Grosvenor Prints

[Life of Aesop: Aesop interpreting an inscription on a tomb, thereby discovering a treasure.] [How poore is man whom sordid interest sways...]
Tho: Dudley fecit [after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching, text verso. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Aesop agrees to decypher an inscription and find the treasure in return for his freedom. After he digs it up, Xanthus reneges, but Aesop tricks him into giving Aesop half the trove. Plate 19 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.250, described as a proof state.
[Ref: 68293] £95.00 (£114.00 incl.VAT)

[Life of Aesop: Aesop interpreting to the Samians the portent of the eagle and the public ring.] [In vaine the learned do their knowledge boast...]
Tho: Dudley fecit [after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching; text verso. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Aesop agrees to decypher a portent and, in doing so, forces his master Xanthus to give him his freedom. Plate 20 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life" (1687), to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.251, described as a proof state.
[Ref: 68292] £95.00 (£114.00 incl.VAT)

[Annette & Lubin] Annette In the Dress of a Norman Peasant. [&] Lubin In the Dress of a Norman Peasant.
Drawn & Engraved by Tho.s Gaugain from Marmontel's moral Tales.
London Pub'd according to Act Oct.r 20 1780 by T.Gaugain No. 4 Little Compton Street, Soho London.
Fine & scarce pair of mezzotints with line engraving, printed in sepia. Each 340 x 265mm (16½ x 10½"), large margins. Near Mint.
A young woman dressed in rustic peasant attire stands on a road, a basket resting over her arm and a sheep at her side. She gestures toward the left, while the domes and towers of a city rise in the background to the right, all enclosed within an oval frame. A young man in peasant attire stands to the right, carving a branch with a knife. A dog lies at his feet, and a landscape stretches out behind him, all set within an oval frame.
From the Oettingen-Wallerstein Collection, Sotheby's London 1997. See Ref: 51026 for a single plate of Annette.
[Ref: 68270] £450.00 view all images for this item

The anxious mother and sick child. In the Collection of John Barnard Esq.r
Dominichino del. WBaillie fecit.
Publish'd 1.st Sept.r 1773.
Soft ground etching, printed in sanguine, pt 18th century watermark. 230 x 330mm (9 x 13").
Stipple engraving after Domenico Zampieri (1581-1641), known as Domenichino, engraved by Captain William Baillie (1723-1810). Baillie retired from the army in 1761 with the rank of Captain and thereafter devoted himself to printmaking and dealing. He specialised in imitating old-master drawings and prints, using a variety of printmaking techniques.
Ex: collection of The Hon. Christopher Lennox-Boyd. See [Ref: 12231] for one in black and white.
[Ref: 68468] £160.00 (£192.00 incl.VAT)

Quo me, Bacche, rapis tui Plenum?
Aurel.o Milani del. W. Baillie Sculp.
[n.d., c.1790.]
Etching, printed on very fine India paper. 180 x 230mm (7 x 9"). Trimmed into plate at bottom, laid on album paper.
Horace, Odes III:25: 'Where are you taking me, Bacchus?'. Here Bacchus sits leaning on a barrel, a faun and cherub behind. Captain William Baillie (1723-1810) retired from the army in 1761 with the rank of Captain and thereafter devoted himself to printmaking and dealing. He specialised in imitating old-master drawings and prints, using a variety of printmaking techniques. A collection of Baillie's prints was issued by Boydell in 1792 and 1803; this example has a gilt fore-edge, indictating it had been bound.
Ex: collection of The Hon. Christopher Lennox-Boyd. See also [Ref: 4231].
[Ref: 68470] £180.00 (£216.00 incl.VAT)

From a Drawing of Molyn, in the Collection of the Earl of Bute.
WBaillie sculp.t.
Publish'd Feb.y 2.d 1773.
Soft ground etching with mezzotint tone, 18th century watermark. Sheet 220 x 325mm (8¾ x 12¾"). Trimmed within plate, creasing.
A rustic scene with wagons, after Pieter de Molijn (1595-1661), Engraved by Captain William Baillie (1723-1810), who retired from the army in 1761 and devoted himself to printmaking and dealing. He specialised in imitating old-master drawings and prints, using a variety of printmaking techniques. Baillie also acted as the Earl of Bute's art agent.
Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 68466] £130.00 (£156.00 incl.VAT)

[Ceres and Stellio.] Dum frugum genitrix, tadas accendit in AEtna [...]
AElsheimer pinit. W. Hollar fecit aqua forti 1646 [but later].
Etching, platemark 300 x 230mm (11¾ x 9"), with very large margins.
Ceres drinks thirstily, while a small boy mocks her by pointing to her. In Ovid's 'Metamorphoses' she responds by turning the boy into a lizard. Etching by Wenceslaus Hollar, perhaps the greatest printmaker active in 17th century England, after the miniaturist and specialist in night scenes Adam Elsheimer. This is actually a copy in reverse of Hendrik van Goudt's 1610 print of Elsheimer's original painting.
Pennington 273
[Ref: 68294] £140.00 (£168.00 incl.VAT)

