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Catalogue: Decorative
Nihil Invita Minerva. The Academy of the Muses.
Nihil Invita Minerva. The Academy of the Muses.
[n.d. c.1780.]
Engraving. Image 191 x 152mm. 283 x 224mm.
A centaur shooting with a bow and arrow standing on top of an argent. The argent has an open music book that sits between two swords in saltire of the first. Either side stand dexter a sinister satyr, and a merman with two tails. Nihil Invita Minerva: Nothing in spite of genius.
[Ref: 12531]   £80.00   (£96.00 incl.VAT)
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The Achievement of our Soveraigne King James as he nowe beareth With the Armes of the Severall kings that have aunciently raigned within his nowe Dominions
The Achievement of our Soveraigne King James as he nowe beareth With the Armes of the Severall kings that have aunciently raigned within his nowe Dominions
Jodocus Hondius Flander coelavit Anno Domini 1611.
Engraving, sheet 375 x 235mm (14¾ x 9¼"). Trimmed and glued to backing sheet at edges.
The Royal Arms at the time of James I, with border comprising the arms of the different kingdoms he reigned over. It was engraved by Jodocus Hondius as a frontispiece for John Speed's 'Theatre of the Empire of Great Britain', his county atlas, first published 1611-12.
[Ref: 42622]   £260.00  
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[Designs of different pieces of furniture done for this House.]
[Designs of different pieces of furniture done for this House.] Plate VIII.
R. Adam Architect. B. Pastorini Sculp.
Published as the Act directs 1774.
Engraving with small margins. Plate 444 x 590mm. 17½ x 23¾".
Luton House with designs for the stove-grate, cornices for window-curtain, and brass candelabra designs; 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: 27740]   £330.00  
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[Various Clocks & Pieces of Ornamental Furniture.]
[Various Clocks & Pieces of Ornamental Furniture.] Plate VIII.
R. Adam Architect. P. Begbie Sculp.
Published as the Act directs 1773.
Engraving with small margins. Plate 599 x 464mm. 23½ x18¼".
Various ornamental pieces designed and executed for different persons, including 3 clocks, a watch case, executed for Lady Aspley's dressing room; Volume I, part 4, "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: 27739]   £330.00  
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[Frontispiece to 'A Description of the Country from Thirty to Forty Miles round Manchester' by John Aikin]
[Frontispiece to 'A Description of the Country from Thirty to Forty Miles round Manchester' by John Aikin]
Stothard delt Grignion sculpt
Publish'd June 4 1795 by J. Stockdale Piccadilly
Engraving, sheet 265 x 205mm (10½ x 8"). Trimmed to plate.
Allegory with six female figures sitting in a ring, one holding a cornucopia, another a sickle, another the wand of Aesclepius. Putti overhead, ship in background. Frontispiece to John Aikin's 'A Description of the Country from Thirty to Forty Miles round Manchester' (1795). Aikin (1747-1822) was a physician and writer, who practiced medicine until a stroke ended his medical career in 1796. It was during his spare time while working as a doctor that he produced many of the works for which he is best known, including the 'Description', a valuable account of the Manchester area at a time of rapid industrialization.
[Ref: 40847]   £160.00   (£192.00 incl.VAT)
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Alder Alnus.
Alder Alnus. No.2
Jwint Barber 1811.
Etching, rare. 292 x 395mm. 11½ x 15½". Torn into the right-hand edge of the image. Horizontal crease through the centre.
View with three cows wading in a meandering river, the left bank lined with alder trees, and two sheep lying on grass; two cows standing behind wooden fence on the right bank.
[Ref: 19390]   £130.00   (£156.00 incl.VAT)
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Alexandri Magni praecipuæ res geste ab Antonio Tempesta Florentino primum delineatæ,
Alexandri Magni praecipuæ res geste ab Antonio Tempesta Florentino primum delineatæ, nuc a Michaele van Lochom Sculptore. Regio Ienioris typi tabulis expressæ.
Parisus Apud Petrum Mariette via Jacobæa. sub signio Spei. [n.d., c.1670.]
Engraving. 120 x 155mm (4¾ x 6¼").
The title-page to a series of 12 prints depicting the life of Alexander the Great. The design features military trophies, a lion, two winged putti and figures of Bellona and Abundance. After Antonio Tempesta (1555-1630).
[Ref: 26550]   £70.00  
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Frontispiece.
