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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Les Douceurs de l'Automne.
Gravé par P. C. Canot d'apres le dessein original de même grandeur, inventé et dessiné par Jean Pillement.
London Publish.d according to Act of Parliament December y.e 26 1759.
Etching, very fine impression, 430 x 530mm (17 x 21"), with large margins. Slightly scuffed, repaired tear on top margins, wormholes.
Autumn landscape with a man pouring a glass of wine to a companion while another is drawing wine from a barrel in the foreground, beyond some men seated around a table under a vine arbour. A tavern is visible in the background on the left. From a series of four plates after Jean Pillement, engraved by Canot, Mason and Woolett and representing the different seasons.
IFF 24.
[Ref: 59606] £360.00
Gravé par P. C. Canot d'apres le dessein original de même grandeur, inventé et dessiné par Jean Pillement.
London Publish.d according to Act of Parliament December y.e 26 1759.
Etching, very fine impression, 430 x 530mm (17 x 21"), with large margins. Slightly scuffed, repaired tear on top margins, wormholes.
Autumn landscape with a man pouring a glass of wine to a companion while another is drawing wine from a barrel in the foreground, beyond some men seated around a table under a vine arbour. A tavern is visible in the background on the left. From a series of four plates after Jean Pillement, engraved by Canot, Mason and Woolett and representing the different seasons.
IFF 24.
[Ref: 59606] £360.00
![[The Capture of Bellisle, 1761.]](jpegs/51978.jpg)
[The Capture of Bellisle, 1761.] To the Hon.ble Augustus Keppel [...] this plate being an exact Representation of the First Attack, made by the British Fleet under his Command, 8 April 1761 [...] [&] [...] This Plate being an exact Representation of the Second Attack, made at Fort Arsic on Bellisle . 22nd April 1761 [...] [&] [...] This Plate representing St Foy near Locmaria-Point, on Bellisle, the Place intended for a feint 22 April 1761 [...]
Serres Pinx. Canot Sculp.
Drawn on ye spot, Design'd, & Published as the Act directs by R. Short, May 1st 1763. [& Sept 12th].
Three (of seven) engravings, rare as a set. 370 x 520mm (13¾ x 20½) with very large margins. Small repairs and creases.
Three engravings celebrating the capture of the French island of Belle Île (off the Brittany coast) in 1761, during the Seven Years' War. As the Royal Navy began to dominate the seas Britain started to pick off France's colonies, including Canada, before lauching this attack on a part of France itself. Initially repelled, the attack was continued with reinforcements and the island was eventually captured. Unable to counter-attack, the French told the British they could keep it if they wanted, but they found that a British base so close to the French mainland was a real problem so, in the Treaty of Paris that ended the war, Belle Île was swapped for Minorca, which France had captured earlier in the war.
Parker 69.
[Ref: 51978] £950.00 view all images for this item
Serres Pinx. Canot Sculp.
Drawn on ye spot, Design'd, & Published as the Act directs by R. Short, May 1st 1763. [& Sept 12th].
Three (of seven) engravings, rare as a set. 370 x 520mm (13¾ x 20½) with very large margins. Small repairs and creases.
Three engravings celebrating the capture of the French island of Belle Île (off the Brittany coast) in 1761, during the Seven Years' War. As the Royal Navy began to dominate the seas Britain started to pick off France's colonies, including Canada, before lauching this attack on a part of France itself. Initially repelled, the attack was continued with reinforcements and the island was eventually captured. Unable to counter-attack, the French told the British they could keep it if they wanted, but they found that a British base so close to the French mainland was a real problem so, in the Treaty of Paris that ended the war, Belle Île was swapped for Minorca, which France had captured earlier in the war.
Parker 69.
[Ref: 51978] £950.00 view all images for this item
![[The Capture of Bellisle, 1761.]](jpegs/31778.jpg)
[The Capture of Bellisle, 1761.] To the Hon.ble Augustus Keppel [...] this plate being an exact Representation of the First Attack, made by the British Fleet under his Command, 8 April 1761 [...] [&] To Sir Thomas Stanhope Kn.t Colonel in his Majesty's Marine Forces [...] who commanded the Attack at St Foy near Locmaria-Point where the landing was compleated on ye 22.d of April 1761 [...]
Serres Pinx. R. Short delin. Canot Sculp.
Published April 25th 1777 by John Boydell Engraver in Cheapside London.
Two (of seven) engravings. 370 x 520mm (13¾ x 20½). Narrow margins.
Two engravings celebrating the capture of the French island of Belle Île (off the Brittany coast) in 1761, during the Seven Years' War. As the Royal Navy began to dominate the seas Britain started to pick off France's colonies, including Canada, before lauching this attack on a part of France itself. Initially repelled, the attack was continued with reinforcements and the island was eventually captured. Unable to counter-attack, the French told the British they could keep it if they wanted, but they found that a British base so close to the French mainland was a real problem so, in the Treaty of Paris that ended the war, Belle Île was swapped for Minorca, which France had captured earlier in the war. Originally published by R. Short in 1763.
Parker 69.
[Ref: 31778] £950.00 view all images for this item
Serres Pinx. R. Short delin. Canot Sculp.
Published April 25th 1777 by John Boydell Engraver in Cheapside London.
Two (of seven) engravings. 370 x 520mm (13¾ x 20½). Narrow margins.
Two engravings celebrating the capture of the French island of Belle Île (off the Brittany coast) in 1761, during the Seven Years' War. As the Royal Navy began to dominate the seas Britain started to pick off France's colonies, including Canada, before lauching this attack on a part of France itself. Initially repelled, the attack was continued with reinforcements and the island was eventually captured. Unable to counter-attack, the French told the British they could keep it if they wanted, but they found that a British base so close to the French mainland was a real problem so, in the Treaty of Paris that ended the war, Belle Île was swapped for Minorca, which France had captured earlier in the war. Originally published by R. Short in 1763.
Parker 69.
[Ref: 31778] £950.00 view all images for this item
![[Bishops Court] The Gallant Action (off the Isle of Man) where the Brave Cap.t Elliot Defeated & took the Marshall Belleisle,](jpegs/54810.jpg)
[Bishops Court] The Gallant Action (off the Isle of Man) where the Brave Cap.t Elliot Defeated & took the Marshall Belleisle, Commanded by the Famous Thurot, and two other French Ships of War the 28th. of February 1760.
Fran.s Swaine Pinx.t. P.C. Canot Sculp.
Printed for Carington Bowles, No 69 in St Pauls Chiurch Yard, & J.no Bowles No 13 Cornhill, Rob.t Sayer at the Golden Buck in Fleet Street [n.d., c.1760s].
