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[Woman abducted by a god?]
[Woman abducted by a god?]
EC [ms below image]
[c.1680]
Fine mezzotint, scarce, platemark 240 x 190mm (9½ x 7½"). Glued to backing sheet.
[Ref: 46002]   £280.00  
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[Achilles instructed by Chiron in the use of the Javelin].
[Achilles instructed by Chiron in the use of the Javelin].
I.B. Cipriani invt. J. Clarke Sculpt.
Publish'd as the Act directs by J. Clarke No. 291 Strand May 1st 1789.
Stipple engraving. 353 x 302mm. 13" 7/8 x 11" 7/8. Crease and repaired tear in margin. Fine impression.
[Ref: 8463]   £190.00   (£228.00 incl.VAT)
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[Achilles and the daughters of King Lykodemes looking at the gifts sent by Ulysses.]
[Achilles and the daughters of King Lykodemes looking at the gifts sent by Ulysses.]
Invente et peint par S. le Clerc et grave par E. Jeaurat 1713.
à Paris chez Jeaurat demeurant au bas des fossez St Victor chez Mr. le Brun audit. des Comptes, et chez P. Giffart rue s. Jacques a Ste Therese C.P.R.
Copper Engraving, 370 x 445mm. 14½ x 17½".
A scene from Greek mythology. While the women are looking at the jewels, Achilles (centre right) holds a sword and shield and admires the helmet held by a slave on the right. Six lines of French text below image. Engraved and published in Paris by Edmé Jeaurat (1688 - 1738), who married the sister of the painter of this picture Sébastien Leclerc II (1676 - 1763).
[Ref: 11517]   £240.00  
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[The Triumph of Acis and Galatea]
[The Triumph of Acis and Galatea]
G.B. Cipriani invt. F. Bartolozzi sculpt.
London Pub'd. as the Act directs Mar.h 1 1787 by F. Bartolozzi.
Etching printed in sepia, platemark 225 x 320mm (9 x 12½") very large margins.
Acis and Galatea, lovers whose story is recounted in Ovid's 'Metamorphoses', and went on to inspire numerous works of art, literature and music from the Renaissance onwards. Etching by Francesco Bartolozzi (1725-1815), Florentine engraver and founding member of the Royal Academy in 1768. After meeting George III's librarian Richard Dalton in Italy in 1763, Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. This is the medium employed here, one of many prints he made from designs by his fellow Italian, G.B. Cipriani (it was published in 'A Set of Etchings by Francis Bartolozzi R.A. in Imitation of Drawings from the Sketches of the Late John Baptist Cipriani R.A.' in 1788.
Calabi & De Vesme 350.iii
[Ref: 43425]   £240.00  
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[Aeneas dispatched to Dido by the gods]
[Aeneas dispatched to Dido by the gods] Oro liceat dare tuta per undas vela, Virg. AEneid. Lib. 5 [...]
Cotelle pinx. Dans le Cabinet des Bijoux de S.A.R. Monseig. le Duc d'Orleans à S. Cloud
Se vend à Paris chez Limosin rue de Gesvres au grand Coeur avec privil. [c.1750]
Fine engraving, platemark 340 x 285mm (13½ x 11¼") large margins Crease in centre as normal.
Scene from book five of Virgil's 'The Aeneid', with the gods sending the protagonist Aeneas to Dido, queen of Carthage. Aeneas and Dido fall in love, but he is eventually compelled to leave her to found the city of Rome.
From the Library of Pitsligo
[Ref: 45140]   £340.00  
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Philosophers like Fortune-tellers thrive,
Philosophers like Fortune-tellers thrive, / Those by false notions, these false flateries live, / And those as oft true vertue do mistake, / As these false auguries, and predictions make.
[Etched by Thomas Dudley after Francis Barlow.]
[London, 1687.]
Etching. Sheet 250 x 170mm (9¾ x 6¾"). Trimmed within plate on three sides, paper toned.
Aesop being beaten by Xanthus for saying he had seen two crows, when only one was in sight. One of thirty-two illustrations to the 2nd edition of 1687 of Barlow's Aesop, showing scenes from his life. Aesop began life as a slave in Samos, owned by Xanthus.
[Ref: 40312]   £160.00   (£192.00 incl.VAT)
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St Agnes.
St Agnes. From the Painting of Domenichino Zampieri, 6 feet 10 inches high, by 5 feet wide, in the Royal Palace at Kensington.
Domenichino Zampieri Pinx.t. Robertus Strange delin.t et sculp.t Londini 1759.
[London: Robert Strange, 1790.]
Engraving. 505 x 360mm (20 x 14¼"), with large margins. Foxing top margin.
