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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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Sir Richard Arkwright, late of Cromford Derbyshire, The Eminent Inventor of the Machinery used in Spinning Cotton, by means of Rollers [...]
Painted by J. Wright Engraved by H. Meyer [c.1800]
Stipple engraving on india, platemark 225 x 150mm (9 x 6") very large margins.
Sir Richard Arkwright (1732-92), inventor of cotton-spinning machinery and cotton manufacturer. The archetypal self-made man, Arkwright went from a barber's apprentice in Bolton to a key figure in the proto-industrial north and midlands whose worth at his death was some £500,000. An ambitious inventor, Arkwright improved cotton manufacturing machinery, set up up the Cromford Cotton Mills in the then unexploited district of Cromford near Matlock (for a view of pre-Arkwright Cromford see ref.29386), and later ventured into hosiery knitting as well. Engraving after the portrait of c.1789-90 by Joseph Wright of Derby (private collection). Arkwright occupies an important place in Wright's work, not only in the portraits he painted of Arkwright and his family, but also because of the series of views he painted of the area where Arkwright established his empire. Not shown in this engraving is the model of the spinning frame Arkwright claimed to have invented, which in Wright's painting is on a table beside the sitter's left hand. Benedict Nicolson suggests that because aspersions had been cast on his qualifications as an inventor, Arkwright preferred to have this aspect of his work emphasised, rather than being painted with, say, a plan of his industrial empire- an achievement which was in no doubt.
Nicolson, 'Joseph Wright of Derby: Painter of Light' (1968), vol. 1, pp.164-9. For Nicolson's monograph see ref. 27349.
[Ref: 41078] £120.00 (£144.00 incl.VAT)
Painted by J. Wright Engraved by H. Meyer [c.1800]
Stipple engraving on india, platemark 225 x 150mm (9 x 6") very large margins.
Sir Richard Arkwright (1732-92), inventor of cotton-spinning machinery and cotton manufacturer. The archetypal self-made man, Arkwright went from a barber's apprentice in Bolton to a key figure in the proto-industrial north and midlands whose worth at his death was some £500,000. An ambitious inventor, Arkwright improved cotton manufacturing machinery, set up up the Cromford Cotton Mills in the then unexploited district of Cromford near Matlock (for a view of pre-Arkwright Cromford see ref.29386), and later ventured into hosiery knitting as well. Engraving after the portrait of c.1789-90 by Joseph Wright of Derby (private collection). Arkwright occupies an important place in Wright's work, not only in the portraits he painted of Arkwright and his family, but also because of the series of views he painted of the area where Arkwright established his empire. Not shown in this engraving is the model of the spinning frame Arkwright claimed to have invented, which in Wright's painting is on a table beside the sitter's left hand. Benedict Nicolson suggests that because aspersions had been cast on his qualifications as an inventor, Arkwright preferred to have this aspect of his work emphasised, rather than being painted with, say, a plan of his industrial empire- an achievement which was in no doubt.
Nicolson, 'Joseph Wright of Derby: Painter of Light' (1968), vol. 1, pp.164-9. For Nicolson's monograph see ref. 27349.
[Ref: 41078] £120.00 (£144.00 incl.VAT)
![[Master Ashton.]](jpegs/53219.jpg)
[Master Ashton.]
Jos.h Wright Pinx.t. W.m Pether Fecit 1770.
Publish'd as the Act directs Nov.r 26, 1770, by W.m Pether in G.t Russell S.t Bloomsbury.
Rare mezzotint, fine scratch-letter proof before title. 510 x 355mm (20 x 14"), large margins, 18th century watermark.
John Ashton, son of Nicholas Ashton, a former High Sheriff of Lancashire; seated in a landscape, dressed in the girlish style of the period, hugging his spaniel. William Pether also engraved some of Joseph Wright of Derby's most famous works, including 'A Philosopher Giving a Lecture on the Orrery', 'The Farrier's Shop' and 'An Alchymist'.
CS: 1, state i of ii.
[Ref: 53219] £650.00
Jos.h Wright Pinx.t. W.m Pether Fecit 1770.
Publish'd as the Act directs Nov.r 26, 1770, by W.m Pether in G.t Russell S.t Bloomsbury.
Rare mezzotint, fine scratch-letter proof before title. 510 x 355mm (20 x 14"), large margins, 18th century watermark.
John Ashton, son of Nicholas Ashton, a former High Sheriff of Lancashire; seated in a landscape, dressed in the girlish style of the period, hugging his spaniel. William Pether also engraved some of Joseph Wright of Derby's most famous works, including 'A Philosopher Giving a Lecture on the Orrery', 'The Farrier's Shop' and 'An Alchymist'.
CS: 1, state i of ii.
