VAT included (see terms) | Exclude VAT
Catalogue: Arts
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  
enquire about this item add to your wishlist

Design of the Ceiling of Lady Bute’s Dressing Room. Dessein du Plafond de la Chambre de Toilette de la Comtesse de Bute.
Design of the Ceiling of Lady Bute’s Dressing Room. Dessein du Plafond de la Chambre de Toilette de la Comtesse de Bute. Plate VII.
R. Adam Architect 1769. B. Pastorini sculp.
Published as the Act directs, June 1774.
Engraving with small margins. Plate 444 x 596mm. 17½ x 23½".
Luton House: the ceiling of Lady Bute's dressing room decorated with stucco ornaments, by Mr. Rose, and paintings by Mr. Zucchi; Volume I, part 3, "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: 27741]   £230.00  
enquire about this item add to your wishlist

Design of a Chimney Piece executed in the Great Salon of the Queen’s House. Dessein d’une Cheminée executé dans le Grand Salon du Palais de la Reine. [&] A Chimney Piece designed for one of the Rooms in St. James's Palace. Dessein d'une Cheminée pour une
Design of a Chimney Piece executed in the Great Salon of the Queen’s House. Dessein d’une Cheminée executé dans le Grand Salon du Palais de la Reine. [&] A Chimney Piece designed for one of the Rooms in St. James's Palace. Dessein d'une Cheminée pour une des Chambres dans la Palais de St. Jacques. Plate IV.
R. Adam Architect 1762. D. Cunego Sculp.
Published as the Act directs 1773.
Engraving with small margins. Plate 605 x 460mm. 23¾ x 18¼".
Two chimney designs, one of which is execued in the great saloon of the Queen's House, and the other proposed for a room in the palace of St James's. In the freeze of the former, the crown and supporters are introduced as part of the ornament, and on the tablet of the latter is a bas-relief of the Aldo-brandini marriage; 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: 27737]   £230.00  
enquire about this item add to your wishlist

Parts at Large of the Gateway at Sion. Parties en grand de la porte du chateau de Sion.
Parts at Large of the Gateway at Sion. Parties en grand de la porte du chateau de Sion. Plate II.
R. Adam Architect 1769.
[London: 1775.]
Engraving. Plate 610 x 452mm. 24 x 17¾". Some toning, paper chips to left edge.
Designs for the gateway at Syon House; profile and front of the keystone, entablature and capital of the open collonade, order and ornamented pilasters, patera, iron rail, and vases in the niches of the porters lodges. 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: 27574]   £280.00  
enquire about this item add to your wishlist

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  
enquire about this item add to your wishlist

Design of the Ceiling of the Library or Great Room, at Kenwood. Dessein du plafond de la Biblioteque de la Villa de Kenwood.
Design of the Ceiling of the Library or Great Room, at Kenwood. Dessein du plafond de la Biblioteque de la Villa de Kenwood. Plate VII.
R. Adam Architect, 1767. B. Pastorini, Sculp.
Published as the Act directs 5.th February 1774.
Original coloured engraving with small margins. Plate 439 x 590mm. 17¼ x 23¾". Very fine 18th century coloured print. Slightly cut at top.
Kenwood: the stucco work, and other decorations, where executed by Joseph Rose with paintings by Antonio Zucchi.; Volume I, part 2, "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: 27744]   £450.00  
enquire about this item add to your wishlist

[Anno Domini.]
[Anno Domini.]
[Painted by Edward Long R.A, Engraved by Herbert Bourne.] Signed in pencil.
London, April 17th. 1889 Published by Fairless & Beeforth, 25 New Bond Street, W. Copyright Entered to Act of Congress in the 1889 by Frank Hunter Potter in the Office of the Librarian of Congress at Washington U.S.A.
Mixed-method engraving. Signed artist's proof. 1110 x 622mm. 43¾ x 24½". Uncut. Occasional staining outside of image area.
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. The painting is part of the collection in the Russell Coates Museum, Bouremouth, England.
[Ref: 18108]   £280.00  
enquire about this item add to your wishlist

