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Catalogue: Portraits
Iacobus Van Es Pienctre Excellent en fruicts poissons oiseanz et fleurs les quelles il faict extremement bien au naturel il demeure a Anuers y estant ne.
Ioannes Meyssens pinxit et excudit. We. Hollar fecit.
J. Meyssens [Antwerp, n.d. c.1694].
Etching. 165 x 110mm (6½ x 4¼") very large margins. Some foxing in the margins.
A portrait of Jacob van Es (c. 1596-1666), the Flemish Baroque painter renowned for his still life paintings of food and flours, as is mentioned in the inscription etched beneath his portrait. It is a testament to his success that his portrait was included in the series 'Image de divers hommes' (1694).
Pennington p.1399. iii of v
[Ref: 56573] £140.00 (£168.00 incl.VAT)
Ioannes Meyssens pinxit et excudit. We. Hollar fecit.
J. Meyssens [Antwerp, n.d. c.1694].
Etching. 165 x 110mm (6½ x 4¼") very large margins. Some foxing in the margins.
A portrait of Jacob van Es (c. 1596-1666), the Flemish Baroque painter renowned for his still life paintings of food and flours, as is mentioned in the inscription etched beneath his portrait. It is a testament to his success that his portrait was included in the series 'Image de divers hommes' (1694).
Pennington p.1399. iii of v
[Ref: 56573] £140.00 (£168.00 incl.VAT)
![[Hubert van Eyck]](jpegs/43314.jpg)
[Hubert van Eyck] Huberto ab Eyck, Joannis Fratri; Pictori. Quas modo communes cum fratre Huberte, merenti / Attribuit laudes nostra Thalia tibi [...] 1.
Th. Galle exc [c.1600]
Engraving, platemark 210 x 120mm (8¼ x 4¾") very large margins.
Hubert van Eyck (b.c.1358-90, d.1426), painter and brother of Jan van Eyck. According to the inscription on the famous Ghent altarpiece, that great work was begun by Hubert and completed by Jan. Other work by Hubert is hard to identify. Third state of a plate engraved in 1572 after an unidentified portrait by Michiel Coxie I. In this state it was published after 1600 in the Antwerp publisher Theodor Galle's 'Illustrium Quos Belgium Habuit Pictorum Effigies. Antwerpiae'.
[Ref: 43314] £140.00 (£168.00 incl.VAT)
Th. Galle exc [c.1600]
Engraving, platemark 210 x 120mm (8¼ x 4¾") very large margins.
Hubert van Eyck (b.c.1358-90, d.1426), painter and brother of Jan van Eyck. According to the inscription on the famous Ghent altarpiece, that great work was begun by Hubert and completed by Jan. Other work by Hubert is hard to identify. Third state of a plate engraved in 1572 after an unidentified portrait by Michiel Coxie I. In this state it was published after 1600 in the Antwerp publisher Theodor Galle's 'Illustrium Quos Belgium Habuit Pictorum Effigies. Antwerpiae'.
[Ref: 43314] £140.00 (£168.00 incl.VAT)
![[Jan van Eyck]](jpegs/43315.jpg)
[Jan van Eyck] Joannes ab Eyck Pictor. Ille ego, qui laetos oleo de semine lini /Expresso docui princeps miscere colores [...] 2.
Th. Galle exc [c.1600]
Engraving, platemark 210 x 120mm (8¼ x 4¾") very large margins.
Jan van Eyck (c.1395-1441), painter and illuminator best known for his completion of the Ghent altarpiece and his double portrait of Giovanni Arnolfini and Giovanna Cenami ('the Arnolfini Marriage') now in London's National Gallery. Third state of a plate first published in 1572. In this state it was published after 1600 in the Antwerp publisher Theodor Galle's 'Illustrium Quos Belgium Habuit Pictorum Effigies. Antwerpiae'.
[Ref: 43315] £140.00 (£168.00 incl.VAT)
Th. Galle exc [c.1600]
Engraving, platemark 210 x 120mm (8¼ x 4¾") very large margins.
Jan van Eyck (c.1395-1441), painter and illuminator best known for his completion of the Ghent altarpiece and his double portrait of Giovanni Arnolfini and Giovanna Cenami ('the Arnolfini Marriage') now in London's National Gallery. Third state of a plate first published in 1572. In this state it was published after 1600 in the Antwerp publisher Theodor Galle's 'Illustrium Quos Belgium Habuit Pictorum Effigies. Antwerpiae'.
[Ref: 43315] £140.00 (£168.00 incl.VAT)
Leo van Heil. Faict bein en illuminature des fleurs et mouches et autres petites animaux au naturel, s'entend fort bien en l'Architecture et batiments de maisons et en perspectives, est ne a Bruxelles 1an1603.
Io Bapt van Heil pinxit. Fred Bottats Sculpsit.
Io. Meyssens excudit. [n.d. c.1662.]
Engraving. Plate 165 x 114mm. 6½ x 4½". Glued to backing sheet.
Leo van Heil (1605-c.1664) was a Flemish Baroque painter; he specialised in flowers and insects, but also drew other small animals, buildings, and perspective drawings - an example of an archway seen is his hand. He was brother to the artist, Jan Baptist van Heil. From Cornelis de Bie's "Het gulden cabinet vande edel vry schilder const".
[Ref: 24492] £60.00 (£72.00 incl.VAT)
Io Bapt van Heil pinxit. Fred Bottats Sculpsit.
Io. Meyssens excudit. [n.d. c.1662.]
Engraving. Plate 165 x 114mm. 6½ x 4½". Glued to backing sheet.
Leo van Heil (1605-c.1664) was a Flemish Baroque painter; he specialised in flowers and insects, but also drew other small animals, buildings, and perspective drawings - an example of an archway seen is his hand. He was brother to the artist, Jan Baptist van Heil. From Cornelis de Bie's "Het gulden cabinet vande edel vry schilder const".
[Ref: 24492] £60.00 (£72.00 incl.VAT)
Carle Van-Loo, Chevalier, Chevalier de l'Ordre du Roi, Premier Peintre de sa Majesté, Directeur de l'Académie Royale de Peinture et de Sculpture. Né à Nice, en 1705, et mort é Paris en 1765.
Peint par Pierre le Sueur pour sa réception à l'Acad, Royale in 1747. Gravé par Ignace Klauber pour son agrémont à l'Acad. R.le en 1785.
Engraving. 395 x 295mm (15½ x 11½"). Laid on card, spotted.
Half-length seated portrait of French painter Charles Amédée Philippe Van Loo, with sketch book and canvas.
[Ref: 49258] £140.00 (£168.00 incl.VAT)
Peint par Pierre le Sueur pour sa réception à l'Acad, Royale in 1747. Gravé par Ignace Klauber pour son agrémont à l'Acad. R.le en 1785.
Engraving. 395 x 295mm (15½ x 11½"). Laid on card, spotted.
Half-length seated portrait of French painter Charles Amédée Philippe Van Loo, with sketch book and canvas.
[Ref: 49258] £140.00 (£168.00 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.
P.G. Van-Spaendonck. Peintre de fleurs, Membre de l'Institut.
Julien.
Galerie Universell. Publice par Blaisot. Place Vendome No.24. Lith. de Ducarme, r. des foses St. G.in l'Aux.ois No.24. a Paris. No.257.
Lithograph. 184 x 127mm (7¼ x 5").