Frontispiece. London Magazine 1778. London Magazine Continued from the Year 1731.
Des.d Drawn and Engraved by Bonnor.
[n.d. c.1778.]
Engraving. 165 x 121mm (6½ x 4¾"). Trimmed, creased;
Allegorical frontispiece; a winged figure sits to the right with a quill poised over a book with a page titled 'London Magazine 1778', In front of him to the left stand representations of Asia, Africa, the Americas and Europe.
[Ref: 34699]   £80.00   (£96.00 incl.VAT)
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His ego nec metas. rerum, nec tempora pono. Imperium sine fine dedi _________ Virg. aen. lib. I.
His ego nec metas. rerum, nec tempora pono. Imperium sine fine dedi _________ Virg. aen. lib. I.
Joseph. Zochi Florentinus invenit. F. Bartollozi Florentinus Sculp. Venetiis.
[n.d., c.1761.]
Engraving. Sheet size: 260 x 195mm (10¼ x 7¾"). Trimmed to platemark.
Allegory on the marriage of Joseph, Archduke of Austria to Isabella, daughter of Philip, Duke of Parma (6th October 1760). In the sky, the Gods gather on clouds, next to large oval medallions featuring portraits of the Archduke and his wife. Below on the right is the statue of Minerva, the Roman Goddess of wisdom, with allegorical female figures in front. Sinking ships are seen in the water, with the burning city of Tuscany in the distance to the left. Frontispiece to 'Discorso del Senatore Cavaliere Giulio Rucellai', Firenze, 1761.
[Ref: 38572]   £220.00  
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[Plate 2:] l'Amours Couronnée.
[Plate 2:] l'Amours Couronnée.
Mondon le Fils Invenit. A. Aveline Sculpit.
Avec Privilege du Roy. [n.d. c.1736.]
Copper engraving. Paper watermarked. 229 x 184mm. 3 x 7¼". Large margins, uncut.
A Rococo design with two cherubs seated on a cloud with bows and arrows, the left cherub placing a laurel crown onto the other; figurative desgins to the top left. From a series of forty-two ornament prints, divided into six sets of seven plates each; this plates belongs to the third set.
[Ref: 22998]   £140.00   (£168.00 incl.VAT)
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[Plate 6:] l'Amoureux Guerrier.
[Plate 6:] l'Amoureux Guerrier.
Mondon le Fils invenit. A. Aveline Sculpsit.
[Avec privilege du Roy, 1736.]
Copper ngraving, paper watermarked. Plate 235 x 183mm. 9¼ x 7¼". Large margins, uncut.
Inside a Rococo design, a man sits with a woman's head resting on his lap; a representation of an inn with two figures outside, one holding a sword. From a series of forty-two ornament prints, divided into six sets of seven plates each; this plates belongs to the third set.
[Ref: 23001]   £160.00   (£192.00 incl.VAT)
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[Three men angling under a large tree.]
[Three men angling under a large tree.]
W. Barron Aq. Fort. Fecit.
[n.d., c.1800.]
Etching on beige paper, fine 18th century watermark, very scarce. Sheet 160 x 200mm, 6¼ x 8". Mounted on album paper with a sepia border, as issued.
William Augustus Barron (1751 - after 1806).
[Ref: 26548]   £160.00   (£192.00 incl.VAT)
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Poolydorus de Caravagio. In. Romæ.
Poolydorus de Caravagio. In. Romæ. 6.
[Aegidus Sadeler II after Cherubino Alberti.]
Cum Privil. S. C. Mtis. [1605.]
Engraving. Plate: 235 x 160mm (9¼ x 6¼") very large margins.
Plate six of a series of 10 engravings of antique vases taken from frescos painted between 1520-1527 by Polidoro da Carravaggio in the Palazzo Milesi in Rome. Aegidus Sadeler II's engravings are a copy of a series of the same subject engraved by Cherubino Alberti in 1582.
[Ref: 43871]   £120.00   (£144.00 incl.VAT)
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Poolydorus de Caravagio. In. Romæ.
Poolydorus de Caravagio. In. Romæ. 7.
[Aegidus Sadeler II after Cherubino Alberti.]
Cum Privil. S. C. Mtis. [1605.]
Engraving. Plate: 235 x 160mm (9¼ x 6¼") very large margins.
Plate seven of a series of 10 engravings of antique vases taken from frescos painted between 1520-1527 by Polidoro da Carravaggio in the Palazzo Milesi in Rome. Aegidus Sadeler II's engravings are a copy of a series of the same subject engraved by Cherubino Alberti in 1582.
