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
The Summit of Cader-Idris Mountain, in North Wales. Le Sommet de Cader-Idirs, Montagne dans la Principauté de Galles.
Rich.d Wilson pinx.t E. & M. Rooker Sculpser.t
Published July 17th 1775 by John Boydell, Engraver in Cheapside London.
Engraving. 405 x 550mm (16 x 21¾"). Printer's crease through publisher's inscription.
Cadair Idris mountain, in Snowdonia National Park, with a pool in a basin. One figure sketches while another uses a telescope. Richard Wilson (1714-82), a founder member of the Royal Academy, was described in the Welsh Academy Encyclopedia of Wales as the ''most distinguished painter Wales has ever produced and the first to appreciate the aesthetic possibilities of his country''. His painting of this scene, now in the Tate, was possibly exhibited at the RA in 1774. This plate was first published without a publisher's inscription.
[Ref: 44525] £320.00
Rich.d Wilson pinx.t E. & M. Rooker Sculpser.t
Published July 17th 1775 by John Boydell, Engraver in Cheapside London.
Engraving. 405 x 550mm (16 x 21¾"). Printer's crease through publisher's inscription.
Cadair Idris mountain, in Snowdonia National Park, with a pool in a basin. One figure sketches while another uses a telescope. Richard Wilson (1714-82), a founder member of the Royal Academy, was described in the Welsh Academy Encyclopedia of Wales as the ''most distinguished painter Wales has ever produced and the first to appreciate the aesthetic possibilities of his country''. His painting of this scene, now in the Tate, was possibly exhibited at the RA in 1774. This plate was first published without a publisher's inscription.
[Ref: 44525] £320.00
Carnarvon Castle, The Birth Place of Edward II in North Wales. ~ Le Chateau de Carnarvon, ou le Roy Edouard II etoit ne, dans la Principaute de Galles.
Rich.d Wilson Pinx.t. Will.m Byrne Sculpt.
Published July 17th 1775 by John Boydell Engraver in Cheapside London.
Engraving. 400 x 540mm (15¾ x 21¼"). Small margins. Slight crease on left.
A view of Caernafon from across the Afon Seiont, cows in the foreground. Richard Wilson (1714-82), a founder member of the Royal Academy, was described in the Welsh Academy Encyclopedia of Wales as the ''most distinguished painter Wales has ever produced and the first to appreciate the aesthetic possibilities of his country''.
[Ref: 44527] £360.00
Rich.d Wilson Pinx.t. Will.m Byrne Sculpt.
Published July 17th 1775 by John Boydell Engraver in Cheapside London.
Engraving. 400 x 540mm (15¾ x 21¼"). Small margins. Slight crease on left.
A view of Caernafon from across the Afon Seiont, cows in the foreground. Richard Wilson (1714-82), a founder member of the Royal Academy, was described in the Welsh Academy Encyclopedia of Wales as the ''most distinguished painter Wales has ever produced and the first to appreciate the aesthetic possibilities of his country''.
[Ref: 44527] £360.00
Celadon and Amelia. From an Original Picture, in the Collection of Wm. Lock Esqr [...]
R. Wilson pinxit Londini. Browne aqua forti fecit. Woollett sculpt.
Publish'd June 10th. 1766 as the Act directs, by W. Woollett in Long's Court, Leicester Fields, & Ryland & Bryer at the King's Arms in Cornhill, London.
Engraving, sheet 440 x 550mm (17½ x 21½"). Trimmed inside platemark; repaired tear at top. Foxed.
Celadon at the centre, looking to the heavens with his arms outstretched in disbelief and grief; Amelia lies dead at his feet. In the background a house with a shepherd driving his sheep up a hill, on which is a fortress. To right, a bay with stormy seas and a broken bridge. Verse from 'Summer' by James Thomson from his 'The Seasons' below. After an unlocated painting by Richard Wilson (1714 - 1782), the preeminent British landscape painter of the mid-18th century. Wilson's painting was exhibited in 1765 as 'A Summer Storm with the Story of the Two Lovers from Thompson (Celadon and Amelia), reinforcing the link with this popular literary source for 18th century artists. David Solkin has described this subject as a modern, Christian, English equivalent to the Ovidian death scene 'Destruction of the Children of Niobe' which Wilson also famously painted.
