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Catalogue: Arts
Epicurus, on Onyx, Dr. Chauncey.
Epicurus, on Onyx, Dr. Chauncey.
T. Worlidge sc.
According to Act of Parliam.t [n.d., c.1760]
Etching, platemark 80 x 70mm (3 x 2½"), with very large margins.
A cameo of ancient philosopher Epicurus, founder of Epicureanism, a school of philosophy holding that pleasure is the greatest good (although obtained through living modestly and gaining knowledge of the workings of the world). From a collection of 180 prints the 'English Rembrandt' Thomas Worlidge (1700-66) made from antique gems.
For another print from the same collection see refl. 32584.
[Ref: 39758]   £65.00   (£78.00 incl.VAT)
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The Finding of Moses.
The Finding of Moses.
Painted by Frederick Goodall, R.A. Engraved by Richard Josey.
London, April 17th, 1888. Published by Fairless & Beeforth, Doré Gallery, 35 New Bond Street W. Copyright Registered. Entered according to Act of Congress in the year 1888 by Frank Hunter Potter in the Office of the Librarian of Congress at Washington, USA.
Mint mezzotint on India laid paper, Open letters. 785 x 585mm (31 x 23"), uncut.
Engraving after the painting by Frederick Goodall (1822-1904). Goodall was taught by his artist father, Edward, and first exhibited at the Royal Academy in 1838. After painting landscapes and rural scenes early in his career, a trip to Egypt in 1858-9 led to a change in direction. Thereafter Goodall painted mainly scenes from Egyptian life with Biblical associations. Goodall was elected RA in 1864 and enjoyed great popularity during this time, but his fortunes later declined greatly and in 1902 he was declared bankrupt.
Briony Llewellyn, 'Edward Goodall', in the Grove Dictionary of Art.
[Ref: 14090]   £450.00  
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[Fishermen on a beach.]
[Fishermen on a beach.]
J.T. Serres fec.t. 1803.
Pen Lithograph. Sheet 230 x 285mm (9 x 11¼"). Trimmed into image at sides. Slight creasing.
From 'Specimens of Polyautography'.
BM: 1866,0407.125.
[Ref: 58068]   £180.00   (£216.00 incl.VAT)
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The Flower Girl.
The Flower Girl. From an Original Picture by Murillo in the Dulwich Gallery.
Drawn, Engraved & Published by R. Cockburn, Dulwich.
Lithograph with fine colour, rare. Sheet 280 x 240 (11 x 9½"), mounted on card now separate, with printed label on reverse, with title and artist in old ink mss.
It has been suggested that the girl is Murillo's only daughter, Francisca María (1655-1710), who was born deaf and entered a Dominican convent aged 16. Ralph Cockburn, keeper of the Dulwich Picture Gallery, published a collection of aquatints of popular paintings in the collection. This plate seems to have been issued as a separate print as it is reviewed individually, rather than as part of a set, in the Annals of Fine Arts vol 1. 1817. The review describes Cockburn as 'a painter of watercolours with no small talents, and holds the place of Keeper of the Dulwich Gallery. He has therefore ample time for study, and there would bo no excuse for an indifferent print from his hand, This should be more esteemed as an imitation of a drawing, than a specimen of fine engraving; for it is executed in the soft ground style of etching, mounted and coloured after the manner of Mr. Westall, till scarcely any of the engraving appears'.
[Ref: 44040]   £420.00  
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[The enchanting model: or, the genius of sculpture]
[The enchanting model: or, the genius of sculpture] Le model enchanteur, ou le genie de la sculpture.
Eisen Del. D'Ab Sculp.
Engraving, sheet 295 x 205mm (11½ x 8"). Trimmed along platemark; glued to album sheet at corners.
Scene in a sculpture studio showing a sculptor carving and students drawing. After a design by Charles Eisen (1720-78), painter, draughtsman and illustrator. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established.
[Ref: 44929]   £420.00  
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[Man attempting to cross fast flowing river using a fallen tree.]
[Man attempting to cross fast flowing river using a fallen tree.]
Polyautographische Zeichnung von C: F. Hampe.
vervielfattigt und im Verlage bei W. Reuter, Berlin 1806.
Pen lithograph (polyautograph), sheet 430 x 610mm. 17 x 24".
An early specimen of Continental lithography, published in Berlin by one of the pioneers of the technique, Wilhelm Reuter (1768 - 1834). Reuter, who made some 130 lithographs himself, encouraged Carl Friedrich Hampe (1772–1848) to contribute to a series of artists' lithographs, Polyautographische Zeichnungen vorzüglicher Berliner Künstler (Berlin, 1804–8). The process was regarded as a way of multiplying drawings.