[Dutch village scene]
Grimm inv Tobin sculp.t 1771
Rare etching, 220 x 310mm (8½ x 12¼"), with large margins. On 18th century watermarked paper. Crease through centre. Small hole in trees.
Landscape after Samuel Hieronymous Grimm (1733-94) by the little-known etcher J. Tobin (1770s, fl.). Grimm was a Swiss painter who moved to England around the time this print was made, where he became known for his versatility, producing illustrations to Shakespeare, topographical views, caricatures, and drawings of antiquities. As Joseph Strutt writes of Tobin in his biographical dictionary of engravers: 'he was a native of England, and etched several small plates of landscapes from H. Grim. We have also some small tinted plates from him, from Both, Ostade, and other painters'. Probably from a volume of Tobin's etchings.
[Ref: 68273] £160.00 (£192.00 incl.VAT)

Fores's Contrasts. Pl. 2: The Guard of 1852; The Guard of 1832.
Painted by H. Alken. Engraved by J. Harris.
Published May 26th 1852 by Mess.rs Fores, 41, Piccadilly, London.
A large coloured aquatint, 410 x 600mm (16 x 23½)". Some staining.
A pair of scenes illustrating the impact of the advent of the railways. Henry Alken had died in 1851, the year before publication.
[Ref: 68299] £190.00 (£228.00 incl.VAT)

[Osler's Crystal Fountain]
F. Bedford Del Et Lith.
W. Digby Wyatt Dirext. [n.d. c.1851] [London: published by Day and Son, lithographers to the Queen, [1851-1853]]
Chromolithograph, sheet 405 x 255mm (15¾ x 10"). Trimmed around image.
Plate 23 from, 'Plate 40 from M. Digby Wyatt, The industrial arts of the nineteenth century: a series of illustrations of the choicest specimens produced by every nation at the Great Exhibition of the Works of Industry, 1851; dedicated, by permission, to his Royal Highness the Prince Albert (London: published by Day and Son, lithographers to the Queen, [1851-1853])'. An image of the Crystal Fountain, designed by Abraham Follett Osler (1808–1903), standing in the heart of the Transept at the Great exhibition. It was said to be 27 feet tall and needed four tons of glass to construct it.
[Ref: 68488] £80.00 (£96.00 incl.VAT)

[The Maid of the Mill.][in pencil]
J. Richards pinx.t. W. Woollett sculp.t.
[n.d., c.1768.]
Fine engraving, proof before title. Platemark: 380 x 470mm (15 x 18½"), with large margins on three sides. Small top margin.
An exterior scene; a barn to the left, with two women by the entrance, one mending a net, a mill in the centre, from which a person looks out of the window, and a house to the right, with a woman reading in the upstairs window. This scene is taken from the stage design of John Inigo Richards for the opening scene of 'The Maid of the Mill' (1765) by Irish playwright Isaac Bickerstaffe (1733 - 1812).
Fagan LX. State bIV of V. Provenance: Hooton Pagnell Hall, Yorkshire.
[Ref: 68482] £490.00

[An orrery clock] Sphere Mouvant, Suivant le vèritable Sistême du Monde, Exécutée sur les Dessins et Calculs de M.r Castel, Secretaire du Roy, et approuvée de M.rs de l'Académie Royale des Sciences de Paris, Suivant leur Certificat, du 5 Aoust 1766. La hauteur de toute cette Sphère est de 7 pieds et demi.
Salernier Sculp.
[n.d., 1767.]
Scarce engraving. 530 x 300mm (20½ x 11¾"). Repaired tear in inscription area.
An illustration of an orrery clock made in 1763, published in a pamphlet 'Description de la Nouvelle Sphere Mouvant de M.r Castel'. After the clock was sold by Castel's widow in 1773, it passed through the hands of several owners including Baron Mayer Amschel de Rothschild (1818-1874). In 2021 it was sold at Christies, much altered, for £475,000.
[Ref: 68318] £580.00

[A decorated urn on a plinth] Vase in the Garden at Petworth.
A L [monogram of Amelia Long on stone.]
[British, n.d., c.1837.]
Rare lithograph, 295 x 205mm. 11½ x 8". Original card mount watermarked 1837, with ink ruled border. Some light foxing.
An attractive and detailed study of garden furniture at Petworth House, Sussex. Amelia Long (née Hume), Lady Farnborough (1772-1837). In 1793 she married Charles Long, created Baron Farnborough in 1826. An amateur etcher and a vigorous patron of the arts, she assisted the watercolourist Thomas Girtin (1775-1802) to make his one visit to Paris in 1801. Lady Farnborough was Girtin's favourite pupil, and her work was widely admired by professional artists and drawing masters. Her watercolours also show the influence of her contemporary John Varley.
[Ref: 68302] £260.00 (£312.00 incl.VAT)