[Ref: 43872]   £120.00   (£144.00 incl.VAT)
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Poolydorus de Caravagio. In. Romæ.
Poolydorus de Caravagio. In. Romæ. 8.
[Aegidus Sadeler II after Cherubino Alberti.]
Cum Privil. S. C. Mtis. [1605.]
Engraving. Plate: 235 x 160mm (9¼ x 6¼") very large margins.
Plate eight of a series of 10 engravings of antique vases taken from frescos painted between 1520-1527 by Polidoro da Carravaggio in the Palazzo Milesi in Rome. Aegidus Sadeler II's engravings are a copy of a series of the same subject engraved by Cherubino Alberti in 1582.
[Ref: 43873]   £120.00   (£144.00 incl.VAT)
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Poolydorus de Caravagio. In. Romæ.
Poolydorus de Caravagio. In. Romæ. 10.
[Aegidus Sadeler II after Cherubino Alberti.]
Cum Privil. S. C. Mtis. [1605.]
Engraving. Plate: 235 x 160mm (9¼ x 6¼") very large margins. Paper tone.
Plate ten of a series of 10 engravings of antique vases taken from frescos painted between 1520-1527 by Polidoro da Carravaggio in the Palazzo Milesi in Rome. Aegidus Sadeler II's engravings are a copy of a series of the same subject engraved by Cherubino Alberti in 1582.
[Ref: 43874]   £120.00   (£144.00 incl.VAT)
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Vasa. A. Polydroro. Caravagino. Pictore Antiquitatiso. Imitatore. Prestantiss. Inventa. Egidius Sadeler S.C.Mns. Sulptor In Æs Incidi Iussit Et Edidit Anno Pragæ MDCV. Romæ.
Vasa. A. Polydroro. Caravagino. Pictore Antiquitatiso. Imitatore. Prestantiss. Inventa. Egidius Sadeler S.C.Mns. Sulptor In Æs Incidi Iussit Et Edidit Anno Pragæ MDCV. Romæ.
[Aegidus Sadeler II after Cherubino Alberti.]
[1605.]
Engraving. Plate: 270 x 180mm (10½ x 7"). Trimmed to plate on top edge. Light foxing.
The frontispiece to a series of 10 engravings of antique vases taken from frescos painted between 1520-1527 by Polidoro da Carravaggio in the Palazzo Milesi in Rome. Aegidus Sadeler II's engravings are a copy of a series of the same subject engraved by Cherubino Alberti in 1582.
[Ref: 43867]   £90.00   (£108.00 incl.VAT)
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Poolydorus de Caravagio. In. Romæ.
Poolydorus de Caravagio. In. Romæ. 2.
[Aegidus Sadeler II after Cherubino Alberti.]
Cum Privil. S. C. Mtis. [1605.]
Engraving. Plate: 235 x 160mm (9¼ x 6¼") very large margins. Mark in plate
Plate two of a series of 10 engravings of antique vases taken from frescos painted between 1520-1527 by Polidoro da Carravaggio in the Palazzo Milesi in Rome. Aegidus Sadeler II's engravings are a copy of a series of the same subject engraved by Cherubino Alberti in 1582.
[Ref: 43868]   £120.00   (£144.00 incl.VAT)
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Poolydorus de Caravagio. In. Romæ.
Poolydorus de Caravagio. In. Romæ. 3.
[Aegidus Sadeler II after Cherubino Alberti.]
Cum Privil. S. C. Mtis. [1605.]
Engraving. Plate: 235 x 160mm (9¼ x 6¼") very large margins.
Plate three of a series of 10 engravings of antique vases taken from frescos painted between 1520-1527 by Polidoro da Carravaggio in the Palazzo Milesi in Rome. Aegidus Sadeler II's engravings are a copy of a series of the same subject engraved by Cherubino Alberti in 1582.
[Ref: 43869]   £120.00   (£144.00 incl.VAT)
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Poolydorus de Caravagio. In. Romæ.
Poolydorus de Caravagio. In. Romæ. 4.
[Aegidus Sadeler II after Cherubino Alberti.]
Cum Privil. S. C. Mtis. [1605.]
Engraving. Plate: 235 x 160mm (9¼ x 6¼") very large margins on 3 sides.
