A selection of stock we have recently added to our website.
A selection of stock we have recently added to our website.
A selection of stock we have recently added to our website.
VAT included (see terms) | Exclude VAT
![[Barnaslingan] The Scalp in the County of Wicklow.](jpegs/54758.jpg)
[Barnaslingan] The Scalp in the County of Wicklow.
Le Porte del. et Sculp.t.
London Published May 20th 1796 by Tho.s Macklin Poets Gallery Fleet St.
Fine & rare coloured etching. Sheet 475 x 630mm (18 x 24¾"), paper watermarked 'HS&S 18[**]'. Trimmed within plate, repaired tear in title area, repaired holes.
A view of The Scalp, a narrow glacial valley under the hill Barnaslingan. One of a series of Irish views drawn by John Laporte.
Bonar Law: p.67
[Ref: 54758] £520.00
Le Porte del. et Sculp.t.
London Published May 20th 1796 by Tho.s Macklin Poets Gallery Fleet St.
Fine & rare coloured etching. Sheet 475 x 630mm (18 x 24¾"), paper watermarked 'HS&S 18[**]'. Trimmed within plate, repaired tear in title area, repaired holes.
A view of The Scalp, a narrow glacial valley under the hill Barnaslingan. One of a series of Irish views drawn by John Laporte.
Bonar Law: p.67
[Ref: 54758] £520.00
The Town of Bray.
Le Porte del. et Sculp.
[London: Thomas Macklin, 1796]
Coloured etching. 475 x 630mm (18 x 24¾"), paper watermarked 'HS&S 183[*]'. Narrow margins, creases, publication line weakly inked. Sky rubbed on right.
A view of Bray, County Wicklow, from the banks of the River Dargle, showing the bridge. One of a series of Irish views drawn by John Laporte.
Bonar Law: p.67
[Ref: 54763] £420.00
Le Porte del. et Sculp.
[London: Thomas Macklin, 1796]
Coloured etching. 475 x 630mm (18 x 24¾"), paper watermarked 'HS&S 183[*]'. Narrow margins, creases, publication line weakly inked. Sky rubbed on right.
A view of Bray, County Wicklow, from the banks of the River Dargle, showing the bridge. One of a series of Irish views drawn by John Laporte.
Bonar Law: p.67
[Ref: 54763] £420.00
The Cowthorpe Oak. Yorkshire.
Drawn by W.H. Hammer Esq.r. F.A.L.S.S. Engraved by J. Laporte.
Publish'd Sep.r 1, 1806, by J. Laporte, 21 Winchester Row, Edgware Road.
Lithograph. In ink under artist "girth 47 feet". Sheet 360 x 525mm (14 x 20¾"). Some small stains, creasing.
Portrait of an ancient oak tree, so famous that it was sketched by J.M.W. Turner. Believed to pre-date the Norman Conquest, it was already on the decline when this view was taken, but it was only when it was hit by lightning in 1950 that it died. However acorns from it have been planted as far away as New Zealand.
[Ref: 53584] £180.00 (£216.00 incl.VAT)
Drawn by W.H. Hammer Esq.r. F.A.L.S.S. Engraved by J. Laporte.
Publish'd Sep.r 1, 1806, by J. Laporte, 21 Winchester Row, Edgware Road.
Lithograph. In ink under artist "girth 47 feet". Sheet 360 x 525mm (14 x 20¾"). Some small stains, creasing.
Portrait of an ancient oak tree, so famous that it was sketched by J.M.W. Turner. Believed to pre-date the Norman Conquest, it was already on the decline when this view was taken, but it was only when it was hit by lightning in 1950 that it died. However acorns from it have been planted as far away as New Zealand.
[Ref: 53584] £180.00 (£216.00 incl.VAT)
![[Dún Laoghaire] Dublin from Dunlary.](jpegs/54759.jpg)
[Dún Laoghaire] Dublin from Dunlary.
Le Porte del. et Sculp.t.
[London: Thomas Macklin, 1796]
Fine & rare coloured etching. Sheet 475 x 630mm (18 x 24¾"), paper watermarked 'HS&S 183[*]'. Trimmed to plate on three sides, repair in bottom margin, worm trails in sky, publication line weakly inked.
A view of the fishing village of Dún Laoghaire before it expanded as a port, looking across the bay to Dublin. One of a series of Irish views drawn by John Laporte.
Bonar Law: 2.117
[Ref: 54759] £620.00
Le Porte del. et Sculp.t.
[London: Thomas Macklin, 1796]
Fine & rare coloured etching. Sheet 475 x 630mm (18 x 24¾"), paper watermarked 'HS&S 183[*]'. Trimmed to plate on three sides, repair in bottom margin, worm trails in sky, publication line weakly inked.
A view of the fishing village of Dún Laoghaire before it expanded as a port, looking across the bay to Dublin. One of a series of Irish views drawn by John Laporte.
Bonar Law: 2.117
[Ref: 54759] £620.00
Dublin from Sarah's Bridge.
Le Porte del. et Sculpt.
London Publish'd Oct.r 25th 1796 by Tho.s Macklin Poets Gallery Fleet Steet.