Gerard van Spaendonck (1746-1822), the Dutch painter. In 1769 he moved to Paris, where in 1774 he was appointed miniature painter in the court of Louis XVI. In 1780 he succeeded Madeleine Francoise Basseport (1701-1780) as professor of floral painting at the Jardin des Plants, and was then elected a member of the Academie des Beaux-Arts. In 1788 he was appointed adviser to the Académie, and in 1795 became a founding member of the Institut de France. In 1804 he received the Légion d'honneur and soon afterwards was ennobled by Napoleon Bonaparte.
In the Institut National d'Histoire de l'Art.
[Ref: 31234] £45.00 (£54.00 incl.VAT)
Julien.
Galerie Universell. Publice par Blaisot. Place Vendome No.24. Lith. de Ducarme, r. des foses St. G.in l'Aux.ois No.24. a Paris. No.257.
Lithograph. 184 x 127mm (7¼ x 5").
Gerard van Spaendonck (1746-1822), the Dutch painter. In 1769 he moved to Paris, where in 1774 he was appointed miniature painter in the court of Louis XVI. In 1780 he succeeded Madeleine Francoise Basseport (1701-1780) as professor of floral painting at the Jardin des Plants, and was then elected a member of the Academie des Beaux-Arts. In 1788 he was appointed adviser to the Académie, and in 1795 became a founding member of the Institut de France. In 1804 he received the Légion d'honneur and soon afterwards was ennobled by Napoleon Bonaparte.
In the Institut National d'Histoire de l'Art.
[Ref: 31234] £45.00 (£54.00 incl.VAT)
Institut Royal de France. Acad.ie des Beaux-Arts. (Peintre). Van Spaendonck, (Gérard) Membre de la légion d'honneur, Professeur, et un des administrateurs du Muséum royal d'histoire naturelle. Né a Tilburg, le 23 mars 1746. Elu en 1795.
Jul Boilly.
[n.d. c.1821.]
Lithograph, large margins. 344 x 235mm (13½ x 9¼").
Gerard van Spaendonck (1746-1822), the Dutch painter. In 1769 he moved to Paris, where in 1774 he was appointed miniature painter in the court of Louis XVI. In 1780 he succeeded Madeleine Francoise Basseport (1701-1780) as professor of floral painting at the Jardin des Plants, and was then elected a member of the Academie des Beaux-Arts. In 1788 he was appointed adviser to the Académie, and in 1795 became a founding member of the Institut de France. In 1804 he received the Légion d'honneur and soon afterwards was ennobled by Napoleon Bonaparte.
[Ref: 31235] £65.00 (£78.00 incl.VAT)
Jul Boilly.
[n.d. c.1821.]
Lithograph, large margins. 344 x 235mm (13½ x 9¼").
Gerard van Spaendonck (1746-1822), the Dutch painter. In 1769 he moved to Paris, where in 1774 he was appointed miniature painter in the court of Louis XVI. In 1780 he succeeded Madeleine Francoise Basseport (1701-1780) as professor of floral painting at the Jardin des Plants, and was then elected a member of the Academie des Beaux-Arts. In 1788 he was appointed adviser to the Académie, and in 1795 became a founding member of the Institut de France. In 1804 he received the Légion d'honneur and soon afterwards was ennobled by Napoleon Bonaparte.
[Ref: 31235] £65.00 (£78.00 incl.VAT)
Adriaen Van Venne. Natieff de Delft en l'an 1599….il tient sa Residence a la Haye. '59' annotated in ink.
A van Veen pinxit. W: Hollar fecit.
[n.d. c.1694]. I: Meyssens excudit.
Engraving. Plate 165 x 114mm. 6½ x 4½". Laid on sheet.
Self-portrait of the Flemish artist and poet Adriaen van de Venne (1589-1662) etched by Wenceslaus Hollar for 'True Effigies Of the most Eminent Painters, and other Famous Artists That have Flourished in Europe' published in 1694 in Antwerp. Below the portrait is a biographical note, as Pennington notes, 'in execrable French'. A black chalk drawing by Hollar for this etching is in the Rijksmuseum, Amsterdam.
Pennington: 1514 [iii/v.]
[Ref: 24058] £95.00 (£114.00 incl.VAT)
A van Veen pinxit. W: Hollar fecit.
[n.d. c.1694]. I: Meyssens excudit.
Engraving. Plate 165 x 114mm. 6½ x 4½". Laid on sheet.
Self-portrait of the Flemish artist and poet Adriaen van de Venne (1589-1662) etched by Wenceslaus Hollar for 'True Effigies Of the most Eminent Painters, and other Famous Artists That have Flourished in Europe' published in 1694 in Antwerp. Below the portrait is a biographical note, as Pennington notes, 'in execrable French'. A black chalk drawing by Hollar for this etching is in the Rijksmuseum, Amsterdam.
Pennington: 1514 [iii/v.]
[Ref: 24058] £95.00 (£114.00 incl.VAT)
Adriaen Van Venne. Natieff de Delft en l'an 1599….il tient sa Residence a la Haye. '59' annotated in ink.
A van Veen pinxit. W: Hollar fecit. I: Meyssens excudit.
[n.d. c.1694].
Engraving. 160 x 110mm. Some foxing and paper discolouration.
Self-portrait of the Flemish artist and poet Adriaen van de Venne (1589-1662) etched by Wenceslaus Hollar for 'True Effigies Of the most Eminent Painters, and other Famous Artists That have Flourished in Europe' published in 1694 in Antwerp. Below the portrait is a biographical note, as Pennington notes, 'in execrable French'. A black chalk drawing by Hollar for this etching is in the Rijksmuseum, Amsterdam.
P. 1356. III.
[Ref: 4227] £45.00 (£54.00 incl.VAT)
A van Veen pinxit. W: Hollar fecit. I: Meyssens excudit.
[n.d. c.1694].
Engraving. 160 x 110mm. Some foxing and paper discolouration.
Self-portrait of the Flemish artist and poet Adriaen van de Venne (1589-1662) etched by Wenceslaus Hollar for 'True Effigies Of the most Eminent Painters, and other Famous Artists That have Flourished in Europe' published in 1694 in Antwerp. Below the portrait is a biographical note, as Pennington notes, 'in execrable French'. A black chalk drawing by Hollar for this etching is in the Rijksmuseum, Amsterdam.
P. 1356. III.
[Ref: 4227] £45.00 (£54.00 incl.VAT)
Nikolass Verkolje. Geboren te Delft, 11 April, 1673. Overleden te Amsterd. 21 January, 1746. Verkolje, alom beroemd door de eelste kunsttafreelen, Die Stichter van Pictuurs bekoorlykste eertrofeen. Boeit, als aan deze print, ons oog aan zyn panneelen, En streelt, ja steelt het hart van ieder Protogeen. Wien zich de Tyber, Seine en Teems ten voorbeeld Stellen, Onze Amstel ziet in hem een Fenix der Apellen. S. Feitama.
Seipsum pinxit Ao.1713. J. Houbraken sculpsit Ao.1753.
Engraving and etching, fine. 205 x 145mm (8 x 5¾").
Nikolaas Verkolje (1673-1746) was a Dutch Golden Age painter and mezzotint maker, and was good friends with Houbraken. Houbraken intended to write a biographical sketch of Nikolaas but he died before publication.
[Ref: 26057] £120.00 (£144.00 incl.VAT)
Seipsum pinxit Ao.1713. J. Houbraken sculpsit Ao.1753.
Engraving and etching, fine. 205 x 145mm (8 x 5¾").