Engraving. 335 x 465mm (12¾ x 18¼"), with large margins.
The Battle of Bishops Court, in which privateer François Thurot's ships, the ships Maréchal de Belle-Isle, Terpsichore and Blonde, were brought to battle off the Isle of Man. After a close-fought action, Thurot's force was battered into submission, with his ships dismasted and reduced to a sinking condition. Thurot was hit by a musket ball and died during the action, with his body being thrown overboard. Around 300 of the French had been killed or wounded, while British losses amounted to four killed and 15 wounded on Aeolus, one killed and five wounded on Pallas and 11 wounded on Brilliant. Thurot's body was washed ashore at Port William and was buried with full military honours at Kirkmaiden, Galloway, Scotland. Plate 6 of a series of naval battles by marine painter Francis Swain (c.1719-82).
Parker 1256.
[Ref: 54810] £380.00
Fran.s Swaine Pinx.t. P.C. Canot Sculp.
Printed for Carington Bowles, No 69 in St Pauls Chiurch Yard, & J.no Bowles No 13 Cornhill, Rob.t Sayer at the Golden Buck in Fleet Street [n.d., c.1760s].
Engraving. 335 x 465mm (12¾ x 18¼"), with large margins.
The Battle of Bishops Court, in which privateer François Thurot's ships, the ships Maréchal de Belle-Isle, Terpsichore and Blonde, were brought to battle off the Isle of Man. After a close-fought action, Thurot's force was battered into submission, with his ships dismasted and reduced to a sinking condition. Thurot was hit by a musket ball and died during the action, with his body being thrown overboard. Around 300 of the French had been killed or wounded, while British losses amounted to four killed and 15 wounded on Aeolus, one killed and five wounded on Pallas and 11 wounded on Brilliant. Thurot's body was washed ashore at Port William and was buried with full military honours at Kirkmaiden, Galloway, Scotland. Plate 6 of a series of naval battles by marine painter Francis Swain (c.1719-82).
Parker 1256.
[Ref: 54810] £380.00
A True Representation of Tower Hill, as it Appear'd from a rais'd point of View on the North side, Aug.t ye 18th 1746, when the Earl of Kilmarnock and the Lord Balmerino were Beheaded.
G. Budd, pinx. P.C. Canot Sculp.
Publishd According to Act of Parliament 1747. and Sold No, 2 Maiden Lane Cheapside.
Engraving, scarce. 380 x 600mm (15 x 23½"). Framed. Unexamined out of frame.
A view of the enormous crowd gathered to watch the executions of William Boyd, 4th Earl of Kilmarnock (1704-46) & Arthur Elphinstone, 6th Lord Balmerinoch (1688-1746), two supporters of the 1745 Jacobite rebellion. Both were captured at Culloden, tried, found guilty and beheaded, Elphinstone needing three blows of the axe. Elphinstone's famous last words were 'If I had a thousand lives, I would lay them all down in the same cause'. The British Museum dates their example, also with the Maiden Lane address added, to the 1760s: John Manson published his 'summer catalogue for 1762, Containing a valuable collection of books of prints and books in all languages and sciences lately purchased' from that address.
BM: 1880,1113.3457.
[Ref: 33260] £320.00
G. Budd, pinx. P.C. Canot Sculp.
Publishd According to Act of Parliament 1747. and Sold No, 2 Maiden Lane Cheapside.
Engraving, scarce. 380 x 600mm (15 x 23½"). Framed. Unexamined out of frame.
A view of the enormous crowd gathered to watch the executions of William Boyd, 4th Earl of Kilmarnock (1704-46) & Arthur Elphinstone, 6th Lord Balmerinoch (1688-1746), two supporters of the 1745 Jacobite rebellion. Both were captured at Culloden, tried, found guilty and beheaded, Elphinstone needing three blows of the axe. Elphinstone's famous last words were 'If I had a thousand lives, I would lay them all down in the same cause'. The British Museum dates their example, also with the Maiden Lane address added, to the 1760s: John Manson published his 'summer catalogue for 1762, Containing a valuable collection of books of prints and books in all languages and sciences lately purchased' from that address.
BM: 1880,1113.3457.
[Ref: 33260] £320.00
A Perspective View of Brighthelmston, and of the Sea Coast as far as the Isle of Wight, Inscribed (by Permission) to His Royal Highness William Henry Duke of Gloucester and Edinburgh, Earl of Connaught of the Kingdom of Ireland, Ranger of Hampton Court Park, and Knight of the Most Noble Order of the Garter By His Royal Highnesses most Obed.t & Devoted Serv.t James Lambert. Lambert's Correct View of Brightelmston in 1765.
Ja.s Lambert pinx.t P.C. Canot sculp.t
Publish'd as the Act directs, 1817. by Ja.s Edwards Brompton Middlesex and Published in his Topographical Surveys.
Copper Engraving. 425 x 635mm. 16¾ x 25". Folds, as normal.
A view of Brighthelmstone, the predecessor of modern-day Brighton. The field was known as Belle Vue Field. A coastal town, with farmers and town-dwellers engaged in the harvesting of the crop; cattle pulling hay to barns, people with scythes cutting the corn; three cloth sailed post-mills standing in the fields.
Ford: 23A.
[Ref: 19066] £330.00
Ja.s Lambert pinx.t P.C. Canot sculp.t
Publish'd as the Act directs, 1817. by Ja.s Edwards Brompton Middlesex and Published in his Topographical Surveys.
Copper Engraving. 425 x 635mm. 16¾ x 25". Folds, as normal.
A view of Brighthelmstone, the predecessor of modern-day Brighton. The field was known as Belle Vue Field. A coastal town, with farmers and town-dwellers engaged in the harvesting of the crop; cattle pulling hay to barns, people with scythes cutting the corn; three cloth sailed post-mills standing in the fields.
Ford: 23A.
[Ref: 19066] £330.00
To the Honourable the Court of Directors of the United Company of Merchants of England, Trading to the East Indies, This Representation of the Engagement, between their Ships Suffolk, Houghton and Godolphin, and Two French Ships of War; onthe 9th day of March 1757. Is Inscribed by their Most Obedient, Humble Servant, Rob.t Willock.
Design'd & Painted by R Paton. Engrav'd by P.C. Canot.
London 15.th April 1758, Publish'd According to Act of Parliament, To be had of R. Paton in Wardour Street, Soho, & R. Willock in Cornhill.
Engraving. Sheet: 380 x 515mm (15 x 20¼''). Trimmed within plate. Few minor repairs.
