A selection of stock we have recently added to our website.
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
![[Three men angling under a large tree.]](jpegs/26548.jpg)
[Three men angling under a large tree.]
W. Barron Aq. Fort. Fecit.
[n.d., c.1800.]
Very scarce etching. Sheet 160 x 200mm (6¼ x 8"), on beige paper with fine 18th century watermark. Mounted on album paper with a sepia border, as issued.
William Augustus Barron (1751 - after 1806).
[Ref: 26548] £160.00 (£192.00 incl.VAT)
W. Barron Aq. Fort. Fecit.
[n.d., c.1800.]
Very scarce etching. Sheet 160 x 200mm (6¼ x 8"), on beige paper with fine 18th century watermark. Mounted on album paper with a sepia border, as issued.
William Augustus Barron (1751 - after 1806).
[Ref: 26548] £160.00 (£192.00 incl.VAT)
![[Arcadian landscape]](jpegs/46760.jpg)
[Arcadian landscape]
H. Voogd pinx. et inc. Romae [c.1800]
Etching, platemark 280 x 385mm (11 x 15"), with 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 (£312.00 incl.VAT)
H. Voogd pinx. et inc. Romae [c.1800]
Etching, platemark 280 x 385mm (11 x 15"), with 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 (£312.00 incl.VAT)
Arc de Triomphe de Titus Vespasien. Dedié à Monsiegneur Armand Thomas Hüe, Chevalier, Marquis de Miroménil, Conseiller du Roi en tous ses Conseils, Premier Président du Parlement de Normandie Par son tres Humble et tres Obéissant Serviteur N. Le Mire.
De la Croix. Le Mire.
à Paris chés le Mire Graveur, des Académies de Vienne et de Rouen, rue S. Etienne des Grècs. [n.d., c.1760.]
Engraving. 355 x 475mm (14 x 18¾"), with very large margins.
A capriccio of Rome's Arch of Titus, relocated to the banks of a river with men fishing with nets from a boat, a fortified tower behind.
[Ref: 50665] £320.00
De la Croix. Le Mire.
à Paris chés le Mire Graveur, des Académies de Vienne et de Rouen, rue S. Etienne des Grècs. [n.d., c.1760.]
Engraving. 355 x 475mm (14 x 18¾"), with very large margins.
A capriccio of Rome's Arch of Titus, relocated to the banks of a river with men fishing with nets from a boat, a fortified tower behind.
[Ref: 50665] £320.00
Les Douceurs de l'Automne.
Gravé par P. C. Canot d'apres le dessein original de même grandeur, inventé et dessiné par Jean Pillement.
London Publish.d according to Act of Parliament December y.e 26 1759.
Etching, very fine impression, 430 x 530mm (17 x 21"), with large margins. Slightly scuffed, repaired tear on top margins, wormholes.
Autumn landscape with a man pouring a glass of wine to a companion while another is drawing wine from a barrel in the foreground, beyond some men seated around a table under a vine arbour. A tavern is visible in the background on the left. From a series of four plates after Jean Pillement, engraved by Canot, Mason and Woolett and representing the different seasons.
IFF 24.
[Ref: 59606] £360.00
Gravé par P. C. Canot d'apres le dessein original de même grandeur, inventé et dessiné par Jean Pillement.
London Publish.d according to Act of Parliament December y.e 26 1759.
Etching, very fine impression, 430 x 530mm (17 x 21"), with large margins. Slightly scuffed, repaired tear on top margins, wormholes.
Autumn landscape with a man pouring a glass of wine to a companion while another is drawing wine from a barrel in the foreground, beyond some men seated around a table under a vine arbour. A tavern is visible in the background on the left. From a series of four plates after Jean Pillement, engraved by Canot, Mason and Woolett and representing the different seasons.
IFF 24.
[Ref: 59606] £360.00
L'Automne
Van Goyen del. Weirotter sculp
Huquier ex. [c.1670]
Etching, sheet 230 x 320mm (9 x 12½"). Thread margins.
Autumn scene showing a pig market after a drawing by the Dutch painter and draughtsman Jan van Goyen (1596-1656).
[Ref: 47657] £140.00 (£168.00 incl.VAT)
Van Goyen del. Weirotter sculp
Huquier ex. [c.1670]
Etching, sheet 230 x 320mm (9 x 12½"). Thread margins.
Autumn scene showing a pig market after a drawing by the Dutch painter and draughtsman Jan van Goyen (1596-1656).
[Ref: 47657] £140.00 (£168.00 incl.VAT)
![[Autumn]](jpegs/45270.jpg)
[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)
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)
I Banditi Italiani. The Italian Banditti. No. 19. Engraved from an Original Picture of Francisco Simonini, in the Possession of Mr. Panton Betew.
Francisco Simonini Pinx.t. F. Vivares Sculp.t.
Published by Franc.s Vivares April 25th. 1759.
Fine etching. 400 x 500mm (15¾ x 19¾"), with large margins. Small tears to margins.
A group of bandits cross a stream to attack a party of travellers; some beg for mercy, holding out bags of money, while another man rides away. Engraved by Francis Vivares (1709-80) after Francesco Simonini (1686 - c.1755), a pair to 'La divisione delle preda. The Booty Divided'. Boydell republished the plates in 1781.
[Ref: 53370] £280.00 (£336.00 incl.VAT)
Francisco Simonini Pinx.t. F. Vivares Sculp.t.
Published by Franc.s Vivares April 25th. 1759.
Fine etching. 400 x 500mm (15¾ x 19¾"), with large margins. Small tears to margins.
A group of bandits cross a stream to attack a party of travellers; some beg for mercy, holding out bags of money, while another man rides away. Engraved by Francis Vivares (1709-80) after Francesco Simonini (1686 - c.1755), a pair to 'La divisione delle preda. The Booty Divided'. Boydell republished the plates in 1781.