[Ref: 10654]   £480.00  

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[The Palm Offering]
[The Palm Offering]
[Painted by Frederick Trevelyan Goodall R.A.]Frederick Stacpoole [signed in pencil.]
[London, Published Augt 10th 1868 by E. Gambart & Co. 1 King Street, St.James's Square.]
Mezzotint 560 x 805mm.
This Unfinished proof before all letters on plain paper, no PSA Blindstamp, is inscribed in pencil 'F. Stacpoole A.R.A.'
Printsellers:277. . Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 2779]   £490.00  
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Lady Jane Grey. Tower of London, Feb XII. MDLIV.
Lady Jane Grey. Tower of London, Feb XII. MDLIV.
Painted by A.Barzaghi-Cattaneo. Engraved by Richard Josey.
London, April 2nd 1887. Published by Fairless & Beeforth, Doré Gallery, 35, New Bond Street, W. Copyright registered. Entered according to Act of Congress in the Year 1887 by Frank Hunter Potter in the Office of the Librarian of Congress at Washington, U.S.A.
Mezzotint on india, lettered proof. 780 x 320mm, 30¾ x 12½". With publisher's blindstamp. Staining and tears to large margins
The tragic queen of nine days, straining on the bars over the window of her cell. Painted by Antonio Barzaghi-Cattaneo (Swiss, 1831-1922).
[Ref: 29894]   £260.00   (£312.00 incl.VAT)
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Hagar comforted by the Angel.
Hagar comforted by the Angel. Copied by H. Wyatt, from an Original Drawing by Claude Lorraine, in the possession of Mr. Ford.
H. Wyatt, aquat. John Ford, Lithographed.
[n.d., c.1820.]
Lithograph, very rare. Top left in pencil "For the Rt. Hon. Earl Spencer"; Printed area 200 x 240mm (8 x 9½").
An amateur lithograph copied from a sketch from Claude's 'Liber Veritatis', the 'Book of Truth' that authenticated his paintings.
Ex Collection of Christopher Lennox-Boyd.
[Ref: 36489]   £130.00   (£156.00 incl.VAT)
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[Man's head.]
[Man's head.]
[n.d., c.1810.]
Fine lithograph. Printed area 180 x 180mm (7 x 7").
A man's head, with hair flowing down over his high collar. An amateur lithograph.
Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 36478]   £260.00   (£312.00 incl.VAT)
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Apotheosis of Hercules.
Apotheosis of Hercules.
G.B. Cipriani. Fran.s Legat Sculpsit.
Pubish'd Jan.y 1.st 1789 by John & Joshiah Boydell No.9 Cheapside London.
Engraving. Plate: 405 x 245mm (16 x 9¾"), with very large margins. Uncut.
A statue of Hercules in a niche; below is a bas relief showing Hercules being presented to Hera and Jupiter by Mercury and Minerva.
[Ref: 47566]   £260.00   (£312.00 incl.VAT)
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[Two horses pulling large log.]
[Two horses pulling large log.]
[Anon., c.1807]
Pen lithograph, sheet 215 x 305mm (8½ x 12"). Creasing, trimmed.
Early pen lithograph. The new medium allowed artists to draw directly onto a prepared stone, allowing them to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many 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.
Ex: collection of the late H. C. Lennox-Boyd.
[Ref: 36952]   £190.00   (£228.00 incl.VAT)
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Tabula III
Tabula III Pictura, que Domus Titi fornices exornabat, plures exhibens Genios in bigis, variosque puerorum ludos, et piscationem, ultra alias principales figuras.
Petrus Sancte Bartoli delin.
Rome [n.d.1635-1700].
Engraving. 430 x 525mm (15½ x 20¾"). Vertical creasing down the centre. Some discolouring along top left margin. Both lower corners creased slightly.
This print depicts various figures and scenes from the House of Titus, including angels in chariots and boys playing games, along with other typically Roman motifs.
[Ref: 54007]   £480.00  
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S. Giovanni Battista.
S. Giovanni Battista.
Andrea del Sarto dipinse. Gio. Batta. Nocchi di: ed inc.
[n.d., c.1820.]
Etching, open letter proof. 350 x 260mm (14¼ x 10¼"), very large margins.
Half-length portrait of John the Baptist, bare-chested and with halo, after Florentine painter Andrea del Sarto (1486-1530). Giovanni Battista Nocchi etched a series of prints after paintings in the Uffizi; this painting is now in the Palazzo Pitti museum.
[Ref: 39715]   £180.00   (£216.00 incl.VAT)
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King Ahasuerus & Queen Esther.