A Collection of Landscapes and Figures, Beautifully Etched, by the Late Paul Sandby, Esq. and M. Chatelain.
London: Published by R.H. Laurie, No 53, Fleet Street. [n.d., c.1810]
4to, disbound, blue paper front wrapper with printed title label, with 16 (of 29?) etchings, each c. 145 x 180mm (5¾ x 7"), large margins Lacking back wrapper.
A collection of etchings after Paul Sandby (1731-1809) and Jean Baptiste Chatelain (1710-58), published after Sandby's death. Six landscapes and a full-length portrait of a woman have no inscriptions; the other nine plates signed by Chatelain, suggesting the unsigned ones are after Sandby. The Chatelain plates include a pair 'Calm' and 'Storm', with the publication details of Robert Sayer, suggesting Richard Holmes Laurie was republishing plates dating back to c.1750.
[Ref: 68298] £320.00 view all images for this item

[Richard Owen Cambridge, 'The Scribleriad. An Heroic Poem. In Six Books'.]
L.P.Boitard Inv.t & Sculp.
According to Act of Parliament 1751 [by Richard Dodsley].
Etching. 210 x 165mm (8¼ x 10½"), large margins.
The frontispiece to Book II of Richard Owen Cambridge's 'The Scribleriad : an heroic poem. In six books'. Scriblerus relates the story of his travels to a group of pilgrims, friends of his father. They sit on the grass in the foreground with a tiered dish, fruit, oriental figurines and statuettes, including one of Buddha, one of them to right reading a strip of paper he has drawn with much surprise from a small goblet, two on the left looking up at the sky with astonishment, with mountains in the distance, groups of indigenous people drawn up in the background to left, others chasing a solitary figure towards a broad river flowing on the right, where unicorns and other animals are swimming, with a mermaid on an island and seals and an enormous fish on the shore.
Ex Collection Norman Blackburn.
[Ref: 68279] £140.00 (£168.00 incl.VAT)

[Illustration to The Scribleriad]
L.P. Boitard inv.t & sculp.
According to Act of Parliament 1751.
Engraving, 215 x 170mm (8½ x 6¾"), with large margins. Staining in margins
Night scene of a long-robed man with stepped shoes and an elaborate hair or tail headdress, coiled around his waist and trailing to the ground, gesturing toward an overgrown arched cave while grabbing the cloak of a turbaned man who recoils in fear as two owls burst from the cavern. This book-illustration comes from Richard Owen Cambridge's (1717 -1892), 'The Scribleriad. An Heroic Poem. In Six Books', London, 1751. A a mock epic poem, the hero of which is the Martinus Scriblerus of Alexander Pope, John Arbuthnot and Jonathan Swift. The poem is preceded by a dissertation on the mock heroic, in which he avows Miguel de Cervantes as his master. It is full of literary in-jokes.
[Ref: 68389] £85.00 (£102.00 incl.VAT)

Summer. Now swarms the village o'er the jovial mead'...
Drawn by T. Hearne. Engraved by W. Ellis.
London: Published as the Act directs, 12 Aug. 1784, by W.m Ellis, No. 9 Gwynne's Build.gs Islington.
Etching with engraving. Sheet 345 x 375mm (13½ x 14¾"). SIGNED in ink by the engraver on reverse. Trimmed within plate, affecting publication line and signature on reverse, creasing, small tear taped.
An oval harvesting scene, one of a set painted by Thomas Hearne illustrating Thomson's poem 'The Seasons'.
The BM's example (1849,0328.73) is also signed by William Ellis.
[Ref: 68412] £320.00

[Classical collonade and courtyard after David Teniers.]
Æsheimer inv. W Hollar fecit.
F. van den Wyngarde exc. [n.d., c.1650.]
Etching, 17th century watermark. Sheet 225 x 165mm (8¾ x 6½"). Trimmed within plate, mounted on album paper. light creasing.
Although Pennington calls this plate 'Healing the cripples' after Elsheimer, the BM has traced a drawing by David Teniers the Elder in the Metropolitan Museum of Art.
Pennington: 114, iii of iii; BM 2005,U.178.
[Ref: 68278] £140.00 (£168.00 incl.VAT)

[Italian landscape.] Engraved from an Original Picture of F: Zuccarelli, In the Possession of W:m Herring Esq.r.
F. Zuccarelli Pinx.t. F. Vivares Sculp.
Publish'd by F. Vivares 7th August 1753.
Etching. 410 x 500mm (16 x 19¾"), with very large margins. Rubbing in margins.
An Italianate landscape with an itinerant woman and child begging. A state with 'No.10' added bottom left.
[Ref: 68400] £260.00 (£312.00 incl.VAT)

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