[Ref: 53219] £650.00
![[The Children of Joseph Baggaley Bradshaw.]](jpegs/42502.jpg)
[The Children of Joseph Baggaley Bradshaw.]
Jos. Wright pinxit. Val. Green fecit.
[n.d., c.1769.]
Mezzotint. Scratched proof. Plate: 375 x 475mm (14¾ x 18¾"). Slight repair in lower title on right. Trimmed to plate and laid on card.
A group portrait of three children of Joseph Baggale Bradshaw shown holding a lamb in a rural landscape. After a painting by Joseph Wright of Derby (1734-1797).
CS: 141.
[Ref: 42502] £650.00
Jos. Wright pinxit. Val. Green fecit.
[n.d., c.1769.]
Mezzotint. Scratched proof. Plate: 375 x 475mm (14¾ x 18¾"). Slight repair in lower title on right. Trimmed to plate and laid on card.
A group portrait of three children of Joseph Baggale Bradshaw shown holding a lamb in a rural landscape. After a painting by Joseph Wright of Derby (1734-1797).
CS: 141.
[Ref: 42502] £650.00
An Exterior View Of The Devon Haytor Granite Quarries. Plate 1. [&] An Interior View Of The Devon Haytor Granite Quarries. Plate 2.
From an Original Painting b J. Cartwright. Esq.r. Engraved by Rob.t Havell Jun.r.
London, Published July 1825 for the Proprietor by R. Havell, 79 Newman Street, Oxford Street.
Very rare pair of coloured aquatints, 310 x 430mm (12¼ x 17") Repaired tears, small margins.
A pair of views of the Haytor Quarry in Dartmoor; with men at work mining the stone.
[Ref: 60589] £690.00 view all images for this item
From an Original Painting b J. Cartwright. Esq.r. Engraved by Rob.t Havell Jun.r.
London, Published July 1825 for the Proprietor by R. Havell, 79 Newman Street, Oxford Street.
Very rare pair of coloured aquatints, 310 x 430mm (12¼ x 17") Repaired tears, small margins.
A pair of views of the Haytor Quarry in Dartmoor; with men at work mining the stone.
[Ref: 60589] £690.00 view all images for this item
Thomas Day Esq.r
Engraved by Henry Meyer from a Picture by Wright of Derby.
London, Richard Bentley, 1844.
Stipple engraving, sheet 225 x 145mm (9 x 5½"). Slight foxing; trimmed inside platemark on three sides.
Thomas Day (1748-89), author and political campaigner. Day was part of the Lunar Society of Birmingham, and his research included adopting two girls from foundling hospitals and trying to educate (in accordance with Rousseau's ideas) one of them into becoming a suitable wife. The project was unsuccessful, but one of the women, Sabrina Sidney, later married Day's friend John Bicknell. With Bicknell, Day wrote the best-selling narrative poem 'The Dying Negro', which told the story of a runaway slave. Day supported American independence and his poem 'The Devoted Legions' (1776) was a scathing indictment of the British government's actions. Day also made an astonishing reputation as a writer of instructive children's fiction such as 'The History of Little Jack' (1787). Day and his wife Esther resided at Anningsley in Surrey from 1783, which they ran primarily as a philanthropic concern. With the welfare of its workers the principal concern, the Days laboured to 'create a new Jerusalem', a quixotic project typical of this 'holder and practitioner of strange ideas...a strange bundle of contradictions' (DNB). Engraved after a portrait by Joseph Wright of Derby (National Portrait Gallery), which had itself been commissioned by Day's friend Richard Lovell Edgeworth and was intended to portray Day as a 'man of feeling'.
Not in O'D; for earlier state see ref. 35300.
[Ref: 35297] £60.00 (£72.00 incl.VAT)
Engraved by Henry Meyer from a Picture by Wright of Derby.
London, Richard Bentley, 1844.
Stipple engraving, sheet 225 x 145mm (9 x 5½"). Slight foxing; trimmed inside platemark on three sides.
Thomas Day (1748-89), author and political campaigner. Day was part of the Lunar Society of Birmingham, and his research included adopting two girls from foundling hospitals and trying to educate (in accordance with Rousseau's ideas) one of them into becoming a suitable wife. The project was unsuccessful, but one of the women, Sabrina Sidney, later married Day's friend John Bicknell. With Bicknell, Day wrote the best-selling narrative poem 'The Dying Negro', which told the story of a runaway slave. Day supported American independence and his poem 'The Devoted Legions' (1776) was a scathing indictment of the British government's actions. Day also made an astonishing reputation as a writer of instructive children's fiction such as 'The History of Little Jack' (1787). Day and his wife Esther resided at Anningsley in Surrey from 1783, which they ran primarily as a philanthropic concern. With the welfare of its workers the principal concern, the Days laboured to 'create a new Jerusalem', a quixotic project typical of this 'holder and practitioner of strange ideas...a strange bundle of contradictions' (DNB). Engraved after a portrait by Joseph Wright of Derby (National Portrait Gallery), which had itself been commissioned by Day's friend Richard Lovell Edgeworth and was intended to portray Day as a 'man of feeling'.