A battle scene showing three East Indiamen engaging with two French ships off the Cape of Good Hope on 9th March 1757. Three homeward bound East Indiamen, the ‘Suffolk’, ‘Houghton’ and ‘Godolphin’ were intercepted by two French privateers off the Cape of Good Hope. The merchantmen were heavily laden and represented great riches for the French privateers. However they were unable to capture them when the Indiamen formed a line and beat them off after a three hour engagement.
[Ref: 50855] £480.00
Design'd & Painted by R Paton. Engrav'd by P.C. Canot.
London 15.th April 1758, Publish'd According to Act of Parliament, To be had of R. Paton in Wardour Street, Soho, & R. Willock in Cornhill.
Engraving. Sheet: 380 x 515mm (15 x 20¼''). Trimmed within plate. Few minor repairs.
A battle scene showing three East Indiamen engaging with two French ships off the Cape of Good Hope on 9th March 1757. Three homeward bound East Indiamen, the ‘Suffolk’, ‘Houghton’ and ‘Godolphin’ were intercepted by two French privateers off the Cape of Good Hope. The merchantmen were heavily laden and represented great riches for the French privateers. However they were unable to capture them when the Indiamen formed a line and beat them off after a three hour engagement.
[Ref: 50855] £480.00
To their Graces the Duke and Dutchess of Ancaster This Representation of the Embarkation Of her Majesty Queen Charlotte at Stade; With a View of the Royal Yatchs, &c. &c. is humbly Inscribed By their Graces' Most Devoted & Obliged Servant. Thomas Allen. [&] ... This View of Harwich, and the Yatchs going out, With Lord Anson returning the Salute from Landguard Fort is most humbly Inscribed ...
T. Allen pinx. P.C. Canot sculp.
Printed for Jn.o Bowles at the Black Horse in Cornhill; & Carington Bowles, next the Chapter House in St Paul's Church Yard [n.d., c.1765).
A pair of very scarce engravings. Each c. 425 x 605mm (!6¾ x 23¾"), with large margins Repaired tear in margin of first plate.
A pair of maritime scenes depicting the passage to England of Charlotte of Mecklenburg-Strelitz for her marriage to George III in 1761. The first shows her departure from Stade in Lower Saxony on 28 August 1761, the second her arrival at Harwich on the 6th September, after a 10-day voyage hampered by three severe storms.
[Ref: 55681] £1,600.00 view all images for this item
T. Allen pinx. P.C. Canot sculp.
Printed for Jn.o Bowles at the Black Horse in Cornhill; & Carington Bowles, next the Chapter House in St Paul's Church Yard [n.d., c.1765).
A pair of very scarce engravings. Each c. 425 x 605mm (!6¾ x 23¾"), with large margins Repaired tear in margin of first plate.
A pair of maritime scenes depicting the passage to England of Charlotte of Mecklenburg-Strelitz for her marriage to George III in 1761. The first shows her departure from Stade in Lower Saxony on 28 August 1761, the second her arrival at Harwich on the 6th September, after a 10-day voyage hampered by three severe storms.
[Ref: 55681] £1,600.00 view all images for this item
![[This View of the Royal Dock Yard at Chatham...PROOF . ]](jpegs/21365.jpg)
[This View of the Royal Dock Yard at Chatham...PROOF . ]
[Painted by R. Paton, the Figures by J. Mortimer. [right] Engraved by P.C. Canot.]
[R. Paton, Wardour Street., Soho, London, 14 February 1775. ]
Rare etching, working proof from the unfinished plate, laid paper. Image 450 x 650mm (17¾ x 25½"). Trimmed within plate, and to image on three sides. Centrefold crease and nicks to extremities.
An interesting progress proof impression, before the plate was engraved with fine detail. The published state carries the following full title and inscription "TO THE King's most Excellent Majesty, This View of the Royal Dock Yard at CHATHAM. / Is by PERMISSION and with all Humility, Inscribed By His MAJESTY's most dutiful Subject and Servant, / Rich.d Paton. / [far left] Printed by Hocquet. Size of the Picture 4. ft 10. in by 3. ft 4. in / Publish'd by Royal Authority & as the Law directs London Feb.y 14.th 1775. To be had of R. Paton Wardour Street, Soho. " A fine prospect of Chatham dockyard, Kent, bustling with activity: ships on the water, some in in dry-dock on the far shore, a skeleton of a ship being built to the right of them; carpenters and blacksmiths working on the near bank in the foreground. Two men try to drag a pig across a plank over a gully (lower left) to where people are loading food and drink onto a small ship. The busy docks stretch along the river bend witht he infantry barracks and the Commissioner's House centre right. Richard Paton (1717 - 1791) painted five views of the royal dockyards, in the Royal Collection, in all of which the figures were painted by John Hamilton Mortimer. In 1776 he exhibited at the Royal Academy the views of Rochester and of Deptford docks.
See NMM PAH9712. See BL Maps K.Top.16.42.c. DNB.
[Ref: 21365] £680.00
[Painted by R. Paton, the Figures by J. Mortimer. [right] Engraved by P.C. Canot.]
[R. Paton, Wardour Street., Soho, London, 14 February 1775. ]
Rare etching, working proof from the unfinished plate, laid paper. Image 450 x 650mm (17¾ x 25½"). Trimmed within plate, and to image on three sides. Centrefold crease and nicks to extremities.
An interesting progress proof impression, before the plate was engraved with fine detail. The published state carries the following full title and inscription "TO THE King's most Excellent Majesty, This View of the Royal Dock Yard at CHATHAM. / Is by PERMISSION and with all Humility, Inscribed By His MAJESTY's most dutiful Subject and Servant, / Rich.d Paton. / [far left] Printed by Hocquet. Size of the Picture 4. ft 10. in by 3. ft 4. in / Publish'd by Royal Authority & as the Law directs London Feb.y 14.th 1775. To be had of R. Paton Wardour Street, Soho. " A fine prospect of Chatham dockyard, Kent, bustling with activity: ships on the water, some in in dry-dock on the far shore, a skeleton of a ship being built to the right of them; carpenters and blacksmiths working on the near bank in the foreground. Two men try to drag a pig across a plank over a gully (lower left) to where people are loading food and drink onto a small ship. The busy docks stretch along the river bend witht he infantry barracks and the Commissioner's House centre right. Richard Paton (1717 - 1791) painted five views of the royal dockyards, in the Royal Collection, in all of which the figures were painted by John Hamilton Mortimer. In 1776 he exhibited at the Royal Academy the views of Rochester and of Deptford docks.
See NMM PAH9712. See BL Maps K.Top.16.42.c. DNB.
