des Augustins Par Son très humble et très Obeissant Serviteur Wille.]
Engraving, platemark 250 x 180mm (9¾ x 7"). Very scarce proof before all letters. Collector's stamp of Lewis Loyd bottom left.
Young schoolgirl holding a bird, seen through trompe l'oeil niche. After Johann Eleazar Schenau (also identified as Johann Elias Zeissig, 1737-1806), painter and etcher born in Saxony who trained in Dresden, went to Paris 1756-70. He returned to Dresden as a member of the Academy, professor there in 1774. Director of the Meissen drawing school together with G B Casanova 1776, on his own from 1795. Engraved by J.G. Wille, engraver and publisher who became Schenau's patron, buying several paintings from the artist including that from which this print derives (now in the Dresden collection). This impression was formerly in the collection of the banker and print collector Lewis Loyd (1811-91). Between 1840 and 1870 Loyd assembled a collection of prints distinguished by their fine condition and early states.
L.2802.
[Ref: 40288] £150.00 (£180.00 incl.VAT)
Hanns Caspar Schwarz.
J.F. Leonard 1672.
Very early mezzotint. 145 x 95mm (5¾ x 3¾"). Thread margins.
The Germanisches Nationalmuseum describes Hans Kaspar Schwarz as a gardener in Nürnberg.
Germanisches Nationalmuseum MP 21945.
[Ref: 40700] £180.00 (£216.00 incl.VAT)
J.F. Leonard 1672.
Very early mezzotint. 145 x 95mm (5¾ x 3¾"). Thread margins.
The Germanisches Nationalmuseum describes Hans Kaspar Schwarz as a gardener in Nürnberg.
Germanisches Nationalmuseum MP 21945.
[Ref: 40700] £180.00 (£216.00 incl.VAT)
Colonel Adrian Scroop. was one of the Parliaments Officers who sat in Judgment on Charles 1, for which & signing his Death Warrant he was condemned and executed at Charing Cross Oct. 17th 1660.
C. Townley Fecit 1801.
Etching. Sheet 165 x 100mm (6½ x 4"). Trimmed within plate, mounted in album paper.
Colonel Adrian Scrope (c.1601-60) was the 27th of the 59 Commissioners who signed the Death Warrant of King Charles I. After the Civil War his regiment was due to be sent to Ireland but mutinied; the ringleaders were shot and the regiment was disbanded. In 1655 Scrope joined the council that governed Scotland. He did not oppose the Restoration but, despite paying a fine of a year's rent of his estates for an indemnity, he was arrested as a regicide and hanged, drawn and quartered. The engraver, Charles Townley (1746-1802) primarily worked in mezzotint; this is one of his few etchings.
[Ref: 40492] £85.00 (£102.00 incl.VAT)
C. Townley Fecit 1801.
Etching. Sheet 165 x 100mm (6½ x 4"). Trimmed within plate, mounted in album paper.
Colonel Adrian Scrope (c.1601-60) was the 27th of the 59 Commissioners who signed the Death Warrant of King Charles I. After the Civil War his regiment was due to be sent to Ireland but mutinied; the ringleaders were shot and the regiment was disbanded. In 1655 Scrope joined the council that governed Scotland. He did not oppose the Restoration but, despite paying a fine of a year's rent of his estates for an indemnity, he was arrested as a regicide and hanged, drawn and quartered. The engraver, Charles Townley (1746-1802) primarily worked in mezzotint; this is one of his few etchings.
[Ref: 40492] £85.00 (£102.00 incl.VAT)
![[Les Couseuses.]](jpegs/40343.jpg)
[Les Couseuses.]
[After Guido Reni. Engraved by Jacques Firmin Beauvarlet.]
[n.d., c.1774.]
Engraving. Proof before letters impresson. Platemark: 445 x 560mm (17½ x 22").
Seven women sitting in an interior, sewing, two other women standing on each side of the room. After Guido Reni (1575 - 1642).
Provenance: Hooton Pagnell Hall, Yorkshire.
[Ref: 40343] £260.00 (£312.00 incl.VAT)
[After Guido Reni. Engraved by Jacques Firmin Beauvarlet.]
[n.d., c.1774.]
Engraving. Proof before letters impresson. Platemark: 445 x 560mm (17½ x 22").
Seven women sitting in an interior, sewing, two other women standing on each side of the room. After Guido Reni (1575 - 1642).