Not in O'D; for earlier state see ref. 35300.
[Ref: 35297] £60.00 (£72.00 incl.VAT)
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Thomas Day Esq.r
Engraved by Henry Meyer from a Picture by Wright of Derby.
London, Richard Bentley, 1844.
Stipple engraving, sheet 225 x 145mm (9 x 5½"). Slight foxing; trimmed inside platemark on three sides.
Thomas Day (1748-89), author and political campaigner. Day was part of the Lunar Society of Birmingham, and his research included adopting two girls from foundling hospitals and trying to educate (in accordance with Rousseau's ideas) one of them into becoming a suitable wife. The project was unsuccessful, but one of the women, Sabrina Sidney, later married Day's friend John Bicknell. With Bicknell, Day wrote the best-selling narrative poem 'The Dying Negro', which told the story of a runaway slave. Day supported American independence and his poem 'The Devoted Legions' (1776) was a scathing indictment of the British government's actions. Day also made an astonishing reputation as a writer of instructive children's fiction such as 'The History of Little Jack' (1787). Day and his wife Esther resided at Anningsley in Surrey from 1783, which they ran primarily as a philanthropic concern. With the welfare of its workers the principal concern, the Days laboured to 'create a new Jerusalem', a quixotic project typical of this 'holder and practitioner of strange ideas...a strange bundle of contradictions' (DNB). Engraved after a portrait by Joseph Wright of Derby (National Portrait Gallery), which had itself been commissioned by Day's friend Richard Lovell Edgeworth and was intended to portray Day as a 'man of feeling'.
Not in O'D; for earlier state see ref. 35300.
[Ref: 35298] £60.00 (£72.00 incl.VAT)
Engraved by Henry Meyer from a Picture by Wright of Derby.
London, Richard Bentley, 1844.
Stipple engraving, sheet 225 x 145mm (9 x 5½"). Slight foxing; trimmed inside platemark on three sides.
Thomas Day (1748-89), author and political campaigner. Day was part of the Lunar Society of Birmingham, and his research included adopting two girls from foundling hospitals and trying to educate (in accordance with Rousseau's ideas) one of them into becoming a suitable wife. The project was unsuccessful, but one of the women, Sabrina Sidney, later married Day's friend John Bicknell. With Bicknell, Day wrote the best-selling narrative poem 'The Dying Negro', which told the story of a runaway slave. Day supported American independence and his poem 'The Devoted Legions' (1776) was a scathing indictment of the British government's actions. Day also made an astonishing reputation as a writer of instructive children's fiction such as 'The History of Little Jack' (1787). Day and his wife Esther resided at Anningsley in Surrey from 1783, which they ran primarily as a philanthropic concern. With the welfare of its workers the principal concern, the Days laboured to 'create a new Jerusalem', a quixotic project typical of this 'holder and practitioner of strange ideas...a strange bundle of contradictions' (DNB). Engraved after a portrait by Joseph Wright of Derby (National Portrait Gallery), which had itself been commissioned by Day's friend Richard Lovell Edgeworth and was intended to portray Day as a 'man of feeling'.
Not in O'D; for earlier state see ref. 35300.
[Ref: 35298] £60.00 (£72.00 incl.VAT)
Thomas Day Esq.r
Engraved by Henry Meyer from a Picture by Wright of Derby.
London, Richard Bentley, 1844.
Stipple engraving, sheet 225 x 145mm (9 x 5½"). Slight foxing; trimmed inside platemark on three sides.
Thomas Day (1748-89), author and political campaigner. Day was part of the Lunar Society of Birmingham, and his research included adopting two girls from foundling hospitals and trying to educate (in accordance with Rousseau's ideas) one of them into becoming a suitable wife. The project was unsuccessful, but one of the women, Sabrina Sidney, later married Day's friend John Bicknell. With Bicknell, Day wrote the best-selling narrative poem 'The Dying Negro', which told the story of a runaway slave. Day supported American independence and his poem 'The Devoted Legions' (1776) was a scathing indictment of the British government's actions. Day also made an astonishing reputation as a writer of instructive children's fiction such as 'The History of Little Jack' (1787). Day and his wife Esther resided at Anningsley in Surrey from 1783, which they ran primarily as a philanthropic concern. With the welfare of its workers the principal concern, the Days laboured to 'create a new Jerusalem', a quixotic project typical of this 'holder and practitioner of strange ideas...a strange bundle of contradictions' (DNB). Engraved after a portrait by Joseph Wright of Derby (National Portrait Gallery), which had itself been commissioned by Day's friend Richard Lovell Edgeworth and was intended to portray Day as a 'man of feeling'.