[Ref: 21365] £680.00
![[The Embarkation of Carlo and Ubaldo]](jpegs/40465.jpg)
[The Embarkation of Carlo and Ubaldo] In the Collection of His Grace the late Duke of Kent
Claudio Gillee Lorenese pinx P.C. Canot Sculp
Publish'd by Ar. Pond May 1744
Very fine engraving, 18th century watermark; platemark 310 x 405mm (12¼ x 16"), with very large margins.
Scene from Torquato Tasso's epic poem 'Jerusalem Delivered' ('La Gerusalemme Liberata', 1581), a largely mythified account of the First Crusade in which Christian knights fought to seize the city of Jerusalem from the Fatimid Caliphate. Here the knights Carlo and Ubaldo embark on a voyage; the wizard of Ascalon (who has assisted them) departs on the left. Engraving of a 1667 painting by Claude Lorrain (?1604/5-1682), now in the Art Gallery of Ontario.
[Ref: 40465] £260.00 (£312.00 incl.VAT)
Claudio Gillee Lorenese pinx P.C. Canot Sculp
Publish'd by Ar. Pond May 1744
Very fine engraving, 18th century watermark; platemark 310 x 405mm (12¼ x 16"), with very large margins.
Scene from Torquato Tasso's epic poem 'Jerusalem Delivered' ('La Gerusalemme Liberata', 1581), a largely mythified account of the First Crusade in which Christian knights fought to seize the city of Jerusalem from the Fatimid Caliphate. Here the knights Carlo and Ubaldo embark on a voyage; the wizard of Ascalon (who has assisted them) departs on the left. Engraving of a 1667 painting by Claude Lorrain (?1604/5-1682), now in the Art Gallery of Ontario.
[Ref: 40465] £260.00 (£312.00 incl.VAT)
Easton Lodge a Seat of The Right Hon.ble Charles Lord Maynard in Essex.
T. Synner Del: 1756. P.C. Canot sculp.t.
[n.d., c.1756.]
Rare & extremely large copper engraving. 590 x 755mm (23¼ x 29¾") Tears in large margins.
An elevated view of the Elizabethan Easton Lodge near Great Dunmow, Essex, surrounded by landscaped woodlands. Built in 1597, it was burned down in 1847.
Ex Collection Hon. C. Lennox-Boyd
[Ref: 56256] £450.00
T. Synner Del: 1756. P.C. Canot sculp.t.
[n.d., c.1756.]
Rare & extremely large copper engraving. 590 x 755mm (23¼ x 29¾") Tears in large margins.
An elevated view of the Elizabethan Easton Lodge near Great Dunmow, Essex, surrounded by landscaped woodlands. Built in 1597, it was burned down in 1847.
Ex Collection Hon. C. Lennox-Boyd
[Ref: 56256] £450.00
The Farm Yard. From the Original Picture, by Peter de Laer, called Bamboccio; In the Collection of Rob.t Udny Esq.r. To whom this plate is Dedicated, by his much obliged and most Humble servant, John Boydell. No. 47.
Peter de Laer Pinxit. P.C. Canot Sculpsit.
J. Boydell excudit 1768.
Engraving. Platemark: 480 x 610mm (19 x 24"). Cut to inside platemark at top. Slight foxing.
Fine cattle image showing rural scene with a ruined building, partially overgrown, part used as a barn, with people sitting at a small table outside. Cattle and goats are shown on the right with a man lifting a basket from a horse nearby. A view of a town is in the background to the right. From the series 'The Most Capital Paintings in England', Boydell's first major initiative as a pioneering publisher of fine engravings.
[Ref: 53724] £420.00
Peter de Laer Pinxit. P.C. Canot Sculpsit.
J. Boydell excudit 1768.
Engraving. Platemark: 480 x 610mm (19 x 24"). Cut to inside platemark at top. Slight foxing.
Fine cattle image showing rural scene with a ruined building, partially overgrown, part used as a barn, with people sitting at a small table outside. Cattle and goats are shown on the right with a man lifting a basket from a horse nearby. A view of a town is in the background to the right. From the series 'The Most Capital Paintings in England', Boydell's first major initiative as a pioneering publisher of fine engravings.
[Ref: 53724] £420.00
The Fisherman.
Pillement inv.t et delin. P.C. Canot sculp.t.
Published according to Act of Parliament Sep.r 30, 1757. London, Sold at the Golden Head, Little Chapple Street, Soho.
Etching. 205 x 295mm (8 x 11¾"), with very large margins.
Men fishing with nets on a shoreline, with the setting sun.
Ex: Oettingen-Wallerstein collection. Sotheby's London / Milan Nov 1997.
[Ref: 60319] £150.00 (£180.00 incl.VAT)
Pillement inv.t et delin. P.C. Canot sculp.t.
Published according to Act of Parliament Sep.r 30, 1757. London, Sold at the Golden Head, Little Chapple Street, Soho.
Etching. 205 x 295mm (8 x 11¾"), with very large margins.
Men fishing with nets on a shoreline, with the setting sun.
Ex: Oettingen-Wallerstein collection. Sotheby's London / Milan Nov 1997.
[Ref: 60319] £150.00 (£180.00 incl.VAT)
1.ere Vüe des Environs de Flessingue.
J. Pillement inv.t. et del. P. Canot sculpt.
a Paris chés Basan graveur.
Etching. 265 x 360mm (10½ x 14¼"), large margins. A few spots.
A coastal scene with men pushing barrels away from a sailboat, across a a footbridge from a rocky outcrop. One from a set of 4.
Gordon Smith: 74/5. Ex: Oettingen-Wallerstein collection. Sotheby's London / Milan Nov 1997.
[Ref: 60320] £150.00 (£180.00 incl.VAT)
J. Pillement inv.t. et del. P. Canot sculpt.
a Paris chés Basan graveur.
Etching. 265 x 360mm (10½ x 14¼"), large margins. A few spots.
A coastal scene with men pushing barrels away from a sailboat, across a a footbridge from a rocky outcrop. One from a set of 4.
Gordon Smith: 74/5. Ex: Oettingen-Wallerstein collection. Sotheby's London / Milan Nov 1997.
[Ref: 60320] £150.00 (£180.00 incl.VAT)
Receuil De Fleurs Chinois et autres propres a plusieurs usages,
invente et dessine par Jean Pillement, et grave par P.C. Canot.
AParis chez le Pere et Avaulez. [n.d., c.1755.]
Attractive etched titlepage, watermarked laid paper; flowering branch with lettering to large foreground leaf. Sheet 350 x 270mm, 13¾ x 10½". Trimmed to plate
For a series of floral chinoiseries, after Jean-Baptiste Pillement (1728 - 1808).
[Ref: 19869] £130.00 (£156.00 incl.VAT)
invente et dessine par Jean Pillement, et grave par P.C. Canot.