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)
enquire about this item add to your wishlist

Apollo, Adone.
Apollo, Adone. A Sua Eccellenza il Signor Francesco Antonio, Conte di Oetting, ec. ec. Nell' Antisala della Libreria di S. Marco. Ant. M. q. Gir. e Ant. M. di Aless, cugini Zanetti disegnarono.
G. Ant. Faldoni sculp.t.
[n.d., c.1743.]
Engraving. Plate: 405 x 280mm (16 x 11") large margins.
A print of a statue of Apollo. 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: 46850]   £160.00   (£192.00 incl.VAT)
enquire about this item add to your wishlist

S. Jacobus Minor.
S. Jacobus Minor.
Angelus de Rubeis Sculp. in Marmore Franciscus Aquila delin, et Sculp.
Romae ex Chalcographia jam de Rubeis, nunc R.C.A. apud Pedem Marmoreum
Etching, 520 x 325mm (20½ x 12½"). Horizontal crease through centre, small nicks and tears to edges, occasional staining, general paper tone, bit dusty.
St. James, son of Alphaeus (also known as 'James the less') . Plate seven from a series of 'Statue dei Dodici Apostoli in S. Giovanni in Laterano'. As part of the reconstruction of the Basilica of St. John Lateran, twelve niches were created under the direction of the architect Francesco Borromini. However, these remained empty until the early eighteenth century, when Pope Clement XI sponsored a competition to select designs for sculptures of the twelve apostles. This statue was by Angelo de Rossi (1671-1715).
Provenance: once owned by Thomas Meggitt of Hull, painter (1770-c.1859)
[Ref: 23139]   £160.00   (£192.00 incl.VAT)
enquire about this item add to your wishlist

S. Joannes
S. Joannes
Eq. Camillus Rusconus sculp. in Marmore Hieronymus Frezza Sculp.
Romae ex Chalcographia jam de Rubeis, nunc R.C.A. apud Pedem Marmoreum
Etching, 520 x 325mm (20½ x 12½"). Small margins left and right only, horizontal crease through centre, small nicks and tears to edges, pink spot lower centre, general paper tone. Bit dusty.
St. John with book and quill (symbolising his authorship of the book of Revelation) and eagle (signifying the height he rose to in the first chapter of his gospel). Plate five from a series of 'Statue dei Dodici Apostoli in S. Giovanni in Laterano'. As part of the reconstruction of the Basilica of St. John Lateran, twelve niches were created under the direction of the architect Francesco Borromini. However, these remained empty until the early eighteenth century, when Pope Clement XI sponsored a competition to select designs for sculptures of the twelve apostles. This statue was by Camillo Rusconi (1658-1728).
Provenance: once owned by Thomas Meggitt of Hull, painter (1770-c.1859)
[Ref: 23095]   £160.00   (£192.00 incl.VAT)
enquire about this item add to your wishlist

S. Matthaeus
S. Matthaeus
Eq. Camillus Rusconus sculp. in Marmore Hieronymus Frezza Sculp.
Romae ex Chalcographia jam de Rubeis, nunc R.C.A. apud Pedem Marmoreum
Etching, 520 x 325mm (20½ x 12½"). Horizontal crease through centre, small nicks and tears to edges, occasional surface loss, general paper tone, bit dusty. 'Tho.s Meggitt, Hull' in manuscript lower right
St. Matthew with a book (perhaps symbolizing his gospel) and a bag of coins at his feet (he was a tax collector early in life). Plate nine from a series of 'Statue dei Dodici Apostoli in S. Giovanni in Laterano'. As part of the reconstruction of the Basilica of St. John Lateran, twelve niches were created under the direction of the architect Francesco Borromini. However, these remained empty until the early eighteenth century, when Pope Clement XI sponsored a competition to select designs for sculptures of the twelve apostles. This statue was by Camillo Rusconi (1658-1728).
Provenance: once owned by Thomas Meggitt of Hull, painter (1770-c.1859)
[Ref: 23138]   £160.00   (£192.00 incl.VAT)
enquire about this item add to your wishlist