Fagan: 57, VI of VIII; for Wilson's 'Niobe' see ref 38488
[Ref: 38962] £240.00 (£288.00 incl.VAT)
R. Wilson pinxit Londini. Browne aqua forti fecit. Woollett sculpt.
Publish'd June 10th. 1766 as the Act directs, by W. Woollett in Long's Court, Leicester Fields, & Ryland & Bryer at the King's Arms in Cornhill, London.
Engraving, sheet 440 x 550mm (17½ x 21½"). Trimmed inside platemark; repaired tear at top. Foxed.
Celadon at the centre, looking to the heavens with his arms outstretched in disbelief and grief; Amelia lies dead at his feet. In the background a house with a shepherd driving his sheep up a hill, on which is a fortress. To right, a bay with stormy seas and a broken bridge. Verse from 'Summer' by James Thomson from his 'The Seasons' below. After an unlocated painting by Richard Wilson (1714 - 1782), the preeminent British landscape painter of the mid-18th century. Wilson's painting was exhibited in 1765 as 'A Summer Storm with the Story of the Two Lovers from Thompson (Celadon and Amelia), reinforcing the link with this popular literary source for 18th century artists. David Solkin has described this subject as a modern, Christian, English equivalent to the Ovidian death scene 'Destruction of the Children of Niobe' which Wilson also famously painted.
Fagan: 57, VI of VIII; for Wilson's 'Niobe' see ref 38488
[Ref: 38962] £240.00 (£288.00 incl.VAT)
![[George III] His Royal Highness, Prince George,](jpegs/58682.jpg)
[George III] His Royal Highness, Prince George, eldest son of his most serene Highness Frederick Prince of Wales, born May 24th 1738.
Wilson pinx. Ravenet Sculp.
Printed for W.m Sandby at the Ship opposite St. Dunstans Church in Fleetstreet according to Act of Parliam.t 1749.
Rare engraving. Sheet 200 x 110mm (8 x 4¼"). Trimmed within plate, mounted in album paper.
Half-length portrait of George III when about ten years of age, in an oval stone frame, on ledge.
[Ref: 58682] £160.00 (£192.00 incl.VAT)
Wilson pinx. Ravenet Sculp.
Printed for W.m Sandby at the Ship opposite St. Dunstans Church in Fleetstreet according to Act of Parliam.t 1749.
Rare engraving. Sheet 200 x 110mm (8 x 4¼"). Trimmed within plate, mounted in album paper.
Half-length portrait of George III when about ten years of age, in an oval stone frame, on ledge.
[Ref: 58682] £160.00 (£192.00 incl.VAT)
![[Meleager and Atalanta]](jpegs/38607.jpg)
[Meleager and Atalanta] From an Original Picture in the Possession of Mr. Sayer / See Ovids Metamor.s Book VIII Pa. 54
R. Wilson pinx.t. R. Earlom sculp.
Rob.t Sayer Excudit / London, Printed for Rob.t Sayer, Map & Printseller No 53 in Fleet Street / Published as the Act directs Sep.r 20 1771
Mezzotint, 465 x 560mm (18¼ x 22"). Very large margins (tatty). Repaired tear at top.
Atalanta (drawing her bow lower left) and her lover Meleager (on horseback with spear) slay the huge boar which Diana sent to devastate the countryside of Calydon. Dramatic rocky landscape with waterfall behind, showing the influence of Salavator Rosa's sublime scenery on British landscape. Subject from Ovid's 'Metamorphoses', a rich source of subject matter for artists. Engraved by leading mezzotint engraver Richard Earlom after the painting, c.1770, by Richard Wilson (now in the Tate collection). The publisher of this print, Robert Sayer, was the first recorded owner of the painting.
