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.
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A Section of the Quadrangle design'd for the British Musæum, or Public Repository. including the Royal Society, Antiquarian Society, and a Royal Academy of Painting, Sculpture and Architecture.
Corn.s Johnston Inv.t.
[London: Cornelius Johnston, 1754.]
Scarce engraving. 380 x 760mm (15 x 30¾"), with large margins. Crease in centre as normal. Repaired tears.
An architectural orthogonal elevation of the interior facade of the proposed building, facing into the courtyard, with cut-away views through the two side wings. Johnston, of whom nothing in known, published this print in an attempt to win the contract for the construction of a new national museum. Instead the commissioners decide to convert Montague House. It was published as a pair to 'A Design for the British Musæum, or, Public Repository and Cottonian Library, being on Front of a Quadrangle, in which may be included, the Royal Society, Antiquarian Society, and a Royal Academy of Painting, Sculpture and Architecture, with proper Receptacles for such future Libraries, Natural and Artificial Curiosities, as may be hereafter left'. In January 1759 the Museum opened to the public at Montague House, London.
[Ref: 61429] £580.00
Corn.s Johnston Inv.t.
[London: Cornelius Johnston, 1754.]
Scarce engraving. 380 x 760mm (15 x 30¾"), with large margins. Crease in centre as normal. Repaired tears.
An architectural orthogonal elevation of the interior facade of the proposed building, facing into the courtyard, with cut-away views through the two side wings. Johnston, of whom nothing in known, published this print in an attempt to win the contract for the construction of a new national museum. Instead the commissioners decide to convert Montague House. It was published as a pair to 'A Design for the British Musæum, or, Public Repository and Cottonian Library, being on Front of a Quadrangle, in which may be included, the Royal Society, Antiquarian Society, and a Royal Academy of Painting, Sculpture and Architecture, with proper Receptacles for such future Libraries, Natural and Artificial Curiosities, as may be hereafter left'. In January 1759 the Museum opened to the public at Montague House, London.
[Ref: 61429] £580.00
The Canterbury Pilgrims.
Painted by Thomas Stothard Esq.r R.A. Etched by Lewis Schiavonetti, V.A. and Finished by James Heath A.R.A. Historical Engraver to His Majesty, and to H.R.H. the Prince Regent, &c.
London: Published for the Proprietors by R. Cribb, N.º 288 Holborn, October 1, 1817.
Etching, state before key. 360 x 995mm (14¼ x 39¼"). Some restoration.
A procession of the pilgrims immortalised by Geoffrey Chaucer's 'Canterbury Tales', on horseback, led by a piper, based on the painting on oak by Thomas Stothard (1806-7, now in the Tate Gallery, N01163). Robert Cromek commissioned the painting, putting it on show at a shilling per visitor. He also asked Italian stipple engraver Luigi Schiavonetti (1765-1810) to make a plate, but Schiavonetti only completed the outline etching. As a tribute to the engraver, Cromek published the incomplete print in 1810. The incomplete plate was then given to Francis Engleheart to complete, but Cromek’s death in 1812 stalled the project. Cromek’s widow, Elizabeth, gave the plate to Niccolo Schiavonetti, Louis's younger brother, but he too died. The plate was finally completed by James Heath and was published for Elizabeth, on 1st October 1817. A later state, with a full key identifying each pilgrim, was printed by W.H. Worthington, also for Elizabeth. The print also caused a rift between Stothard and his friend William Blake: Blake claimed that Cromek had commissioned a painting of the Canterbury Pilgrims from him first, but Cromek had not liked the design and so took the commission to Stothard. Blake accused Cromek and, through him, Stothard, of copying his long, frieze-like composition
[Ref: 61951] £750.00
Painted by Thomas Stothard Esq.r R.A. Etched by Lewis Schiavonetti, V.A. and Finished by James Heath A.R.A. Historical Engraver to His Majesty, and to H.R.H. the Prince Regent, &c.
London: Published for the Proprietors by R. Cribb, N.º 288 Holborn, October 1, 1817.