S. Paulus
S. Paulus
Monsu Monot sculp. in Marmore Franciscus Aquila delin, et sculps.
Romae ex Chalcographia jam de Rubeis, nunc R.C.A. apud Pedem Marmoreum
Etching, 520 x 325mm (20½ x 12½"). Small margins left and right only, horizontal crease through centre, small nicks and tears to edges, hole near top, general paper tone. Bit dusty.
St. Paul holding a sword (symbolising his martyrdom). Plate two from a series of 'Statue dei Dodici Apostoli in S. Giovanni in Laterano'. As part of the reconstruction of the Basilica of St. John Lateran, twelve niches were created under the direction of the architect Francesco Borromini. However, these remained empty until the early eighteenth century, when Pope Clement XI sponsored a competition to select designs for sculptures of the twelve apostles. This statue of St. Paul was by the French sculptor Paul-Étienne Monnot (1657-1733).
Provenance: once owned by Thomas Meggitt of Hull, painter (1770-c.1859)
[Ref: 23092]   £160.00   (£192.00 incl.VAT)
enquire about this item add to your wishlist

S. Petrus.
S. Petrus.
Monsu Monot sculp. in Marmore Franciscus Aquila delin, et sculps.
Romae ex Chalcographia jam de Rubeis, nunc R.C.A. apud Pedem Marmoreum
Etching, 520 x 325mm (20½ x 12½"). Small margins left and right only, horizontal crease through centre, small nicks and tears to edges, a few small holes, general paper tone, bit dusty.
St. Peter holding the key to the kingdom of heaven, as promised to him (Matthew 16:18-19). Plate one from a series of 'Statue dei Dodici Apostoli in S. Giovanni in Laterano'. As part of the reconstruction of the Basilica of St. John Lateran, twelve niches were created under the direction of the architect Francesco Borromini. However, these remained empty until the early eighteenth century, when Pope Clement XI sponsored a competition to select designs for sculptures of the twelve apostles. This statue of St. Peter was by the French sculptor Paul-Étienne Monnot (1657-1733).
Provenance: once owned by Thomas Meggitt of Hull, painter (1770-c.1859)
[Ref: 23088]   £160.00   (£192.00 incl.VAT)
enquire about this item add to your wishlist

S. Philippus
S. Philippus
Joseph Mazzuoli Sculp. in Marmore. Franciscus Aquila delin, et Sculp.
Romae ex Chalcographia jam de Rubeis, nunc R.C.A. apud Pedem Marmoreum
Etching, 520 x 325mm (20½ x 12½"). Horizontal crease through centre, small nicks and tears to edges, occasional staining, general paper tone, bit dusty.
St. Philip with a cross (signifying his crucifixion) and the serpent he killed by the power of prayer. Plate seven from a series of 'Statue dei Dodici Apostoli in S. Giovanni in Laterano'. As part of the reconstruction of the Basilica of St. John Lateran, twelve niches were created under the direction of the architect Francesco Borromini. However, these remained empty until the early eighteenth century, when Pope Clement XI sponsored a competition to select designs for sculptures of the twelve apostles. This statue was by Giuseppe Mazzuoli (1644-1725).
Provenance: once owned by Thomas Meggitt of Hull, painter (1770-c.1859)
[Ref: 23140]   £160.00   (£192.00 incl.VAT)
enquire about this item add to your wishlist