Provenance: Hooton Pagnell Hall, Yorkshire.
[Ref: 40343] £260.00 (£312.00 incl.VAT)
![[Shepherd and goats by a stream]](jpegs/40664.jpg)
[Shepherd and goats by a stream] From an original Drawing by Claude Lorrain in the Collection of James Harris Esq.r
J. Tobin sc. 1772
Etching, 18th century watermark; platemark 240 x 265mm (9½ x 10½"). Uncut sheet with very large margins. Fold through centre.
Landscape after Claude Lorrain by the little-known etcher J. Tobin (1770s, fl.). As Joseph Strutt writes of him in his biographical dictionary of engravers: 'he was a native of England, and etched several small plates of landscapes from H. Grim. We have also some small tinted plates from him, from Both, Ostade, and other painters'. Probably from a volume of Tobin's etchings, and after a drawing by Claude in the collection of the philosopher and musical patron James Harris (1709-80).
[Ref: 40664] £95.00 (£114.00 incl.VAT)
J. Tobin sc. 1772
Etching, 18th century watermark; platemark 240 x 265mm (9½ x 10½"). Uncut sheet with very large margins. Fold through centre.
Landscape after Claude Lorrain by the little-known etcher J. Tobin (1770s, fl.). As Joseph Strutt writes of him in his biographical dictionary of engravers: 'he was a native of England, and etched several small plates of landscapes from H. Grim. We have also some small tinted plates from him, from Both, Ostade, and other painters'. Probably from a volume of Tobin's etchings, and after a drawing by Claude in the collection of the philosopher and musical patron James Harris (1709-80).
[Ref: 40664] £95.00 (£114.00 incl.VAT)
![The Sibyl by Domenichino of the Casa Ratta at Bologna now in the possession of Sir James Carnegie of Southesk. 1827 [early ms in lower margin]](jpegs/40472.jpg)
The Sibyl by Domenichino of the Casa Ratta at Bologna now in the possession of Sir James Carnegie of Southesk. 1827 [early ms in lower margin]
Rare engraving, a fine proof before letters. 345 x 240mm (13½ x 9½"), with wide margins.
A seated woman, wearing a turban, holding a book and scroll. One of several engravings made after 'The Cumaean Sibyl' (1616-17) by Domenico Zampieri (1581-1641, known as Domenichino), now in the Galleria Borghese, Rome.
[Ref: 40472] £260.00 (£312.00 incl.VAT)
Rare engraving, a fine proof before letters. 345 x 240mm (13½ x 9½"), with wide margins.
A seated woman, wearing a turban, holding a book and scroll. One of several engravings made after 'The Cumaean Sibyl' (1616-17) by Domenico Zampieri (1581-1641, known as Domenichino), now in the Galleria Borghese, Rome.
[Ref: 40472] £260.00 (£312.00 incl.VAT)
![[Tailpiece to 'The Poetical Works of John Scott']](jpegs/40831.jpg)
[Tailpiece to 'The Poetical Works of John Scott']
Stothard d. Blake sc
[London. Printed for J. Buckland, MDCCLXXXVII]
Rare engraving, platemark 95 x 85mm (3¾ x 3¼"). Thread margins.
Young lady laying a scroll upon a wreathed altar inscribed 'Sacred to Simplicity'. One of four engravings made by the artist and poet William Blake for John Scott's (1730-83) 'Poetical Works'. This early work was one of many Blake engraved from designs by his friend Thomas Stothard, Britain's most prolific book illustrator. While establishing himself as a copy engraver in the early 1780s, Blake was also studying at the Royal Academy and developing the highly personal approach he used in his original watercolours.
Russell 48.iv
[Ref: 40831] £160.00 (£192.00 incl.VAT)
Stothard d. Blake sc
[London. Printed for J. Buckland, MDCCLXXXVII]
Rare engraving, platemark 95 x 85mm (3¾ x 3¼"). Thread margins.
Young lady laying a scroll upon a wreathed altar inscribed 'Sacred to Simplicity'. One of four engravings made by the artist and poet William Blake for John Scott's (1730-83) 'Poetical Works'. This early work was one of many Blake engraved from designs by his friend Thomas Stothard, Britain's most prolific book illustrator. While establishing himself as a copy engraver in the early 1780s, Blake was also studying at the Royal Academy and developing the highly personal approach he used in his original watercolours.