St Agnes of Rome, patron saint of chastity, her hands joined in prayer, a cherub with a lamb at her feet and another flying above her, bringing a crown and palm. From a collected edition of the engravings by Sir Robert Strange (1721-92) after famous paintings, in this case one by Domenico Zampieri, c.1620, now in the Royal Collection at Windsor Castle.
[Ref: 46536]   £260.00  
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[Cupids Disarmed.] [&] [Venus at the Forge of Vulcan.]
[Cupids Disarmed.] [&] [Venus at the Forge of Vulcan.]
Franciscus Albanus inv. et Pinxit. Stef. Baudet Gall. Sculp. Roma 1672.
Cum Priv. Summi Pont et Regis Christi.
Pair engravings. Plate: 660 x 585mm, (26 x 23"). Large images, scarce. Some marks in margins. Some slight damage in plate.
Two from a series of four plates by French engraver Etienne Baudet (1636-1711) after Francesco Albani (1578-1660). One plate shows several nypmphs disarming the sleeping cupids while Diana, seated in the clouds, watches from above. The second plate depicts the Forge of Vulcan in which several cupid are busy forging and shooting arrows while Venus and Vulcan recline to the right of the image. Diana watches from her throne amongst the clouds.
[Ref: 37491]   £950.00   view all images for this item
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[Diana's nymphs disarming sleeping putti.]
Franciscus Albanus inv et Pinxit. Stef. Baudet Gall. Sculp. Romæ 1672.
Engraving. 590 x 680mm (23¼ x 26¾"). On board.
Diana's nymphs disarming sleeping putti, burning their quivers and arrows in a fire. The last in a a series of four paintings commissioned by Ferdinando Gonzaga for the villa Favorita, Mantua, executed between 1621 and 1633. In 1672 Paolo Francesco Falconieri commissioned Etienne Baudet to engrave this set: the engravings were sent to French Minister Louvois, prompting Louis XIV to acquire the paintings in 1684, which are now in the Louvre.
[Ref: 31130]   £360.00  
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The Listening Genii.
The Listening Genii.
A: Van Assen del et sculpt.
Published, Septr. 15, 1791, by I. Read, Coventry Court, Coventry Strt.
Stipple with etching, sheet 155 x 115mm. 6 x 4½". Trimmed to plate. Soiled.
An angelic harpist in the clouds with two winged putti. After Benedictus Antonio van Assen (c.1767 - c.1817).
[Ref: 12968]   £130.00   (£156.00 incl.VAT)
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Antiope, Sleeping, Suprized by Jupiter in the Form of a Satyr.  Jupiter sous la Forme d'un Satyre, Suprenant Antiope Endormie.
Antiope, Sleeping, Suprized by Jupiter in the Form of a Satyr. Jupiter sous la Forme d'un Satyre, Suprenant Antiope Endormie. To The Most Serene Highness Charles Theodore, Elector Palatine Reigning Duke of Bavaria, &c. &c. &c. This Plate Engraved by His Gracious Permission from the Original Picture in the Electoral Gallery in Dusseldorf, is dedicated by His Most Devoted and Obedient Humble Servants. Valentine Gree. Rupert Green.
Painted by Anthony Vandyke. Engraved by V. Green Mezzotinto Engraver to his Majesty, & to the Elector General.
In Mons.r. Pigage's Catalogue of the Dusseldorf Gallery this Subject is N.o.22. Published Jan.y. 2.d.1792, by V. & R. Green Newman Street, London.
Mezzotint with very large margins, rare; Plate: 510 x 610mm, (20 x 24"). Some light foxing. Repaired damage in margins. Stain on right.
A sleeping Antiope, daughter of the river god Asopus, is approached by the god Zeus in the form of a satyr. Several cherubs play amongst the tree tops while an eagle, the symbol of Zeus, holds thunderbolts in its mouth behind the couple. No. 113 in Green's Catalogue of his Dusseldorf Gallery Exhibition.
Goodwin: 278
[Ref: 36537]   £520.00  
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[Apollo.]
[Apollo.]
G.B. Cipriani inv. F. Bartolozzi sculp.
London, Publish'd May 20th; 1783 by W. Dickinson Engraver & Printseller No.158 New Bond Street.
Stipple and etching. Plate 160 x 114mm. 6¼ x 4½". Slight damage on left.
Apollo holding a lyre under his arm, plucking a string with his right index finger.
De Vesme: 356; iii/iv.
[Ref: 20443]   £140.00   (£168.00 incl.VAT)
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[The Dance of Apollo with the Muses.]
[The Dance of Apollo with the Muses.] Serenissimo et Potentissimo Principi ac Domino Domino Carolo Theodoro [...]
Julius Romanus inv et Pinxit ejusdem magnitudinis / Ferdinandus Gregorj Floren delin et Sculpxit 1770
Engraving on two plates, 18th century watermarked paper, combined platemark dimensions 370 x 765mm (14½ x 30"). Very large margins, uncut. Crease through centre as normal; slight tear to left plate.