Nikolaas Verkolje (1673-1746) was a Dutch Golden Age painter and mezzotint maker, and was good friends with Houbraken. Houbraken intended to write a biographical sketch of Nikolaas but he died before publication.
[Ref: 26057] £120.00 (£144.00 incl.VAT)
Ioanni Maio, Pictori. Obijt Bruxelles 1559, aetat 59. ad D. Gaugerici conditus. 15.
I.H.W.
[n.d. c.1600.]
Engraving. 164 x 121mm (6½ x 4¾"). Trimmed.
Jan Cornelisz Vermeyen, or Jan Mayo (c.1500-1559), the Dutch Northern Renaissance painter who was honoured for his career in the service of Charles V. Around 1525 he became court painter to Margaret of Austria, regent of the Netherlands and ten years later he accompanied the Emperor Charles V, at the Conquest of Tunis (1535). This journey supplied him with many scenes for his later works, and particularly the tapestries that he designed for the Regent, Mary of Hungary. The exotic backgdrop to this portrait (also including two figures imploring an armed man not to slay another) is perhaps intended as Tunis for this reason.
Mauquoy-Hendrickx: 1743.
[Ref: 28874] £170.00 (£204.00 incl.VAT)
I.H.W.
[n.d. c.1600.]
Engraving. 164 x 121mm (6½ x 4¾"). Trimmed.
Jan Cornelisz Vermeyen, or Jan Mayo (c.1500-1559), the Dutch Northern Renaissance painter who was honoured for his career in the service of Charles V. Around 1525 he became court painter to Margaret of Austria, regent of the Netherlands and ten years later he accompanied the Emperor Charles V, at the Conquest of Tunis (1535). This journey supplied him with many scenes for his later works, and particularly the tapestries that he designed for the Regent, Mary of Hungary. The exotic backgdrop to this portrait (also including two figures imploring an armed man not to slay another) is perhaps intended as Tunis for this reason.
Mauquoy-Hendrickx: 1743.
[Ref: 28874] £170.00 (£204.00 incl.VAT)
Paolo Caliari. detto Paolo Veronese Pittore di Figure, nacque in Verona l'anno 1532. Mori l'anno 1588.
Gio Dom. Campiglia del./ P.Ant, Pazzi fc.
[n.d., c.1766.]
Engraving. 175 x 260mm. (6¾ x 10¾"), with wide margins.
Veronese (Paolo Cagliari, 1532 - 1588) artist whose name derives from his birthplace in Verona. This portrait was part of A. F. Gori's monumental 'Museum Florentium', which set out to engrave all the portraits of painters, architects, sculptors and patrons of the arts in the major galleries of Florence. This vast undertaking was issued in parts, taking over thirty years (1731-1766) to complete.
[Ref: 29102] £140.00 (£168.00 incl.VAT)
Gio Dom. Campiglia del./ P.Ant, Pazzi fc.
[n.d., c.1766.]
Engraving. 175 x 260mm. (6¾ x 10¾"), with wide margins.
Veronese (Paolo Cagliari, 1532 - 1588) artist whose name derives from his birthplace in Verona. This portrait was part of A. F. Gori's monumental 'Museum Florentium', which set out to engrave all the portraits of painters, architects, sculptors and patrons of the arts in the major galleries of Florence. This vast undertaking was issued in parts, taking over thirty years (1731-1766) to complete.
[Ref: 29102] £140.00 (£168.00 incl.VAT)
![[Jehan George Vibert.]](jpegs/11901.jpg)
[Jehan George Vibert.]
J.Payrau [pencil signature of the engraver.]
Copyright 1905 by Mess.rs Arthur Tooth and Sons, Publishers. 5 & 6 Haymarket, London, 41 Boulevard des Capucines, Paris, 299 Fifth Avenue. New York & Mess.rs Steifbold & Co., Berlin. Imprimarie A. Saloman, Paris.
Mezzotint on vellum. 310 x 240mm, 12¼ x 9½". With publisher's blindstamp. Limited edition 125, plate destroyed. Faint spotting.
Jehan George Vibert (1840-1902), French academic painter, grandson of engraver Jean-Pierre-Marie Jazet. He has been accused of anti-clericalism, as many of his paintings satirise 'comfortable' priests. His fame spread to the USA, and both John Jacob Astor IV and William Vanderbilt commissioned paintings from him. During the siege of Paris in 1870 he joined the 'sharpshooters', was wounded at Malmaison, and won the Légion d’Honneur.
[Ref: 11901] £360.00
J.Payrau [pencil signature of the engraver.]
Copyright 1905 by Mess.rs Arthur Tooth and Sons, Publishers. 5 & 6 Haymarket, London, 41 Boulevard des Capucines, Paris, 299 Fifth Avenue. New York & Mess.rs Steifbold & Co., Berlin. Imprimarie A. Saloman, Paris.
Mezzotint on vellum. 310 x 240mm, 12¼ x 9½". With publisher's blindstamp. Limited edition 125, plate destroyed. Faint spotting.
Jehan George Vibert (1840-1902), French academic painter, grandson of engraver Jean-Pierre-Marie Jazet. He has been accused of anti-clericalism, as many of his paintings satirise 'comfortable' priests. His fame spread to the USA, and both John Jacob Astor IV and William Vanderbilt commissioned paintings from him. During the siege of Paris in 1870 he joined the 'sharpshooters', was wounded at Malmaison, and won the Légion d’Honneur.
[Ref: 11901] £360.00
Francisco Vieira.
P. Violet pinxt. F. Bartolozzi R.A. sculp.
Published as the Act directs by F. Vieira Sepr. 1st. 1801, London.
A rare stipple. 192 x 140mm. 7½ x 5½".
Francisco Vieira de Matos (1765-1805), who choose the artistic name of Vieira Portuense, was a Portuguese painter, one of the introducers of Neoclassicism in Portuguese painting. He was, in the neoclassical style, one of the two great Portuguese painters of his generation, with Domingos Sequeira. He first studied in Lisbon, later moving to Rome. He travelled through Italy, Germany, Austria and England, before returning to Portugal, in 1800. He met Swiss painter Angelika Kauffmann, from who he seems to have received influences. He seems to anticipate some motives of the romantic painting, in several of his historical paintings. He contracted tuberculosis, and moved to Madeira, were he died, aged only 39.
[Ref: 12738] £120.00 (£144.00 incl.VAT)
P. Violet pinxt. F. Bartolozzi R.A. sculp.
Published as the Act directs by F. Vieira Sepr. 1st. 1801, London.
A rare stipple. 192 x 140mm. 7½ x 5½".
Francisco Vieira de Matos (1765-1805), who choose the artistic name of Vieira Portuense, was a Portuguese painter, one of the introducers of Neoclassicism in Portuguese painting. He was, in the neoclassical style, one of the two great Portuguese painters of his generation, with Domingos Sequeira. He first studied in Lisbon, later moving to Rome. He travelled through Italy, Germany, Austria and England, before returning to Portugal, in 1800. He met Swiss painter Angelika Kauffmann, from who he seems to have received influences. He seems to anticipate some motives of the romantic painting, in several of his historical paintings. He contracted tuberculosis, and moved to Madeira, were he died, aged only 39.
[Ref: 12738] £120.00 (£144.00 incl.VAT)
Cav. Francesco. Vierira Lusitano.
Sim. Watts sculp. 1775. CR. edidit.
