Grosvenor Prints

Perillistriac Reverendissimo Domino D. Caralo Vanden Bosch [...]. Discite quit sit amor, lactat pia gnata parentem [...]
Petrus P. Rubbens pinxit. / Gasper de Hollander excudit Antuerpia / Gallayo ex.
Antwerp [n.d. c.1600].
Engraving, 18th century watermark. 360 x 425mm (14 x 16¾") large margins on 3 sides. Trimmed to plate on the right side. Vertical crease down centre. Top right corner slightly creased.
A scene depicting Pero secretly breastfeeding her imprisoned father. Recounted by historian Valerius Maximus as a story of great pietas, Pero secretly breastfeeds her father Cimon after he is incarcerated and sentenced to death by starvation.
See Ref: 53909 for different publisher.
[Ref: 53956] £280.00 (£336.00 incl.VAT)

Vue d'une Fontaine Antique. Tiré du Cabinet de Monsieur Lallyé.
J.B. Huet delin. Jubier Sculp.
[n.d. c.1780.] [A Paris chez Bonnet, rue St Jacques, au coin de celle de la Parcheminerie.]
Hand-coloured crayon-manner. 241 x 310mm (9½ x 12¼"). Trimmed.
A classical scene with woman and children; another child and woman stood by an old tomb which has been turned into a fountain; two hens and dog by fountain.
[Ref: 28680] £220.00 (£264.00 incl.VAT)

Caius Marius sitting on the Ruins of Carthage. To His Grace John Duke of Atholl, Marquis & Earl of Atholl, Tullibardine, &c. &c. &c. / This plate is humbly inscribed by His Grace's much obliged and most devoted servant, Robert Blyth.
Drawn by Mortimer. Etch'd by R. Blyth. From an Original Drawing of Mortimer, in the Collection of Richard Payne Knight Esq.r. London Publish'd as the Act directs. Jan.y 20.th 1782. by R. Blyth N.o 27 Great Castle Street, Cavendish Square.
London, 1782.
Etching. 470 x 390mm (18½ x 15½"), with wide margins on 3 sides. Small tear, folds and creasing down left margin, stain on right.
A portrait of Roman general Gaius Marius (157-86 BCE) depicted isolated and exhausted. Though his political career was relatively successful, Marius fled Rome in 88 BCE after being defeated by Sulla and his unprecedented march on Rome. According to Plutarch Marius fled to Africa and landed in Carthage but was confronted by a Roman official who claimed the Praetor of the African province forbid Marius to rest here. When prompted Marius replied that the official should report to his governor simply that he had seen 'the exiled Marius sitting on the ruins of Carthage' (Plutarch Life of Marius). The artist Mortimer exhibited the his original drawing as well as an oil painting of the same subject at the 1774 Society of Artists exhibition after a commission be Edward Sachaverell Pole (1718-1780). The drawing was acquired by Richard Payne Knight (1751-1824) a fine art connoiseur best known for his theories on picturesque beauty.
[Ref: 53962] £260.00 (£312.00 incl.VAT)

[Woman Making a Garland.] This Print is humbly Inscribed, to the Rev.d D.r Wynne, by His much Obliged, and most Humble Servant, John Keyse Sherwin.
J. K. Sherwin fecit. Engraver to his Majesty, and his Royal Highness the Prince of Wales.
Publish'd July 23rd 1784 by J. K. Sherwin, No. 28 St. James's Street & W. Hinton No.5 Sweetings Alley Royal Exchange London.
Oval stipple. Plate: 365 x 280mm (14½ x 11''). Trimmed to plate.
A classical scene in which a woman makes a garland by a tomb.
[Ref: 48854] £220.00 (£264.00 incl.VAT)

[Allegorical scene]
Glauber
Leon. Schenk exc. [probably engraved c.1670, this impression c.1720]
Mezzotint, very scarce; platemark 220 x 260mm (8½ x 10¼"). Glued to backing sheet.
Early allegorical mezzotint.
[Ref: 36391] £420.00

