A selection of stock we have recently added to our website.
A selection of stock we have recently added to our website.
VAT included (see terms) | Exclude VAT
![[The English Farrier.]](jpegs/31254.jpg)
[The English Farrier.]
[Gericault del. Lith. de Villain.]
[n.d., c.1820.]
Lithograph. 280 x 368mm (11 x 14½"). Cut.
A farrier working on a hoof turning to protect himself from attack by another horse. Published in a series of lithographs by Gericault, 'Etudes de Cheveaux', showing farriers from different countries.
[Ref: 31254] £320.00
[Gericault del. Lith. de Villain.]
[n.d., c.1820.]
Lithograph. 280 x 368mm (11 x 14½"). Cut.
A farrier working on a hoof turning to protect himself from attack by another horse. Published in a series of lithographs by Gericault, 'Etudes de Cheveaux', showing farriers from different countries.
[Ref: 31254] £320.00
Cheveaux Ardennés
Géricault
Lith. de G. Engelmann / Chez Gihaut, boulevard des Italiens No. 5
Lithograph, printed area 175 x 210mm (7 x 8¼"). Foxing; collector's stamp of [?]Paul and Véronique Sanchez verso (probably variant of L.3289).
Two horses harnessed to a carriage, one ridden by a soldier; other horses harnessed to gun-carriages in background. From 'Études de chevaux d'après nature' (1822) by Théodore Géricault (1791-1824). Prior to 1822, Géricault had been able to live without much thought to the saleability of his works owing to a comfortable annuity he received following the death of his mother. However, the loss of part of his fortune in 1822 required him to produce work designed to appeal to dealers and collectors, with pictures of horses forming a large part of his output at this time (although he had painted horses throughout his brief career).
Delteil 51
[Ref: 35581] £230.00 (£276.00 incl.VAT)
Géricault
Lith. de G. Engelmann / Chez Gihaut, boulevard des Italiens No. 5
Lithograph, printed area 175 x 210mm (7 x 8¼"). Foxing; collector's stamp of [?]Paul and Véronique Sanchez verso (probably variant of L.3289).
Two horses harnessed to a carriage, one ridden by a soldier; other horses harnessed to gun-carriages in background. From 'Études de chevaux d'après nature' (1822) by Théodore Géricault (1791-1824). Prior to 1822, Géricault had been able to live without much thought to the saleability of his works owing to a comfortable annuity he received following the death of his mother. However, the loss of part of his fortune in 1822 required him to produce work designed to appeal to dealers and collectors, with pictures of horses forming a large part of his output at this time (although he had painted horses throughout his brief career).
Delteil 51
[Ref: 35581] £230.00 (£276.00 incl.VAT)
Cheval anglais.
Géricault.
Lith. de G. Engelmann / Chez Gihaut, boulevard des Italiens No. 5.
Lithograph, printed area 200 x 230mm (8 x 9"). stain upper right; collector's stamps of [?]Paul and Véronique Sanchez verso (probably variant of L.3289).
English horse and rider, from 'Études de chevaux d'après nature' (1822) by Théodore Géricault (1791-1824). Prior to 1822, Géricault had been able to live without much thought to the saleability of his works owing to a comfortable annuity he received following the death of his mother. However, the loss of part of his fortune in 1822 required him to produce work designed to appeal to dealers and collectors, with pictures of horses forming a large part of his output at this time (although he had painted horses throughout his brief career). Géricault had spent time in England and, according to Delacroix, was one of the first to introduce the fashion for English tailoring to restoration France.
Delteil 54
[Ref: 35582] £260.00 (£312.00 incl.VAT)
Géricault.
Lith. de G. Engelmann / Chez Gihaut, boulevard des Italiens No. 5.
Lithograph, printed area 200 x 230mm (8 x 9"). stain upper right; collector's stamps of [?]Paul and Véronique Sanchez verso (probably variant of L.3289).