Rare stipple, printed in sanguine. Sheet: 240 x 170mm (9½ x 6¾''). Trimmed.
A portrait of Portuguese court painted Francisco de Matos Viera (1699-1785) after Joaquin Manuel da Rocha.
[Ref: 48793] £140.00 (£168.00 incl.VAT)
Sim. Watts sculp. 1775. CR. edidit.
Rare stipple, printed in sanguine. Sheet: 240 x 170mm (9½ x 6¾''). Trimmed.
A portrait of Portuguese court painted Francisco de Matos Viera (1699-1785) after Joaquin Manuel da Rocha.
[Ref: 48793] £140.00 (£168.00 incl.VAT)
Vivant Denon sketching.
[n.d., c.1820.]
Etching. 135 x 105mm (5¼ x 4¼"), very large margins. Small stain.
Full length portrait of a balding Dominique Vivant, Baron Denon (1747-1825), French artist, writer, diplomat, author, and archaeologist. He wears spectacles and a French-style three-quarter length jacket and breeches.
[Ref: 56466] £260.00 (£312.00 incl.VAT)
[n.d., c.1820.]
Etching. 135 x 105mm (5¼ x 4¼"), very large margins. Small stain.
Full length portrait of a balding Dominique Vivant, Baron Denon (1747-1825), French artist, writer, diplomat, author, and archaeologist. He wears spectacles and a French-style three-quarter length jacket and breeches.
[Ref: 56466] £260.00 (£312.00 incl.VAT)
Jo: Martin Wagner.
C. Küssler del. ad nat. et sculp. Roma 1836.
Etching, printed on chine collé. Plate: 230 x 185mm (9 x 7¼'') very large margins. Foxing and creasing in the margins. Uncut.
A portrait of German artist and sculptor Johann von Wagner (1777-1858).
[Ref: 49204] £120.00 (£144.00 incl.VAT)
C. Küssler del. ad nat. et sculp. Roma 1836.
Etching, printed on chine collé. Plate: 230 x 185mm (9 x 7¼'') very large margins. Foxing and creasing in the margins. Uncut.
A portrait of German artist and sculptor Johann von Wagner (1777-1858).
[Ref: 49204] £120.00 (£144.00 incl.VAT)
Lucas Vorstermans. Desine Lysikkos iactare animosa vetustas / Hic Vir, hic excudit spirantia mollius æra.
Ant. van Dÿck pinxit Luc. Vorstermans iunior sculpsit et excudit [c.1640]
Engraving, platemark 250 x 175mm (9¾ x 7"). Trimmed to platemark.
Lucas Vorsterman I (1595-1675), engraver and art dealer whose early career was closely intertwined with that of Rubens (who trained Vorsterman and was a godparent to his eldest son). Their relationship soured however, to the extent that Vorsterman made an attempt on Rubens' life. After returning to Antwerp from several years in England, Vorsterman worked extensively for van Dyck, who was godfather to Vorsterman's daughter and who painted the portrait from which this engraving is taken (the painting is now in the Museu Nacional de Arte Antiga, Lisbon). Etched by Vorsterman's son, who studied with his father, for the 'Iconographia' series of portraits after van Dyck.
[Ref: 45464] £110.00 (£132.00 incl.VAT)
Ant. van Dÿck pinxit Luc. Vorstermans iunior sculpsit et excudit [c.1640]
Engraving, platemark 250 x 175mm (9¾ x 7"). Trimmed to platemark.
Lucas Vorsterman I (1595-1675), engraver and art dealer whose early career was closely intertwined with that of Rubens (who trained Vorsterman and was a godparent to his eldest son). Their relationship soured however, to the extent that Vorsterman made an attempt on Rubens' life. After returning to Antwerp from several years in England, Vorsterman worked extensively for van Dyck, who was godfather to Vorsterman's daughter and who painted the portrait from which this engraving is taken (the painting is now in the Museu Nacional de Arte Antiga, Lisbon). Etched by Vorsterman's son, who studied with his father, for the 'Iconographia' series of portraits after van Dyck.
[Ref: 45464] £110.00 (£132.00 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.
No. XXXIV. Mrs. Heidelberg. No. XXXV. Baron Otranto.
[n.d., c.1769.]
A double portrait of actress Kitty Clive and her supposed lover Horace Walpole who is named after one of the characters in 'The Castle of Otranto'. From the 'Histories of the Tête à Tête annexed...' series that appeared in 'Town and Country Magazine', a monthy magazine which featured articles on the scandals and romantic affairs of the nobility.
BM Satire 4362.
[Ref: 45414] £130.00 (£156.00 incl.VAT)
[n.d., c.1769.]
A double portrait of actress Kitty Clive and her supposed lover Horace Walpole who is named after one of the characters in 'The Castle of Otranto'. From the 'Histories of the Tête à Tête annexed...' series that appeared in 'Town and Country Magazine', a monthy magazine which featured articles on the scandals and romantic affairs of the nobility.
BM Satire 4362.
[Ref: 45414] £130.00 (£156.00 incl.VAT)
![[George Frederick Watts.]](jpegs/24133.jpg)
[George Frederick Watts.]
London, Published Dec.r 1.st 1887 by Robert Dunthorne, at The Rembrandt Head in Vigo Street, W.
Photogravure on chine collé. 330 x 247mm (13 x 9¾").
After a self-portrait. George Frederic Watts (1817-1904) was a popular English Victorian painter and sculptor associated with the Symbolist movement. He intended to form part of an epic symbolic cycle called the "House of Life", in which the emotions and aspirations of life would all be represented in an universal symbolic language.
[Ref: 24133] £130.00 (£156.00 incl.VAT)
London, Published Dec.r 1.st 1887 by Robert Dunthorne, at The Rembrandt Head in Vigo Street, W.
Photogravure on chine collé. 330 x 247mm (13 x 9¾").
After a self-portrait. George Frederic Watts (1817-1904) was a popular English Victorian painter and sculptor associated with the Symbolist movement. He intended to form part of an epic symbolic cycle called the "House of Life", in which the emotions and aspirations of life would all be represented in an universal symbolic language.
[Ref: 24133] £130.00 (£156.00 incl.VAT)
![[George Frederick Watts.]](jpegs/23409.jpg)
[George Frederick Watts.]
[Charles William Campbell after George Frederrick Watts.]
[n.d., c.1885]
Unique proof mezzotint on chine collé touched by Watts with his initials bottom right, platemark 500 x 365mm (19½ x 14¼"). Paper missing top right, resulting in creasing to chine collé; foxing in margins.
Extremely rare touched proof of Charles William Campbell's engraving from the 1664 half-length self-portrait by George Frederick Watts (London, Tate Gallery). Watts has made correction to the print himself, and initialled the print in the lower right. One of the few prints by Campbell (1855-87), who studied mezzotint engraving with Hubert Herkomer. His total 'oeuvre' consisted of twelve finished and seven unfinished plates.
For another impression see ref. 23410.
[Ref: 23409] £2,500.00
[Charles William Campbell after George Frederrick Watts.]
[n.d., c.1885]
Unique proof mezzotint on chine collé touched by Watts with his initials bottom right, platemark 500 x 365mm (19½ x 14¼"). Paper missing top right, resulting in creasing to chine collé; foxing in margins.
Extremely rare touched proof of Charles William Campbell's engraving from the 1664 half-length self-portrait by George Frederick Watts (London, Tate Gallery). Watts has made correction to the print himself, and initialled the print in the lower right. One of the few prints by Campbell (1855-87), who studied mezzotint engraving with Hubert Herkomer. His total 'oeuvre' consisted of twelve finished and seven unfinished plates.