[Classical Scene with the Three Graces.]
Engraved by Parr.
Printed for John Bowles at the Black Horse in Cornhill.
Engraving, scarce, verses laid separately. Sheet: 270 x 335mm (10½ x 13"). Trimmed and laid on album sheet.
A classical scene in which the three graces crowd around a woman, Venus, sitting on a couch looking in a mirror held by a cherub.
[Ref: 46222] £190.00 (£228.00 incl.VAT)

Hannibal [in image]. Done from the Original Picture in the Possession of his Majesty.
B. West Pinxit, 1770. V. Green Fecit 1773.
Published Novr. 1st 1773 by Boydell Cheapside. J Boydell excudit. [All inscriptions to foreground steps.]
Mezzotint with hand colouring, sheet 625 x 870mm. 24½ x 34¼". Trimmed to image and laid to card. Surface scuffs and scratches.
The boy Hannibal (248 – 183 or 182 BC), Carthaginian military commander, lays his hands on a horse prepared for sacrifice, encouraged by his father who stands behind him pointing up at a statue of a god behind the altar. A Roman standard is trodden under the boy's feet; in a palace surrounded by soldiers, women and children. After Benjamin West (1738 - 1820).
Whitman: 176, II of II. Chaloner Smith: undescribed. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 14831] £480.00

[Hannibal] Vision misteriosa di Annibale, avanti il suo famoso passagio sull Apli. per scenndere nell'Italia. Rollin 1st. Rom. T.V.
Pinelli inve inc. in Roma 1818.
Etching. 320 x 430mm (12½ x 17"). Tear in top margin.
In Hannibal's vision he sees a giant serpent as a winged Mercury leading him to Italy. Mercury tells Hannibal that in the same way the serpent lays waste to mountians, Hannibal will lay waste to Italy. Bartolomeo Pinelli (1781-1835) is best known for his images of contemporary Romans, many of which were incorporated into Luigi Rossini's Views of Rome. He has taken inspiration from 'Storia Antica E Romana Di Carlo Rollin'.
[Ref: 60241] £180.00 (£216.00 incl.VAT)

[The Departure of Hector.]
[Francesco Bartolozzi after Cipriani.]
[n.d., c.1786.]
Stipple, proof before letters, printed in sepia. Plate: 435 x 330mm (17 x 13''), with large margins.
A classical scene showing Hector departing to fight in the Trojan War, Hector is shown carrying his young son while his wife Andromache pulls at his cape.
De Vesma 424.
[Ref: 50413] £260.00 (£312.00 incl.VAT)

L'Enlevement d'Helene par Pâris. Cornaline blanche du Cabinet de Mrs. Masson.
Eliz. Cheron L.H. delin. C. Simonneau maj. sculp.
[Avec Privil. du Roi.] [n.d. c.1710.]
Engraving, with large margins. Plate 190 x 184mm. 7½ x 7¼".
The elopement of Helen, Queen of Sparta, with Paris, son of King Priam of Troy; this being one of the immediate causes of the Trojan War. Helen's journey to Troy is usually depicted as a forced abduction. Plate 10 from "Pierres Antiques Gravées Tirées des Principaux Cabinets de la France".
[Ref: 25086] £70.00 (£84.00 incl.VAT)

Venus presenting Helen to Paris, after his retreat from Combat with Menelaus. Homer Iliad. Venus presemtant Helen a Paris, apres le Combat quil eut avec Menelaus.
Angelica Kauffman ex academia Regali Artium Londini Pinx.t. Guiliemus Wynne Ryland Chaleographus Regis Britannia sculp.
Publish'd as the Act directs Jan.y 1 1781 for the Proprietor W.W. Ryland No. 159 Strand London. A Paris Chez Challiou Stelle Neuve du Palais Marchand.
Stipple. Plate: 380 x 320mm (15 x 12¾''), with very large margins. Uncut.
A classical scene showing Venus bringing Helen before Paris to comfort him, a scene from Homer's Illiad.
[Ref: 50885] £320.00