[Ref: 53370] £280.00 (£336.00 incl.VAT)
![[Shepherdess sitting with sheep outside a cottage, spinning wool]](jpegs/43124.jpg)
[Shepherdess sitting 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 (£264.00 incl.VAT)
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 (£264.00 incl.VAT)
![[Young man fishing, with a woman and small boy nearby]](jpegs/43125.jpg)
[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 (£264.00 incl.VAT)
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 (£264.00 incl.VAT)
![[Young couple embracing; young woman and sheep on right]](jpegs/43126.jpg)
[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 (£264.00 incl.VAT)
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 (£264.00 incl.VAT)
Dessin de Nicolas Berghem de Harlem. No. 12.
M.C. Prestel sc.
[n.d., 1797.]
Rare. Crayon manner stipple with white highlights, 270 x 405mm (10¾ x 16"), mounted on original backing sheet with engraved border and title, outside platemark 370 x 475mm (14½ x 18¾"). Repaired tear at top centre into image.
A rocky landscape with peasants, from a catalogue of the drawings in the collection of Paulus Praun II (1548–1616) in Nuremberg, prior to their sale in 1801. Written by by Christoph Murr, the catalogue was illustrated with engravings by husband and wife team Johann Gottlieb Prestel (1739-1808) and Maria Katharina (maiden name Höll, 1747-94), despite their separation in 1786, when Maria Katharina moved to London, working for John Boydell and others.
[Ref: 48602] £320.00
M.C. Prestel sc.
[n.d., 1797.]
Rare. Crayon manner stipple with white highlights, 270 x 405mm (10¾ x 16"), mounted on original backing sheet with engraved border and title, outside platemark 370 x 475mm (14½ x 18¾"). Repaired tear at top centre into image.
A rocky landscape with peasants, from a catalogue of the drawings in the collection of Paulus Praun II (1548–1616) in Nuremberg, prior to their sale in 1801. Written by by Christoph Murr, the catalogue was illustrated with engravings by husband and wife team Johann Gottlieb Prestel (1739-1808) and Maria Katharina (maiden name Höll, 1747-94), despite their separation in 1786, when Maria Katharina moved to London, working for John Boydell and others.
[Ref: 48602] £320.00
No. 1. From an Original Drawing of the same size by Dan.l Bond.
Pye sculpsit.
London, published March 1st 1796, by B.B. Evans, in the Poultry and Colnaghi & C.o Pall Mall.
Rare etching. 250 x 330mm (9¾ x 13"), with very large margins.
A ruined church on a countryside hill, with travellers in the foreground. Daniel Bond (c.1725-1803), painter and japanner, the first of the Birmingham School of landscape artists.
[Ref: 60729] £180.00 (£216.00 incl.VAT)
Pye sculpsit.
London, published March 1st 1796, by B.B. Evans, in the Poultry and Colnaghi & C.o Pall Mall.
Rare etching. 250 x 330mm (9¾ x 13"), with very large margins.
A ruined church on a countryside hill, with travellers in the foreground. Daniel Bond (c.1725-1803), painter and japanner, the first of the Birmingham School of landscape artists.
[Ref: 60729] £180.00 (£216.00 incl.VAT)
In the Collection of Peter Delmé Esq.r
Giacomo Cortesi, detto il Borgognone pinx. Chatelain Sculp.
Publish'd by Ar: Pond Feb.y 1744. 2 feet wide 1 foot 3 inch ¼ high.
Etching and engraving, with very large margins. Plate 311 x 400mm (12¼ x 15¾").
A landscape after Borgognone; a broad river with a single-arched bridge to the left, with a castellated square tower at the right end, trees on the far bank and men with a small barge in the foreground, drawn by a mule which a man leads into the left foreground.
[Ref: 30443] £220.00 (£264.00 incl.VAT)
Giacomo Cortesi, detto il Borgognone pinx. Chatelain Sculp.
Publish'd by Ar: Pond Feb.y 1744. 2 feet wide 1 foot 3 inch ¼ high.
Etching and engraving, with very large margins. Plate 311 x 400mm (12¼ x 15¾").
A landscape after Borgognone; a broad river with a single-arched bridge to the left, with a castellated square tower at the right end, trees on the far bank and men with a small barge in the foreground, drawn by a mule which a man leads into the left foreground.
[Ref: 30443] £220.00 (£264.00 incl.VAT)
![[French landscape] Engraved from the Original Picture.](jpegs/55618.jpg)
[French landscape] Engraved from the Original Picture.
Boucher Pinxit. Aliamet Sculpsit.
Published Oct.r 2.d 1775 by John Boydell Engraver in Cheapside London.
Engraving with sepia wash. 205 x 285mm (8 x 11¼"), on wove paper. Glue stains in very large margins at corners.
A river with an old bridge.
[Ref: 55618] £140.00 (£168.00 incl.VAT)
Boucher Pinxit. Aliamet Sculpsit.
Published Oct.r 2.d 1775 by John Boydell Engraver in Cheapside London.
Engraving with sepia wash. 205 x 285mm (8 x 11¼"), on wove paper. Glue stains in very large margins at corners.
A river with an old bridge.
[Ref: 55618] £140.00 (£168.00 incl.VAT)
![[Italianate Landscape.]](jpegs/65559.jpg)
[Italianate Landscape.] 14.
P. Bril pinxit. Nieulant fecit.
Mariette Excudit cum privil. Regis [n.d. c.1650].
Etching. 240 x 320mm (9½ x 12½"), large margins. Some toning and staining.
An Italianate landscape with buildings either side of a river with a ruined bridge. Plate 14 of a series of thirty-six plates showing Italian landscapes after Paul Bril by Willem van Nieulandt.
[Ref: 65559] £260.00 (£312.00 incl.VAT)
P. Bril pinxit. Nieulant fecit.
Mariette Excudit cum privil. Regis [n.d. c.1650].
Etching. 240 x 320mm (9½ x 12½"), large margins. Some toning and staining.
An Italianate landscape with buildings either side of a river with a ruined bridge. Plate 14 of a series of thirty-six plates showing Italian landscapes after Paul Bril by Willem van Nieulandt.
[Ref: 65559] £260.00 (£312.00 incl.VAT)
![Calm. [&] Storm.](jpegs/23430.jpg)
Calm. [&] Storm.