For another impression see ref. 23410.
[Ref: 23409] £2,500.00
![[George Frederick Watts]](jpegs/23410.jpg)
[George Frederick Watts]
[Charles William Campbell after George Frederrick Watts]
[n.d., c.1885]
Proof mezzotint on chine collé. 500 x 365mm (19½ x 14¼"). Full margins.
A half-length self-portrait by painter and sculptor George Frederick Watts (1817-1904), painted in 1864 and now in the Tate Gallery. One of the few prints by Campbell (1855-87), who studied mezzotint engraving with Hubert Herkomer. His total 'oeuvre' consisted of twelve finished and seven unfinished plates.
For a proof touched by Watts himself see ref. 23409
[Ref: 23410] £450.00
[Charles William Campbell after George Frederrick Watts]
[n.d., c.1885]
Proof mezzotint on chine collé. 500 x 365mm (19½ x 14¼"). Full margins.
A half-length self-portrait by painter and sculptor George Frederick Watts (1817-1904), painted in 1864 and now in the Tate Gallery. One of the few prints by Campbell (1855-87), who studied mezzotint engraving with Hubert Herkomer. His total 'oeuvre' consisted of twelve finished and seven unfinished plates.
For a proof touched by Watts himself see ref. 23409
[Ref: 23410] £450.00
H.L. Wellington Royal College of Art / 1923 - 19
D. Smith 1929 [pencil signature lower right]
Aquatint with very large margins, very scarce, platemark 200 x 230mm (8 x 9").
Probably a portrait of Hubert L. Wellington (1879-1967), artist and art teacher. Wellington arrived at the Slade to study at the same time as Wyndham Lewis, and was close friends with Camden Town Group members Spencer Gore and Harold Gilman. Wellington's work is in the Tate collection, but it was as a teacher that he made his most important contribution, working as lecturer and registrar from 1923-32 (during which time this print was made), and later becoming principal at Edinburgh College of Art and the Slade. Wellington's DNB entry was written by Sir William Coldstream, whose time at the Slade overlapped with Wellington's.
[Ref: 36385] £240.00 (£288.00 incl.VAT)
D. Smith 1929 [pencil signature lower right]
Aquatint with very large margins, very scarce, platemark 200 x 230mm (8 x 9").
Probably a portrait of Hubert L. Wellington (1879-1967), artist and art teacher. Wellington arrived at the Slade to study at the same time as Wyndham Lewis, and was close friends with Camden Town Group members Spencer Gore and Harold Gilman. Wellington's work is in the Tate collection, but it was as a teacher that he made his most important contribution, working as lecturer and registrar from 1923-32 (during which time this print was made), and later becoming principal at Edinburgh College of Art and the Slade. Wellington's DNB entry was written by Sir William Coldstream, whose time at the Slade overlapped with Wellington's.
[Ref: 36385] £240.00 (£288.00 incl.VAT)
To his Royal Highness The Prince Regent, Patron. The Governors and Members of the British Institution for Promoting the Fine Arts. The Portrait of Benjamin West, P.R.A. Is most respectfully Dedicated by their odedient humble servant Jame Fittler.
Engraved by J. Fittler A.R.A. from a Picture Painted by G.H. Harlow.
Publish'd as the Act Directs April 8 1817 by J. Fittler Upper Charlotte Street London.
Engraving. 380 x 520mm. Tears in margin c.1cm into plate, outside india.
American painter [1738 - 1820] who worked in England. Under the portrait is a vignette frieze: Pensylvania Nathus OC.X. MDCCXXXVIII.
[Ref: 3030] £230.00 (£276.00 incl.VAT)
Engraved by J. Fittler A.R.A. from a Picture Painted by G.H. Harlow.
Publish'd as the Act Directs April 8 1817 by J. Fittler Upper Charlotte Street London.
Engraving. 380 x 520mm. Tears in margin c.1cm into plate, outside india.
American painter [1738 - 1820] who worked in England. Under the portrait is a vignette frieze: Pensylvania Nathus OC.X. MDCCXXXVIII.
[Ref: 3030] £230.00 (£276.00 incl.VAT)
Benjamin West Esq.r President of the Royal Academy and Historical Painter to his Majesty.
Benj.m West Esq.r P.R.A. Pinx.t T. Holloway sculp.t
Published as the Act directs, by Tho.s Holloway, & the other Proprietors, April 25. 1798.
Engraving and etching. Plate 299 x 241mm. 11¾ x 9½". Slight printers crease.
Engraving after a self-portrait by Benjamin West; half-length seated slightly to right, looking to front, wearing short wig, plain coat with bright buttons and frill; curtain behind, pulled back to reveal Somerset House beyond at the right. The print was published as an illustration to the first English edition of Johann Caspar Lavater's 'Physiognomische Fragmente', Vol III, pl. 171, between pp.150-51. Benjamin West (1738-1820) was an Anglo-American painter of historical scenes around and after the time of the American War of Independence. He was the second president of the Royal Academy in London, serving from 1792 to 1805 and again from 1806 until his death.
Ex Collection: R. Hobson of Hove.
[Ref: 25512] £220.00 (£264.00 incl.VAT)
Benj.m West Esq.r P.R.A. Pinx.t T. Holloway sculp.t
Published as the Act directs, by Tho.s Holloway, & the other Proprietors, April 25. 1798.
Engraving and etching. Plate 299 x 241mm. 11¾ x 9½". Slight printers crease.
Engraving after a self-portrait by Benjamin West; half-length seated slightly to right, looking to front, wearing short wig, plain coat with bright buttons and frill; curtain behind, pulled back to reveal Somerset House beyond at the right. The print was published as an illustration to the first English edition of Johann Caspar Lavater's 'Physiognomische Fragmente', Vol III, pl. 171, between pp.150-51. Benjamin West (1738-1820) was an Anglo-American painter of historical scenes around and after the time of the American War of Independence. He was the second president of the Royal Academy in London, serving from 1792 to 1805 and again from 1806 until his death.
Ex Collection: R. Hobson of Hove.
[Ref: 25512] £220.00 (£264.00 incl.VAT)
B. West. Hist.ae Pictor.
P. Falconet del. 1768. D.P.Pariset Sculp.
Stipple. 178 x 127mm (7 x 5"). Cut.
Benjamin West (1738-1820), the American history painter born in Pennsylvania. In 1760 he went to Rome and was in London by 1763 where he remained and became President of the Royal Academy.
[Ref: 34760] £120.00 (£144.00 incl.VAT)
P. Falconet del. 1768. D.P.Pariset Sculp.
Stipple. 178 x 127mm (7 x 5"). Cut.
Benjamin West (1738-1820), the American history painter born in Pennsylvania. In 1760 he went to Rome and was in London by 1763 where he remained and became President of the Royal Academy.
[Ref: 34760] £120.00 (£144.00 incl.VAT)
Benjamin West, Esq.r President of the Royal Academy in London: Dedicated to the Directors of the British Institution by their ob. Serv.t William Johnstone White
W.J. Newton Pinx.t. C. Heath Sc.t
Published Jan.y 1st 1818 by W.J. White 14 Brownlow Street, Holborn, London
Engraving on india with large margins, platemark 380 x 290mm (15 x 11½").