S. Simon
S. Simon
Franciscus Moratti Sculp. in Marmore. Franciscus Aquila delin, et Sculp.
Romae ex Chalcographia jam de Rubeis, nunc R.C.A. apud Pedem Marmoreum
Etching, 520 x 325mm (20½ x 12½"). Horizontal crease through centre, small nicks and tears to edges, hole at bottom, pink marks near bottom, general paper tone, bit dusty.
Simon the Zealot, plate eleven from a series of 'Statue dei Dodici Apostoli in S. Giovanni in Laterano'. As part of the reconstruction of the Basilica of St. John Lateran, twelve niches were created under the direction of the architect Francesco Borromini. However, these remained empty until the early eighteenth century, when Pope Clement XI sponsored a competition to select designs for sculptures of the twelve apostles. This statue was by Francesco Moratti (died c. 1719).
Provenance: once owned by Thomas Meggitt of Hull, painter (1770-c.1859)
[Ref: 23141]   £140.00   (£168.00 incl.VAT)
enquire about this item add to your wishlist

S. Thaddeus
S. Thaddeus
Laurentius Ottoni Sculp. in Marmore. Franciscus Aquila delin, et Sculp.
Romae ex Chalcographia jam de Rubeis, nunc R.C.A. apud Pedem Marmoreum
Etching, 520 x 325mm (20½ x 12½"). Horizontal crease through centre, small nicks and tears to edges (particularly centre right), hole at bottom, pink marks near bottom, general paper tone, bit dusty.
Jude the Apostle (also known as Thaddeus), plate twelve from a series of 'Statue dei Dodici Apostoli in S. Giovanni in Laterano'. As part of the reconstruction of the Basilica of St. John Lateran, twelve niches were created under the direction of the architect Francesco Borromini. However, these remained empty until the early eighteenth century, when Pope Clement XI sponsored a competition to select designs for sculptures of the twelve apostles. This statue was by Lorenzo Ottoni (1658-1736).
Provenance: once owned by Thomas Meggitt of Hull, painter (1770-c.1859)
[Ref: 23142]   £160.00   (£192.00 incl.VAT)
enquire about this item add to your wishlist

[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  
enquire about this item add to your wishlist

[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)
enquire about this item add to your wishlist

[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  
enquire about this item add to your wishlist

[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)
enquire about this item add to your wishlist

[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)
enquire about this item add to your wishlist

[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  
enquire about this item add to your wishlist

[Elderly woman with bag.]
[Elderly woman with bag.]
TB [Thomas Barker]
Pen lithograph on india backed onto thicker paper, india 225 x 145mm (8¾ x 6"). Tearing to india at edges; slight staining. Damaged.
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: 36708]   £140.00   (£168.00 incl.VAT)
enquire about this item add to your wishlist

[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  
enquire about this item add to your wishlist

[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  
enquire about this item add to your wishlist

[Ragged figure with cloth]
[Ragged figure with cloth]
TB [Thomas Barker]
Pen lithograph on india backed onto thicker paper with watercolour wash by Thomas Barker, 235 x 150mm (9¼ x 6"). Staining and surface loss to india. Damaged.
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. Plate I. 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: 36711]   £140.00   (£168.00 incl.VAT)
enquire about this item add to your wishlist

[Young Boy Seated 1803]
[Young Boy Seated 1803]
Thomas Barker del.
Pen lithograph, very rare; separately issued early lithograph from Specimens of Polyautography, published in 1803 by Philipp Andre; sheet 275 x 210mm (10¾ x 8¼"). Glued to backing sheet at corners. Crease across centre. Overall staining.
Barker (1769-1847) He also published '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.
Ex collection of the Late Hon. C. Lennox-Boyd; For the complete set of 'Forty Lithographic Impressions' see ref. 13436
[Ref: 36810]   £380.00  
enquire about this item add to your wishlist

[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)
enquire about this item add to your wishlist