Plate four of a series of 10 engravings of antique vases taken from frescos painted between 1520-1527 by Polidoro da Carravaggio in the Palazzo Milesi in Rome. Aegidus Sadeler II's engravings are a copy of a series of the same subject engraved by Cherubino Alberti in 1582.
[Ref: 43870]   £120.00   (£144.00 incl.VAT)
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[Antiquities - four engravings]
[Antiquities - four engravings]
Mar: Ricci Pinxt. F. Vivares Sculpt.
Printed & Sold by F. Vivares.
Engravings 220 x 310mm
Francis Vivares (1709-1780) engraved work after other artists Vivares set up in business for himself at Porter Str. between 1749 and 1754. RICCI, Marco Italian painter, Venetian school (b. 1676, Belluno, d. 1729, Venezia). Vivares would have been a child when Ricci travelled to England in the early 18th Century.
[Ref: 6345]   £360.00   view all images for this item

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[Classical ruins in a landscape.]
[Classical ruins in a landscape.]
Mar. Ricci Pinxt. F. Vivares Sculp.
Printed & Sold by F. Vivares. [n.d., c.1760.]
Etching, 220 x 310mm. 8¾ x 12¼". A fine impression with full margins. Original stitching holes to left margin.
Artists with portfolios and other figures among fragments of architecture, including a statue, column and colonnade. This is a reversed and reduced copy of plate 1 of the series of 24 landscapes after Marco Ricci (1676 - 1730) by Fossati of 1743. One of a set (of four?) plates copied from that series by Francis Vivares (1709- 1780).
See BM 1877,0609.1638 to 1641 (set of four).
[Ref: 19519]   £95.00   (£114.00 incl.VAT)
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Apollo Introducing the Editor to the Prince of Wales, who is receiving the First Volume of the Carlton House Magazine.
Apollo Introducing the Editor to the Prince of Wales, who is receiving the First Volume of the Carlton House Magazine. Frontispiece.
Grainger del. et sculp.
Published by W. & J. Stratford, No.112 Holborn Hill, Feb. 1 1793.
Engraving, platemark 175 x 110mm (7¼ x 4¼").
Mock-heroic frontispiece to the satirical 'Carlton House Magazine', with its editor being introduced to the prince of Wales (the future George IV) by the god Apollo.
[Ref: 45725]   £65.00   (£78.00 incl.VAT)
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Apollo Pythonem jaculans. [Apollo shooting the Python.]
Apollo Pythonem jaculans. [Apollo shooting the Python.] To Dr. Richard Mead Physician to His Majesty. _ This Plate is humbly inscrib'd by his most oblig'd & obedient Servant R. Dalton.
R. Dalton fecit.
[n.d., c.1760.]
Etching, 530 x 375mm. 21 x 14¾". Horizontal crease through title.
A classical statue of Apollo wearing a cloak and with a quiver slung on his back, looking to right along his raised left arm. Behind his right hand is a tree-stump around which a snake is entwined. This statue is now part of the collection at the Villa Farnesina, Rome. Today owned by the Italian State, the villa hosts the Accademia dei Lincei, a long-standing and renowned Roman academy of sciences, and the Roman Gabinetto dei Disegni e delle Stampe (print room or Department for Drawings and Prints).
One of a group of prints by Richard Dalton (c.1715 - 1791) and various other engravers, after drawings made by Dalton from antique statues which he saw in Rome, published in the 1740s. Some like this etching bear dedications from Dalton, which suggests that he was involved in the publication. Boydell published a set of twenty plates after Dalton's drawings, in 1770.
Richard Dalton began his career as a painter, but then became an antiquarian-dealer, principally through his activities as Librarian to George, Prince of Wales (subsequently George III). He first travelled to Italy in 1739 to continue his studies, first at Bologna, then at Rome, where he specialised in highly finished red chalk drawings after classical statues. By mid-1741 Dalton had also become active as a dealer, particularly in prints. In 1749 he travelled with Roger Kynaston and John Frederick to Naples, South Italy, and Sicily, where they joined a party consisting of James Caulfeild, earl of Charlemont, Francis Pierpoint Burton, and others. From thence Dalton accompanied Lord Charlemont on his tour to Constantinople, Greece, and Egypt. He was the first Englishman to make drawings of the monuments of ancient art in these countries. Some of these he etched and engraved himself. A ‘Selection from the Antiquities of Athens’ was the first publication of its kind, but it was quickly put into the shade by the more accurate and trustworthy publications of James Stuart (1713-1788) and Nicholas Revett.