Benjamin West (1738-1820) American painter of historical scenes, with Windsor Castle in the distance. In 1760 he became the first American painter to travel to Italy, spending three years there. West met George III's librarian Joseph Dalton in 1762, who gave him a royal commission to paint the lovers Cymon and Iphigenia. It was partly due to Dalton's encouragement that West arrived in London, where he was to spend the rest of his career. In 1768 West played an instrumental role with the king in obtaining patronage for a Royal Academy of Arts, joining other charter members in helping to elect Reynolds as its first president. Eventually, despite his American origins, West became historical painter to the king in 1772, surveyor of the king's pictures in 1791, and second president of the Royal Academy in 1792, after Reynolds's death.
[Ref: 36519] £140.00 (£168.00 incl.VAT)
W.J. Newton Pinx.t. C. Heath Sc.t
Published Jan.y 1st 1818 by W.J. White 14 Brownlow Street, Holborn, London
Engraving on india with large margins, platemark 380 x 290mm (15 x 11½").
Benjamin West (1738-1820) American painter of historical scenes, with Windsor Castle in the distance. In 1760 he became the first American painter to travel to Italy, spending three years there. West met George III's librarian Joseph Dalton in 1762, who gave him a royal commission to paint the lovers Cymon and Iphigenia. It was partly due to Dalton's encouragement that West arrived in London, where he was to spend the rest of his career. In 1768 West played an instrumental role with the king in obtaining patronage for a Royal Academy of Arts, joining other charter members in helping to elect Reynolds as its first president. Eventually, despite his American origins, West became historical painter to the king in 1772, surveyor of the king's pictures in 1791, and second president of the Royal Academy in 1792, after Reynolds's death.
[Ref: 36519] £140.00 (£168.00 incl.VAT)
Mr. West and Family. To her Imperial Majesty of all the Russia's; This Plate is respectfully Dedicated by her most Dutiful and Obedient humble Servants M.B.
Painted by Benj.n West Historical Painter to his Majesty. Engraved by Bover.
London Printed for Robert Sayer. Fleet Street.
Rare engraving. Plate: 250 x 290mm (9¾ x 11½''), with large margins. Creasing.
A scene in a room where the artist Benjamin West stands behind the chairs of his father and brother-in-law, on a chair on the right sits West's wife Elizabeth holding their young son, their elder son stands to the side.
[Ref: 49903] £280.00 (£336.00 incl.VAT)
Painted by Benj.n West Historical Painter to his Majesty. Engraved by Bover.
London Printed for Robert Sayer. Fleet Street.
Rare engraving. Plate: 250 x 290mm (9¾ x 11½''), with large margins. Creasing.
A scene in a room where the artist Benjamin West stands behind the chairs of his father and brother-in-law, on a chair on the right sits West's wife Elizabeth holding their young son, their elder son stands to the side.
[Ref: 49903] £280.00 (£336.00 incl.VAT)
Benjamin West Esq.r President of the Royal Academy and Historical Painter to His Majesty. From a Miniature of the same size in his Possession.
A.Robertson Pinx.t. G. Dawe Sculp.t
Published May 10 1804. by A. Robertson No 16 Cecil Street, Strand.
Mezzotint with large margins and collector's mark, 245 x 340mm 9½ x 1`3½inches.
CS: 13 I of II. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 14760] £260.00 (£312.00 incl.VAT)
A.Robertson Pinx.t. G. Dawe Sculp.t
Published May 10 1804. by A. Robertson No 16 Cecil Street, Strand.
Mezzotint with large margins and collector's mark, 245 x 340mm 9½ x 1`3½inches.
CS: 13 I of II. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 14760] £260.00 (£312.00 incl.VAT)
B. West Esq.r Historical Painter to his Majesty.
P. Falconet del.t. B. Reading sc.t
Pub.d by Edw.d Jeffery, opposite Carlton House, 1792.
Coloured stipple, with large margins. Plate 184 x 152mm. 7¼ x 6".
Benjamin West (1738-1820), history painter and President of the Royal Academy from 1792 until his death. He painted a wide variety of biblical, classical, historical and literary subjects usually in a Neo-classical or Romantic style.
[Ref: 24438] £120.00 (£144.00 incl.VAT)
P. Falconet del.t. B. Reading sc.t
Pub.d by Edw.d Jeffery, opposite Carlton House, 1792.
Coloured stipple, with large margins. Plate 184 x 152mm. 7¼ x 6".
Benjamin West (1738-1820), history painter and President of the Royal Academy from 1792 until his death. He painted a wide variety of biblical, classical, historical and literary subjects usually in a Neo-classical or Romantic style.
[Ref: 24438] £120.00 (£144.00 incl.VAT)
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![[Rogier van der Weyden]](jpegs/43317.jpg)
[Rogier van der Weyden] Rogero, Bruxellensi Pictori. Non tibi sit laudi, quod multa, & pulchra, Rogere, / Pinxisti, ut poterant tempora ferre tua [...] 4.
Th. Galle excud [c.1600]
Engraving, platemark 210 x 120mm (8¼ x 4¾") very large margins.
Rogier van der Weyden (1399-1464), one of the most renowned painters of the fifteenth century, specialising in religious works and portraits. This engraving was made after an alleged self-portrait by van der Weyden, part of a series of paintings in Brussels town hall now lost. Third state of a plate first published in 1572, in a series of twenty-three portraits of painters from the Low Countries. In this state it was published after 1600 in the Antwerp publisher Theodor Galle's 'Illustrium Quos Belgium Habuit Pictorum Effigies. Antwerpiae'. Another edition was published in 1694.
[Ref: 43317] £140.00 (£168.00 incl.VAT)
Th. Galle excud [c.1600]
Engraving, platemark 210 x 120mm (8¼ x 4¾") very large margins.
Rogier van der Weyden (1399-1464), one of the most renowned painters of the fifteenth century, specialising in religious works and portraits. This engraving was made after an alleged self-portrait by van der Weyden, part of a series of paintings in Brussels town hall now lost. Third state of a plate first published in 1572, in a series of twenty-three portraits of painters from the Low Countries. In this state it was published after 1600 in the Antwerp publisher Theodor Galle's 'Illustrium Quos Belgium Habuit Pictorum Effigies. Antwerpiae'. Another edition was published in 1694.
[Ref: 43317] £140.00 (£168.00 incl.VAT)
Sir David Wilkie, R.A.
Painted by Sir W.Beechey, R.A. Engraved by H.Robinson.
[n.d. c.1830]
Engraving. Sheet 168 x 127mm. Letter 201 x 126.
Accompanying letter written by Wilkie and signed 1830.
[Ref: 587] £160.00 (£192.00 incl.VAT)
Painted by Sir W.Beechey, R.A. Engraved by H.Robinson.
[n.d. c.1830]
Engraving. Sheet 168 x 127mm. Letter 201 x 126.
Accompanying letter written by Wilkie and signed 1830.
[Ref: 587] £160.00 (£192.00 incl.VAT)
D. Wilkie Esq RA.
G. H. H. delt.
1812.
Engraving. 250 x 175mm (9¾ x 7¼"). Slight foxing.
A head and shoulders portrait of David Wilkie (1785-1841). Wilkie was a successful British artist known for his paintings of genre scenes.
[Ref: 53868] £70.00 (£84.00 incl.VAT)
G. H. H. delt.
1812.
Engraving. 250 x 175mm (9¾ x 7¼"). Slight foxing.
A head and shoulders portrait of David Wilkie (1785-1841). Wilkie was a successful British artist known for his paintings of genre scenes.