Chatelain invet. et delin.
Printed for Robt. Sayer, Printseller in Fleet Street [originally c.1750, these later impressions on 19th century paper].
Pair of etchings on wove paper, 'Calm' with watermark '1822(?)', each 195 x 255mm. 7¾ x 10". 'Calm' with (printers?) crease through title into lower part of image.
Two landscapes, the serene and peaceful 'Calm' (featuring a gentleman reading a book in centre foreground) contrasting with the windswept scene with two pedestrians struggling at left, and a fallen tree at right. Both compositions show buildings across water in distance. First plate numbered '18' upper left. Jean Baptiste Chatelain (French/British, 1710 - 1758) was a topographical draughtsman and printmaker working in London.
[Ref: 23430] £220.00 (£264.00 incl.VAT) view all images for this item
Chatelain invet. et delin.
Printed for Robt. Sayer, Printseller in Fleet Street [originally c.1750, these later impressions on 19th century paper].
Pair of etchings on wove paper, 'Calm' with watermark '1822(?)', each 195 x 255mm. 7¾ x 10". 'Calm' with (printers?) crease through title into lower part of image.
Two landscapes, the serene and peaceful 'Calm' (featuring a gentleman reading a book in centre foreground) contrasting with the windswept scene with two pedestrians struggling at left, and a fallen tree at right. Both compositions show buildings across water in distance. First plate numbered '18' upper left. Jean Baptiste Chatelain (French/British, 1710 - 1758) was a topographical draughtsman and printmaker working in London.
[Ref: 23430] £220.00 (£264.00 incl.VAT) view all images for this item
La Partie de Campagne. Gravée par Anne Philberte Coulet, de l'Académie Impériale et Royale de Vienne, D'après le Tableau Original de P.J. Loutherbourg, tiré du Cabinet de Monsieur Roland.
P.J. Loutherbourg pinx. A.P. Coulet Sculp.t.
A Paris, Chéz Lempereur Graveur de leurs Majestés Impériale et Royale, rue et Porte St Jacques.
Etching. 330 x 380mm (13 x 15"). Thread margins, worm hole in sky.
A rustic scene, with a group of well-dressed people by the side of a river, a church with a tall dome behind.
[Ref: 43486] £290.00 (£348.00 incl.VAT)
P.J. Loutherbourg pinx. A.P. Coulet Sculp.t.
A Paris, Chéz Lempereur Graveur de leurs Majestés Impériale et Royale, rue et Porte St Jacques.
Etching. 330 x 380mm (13 x 15"). Thread margins, worm hole in sky.
A rustic scene, with a group of well-dressed people by the side of a river, a church with a tall dome behind.
[Ref: 43486] £290.00 (£348.00 incl.VAT)
Vüe d'une Cascade sur les bords du Tibre près de Rome.
Le Barbier l'Ainé Pinx. Cl. Duflos Sculp.
AParis chés Cl. Duflos rüe Gallande chés M.r Fauchereau Marchand Chapelier.
Fine engraving. Sheet 330 x 400mm (13 x 15¾"). Trimmed to plate.
Two rustics under a waterfall by the side of the river Tiber.
[Ref: 44988] £260.00 (£312.00 incl.VAT)
Le Barbier l'Ainé Pinx. Cl. Duflos Sculp.
AParis chés Cl. Duflos rüe Gallande chés M.r Fauchereau Marchand Chapelier.
Fine engraving. Sheet 330 x 400mm (13 x 15¾"). Trimmed to plate.
Two rustics under a waterfall by the side of the river Tiber.
[Ref: 44988] £260.00 (£312.00 incl.VAT)
![[The Cascade.] In the Collection of the Right Honourable Sr: Robert Walpole.](jpegs/26539.jpg)
[The Cascade.] In the Collection of the Right Honourable Sr: Robert Walpole.
Gaspar Poussin [Gaspard Dughet] pinx. Vivares Sculp.
Published March 25. 1741, by C. Knapton. 2 feet 9. inch. ½ wide 1 f. 11 inch: ¼ high.
Engraving. 310 x 400mm (12¼ x 15¾"), with large margins. Repaired tear into plate at right. Tears and nicks around edges.
Landscape with goats walking to the left, on a path running through rocks, with herdsman and dog walking behind; two figures seated in the right foreground.
[Ref: 26539] £130.00 (£156.00 incl.VAT)
Gaspar Poussin [Gaspard Dughet] pinx. Vivares Sculp.
Published March 25. 1741, by C. Knapton. 2 feet 9. inch. ½ wide 1 f. 11 inch: ¼ high.
Engraving. 310 x 400mm (12¼ x 15¾"), with large margins. Repaired tear into plate at right. Tears and nicks around edges.
Landscape with goats walking to the left, on a path running through rocks, with herdsman and dog walking behind; two figures seated in the right foreground.
[Ref: 26539] £130.00 (£156.00 incl.VAT)
![[Castle Ruins.]](jpegs/24955.jpg)
[Castle Ruins.]
[G.I. Graham]
[n.d. c.1830.]
Lithograph, very scarce. 145 x 157mm. 5¾ x 6¼".
Castle ruins: a ruined turret with arches leading to right stands covered in greenery from years of disrepair and neglect; a mountain and sailing boat with dinghy on a lake in the background.
[Ref: 24955] £60.00 (£72.00 incl.VAT)
[G.I. Graham]
[n.d. c.1830.]
Lithograph, very scarce. 145 x 157mm. 5¾ x 6¼".
Castle ruins: a ruined turret with arches leading to right stands covered in greenery from years of disrepair and neglect; a mountain and sailing boat with dinghy on a lake in the background.
[Ref: 24955] £60.00 (£72.00 incl.VAT)
Premiere Veue de Charenton. Dedié à Mr Portail Peintre du Roy, et Garde des Plans et Tableaux de sa Majesté Par son très humble et très obeissant Serviteur J. Ph. Le Bas Graveur du Cabinet du Roy.
F. Boucher pinx. J. Ph. Le Bas Sculp.
AParis chez J. Ph. Le Bas Graveur de Cabinet du Roy rue de la Harpe 1747.
