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Catalogue: Art
Academie des Arts
Academie des Arts Quel nouveau Temple ouvert nous fixe et nous enchante? / Là le marbre respire, et la toile est vivante [...]
Dessiné par C. Eisen / Gravé par François, au Triangle d'Or, Hotel des Ursins, C.P.R. [c.1750]
Engraving, sheet 395 x 285mm (15½ x 11¼"). Trimmed along platemark, glued to album sheet at corners. Ms inscription bottom right.
Allegory of the french Académie des Arts, with putti sketching from a sculpted bust and women admiring paintings and sculptures. Engraving by Jean-Charles François (1717-69) after a design by Charles Eisen (1720-78), painter, draughtsman and illustrator.
[Ref: 44926]   £420.00  
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Design of a painted Ceiling executed in the Room called the Japanned Room, in the Queen’s House. Plâfond peint, executé dans une Chambre nommée la Japonnaise, dans le Palais de la Reine.
Design of a painted Ceiling executed in the Room called the Japanned Room, in the Queen’s House. Plâfond peint, executé dans une Chambre nommée la Japonnaise, dans le Palais de la Reine. Plate VII.
R. Adam Architect 1762. B. Pastorini Sculp.
Published as the Act directs 1775.
Engraving with small margins. Plate 590 x 437mm. 23¼ x 17¼". Creasing.
Ceiling designs for the Japanese room in the Queen's Palace; Volume I, part 5, "Works in Architecture". Robert and his brother James Adam forever changed the face of British architecture by introducing innovative Classical design ideas. From 1754-57, Robert lived in Italy where he had a long productive friendship with Piranesi, which was inspirational for both men. Upon his return, the brothers launched their career by building the Adelphi from the Thames to the Strand in London, which although not a commercial success at the time, included one of London's most cherished buildings, the Adlephi Theatre. Together, the Adam brothers designed and built some of the most famous buildings in England, including such bastions of English architecture as Kenwood House, Keddlestone Manor, and Syon House. To the interiors of their English country houses, the Adams brought wonderful ornamental elements in niches, lunettes, festoons and reliefs. Their classically designed buildings were so numerous in London that they changed the prevailing feel of the city and established their brand of neo-Classicism as the model of elegance and importance. It is asserted that the brothers originated the concept of the uniform facade attached to the typical English row house, an architectural device that distinguishes London buildings. This monumental contribution is evidenced in the Adams' designs for Portland Place and Fitzroy Square, and these were used as architectural models for the whole city. The brothers brought their talents into other areas by designing furniture to complement their beautiful interiors and by creating and publishing a treatise of design entitled 'Works in Architecture'. The work was published in three volumes over an extended span of time, beginning in 1773, with the final volume being published posthumously in 1822.
[Ref: 27735]   £260.00   (£312.00 incl.VAT)
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The Annunciation
The Annunciation from the original Drawing of the same size by Andrea Meldolla
R. Ford [in image lower right]
Etching, sheet 185 x 235mm (7¼ x 9¼"). Ms verso in old hand: 'Retouched R. Ford / 3rd impression'
The Annunciation, after 16th century Venice-based artist Andrea Meldolla. Etched by Richard Ford (1796-1858), art connoisseur and author who travelled widely in Europe and wrote a guidebook to Spain. Correggio and Parmigianino were particular enthusiasms of his.
[Ref: 35499]   £130.00   (£156.00 incl.VAT)
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Architecture.
Architecture.
London Printed for & Sold by J.Boydel in Cheapside, W.Herbert on London Bridge, & F.Bull on Ludgate Hill.
Engraving. 250 x 350mm.
[Ref: 829]   £200.00   (£240.00 incl.VAT)
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Architecture.
Architecture.
Printed for Carrington Bowles, in S.t Pauls Church Yard, London. [n.d., c.1765.]
Engraving, sheet 250 x 350mm (9¾ x 13¾"). 18th century watermark. Trimmed within plate.
Two couples ponder an architect's plan that he gestures to. Men work on the construction. In the middleground the structure is part finished with scaffolding erected to continue.
[Ref: 57085]   £280.00   (£336.00 incl.VAT)
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Architecture.
Architecture.
[n.d., c.1750.]
Engraving with original hand colour. 235 x 325mm (9¼ x 12¾"). Trimmed to image, laid on card.
An allegorical scene of the building of a neo-classical building, with an architect showing his plans to smartly-dressed people.
[Ref: 46394]   £220.00   (£264.00 incl.VAT)
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[28 numbered plates of the dimensions of Statues.]
