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The Martyrdom of Charles the First, King of England,
The Martyrdom of Charles the First, King of England, who was beheaded on the 30.th Jan.y 1648, In the 40.th Year of his Age, & the 24.th Year of his Reign.
Drawn, Transferred to Stone & Printed, by J. Netherclift.
London, Pub.d at J. Netherclift's Lithographic Establishment, 8 Newman St. Oxford St. [c.1840]
A rare lithograph on india, printed area 485 x 450mm (19 x 17¾"), with large margins.
Facsimile of Charles I's death warrant, with portraits of leading Parliamentarians and views of the king during the trial and moments before his execution. An earlier engraving of the death warrant had been published by the Society of Antiquaries in 1750.
For the 1750 engraving see ref. 45272.
[Ref: 46753]   £360.00  
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Children at Play.
Children at Play.
[Francesco Bartolozzi.]
[n.d., c.1773.]
Stipple, printed in sepia. Plate: 255 x 230mm (10 x 9"), with large margins
A scene showing three putti playing whilst riding a goat.
De Vesme 1250 Variant of IV. Provenance: Edge Hill, Cheshire
[Ref: 46718]   £260.00  
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[Chryseis Restored to her Father, parallel text in French]
[Chryseis Restored to her Father, parallel text in French]
[G.B. Cipriani inv. et del. - F. Bartolozzi sculp. 1786.]
[London, Publish'd June 12.th 1786, by S. Vivares]
A rare stipple, printed in sepia, platemark 390 x 450mm (15¼ x 17¾"). Proof before all letters. Small margins.
Scene from Homer's 'The Odyssey' in which the enslaved Trojan woman Chryseis is returned to her father after Apollo unleashes a plague on her Greek captors. Stipple engraving by Francesco Bartolozzi (1725-1815) after his frequent collaborator Giovanni Battista Cipriani (1727-85). Bartolozzi was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case, getting around the rules by electing Bartolozzi as a painter). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton enticed Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal.
Calabi & de Vesme 381 ii/v (before all letters, with etched border). Provenance: Edge Hill, Cheshire.
[Ref: 46757]   £420.00  
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Coriolanus.
Coriolanus. From the Original Picture in ye Collection of George Sheppard Esq.r.
Angelica Kauffman R.A. pinx.t [...] Fran.s Bartolozzi R.A. Sculp.t.
London, Publish'd Nov.r 3 1785 by Ja.s Birchall No. 473 Strand.
Stipple printed in brown, very fine; platemark 420 x 490mm (16½ x 19¼"). Trimmed to platemark bottom & top edge. Small margin at sides.
Scene from Act 5, Scene 3 of Shakespeare's tragedy 'Coriolanus'. Stipple engraving by Francesco Bartolozzi after Angelica Kauffman. Bartolozzi was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case, getting around the rules by electing Bartolozzi as a painter). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton enticed Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal.
Calabi & de Vesme 1842 ii/iii. Provenance: Edge Hill, Cheshire.
[Ref: 46758]   £520.00  
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Cupid Disarm'd by Euphrosine.
Cupid Disarm'd by Euphrosine. Metastasio, Vol: 7 . From the Original Picture, in the Possession of Geo:e Bowles Esq.r
Angelica Kauffman Pinx.t Tho:s Burke Fecit.
Publish'd Nov: 21 1784 by T. Burke No. 3 Barton Street, Westminster.
Stipple, sheet 330 x 375mm (13 x 14½"). Trimmed to platemark; creased; tear on left.
Engraving after a painting by Angelica Kauffman (1741-1807). Born in Switzerland, Kauffman lived in England from 1766 to 1781 and was one of only two women (the other being Mary Moser) amongst the thirty-six founding members of the Royal Academy of Arts.
[Ref: 46763]   £160.00   (£192.00 incl.VAT)

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Cupid Refusing Love to Desire.
Cupid Refusing Love to Desire.
Drawn by F. Bartolozzi R.A. [...] F. Vieira Junior inv.t [...] Engraved by John Vendramini.
London Published May 1 1800 by F. Bartolozzi & J. Vendramini.