Engraving by Florentine printmaker Ferdinando Gregori (1743?-1804), after a painting of c.1540 (Florence, Palazzo Pitti) by Giulio Romano (?1499-1546), painter and architect trained by Raphael.
[Ref: 38473]   £450.00   view all images for this item
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Apollo et Silenus.
Apollo et Silenus. Romae ex Tabula in Adibus Lancellotti,
Hann. Carracci pinxi. Dom. Cunego sculpsit Romae 1770.
Engraving, platemark 240 x 400mm (9½ x 15¾"). Uncut sheet; later impression on wove paper.
Apollo and Silenus, the tutor to the wine god Dionysus. From "Schola Italica Picturae sive Selectae Quaedam Summorum e Schola Italica Pictorum Tabulae Aere Incisae Cura et Impensis Gavini Hamilton Pictoris", a series of forty plates.
[Ref: 35216]   £220.00  
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Ludunt Aoniae Parnassi in colle sorores, stat medius lauro, cytharaque insignis Apollo.
Ludunt Aoniae Parnassi in colle sorores, stat medius lauro, cytharaque insignis Apollo. A Giuseppe Nichola de Azara Minis.o Pleni.o di S.M. Carlo III Ré di Spagna presso la S.ta di Pio VI.
Ant. Raph. Mengs pinx. Raph.el Morghen sculp. Romæ.
Gio.ni Volpato, e Raf. Morghen D.D.D. [n.d., 1784.]
Engraving, fine impression. 505 x 770mm (19¾ x 30¾"). Mounted in album paper. Small margins at edges.
A view of Mount Parnassus with Apollo standing at the centre, surrounded by the Nine Muses.
[Ref: 46266]   £450.00  
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Le Berceau. [The Arbour.]
Le Berceau. [The Arbour.]
A. Watteau inv. Huquier Sculp.
AParis chez la Veuve Chereau rüe St. Jacques aux deux Pilliers d'Or et chez Huquier vis avis le grand Chatelet. avec Privillege du Roy. [n.d., c.1730.]
Etching, design for wood panelling (boiserie). Sheet 400 x 270mm, 15¾ x 10½". Trimmed to plate.
Satyrs of various ages and nymphs in a landscape, underneath an ornamental canopy of foliage; the whole framed by rococo vignettes. Boiseries were popular in seventeenth and eighteenth century French interior design and the Palace of Versailles has many fine examples. The panels were not confined just to the walls of a room but were also used to decorate doors, frames, cupboards and shelves. Often pictures would be set into the boiseries, the carving framing the picture rather like a conventional frame. After Antoine Watteau ( 1684 - 1721), from the 'Recueil Jullienne' series, Plate 25 to 'L'Oeuvre d'Antoine Watteau Peintre du Roy'. Jean de Jullienne (1686 - 1766) was a Parisian collector and patron of the arts who owned some 450 drawings by Watteau, and had them engraved.
[Ref: 19266]   £230.00  
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The Death of Arcite
The Death of Arcite No. 2 of Macklin's British Poets Vide Chaucers Palamen & Arcite moderniz'd by Dryden.
W. Hamilton R.A. pinxt. F. Bartolozzi R.A & Engraver to his Majesty sculpt.
London. Pubd. Feby. 20. 1790 by Thos. Macklin, Poets Gallery, Fleet Street.
Stipple engraving with etching, printed in colours, 430 x 500mm. Water stain into plate upper right corner.
Arcite on his deathbed, wounded in a joust he held with his sworn brother Palamon to compete for the love of Emelye. She stands beside the bed, her hand in his, removing her veil, while Palamon approaches on the right and Theseus sits watching on the left. Illustration from 'Palamon and Arcite' by John Dryden (1631 - 1700), based on Chaucer's Canterbury Tales (Tale of the Knight). Published by Thomas Macklin (c.1760 - 1800) for his series of 'British Poets', begun in 1787.
[Ref: 8076]   £220.00  
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[Ariadne Forsaken.]
[Ariadne Forsaken.]
[Francis S. Walker.]
[n.d. c.1911.]
Coloured mezzotint, proof before all letters, very large margins. Plate 375 x 178mm (14¾ x 7").
Ariadne forsaken; a young woman in classical dress standing on a seashore, looking ahead forlornly and shielding her eyes with her hand, holding the edge of her cloak with the other; seagulls in the sky.
[Ref: 31087]   £110.00   (£132.00 incl.VAT)
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[Ariadne Forsaken.]
[Ariadne Forsaken.]
Frances S Walker del & sc [annotated in pencil below image].
[n.d. c.1911.]
Mezzotint on india, proof before all letters, very large margins. Plate 381 x 178mm (15 x 7"). Paper toning.
