Grosvenor Prints

After the Storm [pencil] Just Published. Original Etching by John G. Mathieson. (Limited Edition)
John G Mathieson [signed in pencil.]
[London: Alfred Bell & Co., n.d., c.1930.]
Drypoint etching, signed by the artist. 300 x 200mm (11¾ x 8"), with wide margins. In original mount with printed label with publisher's logo of a black bell with ABC in white. Mint.
The edge of a wood, with fallen trees. John George Mathieson, a Scottish painter and etcher of landscapes who lived and worked in Stirling, exhibiting between 1918 and 1940.
[Ref: 49226] £130.00 (£156.00 incl.VAT)

Alder Alnus. No.2.
J. Vint Barber 1811.
Rare etching. 292 x 395mm (11½ x 15½"). Torn into the right-hand edge of the image. Horizontal crease through the centre.
View with three cows wading in a meandering river, the left bank lined with alder trees, and two sheep lying on grass; two cows standing behind wooden fence on the right bank.
[Ref: 19390] £130.00 (£156.00 incl.VAT)

Aspin.
J. Cozens [scratched in image lower right.]
Pub, July 1. 1814, by W.H. Pyne, Cecil Stt. Strand.
Soft ground etching in sepia. 325 x 390mm (12¾ x 15¼), on Whatman paper watermarked 1813. Trimmed into plate lower left, ink stains upper left (outside image).
The artist is John Robert Cozens (1752 - 1797), son of Alexander Cozens (1717 - 1786), the drawing master and landscape-painter in water-colours. From the 1814 edition of his 'Series of 13 Trees' first published in 1789, and with the original publication line faintly visible in image lower left.
[Ref: 8011] £230.00 (£276.00 incl.VAT)

Here Pope Sung. The above was carved on Popes Beech Tree at Binfield, Berks, by another celebrated Poet Lord Lyttelton when on a Visit at Bill Hill, the seat of the late General Gower.
Wm. DelaMotte fec. 1830. [etched in image.] William DelaMotte delt. et fecit.
Etching with faint hand colour. 330 x 250mm (13 x 9¾"). Slightly foxed.
A broad tree trunk with one single curling branch in a field in Binfield, Berkshire, with scattered trees and a shepherd leaning on his staff to left, his sheep grazing nearby. A tribute to Alexander Pope has been carved into the tree by George Lyttelton, 1st Baron Lyttelton of Frankley (1709 - 1773). Lyttelton was secretary to Frederick Prince of Wales, and author of many poetical and historical works.
[Ref: 11490] £130.00 (£156.00 incl.VAT)

Here Pope Sung. The above was carved on Popes Beech Tree at Binfield, Berks, by another celebrated Poet Lord Lyttelton when on a Visit at Bill Hill, the seat of the late General Gower.
Wm. DelaMotte fec. 1830. [etched in image.] William DelaMotte delt. et fecit.
Scarce etching. 330 x 250mm (13 x 9¾"), with 'D' blindstamp. Trimmed to plate.
A broad tree trunk with one single curling branch in a field in Binfield, Berkshire, with scattered trees and a shepherd leaning on his staff to left, his sheep grazing nearby. George Lyttelton (1709-73), 1st Baron Lyttelton of Frankley, was secretary to Frederick Prince of Wales, and author of many poetical and historical works.
[Ref: 59688] £280.00 (£336.00 incl.VAT)

The Box.
[n.d., c.1840.]
Lithograph. Sheet 170 x 270mm (6¾ x 10½") Trimmed.
From a series 'Trees and their Uses', with vignettes of the uses of Box wood, including wood engraving, clarinets and crochet work.
[Ref: 52795] £65.00 (£78.00 incl.VAT)

[Cedar tree] Cedrus Deodara. Loudon. Lawson's Pinetum Britannicum.
W.m Richardson del et lith. Printed by Day & Son.
London & Edinburgh Published by Peter Lawson & Son. [n.d., 1863-84.]
Tinted lithograph with hand colour. 440 x 305mm (17¼ x 12") large margins.
A portrait of a cedar with an English church spire in the background. A plate from Edward James Ravenscroft's 'The Pinetum Britannicum. A Descriptive Account of Hardy Coniferous Trees Cultivated in Great Britain', privately published in parts between 1863-84 by Lawson, then continued by Ravenscroft and W. Blackwood & Sons.
[Ref: 51293] £160.00 (£192.00 incl.VAT)