Stipple, platemark 365 x 475mm (14¼ x 18½"), with large large margins.
Mythological subject after Francesco Bartolozzi. Bartolozzi was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case, getting around the rules by electing Bartolozzi as a painter). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton enticed Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. One of few prints engraved after a drawing by Bartolozzi rather than by Bartolozzi from another artist's designs.
Provenance: Edge Hill, Cheshire.
[Ref: 46764]   £380.00  
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The Death of the Elk,
The Death of the Elk, Engrav'd from the Original Picture late in the Houghton Collection.
Rubens pinx.t. W. Ward Sculp.t.
London. Pub.d. June 24. 1791 by T.Simpson St. Paul's Church Yard.
A scarce mezzotint. 505 x 605mm (20 x 23¾"), with very large margins. Creasing.
A fine impression of this scene of hunting dogs running down an elk.
Frankau: 87
[Ref: 46251]   £360.00  
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The Death of Dido.
The Death of Dido.
Painted by Sir Joshua Reynolds. Engraved by J. Grozer.
London, Published at the Act directs, 9th. May 1796, by J. Grozer. No.8, Castle Street, Leicester Square.
Mezzotint, very fine impression & image. Plate: 490 x 590mm (19¼ x 23¼"). Creasing in top left corner. Small tear in top right corner. Small margins.
A dramatic scene in which Dido, having stabbed herself, lies dying on a pyre while beside her Anna throws her arms up in horror and Iris cuts a lock of her hair. In the distance Aeneas's ships sail away. Said by Leslie to be a portrait of Miss Wateridge.
CS: 25
[Ref: 46177]   £650.00  
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Der Elephant und das Nashorn.
Der Elephant und das Nashorn. So groß und mächtig ist kein Wesen kein in der Welt...
Joh. Elias Ridinger inv. et del. M. El. Ridinger sculps. Aug. Vind.
[n.d., c.1750.]
Engraving. Watermark: M. Heuslar; Plate: 360 x 290mm (14 x 11½"). Repaired tear in top edge.
A scene showing a fight between an elephant and rhinoceros.
[Ref: 46832]   £580.00  
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[The Freeing of Amoret]
[The Freeing of Amoret]
[Francesco Bartolozzi after John Opie, 1792]
Stipple, sheet 505 x 410mm (19¾ x 16¼") Proof before letters; trimmed to platemark; uncleaned edges. Slight crease top right margin.
A dramatic & fine image of Britomart freeing Amoret from the enchanter Busirane. Illustration to Edmund Spenser's 'The Faerie Queen' published in 'Macklin's British Poets', an initiative of the publisher Thomas Macklin to encourage ambitious painting and engraving of literary subjects and rival the 'Shakespeare Gallery' of his contemporary John Boydell. Proof stipple by Francesco Bartolozzi ((1725-1815), Florentine engraver and founding member of the Royal Academy in 1768. After meeting George III's librarian Richard Dalton in Italy in 1763, Bartolozzi waas invited 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 employed here whereby images were produced using dots rather than lines.
Calabi & de Vesme 1437 ii/iv
[Ref: 46746]   £520.00  
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The Farewell.
The Farewell.
Morland Jun.r Pinx.t. Knight Sculp.t.
[n.d., c.1786.]
Colour-printed stipple. Sheet: 305 x 305mm (12 x 12"). Trimmed to printed image and laid on French mount board. Title in ink.
A scene in which a young woman waves goodbye to a ship setting sail from a rowing boat. The print was originally called 'Susan's Farewell' when published. American & Australian interest. See 46914.
[Ref: 46707]   £240.00  
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[Rest on the Flight into Egypt]
[Rest on the Flight into Egypt]
N. Poussin pinx.t F. Bartolozzi Etch'd 1795
London, Published as the Act directs by G. Bartolozzi July 1795
Etching, platemark 640 x 490mm (25¼ x 19¼"). Proof before title; margins uncleaned.
Early state of an engraving after Poussin by Francesco Bartolozzi. The fully lettered state was published in March 1796, several months after this impression was printed.
Calabi & de Vesme 91 ii/vi. Provenance: Edge Hill, Cheshire.