[Barren Landscape.]
[Barren Landscape.]
[H.B. Ker.]
[n.d. c.1812.]
Soft-ground etching. 121 x 202mm (4¾ x 8"). Cut.
Barren landscape, with small three-arched hump bridge over a meandering river in foreground at left; a group of trees on the opposite bank; long bridge seen in the distance at right. (Charles) Henry Bellenden Ker (1780-1871), a lawyer active in the Boundary Commission just before the Reform Act of 1852 and amateur artist. As a young man he was patron to William Blake but Blake had to take legal steps to get paid.
Ex. Collection of the Hon.Christopher Lennox-Boyd.
[Ref: 34811]   £60.00   (£72.00 incl.VAT)
enquire about this item add to your wishlist

Belhus Essex.
Belhus Essex.
HBK.
[n.d. c.1812.]
Etching. 102 x 152mm (4 x 6"). Cut
Belhus, Essex: a road at right leading through a field; trees behind, windmill and house-roofs seen in background, and a small building among trees at left. (Charles) Henry Bellenden Ker (1780-1871), a lawyer active in the Boundary Commission just before the Reform Act of 1852 and amateur artist. As a young man he was patron to William Blake but Blake had to take legal steps to get paid.
Ex. Collection of the Hon.Christopher Lennox-Boyd.
[Ref: 34813]   £70.00   (£84.00 incl.VAT)
enquire about this item add to your wishlist

Belvoir Castle from the Ridge of Hills between the Reservoir and Croxton Park.
Belvoir Castle from the Ridge of Hills between the Reservoir and Croxton Park.
F.W. Trench.
[n.d., 1834.]
Pen lithograph with very large margins. Printed area 250 x 420 (9¾ x 16½"). Tear in left margin.
Very rare. The Royal Collection has the complete set of five, all printed on silk.
On verso in ink Col. R. Herries.
[Ref: 30229]   £260.00  
enquire about this item add to your wishlist

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)
enquire about this item add to your wishlist

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  
enquire about this item add to your wishlist

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, platemark 275 x 195mm (10¾ x 7¾").
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: 40869]   £110.00   (£132.00 incl.VAT)
enquire about this item add to your wishlist

A Book of Beasts Drawn from Nature, by M. Oudri, & Grav'd by P.Garon .
A Book of Beasts Drawn from Nature, by M. Oudri, & Grav'd by P.Garon .
Printed & Publish'd Aug.t 1750, by J. Rocque Land Surveyer, Charing Cross.
Etching. Sheet: 195 x 260mm (7¾ x 10¼").
The frontispiece to a drawing book of animals showing the rear of a horse, demonstrating the technique of foreshortening.
[Ref: 45929]   £95.00   (£114.00 incl.VAT)
enquire about this item add to your wishlist

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  
enquire about this item add to your wishlist

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  
enquire about this item add to your wishlist

A Room in the House of A.H. Burkitt F.S.A. Clapham, Surry
A Room in the House of A.H. Burkitt F.S.A. Clapham, Surry 1851 Antiquarian Etching Club, Pl. 63 Vol. III
A.H.B. [in image]
Etching, rare; platemark 165 x 120mm (6½ x 4¾"), very large margins.
Etching by the printmaker and antiquary A.H. Burkitt, of a room in his house in Clapham containing his collection.
Private Collection.
[Ref: 43362]   £95.00   (£114.00 incl.VAT)
enquire about this item add to your wishlist

[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)
enquire about this item add to your wishlist

[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  
enquire about this item add to your wishlist

[Castle Ruin.]
[Castle Ruin.]
HBK.
[n.d. c.1812.]
Soft ground etching. 114 x 152mm (4½ x 6"). Cut.
View of a castle with partly ruined tower on a hilltop from a field below, with trees in foreground at left and right. (Charles) Henry Bellenden Ker (1780-1871), a lawyer active in the Boundary Commission just before the Reform Act of 1852 and amateur artist. As a young man he was patron to William Blake but Blake had to take legal steps to get paid.
Ex. Collection of the Hon.Christopher Lennox-Boyd.
[Ref: 34804]   £60.00   (£72.00 incl.VAT)
enquire about this item add to your wishlist