[Ref: 53868] £70.00 (£84.00 incl.VAT)
David Wilkie, ESQ. R.A.
Engraved by H. Meyer, from an original Drawing by J. Jackson.
Published July 1. 1815, By T. Cadell & W. Davies, Strand, London.
Stipple engraving 380 x 330mm (15 x 13"), J. Whatman 1813 watermarked paper; with large margins top and bottom, left and right decent margins.
Bust portrait of Sir David Wilkie (1785-1841). A Scottish painter. He was a pioneering genre painter and an original portraitist, and his scenes of Scottish peasant life won him much attention when he moved from Edinburgh to London in 1805. He was the friend of B.R. Haydon with whom he visited France in 1814. He was patronised by the Prince Regent and was made painter to King William IV, who later knighted him in 1836. His death on his return from India in 1841 was commemorated by Turner's painting, Burial at Sea.
[Ref: 59031] £140.00 (£168.00 incl.VAT)
Engraved by H. Meyer, from an original Drawing by J. Jackson.
Published July 1. 1815, By T. Cadell & W. Davies, Strand, London.
Stipple engraving 380 x 330mm (15 x 13"), J. Whatman 1813 watermarked paper; with large margins top and bottom, left and right decent margins.
Bust portrait of Sir David Wilkie (1785-1841). A Scottish painter. He was a pioneering genre painter and an original portraitist, and his scenes of Scottish peasant life won him much attention when he moved from Edinburgh to London in 1805. He was the friend of B.R. Haydon with whom he visited France in 1814. He was patronised by the Prince Regent and was made painter to King William IV, who later knighted him in 1836. His death on his return from India in 1841 was commemorated by Turner's painting, Burial at Sea.
[Ref: 59031] £140.00 (£168.00 incl.VAT)
[Richard Wilson, Esq:r Landscape Painter. From an Original Portrait by Mengs Painted at Rome 1752.]
Raphael Antonio Mengs Pinx.t. WBromley Sculpsit 1789.
[Published by J. Sewell Cornhill 1 Feb.y 1790.]
Stipple with etching, scratched letter proof before title. In ink [signature] D Dodd [?] verso; Sheet 190 x 125mm (7½ x 5"). Trimmed to plate and mounted in album paper.
Richard Wilson (1714-1782), the Welsh landscape painter, a founding member of the Royal Academy in 1768.
Ex: Norman Blackburn Collection.
[Ref: 58094] £85.00 (£102.00 incl.VAT)
Raphael Antonio Mengs Pinx.t. WBromley Sculpsit 1789.
[Published by J. Sewell Cornhill 1 Feb.y 1790.]
Stipple with etching, scratched letter proof before title. In ink [signature] D Dodd [?] verso; Sheet 190 x 125mm (7½ x 5"). Trimmed to plate and mounted in album paper.
Richard Wilson (1714-1782), the Welsh landscape painter, a founding member of the Royal Academy in 1768.
Ex: Norman Blackburn Collection.
[Ref: 58094] £85.00 (£102.00 incl.VAT)
Guilielmus Wissing. Inter Pictores sui Soeculi celeberrimos nulli secundus, Artis suae non exiguum Deeus & Ornamentum, Obijt Sept: 10. An Aet: 31 D.ni 1687. Immodicis brevis est Aetas.
W Wissing pinx: J Smith fe. [1687]
Mezzotint, 18th century watermark, 340 x 245mm (13½ x 9¾"). Trimmed to plate. Nick and stain in top right corner.
William Wissing (1656-87), portrait painter. Apprenticed to Sir Peter Lely, Wissing became one of the leading portraitists of the 1680s, in the period between the death of Lely and rise of Sir Godfrey Kneller. Wissing's career coincided with the vogue for mezzotint publishing, in which next to Kneller's, Wissing's works were the most widely reproduced (as in this self-portrait). Engraved by John Smith (1652-1743), a first-class mezzotint engraver who made the mezzotint portrait a serious rival to the traditional engraved portrait (in which the French specialised). In the first half of the 18th century no serious print collection, whether in Britain or abroad, was without examples of Smith's work. In 1688 Smith became the regular engraver of Kneller's portraits.
Ex: collection of the Late Hon. C. Lennox-Boyd; CS 278 i/ii.
[Ref: 60247] £260.00 (£312.00 incl.VAT)
W Wissing pinx: J Smith fe. [1687]
Mezzotint, 18th century watermark, 340 x 245mm (13½ x 9¾"). Trimmed to plate. Nick and stain in top right corner.
William Wissing (1656-87), portrait painter. Apprenticed to Sir Peter Lely, Wissing became one of the leading portraitists of the 1680s, in the period between the death of Lely and rise of Sir Godfrey Kneller. Wissing's career coincided with the vogue for mezzotint publishing, in which next to Kneller's, Wissing's works were the most widely reproduced (as in this self-portrait). Engraved by John Smith (1652-1743), a first-class mezzotint engraver who made the mezzotint portrait a serious rival to the traditional engraved portrait (in which the French specialised). In the first half of the 18th century no serious print collection, whether in Britain or abroad, was without examples of Smith's work. In 1688 Smith became the regular engraver of Kneller's portraits.
Ex: collection of the Late Hon. C. Lennox-Boyd; CS 278 i/ii.
[Ref: 60247] £260.00 (£312.00 incl.VAT)
Guilielmus Wissing. Inter Pictores sui Soeculi celeberrimos nulli secundus, Artis suae non exiguum Deeus & Ornamentum, Obijt Sept: 10. An Aet: 31 D.ni 1687. Immodicis brevis est Aetas.
W Wissing pinx: J Smith fe. [1687]
Mezzotint, 340 x 245mm (13½ x 9¾") with small margins. Slightly foxed.
William Wissing (1656-87), portrait painter. Apprenticed to Sir Peter Lely, Wissing became one of the leading portraitists of the 1680s, in the period between the death of Lely and rise of Sir Godfrey Kneller. Wissing's career coincided with the vogue for mezzotint publishing, in which next to Kneller's, Wissing's works were the most widely reproduced (as in this self-portrait). Engraved by John Smith (1652-1743), a first-class mezzotint engraver who made the mezzotint portrait a serious rival to the traditional engraved portrait (in which the French specialised). In the first half of the 18th century no serious print collection, whether in Britain or abroad, was without examples of Smith's work. In 1688 Smith became the regular engraver of Kneller's portraits.
Ex: collection of the Late Hon. C. Lennox-Boyd; CS 278 i/ii.
[Ref: 60249] £190.00 (£228.00 incl.VAT)
W Wissing pinx: J Smith fe. [1687]
Mezzotint, 340 x 245mm (13½ x 9¾") with small margins. Slightly foxed.
William Wissing (1656-87), portrait painter. Apprenticed to Sir Peter Lely, Wissing became one of the leading portraitists of the 1680s, in the period between the death of Lely and rise of Sir Godfrey Kneller. Wissing's career coincided with the vogue for mezzotint publishing, in which next to Kneller's, Wissing's works were the most widely reproduced (as in this self-portrait). Engraved by John Smith (1652-1743), a first-class mezzotint engraver who made the mezzotint portrait a serious rival to the traditional engraved portrait (in which the French specialised). In the first half of the 18th century no serious print collection, whether in Britain or abroad, was without examples of Smith's work. In 1688 Smith became the regular engraver of Kneller's portraits.
Ex: collection of the Late Hon. C. Lennox-Boyd; CS 278 i/ii.