Not in O'D; for earlier state see ref. 35300.
[Ref: 35299] £60.00 (£72.00 incl.VAT)
Engraved by Henry Meyer from a Picture by Wright of Derby.
London, Richard Bentley, 1844.
Stipple engraving, sheet 225 x 145mm (9 x 5½"). Slight foxing; trimmed inside platemark on three sides.
Thomas Day (1748-89), author and political campaigner. Day was part of the Lunar Society of Birmingham, and his research included adopting two girls from foundling hospitals and trying to educate (in accordance with Rousseau's ideas) one of them into becoming a suitable wife. The project was unsuccessful, but one of the women, Sabrina Sidney, later married Day's friend John Bicknell. With Bicknell, Day wrote the best-selling narrative poem 'The Dying Negro', which told the story of a runaway slave. Day supported American independence and his poem 'The Devoted Legions' (1776) was a scathing indictment of the British government's actions. Day also made an astonishing reputation as a writer of instructive children's fiction such as 'The History of Little Jack' (1787). Day and his wife Esther resided at Anningsley in Surrey from 1783, which they ran primarily as a philanthropic concern. With the welfare of its workers the principal concern, the Days laboured to 'create a new Jerusalem', a quixotic project typical of this 'holder and practitioner of strange ideas...a strange bundle of contradictions' (DNB). Engraved after a portrait by Joseph Wright of Derby (National Portrait Gallery), which had itself been commissioned by Day's friend Richard Lovell Edgeworth and was intended to portray Day as a 'man of feeling'.
Not in O'D; for earlier state see ref. 35300.
[Ref: 35299] £60.00 (£72.00 incl.VAT)
Thomas Day Esq.r
Engraved by Henry Meyer from a Picture by Wright of Derby
Published March 30th 1820 by R. Hunter No 12 St Paul's Church Yard London
Stipple engraving, sheet 215 x 130mm (8½ x 5"). Slight foxing.
Thomas Day (1748-89), author and political campaigner. Day was part of the Lunar Society of Birmingham, and his research included adopting two girls from foundling hospitals and trying to educate (in accordance with Rousseau's ideas) one of them into becoming a suitable wife. The project was unsuccessful, but one of the women, Sabrina Sidney, later married Day's friend John Bicknell. With Bicknell, Day wrote the best-selling narrative poem 'The Dying Negro', which told the story of a runaway slave. Day supported American independence and his poem 'The Devoted Legions' (1776) was a scathing indictment of the British government's actions. Day also made an astonishing reputation as a writer of instructive children's fiction such as 'The History of Little Jack' (1787). Day and his wife Esther resided at Anningsley in Surrey from 1783, which they ran primarily as a philanthropic concern. With the welfare of its workers the principal concern, the Days laboured to 'create a new Jerusalem', a quixotic project typical of this 'holder and practitioner of strange ideas...a strange bundle of contradictions' (DNB). Engraved after a portrait by Joseph Wright of Derby (National Portrait Gallery), which had itself been commissioned by Day's friend Richard Lovell Edgeworth and was intended to portray Day as a 'man of feeling'.
Not in O'D
[Ref: 35300] £45.00 (£54.00 incl.VAT)
Engraved by Henry Meyer from a Picture by Wright of Derby
Published March 30th 1820 by R. Hunter No 12 St Paul's Church Yard London
Stipple engraving, sheet 215 x 130mm (8½ x 5"). Slight foxing.
Thomas Day (1748-89), author and political campaigner. Day was part of the Lunar Society of Birmingham, and his research included adopting two girls from foundling hospitals and trying to educate (in accordance with Rousseau's ideas) one of them into becoming a suitable wife. The project was unsuccessful, but one of the women, Sabrina Sidney, later married Day's friend John Bicknell. With Bicknell, Day wrote the best-selling narrative poem 'The Dying Negro', which told the story of a runaway slave. Day supported American independence and his poem 'The Devoted Legions' (1776) was a scathing indictment of the British government's actions. Day also made an astonishing reputation as a writer of instructive children's fiction such as 'The History of Little Jack' (1787). Day and his wife Esther resided at Anningsley in Surrey from 1783, which they ran primarily as a philanthropic concern. With the welfare of its workers the principal concern, the Days laboured to 'create a new Jerusalem', a quixotic project typical of this 'holder and practitioner of strange ideas...a strange bundle of contradictions' (DNB). Engraved after a portrait by Joseph Wright of Derby (National Portrait Gallery), which had itself been commissioned by Day's friend Richard Lovell Edgeworth and was intended to portray Day as a 'man of feeling'.