King Ahasuerus & Queen Esther.
Guercino del. Bartolozzi Scu.
[n.d. c.1790.]
Etching, printed on J. Whatman paper. 235 x 299mm. 9¼ x 11¾". Marking lower left-hand corner.
Two of the main personalities in the Book of Esther, one of the books of the Ketuvim ('Writings') of the Tanakh (the Hebrew Bible) and of the Historical Books of the Old Testament.
De V: ?
[Ref: 21218]   £160.00   (£192.00 incl.VAT)
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[Landscape with figures by lake, and rowing boat]
[Landscape with figures by lake, and rowing boat]
[Anon., c.1810]
Large Pen lithograph, very scarce, sheet 305 x 380mm (12 x 15"). Slight stain spots in centre; two very samll holes at top.
Early pen lithograph. The new medium allowed artists to draw directly onto a prepared stone, allowing them to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many 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.
[Ref: 36953]   £220.00   (£264.00 incl.VAT)
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[Little Fatima.]
[Little Fatima.]
[Painted by Frederick, Lord Leighton.] Gerald Robinson.
London Published December 15th 1898 by Arthur Lucas the Proprietor, 31 New Bond Street, W.
Mezzotint, proof signed by the engraver, ltd to 275. 310 x 490mm.
'Little Fatima' has an added interest because of its Orientalism. Leighton first showed an Oriental subject, a `Reminiscence of Algiers' at the Society of British Artists in 1858. Ten years later, in 1868, he made a journey to Egypt and in the autumn of 1873 he worked in Damascus where he made many studies and where he probably gained the inspiration for the present work.
Gerald Philip Robinson (printmaker; 1858 - 1942)Mostly declared pirnts PSA.

Printsellers:Vol.II:Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 3801]   £420.00  
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[A Love Story.]
[A Love Story.]
Frank Dicksee pinxt. A. Lalaure aqu. [Both signed in pencil:] Frank Dicksee. A Lalauze.
Published July 1st.1884 by Thos. Agnew & Sons, London, Liverpool & Manchester, & by M. Schaus, New-York.
Engraving and etching. Printseller's Association stamp. Plate 386 x 508mm. 15¼ x 20". Laid on board.
Lovers seated on a stone bench under a bush at close quarters. Frank Bernard Dicksee (1853-1928) was an English Victorian painter and illustrator. He was best known for his dramatic historical and legendary scenes.
PSA: AP, limited to 300.
[Ref: 20266]   £520.00  
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[Madonna and child?]
[Madonna and child?] From a very rare etching of the same size by Andrea Meldolla in the Collection of Richard Ford.
R.F. Scul. only 20 taken off. 1823.
Crayon-manner etching, all text in ink mss, very scarce. Image 170 x 90mm (10½ x 3½")
An amateur etching after Andrea Meldolla (c. 1510/5-1563, also known as Andrea Schiavone). Richard Ford (1796-1858) was an art connoisseur who travelled widely in Europe and wrote a guidebook to Spain. When he died of Bright's disease he left a fine collection of pictures to his widow Mary.
[Ref: 36479]   £80.00   (£96.00 incl.VAT)
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Man.
Man.
R. Ricks sculp.
Publish'd ny Nuttall, Fisher & Dixon, Liverpool, Jan. 1813.
Stipple. Sheet 210 x 130mm (8¼ x 5"). Trimmed.
The muscular figure of a warrior, naked except for fig leaf and helmet, leaning on a tree stump. Although seemingly based on a classical statue the figure is more life-like in representation.
[Ref: 44049]   £95.00   (£114.00 incl.VAT)
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Statua d Marforio nel Palazzo Capitolino.
Statua d Marforio nel Palazzo Capitolino. XXVI.
Gio. Batis. de Poilly Sculp.
In Roma nella Stamp.a di Domenico de Rossi alla Pace con Privil. [n.d. c.1704.]
Engraving. Plate 217 x 341mm. 8½ x 13½". Trimmed to plate left and right.
Marphurius, one of the talking statues of Rome. A Roman marble sculpture of a reclining bearded river god, which in the past has been variously identified as a depiction of Jupiter, Neptune, or the Tiber. From "Raccolta Di Statue Antiche E Moderne".
[Ref: 24898]   £160.00   (£192.00 incl.VAT)
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Meeting of Jephthah and his Daughter
Meeting of Jephthah and his Daughter
Painted by Edwin Long, R.A. Engraved by Herbert Bourne.
London May 2nd. 1892, Published by Fairless & Beeforth. 128, New Bond Street. W. Copyright Registered.
A mixed-method engraving. 674 x 921mm. 26½ x 36¼. Uncut. Mint.