Ariadne forsaken; a young woman in classical dress standing on a seashore, looking ahead forlornly and shielding her eyes with her hand, holding the edge of her cloak with the other; seagulls in the sky.
[Ref: 31088]   £110.00   (£132.00 incl.VAT)
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[Ariadne, Cupid and Bacchus]
[Ariadne, Cupid and Bacchus]
G.B. Cipriani invt. F. Bartolozzi sculpt.
London Pubd. as the Act directs F. Bartolozzi, 1788
Etching printed in sepia, platemark 270 x 235mm (10½ x 9¼") very lare margins.
Etching by Francesco Bartolozzi (1725-1815), Florentine engraver and founding member of the Royal Academy in 1768. After meeting George III's librarian Richard Dalton in Italy in 1763, Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. This is the medium employed here, one of many prints he made from designs by his fellow Italian, G.B. Cipriani (it was published in 'A Set of Etchings by Francis Bartolozzi R.A. in Imitation of Drawings from the Sketches of the Late John Baptist Cipriani R.A.' in 1788.
Calabi & De Vesme 361.iv
[Ref: 43416]   £160.00   (£192.00 incl.VAT)
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Aurora.
Aurora. Painted in a Ceiling of the Rospigliosi Palace at Rome. To the R.t Honb.le Lord Visc.t Mount Stuart Baron Cardiff this Plate is Dedicated. Here the gay Morn resides in radiant Bow'rs,/ Here keeps her Revels with the dancing Hours;/ Here Phoebus rising in the'Oetherial way,/ Thro' Heavn's bright Portals pours the beamy Day.
Guido pinxt: W. Baillie sculpt:
Publish'd 14th Sept.r 1786
Stipple engraving, 230 x 320mm. 9 x 12½". Later issue c.1800. Slight foxing in margins
Engraving of Guido Reni's famous Aurora fresco, in the Palazzo Rospigliosi-Pallavicini, Rome. The fresco depicts Apollo in his chariot, preceded by dawn (Aurora) bringing light to the world. 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: 12234]   £230.00  
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Bacchanale d'apres une Pierre Antique (Jaspe Sanguin) du Cabinet du Roy, expliquée par Casaubon dans son livre De Satyrica Graecorum et Romanorum Poësi.
Bacchanale d'apres une Pierre Antique (Jaspe Sanguin) du Cabinet du Roy, expliquée par Casaubon dans son livre De Satyrica Graecorum et Romanorum Poësi.
Eliz. Cheron Le Hay delin. C. Simonneau maj. sculp. 1713.
Avec Privil. du Roy. [n.d. c.1720.]
Engraving, with large margins. Plate 190 x 197mm. 7½ x 7¾".
A bacchanale, depicting a musical drunken revel; Bacchus sits on a goat which struggles to bear his weight, supported on either side by satyrs and children. A naked woman plays a tambourine in front and a second plays pipes behind; a third woman picks grapes to the right. Plate 11 from "Pierres Antiques Gravées Tirées des Principaux Cabinets de la France".
[Ref: 25101]   £90.00   (£108.00 incl.VAT)
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Bacchanale. Agathe du Cabinet de Mr. Bourdaloue.
Bacchanale. Agathe du Cabinet de Mr. Bourdaloue. Non alios utinam peperissent Fata triomphos.
Eliz. Cheron L.H. delin.
Avex Privil du Roi. [n.d. c.1710.]
Engraving. Plate 127 x 146mm. 5 x 5¾". Large margins.
A bacchanale, depicting a musical drunken revel; a large man sits naked on a donkey being led by a child playing music; a satyr behind covers himself and holds a laurel reef over the head of the seated man; a woman behind. Plate 24 from "Pierres Antiques Gravées Tirées des Principaux Cabinets de la France".
[Ref: 25100]   £90.00   (£108.00 incl.VAT)
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Quo me, Bacche, rapis tui Plenum?
Quo me, Bacche, rapis tui Plenum?
Aurel.o Milani del. W. Baillie Sculp.
[n.d., c.1790.]
Engraving. 185 x 230mm (7¼ x 9").
Horace, Odes III:25: 'Where are you taking me, Bacchus?'. Here Bacchus sits leaning on a barrel, a faun and cherub behind.
[Ref: 4231]   £240.00  
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[A bacchanialian figure drinking wine in a landscape.]
[A bacchanialian figure drinking wine in a landscape.]
[William Anderson.]
[n.d., c.1820s.]
Watercolour over pencil, sheet (image) 255 x 200mm. 10 x 8". Corner tips missing.
A rather plump Bacchus-type figure.
From an album titled 'Scraps and Sketches of the Late William Anderson Esqr/ collected by his Schoolfellow & Friend William Naylor.'