Etching with engraving. 320 x 385mm (12½ x 15¼"). Worm trail just entering plate at top.
A view of the water mill 'Quiquengrogne' in Charenton, at the junction of the Seine and Marne rivers outside Paris. The original, painted 1739, is in a private collection; the painting of the 'Seconde vue' engraved by Le Bas after Boucher is in 'The Toledo Museum of Art'.
[Ref: 57923] £240.00 (£288.00 incl.VAT)
F. Boucher pinx. J. Ph. Le Bas Sculp.
AParis chez J. Ph. Le Bas Graveur de Cabinet du Roy rue de la Harpe 1747.
Etching with engraving. 320 x 385mm (12½ x 15¼"). Worm trail just entering plate at top.
A view of the water mill 'Quiquengrogne' in Charenton, at the junction of the Seine and Marne rivers outside Paris. The original, painted 1739, is in a private collection; the painting of the 'Seconde vue' engraved by Le Bas after Boucher is in 'The Toledo Museum of Art'.
[Ref: 57923] £240.00 (£288.00 incl.VAT)
In the Collection of Dr. Mead.
Gaspar Poussin [Gaspard Dughet] pinx. Chatelain Sculp.
Published March 25. 1741, by C. Knapton. 1 foot 7. inch. ½ wide 1 f - 2. inch: ½ high.
Engraving, fine impression. 305 x 394mm (12 x 15½"). Trimmed.
Landscape with man reclining in right foreground with dog sat next to him; two further figures seen walking along the pathway.
[Ref: 26541] £150.00 (£180.00 incl.VAT)
Gaspar Poussin [Gaspard Dughet] pinx. Chatelain Sculp.
Published March 25. 1741, by C. Knapton. 1 foot 7. inch. ½ wide 1 f - 2. inch: ½ high.
Engraving, fine impression. 305 x 394mm (12 x 15½"). Trimmed.
Landscape with man reclining in right foreground with dog sat next to him; two further figures seen walking along the pathway.
[Ref: 26541] £150.00 (£180.00 incl.VAT)
![[Classical ruin.]](jpegs/52001.jpg)
[Classical ruin.]
Clerisau del. Wagner Scul. Venezia C.P.E.S.
[n.d., c. 1760.]
Rare etching. 260 x 320mm (10¼ x 12½), large margins. Slight crease in title.
After Charles Louis Clérisseau (1721-1820), draughtsman and architect. He went to Rome in 1749 and was working for Robert Adam as a draughtsman during the architect's tour of Italy (1755-63). Many of the illustrations in Adam’s 'Ruins of the Palace of the Emperor Diocletian at Spalatro' (1764) were drawn by Clérisseau, without attribution.
[Ref: 52001] £190.00 (£228.00 incl.VAT)
Clerisau del. Wagner Scul. Venezia C.P.E.S.
[n.d., c. 1760.]
Rare etching. 260 x 320mm (10¼ x 12½), large margins. Slight crease in title.
After Charles Louis Clérisseau (1721-1820), draughtsman and architect. He went to Rome in 1749 and was working for Robert Adam as a draughtsman during the architect's tour of Italy (1755-63). Many of the illustrations in Adam’s 'Ruins of the Palace of the Emperor Diocletian at Spalatro' (1764) were drawn by Clérisseau, without attribution.
[Ref: 52001] £190.00 (£228.00 incl.VAT)
![[Landscape with Flight into Egypt]](jpegs/38587.jpg)
[Landscape with Flight into Egypt] [Engraved from the Original Picture, in the Collection of the Revd Dr Newton...Published by F. Vivares may 5th 1757]
Chatelin & Vivares fecit [1757]
Etching and engraving, platemark 415 x 500mm (16¼ x 19¾"). Small margins; stains; very fine unfinished proof.
Landscape with Mary, Joseph and the Christ child on left, peasant and cows crossing a bridge on right, and a flock in distance. After a painting by Claude Lorrain (c.1600-82), 17th century landscape painter whose paintings were immensely important for the development of British landscape painting in the 18th century, largely disseminated through prints such as this.
[Ref: 38587] £260.00 (£312.00 incl.VAT)
Chatelin & Vivares fecit [1757]
Etching and engraving, platemark 415 x 500mm (16¼ x 19¾"). Small margins; stains; very fine unfinished proof.
Landscape with Mary, Joseph and the Christ child on left, peasant and cows crossing a bridge on right, and a flock in distance. After a painting by Claude Lorrain (c.1600-82), 17th century landscape painter whose paintings were immensely important for the development of British landscape painting in the 18th century, largely disseminated through prints such as this.
[Ref: 38587] £260.00 (£312.00 incl.VAT)
![After a Picture of Claude Lorrain [ms]](jpegs/38516.jpg)
After a Picture of Claude Lorrain [ms] [In the Collection of Dr. Mead]
[Claudio Gillee Lorenese pinxit 1656. Vivares Sculp]
[Published by C. Knapton 1741]
Engraving, platemark 315 x 405mm (12½ x 16"). Scarce proof before letters; platemark broken in places. Very large margins.
Landscape with bridge in background, fishermen casting nets from a small boat, and a group of figures in the foreground, including a lady putting on stockings, typical of Claude Lorrain's earlier works. Engraving (in reverse) of Claude's painting 'The Ford', executed by Francis Vivares while the painting was in the collection of the physician and collector Dr Richard Mead. The painting is now in the collection of the Metropolitan Museum of Art, New York, and it is now believed that it was executed in 1636 rather than 1656 as claimed on the lettered later state of this print. From a successful and well-known series of landscape prints from paintings in important British collections.
For a portrait of Mead see ref. 11688. Private Collection.
[Ref: 38516] £320.00
[Claudio Gillee Lorenese pinxit 1656. Vivares Sculp]
[Published by C. Knapton 1741]
Engraving, platemark 315 x 405mm (12½ x 16"). Scarce proof before letters; platemark broken in places. Very large margins.