Wessely 80
[Ref: 38607] £330.00
R. Wilson pinx.t. R. Earlom sculp.
Rob.t Sayer Excudit / London, Printed for Rob.t Sayer, Map & Printseller No 53 in Fleet Street / Published as the Act directs Sep.r 20 1771
Mezzotint, 465 x 560mm (18¼ x 22"). Very large margins (tatty). Repaired tear at top.
Atalanta (drawing her bow lower left) and her lover Meleager (on horseback with spear) slay the huge boar which Diana sent to devastate the countryside of Calydon. Dramatic rocky landscape with waterfall behind, showing the influence of Salavator Rosa's sublime scenery on British landscape. Subject from Ovid's 'Metamorphoses', a rich source of subject matter for artists. Engraved by leading mezzotint engraver Richard Earlom after the painting, c.1770, by Richard Wilson (now in the Tate collection). The publisher of this print, Robert Sayer, was the first recorded owner of the painting.
Wessely 80
[Ref: 38607] £330.00
![[Meleager and Atalanta]](jpegs/38961.jpg)
[Meleager and Atalanta] Engraved from an Original Picture, Painted by R. Wilson and J. Mortimer.
Painted by R. Wilson. Engraved by W. Woollett & B. Pouncy
[London, Printed for R. Sayer & J. Bennett, No. 53 Fleet Street, as the Act directs, 1st. December, 1779]
Engraving, sheet 410 x 545mm (16 x 21½"). Trimmed inside platemark, possibly losing text; 1st Published state.
Atalanta (drawing her bow lower left) and her lover Meleager (on horseback with spear) slay the huge boar which Diana sent to devastate the countryside of Calydon. Dramatic rocky landscape with waterfall behind, showing the influence of Salavator Rosa's sublime scenery on British landscape. Subject from Ovid's 'Metamorphoses', a rich source of subject matter for artists. Engraved by leading mezzotint engraver Richard Earlom after the painting, c.1770, by Richard Wilson (now in the Tate collection). The publisher of this print, Robert Sayer, was the first recorded owner of the painting. The legend to the final state of this print attributes the painting to Wilson and another artist, John Hamilton Mortimer, although Mortimer's involvement is doubted by Spencer-Longhurst et al in their recent catalogue raisonné of Wilson's work.
Fagan 103 V of VIII (state unknown); for a mezzotint of the same painting see ref 38607.
[Ref: 38961] £320.00
Painted by R. Wilson. Engraved by W. Woollett & B. Pouncy
[London, Printed for R. Sayer & J. Bennett, No. 53 Fleet Street, as the Act directs, 1st. December, 1779]
Engraving, sheet 410 x 545mm (16 x 21½"). Trimmed inside platemark, possibly losing text; 1st Published state.
Atalanta (drawing her bow lower left) and her lover Meleager (on horseback with spear) slay the huge boar which Diana sent to devastate the countryside of Calydon. Dramatic rocky landscape with waterfall behind, showing the influence of Salavator Rosa's sublime scenery on British landscape. Subject from Ovid's 'Metamorphoses', a rich source of subject matter for artists. Engraved by leading mezzotint engraver Richard Earlom after the painting, c.1770, by Richard Wilson (now in the Tate collection). The publisher of this print, Robert Sayer, was the first recorded owner of the painting. The legend to the final state of this print attributes the painting to Wilson and another artist, John Hamilton Mortimer, although Mortimer's involvement is doubted by Spencer-Longhurst et al in their recent catalogue raisonné of Wilson's work.
Fagan 103 V of VIII (state unknown); for a mezzotint of the same painting see ref 38607.
[Ref: 38961] £320.00
[Morning. From a picture in the possession of Frederick Perkins Esq. Gems of Art _ Plate 22]
[Painted by Richard Wilson, R.A. Engraved by S.W. Reynolds, Engraver to the King.]