[Ref: 11825]   £280.00  

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Le Moineau Apprivoisé [The Tame Sparrow]
Le Moineau Apprivoisé [The Tame Sparrow] Dedié à Monsieur Darcy Ecuyer Par son tres humble et tres Obeissant Serviteur et Ami Gaillard.
F. Boucher pinxit / R. Gaillard Sculpsit
A Paris chés l'Auteur; rue St Jacques, au dessus des Jacobins, entre un Perruquier et une Lingere.
Engraving, platemark 420 x 455mm (16½ x 18"). Large margins; Repairs; very small pinholes in sky.
Capriccio combining rural river landscape with children and cattle, with classical ruins and statuary, after a painting by François Boucher (1703-70), arguably the most influential French artist of the 18th century. This was due in no small measure to the many engravings after his work such as this, which are believed to have been part of a deliberate strategy which Boucher was involved in to market his works and increase sales of his paintings.
[Ref: 38673]   £260.00  
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Illustrissimo Virtutum Maecenati Atque Amplissimo Domino Domno Adriano Ulloae Et Regenti Dignissimo Paulus De Matthaeis, ut Tyrones addiscant hec Pictura Artis exempla dicat et consecrat.
Illustrissimo Virtutum Maecenati Atque Amplissimo Domino Domno Adriano Ulloae Et Regenti Dignissimo Paulus De Matthaeis, ut Tyrones addiscant hec Pictura Artis exempla dicat et consecrat.
Pau: de Mat: Inv. Fran. Aquila d.S.
[n.d., c.1720.]
Etching, 325 x 235mm. Horizontal crease through centre of plate, and along lower edge. Foxing.
A frontispiece.
[Ref: 7412]   £180.00   (£216.00 incl.VAT)
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[Arcadian landscape]
[Arcadian landscape]
H. Voogd pinx. et inc. Romae [c.1800]
Etching, platemark 280 x 385mm (11 x 15") very large margins.
Figures dancing tand listening to music by a river. Etched by Hendrik Voogd (1768-1839), Amsterdam-born painter and printmaker active in Rome from 1788 onwards.
[Ref: 46760]   £260.00  
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[Vaulted room]
[Vaulted room]
Invent et del: par Angelo Quaglio [c.1818]
Lithograph, printed area 280 x 210mm (11 x 8¼") large margins
Early lithograph by Angelo Quaglio, member of a large family of Italian artists from near Lake Lugano. Angelo Quaglio supplied the drawings used to illustrate Sulpiz Boisserée's history of Cologne Cathedral, which was part of the successful effort to get the unfinished nave of the church completed. Examples of his work are in the Morgan Library & Museum, New York.
Provenance: Rokeby Park Durham.
[Ref: 46503]   £230.00  
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Livre Nouveau ou Regles des Cinq Ordres d'Architecture, Par Jacques Barozzio de Vignole.
Livre Nouveau ou Regles des Cinq Ordres d'Architecture, Par Jacques Barozzio de Vignole. Nouvellement revu, corrigé et augmenté par Monsieur B.*** Architecte du Roy [...]
Cochin inv. Vasseur Sculp
A Paris chez Mondhare et Jean, rue St. Jean de Beauvais. No 4 [c.1757]
Engraving, platemark 360 x 220mm (14¼ x 8½").
Frontispiece to a posthumous edition of Jacopo Barozzi da Vignola's work 'Regola delli cinque ordini d’architettura' (1562), a concise Renaissance tract on the five orders of architecture, which (with various additions and amendments by later editors) enjoyed enormous success and remained the most influential book on classical architecture until the advent of Modernism.
For another plate from the volume see ref. 27318.
[Ref: 40095]   £85.00   (£102.00 incl.VAT)
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Duke of Clarence.
Duke of Clarence.
C. Catton R.A. del. F. Chesham sculp.
[London, 1790.]
Engraving, very large margins. 230 x 190mm, 9 x 7½".
A design incorporating the arms of the Duke of Clarence (William Henry, later William IV), from an uncut example of Charles Catton's 'The English Peerage, or a View of the Ancient & Present State of the English Nobility'. Catton (1728-98), a founding member of the Royal Academy, specialised in ornament on coaches, especially heraldic designs, and was coach painter to George III.
[Ref: 26260]   £95.00   (£114.00 incl.VAT)
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Duke of York.
Duke of York.