[28 numbered plates of the dimensions of Statues.]
Ce Vend a Paris Chez Audran Rue S.Jacques aux deux Piliers d'or. Avec privilege du Roy.
28 etchings, each c. 310 x 220mm.
Diagrams showing the dimensions of classical statues.
[Ref: 462]   £380.00  
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[Three banditti on horseback menacing a crouching figure.]
[Three banditti on horseback menacing a crouching figure.]
[Anon., c.1810.]
Pen lithograph, scarce; sheet 270 x 340mm (10½ x 13½"). Staining and mould to edges.
Dramatic early pen lithograph. The new medium allowed artists to draw directly onto a prepared stone, allowing them to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many 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.
[Ref: 36954]   £180.00   (£216.00 incl.VAT)
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[Three warriors in mountains.]
[Three warriors in mountains.]
[B. M. Fischer, c.1810.]
Pen lithograph, sheet 320 x 215mm (12½ x 8½"). Trimmed.
Early pen lithograph. The new medium allowed artists to draw directly onto a prepared stone, allowing them to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many 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.
Ex: collection of the late H. C. Lennox-Boyd.
[Ref: 36950]   £260.00   (£312.00 incl.VAT)
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[Man and horse crossing bridge.]
[Man and horse crossing bridge.]
TB [Thomas Barker, monogram lower left.]
Pen lithograph, rare; sheet 310 x 235mm (12½ x 9"). Tear and hole bottom; foxing; creases.
Early pen lithograph by Thomas Barker of Bath (1767-1827), painter and lithographer who in 1803 contributed to the first set of lithographs ever published. Probably taken from "Thirty Two Lithographic Impression from Pen Drawings of Landscape Scenery", 1814. Views around Bath, Wales, the Lake District and elsewhere.
Ex: collection of the late Hon. C. Lennox-Boyd.
[Ref: 36702]   £220.00   (£264.00 incl.VAT)
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[Two figures]
[Two figures]
TB [Thomas Barker]
Pen lithograph on india backed onto thicker paper with watercolour wash by Thomas Barker, 230 x 165mm (9¼ x 6¼"). Trimmed into india border; staining top centre.
Lithograph from Thomas Barker's (1769-1847) 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Barker was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in 1841.
For the complete set of 'Forty Lithographic Impressions' see ref. 13436
[Ref: 36710]   £220.00   (£264.00 incl.VAT)
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[Three children in ragged clothes]
[Three children in ragged clothes]
TB [Thomas Barker]
Pen lithograph on india backed onto thicker paper, india 220 x 140mm (8¾ x 5½"). Crease and tearing to india top left.
Separately published lithograph from Thomas Barker's 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Barker (1769-1847) was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in 1841.
For the complete set of 'Forty Lithographic Impressions' see ref. 13436.
[Ref: 36709]   £220.00   (£264.00 incl.VAT)
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[Child holding out cap for charity]
[Child holding out cap for charity]
TB [Thomas Barker]
Pen lithograph on india with watercolour wash by T. Barker, very rare; 230 x 160mm (9¼ x 6¼"). Paper tone and staining lower right.
Lithograph from Thomas Barker's (1769-1847) 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Barker was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in 1841.
For the complete set of 'Forty Lithographic Impressions' see ref. 13436
[Ref: 36705]   £220.00   (£264.00 incl.VAT)
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[Standing figure with staff]
[Standing figure with staff]
TB [Thomas Barker]
Pen lithograph, early unfinished proof; sheet 235 x 150mm (9¼ x 5¾"). Glued to backing sheet at top corners; water staining.
Lithograph from Thomas Barker's (1769-1847) 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Barker was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in 1841.
For the complete set of 'Forty Lithographic Impressions' see ref. 13436. Ex: collection of the late Hon. C. Lennox-Boyd.
[Ref: 36704]   £150.00   (£180.00 incl.VAT)
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[Two seated women]
[Two seated women]
TB [Thomas Barker]
Pen lithograph, with period wash by T. Barker; sheet 235 x 160mm (9¼ x 6¼"). Laid on thick paper; tear on left.
Lithograph from Thomas Barker's (1769-1847) 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Barker was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in 1841.
For the complete set of 'Forty Lithographic Impressions' see ref. 13436. Ex: collection of the late Hon. C. Lennox-Boyd.
[Ref: 36703]   £140.00   (£168.00 incl.VAT)
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[Baroque Salon.]