[London. Published Dec 1. 1823: by W.B. Cooke, 9 Soho Square.]
Mezzotints on steel, printed on chine collé. 210 x 275mm (8¼ x 10¾), with very large margins.
A Romanesque landscapes from 'Gems of Art: Forming a Choice Collection Engraved from Pictures of Acknowledged Excellence, Beauty, & Variety, Painted by Esteemed Masters of All Ages and Countries'.
Whitman 463.
[Ref: 56421] £190.00 (£228.00 incl.VAT)
[Painted by Richard Wilson, R.A. Engraved by S.W. Reynolds, Engraver to the King.]
[London. Published Dec 1. 1823: by W.B. Cooke, 9 Soho Square.]
Mezzotints on steel, printed on chine collé. 210 x 275mm (8¼ x 10¾), with very large margins.
A Romanesque landscapes from 'Gems of Art: Forming a Choice Collection Engraved from Pictures of Acknowledged Excellence, Beauty, & Variety, Painted by Esteemed Masters of All Ages and Countries'.
Whitman 463.
[Ref: 56421] £190.00 (£228.00 incl.VAT)
![Morning. [&] Evening.](jpegs/46350.jpg)
Morning. [&] Evening. From a picture in the possession of Frederick Perkins Esq. Gems of Art _ Plate 22 [& 22]..
Painted by Richard Wilson, R.A. Engraved by S.W. Reynolds, Engraver to the King.
[London. Published Dec 1. 1823: by W.B. Cooke, 9 Soho Square.]
Pair of mezzotints on steel. Each 210 x 275mm (8¼ x 10¾), with very large margins. Some spotting.
A pair of Romanesque landscapes from 'Gems of Art: Forming a Choice Collection Engraved from Pictures of Acknowledged Excellence, Beauty, & Variety, Painted by Esteemed Masters of All Ages and Countries'.
Whitman 463 & 464, but this state, with different plate numbers and lacking the publication line, not listed.
[Ref: 46350] £65.00 (£78.00 incl.VAT) view all images for this item
Painted by Richard Wilson, R.A. Engraved by S.W. Reynolds, Engraver to the King.
[London. Published Dec 1. 1823: by W.B. Cooke, 9 Soho Square.]
Pair of mezzotints on steel. Each 210 x 275mm (8¼ x 10¾), with very large margins. Some spotting.
A pair of Romanesque landscapes from 'Gems of Art: Forming a Choice Collection Engraved from Pictures of Acknowledged Excellence, Beauty, & Variety, Painted by Esteemed Masters of All Ages and Countries'.
Whitman 463 & 464, but this state, with different plate numbers and lacking the publication line, not listed.
[Ref: 46350] £65.00 (£78.00 incl.VAT) view all images for this item
![[Night.]](jpegs/37727.jpg)
[Night.]
[Engraved by Charles Spooner after Richard Wilson & Richard Houston.]
[n.d., c.1780.]
Fine mezzotint, proof before letters. 155 x 115mm (6 x 4½"). Small margins.
'Night' from a set of Times of Day. A young woman with a gauzy veil draped over her cap and falling down her left side, glancing sleepily through it at the viewer, her hands folded in her lap, books on the table beside her. A version of the mezzotint by Richard Houston after Richard Wilson, lacking the background detail.
See BM: 2010,7081.446 for the Houston version. Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37727] £240.00 (£288.00 incl.VAT)
[Engraved by Charles Spooner after Richard Wilson & Richard Houston.]
[n.d., c.1780.]
Fine mezzotint, proof before letters. 155 x 115mm (6 x 4½"). Small margins.
'Night' from a set of Times of Day. A young woman with a gauzy veil draped over her cap and falling down her left side, glancing sleepily through it at the viewer, her hands folded in her lap, books on the table beside her. A version of the mezzotint by Richard Houston after Richard Wilson, lacking the background detail.