Landscape with bridge in background, fishermen casting nets from a small boat, and a group of figures in the foreground, including a lady putting on stockings, typical of Claude Lorrain's earlier works. Engraving (in reverse) of Claude's painting 'The Ford', executed by Francis Vivares while the painting was in the collection of the physician and collector Dr Richard Mead. The painting is now in the collection of the Metropolitan Museum of Art, New York, and it is now believed that it was executed in 1636 rather than 1656 as claimed on the lettered later state of this print. From a successful and well-known series of landscape prints from paintings in important British collections.
For a portrait of Mead see ref. 11688. Private Collection.
[Ref: 38516] £320.00
![[The finding of Moses] From the Original Drawing in the Collection of the Duke of Devonshire. No 47.](jpegs/21833.jpg)
[The finding of Moses] From the Original Drawing in the Collection of the Duke of Devonshire. No 47.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Sept.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 260 x 210mm, 10¼ x 8½". Uncut, with large margins, slight soiling of margins.
Classical pastoral scene, engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21833] £130.00 (£156.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Sept.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 260 x 210mm, 10¼ x 8½". Uncut, with large margins, slight soiling of margins.
Classical pastoral scene, engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21833] £130.00 (£156.00 incl.VAT)
![[Pastoral scene with nymph and satyr.] From the Original Drawing in the Collection of the Duke of Devonshire. No 55.](jpegs/21839.jpg)
[Pastoral scene with nymph and satyr.] From the Original Drawing in the Collection of the Duke of Devonshire. No 55.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Aug. 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut with large margins, slight soiling of margins.
St Ursula was a a Romano-British princess who set sail to get married with 11,000 virginal handmaidens. All were beheaded by the Huns. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21839] £120.00 (£144.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Aug. 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut with large margins, slight soiling of margins.
St Ursula was a a Romano-British princess who set sail to get married with 11,000 virginal handmaidens. All were beheaded by the Huns. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21839] £120.00 (£144.00 incl.VAT)
![[Italianate port scene.] From the Original Drawing in the Collection of the Duke of Devonshire. No 61.](jpegs/21841.jpg)
[Italianate port scene.] From the Original Drawing in the Collection of the Duke of Devonshire. No 61.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 270 x 190mm, 10½ x 7½". Uncut, with large margins, slight soiling of margins.
Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21841] £120.00 (£144.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 270 x 190mm, 10½ x 7½". Uncut, with large margins, slight soiling of margins.
Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21841] £120.00 (£144.00 incl.VAT)
![[From the Original Drawing in the Collection of the Duke of Devonshire. No 188.]](jpegs/52516.jpg)
[From the Original Drawing in the Collection of the Duke of Devonshire. No 188.]
[Claude le Lorrain delin.t. R. Earlom fecit.]
[Published Mar 1st 1777 by John Boydell Engraver in Cheapside.]
Mezzotint with etched lines, printed in sepia. Very rare proof before all letters. 210 x 260mm (8½ x 10¼"), with large margins. Slight foxing in the margins.
An Italianate scene of a shepherd taking to passers-by, underneath a hilltop town, a bay behind. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 52516] £230.00 (£276.00 incl.VAT)
[Claude le Lorrain delin.t. R. Earlom fecit.]
[Published Mar 1st 1777 by John Boydell Engraver in Cheapside.]
Mezzotint with etched lines, printed in sepia. Very rare proof before all letters. 210 x 260mm (8½ x 10¼"), with large margins. Slight foxing in the margins.
An Italianate scene of a shepherd taking to passers-by, underneath a hilltop town, a bay behind. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 52516] £230.00 (£276.00 incl.VAT)
![[Italianate pastoral scene.] From the Original Drawing in the Collection of the Duke of Devonshire. No 62.](jpegs/21842.jpg)
[Italianate pastoral scene.] From the Original Drawing in the Collection of the Duke of Devonshire. No 62.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 270 x 190mm, 10½ x 7½". Uncut, with large margins, slight soiling of margins.
Peasants driving a cow and goats across a bridge. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21842] £120.00 (£144.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 270 x 190mm, 10½ x 7½". Uncut, with large margins, slight soiling of margins.
Peasants driving a cow and goats across a bridge. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21842] £120.00 (£144.00 incl.VAT)
![[The Landing of Cleopatra.] From the Original Drawing in the Collection of the Duke of Devonshire. No 63.](jpegs/21843.jpg)
[The Landing of Cleopatra.] From the Original Drawing in the Collection of the Duke of Devonshire. No 63.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
The landing of Cleopatra at Tarsus. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21843] £170.00 (£204.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
The landing of Cleopatra at Tarsus. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21843] £170.00 (£204.00 incl.VAT)
![[The women of Troy destroying the Greek fleet.] From the Original Drawing in the Collection of the Duke of Devonshire. No 71.](jpegs/21849.jpg)
[The women of Troy destroying the Greek fleet.] From the Original Drawing in the Collection of the Duke of Devonshire. No 71.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
Trojan women setting fire to the Greek fleet. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21849] £160.00 (£192.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
Trojan women setting fire to the Greek fleet. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21849] £160.00 (£192.00 incl.VAT)
![[Ulysses restituting Chryseis to her father Chryses.] From the Original Drawing in the Collection of the Duke of Devonshire. No 80.](jpegs/21858.jpg)
[Ulysses restituting Chryseis to her father Chryses.] From the Original Drawing in the Collection of the Duke of Devonshire. No 80.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins. Creased left of centre.
A sea-port, with Ulysses returning Chryseis to her father Chryses, a Trojan priest of Apollo. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21858] £120.00 (£144.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins. Creased left of centre.