[Cattle.]
[Cattle.]
MRoo. [H.B. Ker.]
[n.d. c.1812.]
Etching. 190 x 132mm (7½ x 5¼"). Cut
A cattle standing on a path in frontal view; two learning milestones to left; copy of an etching by Johann Melchior Roos. (Charles) Henry Bellenden Ker (1780-1871), a lawyer active in the Boundary Commission just before the Reform Act of 1852 and amateur artist. As a young man he was patron to William Blake but Blake had to take legal steps to get paid.
Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 34796]   £60.00   (£72.00 incl.VAT)
enquire about this item add to your wishlist

[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)
enquire about this item add to your wishlist

[The Chellini Madonna]
[The Chellini Madonna] Ex Archetypo AEreo penes Nobilis: Virum Marchionem de Rockingham.
Edw.d Rumsey Del.t J.K. Sherwin Sculp.t in aqua forti
[London Published by R. Pollard Spa Fields Nov.r 25 1790]
Etching, sheet 310 x 290mm (12¼ x 11½"). Repairs bottom left at corner. Trimmed inside platemark;
Etching made from Donatello's relief of the 'Chellini Madonna', at the time it was in the collection of William Wentworth Fitzwilliam (1748-1833), politician and landowner. The bronze roundel served as a glass mould and perhaps also as a birth tray for bringing sweetmeats to a mother after birth. Named for the Florentine physician Giovanni Chellini Samminiati, who received the roundel as payment from a patient he was treating, it was brought to England by Charles Wentworth-Watson, second marquess of Rockingham and prime minister (1730-82). It then passed on through the Wentworth family by descent, before it was acquired by the Victoria & Albert Museum in London in 1976. It is one of the most important objects in the V & A collection.
[Ref: 43150]   £80.00   (£96.00 incl.VAT)
enquire about this item add to your wishlist

[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.
The 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  
enquire about this item add to your wishlist

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 open letters. 585 x 857mm. 23 x 33¾". Uncut. Mint.
Companion to Search for Beauty in same state: see Ref. 14089.
'The Search for Beauty' ref:14089
[Ref: 14077]   £350.00  
enquire about this item add to your wishlist

Siquis est Parwlus Veniat ad Me.
Siquis est Parwlus Veniat ad Me. Prov. 9.V.4.
S. Françoys Turonen inve. et pinx. N. Pitau sculp. cum privil. Regis.
[n.d., c.1680.]
Engraving. 495 x 350mm (19½ x 13¾"), very large margins. Damp stain on outside of right margin, pin-sized worm hole on plate mark.
'Whosoever is a little one, let him come to me'. The Christ child sitting on a globe, surrounded by angels and cherubim, arms stretched out in welcome. After Simon François de Tours (1606-1671).
[Ref: 39717]   £360.00  
enquire about this item add to your wishlist

Christ borne to the Tomb.
Christ borne to the Tomb.
Painted by Commendatore Professatore Ciseri. Engraved by William Ridgway.
London December 1st. 1892. Published by Fairless & Beeforth. 128, New Bond Street, W. Copyright Registered.
A mixed-method engraving , 661 x 913mm. 26 x 36". Uncut. Mint.
Antonio Ciseri (1821-1891) was a Swiss painter of religious subjects. He was born in Ronco sopra Ascona in the canton of Ticino in Switzerland. In 1833 he moved with his father to Florence, where in 1834 he was to the Accademia di Belle Arti, training under the auspices Niccola Benvenuti. In 1849, he began offering instruction to young painters, and eventually ran a private art school. Among his earliest students was Silvestro Lega. Ciseri's religious paintings are Raphaelesque in their compositional outlines and their polished surfaces, but are nearly photographic in effect. He fulfilled many important commissions from churches in Italy and Switzerland. Ciseri also painted a significant number of portraits. He died in Florence on March 8, 1891.
[Ref: 14086]   £120.00   (£144.00 incl.VAT)
enquire about this item add to your wishlist

[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  
enquire about this item add to your wishlist