See BM: 2010,7081.446 for the Houston version. Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37727] £240.00 (£288.00 incl.VAT)
![[Pontypridd Old Bridge] [The Great Bridge of the Taaffe in South Wales.]](jpegs/56688.jpg)
[Pontypridd Old Bridge] [The Great Bridge of the Taaffe in South Wales.]
[Richard Wilson Pinx.t. P.C. Canot Sculp.t.]
[Published July 17th 1775 by John Boydell Engraver in Cheapside London.]
Scarce engraving, proof before all letters. 400 x 540mm (15¾ x 21¼"), with large margins. Uncut.
Pontypridd's 'Old Bridge', built 1756 by William Edwards, at the time the longest single-span bridge in Britain. Still in use as a footbridge, it is Grade I listed. This bridge was Edwards' fourth attempt: the first (1746) had three arches but was swept away by a flood after two years; the second (1748) collapsed during construction; the third fell after only six weeks. The expence of the successive rebuildings left Edwards out-of-pocket, and a subscription was raised to pay his debts. Richard Wilson (1 August 1714 - 15 May 1782) was a Welsh landscape painter, and one of the founder members of the Royal Academy in 1768. The son of a clergyman, Wilson was born in Penegoes, Montgomeryshire. In 1729 he went to London where he began as a portrait painter. From 1750 to 1757 he was in Italy and adopted landscape on the advice of Francesco Zuccarelli. Painting in Italy and afterwards in England, he was the first major British painter to primarily concentrate on landscape. He composed well, but saw and rendered only the general effects of nature thereby creating a personal, ideal style influenced by Claude Lorrain and the Dutch landscape tradition. According to John Ruskin, he 'paints in a manly way,'. His landscapes were acknowledged as influential and many were engraved by the most accomplished artists and engravers. Wilson died in Colomendy, Denbighshire. This very fine proof engraving of Pontypridd Bridge is Wales was engraved by Canot. Canot, Peter Charles 1710-1777, engraver, was a native of France, who came to England in 1740, and remained here till he died. He was a member of the Incorporated Society of Artists in 1766, and was elected an associate engraver of the Royal Academy in 1770, when that degree was first instituted. He exhibited at the Society of Artists, the Free Society, and the Royal Academy.
[Ref: 56688] £580.00
[Richard Wilson Pinx.t. P.C. Canot Sculp.t.]
[Published July 17th 1775 by John Boydell Engraver in Cheapside London.]
Scarce engraving, proof before all letters. 400 x 540mm (15¾ x 21¼"), with large margins. Uncut.
Pontypridd's 'Old Bridge', built 1756 by William Edwards, at the time the longest single-span bridge in Britain. Still in use as a footbridge, it is Grade I listed. This bridge was Edwards' fourth attempt: the first (1746) had three arches but was swept away by a flood after two years; the second (1748) collapsed during construction; the third fell after only six weeks. The expence of the successive rebuildings left Edwards out-of-pocket, and a subscription was raised to pay his debts. Richard Wilson (1 August 1714 - 15 May 1782) was a Welsh landscape painter, and one of the founder members of the Royal Academy in 1768. The son of a clergyman, Wilson was born in Penegoes, Montgomeryshire. In 1729 he went to London where he began as a portrait painter. From 1750 to 1757 he was in Italy and adopted landscape on the advice of Francesco Zuccarelli. Painting in Italy and afterwards in England, he was the first major British painter to primarily concentrate on landscape. He composed well, but saw and rendered only the general effects of nature thereby creating a personal, ideal style influenced by Claude Lorrain and the Dutch landscape tradition. According to John Ruskin, he 'paints in a manly way,'. His landscapes were acknowledged as influential and many were engraved by the most accomplished artists and engravers. Wilson died in Colomendy, Denbighshire. This very fine proof engraving of Pontypridd Bridge is Wales was engraved by Canot. Canot, Peter Charles 1710-1777, engraver, was a native of France, who came to England in 1740, and remained here till he died. He was a member of the Incorporated Society of Artists in 1766, and was elected an associate engraver of the Royal Academy in 1770, when that degree was first instituted. He exhibited at the Society of Artists, the Free Society, and the Royal Academy.