Russell 48.iv
[Ref: 40831] £160.00 (£192.00 incl.VAT)
![[The Last Judgement (detail)]](jpegs/22938.jpg)
[The Last Judgement (detail)]
[C.M. Metz Del.t & Sculp.t; after Michelangelo]
[1803]
Stipple, platemark 500 x 350mm (19½ x 13½"). Glued to album sheet in corners.
The second group of the blessed ascending in the middle register. One figure uses a rosary to help raise two more. Plate from Conrad Martin Metz's series of fifteen engravings reproducing Michelangelo's fresco 'The Last Judgement' in the Sistine Chapel (completed 1541). After moving to London by 1781, the German-born Metz (1749-1827) studied under Francesco Bartolozzi and exhibited at the Royal Academy before moving to Rome in 1801.
P. De Vecchi, 'Michelangelo's Last Judgement' in 'The Sistine Chapel: Michelangelo Rediscovered' (1980).
[Ref: 22938] £280.00 (£336.00 incl.VAT)
[C.M. Metz Del.t & Sculp.t; after Michelangelo]
[1803]
Stipple, platemark 500 x 350mm (19½ x 13½"). Glued to album sheet in corners.
The second group of the blessed ascending in the middle register. One figure uses a rosary to help raise two more. Plate from Conrad Martin Metz's series of fifteen engravings reproducing Michelangelo's fresco 'The Last Judgement' in the Sistine Chapel (completed 1541). After moving to London by 1781, the German-born Metz (1749-1827) studied under Francesco Bartolozzi and exhibited at the Royal Academy before moving to Rome in 1801.
P. De Vecchi, 'Michelangelo's Last Judgement' in 'The Sistine Chapel: Michelangelo Rediscovered' (1980).
[Ref: 22938] £280.00 (£336.00 incl.VAT)
![['The Sounding of the Last Trump' (detail from 'The Last Judgement')]](jpegs/22939.jpg)
['The Sounding of the Last Trump' (detail from 'The Last Judgement')]
[C.M. Metz Del.t & Sculp.t; after Michelangelo]
[1803]
Stipple, platemark 500 x 350mm (19½ x 13½"). Glued to album sheet in corners.
The central group of seven angels with seven trumpets in the middle register sounding the call to judgement to awaken the dead below, as described in the Book of Revelation. Plate from Conrad Martin Metz's series of fifteen engravings reproducing Michelangelo's fresco 'The Last Judgement' in the Sistine Chapel (completed 1541). After moving to London by 1781, the German-born Metz (1749-1827) studied under Francesco Bartolozzi and exhibited at the Royal Academy before moving to Rome in 1801.
P. De Vecchi, 'Michelangelo's Last Judgement' in 'The Sistine Chapel: Michelangelo Rediscovered' (1980).
[Ref: 22939] £280.00 (£336.00 incl.VAT)
[C.M. Metz Del.t & Sculp.t; after Michelangelo]
[1803]
Stipple, platemark 500 x 350mm (19½ x 13½"). Glued to album sheet in corners.
The central group of seven angels with seven trumpets in the middle register sounding the call to judgement to awaken the dead below, as described in the Book of Revelation. Plate from Conrad Martin Metz's series of fifteen engravings reproducing Michelangelo's fresco 'The Last Judgement' in the Sistine Chapel (completed 1541). After moving to London by 1781, the German-born Metz (1749-1827) studied under Francesco Bartolozzi and exhibited at the Royal Academy before moving to Rome in 1801.
P. De Vecchi, 'Michelangelo's Last Judgement' in 'The Sistine Chapel: Michelangelo Rediscovered' (1980).
[Ref: 22939] £280.00 (£336.00 incl.VAT)
![['Resurrection of the Body' (detail from 'The Last Judgement')]](jpegs/22940.jpg)
['Resurrection of the Body' (detail from 'The Last Judgement')]
[C.M. Metz Del.t & Sculp.t; after Michelangelo]
[1803]
Stipple, platemark 475 x 830mm (18½ x 32½"). Glued to album sheet in corners.
The group of the dead in the process of resurrection at the left of the bottom register. It was an essential part of Christian doctrine that at the end of the world the spirits of the dead would be reunited with their flesh in heaven, and here bodies can be seen in various stages of recomposition, some still as skeletons and others fully restored. from Conrad Martin Metz's series of fifteen engravings reproducing Michelangelo's fresco 'The Last Judgement' in the Sistine Chapel (completed 1541). After moving to London by 1781, the German-born Metz (1749-1827) studied under Francesco Bartolozzi and exhibited at the Royal Academy before moving to Rome in 1801. Spectacular image.