C. Catton R.A. del. F. Chesham sculp.
[London, 1790.]
Engraving, very large margins. 230 x 190mm, 9 x 7½". Faint spotting.
A design incorporating the arms of the Duke of York (Prince Frederick, Duke of York and Albany, son of George III), from an uncut example of Charles Catton's 'The English Peerage, or a View of the Ancient & Present State of the English Nobility'. Catton (1728-98), a founding member of the Royal Academy, specialised in ornament on coaches, especially heraldic designs, and was coach painter to George III.
[Ref: 26259]   £95.00   (£114.00 incl.VAT)
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[Plate 2: Art & Design.]
[Plate 2: Art & Design.]
Mondon le fils Invenit. A. Aveline Sculpsit.
Avec privilege du Roy [n.d. c.1736.]
Copper engraving, paper watermarked. Plate 235 x 183mm. 9¼ x 7¼". Small staining, uncut with large margins.
Inside a Rococo style room, two figures, one kneeling, draw the statue that is leaning against the back wall. Ornaments related to art and design, such as an oval portrait, palate, small stature, compass, hammer and scroll, in the foreground. From a series of forty-two ornament prints, divided into six sets of seven plates each; this plates belongs to the second set.
[Ref: 23008]   £160.00   (£192.00 incl.VAT)
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[Autumn]
[Autumn] 8 Alta 12 Lata
J. Bassan p. I. Troyen f. [c.1660]
Etching, platemark 210 x 300mm (8¼ x 11¾"). Large tear upper right.
Autumn scene, with cooper making barrels on right and grapes being picked and pressed. One of a set of scenes representing the four seasons, etched by Jan van Troyen (c.1610-66) after paintings by the Italian artist Francesco Bassano (1549-92) (the painting is in the Kunsthistorisches Museum, Vienna). These etchings were published in the 'Theatrum Pictorum' ('Theatre of Pictures') assembled by the Flemish artist David Teniers, a large volume of prints after Italian paintings then owned by the Habsburg Archduke Leopold Wilhelm (for whom Teniers worked as court painter).
[Ref: 45270]   £180.00   (£216.00 incl.VAT)
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Cartouche Nouveau 1 [-4].
Cartouche Nouveau 1 [-4].
Babel invenit et delineavit. Avec Privilege de Roy.
A Paris chez Jacques Chereau rue St Jacques au grand St Remy. [n.d., c.1760.]
4 etchings stitched at top. Each plate 200 x 160mm (8 x 6¼") with large margins. Staining on 4th plate. Uncut.
The designs of four baroque frames by Pierre-Edmé Babel (1720-75). A famous engraver and frame-maker, some of whose work are on display in the Hall of Mirrors Versailles. In 1772 he charged the Bishop of Limoge 400 livres for a frame for Joseph-Benoît Suvée's 'St Louis receiving the crown of thorns', now in the Musée Municipal de Limoges.
[Ref: 46275]   £230.00   view all images for this item
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Trophée à Bachus.
Trophée à Bachus.
Salembier inv. et delin.
Bonnet excudit. [n.d., c.1775.]
Crayon manner, printed in red, scarce. 270 x 195mm, 10½ x 7¾". Pinholes in margins.
An ornamental plate in honour in viniculture, with a bust of Bacchus, a gushing cask and various wine-making tools. Louis Marin Bonnet (1736-93), the engraver and publisher of this print, was the inventor of crayon-manner, the technique used here.
[Ref: 26590]   £170.00   (£204.00 incl.VAT)
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Bacchus. Antique.
Bacchus. Antique.
[Engraved by B. Audran?]
[n.d., c.1719.]
Stipple & etching with small margins. 185 x 120mm (7¼ x 4¾").
A statue of Bacchus, with a stump-like thyrsus.
[Ref: 34608]   £90.00   (£108.00 incl.VAT)
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[Vase with head of Bacchus]
[Vase with head of Bacchus]
Falbe fe 1750.
Etching, sheet 170 x 115mm (6¾ x 4½"). Mounted on backing sheet. Staining.
Etching by Joachim Martin Falbe (1709-82), German painter who created a number of prints between 1750 and 1752 while working for Antoine Pesne.
[Ref: 46014]   £120.00   (£144.00 incl.VAT)
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[Bacchus and Ariadne.]
[Bacchus and Ariadne.]
B. Cipriani Delin.t F. Bartolozzi Fecit.
[London, Publish'd Nov.r 1.st 1786 by W. Dickinson Bond Street.]