[Ref: 56688] £580.00
The Sleepy Eye that Spoke the Melting Soul.
[after Richard Wilson]
Printed for Rob.t Sayer, No. 53 in Fleet Street. [n.d., c.1770]
Mezzotint. 155 x 115mm (6 x 4½"), with wide margins. Crease lower right
Young lady in cap and shawl sitting with books on table. The title is a quotation from Alexander Pope's 'Imitations of Horace'. This print is one of at leasts four versions of the images. Earlier prints name Richard Wilson (best known for his landscapes) as the artist from whose painting the image derives.
Ex: collection of the Late Hon. C. Lennox-Boyd
[Ref: 32371] £60.00 (£72.00 incl.VAT)
[after Richard Wilson]
Printed for Rob.t Sayer, No. 53 in Fleet Street. [n.d., c.1770]
Mezzotint. 155 x 115mm (6 x 4½"), with wide margins. Crease lower right
Young lady in cap and shawl sitting with books on table. The title is a quotation from Alexander Pope's 'Imitations of Horace'. This print is one of at leasts four versions of the images. Earlier prints name Richard Wilson (best known for his landscapes) as the artist from whose painting the image derives.
Ex: collection of the Late Hon. C. Lennox-Boyd
[Ref: 32371] £60.00 (£72.00 incl.VAT)
The Sleepy Eye that Spoke the Melting Soul.
[after Richard Wilson.]
Printed for Rob.t Sayer, No. 53 in Fleet Street. [n.d., c.1770].
Coloured mezzotint. 155 x 115mm (6 x 4½"). Trimmed close to platemark.
Young lady in cap and shawl sitting with books on table. The title is a quotation from Alexander Pope's 'Imitations of Horace'. This print is one of at leasts four versions of the images. Earlier prints name Richard Wilson (best known for his landscapes) as the artist from whose painting the image derives.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32372] £140.00 (£168.00 incl.VAT)
[after Richard Wilson.]
Printed for Rob.t Sayer, No. 53 in Fleet Street. [n.d., c.1770].
Coloured mezzotint. 155 x 115mm (6 x 4½"). Trimmed close to platemark.
Young lady in cap and shawl sitting with books on table. The title is a quotation from Alexander Pope's 'Imitations of Horace'. This print is one of at leasts four versions of the images. Earlier prints name Richard Wilson (best known for his landscapes) as the artist from whose painting the image derives.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32372] £140.00 (£168.00 incl.VAT)
The Sleepy Eye that spoke the Melting Soul. Pope
Richard Wilson Pinx.t. J. Faber Fecit.
[c.1770.]
Scarce mezzotint. 350 x 250mm (13¾ x 9¾"). Repaired tears to lower edge faint; creases.
Young seductive lady in cap and shawl sitting with books on table. The title is a quotation from Alexander Pope's 'Imitations of Horace'. This print is one of at leasts four versions of these images, some of which include it as one of a set of the four 'Times of Day'. A wall clock in background.
Ex: Collection of the Hon. C. Lennox-Boyd; CS 418.
[Ref: 47652] £260.00 (£312.00 incl.VAT)
Richard Wilson Pinx.t. J. Faber Fecit.
[c.1770.]
Scarce mezzotint. 350 x 250mm (13¾ x 9¾"). Repaired tears to lower edge faint; creases.
Young seductive lady in cap and shawl sitting with books on table. The title is a quotation from Alexander Pope's 'Imitations of Horace'. This print is one of at leasts four versions of these images, some of which include it as one of a set of the four 'Times of Day'. A wall clock in background.
Ex: Collection of the Hon. C. Lennox-Boyd; CS 418.