P. De Vecchi, 'Michelangelo's Last Judgement' in 'The Sistine Chapel: Michelangelo Rediscovered' (1980).
[Ref: 22940] £450.00
[C.M. Metz Del.t & Sculp.t; after Michelangelo]
[1803]
Stipple, platemark 475 x 830mm (18½ x 32½"). Glued to album sheet in corners.
The group of the dead in the process of resurrection at the left of the bottom register. It was an essential part of Christian doctrine that at the end of the world the spirits of the dead would be reunited with their flesh in heaven, and here bodies can be seen in various stages of recomposition, some still as skeletons and others fully restored. from Conrad Martin Metz's series of fifteen engravings reproducing Michelangelo's fresco 'The Last Judgement' in the Sistine Chapel (completed 1541). After moving to London by 1781, the German-born Metz (1749-1827) studied under Francesco Bartolozzi and exhibited at the Royal Academy before moving to Rome in 1801. Spectacular image.
P. De Vecchi, 'Michelangelo's Last Judgement' in 'The Sistine Chapel: Michelangelo Rediscovered' (1980).
[Ref: 22940] £450.00
![[The Last Judgement (detail)]](jpegs/22941.jpg)
[The Last Judgement (detail)] Discedite a me Maledicti in ignim Aeternum. Opus Michaelis Angeli Bonarroti in Sacello Sixtino ad Vaticanum.
C.M. Metz Del.t & Sculp.t 1803.
Stipple, platemark 500 x 350mm (19½ x 13½"). Glued to album sheet in corners.
The demons crouching at the gates of Hell at the centre of the bottom register, from Conrad Martin Metz's series of fifteen engravings reproducing Michelangelo's fresco 'The Last Judgement' in the Sistine Chapel (completed 1541). After moving to London by 1781, the German-born Metz (1749-1827) studied under Francesco Bartolozzi and exhibited at the Royal Academy before moving to Rome in 1801.
P. De Vecchi, 'Michelangelo's Last Judgement' in 'The Sistine Chapel: Michelangelo Rediscovered' (1980).
[Ref: 22941] £280.00 (£336.00 incl.VAT)
C.M. Metz Del.t & Sculp.t 1803.
Stipple, platemark 500 x 350mm (19½ x 13½"). Glued to album sheet in corners.
The demons crouching at the gates of Hell at the centre of the bottom register, from Conrad Martin Metz's series of fifteen engravings reproducing Michelangelo's fresco 'The Last Judgement' in the Sistine Chapel (completed 1541). After moving to London by 1781, the German-born Metz (1749-1827) studied under Francesco Bartolozzi and exhibited at the Royal Academy before moving to Rome in 1801.
P. De Vecchi, 'Michelangelo's Last Judgement' in 'The Sistine Chapel: Michelangelo Rediscovered' (1980).
[Ref: 22941] £280.00 (£336.00 incl.VAT)
Sleep. Hush! my dear, lie still & slumber, / Holy Angels guard thy bed! / Heav'nly blessings without number, / Gently fallin on thy Head. Watts.
Freschi sculp.t.
Published & Sold by Edw.d Orme London Nov.r 1 1808.
Rare stipple. Sheet 325 x 250mm (13¾ x 9¾"). Trimmed within plate, bit dusty.
A mother cradles her sleeping infant.
[Ref: 39830] £130.00 (£156.00 incl.VAT)
Freschi sculp.t.
Published & Sold by Edw.d Orme London Nov.r 1 1808.
Rare stipple. Sheet 325 x 250mm (13¾ x 9¾"). Trimmed within plate, bit dusty.
A mother cradles her sleeping infant.
[Ref: 39830] £130.00 (£156.00 incl.VAT)
![[Schneedächer mit Telephonstand.][Snow Covered Rooves and Telephonewire.]](jpegs/40788.jpg)
[Schneedächer mit Telephonstand.][Snow Covered Rooves and Telephonewire.]
Rich. Müller 99. [signed in pencil below image.]
[1899.]
Aquatint with etching. Plate: 220 x 150mm, (8¾ x 6"), with very large margins. Uncut.
