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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![[Aeneas saving his father from the burning of Troy.]](jpegs/59913.jpg)
[Aeneas saving his father from the burning of Troy.]
P.P. Rubens Pinx. v. Prenner del. et incid.
[n.d., 1728.]
Engraving on two plates. Outside plate 265 x 320mm (10½ x 12½") very large margins. Uncut.
A scene of the Fall of Troy, with a separate plate for the decorative, frame-like printed border, published in the 'Theatrum Artis Pictoriae', a series of reproductions of the Imperial Gallery of Paintings in Vienna. The attribution to Rubens is doubtful. Aeneas carries his elderly father Anchises from the burning city, accompanied by Aeneas' wife Creusa, who died in the escape attempt, and small son Ascanius.
[Ref: 59913] £140.00 (£168.00 incl.VAT)
P.P. Rubens Pinx. v. Prenner del. et incid.
[n.d., 1728.]
Engraving on two plates. Outside plate 265 x 320mm (10½ x 12½") very large margins. Uncut.
A scene of the Fall of Troy, with a separate plate for the decorative, frame-like printed border, published in the 'Theatrum Artis Pictoriae', a series of reproductions of the Imperial Gallery of Paintings in Vienna. The attribution to Rubens is doubtful. Aeneas carries his elderly father Anchises from the burning city, accompanied by Aeneas' wife Creusa, who died in the escape attempt, and small son Ascanius.
[Ref: 59913] £140.00 (£168.00 incl.VAT)
![[Aeneas dispatched to Dido by the gods]](jpegs/45140.jpg)
[Aeneas dispatched to Dido by the gods] Oro liceat dare tuta per undas vela, Virg. AEneid. Lib. 5 [...]
Cotelle pinx. Dans le Cabinet des Bijoux de S.A.R. Monseig. le Duc d'Orleans à S. Cloud
Se vend à Paris chez Limosin rue de Gesvres au grand Coeur avec privil. [c.1750]
Fine engraving, platemark 340 x 285mm (13½ x 11¼") large margins Crease in centre as normal.
Scene from book five of Virgil's 'The Aeneid', with the gods sending the protagonist Aeneas to Dido, queen of Carthage. Aeneas and Dido fall in love, but he is eventually compelled to leave her to found the city of Rome.
From the Library of Pitsligo
[Ref: 45140] £340.00
Cotelle pinx. Dans le Cabinet des Bijoux de S.A.R. Monseig. le Duc d'Orleans à S. Cloud
Se vend à Paris chez Limosin rue de Gesvres au grand Coeur avec privil. [c.1750]
Fine engraving, platemark 340 x 285mm (13½ x 11¼") large margins Crease in centre as normal.
Scene from book five of Virgil's 'The Aeneid', with the gods sending the protagonist Aeneas to Dido, queen of Carthage. Aeneas and Dido fall in love, but he is eventually compelled to leave her to found the city of Rome.
From the Library of Pitsligo
[Ref: 45140] £340.00
![[Aeneas takes leave of Dido.]](jpegs/61406.jpg)
[Aeneas takes leave of Dido.]
Le Potre Invent et fecit.
Le Blond avec Privil [Paris, n.d., c.1660.]
Etching. 240 x 330mm (9¼ x 13"). Trimmed to plate, split in centre fold.
Aeneas takes leave of his lover, Queen Dido, at a quay in Carthage as his men load his ship.
[Ref: 61406] £160.00 (£192.00 incl.VAT)
Le Potre Invent et fecit.
Le Blond avec Privil [Paris, n.d., c.1660.]
Etching. 240 x 330mm (9¼ x 13"). Trimmed to plate, split in centre fold.
Aeneas takes leave of his lover, Queen Dido, at a quay in Carthage as his men load his ship.
[Ref: 61406] £160.00 (£192.00 incl.VAT)
![[Aeneas saving his father from the burning of Troy.]](jpegs/38123.jpg)
[Aeneas saving his father from the burning of Troy.] A Monsieur De Jullienne Ecuyer Chevalier de l'Ordre de St Michel. Par son tres humble Serviteur Nicolas Dupuis. Quand tu sauves la vie à l'auteur de tes jours, Tout vancu que tu sois, Tendre et pieux Enée, Et que pour le porter tu prestes ton secours, Tu me parois plus grand sous poids précieux, Fuyant ta ville infortunée, Que tous les Grecs victorieux. Moraine.