[Ref: 46755]   £390.00  
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Louisa Hammond.
Louisa Hammond. My Brother and your Friend then is gone! See Emma Corbett; or the Miseries of Civil War. Letter XXXIV By S.I. Pratt.
Angelica Kauffman pinxit. F. Bartolozzi Sculpsit.
Published according to Act of Parliament 15.th Sept.r 1781 by Sus.a Vivares.
A rare & fine stipple, printed in sepia. Plate: 380 x 290mm (15 x 11½") very large margins.
An American scene in which a young woman sits in a wooded area writing a letter with her dog asleep beside her. An illustration to Letter XXXIV in Samuel Jackson Prat's 'Emma Corbett, or, The Miseries of Civil War founded on Some Recent Circumstances which happened in America', Dublin 1780.
De Vesme: 1400 III of VI. Provenance: Edge Hill, Cheshire
[Ref: 46713]   £520.00  

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Dr Johnson awaiting an audience of Lord Chesterfield.
Dr Johnson awaiting an audience of Lord Chesterfield.
E.M. Ward R.A. Del. Lumb Stocks R.A. Sc.
Art Union of London 1880.
Mixed-method engraving. 580 x 710mm (22¾ x 28"), with very large margins.
Dr. Johnson in the ante-room of Lord Chesterfield in Chesterfield House, Westminster. Philip Stanhope, 4th Earl of Chesterfield, was a patron of Samuel Johnson's, but Johnson felt that what little Chesterfield had done was too late to be of any use. This scene shows Johnson sitting with irritation among a multitude of others waiting for his Lordship. It has hogarthian levels of detail, with portraits on the walls and figures including a black pageboy with a lute. It was published the year after the painter, Edward Matthew Ward, committed suicide during a mental episode. Ward's son, Leslie Ward, found fame working as a caricaturist for Vanity Fair as 'Spy'.
[Ref: 46264]   £350.00  
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[Queen Katherine's Dream.]
[Queen Katherine's Dream.]
[Henry Fuseli. Francesco Bartolozzi.]
London Pub.d July 20 1787. [Thomas Macklin.]
Stipple, very early unfinished working proof before margins cleaned; with scratched publication line. Plate: 430 x 500mm (17 x 19¾"). Trimmed to plate on lower and top edges. Marking, staining and creasing in plate, border area uncleaned. Tear in lower edge into plate.
A scene showing Catherine of Aragon dreaming of her crown shortly before her death. From Macklin's series of 'British Poets'.
De Vesme 1427 between I & II. Weinglass: 77 I of IV - not seen. Provenance: Edge Hill, Cheshire
[Ref: 46723]   £650.00  

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Launce's Lecture.
Launce's Lecture. "The Two Gentlemen of Verona." (Shakespeare)
T.F. Dicksee, Pinx. [...] J.R. Dicksee, lith.
T.H. Lacy, 89, Strand, London.
A rare lithograph, printed area 510 x 405mm (20 x 16"), with very large margins. Repaired tears to edges.
Launce's lecture to his dog Crab, from Shakespeare's 'Two Gentlemen of Verona', after Thomas Francis Dicksee (1819-95).
Provenance: Edge Hill, Cheshire.
[Ref: 46762]   £380.00  
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[Léonidas aux Thermopyles.]
[Léonidas aux Thermopyles.]
David 1815. Laugier 1826.
Etching with engraving on chine collé, proof before title. 725 x 915mm (28½ x 360"). Two circular red ink stamps in left corner.
Leonidas I and his army of Spartans gathered at the pass at Thermopylae to block the advance of the Persians, 480BC. On the rockface on the left a soldier carves in Greek the famous phrase, ''Go, passer-by, to Sparta tell / Obedient to her law we fell''. It was painted by Jacques Louis David, who spent nearly fifteen years on the project. It was finally completed the year of Napoleon's first exile, drawing comparisons of a military defeat transformed into a moral victory. The two intertwined ink stamps contain gothic initials, one 'L', the other an illegible pair: as the British Museum example has the same stamps it is likely that the 'L' represents the engraver Jean Nicolas Langier (1785-1875).