Not in O'D
[Ref: 35300] £45.00 (£54.00 incl.VAT)
Major Peter Labilliere A Christian Patriot & Citizen of the World. 'Tis Virtue only makes our Bliss below And all our Knowledge is Our Selves to Know. Pope.
Painted by J: Wright. Engraved by H: Kingsbury.
[London: J. Strongitharm, 1780.]
Mezzotint, title in open letters, very scarce. Image 250 x 200mm, 9¾ x 8". Trimmed to plate, and through publication line.
Portrait of Peter Labilliere (died 1800), seated looking towards the viewer wearing a plain suit with short hair to the ears and a short fringe, pointing to a copy of the 'American Petition Present by Penn' which he holds in right hand in his lap. Also copies of 'Bp. of St Asaph's Sermon', 'Magna Charta', and 'Londn. Eveng. Jany 1st. 1780 Lettr. to the King', with a bookshelf to right behind his chair with volumes labelled 'Blair', 'Holy Bible', 'Masn. on Self Knowlge.', 'Sidney', 'Locke' and 'Cartright'. Labilliere was an eccentric army officer, named in John Wilkes’s hoax, the ‘Sayre plot’, but never arrested. He is buried on Box Hill near Dorking, head down. After a portrait by Joseph Wright (1734 - 1797), American-born pupil of Benjamin West.
Chaloner Smith 7, only state. NPG D5000.
[Ref: 27074] £360.00
Painted by J: Wright. Engraved by H: Kingsbury.
[London: J. Strongitharm, 1780.]
Mezzotint, title in open letters, very scarce. Image 250 x 200mm, 9¾ x 8". Trimmed to plate, and through publication line.
Portrait of Peter Labilliere (died 1800), seated looking towards the viewer wearing a plain suit with short hair to the ears and a short fringe, pointing to a copy of the 'American Petition Present by Penn' which he holds in right hand in his lap. Also copies of 'Bp. of St Asaph's Sermon', 'Magna Charta', and 'Londn. Eveng. Jany 1st. 1780 Lettr. to the King', with a bookshelf to right behind his chair with volumes labelled 'Blair', 'Holy Bible', 'Masn. on Self Knowlge.', 'Sidney', 'Locke' and 'Cartright'. Labilliere was an eccentric army officer, named in John Wilkes’s hoax, the ‘Sayre plot’, but never arrested. He is buried on Box Hill near Dorking, head down. After a portrait by Joseph Wright (1734 - 1797), American-born pupil of Benjamin West.
Chaloner Smith 7, only state. NPG D5000.
[Ref: 27074] £360.00
Children of Walter Synnot Eqs.r
Engrav'd by J.R. Smith from an Original Picture of J. Wright of Derby.
London Publish'd April 25. 1782 by J.R. Smith No.28 opposite the Pantheon, Oxford Street.
Mezzotint. Sheet: 500 x 345mm (19¾ x 13¾"), with large margins. Repairs in margins.
A portrait of the three children of Walter Synnot of Co. Armagh, the portrait shows Marcus, Walter and Maria Eliza playing with the doves from a cage.
CS 160; Frankau: 343; D'Oench 192.
[Ref: 47596] £360.00
Engrav'd by J.R. Smith from an Original Picture of J. Wright of Derby.
London Publish'd April 25. 1782 by J.R. Smith No.28 opposite the Pantheon, Oxford Street.
Mezzotint. Sheet: 500 x 345mm (19¾ x 13¾"), with large margins. Repairs in margins.
A portrait of the three children of Walter Synnot of Co. Armagh, the portrait shows Marcus, Walter and Maria Eliza playing with the doves from a cage.
CS 160; Frankau: 343; D'Oench 192.
[Ref: 47596] £360.00
Shakspeare. Tempest. Act IV. Scene I. Prospero's cell . _ Propsero, Miranda, &c. &c.
Painted by Joseph Wright. Engraved by Robert Thew.
Pub. June 4. 1800, by J. & J. Boydell, at the Shakspeare Gallery, Pall Mall, & No 90 Cheapside, London.
Engraving with etching, 18th century watermark, open letter proof before quote from play. 510 x 640mm (20 x 25¼"), with large margins. Tears in bottom margin repaired, faint damp stains on left.
Ferdinand and Miranda watch amazed as Prospero controlls a circle of female spirits above their heads. Outside the cave Caliban stans on the sea shore. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
See Ref: 59329 for normal state.
[Ref: 59327] £320.00
Painted by Joseph Wright. Engraved by Robert Thew.
Pub. June 4. 1800, by J. & J. Boydell, at the Shakspeare Gallery, Pall Mall, & No 90 Cheapside, London.
Engraving with etching, 18th century watermark, open letter proof before quote from play. 510 x 640mm (20 x 25¼"), with large margins. Tears in bottom margin repaired, faint damp stains on left.