Coloured etching. Sheet 430 x 580mm (17 x 22¾"). Trimmed within plate, three repaired wormholes.
A rare view of Dublin from Island Bridge, built over the Liffey 1791-3 and originally named after Sarah Fane, Countess of Westmorland, the wife of the Lord Lieutenant of Ireland, who laid the first stone on 22 June 1791. It was renamed in 1922. One of a series of Irish views drawn by John Laporte.
Bonar Law: 2.114
[Ref: 54782] £650.00
Le Porte del. et Sculpt.
London Publish'd Oct.r 25th 1796 by Tho.s Macklin Poets Gallery Fleet Steet.
Coloured etching. Sheet 430 x 580mm (17 x 22¾"). Trimmed within plate, three repaired wormholes.
A rare view of Dublin from Island Bridge, built over the Liffey 1791-3 and originally named after Sarah Fane, Countess of Westmorland, the wife of the Lord Lieutenant of Ireland, who laid the first stone on 22 June 1791. It was renamed in 1922. One of a series of Irish views drawn by John Laporte.
Bonar Law: 2.114
[Ref: 54782] £650.00
The Salmon Leap at Leixlip, _ County of Dublin.
J. Laporte del. et Sculp.t.
[London: Thomas Macklin, 1796]
Rare & fine coloured etching. Sheet 475 x 630mm (18 x 24¾"), paper watermarked 'HS&S'. Trimmed within plate, publication line weakly inked. Creasing in centre.
Anglers under a waterfall on the Liffey. Leixlip (derived from the Norse for 'salmon leap') was the home of Arthur Guinness's first brewery, 1755. One of a series of Irish views drawn by John Laporte.
Bonar Law: p.67
[Ref: 54757] £650.00
J. Laporte del. et Sculp.t.
[London: Thomas Macklin, 1796]
Rare & fine coloured etching. Sheet 475 x 630mm (18 x 24¾"), paper watermarked 'HS&S'. Trimmed within plate, publication line weakly inked. Creasing in centre.
Anglers under a waterfall on the Liffey. Leixlip (derived from the Norse for 'salmon leap') was the home of Arthur Guinness's first brewery, 1755. One of a series of Irish views drawn by John Laporte.
Bonar Law: p.67
[Ref: 54757] £650.00
![[Landscape with deer under tree.]](jpegs/35470.jpg)
[Landscape with deer under tree.]
J Laporte.
[London printed from stone at the polyautographic office, No 9 Buckingham Place, Fitzroy Square.]
Pen lithograph, sheet 200 x 305mm (8 x 12"). Trimmed, losing publication line.
Early pen lithograph first published in 'Specimens of Polyautography' (1807), although probably a later impression. The first (1803) issue of 'Specimens' was the first set of artist's lithographs ever published. 'Specimens' showcased the new medium of lithography, which allowed artists to make prints arguably resembling drawings more than any earlier technique. Unlike most printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography. By John Peter Laporte (1761-1839), watercolour painter in the tradition of Paul Sandby. Laporte built up a considerable practice as a drawing master, and his methods can be seen in his 1812 lesson book 'The Progress of a Water-Coloured Drawing'.
Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35470] £120.00 (£144.00 incl.VAT)
J Laporte.
[London printed from stone at the polyautographic office, No 9 Buckingham Place, Fitzroy Square.]
Pen lithograph, sheet 200 x 305mm (8 x 12"). Trimmed, losing publication line.
Early pen lithograph first published in 'Specimens of Polyautography' (1807), although probably a later impression. The first (1803) issue of 'Specimens' was the first set of artist's lithographs ever published. 'Specimens' showcased the new medium of lithography, which allowed artists to make prints arguably resembling drawings more than any earlier technique. Unlike most printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography. By John Peter Laporte (1761-1839), watercolour painter in the tradition of Paul Sandby. Laporte built up a considerable practice as a drawing master, and his methods can be seen in his 1812 lesson book 'The Progress of a Water-Coloured Drawing'.
Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35470] £120.00 (£144.00 incl.VAT)
In Richmond Park.
J. Laporte del.t & sculp.t.
London Published July.1, 1809 by H. Setchel & Son 23 King Str. Covent Garden.
Rare soft ground etching, printed in brown. 240 x 300mm (9½ x 11¾"). Small margins.
Cows under trees, a tower in the background. One of four prints in 'A New Drawing book, in Different Coloured Chalks, for young practitioners in landscape: by John Laporte'.
BM 1874,0509.150-153. Gascoigne 681.
[Ref: 61697] £140.00 (£168.00 incl.VAT)
J. Laporte del.t & sculp.t.
London Published July.1, 1809 by H. Setchel & Son 23 King Str. Covent Garden.
Rare soft ground etching, printed in brown. 240 x 300mm (9½ x 11¾"). Small margins.
Cows under trees, a tower in the background. One of four prints in 'A New Drawing book, in Different Coloured Chalks, for young practitioners in landscape: by John Laporte'.
BM 1874,0509.150-153. Gascoigne 681.
[Ref: 61697] £140.00 (£168.00 incl.VAT)