[Baroque Salon.] Perspectivischer Auffzug des runden Saals, welcher in der mitte des Königl. Pallasts liget, im Grundriss mit lit. L. bezeichnet, wie solcher nach der Garten seiten anzusehen. 13
P. Decker Archit. inv. et del. C. Remshart Sculps.
Cum Priv. S.C. Maj. J. Wolff exc. Aug. Vind. [Augsburg, n.d., c.1716.]
Fine engraving. 360 x 435mm. (14¼ x 17¼"). Narrow margins. Small loss in title border.
Idealised depiction of a Baroque salon 'for the King's palace', with ceiling frescoes and mosaic floor. Open arches look out over gardens and other buildings.
[Ref: 44044]   £180.00   (£216.00 incl.VAT)
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Basso Relievo
Basso Relievo Basso-relievo round a Capital in the Cathedral of Carrara; Basso-relievo of Zethus Antiope & Amphion; Altars
Blake sc.
[Published by Longman, Hurst, Rees, Orme & Brown, London, Novemr. 11th 1818]
Stipple and line engraving, sheet 265 x 215mm (10½ x 8½"). Trimmed, losing publication line.
Plate from Abraham Rees' 'The Cyclopaedia; or, Universal Dictionary of Arts, Sciences, and Literature', engraved by the visionary artist and poet William Blake (1757-1827) to illustrate a text by sculptor John Flaxman. After a period of coolness, Blake and Flaxman were on good terms again at this time, and the sculptor intervened to secure Blake several engraving commissions (including this one) in the 1810s. Without these commissions, Blake might well have fallen into dire poverty at this time.
Russell 105.ii
[Ref: 40867]   £110.00   (£132.00 incl.VAT)
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Basso Relievo
Basso Relievo Basso-relievo round a Capital in the Cathedral of Carrara; Basso-relievo of Zethus Antiope & Amphion; Altars
G.M.
[Published by Longman, Hurst, Rees, Orme & Brown, London, Novemr. 11th 1818]
Stipple and line engraving, sheet 265 x 215mm (10½ x 8½"). Trimmed.
Plate from Abraham Rees' 'The Cyclopaedia; or, Universal Dictionary of Arts, Sciences, and Literature', copied from the engraving by the visionary artist and poet William Blake (1757-1827) to illustrate a text by sculptor John Flaxman.
Russell 105.ii (copy)
[Ref: 40868]   £45.00   (£54.00 incl.VAT)
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From an antique Bronze in the possession of Thomas Hollis Esq. F.R.S. F.S.A.
From an antique Bronze in the possession of Thomas Hollis Esq. F.R.S. F.S.A.
J.B. Cipriani del. J. Basire sculp.
Sumptibus Societatis Antiquariorum Londini MDCCLXV
Engraving, platemark 535 x 350mm (21 x 13¾"). Small margins.
Engraving of an extraordinary bronze sculpture owned by the political propagandist Thomas Hollis (1720-74). An ardent supporter of the arts, Hollis commissioned six paintings from Canaletto and gave numerous commissions to G.B. Cipriani (from whose drawing this print was made). Hollis also had a strong relationship with James Basire, the engraver of this plate, as recounted by Richard Goddard in a recent publication, '"Drawing on Copper": The Basire family of copper-plate engravers and their works', pp.113-7).
Provenance: Thomas Pitt 1st Baron Camelford
[Ref: 45275]   £620.00  

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From an antique Bronze in the possession of Thomas Hollis Esq. F.R.S. F.S.A.
From an antique Bronze in the possession of Thomas Hollis Esq. F.R.S. F.S.A.
J.B. Cipriani del. J. Basire sculp.
Sumptibus Societatis Antiquariorum Londini MDCCLXV
Engraving, platemark 535 x 350mm (21 x 13¾"). Small margins. Cut to plate at bottom.
Engraving of an extraordinary bronze sculpture owned by the political propagandist Thomas Hollis (1720-74). An ardent supporter of the arts, Hollis commissioned six paintings from Canaletto and gave numerous commissions to G.B. Cipriani (from whose drawing this print was made). Hollis also had a strong relationship with James Basire, the engraver of this plate, as recounted by Richard Goddard in a recent publication, '"Drawing on Copper": The Basire family of copper-plate engravers and their works', pp.113-7).
Provenance: Thomas Pitt 1st Baron Camelford
[Ref: 45276]   £550.00  

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.


[Resting  camels.]
[Resting camels.]
G.I. Graham.
[n.d., c.1823.]
Lithograph. Sheet 170 x 240mm, 6¾ x 9½". Trimmed.
Pack camels at rest. Extremely rare early campaign litho.