Ferdinand and Miranda watch amazed as Prospero controlls a circle of female spirits above their heads. Outside the cave Caliban stans on the sea shore. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
See Ref: 59329 for normal state.
[Ref: 59327] £320.00
Shakspeare. Tempest. Act IV. Scene I. Prospero's cell . _ Propsero, Miranda, &c. &c.
Painted by Joseph Wright. Engraved by Robert Thew.
Pub. June 4. 1800, by J. & J. Boydell, at the Shakspeare Gallery, Pall Mall, & No 90 Cheapside, London.
Engraving with etching, very fine impression, 1794 watermark. 510 x 640mm (20 x 25¼"). Repairs to margins and edges of plate. Small margins.
Ferdinand and Miranda watch amazed as Prospero controlls a circle of female spirits above their heads. Outside the cave Caliban stans on the sea shore. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
See Ref: 59327 for Open letter Proof.
[Ref: 59329] £320.00
Painted by Joseph Wright. Engraved by Robert Thew.
Pub. June 4. 1800, by J. & J. Boydell, at the Shakspeare Gallery, Pall Mall, & No 90 Cheapside, London.
Engraving with etching, very fine impression, 1794 watermark. 510 x 640mm (20 x 25¼"). Repairs to margins and edges of plate. Small margins.
Ferdinand and Miranda watch amazed as Prospero controlls a circle of female spirits above their heads. Outside the cave Caliban stans on the sea shore. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
See Ref: 59327 for Open letter Proof.
[Ref: 59329] £320.00
Shakspeare. Tempest. Act IV. Scene I. Prospero's cell . _ Propsero, Miranda, &c. &c.
Painted by Joseph Wright. Engraved by Robert Thew.
Pub. June 4. 1800, by J. & J. Boydell, at the Shakspeare Gallery, Pall Mall, & No 90 Cheapside, London.
Engraving with etching, J. Whatman 1794 watermark. 510 x 640mm (20 x 25¼"), very large margins. Some restoration.
Ferdinand and Miranda watch amazed as Prospero controlls a circle of female spirits above their heads. Outside the cave Caliban stans on the sea shore. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
[Ref: 59330] £220.00 (£264.00 incl.VAT)
Painted by Joseph Wright. Engraved by Robert Thew.
Pub. June 4. 1800, by J. & J. Boydell, at the Shakspeare Gallery, Pall Mall, & No 90 Cheapside, London.
Engraving with etching, J. Whatman 1794 watermark. 510 x 640mm (20 x 25¼"), very large margins. Some restoration.
Ferdinand and Miranda watch amazed as Prospero controlls a circle of female spirits above their heads. Outside the cave Caliban stans on the sea shore. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
[Ref: 59330] £220.00 (£264.00 incl.VAT)
The Widow of an Indian Chief Watching the Arms of Her Deceas'd Husband.
Painted by J. Wright. Engravd by J R Smith, Mezzotinto Engraver to his Royal Highn.s the Prince of Wales & his Serene Highn.s the Duke of Orleans.
London, Pub.d Jan.y 29, 1789 by I.R.Smith N.31 King Street, Cov.t Garden.
Fine mezzotint, etched letter proof. 460 x 560mm. (18 x 22"). Some restoration to edges.
A Native American woman sitting beneath a tree stump on which her dead husband's quiver, bow, knife and axe are hung. Below is choppy water, above a stormy sky. Engraved by John Raphael Smith after Joseph Wright of Derby (1734-97). In this early state the 't' of 'the Arms' is not crossed. The painting, now in the Derby Museum and Art Gallery, was first exhibited in Wright's one-man show of 1785, following his break from the Royal Academy. In the catalogue that accompanied the first showing of the painting in London in 1785, Wright explained that it depicts the custom whereby the widow of a great Native American warrior would sit all day for a month beneath a memorial in the form of a tree on which were hung his weapons. Wright, as always, strove for accuracy in depicting his subject: here his source was James Adair's 'History of the American Indians' (1775), an important record of mid 18th-century life in America.
J. Egerton p.144; Frankau 375, i of iii; D'Oench 301. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 64548] £1,350.00
Painted by J. Wright. Engravd by J R Smith, Mezzotinto Engraver to his Royal Highn.s the Prince of Wales & his Serene Highn.s the Duke of Orleans.
London, Pub.d Jan.y 29, 1789 by I.R.Smith N.31 King Street, Cov.t Garden.
Fine mezzotint, etched letter proof. 460 x 560mm. (18 x 22"). Some restoration to edges.