English horse and rider, from 'Études de chevaux d'après nature' (1822) by Théodore Géricault (1791-1824). Prior to 1822, Géricault had been able to live without much thought to the saleability of his works owing to a comfortable annuity he received following the death of his mother. However, the loss of part of his fortune in 1822 required him to produce work designed to appeal to dealers and collectors, with pictures of horses forming a large part of his output at this time (although he had painted horses throughout his brief career). Géricault had spent time in England and, according to Delacroix, was one of the first to introduce the fashion for English tailoring to restoration France.
Delteil 54
[Ref: 35582] £260.00 (£312.00 incl.VAT)
![[Cheval que l'on promène avant la course]](jpegs/35584.jpg)
[Cheval que l'on promène avant la course]
Géricault
Lith. de G. Engelmann
Lithograph, printed area 105 x 160mm (4 x 6¼"). Foxing; 'No. 13' in ms top right.
Horse and jockey; other horses in background. From 'Études de chevaux d'après nature' (1822) by Théodore Géricault (1791-1824). Prior to 1822, Géricault had been able to live without much thought to the saleability of his works owing to a comfortable annuity he received following the death of his mother. However, the loss of part of his fortune in 1822 required him to produce work designed to appeal to dealers and collectors, with pictures of horses forming a large part of his output at this time (although he had painted horses throughout his brief career). Before making this print, Géricault had recently spent time in England where he imitated the popular English racing picture in his 'Epsom Downs Derby' (Louvre).
Delteil 58
[Ref: 35584] £230.00
Géricault
Lith. de G. Engelmann
Lithograph, printed area 105 x 160mm (4 x 6¼"). Foxing; 'No. 13' in ms top right.
Horse and jockey; other horses in background. From 'Études de chevaux d'après nature' (1822) by Théodore Géricault (1791-1824). Prior to 1822, Géricault had been able to live without much thought to the saleability of his works owing to a comfortable annuity he received following the death of his mother. However, the loss of part of his fortune in 1822 required him to produce work designed to appeal to dealers and collectors, with pictures of horses forming a large part of his output at this time (although he had painted horses throughout his brief career). Before making this print, Géricault had recently spent time in England where he imitated the popular English racing picture in his 'Epsom Downs Derby' (Louvre).
Delteil 58
[Ref: 35584] £230.00
![[Trompette de Hussards]](jpegs/35585.jpg)
[Trompette de Hussards]
Géricault
Lith. de Villain [published by Gihaut]
Lithograph, image 120 x 135mm (4¾ x 5¼"). ink from edge of stone on far right; collector's stamp of [?]Paul and Véronique Sanchez verso (probably variant of L.3289).
Hussar trumpetter and horse, with line of hussars on horseback in background. From a series of eight lithographs by Théodore Géricault (1791-1824). Prior to 1822, Géricault had been able to live without much thought to the saleability of his works owing to a comfortable annuity he received following the death of his mother. However, the loss of part of his fortune in 1822 required him to produce work designed to appeal to dealers and collectors, with pictures of horses forming a large part of his output at this time (although he had painted horses throughout his brief career).
Delteil 63
[Ref: 35585] £250.00 (£300.00 incl.VAT)
Géricault
Lith. de Villain [published by Gihaut]
Lithograph, image 120 x 135mm (4¾ x 5¼"). ink from edge of stone on far right; collector's stamp of [?]Paul and Véronique Sanchez verso (probably variant of L.3289).
Hussar trumpetter and horse, with line of hussars on horseback in background. From a series of eight lithographs by Théodore Géricault (1791-1824). Prior to 1822, Géricault had been able to live without much thought to the saleability of his works owing to a comfortable annuity he received following the death of his mother. However, the loss of part of his fortune in 1822 required him to produce work designed to appeal to dealers and collectors, with pictures of horses forming a large part of his output at this time (although he had painted horses throughout his brief career).