[Ref: 25252]   £180.00   (£216.00 incl.VAT)
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[Carlton House.]
[Carlton House.] Plate III.
J.s Adam architect, 1767. D. Cunego Sculp Romae.
Published as the Act directs 1775.
Engraving with small margins. Plate 466 x 602mm. 18¼ x 23¾".
Carlton House, London., designs of the trophies for the pediments, panels over the doors, pateras and trophies over the columns and pilasters; Volume I, part 5, "Works in Architecture". Robert and his brother James Adam forever changed the face of British architecture by introducing innovative Classical design ideas. From 1754-57, Robert lived in Italy where he had a long productive friendship with Piranesi, which was inspirational for both men. Upon his return, the brothers launched their career by building the Adelphi from the Thames to the Strand in London, which although not a commercial success at the time, included one of London's most cherished buildings, the Adlephi Theatre. Together, the Adam brothers designed and built some of the most famous buildings in England, including such bastions of English architecture as Kenwood House, Keddlestone Manor, and Syon House. To the interiors of their English country houses, the Adams brought wonderful ornamental elements in niches, lunettes, festoons and reliefs. Their classically designed buildings were so numerous in London that they changed the prevailing feel of the city and established their brand of neo-Classicism as the model of elegance and importance. It is asserted that the brothers originated the concept of the uniform facade attached to the typical English row house, an architectural device that distinguishes London buildings. This monumental contribution is evidenced in the Adams' designs for Portland Place and Fitzroy Square, and these were used as architectural models for the whole city. The brothers brought their talents into other areas by designing furniture to complement their beautiful interiors and by creating and publishing a treatise of design entitled 'Works in Architecture'. The work was published in three volumes over an extended span of time, beginning in 1773, with the final volume being published posthumously in 1822.
[Ref: 27734]   £280.00   (£336.00 incl.VAT)
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[Cavalry officer and horse.]
[Cavalry officer and horse.]
[Anon., c.1818]
Pen lithograph, Slade 1818 watermark; sheet 195 x 245mm (7¾ x 9½"). Trimmed.
Early pen lithograph. The new medium allowed artists to draw directly onto a prepared stone, allowing them to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many 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.
Ex: collection of the late H. C. Lennox-Boyd.
[Ref: 36951]   £180.00   (£216.00 incl.VAT)
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[A cavalry charge - second version.]
[A cavalry charge - second version.]
[n.d., c.1803.]
Scarce pen lithograph, separately issued. Sheet 235 x 320mm (9 x 12½"). Trimmed close to printed border. Very slight worming on left.
A pen lithograph by Conrad Gessler.
MAN: 78; See ref: 52808.
[Ref: 52810]   £420.00  
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[A cavalry charge - first version.]
[A cavalry charge - first version.]
[Conrad Gessner.]
Pen lithograph. Sheet 230 x 315mm (9 x 12½"). Cut to image.
A pen lithograph by Conrad Gessner.
MAN: 66; See 52810 for second version.
[Ref: 52808]   £280.00   (£336.00 incl.VAT)
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Chapel and Church Architecture With Designs for Parsonages.
Chapel and Church Architecture With Designs for Parsonages.
By Rev. George Bowler, Roxbury, Mass.
Boston John P.Jewett and Company. Cleveland, Ohio. Jewett, Proctor & Worthington. New York Sheldon, Blakeman & Company. 1856.
Folio, original half morocco gilt, spine very distressed; pp. 15, chromolithographic frontis., 32 tinted lithograph plates, 15 lithographic plans & diagrams, total 47 plates, with 18pp. explanatory text.
Elevations and floorplans for non-conformist churches in the Gothic revival style.
[Ref: 751]   £850.00  
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[The Chosen Five.]
[The Chosen Five.]
[Painted by Edwin Long R.A. Engraved by G. H. Every.]
London, January 2nd, 1890, Published by Fairless & Beeforth, 126 New Bond Street W. Copyright Registered. Entered according to Act of Congress in the Year 1890 by Frank Hunter Potter, in the Office of the Librarian of Congress at Washington U.S.A.
Fine mezzotint on india paper with engraver's signature in pencil. 585 x 857mm (23 x 33¾"). Uncut. Mint.