[Ref: 47652] £260.00 (£312.00 incl.VAT)
The Sleepy Eye that spoke the Melting Soul. Pope.
Richard Wilson Pinx.t. J. Faber Fecit.
Printed for Tho. Bowles in S.t Pauls Church Yard, & John Bowles & Son at the Black Horse in Cornhill [c.1770.]
Mezzotint, 18th century watermark. 350 x 250mm (13¾ x 9¾"). Small margins on 3 sides, trimmed at bottom.
A young lady in cap and shawl sitting with books on table looks at the viewer from under heavy lids. A clock in is on the wall behind. The title is a quotation from Alexander Pope's 'Imitations of Horace'. A very suggestive image.
Ex: Collection of the Hon. C. Lennox-Boyd; CS 418.
[Ref: 67006] £320.00
Richard Wilson Pinx.t. J. Faber Fecit.
Printed for Tho. Bowles in S.t Pauls Church Yard, & John Bowles & Son at the Black Horse in Cornhill [c.1770.]
Mezzotint, 18th century watermark. 350 x 250mm (13¾ x 9¾"). Small margins on 3 sides, trimmed at bottom.
A young lady in cap and shawl sitting with books on table looks at the viewer from under heavy lids. A clock in is on the wall behind. The title is a quotation from Alexander Pope's 'Imitations of Horace'. A very suggestive image.
Ex: Collection of the Hon. C. Lennox-Boyd; CS 418.
[Ref: 67006] £320.00
The Sleepy Eye that spoke the Melting Soul. Pope.
Richard Wilson Pinx.t. J. Faber Fecit.
Printed for Tho. Bowles in S.t Pauls Church Yard, & John Bowles & Son at the Black Horse in Cornhill [c.1770.]
Mezzotint, 350 x 250mm (13¾ x 9¾"), with large margins.
A young lady in cap and shawl sitting with books on table looks at the viewer from under heavy lids. A clock in is on the wall behind. The title is a quotation from Alexander Pope's 'Imitations of Horace'.
Ex: Collection of the Hon. C. Lennox-Boyd; CS 418.
[Ref: 67005] £360.00
Richard Wilson Pinx.t. J. Faber Fecit.
Printed for Tho. Bowles in S.t Pauls Church Yard, & John Bowles & Son at the Black Horse in Cornhill [c.1770.]
Mezzotint, 350 x 250mm (13¾ x 9¾"), with large margins.
A young lady in cap and shawl sitting with books on table looks at the viewer from under heavy lids. A clock in is on the wall behind. The title is a quotation from Alexander Pope's 'Imitations of Horace'.
Ex: Collection of the Hon. C. Lennox-Boyd; CS 418.
[Ref: 67005] £360.00
Thomas Smith Esq. Vice Admiral of ye White Commander in Chief to his Majesty's Ships on the Coast of Scotland. Anno 1746.
R. Wilson pinx.t. J. Faber fecit.
Price 2.s Sold by Faber at the Golden Head in Bloomsbury Square. [n.d. c.1750.]
Rare mezzotint. Sheet 355 x 255mm (14 x 10"). Trimmed to plate, tipped on album paper at corners on left. Damaged in title.
Thomas Smith (1707-1762), commodore governor of Newfoundland 1741/3 and admiral credited with the invention of the divisional system that remains in use on ships today.
CS: 333 i of v.
[Ref: 56431] £220.00 (£264.00 incl.VAT)
R. Wilson pinx.t. J. Faber fecit.
Price 2.s Sold by Faber at the Golden Head in Bloomsbury Square. [n.d. c.1750.]
Rare mezzotint. Sheet 355 x 255mm (14 x 10"). Trimmed to plate, tipped on album paper at corners on left. Damaged in title.
Thomas Smith (1707-1762), commodore governor of Newfoundland 1741/3 and admiral credited with the invention of the divisional system that remains in use on ships today.
CS: 333 i of v.
[Ref: 56431] £220.00 (£264.00 incl.VAT)