[Ref: 60249] £190.00 (£228.00 incl.VAT)
![[Mrs Worlidge]](jpegs/61577.jpg)
[Mrs Worlidge] [married 1.stly Worlidge the artist, 2.ndly M.r Ashley, 3.rdly Captain Robinson. She kept the "Star and Garter" at Richmond; died 1790.] [in ink below print]
T. Worlidge pinx.t. G. Powle sc.
Published according to Act of Parliament. [n.d. c. 1776]
Very rare mezzotint, 225 x 170mm (9 x 6¾"), with good margins. Tipped into album sheet at edges. Slight crease.
Half-length portrait of Elizabeth Worlidge (nee wickstead) (1743-c.90). She wears a lace cap tied at the top of her head, and a dark cape with a cross hanging at her neck. She was Thomas Worlidge's (1700-66) third wife and assisted him in his artistic work, and gained a reputation for herself by her skill in copying paintings in needlework. After Worlidge's death she carried on the sale of his etchings at his house in Great Queen Street; but she let the mansion to Hester Darby and her daughter, Mary Robinson ('Perdita'), on her marriage to a wine and spirit merchant James Ashley, using the name Mrs Ashley until 1771. She later remarried again a Captain Robinson, and kept the 'Star and Garter' at Richmond.
CS II of II.
[Ref: 61577] £280.00 (£336.00 incl.VAT)
T. Worlidge pinx.t. G. Powle sc.
Published according to Act of Parliament. [n.d. c. 1776]
Very rare mezzotint, 225 x 170mm (9 x 6¾"), with good margins. Tipped into album sheet at edges. Slight crease.
Half-length portrait of Elizabeth Worlidge (nee wickstead) (1743-c.90). She wears a lace cap tied at the top of her head, and a dark cape with a cross hanging at her neck. She was Thomas Worlidge's (1700-66) third wife and assisted him in his artistic work, and gained a reputation for herself by her skill in copying paintings in needlework. After Worlidge's death she carried on the sale of his etchings at his house in Great Queen Street; but she let the mansion to Hester Darby and her daughter, Mary Robinson ('Perdita'), on her marriage to a wine and spirit merchant James Ashley, using the name Mrs Ashley until 1771. She later remarried again a Captain Robinson, and kept the 'Star and Garter' at Richmond.
CS II of II.
[Ref: 61577] £280.00 (£336.00 incl.VAT)
![[Self-portrait by Thomas Worlidge] [No 33 & 434]](jpegs/32597.jpg)
[Self-portrait by Thomas Worlidge] [No 33 & 434]
[n.d., c.1740-66]
Etching with small margins, 200 x 160mm (8 x 6¼"). Trimmed to plate; glued to backing sheet at corners.
Posthumous impression of Worlidge's self-portrait, with the number '33' added in the top right to correspond with the numbering of the catalogue of prints which Worlidge's widow produced. Like many of Worlidge's plates this remained 'unfinished'. In later publications Worlidge's name was inscribed along the bottom of the print. The 'English Rembrandt', Worlidge (1700-66) was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married.
O'D 4; W33; D231. BM website (incorrectly) describes this as second state, but do not take into account impressions without any numbers in the top right. See 32573. Ex: Collection of the Late Honour
[Ref: 32597] £220.00 (£264.00 incl.VAT)
[n.d., c.1740-66]
Etching with small margins, 200 x 160mm (8 x 6¼"). Trimmed to plate; glued to backing sheet at corners.
Posthumous impression of Worlidge's self-portrait, with the number '33' added in the top right to correspond with the numbering of the catalogue of prints which Worlidge's widow produced. Like many of Worlidge's plates this remained 'unfinished'. In later publications Worlidge's name was inscribed along the bottom of the print. The 'English Rembrandt', Worlidge (1700-66) was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married.
O'D 4; W33; D231. BM website (incorrectly) describes this as second state, but do not take into account impressions without any numbers in the top right. See 32573. Ex: Collection of the Late Honour
[Ref: 32597] £220.00 (£264.00 incl.VAT)
![[Jan Wyck] Optimi Ingenÿ Viro Joanni Wootton, Joannis Wyck insignis Præliorum Pictoris](jpegs/60716.jpg)
[Jan Wyck] Optimi Ingenÿ Viro Joanni Wootton, Joannis Wyck insignis Præliorum Pictoris quondam Discipulp hanc Magistri Effifiem 29. Octobris 1652 Natus est Obÿt 1700. D.D.D. Faber.
G: Kneller pinx: 1685. J. Faber fecit 1730.
Mezzotint. 355 x 250mm (14 x 9¾").
Half-length portrait of painter Jan Wyck (1645-1702), born in Haarlem but probably living in London from the age of twelve. He received patronage from the Dukes of Ormond and Monmouth, as well as William III. Among his military subjects were several paintings of the Battle of the Boyne. He died in Mortlake.
CS 397.
[Ref: 60716] £260.00 (£312.00 incl.VAT)
G: Kneller pinx: 1685. J. Faber fecit 1730.
Mezzotint. 355 x 250mm (14 x 9¾").
Half-length portrait of painter Jan Wyck (1645-1702), born in Haarlem but probably living in London from the age of twelve. He received patronage from the Dukes of Ormond and Monmouth, as well as William III. Among his military subjects were several paintings of the Battle of the Boyne. He died in Mortlake.
CS 397.
[Ref: 60716] £260.00 (£312.00 incl.VAT)
Christian Frederick Zincke Painter in Enamel & Elizabeth his Wife.
H. Hysing pinx. J. Faber fecit.
[n.d., c.1720]
Mezzotint. 310 x 360mm (12¼ x 14¼"). Thread margins.
Christian Frederick Zincke (1684?-1767), miniature painter born in Dresden but arriving in London c.1706. This double portrait shows him with his first wife Elizabeth, whom he married at St. Martin-in-the-Fields, London in 1718. Zincke had a successful career, benefitting from his relationships with George II and Frederick, Prince of Wales.
CS: 402.
[Ref: 56393] £320.00
H. Hysing pinx. J. Faber fecit.
[n.d., c.1720]
Mezzotint. 310 x 360mm (12¼ x 14¼"). Thread margins.
Christian Frederick Zincke (1684?-1767), miniature painter born in Dresden but arriving in London c.1706. This double portrait shows him with his first wife Elizabeth, whom he married at St. Martin-in-the-Fields, London in 1718. Zincke had a successful career, benefitting from his relationships with George II and Frederick, Prince of Wales.
CS: 402.
[Ref: 56393] £320.00
![[Johan Joseph Zoffany] Giovanni Zoffani Pittore.](jpegs/62189.jpg)
[Johan Joseph Zoffany] Giovanni Zoffani Pittore.
[after Zoffany.]
[n.d., c.1795.]
Etching. Sheet 245 x 170mm (9¾ x 6¾"). Trimmed to image on three sides, mounted in album paper at sides.
A self portrait of painter Johan Joseph Zoffany (1733-1810), holding an hourglass and a skull.
[Ref: 62189] £160.00 (£192.00 incl.VAT)
[after Zoffany.]
[n.d., c.1795.]
Etching. Sheet 245 x 170mm (9¾ x 6¾"). Trimmed to image on three sides, mounted in album paper at sides.
A self portrait of painter Johan Joseph Zoffany (1733-1810), holding an hourglass and a skull.
[Ref: 62189] £160.00 (£192.00 incl.VAT)
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