Carles Vanloo pinxit. N. Dupuis junior Sculp.
a Paris chez Dupuis graveur du Roy rüe de la Vannerie à L'Ange St Michel. [n.d., c.1760.]
Engraving. 450 x 325mm (17¾ x 12¾"). Very large margins.
After the defeat of Troy Aneas carries his elderly father Anchises from the burning city, accompanied by Aeneas' wife Creusa, who died in the escape attempt, and small son Ascanius.
[Ref: 38123] £230.00 (£276.00 incl.VAT)
Carles Vanloo pinxit. N. Dupuis junior Sculp.
a Paris chez Dupuis graveur du Roy rüe de la Vannerie à L'Ange St Michel. [n.d., c.1760.]
Engraving. 450 x 325mm (17¾ x 12¾"). Very large margins.
After the defeat of Troy Aneas carries his elderly father Anchises from the burning city, accompanied by Aeneas' wife Creusa, who died in the escape attempt, and small son Ascanius.
[Ref: 38123] £230.00 (£276.00 incl.VAT)
Eneas carrying his Father Anchyses from the Ruins of Troy. From the Original Picture, Painted by Jacopo Robusti commonly called Tintoretto, In the Collection of his Grace the Duke of Devonshire. Size of the Picture, 1' 0" by 1' 4" in height.
Tintoretto pinx.t R. Earlom delin.t & Sculpsit
John Boydell excudit London 1767
Mezzotint with etching, 330 x 230mm. 13 x 9". Large margins; creasing through centre
Aeneas carrying his father away from Troy before beginning the journey that will lead to the foundation of Rome. Illustration to an episode featuring in Virgil's 'The Aeneid'. From "The Most Capital Paintings in England", a series of engravings in five volumes produced in late 1760s-1786, the first three (1769 to 1773) originally published under the title Sculptura Britannica. These were a critical and financial success for the publisher John Boydell who promoted the interests of artists, engravers and patrons, establishing a tradition in Britain for collecting prints.
[Ref: 14885] £190.00 (£228.00 incl.VAT)
Tintoretto pinx.t R. Earlom delin.t & Sculpsit
John Boydell excudit London 1767
Mezzotint with etching, 330 x 230mm. 13 x 9". Large margins; creasing through centre
Aeneas carrying his father away from Troy before beginning the journey that will lead to the foundation of Rome. Illustration to an episode featuring in Virgil's 'The Aeneid'. From "The Most Capital Paintings in England", a series of engravings in five volumes produced in late 1760s-1786, the first three (1769 to 1773) originally published under the title Sculptura Britannica. These were a critical and financial success for the publisher John Boydell who promoted the interests of artists, engravers and patrons, establishing a tradition in Britain for collecting prints.
[Ref: 14885] £190.00 (£228.00 incl.VAT)
John Blow, Doctor of Music.
[n.d. c.1750.]
Engraving and etching, laid on album page. 140 x 84mm (5½ x 3¼"). Cut.
John Blow (1648-1708), the English baroque composer and organist, appointed to Westminster Abbey in 1669. His pupils included William Croft, Jeremiah Clarke and Henry Purcell. In 1685 he was named a private musician to James II. It is thought that his Venus and Adonis influenced Henry Purcell's later opera Dido and Aeneas. In 1687 he became choirmaster at St Paul's Cathedral and in 1699 he was appointed to the newly created post of Composer to the Chapel Royal.
NPG: D31306.
[Ref: 34597] £45.00 (£54.00 incl.VAT)
[n.d. c.1750.]
Engraving and etching, laid on album page. 140 x 84mm (5½ x 3¼"). Cut.
John Blow (1648-1708), the English baroque composer and organist, appointed to Westminster Abbey in 1669. His pupils included William Croft, Jeremiah Clarke and Henry Purcell. In 1685 he was named a private musician to James II. It is thought that his Venus and Adonis influenced Henry Purcell's later opera Dido and Aeneas. In 1687 he became choirmaster at St Paul's Cathedral and in 1699 he was appointed to the newly created post of Composer to the Chapel Royal.