Etching, state before key. 360 x 995mm (14¼ x 39¼"). Some restoration.
A procession of the pilgrims immortalised by Geoffrey Chaucer's 'Canterbury Tales', on horseback, led by a piper, based on the painting on oak by Thomas Stothard (1806-7, now in the Tate Gallery, N01163). Robert Cromek commissioned the painting, putting it on show at a shilling per visitor. He also asked Italian stipple engraver Luigi Schiavonetti (1765-1810) to make a plate, but Schiavonetti only completed the outline etching. As a tribute to the engraver, Cromek published the incomplete print in 1810. The incomplete plate was then given to Francis Engleheart to complete, but Cromek’s death in 1812 stalled the project. Cromek’s widow, Elizabeth, gave the plate to Niccolo Schiavonetti, Louis's younger brother, but he too died. The plate was finally completed by James Heath and was published for Elizabeth, on 1st October 1817. A later state, with a full key identifying each pilgrim, was printed by W.H. Worthington, also for Elizabeth. The print also caused a rift between Stothard and his friend William Blake: Blake claimed that Cromek had commissioned a painting of the Canterbury Pilgrims from him first, but Cromek had not liked the design and so took the commission to Stothard. Blake accused Cromek and, through him, Stothard, of copying his long, frieze-like composition
[Ref: 61951] £750.00
Garrick's Cup, Carved from Shakspeare's Mulberry Tree.
[Engraved by Charles John Smith.]
[London: Henry Bohn, 1852.]
Wood engraving set in letterpress. Sheet 240 x 185mm (9½ x 7¼"). Mounted in album paper.
'Garrick's Cup' was presented to David Garrick by the Mayor and Corporation of Stratford during Garrick's 'Shakespeare Jubilee' in 1769. According to the letterpress it was carved from the wood of a Mulberry tree that Shakespeare planted in 1609 and felled by the Reverend Francis Gastrell to stop sightseers. It was sold by Christies in 1825 (after the death of Garrick's widow), and offered for sale by J. Johnston in Covent Garden for 200 guineas. There are several Garrick's Cups in existence. From Charles John Smith's 'Historical and Literary Curiosities' (scarce).
[Ref: 61959] £190.00 (£228.00 incl.VAT)
[Engraved by Charles John Smith.]
[London: Henry Bohn, 1852.]
Wood engraving set in letterpress. Sheet 240 x 185mm (9½ x 7¼"). Mounted in album paper.
'Garrick's Cup' was presented to David Garrick by the Mayor and Corporation of Stratford during Garrick's 'Shakespeare Jubilee' in 1769. According to the letterpress it was carved from the wood of a Mulberry tree that Shakespeare planted in 1609 and felled by the Reverend Francis Gastrell to stop sightseers. It was sold by Christies in 1825 (after the death of Garrick's widow), and offered for sale by J. Johnston in Covent Garden for 200 guineas. There are several Garrick's Cups in existence. From Charles John Smith's 'Historical and Literary Curiosities' (scarce).
[Ref: 61959] £190.00 (£228.00 incl.VAT)
![[Theatre set] Palazzo Cinese.](jpegs/61456.jpg)
[Theatre set] Palazzo Cinese.
A.Basoli inv. I Basoli dis. L. e F. Basoli inc.
[Italy, 1821.]
Scarce aquatint with line engraving, printed in brown. 300 x 375mm (11¾ x 14¾").
A theatre set for a play set in a Chinese palace, published in Basoli's 'Collezione di varie scene teatrali', 1821.
[Ref: 61456] £260.00 (£312.00 incl.VAT)
A.Basoli inv. I Basoli dis. L. e F. Basoli inc.
[Italy, 1821.]
Scarce aquatint with line engraving, printed in brown. 300 x 375mm (11¾ x 14¾").
A theatre set for a play set in a Chinese palace, published in Basoli's 'Collezione di varie scene teatrali', 1821.
[Ref: 61456] £260.00 (£312.00 incl.VAT)