This is also known as Zeuxis at Crotona. The ancient Greek painter Zeuxis, who in an attempt to portray the perfect beauty of Helen of Troy, invited the most beautiful women in the city of Croton to model for him. From these he selected five, taking from each their best physical features to make a composite ideal. Long's pendant to the present picture was a 'prequel' entitled The Search for Beauty, See ref:14093, in which the artist takes his pick of the available women on offer. The Painting hangs in the Russell Cotes Art Gallery And Museum Bournemouth England. For Companion see "Search for Beauty" ref:14093
[Ref: 14092]   £420.00  
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[Rome] Marcus Tullius Cicero,
[Rome] Marcus Tullius Cicero, is Humbly Dedicated to the Right Honble. the Countess of Pomfret,
by her Most Obedt. Humble Servant Thos. Worlidge.
[n.d., c.1760.]
Etching, 480 x 340mm (18¾ x 13¼"). Upper right margin chipped, with staining into plate. Repaired marginal tear into plate upper left.
A striking statue of Cicero (106 BC - 43 BC), Roman orator made consul in 63 BC., holding a scroll in his left hand at waist level, another object in his right. By Thomas Worlidge (1700 - 1766).
[Ref: 10384]   £260.00   (£312.00 incl.VAT)
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[Rome] [Cicero]
[Rome] [Cicero]
[n.d., c.1760.]
Etching, sheet 405 x 205mm (16 x 8"). Trimmed inside platemark; crudely repaired tear upper right. Early unfinished proof with label reading 'this drawing was in the studio portfolio of Messrs Worlidge & Barker'.
A striking statue of Cicero (106 BC - 43 BC), Roman orator made consul in 63 BC., holding a scroll in his left hand at waist level, another object in his right. Based on one of the ancient Greek and Roman statues from the collection of the Countess of Pomfret, which formerly belonged to the Earl of Arundel before later being passed to the University of Oxford. By Thomas Worlidge (1700 - 1766).
State i/iv; D56
[Ref: 33063]   £350.00  
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[Rome] [Cicero]
[Rome] [Cicero]
[n.d., c.1760.]
Etching, sheet 420 x 220mm (16½ x 8½"). Trimmed inside platemark; paper tone and crease bottom left; some stains. Unfinished proof with label reading 'this drawing was in the studio portfolio of Messrs Worlidge & Barker'. Laid on blue sugar paper.
A striking statue of Cicero (106 BC - 43 BC), Roman orator made consul in 63 BC., holding a scroll in his left hand at waist level, another object in his right. Based on one of the ancient Greek and Roman statues from the collection of the Countess of Pomfret, which formerly belonged to the Earl of Arundel before later being passed to the University of Oxford. By Thomas Worlidge (1700 - 1766).
State ii/iv; D56
[Ref: 33064]   £350.00  
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[Rome] Marcus Tullius Cicero,
[Rome] Marcus Tullius Cicero, is Humbly Dedicated to the Right Honble. the Countess of Pomfret,
by her Most Obedt. Humble Servant Thos. Worlidge.
[n.d., c.1760.]
Etching, platemark 480 x 340mm (18¾ x 13¼"). Good impression with (large but chipped and torn) margins.
A striking statue of Cicero (106 BC - 43 BC), Roman orator made consul in 63 BC., holding a scroll in his left hand at waist level, another object in his right. Based on one of the ancient Greek and Roman statues from the collection of the Countess of Pomfret, which formerly belonged to the Earl of Arundel before later being passed to the University of Oxford. By Thomas Worlidge (1700 - 1766).
State iii/iv; D56
[Ref: 33065]   £320.00  
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[Rome] Marcus Tullius Cicero,
[Rome] Marcus Tullius Cicero, is Humbly Dedicated to the Right Honble. the Countess of Pomfret,
by her Most Obedt. Humble Servant Thos. Worlidge.
[n.d., c.1760.]
Etching, platemark 480 x 340mm (18¾ x 13¼"). Good impression with (chipped and torn) margins. Tear into image upper left. Stained.
A striking statue of Cicero (106 BC - 43 BC), Roman orator made consul in 63 BC., holding a scroll in his left hand at waist level, another object in his right. Based on one of the ancient Greek and Roman statues from the collection of the Countess of Pomfret, which formerly belonged to the Earl of Arundel before later being passed to the University of Oxford. By Thomas Worlidge (1700 - 1766).
State iii/iv; D56
[Ref: 33066]   £220.00   (£264.00 incl.VAT)
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[Rome] Marcus Tullius Cicero,
[Rome] Marcus Tullius Cicero, is Humbly Dedicated to the Right Honble. the Countess of Pomfret,
by her Most Obedt. Humble Servant Thos. Worlidge.
London, Published by Robert Wilkinson, No. 125 Fenchurch Street & Richard Holmes Laurie, No. 53 Fleet Street [c.1820].
Etching, platemark 480 x 340mm (18¾ x 13¼"). Worn impression; margins except for upper right where missing and tear inside platemark.