NPG: D31306.
[Ref: 34597] £45.00 (£54.00 incl.VAT)
Creusa appearing to Aeneas.
Painted by Maria Cosway. Engraved by V. Green, Mezzotinto Engraver to his Majesty & to the Elector Palatine.
London Publysh'd Jan.y, 7, 1803, by H. Macklin, Poets Gallery, Fleet Street.
Scarce mezzotint, 550 x 430mm (22 x 17"), with large margins. Creasing and surface dirt. Tears in margins repaired with acid free tape.
Aeneas, clad in armor, gazes upwards to the right as he steps forward, arms outstretched in an attempt to embrace Creusa. She hovers in mid-air, her body bare, a veil swirling around her as she looks down at him from the right. In the distance, the flames of Troy rage. A crudely reworked version published by Hannah Macklin.
Whitman 226. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 65221] £320.00
Painted by Maria Cosway. Engraved by V. Green, Mezzotinto Engraver to his Majesty & to the Elector Palatine.
London Publysh'd Jan.y, 7, 1803, by H. Macklin, Poets Gallery, Fleet Street.
Scarce mezzotint, 550 x 430mm (22 x 17"), with large margins. Creasing and surface dirt. Tears in margins repaired with acid free tape.
Aeneas, clad in armor, gazes upwards to the right as he steps forward, arms outstretched in an attempt to embrace Creusa. She hovers in mid-air, her body bare, a veil swirling around her as she looks down at him from the right. In the distance, the flames of Troy rage. A crudely reworked version published by Hannah Macklin.
Whitman 226. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 65221] £320.00
Creusa appearing to Aeneas.
Painted by Maria Cosway. Engraved by V. Green, Mezzotinto Engraver to his Majesty & to the Elector Palatine.
[London Publysh'd Jan.y, 7, 1803, by H. Macklin, Poets Gallery, Fleet Street.]
Scarce mezzotint, card 635 x 520mm (25 x 20½"). Trimmed within plate losing publication line and laid on card.
Aeneas, clad in armor, gazes upwards to the right as he steps forward, arms outstretched in an attempt to embrace Creusa. She hovers in mid-air, her body bare, a veil swirling around her as she looks down at him from the right. In the distance, the flames of Troy rage. A crudely reworked version published by Hannah Macklin.
Whitman 226. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 65223] £260.00 (£312.00 incl.VAT)
Painted by Maria Cosway. Engraved by V. Green, Mezzotinto Engraver to his Majesty & to the Elector Palatine.
[London Publysh'd Jan.y, 7, 1803, by H. Macklin, Poets Gallery, Fleet Street.]
Scarce mezzotint, card 635 x 520mm (25 x 20½"). Trimmed within plate losing publication line and laid on card.
Aeneas, clad in armor, gazes upwards to the right as he steps forward, arms outstretched in an attempt to embrace Creusa. She hovers in mid-air, her body bare, a veil swirling around her as she looks down at him from the right. In the distance, the flames of Troy rage. A crudely reworked version published by Hannah Macklin.
Whitman 226. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 65223] £260.00 (£312.00 incl.VAT)
Didoos Dood. Boertig in Hollandsche kleedy afgebeeld. Onnoozle Dido sterft, van haar Galant verlaaten…Och, Vrouwtjes! wacht u wel voor de ontrouw van de Mans. L.P La Mort de Didon, Representée en burlesque, à la Hollandoise. La pauvre Didon meurt: son Amant l’abandonne...Mesdames! gardez-vous des pièges des Galants. H.J.R.
C. Troost inv. S. Fokke del. et fec.
[n.d. c.1760.]
Etching and engraving with very large margins. Plate 375 x 272mm (14¾ x 10¾").
Dido's death; the queen lying on a pyre, dressed in peasant clothes. A fantastic Dutch Burlesque. From a series of thirty-one unnumbered plates after Cornelis Troost. The series was begun in 1754 with three prints by Punt and Tanjé; between 1757 and 1764 twenty-nine plates were added, engraved by Jan Punt, Pieter Tanjé, Jacobus Houbraken, Pelletier, Simon Fokke, Radigues and Muys.