AParis chez le Pere et Avaulez. [n.d., c.1755.]
Attractive etched titlepage, watermarked laid paper; flowering branch with lettering to large foreground leaf. Sheet 350 x 270mm, 13¾ x 10½". Trimmed to plate
For a series of floral chinoiseries, after Jean-Baptiste Pillement (1728 - 1808).
[Ref: 19869] £130.00 (£156.00 incl.VAT)
To Sir George Pocock, Knight of the Bath and Admiral of the Blue Squadron of his Majesty's Fleet, on the Expedition against the Havannah in 1762, This Perspective view of the Harbour, with the Land to the West, the Moro Castle to the Eastward, and the Fleet entring the Harbour to take Possession on Aug.st 16. Lead By the Hon.ble Aug.s Kepple in His Majesty's Ship Valiant, is most humbly Inscribed by his devoted humble Serv.t Philip Orsbridge.
D. Serres. P.C. Canot Sculpsit.
[n.d. c.1765].
Engraving, 460 x 660mm. Laid on board, some spotting.
One plate from a set of twelve painted by Serres. In 1762, during the Seven Years' War with Spain, a large fleet was sent to Cuba under the command of the Earl of Albermarle with Admirals Pocock and Kepple. They succeeded in capturing Havana, which they returned to Spain in the Treaty of Paris (1763), in exchange for Florida.
Cust: Naval Prints 73.
[Ref: 8109] £950.00
D. Serres. P.C. Canot Sculpsit.
[n.d. c.1765].
Engraving, 460 x 660mm. Laid on board, some spotting.
One plate from a set of twelve painted by Serres. In 1762, during the Seven Years' War with Spain, a large fleet was sent to Cuba under the command of the Earl of Albermarle with Admirals Pocock and Kepple. They succeeded in capturing Havana, which they returned to Spain in the Treaty of Paris (1763), in exchange for Florida.
Cust: Naval Prints 73.
[Ref: 8109] £950.00
Lambeth ~ The Archbishop of Canterbury's Palace Lambeth le Palais ~ de L'Archveque de Canterbury.
Maurer Delin. Canot Sculp.
Printed for John Bowles & Son, at the Black Horse in Cornhill.
Coloured engraving. 426 x 270mm.
[Ref: 4150] £450.00
Maurer Delin. Canot Sculp.
Printed for John Bowles & Son, at the Black Horse in Cornhill.
Coloured engraving. 426 x 270mm.
[Ref: 4150] £450.00
![[A woodland river with cows and cowherds]](jpegs/45125.jpg)
[A woodland river with cows and cowherds] In the Collection of the Hon.ble Horace Walpole Esq.r.
Gaspar Poussin [Gaspard Dughet] pinx. P.C. Cannot Sculp.
[n.d., c.1744.]
Engraving. 315 x 415mm (12½ x 16¼"). Some staining.
Engraving after a painting by Gaspar Dughet (1615-75), who often used the name of his brother-in-law and teacher, Nicolas Poussin. Along with Claude Lorrain, Dughet was one of the landscape painters whose works were best-known to British audiences in the 18th century. His landscapes, disseminated through prints such as this, were highly influential on the nascent English landscape school. At the time of this engraving the painting belonged to Horace Walpole (1717-97)
[Ref: 45125] £90.00 (£108.00 incl.VAT)
Gaspar Poussin [Gaspard Dughet] pinx. P.C. Cannot Sculp.
[n.d., c.1744.]
Engraving. 315 x 415mm (12½ x 16¼"). Some staining.
Engraving after a painting by Gaspar Dughet (1615-75), who often used the name of his brother-in-law and teacher, Nicolas Poussin. Along with Claude Lorrain, Dughet was one of the landscape painters whose works were best-known to British audiences in the 18th century. His landscapes, disseminated through prints such as this, were highly influential on the nascent English landscape school. At the time of this engraving the painting belonged to Horace Walpole (1717-97)
[Ref: 45125] £90.00 (£108.00 incl.VAT)
![[View of Westminster Bridge, Transport House and no. 11-12 Manchester Buildings with boats and passengers on the River Thames.] &](jpegs/15842.jpg)
[View of Westminster Bridge, Transport House and no. 11-12 Manchester Buildings with boats and passengers on the River Thames.] & [A View of London Bridge before the late Alteration as in the Year 1757]
[Engraved by P.C. Canot after Samuel Scott]
[1758]
Pair of framed engravings with hand-colouring, varnished and in their original 18th century frames. Unique. Outside dimensions of frames each approx 460 x 710mm. 18 x 28". Both prints trimmed to image, occasional surface loss, three small holes in London Bridge view, some damage to frames.
A pair of panoramic views along the Thames with contemporary colour and varnishing, in decorative rococo frames. With original manuscript labels reading 'Westminster Bridge 1747' and 'London Bridge 1757' on reverse.The buildings on London Bridge were demolished in 1760. Engraved by Pierre Charles Canot (c.1710-77) from paintings by the marine painter Samuel Scott (c.1702-1772), who painted many Thames scenes. Canot was an extremely versatile engraver whose London prints also included a series of dockyards for Thomas Milton. Extremely rare, probably a unique buying opportunity.
Provenance: Old Depositories, Chichester Estate 156
[Ref: 15842] £950.00 view all images for this item
[Engraved by P.C. Canot after Samuel Scott]
[1758]
Pair of framed engravings with hand-colouring, varnished and in their original 18th century frames. Unique. Outside dimensions of frames each approx 460 x 710mm. 18 x 28". Both prints trimmed to image, occasional surface loss, three small holes in London Bridge view, some damage to frames.
A pair of panoramic views along the Thames with contemporary colour and varnishing, in decorative rococo frames. With original manuscript labels reading 'Westminster Bridge 1747' and 'London Bridge 1757' on reverse.The buildings on London Bridge were demolished in 1760. Engraved by Pierre Charles Canot (c.1710-77) from paintings by the marine painter Samuel Scott (c.1702-1772), who painted many Thames scenes. Canot was an extremely versatile engraver whose London prints also included a series of dockyards for Thomas Milton. Extremely rare, probably a unique buying opportunity.
Provenance: Old Depositories, Chichester Estate 156
[Ref: 15842] £950.00 view all images for this item
![[Mereworth Castle.] A View of the Earl of Westmoreland's Villa, in the County of Kent, taken from the Park](jpegs/58721.jpg)
[Mereworth Castle.] A View of the Earl of Westmoreland's Villa, in the County of Kent, taken from the Park
W.m Woollett delin. P.C. Canot Sculp.t.
London, Printed for John Bowles in Cornhill, Carington Bowles in St. pauls Church Yard, & Robert Sayer in Fleet Street.