A sea-port, with Ulysses returning Chryseis to her father Chryses, a Trojan priest of Apollo. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21858] £120.00 (£144.00 incl.VAT)
![[Pastoral scene.] From the Original Drawing in the Collection of the Duke of Devonshire. No 52.](jpegs/21859.jpg)
[Pastoral scene.] From the Original Drawing in the Collection of the Duke of Devonshire. No 52.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
Herdsmen driving cattle and goats across a small wooden bridge. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21859] £120.00 (£144.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
Herdsmen driving cattle and goats across a small wooden bridge. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21859] £120.00 (£144.00 incl.VAT)
![[Landscape with a Herd of Goats]](jpegs/38517.jpg)
[Landscape with a Herd of Goats] Engraved by W.m Wilson from an Excellent Picture of Claud Lorrain painted in 1641 in the Collection of the Rt. Hon.ble L.d James Cavendish. 6
[c.1750]
Engraving. Platemark 315 x 410mm (12½ x 16"). Small margins. Very fine; pinhole upper centre. 41670
Landscape after Claude Lorrain (1604/5-82), French painter often regarded as the greatest of all ideal landscape artists, whose depictions of idealised pastoral scenes were immensely popular amongst the European nobility and clergy. Subsequent British landscape painters such as Richard Wilson and JMW Turner were strongly influenced by his work.
Private Collection.
[Ref: 38517] £240.00 (£288.00 incl.VAT)
[c.1750]
Engraving. Platemark 315 x 410mm (12½ x 16"). Small margins. Very fine; pinhole upper centre. 41670
Landscape after Claude Lorrain (1604/5-82), French painter often regarded as the greatest of all ideal landscape artists, whose depictions of idealised pastoral scenes were immensely popular amongst the European nobility and clergy. Subsequent British landscape painters such as Richard Wilson and JMW Turner were strongly influenced by his work.
Private Collection.
[Ref: 38517] £240.00 (£288.00 incl.VAT)
![[Pastoral landscape with figures and cattle by a shore]](jpegs/37197.jpg)
[Pastoral landscape with figures and cattle by a shore]
Claude fecit Roma 1676 [in image lower left]. R. Earlom sculpt.
Pub. Jan. 20 1802 by J. & J. Boydell, No 90, Cheapside &c at the Shakespeare Gallery, Pall Mall.
Etching, platemark 270 x 360mm (10½ x 14¼"). Large margins. State before mezzotinting.
Etching by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
For a set of 20 plates from the series, in etched outline states, see ref. 20226.
[Ref: 37197] £140.00 (£168.00 incl.VAT)
Claude fecit Roma 1676 [in image lower left]. R. Earlom sculpt.
Pub. Jan. 20 1802 by J. & J. Boydell, No 90, Cheapside &c at the Shakespeare Gallery, Pall Mall.
Etching, platemark 270 x 360mm (10½ x 14¼"). Large margins. State before mezzotinting.
Etching by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
For a set of 20 plates from the series, in etched outline states, see ref. 20226.
[Ref: 37197] £140.00 (£168.00 incl.VAT)
![[Coastal scene]](jpegs/45266.jpg)
[Coastal scene]
[Anon. Dutch/Flemish., c.1660]
Etching, platemark 240 x 375mm (9½ x 14¾"). Crease through centre.
See 45264
[Ref: 45266] £260.00 (£312.00 incl.VAT)
[Anon. Dutch/Flemish., c.1660]
Etching, platemark 240 x 375mm (9½ x 14¾"). Crease through centre.
See 45264
[Ref: 45266] £260.00 (£312.00 incl.VAT)
![[Coastal scene with fishermen eating and drinking] 3.](jpegs/45264.jpg)
[Coastal scene with fishermen eating and drinking] 3.
[Anon. Dutch/Flemish., c.1660.]
Etching, platemark 240 x 375mm (9½ x 14¾"). Crease through centre.
See 45266
[Ref: 45264] £260.00 (£312.00 incl.VAT)
[Anon. Dutch/Flemish., c.1660.]
Etching, platemark 240 x 375mm (9½ x 14¾"). Crease through centre.
See 45266
[Ref: 45264] £260.00 (£312.00 incl.VAT)
Autumnal Sun Set.
Painted by John Constable R.A. Engraved by David Lucas.
London, Pub.d by M.r Constable, 35 Charlotte S.t Fitzroy Square 1831.
Mezzotint. Plate: 250 x 175mm (9¾ x 7"), with very large margins. Foxing mainly in margins.
A rural landscape at sunset near East Bergholt after an oil painting by Constable now in the V&A. From about 1829 Constable and Lucas worked together on a series of mezzotints after sketches and paintings by Constable called 'Various Subjects of Landscape...' published in parts between 1830 and 1832. In 1843 Charles Robert Leslie published his 'Memoirs of John Constable Esq. R.A'. He obtained directly from the Constable family 186 sets of 22 images of the Various Subjects of Landscape in return for 30 copies of his book. This mezzotint is one of those; "see Tate John Constable, David Lucas".
Wedmore 3. Shirley: 14. Osbert Barnard: I of VI.
[Ref: 44380] £230.00 (£276.00 incl.VAT)
Painted by John Constable R.A. Engraved by David Lucas.
London, Pub.d by M.r Constable, 35 Charlotte S.t Fitzroy Square 1831.
Mezzotint. Plate: 250 x 175mm (9¾ x 7"), with very large margins. Foxing mainly in margins.
A rural landscape at sunset near East Bergholt after an oil painting by Constable now in the V&A. From about 1829 Constable and Lucas worked together on a series of mezzotints after sketches and paintings by Constable called 'Various Subjects of Landscape...' published in parts between 1830 and 1832. In 1843 Charles Robert Leslie published his 'Memoirs of John Constable Esq. R.A'. He obtained directly from the Constable family 186 sets of 22 images of the Various Subjects of Landscape in return for 30 copies of his book. This mezzotint is one of those; "see Tate John Constable, David Lucas".
Wedmore 3. Shirley: 14. Osbert Barnard: I of VI.
[Ref: 44380] £230.00 (£276.00 incl.VAT)
Autumnal Sun Set.
Painted by John Constable R.A. Engraved by David Lucas.
London Pub.d by M.r Constable 35, Charlotte S.t Fitzroy Square 1831.
Fine mezzotint. Plate: 175 x 255mm (7 x 10")), with very large margins. More mount burn than the others.
A rural landscape at sunset near East Bergholt after an oil painting by Constable now in the V&A. From about 1829 Constable and Lucas worked together on a series of mezzotints after sketches and paintings by Constable called 'Various Subjects of Landscape...' published in parts between 1830 and 1832. They worked very closely together with Constable often hand touching up the prints himself.