[Ref: 12291]   £190.00   (£228.00 incl.VAT)
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A Sleeping Bacchus.
A Sleeping Bacchus. In the Drawing Room at Houghton. Size of the Picture F.8 I.0½ by F.10 I8¾ long,
Luca Giordano Pinxit. Rich.d Earlom Sculpsit. [Etched in image:] Luca Giordan.
Published Sep.r 29.th 1780 by John Boydell Engraver in Cheapside London.
Mezzotint with very large margins. Plate 400 x 456mm (15¾ x 18"). Few scratches.
Bacchus, asleep, reclines with his staff and cloak at his side, surrounding him are putti, satyrs, fauna, a young woman and three shepherds and various animals; a woodland scene with mountains in the distance.
[Ref: 30852]   £380.00  
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Les Enfants de Bacchus [parallel text in Italian]
Les Enfants de Bacchus [parallel text in Italian] Gravés d'après le Tableau original de Watteau haut d'un pied 10 pouces sur 2 pieds 3 pouces de large. / Ce Tableau apartient a Mr. Morel Banquier à Paris.
Watteau pinx. Fessard sculp.
a Paris chez la Veuve de F. Chereau, graveur du Roy rue St. Jacques aux deux pilliers d'Or Avec privilege du Roy.
Etching, rare; platemark 350 x 415mm (13¾ x 16¼"). Trimmed inside platemark; tears; good impression.
'The Children of Bacchus' playing on the edge of a wood, decorating and playing with a goat with pan's pipes. After Antoine Watteau ( 1684 - 1721), from the 'Recueil Jullienne' series, Plate 228 to 'L'Oeuvre d'Antoine Watteau Peintre du Roy'. Jean de Jullienne (1686 - 1766) was a Parisian collector and patron of the arts who owned some 450 drawings by Watteau, and had them engraved.
[Ref: 36383]   £260.00  
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Bacchus and Ariadne, dans l'Isle de Naxos.
Bacchus and Ariadne, dans l'Isle de Naxos.
A.Devéria del. Imp. Lemercier, Benard & Ce.
Paris, chez Bulla éditeur, rue Tiquetonne, 18. [n.d., c.1860.]
Lithograph with superb original hand colour highlighted with gum arabic. Publisher's blind stamp. Printed area 310 x 360mm. Right edge of the wide margins slightly damaged.
Underneath the title is a French text explanation of the scene.
[Ref: 1745]   £320.00  
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Bacchus épouse Ariane dans l'Isle de Naxe, ou Thésée l'avoir abandonnée.
Bacchus épouse Ariane dans l'Isle de Naxe, ou Thésée l'avoir abandonnée.
Elizabeth Cheron L.H. delin et sculp. 1710.
Cum Privilegio Regis [n.d. c.1710.]
Engraving, unfinished proof, only half the inscription. 185 x 202mm. 7¼ x 8". Cut.
Ariadne, bear-breatesed, lies collapsed having been left on the island of Naxos, deserted by her lover Theseus, whose ship sails away to the far left. She is discovered by Bacchus, leading a procession of revelers. Copy of plate 5 from "Pierres Antiques Gravées Tirées des Principaux Cabinets de la France".
[Ref: 25104]   £160.00   (£192.00 incl.VAT)
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[Triumphant return of Bacchus to the island of Naxos]
[Triumphant return of Bacchus to the island of Naxos] Bacchus triomphant retourne dans l'Isle de Naxe [...]
Dessiné et retouché sur le Cuivre, par Eisen aprè un ancien bas-relief d'yvoire de meme grandeur
A Paris, chez Le Rouge, rue des Grands Augustins [c.1760]
Etching, 18th century watermark; platemark 225 x 420mm (8¾ x 16½"). Trimmed to platemark.
Bacchus, god of wine (sat on a cheetah to right) leading a procession of revellers. Etching by Charles Eisen (1720-78), painter, draughtsman and illustrator. This is one of few plates that Eisen etched himself- his reputation was established primarily on the basis of his drawings, which were engraved by other to illustrate nearly 400 books including editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, Erasmus and La Fontaine.
[Ref: 44940]   £480.00  
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[Without Bacchus and Ceres, Venus Grows Cold / Sine Cerere et Baccho friget Venus]
[Without Bacchus and Ceres, Venus Grows Cold / Sine Cerere et Baccho friget Venus]
[HG (Hendrik Goltzius?) monogram in image, c.1800]
Engraving, sheet 265 x 210mm (10½ x 8¼"). Trimmed inside platemark; false proof before letters.
Venus (centre) attended by Bacchus (holding grapes), Ceres (holding scythe) and Cupid (reaching for grapes). Copy of a print by Jan Saenredam after Abraham Bloemaert.