[Ref: 30049] £230.00 (£276.00 incl.VAT)
C. Troost inv. S. Fokke del. et fec.
[n.d. c.1760.]
Etching and engraving with very large margins. Plate 375 x 272mm (14¾ x 10¾").
Dido's death; the queen lying on a pyre, dressed in peasant clothes. A fantastic Dutch Burlesque. From a series of thirty-one unnumbered plates after Cornelis Troost. The series was begun in 1754 with three prints by Punt and Tanjé; between 1757 and 1764 twenty-nine plates were added, engraved by Jan Punt, Pieter Tanjé, Jacobus Houbraken, Pelletier, Simon Fokke, Radigues and Muys.
[Ref: 30049] £230.00 (£276.00 incl.VAT)
The Death of Dido.
Painted by Sir Joshua Reynolds. Engraved by J. Grozer.
London, Published at the Act directs, 9th. May 1796, by J. Grozer. No.8, Castle Street, Leicester Square.
Mezzotint, very fine impression & image. Plate: 490 x 590mm (19¼ x 23¼"). Creasing in top left corner. Small tear in top right corner. Small margins.
A dramatic scene in which Dido, having stabbed herself, lies dying on a pyre while beside her Anna throws her arms up in horror and Iris cuts a lock of her hair. In the distance Aeneas's ships sail away. Said by Leslie to be a portrait of Miss Wateridge.
CS: 25
[Ref: 46177] £650.00
Painted by Sir Joshua Reynolds. Engraved by J. Grozer.
London, Published at the Act directs, 9th. May 1796, by J. Grozer. No.8, Castle Street, Leicester Square.
Mezzotint, very fine impression & image. Plate: 490 x 590mm (19¼ x 23¼"). Creasing in top left corner. Small tear in top right corner. Small margins.
A dramatic scene in which Dido, having stabbed herself, lies dying on a pyre while beside her Anna throws her arms up in horror and Iris cuts a lock of her hair. In the distance Aeneas's ships sail away. Said by Leslie to be a portrait of Miss Wateridge.
CS: 25
[Ref: 46177] £650.00
Eneas going into the Cave, from an Original Drawing of Solimene.
Fran: Solimene inv. e del. Gius Zocchi inv:
1764.
Etching. 255 x 240mm (10 x 9½") with large margins. Uncut.
A scene depicting Aeneas and Dido holding hands as they are about to enter the cave to shelter from the storm conjured by Juno. Perhaps one of the most controversial plot points of the Aeneid, Dido interprets their time spent in the cave as consecration of their marriage, which Aeneas only later attempts to deny as he realises he must leave Carthage and continue his search for a new settlement. Dido, humiliated and believeing her reputation to be irretrievable, kills herself with Aeneas' sword and curses enduring enmity between their peoples, an overt invocation of the Punic Wars.
[Ref: 54011] £180.00 (£216.00 incl.VAT)
Fran: Solimene inv. e del. Gius Zocchi inv:
1764.
Etching. 255 x 240mm (10 x 9½") with large margins. Uncut.
A scene depicting Aeneas and Dido holding hands as they are about to enter the cave to shelter from the storm conjured by Juno. Perhaps one of the most controversial plot points of the Aeneid, Dido interprets their time spent in the cave as consecration of their marriage, which Aeneas only later attempts to deny as he realises he must leave Carthage and continue his search for a new settlement. Dido, humiliated and believeing her reputation to be irretrievable, kills herself with Aeneas' sword and curses enduring enmity between their peoples, an overt invocation of the Punic Wars.
[Ref: 54011] £180.00 (£216.00 incl.VAT)
![[The Death of Dido]](jpegs/43427.jpg)
[The Death of Dido]
G.B. Cipriani invt. F. Bartolozzi sculpt.
London Pub'd. as the Act directs Mar.h 1 1787 by F. Bartolozzi.
Etching printed in sepia, platemark 215 x 270mm (8½ x 10½") very large margins.