Wedmore 3. Shirley: 14: I of VI.
[Ref: 58194] £220.00 (£264.00 incl.VAT)
Painted by John Constable R.A. Engraved by David Lucas.
London Pub.d by M.r Constable 35, Charlotte S.t Fitzroy Square 1831.
Fine mezzotint. Plate: 175 x 255mm (7 x 10")), with very large margins. More mount burn than the others.
A rural landscape at sunset near East Bergholt after an oil painting by Constable now in the V&A. From about 1829 Constable and Lucas worked together on a series of mezzotints after sketches and paintings by Constable called 'Various Subjects of Landscape...' published in parts between 1830 and 1832. They worked very closely together with Constable often hand touching up the prints himself.
Wedmore 3. Shirley: 14: I of VI.
[Ref: 58194] £220.00 (£264.00 incl.VAT)
![[The Lock.]](jpegs/63653.jpg)
[The Lock.]
Painted by John Constable, Esq.r R.A. Engraved by David Lucas.
[1834.]
Mezzotint, published state before dedication. 695 x 520mm (27½ x 20½"), housed in a magnificent Vicars Bros. frame c. 1900, very large margins. Repaired tear, some spotting. Unexamined out of frame.
A bargee opening a lock gate with a barge on the water behind.
Shirley 35. II of IV
[Ref: 63653] £1,250.00
Painted by John Constable, Esq.r R.A. Engraved by David Lucas.
[1834.]
Mezzotint, published state before dedication. 695 x 520mm (27½ x 20½"), housed in a magnificent Vicars Bros. frame c. 1900, very large margins. Repaired tear, some spotting. Unexamined out of frame.
A bargee opening a lock gate with a barge on the water behind.
Shirley 35. II of IV
[Ref: 63653] £1,250.00
Summer Afternoon- After a Shower.
Painted by John Constable R.A. Engraved by David Lucas.
London, Pub. by M.r Constable, 35 Charlotte S.t Fitzroy Square 1831.
Mezzotint. Plate: 220 x 180mm (8¾ x 7"), with very large margins. Slight foxing.
A rural landscape with a church spire in the distance and a windmill on a hill. From about 1829 Constable and Lucas worked together on a series of mezzotints after sketches and paintings by Constable called 'Various Subjects of Landscape...' published in parts between 1830 and 1832. In 1843 Charles Robert Leslie published his 'Memoirs of John Constable Esq. R.A'. He obtained directly from the Constable family 186 sets of 22 images of the Various Subjects of Landscape in return for 30 copies of his book. This mezzotint is one of those; "see Tate John Constable, David Lucas".
Wedmore 19. Shirley: 28. Osbert Barnard: I of V.
[Ref: 44376] £230.00 (£276.00 incl.VAT)
Painted by John Constable R.A. Engraved by David Lucas.
London, Pub. by M.r Constable, 35 Charlotte S.t Fitzroy Square 1831.
Mezzotint. Plate: 220 x 180mm (8¾ x 7"), with very large margins. Slight foxing.
A rural landscape with a church spire in the distance and a windmill on a hill. From about 1829 Constable and Lucas worked together on a series of mezzotints after sketches and paintings by Constable called 'Various Subjects of Landscape...' published in parts between 1830 and 1832. In 1843 Charles Robert Leslie published his 'Memoirs of John Constable Esq. R.A'. He obtained directly from the Constable family 186 sets of 22 images of the Various Subjects of Landscape in return for 30 copies of his book. This mezzotint is one of those; "see Tate John Constable, David Lucas".
Wedmore 19. Shirley: 28. Osbert Barnard: I of V.
[Ref: 44376] £230.00 (£276.00 incl.VAT)
![[Sketch of a cottage.]](jpegs/57577.jpg)
[Sketch of a cottage.]
F.B.
[n.d., c.1850.]
Pen and ink sketch on the trade card of printer Marius Vidal. Sheet 85 x 120mm (3¼ x 4¾"). Remains of album sheet over printing of the trade card.
[Ref: 57577] £140.00 (£168.00 incl.VAT)
F.B.
[n.d., c.1850.]
Pen and ink sketch on the trade card of printer Marius Vidal. Sheet 85 x 120mm (3¼ x 4¾"). Remains of album sheet over printing of the trade card.
[Ref: 57577] £140.00 (£168.00 incl.VAT)
![[Cottage by River.]](jpegs/26571.jpg)
[Cottage by River.] 5.
Engraved from a Drawing of Mr Smiths, by Wm. Wilson.
London, Printed for Rob.t Sayer Printseller, 53, Fleet Street. [n.d. c.1780.]
Etching and engraving. Plate 210 x 241mm. 8¼ x 9½". Some creasing and tear into upper margin and plate edge.
View of a cottage on the bank of a river, a crude footbridge crossing in foreground to part of a ruined wall at right; a figure standing beside the building, looking out towards a church and village in the distance. Number 5 from a series (unknown).
[Ref: 26571] £95.00 (£114.00 incl.VAT)
Engraved from a Drawing of Mr Smiths, by Wm. Wilson.
London, Printed for Rob.t Sayer Printseller, 53, Fleet Street. [n.d. c.1780.]
Etching and engraving. Plate 210 x 241mm. 8¼ x 9½". Some creasing and tear into upper margin and plate edge.
View of a cottage on the bank of a river, a crude footbridge crossing in foreground to part of a ruined wall at right; a figure standing beside the building, looking out towards a church and village in the distance. Number 5 from a series (unknown).
[Ref: 26571] £95.00 (£114.00 incl.VAT)
![[Crucifix over a Harbour.]](jpegs/49372.jpg)
[Crucifix over a Harbour.]
G. Huardel-Bly. [signed in pencil.]
Etching. Plate: 150 x 130mm (6 x 5'') very large margins.
A view down a cliff to a harbour with a monastery with huge crucifix on the battlements.