A striking statue of Cicero (106 BC - 43 BC), Roman orator made consul in 63 BC., holding a scroll in his left hand at waist level, another object in his right. Based on one of the ancient Greek and Roman statues from the collection of the Countess of Pomfret, which formerly belonged to the Earl of Arundel before later being passed to the University of Oxford. By Thomas Worlidge (1700 - 1766) but here in early 19th century reprint by Wilkinson and Laurie.
State iv/iv; D56
[Ref: 33067]   £120.00   (£144.00 incl.VAT)
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[Clarissa.]
[Clarissa.]
[Painted by J.E. Millais, 1887. Etched by Rajon.]
[n.d., c.1887.]
Etching. 445 x 300mm. Edges knocked.
[Ref: 4238]   £240.00   (£288.00 incl.VAT)
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[Classical bust]
[Classical bust] Apud Card. Caesium
[Anon, c.1650]
Engraving, platemark 220 x 150mm (8½ x 6"). False margins added.
[Ref: 46362]   £75.00   (£90.00 incl.VAT)
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Statua di Cleopatra Regina d'Egitto che Dorme con l'Aspide Legato al Braccio Sinistro.
Statua di Cleopatra Regina d'Egitto che Dorme con l'Aspide Legato al Braccio Sinistro. VIII.
Gio. Batis. de Poilly Sculp.
In Roma nella Stamp.a di Domenico de Rossi alla Pace con privilegio. [n.d. c.1704.]
Engraving. Plate 235 x 324mm. 9¼ x 12¾". Trimmed to plate left and right.
Cleopatra VII (69 BC-30 BC), Egyptian Queen, lover of Julius Caesar and later the wife of Mark Antony. After the Roman armies of Octavian (the future Emperor Augustus) defeated their combined forces, Antony and Cleopatra committed suicide, and Egypt fell under Roman domination. Rather than be dragged through the city in which she had been borne as a queen, she killed herself, possibly by means of an asp, symbol of divine royalty. From "Raccolta Di Statue Antiche E Moderne".
[Ref: 24900]   £160.00   (£192.00 incl.VAT)

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[Inscription, in Greek, in honour of the musician Crato].
[Inscription, in Greek, in honour of the musician Crato]. Marmori antiquo sub Eumene Pergami rege ante Christianam aeram plus CLannis in Cratonis [...]
[c.1737]
Rare engraving, 18th century watermark; platemark 525 x 420mm (20¾ x 16½"), very large margins.
Engraving, on a scale one third of the original, of a Greek inscription in honour of Crato, the musician of Pergamus. It was erected in the reign of Eumenes in the pre-Christian era and brought from the village of Segucque (between Smyrna [now Izmir] and Ephesus) by Captain Thomas Morley. The plate was engraved at the expense of the antiquary Joseph Ames, and dedicated to the Society of Antiquaries (to which Ames had been admitted in 1736).
See Ames, 'Typographical Antiquities'.
[Ref: 39684]   £290.00   (£348.00 incl.VAT)
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Cibelle.
Cibelle. All' Illusstrissima ed Eccellentissima Signora Alba Giustinian, Procuratessa Cornaro.
C. Cattini sculpt.
[n.d., c.1743.]
Engraving, 18th century watermark. Plate: 375 x 260mm (14¾ x 10¼") large margins.
A print of a bust statue of the figure of Cybele, the Anatolian mother goddess, shown wearing her mural crown. From Faldoni's series 'Delle Antiche Statue Greche e Romane che Nell’ Antisala della Libreria di San Marco e in Altri Luoghi si Trovano'.
[Ref: 46849]   £140.00   (£168.00 incl.VAT)
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[Days of Mourning.]
[Days of Mourning.]
[Painted by Edwin Long, R.A. Engraved by G. Sidney Hunt.] Signed in pencil.
London June 1st. 1892. Published by Fairless & Beeforth. 128, New Bond Street, W. Copyright Registered.
A mixed-method engraving. Signed artist's proof. 673 x 458mm. 26½ x 18". Uncut. Mint.
Edwin Long (1829-1891) was born in Bath, had an early and precocious talent for drawing, studied at the RA Schools from 1849, and also was a student under John Phillip, who encouraged him to travel. in 1874 he visited Egypt and Syria, and this was the start of his career as an Orientalist painter. He developed a rich, exotic style, strong in detail and often on canvases of large size, allowing him to show long processions, enormous palaces or sweeps of mountains on an epic scale. His best years were in the 1870s-80s, when he was a popular, successful artist specialising in biblical stories and life in ancient Egypt. He became ARA in 1876 and RA in 1881. Fairless and Beeforth commissioned the trilogy of paintings taken from Judges xi, 30-40, where Jepthah's Vow is recorded. This picture with The Martyr and the Return [see ref:14087 & 14094] make the trilogy.