The Cowthorpe Oak. Yorkshire.
Drawn by W.H. Hammer Esq.r. F.A.L.S.S. Engraved by J. Laporte.
Publish'd Sep.r 1, 1806, by J. Laporte, 21 Winchester Row, Edgware Road.
Lithograph. In ink under artist "girth 47 feet". Sheet 360 x 525mm (14 x 20¾"). Some small stains, creasing.
Portrait of an ancient oak tree, so famous that it was sketched by J.M.W. Turner. Believed to pre-date the Norman Conquest, it was already on the decline when this view was taken, but it was only when it was hit by lightning in 1950 that it died. However acorns from it have been planted as far away as New Zealand.
[Ref: 53584] £180.00 (£216.00 incl.VAT)

Abele. Will.m Delamotte 1810.
Drawn & Etched by William De La Motte. Prepared & Aquafortis by J. Girtin.
[Great Marlow, 1811.]
Rare soft-ground etching. Sheet 490 x 370mm (19¼ x 14½"). Trimmed within plate, pinholes in corners.
A woman and child gathering firewood in a wood by a river. William Alfred Delamotte (1775-1863) trained under Benjamin West. He presented a number of his own prints (which he published himself) to the British Museum. He was the drawing master at Sandhurst for 40 years. John Girtin was the elder brother of Thomas Girtin.
See ref: 59687 & 59685
[Ref: 59686] £260.00 (£312.00 incl.VAT)

[Tree in a landscape with figures seated by river]
Will. Delamotte del. Oxford 1805.
Very scarce lithograph. Sheet 230 x 320mm (9 x 12½"). Tears & losses to corners.
Early lithograph by William Delamotte (1775-1863), landscape artist. Delamotte lived in Oxford from 1798 working as a drawing master, and most of his works from this period were made in the vicinity. He later became a drawing master at the Royal Military College in Sandhurst. Influenced by Girtin's watercolour style, Delamotte was one of a group of landscape artists also including Constable and Turner, who took to making oil sketches in the open.
[Ref: 36812] £160.00 (£192.00 incl.VAT)

Pine. Will.m Delamotte 1810.
Drawn & Etched by William De La Motte. Prepared & Aquafortis by J. Girtin.
[Great Marlow, 1811.]
Rare soft-ground etching. Sheet 490 x 370mm (19¼ x 14½"). Trimmed within plate, pinholes in corners.
A stag and two does in a wooded landscape. William Alfred Delamotte (1775-1863) trained under Benjamin West. He presented a number of his own prints (which he published himself) to the British Museum. He was the drawing master at Sandhurst for 40 years. John Girtin was the elder brother of Thomas Girtin.
BM 1850,0413.47, first state, before added mezzotint. See Ref 59686 & 59685
[Ref: 59687] £260.00 (£312.00 incl.VAT)

Tangled Branches.
Georges Dottless.
Etching with aquatint, Artist's trial proof, signed and titled in pencil, 8 x 7".
[Ref: 1870] £70.00 (£84.00 incl.VAT)

The Dracæna Draco, or Celebrated Dragon Tree, at Ortava in the Island of Tenerife. Proof.
Drawn on the Spot by J.J. Williams. R.G. Reeve, sc.
[n.d., c.1819.]
Scarce aquatint. Sheet 585 x 380mm (23 x 15"). Trimmed within plate, several tears taped. Slightly time stained.
An old dragon tree with a door in its trunk leading to a chapel. A gash in its stem releases its ''dragon's blood'' resin (used in varnishes and photo-engraving). The tree was believed to be several thousand years old, already in decline when the Venetian explorer Alvise Cadamosto saw it in 1455. A storm in July 1819 caused the horizontal split (the date on the sign); the tree fell in 1867.
Wellcome 21027i.
[Ref: 59684] £480.00

The Waterfall, Hyde Park. [&] Elm, in Hyde Park.
[Second image:] from Nature & on Zinc by Edward Hassell.
[n.d. c.1820.] [&] Printed by C. Chabot, Zincographer, 7, Thavies Inn, Holborn. Published by Pigot & Co. Fleet St. London. [n.d. c.1850.]
Sheet with two images, two lithographs, both scarce. Sheet 482 x 330mm. 19 x 13".
View of a waterfall and two swans in Hyde Park, London; [&] View of Hyde Park, with old elm tree in foreground and a cow grazing behind at left; more trees in middle ground, buildings in the distance.
[Ref: 25944] £130.00 (£156.00 incl.VAT)