[Ref: 49372] £45.00 (£54.00 incl.VAT)
G. Huardel-Bly. [signed in pencil.]
Etching. Plate: 150 x 130mm (6 x 5'') very large margins.
A view down a cliff to a harbour with a monastery with huge crucifix on the battlements.
[Ref: 49372] £45.00 (£54.00 incl.VAT)
La Forest Dangereuse. Gravée d'aprés le Tableau original de Philipe Wowermans, haut de vingt et un Poulees sur trente et un de la large.
Ph. Wowermans Pinx. C.E. Cousinet Sculp.
A Paris, chez Lempereur, Graveur du Roy, rue et Porte St Jacques, audessus du petit Marché. [n.d., c.1760.]
Engraving. 335 x 400mm (13¼ x 15¾"). Very large margins.
A snowy landscape on the edge of a forest, with bandits attacking and robbing travellers. In the background is a gibbet with a body hanging. The engraver Cousinet is actually Catherine Elizabeth Lempereur, wife of Louis Simon Lemperer the publisher of this print.
[Ref: 38116] £290.00 (£348.00 incl.VAT)
Ph. Wowermans Pinx. C.E. Cousinet Sculp.
A Paris, chez Lempereur, Graveur du Roy, rue et Porte St Jacques, audessus du petit Marché. [n.d., c.1760.]
Engraving. 335 x 400mm (13¼ x 15¾"). Very large margins.
A snowy landscape on the edge of a forest, with bandits attacking and robbing travellers. In the background is a gibbet with a body hanging. The engraver Cousinet is actually Catherine Elizabeth Lempereur, wife of Louis Simon Lemperer the publisher of this print.
[Ref: 38116] £290.00 (£348.00 incl.VAT)
![[Conversation]](jpegs/23782.jpg)
[Conversation]
[Etched by Stefano Della Bella]
Israel ex.
Etching, 73 x 107mm (2? x 4?"). Glued to backing sheet.
Conversation amongst men and women seated on the ground, in the countryside, with other figures left and right. From a set of thirteen etchings of an 'Agréable diversité de figures' by Stefano Della Bella (1610-1664) and published in Paris by Israel Henriet in 1642.
de Vesme/Massar: 123- intermediate state between De Vesme's ii and iii/v.
[Ref: 23782] £280.00 (£336.00 incl.VAT)
[Etched by Stefano Della Bella]
Israel ex.
Etching, 73 x 107mm (2? x 4?"). Glued to backing sheet.
Conversation amongst men and women seated on the ground, in the countryside, with other figures left and right. From a set of thirteen etchings of an 'Agréable diversité de figures' by Stefano Della Bella (1610-1664) and published in Paris by Israel Henriet in 1642.
de Vesme/Massar: 123- intermediate state between De Vesme's ii and iii/v.
[Ref: 23782] £280.00 (£336.00 incl.VAT)
Veue des Costes d'Italie.
S.D. Bella inventit et fecit
Israel ex. cum privil. Regis [1647]
Etching, 88 x 137mm (3½ x 5?"). Glued to backing sheet, '12' in manuscript bottom right corner, lower margin trimmed.
The Italian Coast: four men play cards in the centre while another two watch them, prow of a boat on left, and a tower on the right. From a series of eight etchings of sea ports by Stefano Della Bella (1610-64).
de Vesme/Massar: 801
[Ref: 24014] £140.00 (£168.00 incl.VAT)
S.D. Bella inventit et fecit
Israel ex. cum privil. Regis [1647]
Etching, 88 x 137mm (3½ x 5?"). Glued to backing sheet, '12' in manuscript bottom right corner, lower margin trimmed.
The Italian Coast: four men play cards in the centre while another two watch them, prow of a boat on left, and a tower on the right. From a series of eight etchings of sea ports by Stefano Della Bella (1610-64).
de Vesme/Massar: 801
[Ref: 24014] £140.00 (£168.00 incl.VAT)
Paisages Maritimes. Faicts par S.D. Bella et Mis en lumiere par Israel.
S.D. Bella in. et fc.
Israel ex. cum privil Regis. [n.d., c.1644]
Seven etched sheets. Title 76 x 141mm (3 x 5½"), remaining plates all approx. 74 x 126mm (2? x 5"). Glued in corners to backing sheets. Some plates numbered in pen and ink lower right.
Complete set of six marine landscapes and title page by Stefano Della Bella (1610-54) and published by Israel Henriet, who also published Jacques Callot's prints.
de Vesme/Massar: 787-793 i/ii.
[Ref: 23733] £650.00 view all images for this item
S.D. Bella in. et fc.
Israel ex. cum privil Regis. [n.d., c.1644]
Seven etched sheets. Title 76 x 141mm (3 x 5½"), remaining plates all approx. 74 x 126mm (2? x 5"). Glued in corners to backing sheets. Some plates numbered in pen and ink lower right.
Complete set of six marine landscapes and title page by Stefano Della Bella (1610-54) and published by Israel Henriet, who also published Jacques Callot's prints.
de Vesme/Massar: 787-793 i/ii.
[Ref: 23733] £650.00 view all images for this item
Every Body For Ever !
James Nasmyth - April 5. 1854.
Lithograph. Printed area 260 x 350mm (10¼ x 13¾"), with large margins. Tear and soiling in left margin.
A demonstration in progress, with the streets (and some of the roofs) packed with men. On the left a fight has broken out. The cityscape is invented with the buildings and monuments of various cities, including Edinburgh. The artist, James Nasmyth (1808-90), was better known as an engineer and inventor of the steam-hammer.
[Ref: 67454] £140.00 (£168.00 incl.VAT)
James Nasmyth - April 5. 1854.
Lithograph. Printed area 260 x 350mm (10¼ x 13¾"), with large margins. Tear and soiling in left margin.
A demonstration in progress, with the streets (and some of the roofs) packed with men. On the left a fight has broken out. The cityscape is invented with the buildings and monuments of various cities, including Edinburgh. The artist, James Nasmyth (1808-90), was better known as an engineer and inventor of the steam-hammer.
[Ref: 67454] £140.00 (£168.00 incl.VAT)