A Native American woman sitting beneath a tree stump on which her dead husband's quiver, bow, knife and axe are hung. Below is choppy water, above a stormy sky. Engraved by John Raphael Smith after Joseph Wright of Derby (1734-97). In this early state the 't' of 'the Arms' is not crossed. The painting, now in the Derby Museum and Art Gallery, was first exhibited in Wright's one-man show of 1785, following his break from the Royal Academy. In the catalogue that accompanied the first showing of the painting in London in 1785, Wright explained that it depicts the custom whereby the widow of a great Native American warrior would sit all day for a month beneath a memorial in the form of a tree on which were hung his weapons. Wright, as always, strove for accuracy in depicting his subject: here his source was James Adair's 'History of the American Indians' (1775), an important record of mid 18th-century life in America.
J. Egerton p.144; Frankau 375, i of iii; D'Oench 301. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 64548] £1,350.00
The Widow of an Indian Chief Watching the Arms of Her Deceased Husband.
Painted by J. Wright. Engravd by J R Smith, Mezzotinto Engraver to his Royal Highn.s the Prince of Wales; & his Serene Highn.s the Duke of Orleans.
London, Pub.d Jan.y 29, 1789 by I.R.Smith N.31 King Street, Cov.t Garden.
Mezzotint, very fine printing in colours and hand-finished. 460 x 560mm. (18 x 22"). Edges damaged and browned. Small margins.
A Native American woman sitting beneath a tree stump on which her dead husband's quiver, bow, knife and axe are hung. Below is choppy water, above a stormy sky. Engraved by John Raphael Smith after Joseph Wright of Derby (1734-97). The painting, now in the Derby Museum and Art Gallery, was first exhibited in Wright's one-man show of 1785, following his break from the Royal Academy. In the catalogue that accompanied the first showing of the painting in London in 1785, Wright explained that it depicts the custom whereby the widow of a great Native American warrior would sit all day for a month beneath a memorial in the form of a tree on which were hung his weapons. Wright, as always, strove for accuracy in depicting his subject: here his source was James Adair's 'History of the American Indians' (1775), an important record of mid 18th-century life in America.
J. Egerton p.144; Frankau 375, ii of iii; D'Oench 301. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 64545] £1,350.00
Painted by J. Wright. Engravd by J R Smith, Mezzotinto Engraver to his Royal Highn.s the Prince of Wales; & his Serene Highn.s the Duke of Orleans.
London, Pub.d Jan.y 29, 1789 by I.R.Smith N.31 King Street, Cov.t Garden.
Mezzotint, very fine printing in colours and hand-finished. 460 x 560mm. (18 x 22"). Edges damaged and browned. Small margins.
A Native American woman sitting beneath a tree stump on which her dead husband's quiver, bow, knife and axe are hung. Below is choppy water, above a stormy sky. Engraved by John Raphael Smith after Joseph Wright of Derby (1734-97). The painting, now in the Derby Museum and Art Gallery, was first exhibited in Wright's one-man show of 1785, following his break from the Royal Academy. In the catalogue that accompanied the first showing of the painting in London in 1785, Wright explained that it depicts the custom whereby the widow of a great Native American warrior would sit all day for a month beneath a memorial in the form of a tree on which were hung his weapons. Wright, as always, strove for accuracy in depicting his subject: here his source was James Adair's 'History of the American Indians' (1775), an important record of mid 18th-century life in America.
J. Egerton p.144; Frankau 375, ii of iii; D'Oench 301. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 64545] £1,350.00
The Widow of an Indian Chief Watching the Arms of Her Deceased Husband.
Painted by J. Wright. Engravd by J R Smith, Mezzotinto Engraver to his Royal Highn.s the Prince of Wales; & his Serene Highn.s the Duke of Orleans.
Published March, 2. 1812, by Tho. Palser, Surry-side of Westminster Bridge.
Mezzotint, very fine printing in colours and hand finished. 460 x 560mm. (18 x 22"). Thread margins.
A Native American woman sitting beneath a tree stump on which her dead husband's quiver, bow, knife and axe are hung. Below is choppy water, above a stormy sky. Engraved by John Raphael Smith after Joseph Wright of Derby (1734-97). The painting, now in the Derby Museum and Art Gallery, was first exhibited in Wright's one-man show of 1785, following his break from the Royal Academy. In the catalogue that accompanied the first showing of the painting in London in 1785, Wright explained that it depicts the custom whereby the widow of a great Native American warrior would sit all day for a month beneath a memorial in the form of a tree on which were hung his weapons. Wright, as always, strove for accuracy in depicting his subject: here his source was James Adair's 'History of the American Indians' (1775), an important record of mid 18th-century life in America.
J. Egerton p.144; Frankau 375, iii of iii; D'Oench 301. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 64544] £1,350.00
Painted by J. Wright. Engravd by J R Smith, Mezzotinto Engraver to his Royal Highn.s the Prince of Wales; & his Serene Highn.s the Duke of Orleans.
Published March, 2. 1812, by Tho. Palser, Surry-side of Westminster Bridge.
Mezzotint, very fine printing in colours and hand finished. 460 x 560mm. (18 x 22"). Thread margins.