Joe Pullen's Elm. Hedington Hill, Oxford. ''I have the honor to be well known to Mr Josiah Pullen, of our hall above mentioned, (Magdalen Hall in Oxford) and attribute the florid old age I now enjoy to my constant morning-walks up Hedington hill in his cheerful company.'' Steele, Guardian No.2.
W.m Dela Motte del.t. 1821. Lithog.
Printed & Published by Rowney & Forster.
Lithograph. Sheet 350 x 275mm (13¾ x 10¾"). Slight soiling.
Reverend Josiah Pullen, Vice-President of Magdalen Hall from 1656 until his death in 1714, planted this elm c.1680 on a hill with an uninterrupted view of Oxford. He would walk there and back twice daily in half an hour from Magdalen Hall, sometimes accompanied by Richard Steele, the essayist, on a raised footpath that is now Pullen's Lane. The stump of the elm was destroyed by fire in 1909.
Ex: Collection of Hon. Christopher Lennox-Boyd.
[Ref: 52061] £220.00 (£264.00 incl.VAT)

[Part of a Fallen Tree.] 13.
TB [monogram of Thomas Barker of Bath].
[Bath, D. Redman, 1814.]
Pen lithograph, laid on original backing page; 310 x 240mm (12¼ x 9½").
A knarled old tree with part of its trunk fallen. From "Thirty Two Lithographic Impression from Pen Drawings of Landscape Scenery", 1814. Views around Bath, Wales, the Lake District and elsewhere.
[Ref: 53525] £140.00 (£168.00 incl.VAT)

The Fir.
[n.d., c.1840.]
Lithograph. Sheet 170 x 270mm (6¾ x 10½") Trimmed.
From a series 'Trees and their Uses', with vignettes of the uses of fir wood, including artist's easels, arrows and rabbit hutches.
[Ref: 52796] £65.00 (£78.00 incl.VAT)

Gutta Percha.
[n.d., c.1840.]
Lithograph. Sheet 190 x 290mm (7½ x 11½") Trimmed.
From a series 'Trees and their Uses', with six vignettes of the uses of gutta percha wood and latex, including flooring and shoe soles.
[Ref: 52797] £65.00 (£78.00 incl.VAT)

One of "The Cedars" Hammersmith Road Miss Fryer's Residence [in pen underneath image.]
C.J. Sprat [ink signature to right.]
[n.d. c.1835.]
Pencil sketch. 279 x 376mm (11 x 14¾"). Laid on album sheet.
One of the trees at "The Cedars", which was built in 1779, an imposing house set back from Hammersmith Road; the property was demolished in 1852. Miss Fryer ran a Ladies' Boarding School on the site.
[Ref: 29980] £220.00 (£264.00 incl.VAT)

Hernes Oak. Windsor Forest. There is an old Tale goes, that Herne the Hunter, Sometime a 'Keeper here in Windsor Forest, Doth all the Winter time, at still midnight, Walk round about an oak, with ragged horns. Vide "Merry Wines of Windsor."
Drawn on Stone & Pub.d Jan.y 1st 1830 by W.A. Delamotte Jun.r R.M. college, Sandhurst.
Printed by Chagrey, 310 Strand.
Lithograph. Rare. Sheet size: 215 x 155mm (8½ x 6½").
Herne the Hunter's Oak was located in Home Park, Windsor. Herne, a character from Shakespeare's 'The Merry Wives of Windsor', seen seated below the tree with antlers on his head, was a forest keeper, said to have hung himself from the tree, his ghost haunted the forest at midnight.
Ex: The Hon. Christopher Lennox-Boyd.
[Ref: 39387] £120.00 (£144.00 incl.VAT)

Lime and Sycamore in Cobham Park.
J.G. Strutt 1824.
[n.d., c.1826.]
Etching, printed on chine collé. 315 x 380mm (12½ x 15"), large margins. Chine slightly lifting.
Two large trees in the landscaped gardens of Cobham Park, as designed by John Bridges in the 1720s, rebuilt 1873. From the expanded edition of 'Sylva Britannica, or portraits of Forest trees, distinguished for their antiquity, magnitude or beauty' by Jacob George Strutt (1784-1867).
[Ref: 60023] £160.00 (£192.00 incl.VAT)

Trees and their Uses. Maple.
[n.d., c.1840.]
Lithograph. Sheet 190 x 290mm (7½ x 11½") Trimmed.
Vignettes of the uses of the maple tree, furniture and sugar.
[Ref: 52799] £75.00 (£90.00 incl.VAT)