Ex: Edge Hill, Cheshire. BM 1868,0808.3198.
[Ref: 47210]   £1,200.00  

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Apollo & Daphne.
Apollo & Daphne.
Ex Tabula Titiani.
J. Smith fecit Londini. 1709.
Mezzotint. 415 x 280mm (16¼ x 11"), with very large margins.
Daphne, her hands beginning to sprout leaves and branches, pursued by Apollo. In the foreground, Daphne's father, the river-god Peneus. From the series 'Tabulæ novem coelo elaboratæ ad totidem Titiani archetypos / Nine Prints from the Celebrated Paintings of Titian, in the Duke of Marlboroughs Gallery, at Blenheim' by the famous early mezzotinter John Smith (1652-1743). The series, commonly known as 'The Loves of the Gods', derives from a series of leather wall-hangings formerly in the Titian Room at Blenheim destroyed by fire in 1861. The attribution to Titian is uncertain, however, and was doubted as early as 1766 (see G. Scharf, Catalogue Raisonné, Blenheim Palace, London, 1862, pp. 83-92). The designs relate to prints by Caraglio after Perino del Vaga and Rosso Fiorentino.
Wessely: 340.
[Ref: 46989]   £550.00  
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Cupido & Psyche.
Cupido & Psyche. Ex Tabula Titiani. J. Smith fecit Londini. 1708.
Fine mezzotint, platemark 415 x 280mm (16¼ x 11"), with large margins.
Cupid leaning over the sleeping Psyche. The story of Cupid and Psyche, first recorded in Ovid's 'Metamorphoses' and depicted in numerous classical and post-Renaissance artworks, culminates in a sacred marriage between the two. From the series 'Tabulæ novem coelo elaboratæ ad totidem Titiani archetypos Nine Prints from the Celebrated Paintings of Titian, in the Duke of Marlboroughs Gallery, at Blenheim' by the famous early mezzotinter and re-publisher of older plates John Smith (1652 - 1743). The series (commonly known as 'The Loves of the Gods') derives from a series of leather wall-hangings formerly in the Titian Room at Blenheim, destroyed by fire in 1861. The attribution to Titian is false, however, and was doubted as early as 1766 (see G. Scharf, Catalogue Raisonné, Blenheim Palace, London, 1862, pp. 83-92). The hangings are in fact based on prints by Caraglio after Pelino del Vaga and Rosso Fiorentino.
[Ref: 46776]   £550.00  
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Hercules & Dejanira
Hercules & Dejanira Ex Tabula Titiani. J. Smith fecit Londini. 1709.
Fine mezzotint, platemark 415 x 280mm (16¼ x 11"), with large margins.
Hercules, son of Zeus, and his wife Deianira. From the series 'Tabulæ novem coelo elaboratæ ad totidem Titiani archetypos Nine Prints from the Celebrated Paintings of Titian, in the Duke of Marlboroughs Gallery, at Blenheim' by the famous early mezzotinter and re-publisher of older plates John Smith (1652 - 1743). The series (commonly known as 'The Loves of the Gods') derives from a series of leather wall-hangings formerly in the Titian Room at Blenheim, destroyed by fire in 1861. The attribution to Titian is false, however, and was doubted as early as 1766 (see G. Scharf, Catalogue Raisonné, Blenheim Palace, London, 1862, pp. 83-92). The hangings are in fact based on prints by Caraglio after Pelino del Vaga and Rosso Fiorentino.
[Ref: 46775]   £550.00  
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Jupiter Juno and Io.
Jupiter Juno and Io. Ex Tabula Titiani. J. Smith fecit Londini. 1709.
Fine mezzotint, platemark 415 x 280mm (16¼ x 11"), with large margins.
Io transforming into a cow by Jupiter to hide her from Juno. From the series 'Tabulæ novem coelo elaboratæ ad totidem Titiani archetypos Nine Prints from the Celebrated Paintings of Titian, in the Duke of Marlboroughs Gallery, at Blenheim' by the famous early mezzotinter and re-publisher of older plates John Smith (1652 - 1743). The series (commonly known as 'The Loves of the Gods') derives from a series of leather wall-hangings formerly in the Titian Room at Blenheim, destroyed by fire in 1861. The attribution to Titian is false, however, and was doubted as early as 1766 (see G. Scharf, Catalogue Raisonné, Blenheim Palace, London, 1862, pp. 83-92). The hangings are in fact based on prints by Caraglio after Pelino del Vaga and Rosso Fiorentino.