Edwin Long (1829-1891) was born in Bath, had an early and precocious talent for drawing, studied at the RA Schools from 1849, and also was a student under John Phillip, who encouraged him to travel. in 1874 he visited Egypt and Syria, and this was the start of his career as an Orientalist painter. He developed a rich, exotic style, strong in detail and often on canvases of large size, allowing him to show long processions, enormous palaces or sweeps of mountains on an epic scale. His best years were in the 1870s-80s, when he was a popular, successful artist specialising in biblical stories and life in ancient Egypt. He became ARA in 1876 and RA in 1881. Jephthah's victorious return having defeated to the Ammonites, so be met on his return by his daughter, his only child. “And Jephthah made a vow unto the LORD: ‘If you give the Ammonites into my hands, whatever comes out of the door of my house to meet me when I return in triumph from the Ammonites will be the LORD’s, and I will sacrifice it as a burnt offering.’ Then Jephthah went over to fight the Ammonites, and the LORD gave them into his hands. He devastated twenty towns … When Jephthah returned to his home in Mizpah, who should come out to meet him but his daughter, dancing to the sound of tambourines! She was an only child. Except for her he had neither son nor daughter. When he saw her, he tore his clothes and cried, ‘Oh! My daughter! You have made me miserable and wretched, because I have made a vow to the LORD that I cannot break.’ ‘My father,’ she replied, ‘you have given your word to the LORD. Do to me just as you promised, now that the LORD has avenged you of your enemies, the Ammonites” (Judges 11:30-36, NIV). This picture with The Martyr and Days of Mourning [see ref:14085 & 14094] make the trilogy.
[Ref: 14087]   £260.00   (£312.00 incl.VAT)
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Merab.
Merab.
Painted by Edwin Long, R.A. Engraved by Herbert Bourne.
London October 6th. 1890. Published by Fairless & Beeforth. 128, New Bond Street, W. Copyright Registered.
Mixed-method engraving. 630 x 400mm (24¾ x 15¾"). Uncut. Mint.
Edwin Long (1829-1891) was born in Bath, had an early and precocious talent for drawing, studied at the RA Schools from 1849, and also was a student under John Phillip, who encouraged him to travel. in 1874 he visited Egypt and Syria, and this was the start of his career as an Orientalist painter. He developed a rich, exotic style, strong in detail and often on canvases of large size, allowing him to show long processions, enormous palaces or sweeps of mountains on an epic scale. His best years were in the 1870s-80s, when he was a popular, successful artist specialising in biblical stories and life in ancient Egypt. He became ARA in 1876 and RA in 1881. Merab was Saul’s eldest daughter. According to the Bible, she was meant to marry David, but she was given in matrimony to Adriel the Meholathite, while David married Merab’s younger sister Michal. The Painting was sold in London by Sotheby's January 1995.
[Ref: 14082]   £260.00   (£312.00 incl.VAT)
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The Baby-House
The Baby-House
J.E. Millais R.A. [1872]
Etching on india, platemark 145 x 185mm (5¾ x 7¼"). Uncut sheet.
Etching by Pre-Raphaelite painter John Everett Millais (1829-96), who frequently returned to the theme of childhood in his popular etchings. Lewis Carroll's 'Alice in Wonderland' had been published in 1865/6 with John Tenniel's famous illustrations, and this etching reflects the widespread influence of that book. This print was published the year after Millais' caricature was published in 'Vanity Fair' with the caption 'A converted Pre-Raphaelite', demonstrating how much Millais' art had changed since his Pre-Raphaelite years (c.1848-54).
Hartnoll 30 (only published edition)
[Ref: 35881]   £350.00  
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[Summer Indolence.]
[Summer Indolence.]
J.E. Millais 1861.
Etching on india, platemark 180 x 255mm (7 x 10") very large margins. Foxing to edges.
Two girls in a field, one of whom chains together newly-picked flowers. Etching by Pre-Raphaeilite painter John Everett Millais (1829-96), who frequently returned to the theme of childhood in his popular etchings. This print was made in 1861, the year that Millais returned from Scotland to live in London (residing in Cromwell Place, South Kensington). Plate from 'Passages from 'Modern English Poets Illustrated by the Junior Etching Club' (1862). This plate was reissued in 1874/5 (reissues can be identified by the absence of the 1861 publication line found on this impression).
Hartnoll 28; for 1870s restrike see ref. 35880.
[Ref: 41168]   £190.00   (£228.00 incl.VAT)
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[Summer Indolence.]
[Summer Indolence.]
J.E. Millais 1861.
Etching, platemark 180 x 255mm (7 x 10"). Crease top left; soiling and scuff marks.