[Ref: 47085]   £130.00   (£156.00 incl.VAT)
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Triumph der Schönheit. Triomphe de la Beauté.
Triumph der Schönheit. Triomphe de la Beauté.
J. Grassi pinx. F.V. Durmer sculp 1796.
A Vienne, Chez Artaria & Comp.
Stipple. 375 x 430mm (14¾ x 17"). Small margins.
Fine decorative item showing Venus reclining, foot on Cupid's quiver. Doves at feet.
[Ref: 44047]   £330.00  
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Calchas.
Calchas.
Guarana inu. P.o sc.
Copper engraving, double-plated, plate for image 248 x 190mm, 9¾ x 7½". Plate for border 336 x 272mm. 13¼ x 10¾". Large margins.
Calchus, son of Thestor, was on Argive seer, with a gift for interpreting the flight of birds that he received of Apollo, "as an augur, Calchas had no rival in the camp". He also interprets the entrails of the enemy during the tide of battle.
[Ref: 23869]   £120.00   (£144.00 incl.VAT)
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[Allegorical scene with figures studying a map]
[Allegorical scene with figures studying a map]
Ch. Eisen inv. Aliamet sculp. [c.1760]
Engraving, sheet 220 x 150mm (8½ x 6"). Trimmed along platemark; glued to album sheet at corners.
Allegorical scene after a design by Charles Eisen (1720-78), painter, draughtsman and illustrator. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established.
[Ref: 44930]   £280.00  
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[Ceres and Stellio.]
[Ceres and Stellio.] Dum frugum genitrix, tadas accendit in AEtna [...]
AElsheimer pinit. W. Hollar fecit aqua forti 1646.
Etching, platemark 300 x 230mm (11¾ x 9"). Late.
Ceres drinks thirstily, while a small boy mocks her by pointing to her. In Ovid's 'Metamorphoses' she responds by turning the boy into a lizard. Etching by Wenceslaus Hollar, perhaps the greatest printmaker active in 17th century England, after the miniaturist and specialist in night scenes Adam Elsheimer. This is actually a copy in reverse of Hendrik van Goudt's 1610 print of Elsheimer's original painting.
Pennington 273
[Ref: 38331]   £140.00  
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Children at Play.
Children at Play.
[Francesco Bartolozzi.]
[n.d., c.1773.]
Stipple, printed in sepia. Plate: 255 x 230mm (10 x 9"), with large margins
A scene showing three putti playing whilst riding a goat.
De Vesme 1250 Variant of IV. Provenance: Edge Hill, Cheshire
[Ref: 46718]   £260.00  
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[Group of Boys]
[Group of Boys]
G.B. Cipriani invt. F. Bartolozzi sculpt.
London Pubd. as the Act directs March. 1 1787 by F. Bartolozzi.
Etching printed in sepia, platemark 190 x 250mm (7½ x 9¾") very large margins.
Group of boys, catalogued by Calabi and De Vesme as crying at the death of a friend. Etching by Francesco Bartolozzi (1725-1815), Florentine engraver and founding member of the Royal Academy in 1768. After meeting George III's librarian Richard Dalton in Italy in 1763, Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. This is the medium employed here, one of many prints he made from designs by his fellow Italian, G.B. Cipriani (it was published in 'A Set of Etchings by Francis Bartolozzi R.A. in Imitation of Drawings from the Sketches of the Late John Baptist Cipriani R.A.' in 1788.
Calabi & De Vesme 1249.ii
[Ref: 43418]   £160.00   (£192.00 incl.VAT)
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[Chryseis Restored to her Father, parallel text in French]
[Chryseis Restored to her Father, parallel text in French]
[G.B. Cipriani inv. et del. - F. Bartolozzi sculp. 1786.]
[London, Publish'd June 12.th 1786, by S. Vivares]
A rare stipple, printed in sepia, platemark 390 x 450mm (15¼ x 17¾"). Proof before all letters. Small margins.
Scene from Homer's 'The Odyssey' in which the enslaved Trojan woman Chryseis is returned to her father after Apollo unleashes a plague on her Greek captors. Stipple engraving by Francesco Bartolozzi (1725-1815) after his frequent collaborator Giovanni Battista Cipriani (1727-85). Bartolozzi was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case, getting around the rules by electing Bartolozzi as a painter). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton enticed Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal.
Calabi & de Vesme 381 ii/v (before all letters, with etched border). Provenance: Edge Hill, Cheshire.
[Ref: 46757]   £420.00  
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Chryseis Restored To Her Father.  Chrïseis Rendue a fon Pere.
Chryseis Restored To Her Father. Chrïseis Rendue a fon Pere. They land, that expiations may be pay'd... With whom Ulysses to the Altar went... Les Nochers jettent... au pied des saints autels... [quotation from Homer's Iliad in English and French.]