[Ref: 46773]   £550.00  
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Pluto & Prosperina
Pluto & Prosperina Ex Tabula Titiani. J. Smith fecit Londini. 1708.
Fine mezzotint, platemark 415 x 280mm (16¼ x 11"), with large margins.
The Rape of Proserpina. Proserpina (Persephone in Greek mythology), daughter of Ceres, was abducted by Pluto (Hades in Greek mythology), god of the underworld, an episode frequently depicted by artists in the Renaissance and after. From the series 'Tabulæ novem coelo elaboratæ ad totidem Titiani archetypos Nine Prints from the Celebrated Paintings of Titian, in the Duke of Marlboroughs Gallery, at Blenheim' by the famous early mezzotinter and re-publisher of older plates John Smith (1652 - 1743). The series (commonly known as 'The Loves of the Gods') derives from a series of leather wall-hangings formerly in the Titian Room at Blenheim, destroyed by fire in 1861. The attribution to Titian is false, however, and was doubted as early as 1766 (see G. Scharf, Catalogue Raisonné, Blenheim Palace, London, 1862, pp. 83-92). The hangings are in fact based on prints by Caraglio after Pelino del Vaga and Rosso Fiorentino.
[Ref: 46777]   £550.00  
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Vulcanus & Ceres.
Vulcanus & Ceres. Ex Tabula Titiani. J. Smith fecit Londini. 1708.
Fine mezzotint, platemark 415 x 280mm (16¼ x 11"), with large margins
Ceres, Roman goddess of agriculture, and Vulcan, god of fire. From the series 'Tabulæ novem coelo elaboratæ ad totidem Titiani archetypos; Nine Prints from the Celebrated Paintings of Titian, in the Duke of Marlboroughs Gallery, at Blenheim' by the famous early mezzotinter and re-publisher of older plates John Smith (1652 - 1743). The series (commonly known as 'The Loves of the Gods') derives from a series of leather wall-hangings formerly in the Titian Room at Blenheim, destroyed by fire in 1861. The attribution to Titian is false, however, and was doubted as early as 1766 (see G. Scharf, Catalogue Raisonné, Blenheim Palace, London, 1862, pp. 83-92). The hangings are in fact based on prints by Caraglio after Pelino del Vaga and Rosso Fiorentino.
[Ref: 46778]   £550.00  
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[Massacre of the Innocents.]
[Massacre of the Innocents.]
Jac. Callot fe. [c.1621-5]
Engraving. 140 x 110mm (5½ x 4¼"), with 17th century post horn watermark. Ms. to very large margins.
Engraving by Jacques Callot (1592-1635), one of the greatest seventeenth century printmakers, bringing combining elegance and grotesquerie. Callot engraved two very similar versions of this subject: the first in Florence (c.1617-18) and the second in Nancy (c.1621-5). This print is the later version.
[Ref: 46005]   £320.00  
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[Noah Stands Before God.]
[Noah Stands Before God.]
Gio. Bened. Castiglione. [f: Bartolozzi f:.]
[n.d., c.1765.]
Etching. Sheet: 285 x 410mm (11¼ x 16"), 18th century watermark. Trimmed and a hole in centre.
A biblical scene in which the figure of Noah stands before an altar with his hands outstretched while the figure of God is held up by two angels. Several figures, some holding animals kneel around the altar.
De Vesme 1. Provenance: Edge Hill, Cheshire
[Ref: 46838]   £65.00   (£78.00 incl.VAT)
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Paulus Æmelius.
Paulus Æmelius. When no Public Affairs hindered him be always attended their Studies and Exercises in short he was the most Indulgent Parent in Rome.
Angelica Kauffman Inv.t. Bartolozzi Sculp.
Publish'd Nov.r 5. 1793 by A. Molteno Printseller to her Royal High.ss the Duchess of York No. 76 St. James's Street.