Delteil 63
[Ref: 35585] £250.00 (£300.00 incl.VAT)
![[Two horses, one ridden by postillion]](jpegs/35589.jpg)
[Two horses, one ridden by postillion]
Géricault [in image lower left]
Aquatint, sheet 105 x 125mm (4 x 5"). Trimmed close to image; glued to backing sheet; collector's stamps of [?]Paul and Véronique Sanchez (probably variant of L.3289) and A.H. Rouart (L.2187a).
Equestrian subject after Géricault. Prior to 1822, Géricault had been able to live without much thought to the saleability of his works owing to a comfortable annuity he received following the death of his mother. However, the loss of part of his fortune in 1822 required him to produce work designed to appeal to dealers and collectors, with pictures of horses forming a large part of his output at this time (although he had painted horses throughout his brief career). Rare aquatint, previously in the collection of the industrialist A.H. Rouart (1839-1911), who assembled a fine collection of prints by 19th century French masters.
[Ref: 35589] £180.00 (£216.00 incl.VAT)
Géricault [in image lower left]
Aquatint, sheet 105 x 125mm (4 x 5"). Trimmed close to image; glued to backing sheet; collector's stamps of [?]Paul and Véronique Sanchez (probably variant of L.3289) and A.H. Rouart (L.2187a).
Equestrian subject after Géricault. Prior to 1822, Géricault had been able to live without much thought to the saleability of his works owing to a comfortable annuity he received following the death of his mother. However, the loss of part of his fortune in 1822 required him to produce work designed to appeal to dealers and collectors, with pictures of horses forming a large part of his output at this time (although he had painted horses throughout his brief career). Rare aquatint, previously in the collection of the industrialist A.H. Rouart (1839-1911), who assembled a fine collection of prints by 19th century French masters.
[Ref: 35589] £180.00 (£216.00 incl.VAT)
![[English racehorse with jockey up.]](jpegs/27985.jpg)
[English racehorse with jockey up.]
[Anon., Gericault, n.d.,.]
Unsigned lithograph heightened in white, image 200 x 230mm. 8 x 9".
Ref: C.72
[Ref: 27985] £240.00 (£288.00 incl.VAT)
[Anon., Gericault, n.d.,.]
Unsigned lithograph heightened in white, image 200 x 230mm. 8 x 9".
Ref: C.72
[Ref: 27985] £240.00 (£288.00 incl.VAT)
![[The Horse Race.]](jpegs/28676.jpg)
[The Horse Race.]
Gericault pinx.t P. de Laage lith.
Imp. A Lemercier. Paris. [n.d. c.1824.]
Lithograph on india paper with very large margins. Image area 280 x 368mm (11 x 14½").
The Horse Race; three horses galloping along an open track. Géricault's original painting is held in the Musée du Louvre, Paris.
[Ref: 28676] £180.00 (£216.00 incl.VAT)
Gericault pinx.t P. de Laage lith.
Imp. A Lemercier. Paris. [n.d. c.1824.]
Lithograph on india paper with very large margins. Image area 280 x 368mm (11 x 14½").
The Horse Race; three horses galloping along an open track. Géricault's original painting is held in the Musée du Louvre, Paris.
[Ref: 28676] £180.00 (£216.00 incl.VAT)
![[Two horses.]](jpegs/8018.jpg)
[Two horses.]
H. Bernard Chalon Del 1804.
Lithograph, sheet 240 x 335mm. Small creases.
A very early lithograph, by Henry Bernard Chalon (1771 - 1849), animal painter, especially of horses, and son of Jan Chalon. In 1793 he married Sarah Ward, sister of the painters William and James Ward.
[Ref: 8018] £320.00
H. Bernard Chalon Del 1804.
Lithograph, sheet 240 x 335mm. Small creases.
A very early lithograph, by Henry Bernard Chalon (1771 - 1849), animal painter, especially of horses, and son of Jan Chalon. In 1793 he married Sarah Ward, sister of the painters William and James Ward.