Coloured etching with engraving. Sheet 370 x 535mm (14½ x 17"). Trimmed within plate.
A view of Mereworth Castle, a Neo-Palladian country house designed by Colen Cambell for John Fane, 7th Earl of Westmorland. It is one of four buildings copied from Palladio's Villa Rotunda near Venice, of which it is one of two that survive, with Chiswick House, both Grade I listed.
[Ref: 58721] £450.00
W.m Woollett delin. P.C. Canot Sculp.t.
London, Printed for John Bowles in Cornhill, Carington Bowles in St. pauls Church Yard, & Robert Sayer in Fleet Street.
Coloured etching with engraving. Sheet 370 x 535mm (14½ x 17"). Trimmed within plate.
A view of Mereworth Castle, a Neo-Palladian country house designed by Colen Cambell for John Fane, 7th Earl of Westmorland. It is one of four buildings copied from Palladio's Villa Rotunda near Venice, of which it is one of two that survive, with Chiswick House, both Grade I listed.
[Ref: 58721] £450.00
A View of Mount Edgcumbe.
G. Lambert & Scott pinx.t. C.W. Bampflyde delin. Canot sculp.t.
London, Printed for Rob.t Sayer & Bennett, in Fleet Street, Rob.t Wilkinson in Cornhill, John Boydell in Cheapside, & Carington Bowles in St Pauls Church Yard. [n.d., c.1780.]
Engraving. 365 x 565mm (14¼ x 22¼"), on thick paper, large margins. Slight surface soiling, edges chipped.
A view of Mount Edgcumbe, Cornwall, with ships and longboats. The plate was engraved by Pierre Charles Canot from an intermediary sketch by Coplestone Warre Bampfylde and published in the series 'Five views of and from Mount Edgcumbe, Plymouth', first issued 1755.
[Ref: 57358] £350.00 (£420.00 incl.VAT)
G. Lambert & Scott pinx.t. C.W. Bampflyde delin. Canot sculp.t.
London, Printed for Rob.t Sayer & Bennett, in Fleet Street, Rob.t Wilkinson in Cornhill, John Boydell in Cheapside, & Carington Bowles in St Pauls Church Yard. [n.d., c.1780.]
Engraving. 365 x 565mm (14¼ x 22¼"), on thick paper, large margins. Slight surface soiling, edges chipped.
A view of Mount Edgcumbe, Cornwall, with ships and longboats. The plate was engraved by Pierre Charles Canot from an intermediary sketch by Coplestone Warre Bampfylde and published in the series 'Five views of and from Mount Edgcumbe, Plymouth', first issued 1755.
[Ref: 57358] £350.00 (£420.00 incl.VAT)
A View of Mount Edgcumbe.
G. Lambert & Scott pinx.t. C.W. Bampflyde delin. Canot sculp.t.
London, Printed for Rob.t Sayer & Bennett, in Fleet Street, Rob.t Wilkinson in Cornhill, John Boydell in Cheapside, & Carington Bowles in St Pauls Church Yard. [n.d., c.1780.]
Engraving. 365 x 565mm (14¼ x 22¼"), on thick paper. Cut inside image. Damaged. Slight surface soiling.
A view of Mount Edgcumbe, Cornwall, painted by George Lambert & Samuel Scott from Plymouth Sound. In the foreground are British ships and longboats. The plate was engraved by Pierre Charles Canot from an intermediary sketch by Coplestone Warre Bampfylde and published in the series 'Five views of and from Mount Edgcumbe, Plymouth', originally issued 1755.
[Ref: 38814] £260.00 (£312.00 incl.VAT)
G. Lambert & Scott pinx.t. C.W. Bampflyde delin. Canot sculp.t.
London, Printed for Rob.t Sayer & Bennett, in Fleet Street, Rob.t Wilkinson in Cornhill, John Boydell in Cheapside, & Carington Bowles in St Pauls Church Yard. [n.d., c.1780.]
Engraving. 365 x 565mm (14¼ x 22¼"), on thick paper. Cut inside image. Damaged. Slight surface soiling.
A view of Mount Edgcumbe, Cornwall, painted by George Lambert & Samuel Scott from Plymouth Sound. In the foreground are British ships and longboats. The plate was engraved by Pierre Charles Canot from an intermediary sketch by Coplestone Warre Bampfylde and published in the series 'Five views of and from Mount Edgcumbe, Plymouth', originally issued 1755.
[Ref: 38814] £260.00 (£312.00 incl.VAT)
Le petit famille. Gravé par P.C. Canot d'aprés le dessin Original de même grandeur inventé et dessiné par Jean Pillement.
C. Norton.
London Publish'd according to Act of Parliament Dec. 26th 1759.
Etching, 18th century watermark. Sheet 335 x 375mm (13¼ x 14¾"). Trimmed within plate.
A view of a ramshackle house by a river with goats in the foreground From a series of three plates, with 'La Petite Montagne' and 'La petite famille'.
Gordon Smith p.77. From the Airlie collection, Cortachy Castle.
[Ref: 57494] £260.00 (£312.00 incl.VAT)
C. Norton.
London Publish'd according to Act of Parliament Dec. 26th 1759.
Etching, 18th century watermark. Sheet 335 x 375mm (13¼ x 14¾"). Trimmed within plate.
A view of a ramshackle house by a river with goats in the foreground From a series of three plates, with 'La Petite Montagne' and 'La petite famille'.
Gordon Smith p.77. From the Airlie collection, Cortachy Castle.
[Ref: 57494] £260.00 (£312.00 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
Returning from Market. From the Original Picture of the same size, Painted by Nicholas Berchem; In the Collecion of John Darker Esq.r.
N. Berchem Pinx.t. John Boydell excudit, 1771. P. C. Canot Sculpsit.
Published May 1.st. 1771 by John Boydell Engraver in Cheapside London.
Engraving. Plate: 480 x 380mm (19 x 15"). Very large margins.
A landscape view in which several figures, three of whom are mounted, drive their livestock across a river. From the series 'The Most Capital Paintings in England', Boydell's first major initiative as a pioneering publisher of fine engravings.
Ex Collection Duke of Westminster.
[Ref: 38263] £350.00
N. Berchem Pinx.t. John Boydell excudit, 1771. P. C. Canot Sculpsit.
Published May 1.st. 1771 by John Boydell Engraver in Cheapside London.
Engraving. Plate: 480 x 380mm (19 x 15"). Very large margins.
A landscape view in which several figures, three of whom are mounted, drive their livestock across a river. From the series 'The Most Capital Paintings in England', Boydell's first major initiative as a pioneering publisher of fine engravings.