[Ref: 14085]   £140.00   (£168.00 incl.VAT)
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[Statue of 'Capitoline Gaul']
[Statue of 'Capitoline Gaul'] Statua del Gladiatir moribondo, che si conserva nel Museo Capitolino [...]
Pietro Angeletti disegno. Andrea Rossi sculps.
[n.d., c.1780]
Engraving, platemark 370 x 500mm (14½ x 19¾").
Engraving of a wounded Gaul, after the famous sculpture in the Capitoline Museum, Rome. The statue was acquired for the museum in 1734 from the Ludovisi Sculpture Collection.
[Ref: 35217]   £320.00  
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Koniglicher Lust Bronnen.
Koniglicher Lust Bronnen.
P. Decker invent. et del. Johan Balthasar Probst Sculpsit.
Jeremias Wolff excudit Aug. Vind. [n.d., c.1711.]
Engraving. Watermarked paper. Platemark: 380 x 420mm (15 x 16¼"), with large margins. Creases.
A plate from 'Fürstlicher Baumeister, oder architectura civilis', (The Princely Architect or: Civil Architecture) published by Jeremias Wolff, 1711. In its essence this book contains the architect Paul Decker’s ideal prospect, or rather prescription, for the perfect nobleman’s palace.
[Ref: 40067]   £260.00   (£312.00 incl.VAT)
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[Young man sitting in armchair]
[Young man sitting in armchair]
DN del. 1821
Lithograph and tintstone, printed area 150 x 120mm (6 x 4¾"), with very large margins.
Portrait by Baron Vivant Denon (1747-1825), French museum director, artist, collector, archaeologist and diplomat. Denon had a brilliant career under the ancien regime, rubbing shoulders with the likes of Diderot, Voltaire, and Robespiere. He followed Napoleon on his campaign in Egypt, making over 150 sketches (now in the British Museum) which, reproduced in his book 'Voyage dans la Basse et la Haute Egypte' (1802), were influential in establishing the Egyptian Revival style in France. In 1802 he was appointed director-general of the Imperial Museums, playing a key role in bringing foreign masterpieces into the Louvre. He played a crucial role as artistic adviser to Napoleon, selecting artworks to requisition and handing out commissions to artists. This print was published in Munich in 1809.
[Ref: 43671]   £320.00  
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[Design for Monument.]
[Design for Monument.]
M. Wyatt Inv.t et Sculp.t
London. Pub.d by M. Wyatt Feby. 1. 1821, Henrietta St. Cavendish Squ.e
Engraving. Plate 222 x 190mm (8¾ x 7½"). Scuffing and soiling; creasing and folds. Scruffy.
A proof engraving, of Georgian sculptor Matthew Cotes Wyatt's design for a memorial sculpture to George III. It represents the king in Roman dress, with sceptre and orb, in a carriage with horses trampling a many headed dragon. Although the design was much praised, its subscription failed in part because of the intended positioning of the statue at Waterloo Place where a statue of the Duke of York would have had its back to George III. Wyatt, son of the architect, James Wyatt, studied at the Royal Academy, and, through the influence of his father, worked on interiors for the king and queen at Windsor Castle. He designed a monument to Nelson in Liverpool and a much admired marble cenotaph for Princess Charlotte. In place of this unrealised design, Wyatt created a more modest bronze equestrian statue of the king now at Pall Mall East.
[Ref: 52395]   £140.00   (£168.00 incl.VAT)
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La Diane d'Ephese. Antique.
La Diane d'Ephese. Antique.
gravé par B. Audran, 1719.
Stipple & etching with small margins. 185 x 120mm (7¼ x 4¾").
A statue of Diana the huntress, holding a deer by the antler, found at Ephesus in Turkey. The engraving on the base of the statue incorrectly names it Venus.
[Ref: 34606]   £90.00   (£108.00 incl.VAT)
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Domizia.
Domizia. All'Illustrissimo Sig. Giuseppe Maria Buonarroti, Patrizio Genovese, della Famiglia Buonarroti di Firenze. Nell' Antisala della Libreria di S. Marco.
G. Ant. Faldoni sculp.t.
[n.d., c.1743.]
Engraving. 18th century watermark. Plate: 375 x 260mm (14¾ x 10¼") large margins. Mark in plate.