Two girls in a field, one of whom chains together newly-picked flowers. Etching by Pre-Raphaeilite painter John Everett Millais (1829-96), who frequently returned to the theme of childhood in his popular etchings. This print was made in 1861, the year that Millais returned from Scotland to live in London (residing in Cromwell Place, South Kensington). This impression is a reissue of the plate dating to 1874/5 (the original 1861 publication line has been scratched out).
Hartnoll 28
[Ref: 35880]   £160.00   (£192.00 incl.VAT)
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Minerva.
Minerva. All' Illustrissimo Signor Daniel Antonio Bertoli. Nell' antisala della Libreria di S. Marco.
G. Ant. Faldoni Sculp.
[Venice: Zanetti Snr. & Jnr.,1740-1743.]
Copper engraving on laid paper, 410 x 280mm. 16 x 11". Full untrimmed margins.
The sculpted bust of the Roman goddess Minerva in the Biblioteca Marciana (St Mark's Library) in Venice, engraved by Giovanni Antonio Faldoni from a drawing by Antonio Daniele Bertoli. The library is one of the earliest surviving public manuscript depositories in Italy, holding one of the greatest collections of classical texts in the world. Equated with the Greek goddess Athena, Minerva was the virgin goddess of poetry, medicine, wisdom, commerce, weaving, crafts, magic, and the inventor of music. Plate 'X' from the folio 'Delle Antiche statue greche e romane che, nell'antisala della libreria di San Marco e in altri luoghi pubblici di Venezia..' (100 plates total). Published by Antonio Maria Zanetti (1680 - 1757) in collaboration with his son.
BNF: FRBNF31681530.
[Ref: 21363]   £220.00   (£264.00 incl.VAT)
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Apud Wellow prope Aquas Solis in agro Somersetensi repertum. Sumptibus Societatis Antiquariae Londini aeri incisum Ao.MDCCXXXVIII.
Apud Wellow prope Aquas Solis in agro Somersetensi repertum. Sumptibus Societatis Antiquariae Londini aeri incisum Ao.MDCCXXXVIII.
[George Vertue.]
[Published the Society of Antiquaries, 1783.]
Copper Engraving. 355 x 446mm. 14 x 17½". Vertical crease through centre; two wormholes.
A plate, from a set of three, showing Roman mosaic pavements found at Wellow, Somerset.
Ex Collection: Norman Blackburn.
[Ref: 19810]   £130.00   (£156.00 incl.VAT)
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[Rural church]
[Rural church]
P.S. Munn 1815
Lithograph, printed area 150 x 205mm (6 x 8"). Creases
Early lithograph by Paul Sandby Munn (1773 - 1845). Munn was named after his godfather, Paul Sandby, who gave him his first instructions in watercolour painting. He first exhibited at the Royal Academy in 1798 and was a frequent contributor of topographical drawings to that and other exhibtions. He drew some of the views of Britton's "Beauties of England and Wales" and published several volumes of lithographs, 1810-15. Munn painted little after 1832, when he devoted himself chiefly to music.
[Ref: 47682]   £45.00   (£54.00 incl.VAT)
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[A country lane]
[A country lane]
P.S. Munn. 1810.
Lithograph. Sheet 235 x 365mm (9¼ x 14¼")watermarked 'J Whatman 1808'. Ink smear.
Early lithograph, depicting a lane winding through fields and trees. Paul Sandby Munn (1773-1845), named after his godfather, Paul Sandby, who gave him his first instructions in watercolour painting. He first exhibited at the Royal Academy in 1798 and was a frequent contributor of topographical drawings to that and other exhibtions.
[Ref: 56472]   £90.00   (£108.00 incl.VAT)
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[Family and horses resting near water] 4
[Family and horses resting near water] 4
P.S. Munn 1813
Pen lithograph, rare; sheet 280 x 205mm (11 x 8"). Occasional wash colouring to figures, creasing. Trimmed.
Lithograph by Paul Sandby Munn (1773-1845). Munn was named after his godfather, artist Paul Sandby, followed his namesake into watercolour painting. He went on a sketching expedition to Wales with John Sell Cotman in 1802 and from 1807 was making use of the new medium of pen lithography, which he used in several sets of landscape prints.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36945]   £130.00   (£156.00 incl.VAT)
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[A water mill]
[A water mill]
P.S. Munn.
[n.d., c.1810.]
Lithograph. Sheet 235 x 365mm (9¼ x 14¼"), watermarked 'J Whatman 1808'. Creases
Early pen lithograph, depicting a delapidated cottage with a mill wheel. Paul Sandby Munn (1773-1845), named after his godfather, Paul Sandby, who gave him his first instructions in watercolour painting. He first exhibited at the Royal Academy in 1798 and was a frequent contributor of topographical drawings to that and other exhibtions.