The death of Dido of Carthage, who committed suicide after the warrior Aeneas left her (as recounted in Virgil's 'Aeneid'). Etching by Francesco Bartolozzi (1725-1815), Florentine engraver and founding member of the Royal Academy in 1768. After meeting George III's librarian Richard Dalton in Italy in 1763, 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. This is the medium employed here, one of many prints he made from designs by his fellow Italian, G.B. Cipriani (it was published in 'A Set of Etchings by Francis Bartolozzi R.A. in Imitation of Drawings from the Sketches of the Late John Baptist Cipriani R.A.' in 1788.
Calabi & De Vesme 406.ii
[Ref: 43427] £180.00 (£216.00 incl.VAT)
G.B. Cipriani invt. F. Bartolozzi sculpt.
London Pub'd. as the Act directs Mar.h 1 1787 by F. Bartolozzi.
Etching printed in sepia, platemark 215 x 270mm (8½ x 10½") very large margins.
The death of Dido of Carthage, who committed suicide after the warrior Aeneas left her (as recounted in Virgil's 'Aeneid'). Etching by Francesco Bartolozzi (1725-1815), Florentine engraver and founding member of the Royal Academy in 1768. After meeting George III's librarian Richard Dalton in Italy in 1763, 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. This is the medium employed here, one of many prints he made from designs by his fellow Italian, G.B. Cipriani (it was published in 'A Set of Etchings by Francis Bartolozzi R.A. in Imitation of Drawings from the Sketches of the Late John Baptist Cipriani R.A.' in 1788.
Calabi & De Vesme 406.ii
[Ref: 43427] £180.00 (£216.00 incl.VAT)
![[Dido fainting with grief.]](jpegs/18280.jpg)
[Dido fainting with grief.]
G.B. Cipriani inv. et pinx. F Bartolozzi sculpt.
London Published as the Act directs Octr,, 30th 1778 by F. Bartolozzi No.1 Bentinck Street Berwick Street Soho.
Engraving in oval, proof before title. Sheet 385 x 490mm. 15¼ x 19¼". Trimmed to plate.
Dido, supported on a pyre by a woman wearing a veil and diadem, a dagger at her side; an old woman stands behind to left and weeping women are gathered on the right. In Virgil's 'Aeneid', Dido, legendary queen of Carthage, falls in love with Aeneas after the Trojan fleet is shipwrecked on her shores. She throws herself on a pyre at his departure. After Giovanni Battista Cipriani (1727 - 1785).
From the Norman Blackburn Collection.
[Ref: 18280] £350.00
G.B. Cipriani inv. et pinx. F Bartolozzi sculpt.
London Published as the Act directs Octr,, 30th 1778 by F. Bartolozzi No.1 Bentinck Street Berwick Street Soho.
Engraving in oval, proof before title. Sheet 385 x 490mm. 15¼ x 19¼". Trimmed to plate.
Dido, supported on a pyre by a woman wearing a veil and diadem, a dagger at her side; an old woman stands behind to left and weeping women are gathered on the right. In Virgil's 'Aeneid', Dido, legendary queen of Carthage, falls in love with Aeneas after the Trojan fleet is shipwrecked on her shores. She throws herself on a pyre at his departure. After Giovanni Battista Cipriani (1727 - 1785).
From the Norman Blackburn Collection.
[Ref: 18280] £350.00
![[Aeneas meets Andromache.]](jpegs/65521.jpg)
[Aeneas meets Andromache.] Vivo equidem, vitamque extrema per omnia duco/Ne dubita; nam vera vides/Heu quis te cafus [...]
F.Cleyn inv. W.Hollar fecit.
[n.d., c.1650.] Hono Do: Dominae Elizabethś Hutton de Hutton Panell Co Ebor: Tabula merito votiura.
Engraving. Sheet 305 x 195mm (12 x 7¾"). Stain upper left of image. Very small hole in lower centre repaired with acid free tape. Some creasing.
A scene depicting Andromache accompanied by a lady, addressing Aeneas. Four figures stand in shadows of trees on the left, the central one covered with floral wreaths, and soldiers led by Helenus approaching down a slope from a castle in background. Illustration to John Ogilby's 'The Works of Publius Virgilius Maro.'