A print of a bust of Domitia Longina, wife of Emperor Domitian. From Faldoni's series 'Delle Antiche Statue Greche e Romane che Nell’ Antisala della Libreria di San Marco e in Altri Luoghi si Trovano'.
[Ref: 46848]   £120.00   (£144.00 incl.VAT)
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Portiqu Dorique sans Piedestal.
Portiqu Dorique sans Piedestal. Pour fair des Portiques Doriques, il faudra diviser toute la hauteur en 20 parties, l'une des qu'elles sera le module; et distribuer les largeurs de sorte, qu'il y ait 7 modules entre deux Pilastres, et que chaque Pilastre en ait trois de larguer, et que le vuide soit double de la largeur en hauteur. Pl.10.
Cochin inv. Charpentier suclps.
[Paris, 1757.]
Engraving, paper watermarked, with large margins. Plate 356 x 215mm. 14 x 8½".
This folio architectural engraving is from Jacques Barrozzio de Vignole's work "Livre Nouveau ou Regles des Cinq Orders d'Architecture & Recueil des plus Beaux Edifices Anciens et Modernes" showing a magic lantern.
[Ref: 27318]   £240.00   (£288.00 incl.VAT)
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Municipal School of Art Kingston-upon-Hull. The Echo.
Municipal School of Art Kingston-upon-Hull. The Echo. A Folio of Graphic Art. No 3. 1919.
Printed at the School of Art, Anlaby Road, Kingston-upon-Hull, and Published Privately, in the Year of Peace 1919.
Portfolio, printed wrapper; Contents, Forword, 4 etchings, a colour stencil & three lithographs, mounted on card, as called for. Extra plates are a second example of one of the lithographs, two further lithographs and a pencil sketch. Very scarce item. Some foxing.
A collection of works by students of the 'School of Engraving & Lithography' at Hull, including: C.F. Trangmar, who is now known for his work with colour photography in the 1930s; George F. Holmes (1861–1940), a founder member of the Humber Yawl Club in 1883 and an early pioneer of British amateur yachting; and Harry Hudson Rodmell (1896-1984), a commercial artist who produced advertising posters for shipping lines P & O, Canadian Pacific and the British India Line.
[Ref: 32812]   £450.00   view all images for this item
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Effie Deans.
Effie Deans.
Painted by John Everett Millais. R.A. Engraved by T. Oldham Barlow, A.R.A [Artist's monogram and 1877 in image lower left].
Published Oct. 20th 1879, by Thomas Agnew & Sons, London, Liverpool and Manchester__Copyright Registered.
Mixed method engraving on india laid paper, 780 x 580mm. 30¾ x 22¾".
Effie Deans is one of the central characters in The Heart of Midlothian, a novel by Sir Walter Scott, written in 1818. Effie had been imprisoned on a false charge, accused of having killed her illegitimate child. When an angry crowd stormed the goal, she had an opportunity to escape. But Effie decided to stay. Prison seemed a better prospect than a life of freedom with a tarnished reputation. A fine impression. Sir John Everett Millais (1829 - 1896) painter of history, genre, landscape, and portraits, and president of the Royal Academy. Printseller's Association blindstamp lower right.
[Ref: 8844]   £520.00  
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Exstant hæc trium charitum Signa, naturali VI circiter pedum attitudine, eonspicua Bruxellæ in ædbus Comilum de Cuypers de Rymenam.
Exstant hæc trium charitum Signa, naturali VI circiter pedum attitudine, eonspicua Bruxellæ in ædbus Comilum de Cuypers de Rymenam.
Carolus Eisen Aqua regali Sculp. 1777.
Etching. 240 x 165mm.
Statue of the Three Graces, by Charles Eisen, 1720-1778.
[Ref: 7284]   £130.00   (£156.00 incl.VAT)
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[View of a Folly]
[View of a Folly] Prospect Eines Lust-Gartten [...]
J.B.F. vo. E: inventor et delin:
Cum Privil: Sacr: Caesar Majest. [Leipzig, 1725]
Engraving with very large margins, platemark 300 x 430mm (11¾ x 17"). Text in French and German; slight foxing to margins.
'View of a folly which I invented and for which I gave the design to Mr. *** in Vienna'. Plate from the 'Entwurf einer historischen Architektur' ('Outline of Historical Architecture', first published 1721) by Austrian architect Johann Bernard Fischer von Erlach, the first comparative architecture of all periods and nations.
[Ref: 33397]   £280.00   (£336.00 incl.VAT)
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