[Ref: 56471]   £140.00   (£168.00 incl.VAT)
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[Tree studies] Elm [and] Birch.
[Tree studies] Elm [and] Birch.
P. S. Munn 1810.
Pen lithograph, from a drawing book; sheet 215 x 325mm. 8½ x 12¾". Pencil doodle of wagon and horses between the images.
Sketches of an elm tree on the left and a birch on the right by Paul Sandby Munn (1773 - 1845). Munn was named after his godfather, Paul Sandby, who gave him his first instructions in watercolour painting. Plate numbered '2' upper right. Paul Sandby Mann (1773-1845) first exhibited at the Royal Academy in 1798 and was a frequent contributor of topographical drawings to that and other exhibtions. He drew some of the views of Britton's "Beauties of England and Wales". He painted little after 1832, when he devoted himself chiefly to music.
DNB.
[Ref: 21448]   £160.00   (£192.00 incl.VAT)
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[Four studies of tree branches.]
[Four studies of tree branches.]
P. S. Munn 1811.
Pen lithograph, from a drawing book; sheet 230 x 315mm. 9 x 12½".
Sketches from nature by Paul Sandby Munn (1773 - 1845). Munn was named after his godfather, Paul Sandby, who gave him his first instructions in watercolour painting. Plate numbered '1' upper right. Paul Sandby Mann (1773-1845) first exhibited at the Royal Academy in 1798 and was a frequent contributor of topographical drawings to that and other exhibtions. He drew some of the views of Britton's "Beauties of England and Wales". He painted little after 1832, when he devoted himself chiefly to music.
DNB.
[Ref: 21446]   £160.00   (£192.00 incl.VAT)
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The Image of Nilus brought by Vespasiam out of Aegypt and now to be Seene at Rome in the Vatican.
The Image of Nilus brought by Vespasiam out of Aegypt and now to be Seene at Rome in the Vatican.
[George Sandys. n.d. c.1621.]
Engraving. Plate 139 x 222mm. 5½ x 8¾".
A statue found in the Vatican Garden brought by Titus Flavius Vespasianus from Egypt when in July 69 he was declared emperor by the Roman Senate. Nilus in Greek mythology represented the god of the Nile river itself. This particular engraving was published in Sandys's "Relation of a Journey begun An Dom. 1610". On verso is text and another engraving of night-time festivities with fireworks attending the rise of the Nile.
[Ref: 18129]   £190.00   (£228.00 incl.VAT)
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Le celebratissime Statue rappresentanti la Favola di Niobe...che ha suggerito la prima idea di questo soggetto l'Autore D.D.
Le celebratissime Statue rappresentanti la Favola di Niobe...che ha suggerito la prima idea di questo soggetto l'Autore D.D.
C.R. Cockerell Archo: Inglese invento e incise 1816.
Etching, very scarce. 529 x 604mm. 20¾ x 23¾".
The Niobid statues from the Uffizi Gallery, arranged in the pediment of a temple, to tell the story of Niobe, with Niobe under the apex, clasping one of her daughters to her and defying Latona, six other figures on each side, in order of height, looking upwards and rushing or gesturing towards her; an inset below showing a classical temple with the pediment. With a text in Italian giving the history of the statues and explaining Cockerell's reasons for arranging the figures as he has.
BM: 1941,0918.65.
[Ref: 23075]   £390.00  
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Das Wünder=Bild des Olympischen Jupiters von Gold ünd helffernbein [...] La Statue Colossale du Jupiter Olympien, composée d'or et d'ivoire [...]
Das Wünder=Bild des Olympischen Jupiters von Gold ünd helffernbein [...] La Statue Colossale du Jupiter Olympien, composée d'or et d'ivoire [...]
Joan: Bernard: Fischers v: E: delineav.
[Leipzig, 1725.]
Engraving with very large margins; 305 x 430mm (12 x 17"). Spotting.
The chryselephantine statue of Zeus, sculpted by Phidias for the Temple of Zeus at Olympia. One of the Seven Wonders of the Ancient World, it was destroyed during the fifth century AD. The descriptive text, in German & French, tells that Erlach based this image on the description of Pausanias, the Greek traveller of the 2nd century AD, who descriptions of classical sites have frequently been authenticated by modern archaeologists. This plate was published in Johann Bernhard Fischer von Erlach's 'Entwürst Einer Historischen Architectur', a study of the architecture of the ancient world. Fischer von Erlach (1656-1723) was a successful Austrian architect: his baroque works include the Schönbrunn Palace, Karlskirche, and the Austrian National Library in Vienna. He also studied ancient architecture, publishing 'A Plan of Civil and Historical Architecture' in 1721, taking on classical influences in his building.