A very atmospheric view over snowy roof tops at night by the German artist Richard Müller (1874-1954)
[Ref: 40788] £450.00
Rich. Müller 99. [signed in pencil below image.]
[1899.]
Aquatint with etching. Plate: 220 x 150mm, (8¾ x 6"), with very large margins. Uncut.
A very atmospheric view over snowy roof tops at night by the German artist Richard Müller (1874-1954)
[Ref: 40788] £450.00
![[The Judgement of Solomon.]](jpegs/40466.jpg)
[The Judgement of Solomon.] Sapientiam a Deo pos Tulat
[After Maarten van Heemserck, 1554]
Engraving, sheet 255 x 195mm (10 x 7¾"). Trimmed; paper loss lower left; glued to backing sheet. '1 Kings 3.5' in ms. Damaged.
'In Gibeon the Lord appeared to Solomon in a dream by night: and God said, Ask what I shall give thee' (I Kings 3:5). Biblical illustration after Maarten van Heemskerck (1498-1574), Dutch artist in Italy during the 1530s who produced many drawings for prints. He was the first Dutch artist to work with the printmaking industry in this way, leaving the execution of the prints to professional printmakers in order to increase his production. His admirers included Rembrandt, who had a collection of prints after Heemskerck which sometimes inspired his own work. Jewish interest.
[Ref: 40466] £260.00 (£312.00 incl.VAT)
[After Maarten van Heemserck, 1554]
Engraving, sheet 255 x 195mm (10 x 7¾"). Trimmed; paper loss lower left; glued to backing sheet. '1 Kings 3.5' in ms. Damaged.
'In Gibeon the Lord appeared to Solomon in a dream by night: and God said, Ask what I shall give thee' (I Kings 3:5). Biblical illustration after Maarten van Heemskerck (1498-1574), Dutch artist in Italy during the 1530s who produced many drawings for prints. He was the first Dutch artist to work with the printmaking industry in this way, leaving the execution of the prints to professional printmakers in order to increase his production. His admirers included Rembrandt, who had a collection of prints after Heemskerck which sometimes inspired his own work. Jewish interest.
[Ref: 40466] £260.00 (£312.00 incl.VAT)
![[The Judgement of Solomon.]](jpegs/40495.jpg)
[The Judgement of Solomon.] Ad Testem, in Iudicio, Naturam vocavit Sapientiss. Salomon et vera Mater Filium dimidiari non est passa.
[after Pietro Aquila.]
[Rome: Giovanni Giacomo De Rossi, c.1675.]
Engraving. Sheet 235 x 270mm (9¼ x 10½"). Trimmed close to printed border on three sides, into inscription area at bottom, losing publication line, mounted on album paper, old ink mss. in title area. Damaged.
The Judgement of Solomon, showing a soldier about to cut the baby in half. Jewish interest.
[Ref: 40495] £160.00 (£192.00 incl.VAT)
[after Pietro Aquila.]
[Rome: Giovanni Giacomo De Rossi, c.1675.]
Engraving. Sheet 235 x 270mm (9¼ x 10½"). Trimmed close to printed border on three sides, into inscription area at bottom, losing publication line, mounted on album paper, old ink mss. in title area. Damaged.
The Judgement of Solomon, showing a soldier about to cut the baby in half. Jewish interest.
[Ref: 40495] £160.00 (£192.00 incl.VAT)
Mary Isabella Dutchess of Rutland. Dedicated (with permission) to Her Grace. The Dutchess Dowager of Beaufort by her Grace's most devoted Serv.t W. Lane.
R. Cosway pinx. W. Lane sculp.
Publish'd May 1791, by W. Lane, No.10 Hamilton Street, Piccadilly, and Molteno & Co. Pall Mall.
Stipple, with very large margins. Plate 178 x 114mm. 7 x 4½".
Lady Mary Isabella Somerset (1756-1831), youngest daughter of Charles, Duke of Beaufort; married Charles Manners, Duke of Rutland in 1775.
Daniell: 124.
[Ref: 39926] £130.00 (£156.00 incl.VAT)
R. Cosway pinx. W. Lane sculp.
Publish'd May 1791, by W. Lane, No.10 Hamilton Street, Piccadilly, and Molteno & Co. Pall Mall.
Stipple, with very large margins. Plate 178 x 114mm. 7 x 4½".
Lady Mary Isabella Somerset (1756-1831), youngest daughter of Charles, Duke of Beaufort; married Charles Manners, Duke of Rutland in 1775.