G.B. Cipriani inv. et del. F. Bartolozzi sculpx [sic] 1786.
London, Publish'd June 12th. 1787, by S. Vivares No.13, Great Newport Street.
Stipple and etching, 385 x 440mm. 15¼ x 17¼". A fine impression. Repaired top middle near platemark.
A scene from the 'Iliad' epic poem, presumed to be by Homer (9th century BC - 8th century BC; fl.c.): Chryseis, priestess of Apollo on the island of Chryse near Troy, in classical dress, ascending the steps of a colonnaded porch to embrace her father Chryses, who leans forward, wearing a cape decorated with a sun and a laurel wreath. A soldier and a youth stand behind to right, restraining a garlanded bull; women behind them and a girl standing in the left foreground, holding censers. In an oval. After Giovanni Battista Cipriani (1727 - 1785).
From the Norman Blackburn Collection.
[Ref: 18276]   £320.00  
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[Mercury with Herse and Aglaurus.] From the Original Drawing in the Collection of the Duke of Devonshire. No 70.
[Mercury with Herse and Aglaurus.] From the Original Drawing in the Collection of the Duke of Devonshire. No 70.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
The god Mercury with Herse, with whom he is in love, and her sister Aglaurus. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21848]   £120.00   (£144.00 incl.VAT)
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Clytie.
Clytie. In the Collection of John Strange Esqr. Size of the Picture 17 inches Diameter.
Annibal Caracci Pinxit. I.B. Michel Sculpsit.
John Boydell excudit 1778. Published May 1st. 1778, by John Boydell, Engraver, in Cheapside London.
Stipple engraving, 295 x 255mm. Light surface soiling.
Clytia (or Clytie) was a water nymph, daughter of Oceanus and Tethys in Greek mythology. She was loved by Apollo. Apollo, having loved her, abandoned her for Leucothea and left her deserted. She was so angered by his treatment that she told Leucothoe's father, Orchamus, about the affair. Since Apollo had defiled Leucothoe, Orchamus had her put to death by burial alive in the sands. Clytie had wanted Apollo back and had wanted to win him back by taking away his new love, but her actions only hardened Apollo's heart against her. She sat naked, with neither food nor drink, for nine days on the rocks, staring at the sun, Apollo, and mourning his departure. After nine days, the suffering turned her yellow and brown, and she was transformed into a sunflower (some researchers claim heliotrope or marigold), which turns its head always to look longingly at Apollo's chariot of the sun. This story is told in Ovid's Metamorphoses.
[Ref: 8087]   £260.00  
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Clytie.
Clytie. In the collection of John Strange Esq.r.
Annibal Caracci Pinxit. John Boydell excudit 1778. J. B. Michel Sculpsit.
Published May 1st, 1778, by John Boydell, Engraver, in Cheapside London.
Stipple. Sheet size: 305 x 240mm (12¼ x 9½"). Trimmed inside plate at top and side edges.
Clytie, sitting on a rock to the right, holding a sunflower, pushing away Cupid with a thorny branch, while he takes her hand, holding a blazing torch. Within a roundel. after Carracci; state with number added and title. Clytie was a character in Greek mythology who became jealous of her lover, the sun god Apollo. To punish her, he transformed her into a sunflower so that she would always face towards him in his daily journey across the skies.
[Ref: 36890]   £160.00   (£192.00 incl.VAT)
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[Angel lying on a cloud, creating a swirl of rain.]
[Angel lying on a cloud, creating a swirl of rain.]
Mrs Cosway delin Agar sculp.
[Pubd. May 4 1802 by R. Ackermann 101 Strand.]
Stipple, sheet 240 x 285mm (9½ x 11¼"). Trimmed inside platemark, losing publication line; tipped into album sheet.
Allegory with an angel creating rain, which three cherubs gratefully collect. Below a bull's head, fish and flowers. Engraving after history painter Maria Cosway (1760-1838). Cosway exhibited her paintings at the Royal Academy from 1781 to 1789, and occasionally thereafter, but her artistic ambitions were hampered by her husband, the artist Richard Cosway, who refused to allow her to sell her work. She was also a prolific printmaker.
[Ref: 40476]   £180.00   (£216.00 incl.VAT)
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[Cupid forging the Bolts of Love.]
[Cupid forging the Bolts of Love.]
[n.d., c.1800.]
Stipple and etching in sepia, proof before all letters, 165 x 120mm. 6½ x 4¾". Some mild staining; glued to album page at corners.
Two winged putti hammer the bolt into shape while a third holds the metal in place over an anvil. Bellows and a fire in foreground to left, two doves above.
From the collection of Cecil Bisshopp Harmsworth, 1st Baron Harmsworth.