Pennington 306 iv of v. Collector's Mark verso.
[Ref: 65521] £65.00 (£78.00 incl.VAT)
F.Cleyn inv. W.Hollar fecit.
[n.d., c.1650.] Hono Do: Dominae Elizabethś Hutton de Hutton Panell Co Ebor: Tabula merito votiura.
Engraving. Sheet 305 x 195mm (12 x 7¾"). Stain upper left of image. Very small hole in lower centre repaired with acid free tape. Some creasing.
A scene depicting Andromache accompanied by a lady, addressing Aeneas. Four figures stand in shadows of trees on the left, the central one covered with floral wreaths, and soldiers led by Helenus approaching down a slope from a castle in background. Illustration to John Ogilby's 'The Works of Publius Virgilius Maro.'
Pennington 306 iv of v. Collector's Mark verso.
[Ref: 65521] £65.00 (£78.00 incl.VAT)
![[Set of three prints in various states.] Penelope taking down the Bow of Ulysses.](jpegs/36450.jpg)
[Set of three prints in various states.] Penelope taking down the Bow of Ulysses. From the original Picture in the Collection of Lord Boringdon.
A. Kauffman, R. A. pin.t. T. Ryder Sculp.t.
Publish'd July 1st. 1791,by B. B. Evans, Poultry London.
Set of three stipple engravings. Platemark: 390 x 280mm (15¼ x 11") each. Hand lettered proof impression trimmed inside plate. Untitled proof impression has light surface marks and chips to right and top edges, cut to platemark. Titled impression has light spotting in very large margins. Foxing.
A set of three prints in various states; two proof impressions printed in brown ink. Lettered impression with full titles and publication lines. Penelope, standing in profile to left, reaches up to free the bow from the sash tying it to a column, while another woman crouches in the foreground, preparing a quiver. Published as a pair to item ref: 36444, 'Venus shewing Aeneas the Road to Carthage', by Benjamin Beale Evans, 1791. After Angelica Kauffman, RA (1741 - 1807), a Swiss-born Austrian Neoclassical painter who had a successful career in London and Rome.
[Ref: 36450] £520.00 view all images for this item
A. Kauffman, R. A. pin.t. T. Ryder Sculp.t.
Publish'd July 1st. 1791,by B. B. Evans, Poultry London.
Set of three stipple engravings. Platemark: 390 x 280mm (15¼ x 11") each. Hand lettered proof impression trimmed inside plate. Untitled proof impression has light surface marks and chips to right and top edges, cut to platemark. Titled impression has light spotting in very large margins. Foxing.
A set of three prints in various states; two proof impressions printed in brown ink. Lettered impression with full titles and publication lines. Penelope, standing in profile to left, reaches up to free the bow from the sash tying it to a column, while another woman crouches in the foreground, preparing a quiver. Published as a pair to item ref: 36444, 'Venus shewing Aeneas the Road to Carthage', by Benjamin Beale Evans, 1791. After Angelica Kauffman, RA (1741 - 1807), a Swiss-born Austrian Neoclassical painter who had a successful career in London and Rome.
[Ref: 36450] £520.00 view all images for this item
Henry Purcell.
[Anon.]
London; Published by W. Pinnock, 267, Strand, June 1823.
Etching from an unidentified publication, sheet 285 x 225mm. 11¼ x 9". Small tear to right edge.
Bust portrait of Henry Purcell (1659 - 1695), composer. Purcell is said to have written his first composition at the age of eleven in honour of Charles II's birthday. He became organist of Westminster Abbey in 1679, and of the Chapel Royal in 1682. He composed religious anthems, secular songs, instrumental pieces, odes, music for plays and 'semi-operas', and the famous Dido and Aeneas, one of the first English operas, and the Fairy Queen. According to John Evelyn he was 'esteemed to be the best composer of any Englishman hitherto'.
[Ref: 22487] £75.00 (£90.00 incl.VAT)
[Anon.]
London; Published by W. Pinnock, 267, Strand, June 1823.