Ex Collection Duke of Westminster.
[Ref: 38263] £350.00
![[Sheerness Dockyard.]](jpegs/9085.jpg)
[Sheerness Dockyard.]
R. Paton pinxt. 1778. C Canot aqua fortis. W. Watts sculp.
London Published 1 March 1803 by B. B. Evans in the Poultry.
Etching and engraving, scratched letter proof before title, 510 x 690mm. 20 x 27¼". Laid on card; two vertical creases through centre.
Sheerness, beside the mouth of the River Medway on the northwest corner of the Isle of Sheppey in north Kent. Sheerness began as a fort built in the 16th century to protect the River Medway from naval invasion. In 1665, plans were first laid by the Navy Board for a Royal Navy dockyard where warships might be provisioned and repaired, a site favored by Samuel Pepys, then Clerk of the Acts of the navy, for shipbuilding over Chatham. After the raid on the Medway in 1667, the older fortification was strengthened; in 1669 the Royal Navy dockyard was established, where warships were stocked and repaired until its closure in 1960. An impressive scene after Richard Paton (1717 - 1791), painter of marine subjects. With an etched crest below image.
[Ref: 9085] £480.00
R. Paton pinxt. 1778. C Canot aqua fortis. W. Watts sculp.
London Published 1 March 1803 by B. B. Evans in the Poultry.
Etching and engraving, scratched letter proof before title, 510 x 690mm. 20 x 27¼". Laid on card; two vertical creases through centre.
Sheerness, beside the mouth of the River Medway on the northwest corner of the Isle of Sheppey in north Kent. Sheerness began as a fort built in the 16th century to protect the River Medway from naval invasion. In 1665, plans were first laid by the Navy Board for a Royal Navy dockyard where warships might be provisioned and repaired, a site favored by Samuel Pepys, then Clerk of the Acts of the navy, for shipbuilding over Chatham. After the raid on the Medway in 1667, the older fortification was strengthened; in 1669 the Royal Navy dockyard was established, where warships were stocked and repaired until its closure in 1960. An impressive scene after Richard Paton (1717 - 1791), painter of marine subjects. With an etched crest below image.
[Ref: 9085] £480.00
A Geometrical Plan, & West Elevation Of His Majesty's Dock-Yard, and Garrison at Sheerness, with the Ordanance , Warfe, &. C. To the Honourable Lewis Monson Watson Knight of the Shire for the County of Kent, and Auditor of the Imprest, This plate is humbly inscribed by his most Obedient Servt. Thos. Milton.
Thos. Milton Surv:etdelin: Shipping by T.Cleveley P.C.Canot Sculpt.
Publsih'd according to Act of Parliament Thos. Milton. 14 April 1755.
Engraving 495 x 660mm. Trimmed to plate, centre fold, minor nicks and scratches
Explanation and Key to plan and elevation left and right. Sheerness was the focus of an attack by the Dutch navy in June 1667, when 72 hostile ships during the Raid on the Medway compelled the little 'sandspit fort', to surrender and landed a force which for a short while occupied the town. Impressed by the civil behaviour of the Dutch marines - they paid for their dinner - the town reinvited the Dutch Marine Corps for the third centennial of the raid. Pepys at Gravesend remarked in his diary 'we do plainly at this time hear the guns play' and in fear departed to Brampton in Huntingdonshire. Sheerness was also the site of a Royal Dockyard which, although not as large as those at Chatham and Deptford was still of some importance in Tudor and Stuart England. During the Victorian age a warship was built which still exists - HMS Gannet (an 'Osprey' class Sloop) which was launched on 31 August 1878.
[Ref: 4258] £650.00
Thos. Milton Surv:etdelin: Shipping by T.Cleveley P.C.Canot Sculpt.
Publsih'd according to Act of Parliament Thos. Milton. 14 April 1755.
Engraving 495 x 660mm. Trimmed to plate, centre fold, minor nicks and scratches
Explanation and Key to plan and elevation left and right. Sheerness was the focus of an attack by the Dutch navy in June 1667, when 72 hostile ships during the Raid on the Medway compelled the little 'sandspit fort', to surrender and landed a force which for a short while occupied the town. Impressed by the civil behaviour of the Dutch marines - they paid for their dinner - the town reinvited the Dutch Marine Corps for the third centennial of the raid. Pepys at Gravesend remarked in his diary 'we do plainly at this time hear the guns play' and in fear departed to Brampton in Huntingdonshire. Sheerness was also the site of a Royal Dockyard which, although not as large as those at Chatham and Deptford was still of some importance in Tudor and Stuart England. During the Victorian age a warship was built which still exists - HMS Gannet (an 'Osprey' class Sloop) which was launched on 31 August 1878.
[Ref: 4258] £650.00
![Shipwreck [parallel text in French]](jpegs/44223.jpg)
Shipwreck [parallel text in French]
P. Monamy pinx.t Canot Sculp. ['a' changed to 'o' by pen in Canot's surname]
Printed for Robert Wilkinson 58, in Cornhil, & Bowles & Carver 69.St Pauls Church Yard, London. [n.d., c.1800.]
Engraving, platemark 300 x 396mm (11¾ x 15½"), with very large margins. Repaired tear bottom centre.
Dramatic shipwreck scene after Peter Monamy (1681-1749), engraved by P.C. Canot. London-born painter Monamy (he was born in the Minories and baptized at St Botolphs Aldgate) 'emerges with Samuel Scott as one of the two leading figures in the first generation of British marine painters [...] he worked industriously for at least forty years and has left us a rich heritage of paintings illustrating the nation's naval history in the first half of the 18th century' (E.H.H. Archibald, 'Dictionary of Sea Painters').
[Ref: 44223] £220.00 (£264.00 incl.VAT)
P. Monamy pinx.t Canot Sculp. ['a' changed to 'o' by pen in Canot's surname]
Printed for Robert Wilkinson 58, in Cornhil, & Bowles & Carver 69.St Pauls Church Yard, London. [n.d., c.1800.]
Engraving, platemark 300 x 396mm (11¾ x 15½"), with very large margins. Repaired tear bottom centre.
Dramatic shipwreck scene after Peter Monamy (1681-1749), engraved by P.C. Canot. London-born painter Monamy (he was born in the Minories and baptized at St Botolphs Aldgate) 'emerges with Samuel Scott as one of the two leading figures in the first generation of British marine painters [...] he worked industriously for at least forty years and has left us a rich heritage of paintings illustrating the nation's naval history in the first half of the 18th century' (E.H.H. Archibald, 'Dictionary of Sea Painters').