Daniell: 124.
[Ref: 39926] £130.00 (£156.00 incl.VAT)
![[St Athanasius.]](jpegs/40422.jpg)
[St Athanasius.]
W.m Hamilton R.A.
[n.d., c.1800.]
Stipple, coloured on both sides as a transparency, varnished highlights. Sheet 290 x 140mm (11½ x 5½"). Trimmed within plate.
A statue of Saint Athanasius, full-length facing front, looking away to left while holding quill and book poised to write, wearing episcopal robes and mitre. A plate from 'An Essay on Transparent Prints and Transparencies in General' by Edward Orme.
Ex: collections of the Spencer Sisters and the Hon. Christopher Lennox Boyd.
[Ref: 40422] £140.00 (£168.00 incl.VAT)
W.m Hamilton R.A.
[n.d., c.1800.]
Stipple, coloured on both sides as a transparency, varnished highlights. Sheet 290 x 140mm (11½ x 5½"). Trimmed within plate.
A statue of Saint Athanasius, full-length facing front, looking away to left while holding quill and book poised to write, wearing episcopal robes and mitre. A plate from 'An Essay on Transparent Prints and Transparencies in General' by Edward Orme.
Ex: collections of the Spencer Sisters and the Hon. Christopher Lennox Boyd.
[Ref: 40422] £140.00 (£168.00 incl.VAT)
St Jerome.
W.m Hamilton R.A.
Pub by E. Orme, Bond Street [n.d., c.1800.]
Stipple, coloured on both sides as a transparency, varnished highlights. Sheet 270 x 205mm (10½ x 8"). Trimmed within plate.
A statue of Saint Jerome, full-length facing down, a lion at his feet. A plate from 'An Essay on Transparent Prints and Transparencies in General' by Edward Orme.
Ex: collections of the Spencer Sisters and the Hon. Christopher Lennox Boyd.
[Ref: 40517] £220.00 (£264.00 incl.VAT)
W.m Hamilton R.A.
Pub by E. Orme, Bond Street [n.d., c.1800.]
Stipple, coloured on both sides as a transparency, varnished highlights. Sheet 270 x 205mm (10½ x 8"). Trimmed within plate.
A statue of Saint Jerome, full-length facing down, a lion at his feet. A plate from 'An Essay on Transparent Prints and Transparencies in General' by Edward Orme.
Ex: collections of the Spencer Sisters and the Hon. Christopher Lennox Boyd.
[Ref: 40517] £220.00 (£264.00 incl.VAT)
![[The Dutch Stable]](jpegs/40590.jpg)
[The Dutch Stable] L'Ecurie Holandoise. Gravé d'Après le Tableau Original de P.pe Wouvermens [...]
P. Wouvrmens Pinx. J. Moyreau Sculp.
AParis chez Moyreau, Graveur du Roy, rue Gallande vis-à-vis St. Blaise 1739. Avec privilege du Roy.
Engraving, platemark 355 x 470mm (14 x 18½"). Tear from top edge. Small margins.
The Dutch stable: one of several good-quality engravings made in the early 18th century after Philips Wouwermans (1619-68), Dutch painter specialising in horses, who was well represented in important collections during this period. Stable interiors by Wouwermans are in London (National Gallery), Cambridge (Fitzwilliam Museum), Dresden (Staatliche Kunstsammlungen) and Munich (Alte Pinakothek).
[Ref: 40590] £260.00 (£312.00 incl.VAT)
P. Wouvrmens Pinx. J. Moyreau Sculp.
AParis chez Moyreau, Graveur du Roy, rue Gallande vis-à-vis St. Blaise 1739. Avec privilege du Roy.
Engraving, platemark 355 x 470mm (14 x 18½"). Tear from top edge. Small margins.
The Dutch stable: one of several good-quality engravings made in the early 18th century after Philips Wouwermans (1619-68), Dutch painter specialising in horses, who was well represented in important collections during this period. Stable interiors by Wouwermans are in London (National Gallery), Cambridge (Fitzwilliam Museum), Dresden (Staatliche Kunstsammlungen) and Munich (Alte Pinakothek).
[Ref: 40590] £260.00 (£312.00 incl.VAT)
Pope's Tower and Garden - and the Church. Stanton Harcourt, Oxfordshire.
PD [in image lower right.]
Spring Gardens Sketch Book. Printed by Maclure, Macdonald, & Macgregor, Lith: to The Queen, London.