[Ref: 33735]   £420.00  
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This Pavement
This Pavement Was found at West-Dean near Salisbury in March 1741, is compos'd of Black & White Stones halftg an Inch Each; & is now to be seen intire.
[n.d., c.1770]
Engraving with large margins, scarce, platemark 190 x 130mm (7½ x 5"). Creased.
Example of the interest in English history in the eighteenth century, typified by the activities of the Society of Antiquaries, which saw many examples of early pavements, mosaic fragments and other ruins dissimentated through prints.
[Ref: 31855]   £190.00   (£228.00 incl.VAT)
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[Two figures in a landscape]
[Two figures in a landscape]
[Anon., c.1810]
Pen lithograph, sheet 250 x 170mm (9¾ x 6¾"). Glued to backing board at corners; surface loss on left filled in ink.
Unidentified early lithograph showing the influence of Salvator Rosa, whose landscapes were significant in shaping the concepts of sublime and romantic representations of nature in the late Georgian period.
Ex: collection of the Late Hon. C. Lennox-Boyd
[Ref: 36939]   £140.00   (£168.00 incl.VAT)
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[Two figures in a landscape]
[Two figures in a landscape]
[Anon., c.1810]
Pen lithograph, J. Whatman watermark (PT) printed area 260 x 180mm (10¼ x 7").
Unidentified early lithograph showing the influence of Salvator Rosa, whose treacherous landscape were significant in shaping the concepts of sublime and romantic representations of nature in the late Georgian period.
Ex: collection of the Late Hon. C. Lennox-Boyd
[Ref: 36940]   £95.00   (£114.00 incl.VAT)
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[A decorated urn on a plinth]  Vase in the Garden at Petworth.
[A decorated urn on a plinth] Vase in the Garden at Petworth.
A L [monogram of Amelia Long on stone.]
[British, n.d., c.1837.]
Rare lithograph, 295 x 205mm. 11½ x 8". Original card mount watermarked 1837, with ink ruled border. Some light foxing.
An attractive and detailed study of garden furniture at Petworth House, Sussex. Amelia Long (née Hume), Lady Farnborough (1772-1837). In 1793 she married Charles Long, created Baron Farnborough in 1826. An amateur etcher and a vigorous patron of the arts, she assisted the watercolourist Thomas Girtin (1775-1802) to make his one visit to Paris in 1801. Lady Farnborough was Girtin's favourite pupil, and her work was widely admired by professional artists and drawing masters. Her watercolours also show the influence of her contemporary John Varley.
[Ref: 27036]   £140.00   (£168.00 incl.VAT)

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[Woman wearing gown and holding torch]
[Woman wearing gown and holding torch]
Mr Downman del. [1806]
Pen lithograph, sheet 320x 235mm (12½ x 9¼").
Early pen lithograph from the second issue of 'Specimens of Polyautography' (1807), the first (1803) issue of which 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 Downman (1750-1824), portrait and subject painter. During the 1780s Downman gained a reputation as one of the most fashionable portrait painters in London, but his popularity declined in the 1790s. For much of his career Downman preferred to work in chalk rather than oil, with a large collection of his chalk portraits now in the British Museum. This may be the only print he ever made.
For a book on Downman's life and work, see ref. 10198.
[Ref: 35481]   £290.00   (£348.00 incl.VAT)
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[Shepherd resting in a field.]
[Shepherd resting in a field.]
Boyne [by John Boyne, 1806]
Pen lithograph, sheet 225 x 310mm (8¾ x 12½"). Glued to original backing sheet at top corners with printed border. Foxing.
Early lithograph by John Boyne (1750s-1810), Irish watercolour painter and engraver who lived a colourful and varied life. After moving to England at 9 years old and serving an apprenticeship to engraver William Byrne, Boyne soon gave up printmaking to join a company of strolling actors in Essex. He later took to the pearl-setting trade and worked as a drawing-master. Nonetheless he exhibited regularly at the Royal Academy in his later years, with works including Shakespearean heads reminiscent of J.H. Mortimer, and busy Rowlandsonesque social scenes. This print was included in the 1806 edition of the first portfolio of artists' lithographs, 'Specimens of Polyauthography', showing that even towards the end of his life Boyne was involved in new technical developments in printmaking. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many 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.
Ex: The collection of the Hon. Christopher Lennox-Boyd.