Stipple and etching. 157 x 190mm. 6¼ x 7½". Publication line cut, slight foxing.
Bacchus and Ariadne naked seated under a tent embracing and holding cups. A satyr pouring water on the left, with a putti asleep on the right, young child lying on the back of a tiger in the foreground.
De Vesme: 375; iii/vi. See 20573 for earlier state.
[Ref: 20572]   £220.00  
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[Banderole with allegorical figures.]
[Banderole with allegorical figures.]
[By Laurent Guyot?]
[n.d., c.1800.]
Aquatint with etching, printed in sepia. 135 x 435mm (5¼ x 17"), very large margins.
An ornamental banderole with six allegorical figures, including Mercury and two figures representing the Arts.
[Ref: 45180]   £230.00  
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[Presentation in the Temple]
[Presentation in the Temple] Venerunt in Jerusalem, ut sifterent eum Domino / S. Luc. Cap. II V.22 / Florentiae in Sacrario S. Marci
Fra. Bartolomeo di S. Marco pinxit / Ang. Campanella sculpsit Romae 1771
Engraving with small margins, platemark 290 x 275mm (11¾ x 10¾"). Glued to backing sheet.
'They brought him to Jerusalem, to present him to the Lord'. Engraving after Florentine painter Fra Bartolommeo (1472-1517). Painted for the novitiate chapel of S Marco, Florence in 1516, The Uffizi exchanged the work in 1793 for Durer's 'Adoration of the Magi' in Vienna. Fra Bartolommeo's painting is now in the Kunsthistorisches Museum, Vienna.
For another engraving of the same work, see ref. 27307.
[Ref: 35209]   £140.00   (£168.00 incl.VAT)
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A Collection of Favorite Anthems, Services &c. in Score, Selected from the Works of Drs. Nares, Clarke, Stevens, Pratt and other eminent composers [in image] No.11 [in ink]
A Collection of Favorite Anthems, Services &c. in Score, Selected from the Works of Drs. Nares, Clarke, Stevens, Pratt and other eminent composers [in image] No.11 [in ink]
G.B. Cipriani inv. / F. Bartolozzi sculp aqua fortis
London, Published by Coventry & Hollier, 71, Dean Street, Soho. Ent. Sta. Hall. Price 4/-
Etching printed in brown, sheet 320 x 230mm (12½ x 9"). Trimmed inside platemark.
Frontispiece to a volume of music, probably a late state. The plate was likely used originally for another purpose, with the plate later altered and the new text added.
[Ref: 35961]   £120.00   (£144.00 incl.VAT)
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[Shepherdess sat with sheep outside a cottage, spinning wool]
[Shepherdess sat with sheep outside a cottage, spinning wool] Guidata ch'a la Greggia Irminda poi / S'asside e sta filando i Lini suio
Francesco Bartolozzi scolp. Appo Teodoro Viero Ven.d 1774
Etching, fine impression; scarce; platemark 235 x 175mm (9¼ x 7"). Thread margins.
One a series of six pastoral subjects etched after designs by the Venice-based publisher and artist Teodoro Viero (1740-95) by Francesco Bartolozzi (1725-1815). Bartlozzi was a Florentine engraver who 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). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton 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. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. Fine impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work. Inscription 'Solo all'Albertine' verso suggests the only other impression known to Calabi was in the Albertine Museum, Vienna.
Calabi & de Vesme 1342
[Ref: 43124]   £220.00  
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[Young man fishing, with a woman and small boy nearby]
[Young man fishing, with a woman and small boy nearby] Osservato da Fille il Pesce piglia / Per sostentar la debil sua Famiglia
Francesco Bartolozzi scolp. Appo Teodoro Viero Ven.d 1774
Etching, fine impression; scarce; platemark 235 x 175mm (9¼ x 7"). Thread margins.
One a series of six pastoral subjects etched after designs by the Venice-based publisher and artist Teodoro Viero (1740-95) by Francesco Bartolozzi (1725-1815). Bartlozzi was a Florentine engraver who 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). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton 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. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. Fine impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work. Inscription 'Solo all'Albertine' verso suggests the only other impression known to Calabi was in the Albertine Museum, Vienna.