Etching from an unidentified publication, sheet 285 x 225mm. 11¼ x 9". Small tear to right edge.
Bust portrait of Henry Purcell (1659 - 1695), composer. Purcell is said to have written his first composition at the age of eleven in honour of Charles II's birthday. He became organist of Westminster Abbey in 1679, and of the Chapel Royal in 1682. He composed religious anthems, secular songs, instrumental pieces, odes, music for plays and 'semi-operas', and the famous Dido and Aeneas, one of the first English operas, and the Fairy Queen. According to John Evelyn he was 'esteemed to be the best composer of any Englishman hitherto'.
[Ref: 22487] £75.00 (£90.00 incl.VAT)
![[Henry Purcell.]](jpegs/16964.jpg)
[Henry Purcell.]
Anon., c.1820s.
Stipple, proof before letters, very scarce, sheet 195 x 155mm. 7¾ x 6". Trimmed within plate; creasing.
Bust portrait of Henry Purcell (1659 - 1695), composer, based on the painting by John Closterman (1660 - 1711). Purcell is said to have written his first composition at the age of eleven in honour of Charles II's birthday. He became organist of Westminster Abbey in 1679, and of the Chapel Royal in 1682. He composed religious anthems, secular songs, instrumental pieces, odes, music for plays and 'semi-operas', and the famous Dido and Aeneas, one of the first English operas, and the Fairy Queen. According to John Evelyn he was 'esteemed to be the best composer of any Englishman hitherto'.
[Ref: 16964] £120.00 (£144.00 incl.VAT)
Anon., c.1820s.
Stipple, proof before letters, very scarce, sheet 195 x 155mm. 7¾ x 6". Trimmed within plate; creasing.
Bust portrait of Henry Purcell (1659 - 1695), composer, based on the painting by John Closterman (1660 - 1711). Purcell is said to have written his first composition at the age of eleven in honour of Charles II's birthday. He became organist of Westminster Abbey in 1679, and of the Chapel Royal in 1682. He composed religious anthems, secular songs, instrumental pieces, odes, music for plays and 'semi-operas', and the famous Dido and Aeneas, one of the first English operas, and the Fairy Queen. According to John Evelyn he was 'esteemed to be the best composer of any Englishman hitherto'.
[Ref: 16964] £120.00 (£144.00 incl.VAT)
Aequabit Olympo.
Cyrus Ferris inven. P. Lucadeus delin. B. Farjat sculp. Romae 1675 Sup: permis.
Engraving, 18th century watermark. Plate: 310 x 215mm (12 x 8½''). Small margins.
A classical scene showing the building of Rome. The British Museum has conflicting descriptions of the print, describing it as Romulus at the building of Rome and Aeneas meeting Anchises in Elysium. After Ciro Ferri (1633-69).
British Museum V,9.34. & British Museum 1873,0510.3621.
[Ref: 50100] £140.00 (£168.00 incl.VAT)
Cyrus Ferris inven. P. Lucadeus delin. B. Farjat sculp. Romae 1675 Sup: permis.
Engraving, 18th century watermark. Plate: 310 x 215mm (12 x 8½''). Small margins.
A classical scene showing the building of Rome. The British Museum has conflicting descriptions of the print, describing it as Romulus at the building of Rome and Aeneas meeting Anchises in Elysium. After Ciro Ferri (1633-69).
British Museum V,9.34. & British Museum 1873,0510.3621.
[Ref: 50100] £140.00 (£168.00 incl.VAT)
![[Set of three prints in various states.] Venus shewing Aeneas the Road to Carthage.](jpegs/36444.jpg)
[Set of three prints in various states.] Venus shewing Aeneas the Road to Carthage. From the original Picture in the Collection of Lord Boringdon.
A. Kauffman R.A. pin.t. T. Ryder Sculp.t.
Publish'd July 1.st 1791, by B. B. Evans, Poultry London.
Set of three stipple engravings. Platemark: 390 x 290mm (15¼ x 11¼") each. Two proof impressions are trimmed close to platemarks; Impression printed in brown ink has light spotting, impression printed in black has a few light surface marks with the top left corner missing. Lettered impression has full margins. Foxing.