Lithograph, sheet 280 x 395mm (11 x 15½"). Trimmed to image.
Pope's Tower in the grounds of Harcourt House, in the village of Stanton Harcourt, Oxfordshire. Built around 1470, the tower (now Grade I listed) acquired its name after the poet Alexander Pope stayed there in 1717-8 and translated the fifth volume of Homer's 'Iliad' there. Plate from the 'Spring Gardens Sketch Book' (8 vols., 1870-90). The architect Sir George Gilbert Scott (1811-78) had his office at Spring Gardens, near Trafalgar Square in London, from 1838 onwards. The publication of the 'Sketch Book' functioned as a form of advertising to promote the gifts of Scott's practice, with plates designed by his pupils and apprentices.
See William Whyte, 'Oxford Jackson: Architecture, Education, Status and Style 1835-1924'. Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 40649] £120.00 (£144.00 incl.VAT)
PD [in image lower right.]
Spring Gardens Sketch Book. Printed by Maclure, Macdonald, & Macgregor, Lith: to The Queen, London.
Lithograph, sheet 280 x 395mm (11 x 15½"). Trimmed to image.
Pope's Tower in the grounds of Harcourt House, in the village of Stanton Harcourt, Oxfordshire. Built around 1470, the tower (now Grade I listed) acquired its name after the poet Alexander Pope stayed there in 1717-8 and translated the fifth volume of Homer's 'Iliad' there. Plate from the 'Spring Gardens Sketch Book' (8 vols., 1870-90). The architect Sir George Gilbert Scott (1811-78) had his office at Spring Gardens, near Trafalgar Square in London, from 1838 onwards. The publication of the 'Sketch Book' functioned as a form of advertising to promote the gifts of Scott's practice, with plates designed by his pupils and apprentices.
See William Whyte, 'Oxford Jackson: Architecture, Education, Status and Style 1835-1924'. Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 40649] £120.00 (£144.00 incl.VAT)
Henry Prince of Wales, Eldest Son of King James 1st. Obit Novr. 6th. 1612 Aet 18. From an extreme rare Print by S. Pass.
Dunkerton sculp.t.
London: Pub. by S.Woodburn No.112 St. Martin's Lane.
Mezzotint, a fine, proof impression. Plate: 355 x 265mm (14 x 10½"), with large margins.
Henry Frederick Stuart (1594 - 1612), first child of King James VI of Scotland (later King James I of England) and Anne of Denmark, was born on February 19, 1594, at Stirling Castle in Scotland. In November 1612 Henry suddenly took ill and died, probably of typhoid fever, though rumours circulated that the Prince was poisoned. Here he is depicted in armour during a lance drill, a jousting tournament in the background. A copy after the engraving by Simon de Passe. From a series of 15 copies of early engravings, 'Portraits of Royal Personages', by Turner, Earlom and Dunkarton, issued by Samuel Woodburn in book form in 1816.
Whitman: 469.
[Ref: 39819] £190.00 (£228.00 incl.VAT)
Dunkerton sculp.t.
London: Pub. by S.Woodburn No.112 St. Martin's Lane.
Mezzotint, a fine, proof impression. Plate: 355 x 265mm (14 x 10½"), with large margins.
Henry Frederick Stuart (1594 - 1612), first child of King James VI of Scotland (later King James I of England) and Anne of Denmark, was born on February 19, 1594, at Stirling Castle in Scotland. In November 1612 Henry suddenly took ill and died, probably of typhoid fever, though rumours circulated that the Prince was poisoned. Here he is depicted in armour during a lance drill, a jousting tournament in the background. A copy after the engraving by Simon de Passe. From a series of 15 copies of early engravings, 'Portraits of Royal Personages', by Turner, Earlom and Dunkarton, issued by Samuel Woodburn in book form in 1816.
Whitman: 469.
[Ref: 39819] £190.00 (£228.00 incl.VAT)
![[Suger]](jpegs/39873.jpg)
[Suger] Seugerius Abas Sandionysiacus [...]
[1660]
Engraving with accompanying letterpress sheet, 17th century watermark, each 470 x 350mm (18½ x 13¾") very large margins. Tear to letterpress sheet. Small worm hole; foxing.