Calabi & de Vesme 1343
[Ref: 43125]   £220.00  
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[Young couple embracing; young woman and sheep on right]
[Young couple embracing; young woman and sheep on right] Soglion gli Amanti coltivar non poco / Le lusinghe, gli scherzi il riso, e il gioco
Francesco Bartolozzi scolp. Appo Teodoro Viero Ven.d 1774
Etching, fine impression; scarce; platemark 235 x 175mm (9¼ x 7"). Thread margins.
One a series of six pastoral subjects etched after designs by the Venice-based publisher and artist Teodoro Viero (1740-95) by Francesco Bartolozzi (1725-1815). Bartlozzi was a Florentine engraver who 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). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton 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. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. Fine impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work. Inscription 'Solo all'Albertine' verso suggests the only other impression known to Calabi was in the Albertine Museum, Vienna.
Calabi & de Vesme 1345
[Ref: 43126]   £220.00  
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[Woman mourning and embracing a tomb in the form of a pot]
[Woman mourning and embracing a tomb in the form of a pot]
G.B. Cipriani inv. / F. Bartolozzi sculp.
Published as the Act directs Nov. 20 1776
Etching, sheet 155 x 160mm (6 x 6¼"). Trimmed inside platemark; slight foxing.
Title page to 'Miscellaneous works of Ph. D. Stanhope, Earl of Chesterfield' (1777). In a later state this print was identified as Bathsheba mourning her husband Uriah.
de Vesme 1694.2
[Ref: 35960]   £70.00   (£84.00 incl.VAT)
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[The Four Seasons.]
[The Four Seasons.]
[After Bassano.] Lucas Fecit.
[Italian, c.1680.]
Set of four engravings. Each c. 210 x 280mm.
Showing seasonal agricultural tasks.
[Ref: 542]   £550.00   view all images for this item - Currently not available

Midnight. Minuit.
Midnight. Minuit.
T.Baston del. E. Kirkall Sculp.
T.Burford Exc.t. [n.d. c.1720].
Mezzotint. 200 x 260mm. Faint stain on print surface.
Ships at anchor, with anglers. The moon has a face.
Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 547]   £550.00  
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[Frontispiece]
[Frontispiece] Severall Views of Ships in Variety of Weathers, neatly Engraved after ye Designs of Tho.s Baston, 1745.
Part of ye Royall Navy of England. Printed for Hen. Overton without Newgate, London.
Engraving, very rare; sheet 140 x 170mm (5½ x 6¾"). Small tears and areas of surface loss; glued to backing sheet at corners.
Titlepage to an important series of maritime prints after the little-known painter Thomas Baston. Many prints were made from Baston's designs, but while the National Maritime Museum has drawings by him, no oil paintings are known to survive.
See E.H.H. Archibald, 'Dictionary of Sea Painters'. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 33961]   £160.00   (£192.00 incl.VAT)
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Tapestry of Bayeux.
Tapestry of Bayeux. By Matilda Consort of William the Conqueror 1066.
Lithographed in 1829 by M.A. Gilbert.
Lithograph with large margins, very rare. 219 x 291mm (8½ x 11½").
This section shows William the Conqueror aboard the flagship 'The Mora' landing at Pevesney. The Bayeux Tapestry, depicts the events leading up to the Norman Conquest of England and culminating in the Battle of Hastings. French legend maintained the tapestry was commissioned and created by Queen Matilda, William the Conqueror's wife, and her ladies-in-waiting. However, scholarly analysis now concludes that the tapestry was probably commissioned by William's half-brother, Bishop Odo.
See Ref: 29054 for coloured copy (missing part of printed area on left).
[Ref: 29053]   £130.00   (£156.00 incl.VAT)
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Tapestry of Bayeux.
Tapestry of Bayeux. By Matilda Consort of William the Conqueror 1066.
Lithographed in 1829 by M.A. Gilbert.
Lithograph with hand colour, very rare. 218 x 285mm (8½ x 11¼"). Some creasing and scuffing.
This section shows William the Conqueror aboard the flagship 'The Mora' landing at Pevesney. The Bayeux Tapestry, depicts the events leading up to the Norman Conquest of England, culminating in the Battle of Hastings. French legend maintained the tapestry was commissioned and created by Queen Matilda, William the Conqueror's wife, and her ladies-in-waiting. However, scholarly analysis now concludes that the tapestry was probably commissioned by William's half-brother, Bishop Odo.
See Ref: 29053 for uncoloured copy (with additional printed area on left)
[Ref: 29054]   £180.00   (£216.00 incl.VAT)
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