[Ref: 39429]   £450.00  
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[Ruined abbey among trees]
[Ruined abbey among trees]
[by Richard Cooper, 1802]
Pen lithograph, sheet 220 x 325mm (9 x 12½"). Glued to backing sheet. Trimmed to subject.
Early lithograph by Richard Cooper (1740-1814). The son of another engraver, Cooper worked for a time in Italy, where he befriended Alexander Runciman and developed a style of landscape painting similar to that of Runciman (he became known as the 'English Poussin'). After marrying in Edinburgh in 1777, Cooper settled in London around 1787, where he dedicated himself to drawing (he became drawing master at Eton) and occasionally printmaking. This lithograph was included in the 1807 edition of the first portfolio of artists' lithographs, 'Specimens of Polyauthography'. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many 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.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36948]   £240.00   (£288.00 incl.VAT)
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[Blasted tree with pensive traveller.]
[Blasted tree with pensive traveller.]
Ric. Cooper del. 1802
Pen lithograph, scarce; sheet 230 x 320mm (9¼ x 12½"). Nicks and tears to edges; hole middle right, losses on left & right bottom, trimmed.
Early lithograph by Richard Cooper (1740-1814). The son of another engraver, Cooper worked for a time in Italy, where he befriended Alexander Runciman and developed a style of landscape painting similar to that of Runciman (he became known as the 'English Poussin'). After marrying in Edinburgh in 1777, Cooper settled in London around 1787, where he dedicated himself to drawing (he became drawing master at Eton) and printmaking. This lithograph was included in the first portfolio of artists' lithographs, 'Specimens of Polyauthography'. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many 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.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36947]   £140.00   (£168.00 incl.VAT)
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[Cavalry Charge.]
[Cavalry Charge.]
[Conrad Gessner, 1801.]
Pen lithograph, sheet 230 x 315mm (9 x 12½"). Good impression; pinhole top centre.
Pen lithograph, probably taken from 'Specimens of Polyautography', the first set of artist's lithographs ever published (by Philipp André in 1803). The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many 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 painters who were not trained printmakers (such as Géricault and Delacroix) produced lithographs. Made by Conrad Gessner (1764-1826), Swiss artist working in England 1796-1804.
Ex: collection of the late Hon. C. Lennox-Boyd.
[Ref: 36701]   £450.00  
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[Landscape with old trees by water.]
[Landscape with old trees by water.]
[by Henry Richard Greville, c.1804.]
Pen lithograph, sheet 305 x 220mm (12 x 8¾"). Trimmed.
Early lithograph by Henry Richard Greville, Lord Brooke, 3rd Earl of Warwick (1779-1853) and included in the first portfolio of artists' lithographs, 'Specimens of Polyauthography'. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many 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.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36937]   £260.00   (£312.00 incl.VAT)
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[Landscape with old trees by water.]
[Landscape with old trees by water.]
[by Henry Richard Greville, c.1804]
Pen lithograph, very rare; sheet 305 x 220mm (12 x 8¾"). Fine impression; very slight hole. Trimmed.
Early lithograph by Henry Richard Greville, Lord Brooke, 3rd Earl of Warwick (1779-1853) and included in the first portfolio of artists' lithographs, 'Specimens of Polyauthography'. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many 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.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36938]   £260.00   (£312.00 incl.VAT)
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[Apollo as a winged warrior.]
[Apollo as a winged warrior.]
C Heath del.
Pen lithograph, rare & trimmed; sheet 320 x 235mm (12½ x 9¼"). Vertical crease; nicks to edges.
Early lithograph by Charles Heath (1785-1830), landscape and figure engraver. A precocious talent and part of a family of printmakers, Heath was early to experiment with new techniques. He exhibited lithographs such as this at Somerset House from 1802 to 1806, and this print was included in the 1806 edition of the first portfolio of artists' lithographs, 'Specimens of Polyauthography' (first edition published by Philipp André in 1803). The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many 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.
Ex: collection of the Late Hon. C. Lennox-Boyd
[Ref: 36934]   £260.00   (£312.00 incl.VAT)
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[Rural landscape with horse and cart]
[Rural landscape with horse and cart]
F.J. Man[skirsch del.]
Pen lithograph, sheet 220 x 300mm (8¾ x 11¾"). Glued to thick card; trimmed inside image on right; paper tone and damage upper left. Damaged.
Early lithograph by Franz Joseph Manskirsch (1768-1830), who spent most of his career in London before moving to Danzig, Poland by 1822. This lithograph was included in the 1806 edition of the first portfolio of artists' lithographs, 'Specimens of Polyauthography'. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many 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.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36942]   £130.00   (£156.00 incl.VAT)
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