[Horse Chestnut]
J Martin
[London, Published May 15th 1817 at R. Ackermann's Repository of Arts, 101 Strand.]
Etching, sheet 330 x 270mm (13 x 10½"). Trimmed losing text. Crease; slight foxing.
Horse chestnut with two groups of figures, and deer, beneath. One of seven etchings contained in John Martin's (1789-1854) first commercial publication, 'Characters of Trees' (1817). The work contained no text, being simply a series of unnumbered prints advertised as a drawing book. According to Campbell, ''Horse Chestnut' is, without doubt, the most elaborate of the etchings produced for 'Characters of Trees''. Martin (1789 - 1854) is best known for his paintings and mezzotints of biblical subjects, in which capacity his hold on the popular imagination was unparalleled in its day. In the 20th century the influence of these works has continued to be felt- Martin's mezzotint of Belshazzar's Feast was the basis of the enormous Babylon set constructed for D.W. Griffith's film 'Intolerance' (1916).
C.W.5.
[Ref: 39537] £360.00

[Four lithographs in original wrappers] Etchings No. 4
P.S. Munn [1811]
Four lithographs in wrappers, Plates II & IV watermarked 'J. Whatman 1810'; 240 x 410mm (9½ x 16").
Four sheets of tree studies. Early lithographs by Paul Sandby Munn (1773 - 1845). Munn was named after his godfather, Paul Sandby, who gave him his first instructions in watercolour painting. He first exhibited at the Royal Academy in 1798 and was a frequent contributor of topographical drawings to that and other exhibtions. He drew some of the views of Britton's "Beauties of England and Wales". He painted little after 1832, when he devoted himself chiefly to music.
[Ref: 36808] £450.00 view all images for this item

The Wallace Oak.
J.G. Strutt 1825.
[n.d., c.1826.]
Etching, printed on chine collé. 380 x 310mm (15 x 12¼"), large margins.
A portrait of a massive oak at Port Glasgow, to which Scottish independence leader William Wallace was said to have been chained in 1305 by the English. From the expanded edition of 'Sylva Britannica, or portraits of Forest trees, distinguished for their antiquity, magnitude or beauty' by Jacob George Strutt (1784-1867).
[Ref: 59993] £190.00 (£228.00 incl.VAT)

The Oak in Penshurst Park. Under which Sir Philip Sydney is said to have composed his Arcadia.
WB del Nov. 16th 1809.
Aquatint with engraving. 325 x 255mm (12¾ x 10"), with large margins top and bottom. Trimmed to plate at sides.
A blasted oak with a door-size entrance into its trunk, cows grazing. Underneath is a ten-line verse praising the oak, signed 'F.D.C'. In 1977 Blackwell’s Antiquarian Department suggested that the artist was William Blake; an article in 'Blake: An Illustrated Quarterly' (1979) discusses the possibility and discounts it on stylistic grounds, although suggests the author of the verse was Frances Dorothy Cartwright (1780-1863).
https://bq.blakearchive.org/13.3.bentley
[Ref: 60248] £360.00

Oak, near Bisham, Berks.
W.m Delamotte 1805? Drawn & Etched by W.m De la Motte.
Pub.d as the Act directs by W.m De la Motte G.t Marlow Jan.ry 1806.
Rare soft ground etching. Sheet 495 x 370mm (19½ x 14½"). Trimmed within plate top and left; remains of album paper on reverse.
A country lane, with a foraging donkey in the foreground. William Delamotte (1775-1863), painter and drawing-master at the Royal Military College at Sandhurst.
Roger Baynton-Williams: Art of the Printmaker, Plate 90.
[Ref: 55243] £180.00 (£216.00 incl.VAT)

The Pocock Fig Tree, Oxford, as it Appeared before the Fire in 1809.
Drawn & Eng.d by J. & H. S. Stoner for the Port Folio.
Pub.d by Sherwood & Co. July 1. 1824.
Engraving. Plate: 150 x 100mm (6 x 4'') large margins.
A view of the ancient fig tree which once grew in Oxford. It was brought from Syria in 1648 by the naturalist Edward Pocock and planted in Oxford. The plant is covered in lead to protect the trunk and branches from the weather. In 1806 there was a fire which nearly destroyed the tree, the lead was also stolen so the tree started to decay.
[Ref: 49311] £45.00 (£54.00 incl.VAT)

[Landscape with deer under tree.]
J Laporte.
[London printed from stone at the polyautographic office, No 9 Buckingham Place, Fitzroy Square.]
Pen lithograph, sheet 200 x 305mm (8 x 12"). Trimmed, losing publication line.
Early pen lithograph first published in 'Specimens of Polyautography' (1807), although probably a later impression. The first (1803) issue of 'Specimens' was the first set of artist's lithographs ever published. 'Specimens' showcased the new medium of lithography, which allowed artists to make prints arguably resembling drawings more than any earlier technique. Unlike most printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography. By John Peter Laporte (1761-1839), watercolour painter in the tradition of Paul Sandby. Laporte built up a considerable practice as a drawing master, and his methods can be seen in his 1812 lesson book 'The Progress of a Water-Coloured Drawing'.
Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35470] £120.00 (£144.00 incl.VAT)