Suger (c.1081-1151), abbot, statesman, historian and patron of Gothic architecture, engraved from a portrait in the Musée des Beaux-Arts, Nantes. From 'Les Portraits des Hommes Illustres Francois qui sont Peints dans la Galerie du Palais Cardinal de Richelieu' (1660). The book reproduces the portraits of great men hanging in Richelieu's 'Galerie des hommes illustres' by Simon Vouet and Philippe de Champaigne.
[Ref: 39873] £180.00 (£216.00 incl.VAT)
[1660]
Engraving with accompanying letterpress sheet, 17th century watermark, each 470 x 350mm (18½ x 13¾") very large margins. Tear to letterpress sheet. Small worm hole; foxing.
Suger (c.1081-1151), abbot, statesman, historian and patron of Gothic architecture, engraved from a portrait in the Musée des Beaux-Arts, Nantes. From 'Les Portraits des Hommes Illustres Francois qui sont Peints dans la Galerie du Palais Cardinal de Richelieu' (1660). The book reproduces the portraits of great men hanging in Richelieu's 'Galerie des hommes illustres' by Simon Vouet and Philippe de Champaigne.
[Ref: 39873] £180.00 (£216.00 incl.VAT)
![[The Sylph]](jpegs/40839.jpg)
[The Sylph]
Stothard del Sharp sculpt
Published January 1st 1788 by W. Lowndes
Engraving, platemark 190 x 205mm (7½ x 8"). Thread margins; slight foxing. Unfinished proof.
Illustration to the novel 'The Sylph' by the political hostess Georgiana Cavendish, duchess of Devonshire (1757-8016). Unhappily married to the duke of Devonshire, ensconced in the Devonshire House Circle, and drinking and gambling heavily, Georgiana published the book, a roman-à-clef about high society, anonymously. (It was an open secret that Georgiana was the author, although she was not publicly exposed). Like Sheridan's 'School for Scandal' (which emerged from the same milieu), it scandalized critics for its portrayal of the aristocracy as drunks, blackmailers, wife-beaters and adulterers. In this scene, the male figure, who while walking had noticed two beautiful women, pursued them but stumbled and fell as the earth gave way. They, believing him to be seriously injured, rushed to help him (the male being in no hurry to disabuse them of that notion). Engraving after the most prolific book illustrator of the late 18th century, Thomas Stothard, by engraver William Sharp (1749-1824). An important contributor to the revival of the classical style of engraving in England (in the lineage of Sir Robert Strange and William Woollett), some of Sharp's best-known works were after major pictures by Sir Joshua Reynolds and Benjamin West. Sharp refused to join the Royal Academy on the inferior 'associate' basis which was the only way for specialist engravers to join at the time), Sharp's importance was nonetheless demonstrated by the honorary memberships bestowed on him by the Imperial Academy of Vienna and the Royal Academy of Munich.
[Ref: 40839] £140.00 (£168.00 incl.VAT)
Stothard del Sharp sculpt
Published January 1st 1788 by W. Lowndes
Engraving, platemark 190 x 205mm (7½ x 8"). Thread margins; slight foxing. Unfinished proof.
Illustration to the novel 'The Sylph' by the political hostess Georgiana Cavendish, duchess of Devonshire (1757-8016). Unhappily married to the duke of Devonshire, ensconced in the Devonshire House Circle, and drinking and gambling heavily, Georgiana published the book, a roman-à-clef about high society, anonymously. (It was an open secret that Georgiana was the author, although she was not publicly exposed). Like Sheridan's 'School for Scandal' (which emerged from the same milieu), it scandalized critics for its portrayal of the aristocracy as drunks, blackmailers, wife-beaters and adulterers. In this scene, the male figure, who while walking had noticed two beautiful women, pursued them but stumbled and fell as the earth gave way. They, believing him to be seriously injured, rushed to help him (the male being in no hurry to disabuse them of that notion). Engraving after the most prolific book illustrator of the late 18th century, Thomas Stothard, by engraver William Sharp (1749-1824). An important contributor to the revival of the classical style of engraving in England (in the lineage of Sir Robert Strange and William Woollett), some of Sharp's best-known works were after major pictures by Sir Joshua Reynolds and Benjamin West. Sharp refused to join the Royal Academy on the inferior 'associate' basis which was the only way for specialist engravers to join at the time), Sharp's importance was nonetheless demonstrated by the honorary memberships bestowed on him by the Imperial Academy of Vienna and the Royal Academy of Munich.
[Ref: 40839] £140.00 (£168.00 incl.VAT)