[Ref: 8018] £320.00
Horses Exercising.
T. Gericault inv.t. C. Hullmadel's Lithography.
London, Published by Rodwell & Martin New Bond Street. Feb. 1. 1821.
Hand coloured lithograph. Framed. Printed area: 285 x 405mm (11¼ x 16"). Unexamined out of frame. Tear to left edge.
Two horses wearing saddlecloths canter on a path towards the right, the one in the foreground is unmounted, held by the reins of the rider on the other horse. This print is from the only edition printed by Rodwell and Martin, issued as No. 6 in the series, 'Various Subjects drawn from life on Stone', known as the 'English Series', 1821. Despite their commercial failure in England at the time, Gericault's 'English Series' is now considered to have been of the greatest importance in the development of lithography as an art form during the first half of the nineteenth century. Due to the comparitively small number of impressions printed before the stones were effaced, exampes of Gericault's lithographs from this series are now exteremelty rare and have always been amongst the most sought after of his original printed works.
Ex Collection of William Weston.
[Ref: 35439] £480.00
T. Gericault inv.t. C. Hullmadel's Lithography.
London, Published by Rodwell & Martin New Bond Street. Feb. 1. 1821.
Hand coloured lithograph. Framed. Printed area: 285 x 405mm (11¼ x 16"). Unexamined out of frame. Tear to left edge.
Two horses wearing saddlecloths canter on a path towards the right, the one in the foreground is unmounted, held by the reins of the rider on the other horse. This print is from the only edition printed by Rodwell and Martin, issued as No. 6 in the series, 'Various Subjects drawn from life on Stone', known as the 'English Series', 1821. Despite their commercial failure in England at the time, Gericault's 'English Series' is now considered to have been of the greatest importance in the development of lithography as an art form during the first half of the nineteenth century. Due to the comparitively small number of impressions printed before the stones were effaced, exampes of Gericault's lithographs from this series are now exteremelty rare and have always been amongst the most sought after of his original printed works.
Ex Collection of William Weston.
[Ref: 35439] £480.00
Sweet William.
Stubbs pinx. J.G.B.
Hullmandel No. 10. [n.d., c.1840.]
Very scarce lithograph. Sheet size: 360 x 450mm (14¼ x 17½"). Very light mount burn.
A portrait of the racehorse 'Sweet William', standing in profile to the left. Sweet William was bred by William Cornforth of Barforth, near Richmond, Yorkshire, and was bought by Lord Bolingbroke, for whom he won his first race in 1772, at the New Market Spring Meeting. His success brought him to the attention of one of George Stubbs's most important patrons, Richard, 1st Earl Grosvenor, a celebrated breeder and racehorse owner, who promptly purchased Sweet William. The horse remained in Lord Grosvenor's ownership thereafter. The original portrait was one of sixteen paintings which Stubbs executed for the Turf Gallery project.
Ex Collection: the Late Honourable Christopher Lennox-Boyd.
[Ref: 35375] £490.00
Stubbs pinx. J.G.B.
Hullmandel No. 10. [n.d., c.1840.]
Very scarce lithograph. Sheet size: 360 x 450mm (14¼ x 17½"). Very light mount burn.
A portrait of the racehorse 'Sweet William', standing in profile to the left. Sweet William was bred by William Cornforth of Barforth, near Richmond, Yorkshire, and was bought by Lord Bolingbroke, for whom he won his first race in 1772, at the New Market Spring Meeting. His success brought him to the attention of one of George Stubbs's most important patrons, Richard, 1st Earl Grosvenor, a celebrated breeder and racehorse owner, who promptly purchased Sweet William. The horse remained in Lord Grosvenor's ownership thereafter. The original portrait was one of sixteen paintings which Stubbs executed for the Turf Gallery project.
Ex Collection: the Late Honourable Christopher Lennox-Boyd.
[Ref: 35375] £490.00