A Native American woman sitting beneath a tree stump on which her dead husband's quiver, bow, knife and axe are hung. Below is choppy water, above a stormy sky. Engraved by John Raphael Smith after Joseph Wright of Derby (1734-97). The painting, now in the Derby Museum and Art Gallery, was first exhibited in Wright's one-man show of 1785, following his break from the Royal Academy. In the catalogue that accompanied the first showing of the painting in London in 1785, Wright explained that it depicts the custom whereby the widow of a great Native American warrior would sit all day for a month beneath a memorial in the form of a tree on which were hung his weapons. Wright, as always, strove for accuracy in depicting his subject: here his source was James Adair's 'History of the American Indians' (1775), an important record of mid 18th-century life in America.
J. Egerton p.144; Frankau 375, iii of iii; D'Oench 301. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 64544] £1,350.00
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William and Margaret From the celebrated ballad in Piercies Reliques of Antient English Poetry Vol 3 XVI.
Painted by J. Wright Engraved by J. R. Smith Mezzotinto Engraver to His Royal Highness the Prince of Wales.
London Published June 1. 1802, by R. Ackermann at his Repository of Arts No. 101 Strand
Coloured mezzotint, 455 x 555mm; 19¼ x 24½". Laid on card, tears in upper margin
Margaret's ghost appears to William. After the painting by Joseph Wright of Derby, exhibited 1785 and engraved by J.R. Smith that year. An impression refreshed with colour in the state republished by Ackermann.
Clayton P26, final state; D'Oench 257
[Ref: 8581] £650.00
Painted by J. Wright Engraved by J. R. Smith Mezzotinto Engraver to His Royal Highness the Prince of Wales.
London Published June 1. 1802, by R. Ackermann at his Repository of Arts No. 101 Strand
Coloured mezzotint, 455 x 555mm; 19¼ x 24½". Laid on card, tears in upper margin
Margaret's ghost appears to William. After the painting by Joseph Wright of Derby, exhibited 1785 and engraved by J.R. Smith that year. An impression refreshed with colour in the state republished by Ackermann.
Clayton P26, final state; D'Oench 257
[Ref: 8581] £650.00
Shakspeare. Winter's Tale, Act III. Scene III.
Painted by J.h Wright. Engrav'd by S. Middiman.
Publish'd June 4. 1794, by John & Josiah Boydell, at the Shakspeare Gallery Pall Mall, & Cheapside.
Engraving with etching. 500 x 630mm (19¾ x 24¾"), with large margins. Creasing where rolled.
Attempting to return to the baby, Perdita, whom he has just abandoned on the coast of land-locked Bohemia, Antigonus is chased away by a wild animal. This action creates Shakespeare's most famous stage direction: ''Exit Antigonus, pursued by a bear''. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
[Ref: 59324] £260.00 (£312.00 incl.VAT)
Painted by J.h Wright. Engrav'd by S. Middiman.
Publish'd June 4. 1794, by John & Josiah Boydell, at the Shakspeare Gallery Pall Mall, & Cheapside.
Engraving with etching. 500 x 630mm (19¾ x 24¾"), with large margins. Creasing where rolled.
Attempting to return to the baby, Perdita, whom he has just abandoned on the coast of land-locked Bohemia, Antigonus is chased away by a wild animal. This action creates Shakespeare's most famous stage direction: ''Exit Antigonus, pursued by a bear''. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
[Ref: 59324] £260.00 (£312.00 incl.VAT)
Shakspeare. Winter's Tale, Act III. Scene III.
Painted by J.h Wright. Engrav'd by S. Middiman.
Publish'd June 4. 1794, by John & Josiah Boydell, at the Shakspeare Gallery Pall Mall, & Cheapside.
Engraving with etching, J. Whatman 1794 watermark, 500 x 630mm (19¾ x 24¾"), with large margins. Small tear in edge taped.
Attempting to return to the baby, Perdita, whom he has just abandoned on the coast of land-locked Bohemia, Antigonus is chased away by a wild animal. This action creates Shakespeare's most famous stage direction: ''Exit Antigonus, pursued by a bear''. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
[Ref: 59331] £320.00
Painted by J.h Wright. Engrav'd by S. Middiman.
Publish'd June 4. 1794, by John & Josiah Boydell, at the Shakspeare Gallery Pall Mall, & Cheapside.
Engraving with etching, J. Whatman 1794 watermark, 500 x 630mm (19¾ x 24¾"), with large margins. Small tear in edge taped.
Attempting to return to the baby, Perdita, whom he has just abandoned on the coast of land-locked Bohemia, Antigonus is chased away by a wild animal. This action creates Shakespeare's most famous stage direction: ''Exit Antigonus, pursued by a bear''. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
[Ref: 59331] £320.00