Red Cedar. In the Grounds at Wimbledon House. Plate 21. [top right-hand corner]
H.W. Burgess delt. 1829. Printed by C. Hullmandel.
[J.Dickinson, 114 New Bond Street, London.]
Lithograph. 432 x 348mm. 17" x 13¾". Cut and laid on paper.
From 'Eidodendron : views of the general character and appearance of trees foreign and indigenous connected with picturesque scenery'. (published 1827)
[Ref: 8773] £90.00 (£108.00 incl.VAT)

[Oak Trees in a Landscape.]
Wm Delamotte fct. 1816.
Published by W.m Delamotte, Sandhurst, near Bagshot, Jan.y 1817.
Etching. Sheet: 110 x 140mm (4¼ x 5½''). Trimmed and laid on album sheet.
A landscape with large trees, a man and dog sit on the crest of a hill.
[Ref: 48850] £45.00 (£54.00 incl.VAT)

[Tree]
[n.d. c.1930]
Etching, 85 x 120mm (3 x 4¾"), with large margins. Time stained.
A rural landscape with a large central tree; two women carry baskets on their heads in the background.
[Ref: 62623] £30.00 (£36.00 incl.VAT)

[Tree study.]
[Anon., c.1810.]
Scarce and early pen lithograph, coarse laid paper, sheet 305 x 220mm (12 x 8¾"). Sheet trimmed close to printed border.
A damaged tree beside a lake, a figure fishing beyond. Artist unidentified.
[Ref: 21456] £280.00 (£336.00 incl.VAT)

[Tree study.]
J. West 1809.
Published by J West, 1809.
Scarce and early lithograph, from a drawing book; 220 x 310mm (8¾ x 12¼"). Lightly soiled and foxed, else a fine impression with full margins.
Sketch of the knarled trunk of an old tree. Plate numbered '15' upper right.
[Ref: 21454] £130.00 (£156.00 incl.VAT)

Studies of Trees in Water Colour. By Frederick Earp. Executed in Chromo-Lithography. The distinctive touch of Each Tree will be found in these Example, and it is hoped they may be of assistance to those who have found Trees a difficult Study in Water-Colour Painting.
Brighton: Published by George W. Ryde (late H. Shelley), Artists' Repository, 73, Western Road [n.d., c.1860].
Oblong folio (275 x 385mm, 10¾ x 15¼"), printed wrapper and four chromolithographic plates. Foxed throughout.
A rare guide to watercolour painting, with each plate giving several details of branches of trees. The Artist's Repository at 73 Western Road, Brighton, was operated by Harriet Shelley from 1852 to 1856, then by George W Ryde & Co from 1859 until 1909.
[Ref: 62452] £160.00 view all images for this item

Cipressi Toscani [pencil].
Carl Strauss [pencil].
[n.d., c.1920.]
Drypoint etching, signed by the artist. 340 x 275mm (13½ x 10¾") very large margins. Some spotting in margins.
A copse of Tuscan cypress trees in an Italian landscape. Carl Sumner Strauss was born in Boston, Massachusetts in 1873, but spent most of his working life in Europe. In 1931 he was commissioned to provide 20 etchings from Nathaniel Hawthorne's ''The Marble Faun'' for the Limited Editions Club. He died at Laax, Switzerland in 1957 .
Smithsonian American Art Museum 1935.13.315.
[Ref: 49169] £160.00 (£192.00 incl.VAT)

An old Yew, Anckerwycke near Staines, Seat of G.S. Harcourt Esq.r.
H.W. Burgess del.t. Printed by C. Hullmandel.
[London: J. Dickinson, 1827.]
Lithograph on chine collé. 350 x 415mm (13½ x 16¼") with very large margins.
The Ankerwycke Yew, believed to be between 1,400 and 2,500 years old. Situated on the opposite side of the Thames to Runnymede, the tree is said to be the last surviving witness to the signing of the Magna Carta. Plate 43 of 'Eidodendron: Views of the General Character and Appearance of Trees Foreign and Indigenous Connected with Picturesque Scenery'. Henry William Burgess (c.1792-1839) became landscape painter to the Duke of Clarence (later William IV) in 1826.
[Ref: 51282] £190.00 (£228.00 incl.VAT)

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