[Ref: 9645]   £120.00   (£144.00 incl.VAT)
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Qu’il est malin! Qu’il a d’appas! Ah! Que n’inspire t-‘il des flames éternelles! Les Roses naissent-sous ses pas; Quel dommage qu’il ait des aîles. Pesselier.
Qu’il est malin! Qu’il a d’appas! Ah! Que n’inspire t-‘il des flames éternelles! Les Roses naissent-sous ses pas; Quel dommage qu’il ait des aîles. Pesselier. Dedié à Mr. Descamps Professeur de l’Academie de Dessein, et Associé à celle des Sciences, Belles-Lettres et Arts de Rouen; Par son très humble Serviteur Robert Strange.
Carolus Vanloo Eques pinx.t Robertus Strange sculp.
Gravé d’après le Tableau de Carle Vanloo Ecuier, tire du Cabinet de Mr. Le Noir. [n.d. c.1750.]
Engraving. Plate 386 x 271mm (15¼ x 10¾"), with very large margins. Water stain lower left of margin.
Cupid standing and leaning back against a rocky seat, his left hand on his bow, his quiver at his feet, smiling towards with viewer, with a cloak over his arm. A rose-bush on the right; rock face behind and a view of a trees and a valley in the background to left. This is believed to be Robert Strange's first engraving.
[Ref: 31260]   £280.00   (£336.00 incl.VAT)
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[Sleeping Cupid.]
[Sleeping Cupid.]
Guido Rheni, Pinx.t. Anna Louisa Lane, Sculp.t.
[n.d., c.1790.]
Stipple, rare. Sheet: 260 x 335mm (10¼ x 13¼"). Trimmed within plate.
A classical scene showing the figure of cupid sleeping in a pastoral landscape.
[Ref: 46214]   £230.00  
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Cupid and Cephisa,
Cupid and Cephisa, One Day as I was walking in the Woods...[etc., verse from Montesquieu in French and English below.] From the Original Picture, in the possession of George Bowles, Esqr.
Angelica Kauffman pinxt. Thomas Burke Fecit.
London, Publish'd July 10th. 1789 by T Burke, No. 5, Great College Street, Westminster.
Stipple and etching, 472 x 335mm. Light spotting.
Cupid is lying asleep in a bush of flowers. He is discovered by Cephisa and a male companion, intended to be Charles-Louis de Secondat, Baron de la Brède et de Montesquieu (1689 - 1755), the writer and philosopher who took the title of Baron of Montesquieu.
[Ref: 8016]   £520.00  
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Cupid and Cephisa,
Cupid and Cephisa, One Day as I was walking in the Woods [...] From the Original Picture, in the possession of George Bowles, Esqr.
Angelica Kauffman pinx.t. Thomas Burke Fecit.
London, Publish'd July 10th. 1789 by T Burke, No. 5, Great College Street, Westminster.
Stipple and etching, with large margins; 475 x 340mm (18¾ x 13½". Damage to title area.
A scene from Montesquieu's 'Céphise et l'Amour': Cupid is discovered by Cephisa and a male companion, asleep in a bush of flowers. The man is intended to be the author (Charles-Louis de Secondat, Baron de la Brède et de Montesquieu, 1689-1755).
[Ref: 29790]   £320.00  
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Cupid and Gamymede.
Cupid and Gamymede. From Prior. [...] From the Original Picture, in the possession of Geo.e Bowles, Esq.r.
Angelica Kauffman pinx.t. Thomas Burke Fecit.
Publish'd Jan.y 1st 1784 by Tho.s Burke, Kemp's Row Chelsea.
Stipple and etching with large margins. 410 x 310mm (16 x 12¼").
Cupid, crying with his face in his hands, complains to his mother Venus that Ganymede has cheated him out of his arrows with false dice. Ganymede, holding the arrows, protests his innocence. An illustration to the poem 'Cupid And Ganymede' by Matthew Prior (1664-1721).
[Ref: 29789]   £320.00  
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[(left) Venus with Juno and Ceres; (right) Venus chastising Cupid]
[(left) Venus with Juno and Ceres; (right) Venus chastising Cupid] La Dea torata con gran villania / Sgrida al letto il fanciul parlando tale [...]
Ant. Sal. exc. [c.1570]
Engraving, sheet 190 x 225mm (7½ x 8¾"). Trimmed to image and glued to backing sheet at sides.
Plate seventeen from a series of thirty-two plates illustrating the story of Cupid and Psyche. The plates were designed by Flemish artist Michiel Coxie I (1499-1592) and engraved (with the exception of three plates by Augusto Veneziano) by the Master of the Die (so-called for his signature mark, a die with the letter B). This plate is by the Master of the Die, but like most of the series it is unsigned. This impression is from the third state of the series, after the publication line of Antonio Salamanca was added.
[Ref: 46387]   £140.00   (£168.00 incl.VAT)
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