A set of three prints in various states; two proof before letter impressions, one of which is printed in brown ink. Lettered impression with full titles and publication line. A scene depicting Venus, disguised as a Carthaginian huntress, standing in the centre with a bow on her back, showing two soldiers at left (Aeneas and Achatës) in the direction of a fortress in the city of Carthage, to the right. In the middle ground is da river with swans and a woodland to the left. Published as a pair to item ref: 36450, by Benjamin Beale Evans, 1791. After Angelica Kauffman, RA (1741 - 1807), a Swiss-born Austrian Neoclassical painter who had a successful career in London and Rome.
States; IV, V and VI.
[Ref: 36444] £590.00 view all images for this item
A. Kauffman R.A. pin.t. T. Ryder Sculp.t.
Publish'd July 1.st 1791, by B. B. Evans, Poultry London.
Set of three stipple engravings. Platemark: 390 x 290mm (15¼ x 11¼") each. Two proof impressions are trimmed close to platemarks; Impression printed in brown ink has light spotting, impression printed in black has a few light surface marks with the top left corner missing. Lettered impression has full margins. Foxing.
A set of three prints in various states; two proof before letter impressions, one of which is printed in brown ink. Lettered impression with full titles and publication line. A scene depicting Venus, disguised as a Carthaginian huntress, standing in the centre with a bow on her back, showing two soldiers at left (Aeneas and Achatës) in the direction of a fortress in the city of Carthage, to the right. In the middle ground is da river with swans and a woodland to the left. Published as a pair to item ref: 36450, by Benjamin Beale Evans, 1791. After Angelica Kauffman, RA (1741 - 1807), a Swiss-born Austrian Neoclassical painter who had a successful career in London and Rome.
States; IV, V and VI.
[Ref: 36444] £590.00 view all images for this item
Venus se plaint à Jupiter de la Tempête que Junon a excitée contre Enée. Virg. Eneide L.1.v.233. Agathe du Cabinet de Mr. Bourdaloue.
Eliz. Cheron L.H. delin. H. Simon Thomassin sculp.
Avec Privil. du Roi. [n.d. c.1710.]
Engraving, with large margins. Plate 204 x 190mm. 8 x 7½".
Venus complains to Jupiter of the storm that Juno created against Aeneas, signs of the Zodiac in circle. Plate 15 from "Pierres Antiques Gravées Tirées des Principaux Cabinets de la France".
[Ref: 25068] £140.00 (£168.00 incl.VAT)
Eliz. Cheron L.H. delin. H. Simon Thomassin sculp.
Avec Privil. du Roi. [n.d. c.1710.]
Engraving, with large margins. Plate 204 x 190mm. 8 x 7½".
Venus complains to Jupiter of the storm that Juno created against Aeneas, signs of the Zodiac in circle. Plate 15 from "Pierres Antiques Gravées Tirées des Principaux Cabinets de la France".
[Ref: 25068] £140.00 (£168.00 incl.VAT)
Venus Presenting Armour to Aeneas.
Printed for Carington Bowles, Map & Printseller, at No. 69 in St. Pauls Church Yard, London. [n.d., c,1770].
Rare mezzotint. Platemark: 345 x 250mm. (13½ x 9¾"). Some light stains and marks in large margins. Small stain in left middle of the print.
Venus appearing in a chariot drawn by cupids among clouds, addressing Aeneas who stands in a forest, pointing to left at a suit of armour piled against a tree. They are both watched by a river God reclining at the edge of the scene on the right. After Italian baroque artist Pietro Testa.
[Ref: 29119] £320.00
Printed for Carington Bowles, Map & Printseller, at No. 69 in St. Pauls Church Yard, London. [n.d., c,1770].
Rare mezzotint. Platemark: 345 x 250mm. (13½ x 9¾"). Some light stains and marks in large margins. Small stain in left middle of the print.
Venus appearing in a chariot drawn by cupids among clouds, addressing Aeneas who stands in a forest, pointing to left at a suit of armour piled against a tree. They are both watched by a river God reclining at the edge of the scene on the right. After Italian baroque artist Pietro Testa.
[Ref: 29119] £320.00