Fine stipple. Plate: 320 x 390mm (12½ x 15½") very large margins.
A classical scene showing Lucius Aemilius Paullus Macedonicus (c. 229 BC 160 BC), consul of the Roman Republic, shown relaxing with his family.
De Vesme 507 IV. Provenance: Edge Hill, Cheshire
[Ref: 46720]   £390.00  
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The Porter and Hare.
The Porter and Hare. From a most Capital Picture of Mr Zoffany in the Possession of Mr Sayer.
J. Zoffany pinx.t. Rich.d Earlom fecit.
Rob.t Sayer Excudit. London, Printed for Rob.t Sayer in Fleet-Street; Published as the Act directs 10 March 1774.
Mezzotint. 610 x 435mm (24 x 17¼"), with large margins. Slight spotting. Mounted at corners.
A pair of young boys acquire a hare from an old man, apparently for Zoffany, whose name is on the paper one boy holds up. The other boy eats a sandwich, the newly fashionable snack. The author Pierre-Jean Grosley saw sandwiches in London in 1765: his account ('Londres', published Neuchâtel in 1770 and translated as 'A Tour to London' in 1772) contains the first published version of the popular legend that the Earl of Sandwich invented them. The original oil is in the Herbert Art Gallery and Museum, bequeathed in 1955 by Ernest Edward Cook, grandson of travel agent Thomas Cook.
[Ref: 46189]   £480.00  
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Selim or the Shepherd's Moral.
Selim or the Shepherd's Moral. No.1 of the British Poets. Vide Collins's Eclogue.
Angelica Kauffman R.A. pinx.t. F. Bartolozzi R.A. & Engraver to his Majesty Sculp.t.
London Published April 4. 1788 by Tho.s Macklin, No.39 Fleet Street.
Colour-printed stipple. Plate: 430 x 505mm (17 x 20"). Trimmed to plate.
A pastoral scene from William Collin's 'Eclogue the First. Selim or the Shepherd's Moral' showing a young shepherd kneeling before three young women in the countryside near Bagdad.
[Ref: 46676]   £360.00  
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Sigismunda.
Sigismunda.
W.m Hogarth Pinx.t. Etch'd by James Basire under the Direction of William Hogarth.
Publish'd as the Act directs May 5.th 1790 by Ja.s Basire.
A scarce engraving. Plate: 455 x 410mm (18 x 16"). Creasing and damage in edges. Repaired tear on left. Trimmed to platemark on right, thread margins on 3 sides.
A copy of the unfinished engraving after William Hogarth's painting 'Sigismunda Mourning over the Heart of Guiscardo' 1759. Sigismunda leans on an ornate table holding the golden goblet, a gift from her father, which contains her dead husband's heart. An illustration of Giovanni Boccaccio's 'Decameron'. This work was Hogarth's attempt to prove that English painters could match the work of the Old Masters but the work was so heavily criticised that he contemplated giving up painting all together. The painting is now housed in the Tate.
Paulson: 238
[Ref: 47064]   £650.00  

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Sorrows of Wertner. To day I was sitting by Charlotte; she was playing on her harpischord...
Sorrows of Wertner. To day I was sitting by Charlotte; she was playing on her harpischord... [&] They had passed an hour in this irksome situation...
Ramberg inv. F. Bartolozzi Sculp. [&] I. H. Ramberg inv. F. Bartolozzi Sculp.
London Pub.d April, 21. 1785 by Ia.s Birchall No. 473 Strand.
Pair of stipples printed in sepia. Each 255 x 190mm (10 x 7½"). Trimmed to plate on top and bottom edges; & trimmed to plate, slight foxing.
Two illustrations of Johann Wolfgang von Goethe's 'The Sorrows of Young Werther', the tragic tale of Werther unrequited love for Charlotte that ends in tragedy: the first scene shows Werther sitting listening to Charlotte playing the harpsichord while her little sister plays with a doll; the second shows Charlotte distraught at receiving a letter from Werther asking to borrow her husband Albert's pistols for use on a long journey.
[Ref: 46698]   £320.00   view all images for this item
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