[Ref: 44223] £220.00 (£264.00 incl.VAT)
The Tempest. And they came to him, and awoke him, saying Master, master, we Perish. From the Original Picture, in the Collection of the Right Honourable Lord Clive. Size of Picture 4F, 0I by 5F, 5I in Length. St. Luke, Chap. VIII. Ver.24. Vol: II. No.63.
J. de Vlieger pinxit. John Boydell excudit 1773. P.C. Canot Sculpsit.
Published March 15th, 1773, by John Boydell Engraver, in Cheapside, London.
Engraving, paper watermarked. Plate 457 x 554mm (18 x 21¾"). Very large margins.
A boat struggles against the rising waves; with a torn and broken sail, the passengers cling on for their lives. Atmospheric storm scene.
Ex Collection Duke of Westminster.
[Ref: 38171] £420.00
J. de Vlieger pinxit. John Boydell excudit 1773. P.C. Canot Sculpsit.
Published March 15th, 1773, by John Boydell Engraver, in Cheapside, London.
Engraving, paper watermarked. Plate 457 x 554mm (18 x 21¾"). Very large margins.
A boat struggles against the rising waves; with a torn and broken sail, the passengers cling on for their lives. Atmospheric storm scene.
Ex Collection Duke of Westminster.
[Ref: 38171] £420.00
From the original Picture in the Collection of Tho.s Lewis Esq.r
J. Vernet Pinx.t. P.C. Canot Sculp.t.
[n.d. c.1780.]
Engraving. 342 x 496mm (13½ x 19½"). Laid on sheet, small tear where attached in lower right corner.
A serene setting of a coastal bay, a ship anchored and unloading; a town in the background. Sailing boats in the bay area; some sailors unloading a small dinghy to lower right. Fishermen by the cliff to the left; other sailors setting up camp by lighting a small fire.
[Ref: 19145] £180.00 (£216.00 incl.VAT)
J. Vernet Pinx.t. P.C. Canot Sculp.t.
[n.d. c.1780.]
Engraving. 342 x 496mm (13½ x 19½"). Laid on sheet, small tear where attached in lower right corner.
A serene setting of a coastal bay, a ship anchored and unloading; a town in the background. Sailing boats in the bay area; some sailors unloading a small dinghy to lower right. Fishermen by the cliff to the left; other sailors setting up camp by lighting a small fire.
[Ref: 19145] £180.00 (£216.00 incl.VAT)
The Washerwomen. De la collection de C. Leviez.
Pillement inv.t et delin. P.C. Canot sculp.t.
Published according to Act of Parliament Sep.r 30, 1757. London, Sold at the Golden Head, Little Chapple Street, Soho.
Etching. 200 x 295mm (8 x 11¾"), very large margins.
Women standing in a wooden platform above a bay.
Gordon Smith: 47. Ex: Oettingen-Wallerstein collection. Sotheby's London / Milan Nov 1997.
[Ref: 60321] £130.00 (£156.00 incl.VAT)
Pillement inv.t et delin. P.C. Canot sculp.t.
Published according to Act of Parliament Sep.r 30, 1757. London, Sold at the Golden Head, Little Chapple Street, Soho.
Etching. 200 x 295mm (8 x 11¾"), very large margins.
Women standing in a wooden platform above a bay.
Gordon Smith: 47. Ex: Oettingen-Wallerstein collection. Sotheby's London / Milan Nov 1997.
[Ref: 60321] £130.00 (£156.00 incl.VAT)
The Indians delivering up the English Captives to Colonel Bouquet near his Camp at the Forks of Muskingum in North America in Nov.r 1764
B. West inv.t. Canot Sculp.
Etching, platemark 230 x 160mm (9 x 6¼"). Large margins.
Engraving after Benjamin West, American-born artist who became President of the Royal Academy. This etching was published in William Smith's 'Historical Account of the Expedition against the Ohio Indians' (1766). Bouquet (1719-65) was successful in striking against the Ohio tribes, and the Shawanese and Delaware sued for terms. Bouquet was made brigadier-general and commandant of all troops in British America's southern colonies, but he died soon after. West's original drawing, dated 1765, is in the Yale Centre for British Art.
[Ref: 37097] £280.00 (£336.00 incl.VAT)
B. West inv.t. Canot Sculp.
Etching, platemark 230 x 160mm (9 x 6¼"). Large margins.
Engraving after Benjamin West, American-born artist who became President of the Royal Academy. This etching was published in William Smith's 'Historical Account of the Expedition against the Ohio Indians' (1766). Bouquet (1719-65) was successful in striking against the Ohio tribes, and the Shawanese and Delaware sued for terms. Bouquet was made brigadier-general and commandant of all troops in British America's southern colonies, but he died soon after. West's original drawing, dated 1765, is in the Yale Centre for British Art.
[Ref: 37097] £280.00 (£336.00 incl.VAT)
A View of Westminster Bridge, with parts adjacent as in the Year 1760. Engraved from the Original Painting.
Sam.l Scott Pinx.t P:C: Canot Sculpt.
London, Printed for R. Wilkinson, R.H. Laurie and Bowles & Carver.
Engraving, platemark 340 x 570mm (13½ x 22½") large margins.
FIne view of Westminster Bridge and the riverside, after a painting by Samuel Scott (1701/2-1772), who painted repeatedly from a handful of favoured locations along the river Thames.
For a hand-coloured impression in period frame see ref. 15842.
[Ref: 43528] £480.00
Sam.l Scott Pinx.t P:C: Canot Sculpt.
London, Printed for R. Wilkinson, R.H. Laurie and Bowles & Carver.
Engraving, platemark 340 x 570mm (13½ x 22½") large margins.
FIne view of Westminster Bridge and the riverside, after a painting by Samuel Scott (1701/2-1772), who painted repeatedly from a handful of favoured locations along the river Thames.
For a hand-coloured impression in period frame see ref. 15842.
[Ref: 43528] £480.00
![[Woman in a landscape holding a vessel and polishing it with her dress; in decorative surround.]](jpegs/11823.jpg)
[Woman in a landscape holding a vessel and polishing it with her dress; in decorative surround.]
J.. Pillement int. P. C. Canot Sc.
Published accordg to Act of Parlt, March 1st, 1759.
Etching Trimmed within plate and to image at top.
Ornament print from a series after Jean-Baptiste Pillement (1728 - 1808).
[Ref: 11823] £180.00 (£216.00 incl.VAT)
J.. Pillement int. P. C. Canot Sc.
Published accordg to Act of Parlt, March 1st, 1759.
Etching Trimmed within plate and to image at top.
Ornament print from a series after Jean-Baptiste Pillement (1728 - 1808).
[Ref: 11823] £180.00 (£216.00 incl.VAT)