Sleep & Death conveying the dead body of Sarpedon from the field of battle to Lycia.
Painted by Hy. Fuseli R.A. Engraved by Jas. Stow.
[London, 1810 - 1820.]
Engraving, 265 x 175mm. 10½ x 7".
A scene from the 'Iliad', epic poem presumed to be by Homer (9th century BC - 8th century BC; fl.c.). From 'The Iliad of Homer, etc. A new edition...', after Henry Fuseli (1741 - 1825). One line quotation from Book XVI below.
British Library: 001721976. W: 232 IV of IV.
[Ref: 16380] £70.00 (£84.00 incl.VAT)

The Anger of Jupiter on finding himself deceived by Juno. Hear this remember and our fury dread. Illiad, Book XV.
Painted by H.y Fuseli R.A. Engraved by J.as Stow.
[London. c.1820.]
Engraving. 260 x 171mm (10¼ x 6¾").
Juno angers Jupiter by seeing his partiality to the Trojans and as such forms a design to over-reach him: she sets off her charms with the utmost car, and obtains the magic girdle of Venus. Homer's Illiad, the ancient Greek epic poem; set during the Trojan War, the ten-year siege of the city of Troy, by a coalition of Greek states. It tells of the battles and events during the weeks of a quarrel between King Agamemnon and the warrior Achilles.
Weinglass: 231
[Ref: 31287] £60.00 (£72.00 incl.VAT)

Diomedes, having slain Rhesus, councelled by Minerva to return to the grecian army. While unresolv'd the son of Tydeus stands, Pallas appears, and thus her chief commands. Illiad Book X.
Painted by H.y Fuseli R.A. Engraved by Isaac Taylor.
[London. c.1820.]
Engraving. 260 x 171mm (10¼ x 6¾"). Cut
Odysseus and Diomedes, during the Trojan War, reach the Thracian encampment where Diomedes kills Rhesus's men. He murders twelve of Rhesus' cohorts and then Rhesus himself; Diomedes faces a moment of indecision, torn between killing more and escaping, but Athena appears to him and tells him to get on the chariot with Odysseus and escape. Homer's Illiad, the ancient Greek epic poem; set during the Trojan War, the ten-year siege of the city of Troy, by a coalition of Greek states. It tells of the battles and events during the weeks of a quarrel between King Agamemnon and the warrior Achilles.
Weinglass: 230
[Ref: 31288] £45.00 (£54.00 incl.VAT)

[Illustration]
MBurg. sculp. [c.1700]
Engraving, platemark 150 x 105mm (6 x 4") very large margins.
Storm scene with objects raining down from the sky upon a terrified crowd. One of these objects is a flag inscribed 'nascentes moribur' ('when we are born we die'). Engraved by Michael Burghers (1653-1727), Dutch engraver who emigrated to England to become assistant to David Loggan, who he succeeded as engraver to Oxford University after Loggan's death.
[Ref: 43857] £60.00 (£72.00 incl.VAT)

[Infant Bacchus.]
Etch'd by F. Bartolozzi 1796.
Etching. Plate: 130 x 100mm (5 x 4''), with very large margins. Marking.
A scene showing the infant bacchus sitting upon a barrel with a glass and flask of wine in either hand.
De Vesme 372.I.
[Ref: 50523] £140.00 (£168.00 incl.VAT)

[Destruction of Jerusalem] Mentre Gioseffo Flavio, esortava li suoi Concittadini ad arendersi a Tito...
Pinelli inv e inc.
Roma 1823.
Etching. 310 x 420mm (12¼ x 16½"), with wide margins.
Josephus Flavius exhorts the Jews to surrender to Tito. Titus Flavius Josephus (AD 37-c.100), the Romano-Jewish historian, served at the siege of Jerusalem in AD 70 as an interpreter, becoming a friend and advisor to the General Titus, later Emperor of Rome. His account, 'The Jewish War' (c. 75), is the main narrative of the period. By Bartolomeo Pinelli (1781-1835).
[Ref: 53278] £95.00 (£114.00 incl.VAT)

[Destruction of Jerusalem] Nella distruzione di Gerusalemme una Madrew Ebrea uccide ill proprio figlio la latte...
Pinelli inv e inc.
Roma 1823.
Etching. 310 x 420mm (12¼ x 16½"), with wide margins.
During the destruction of Jerusalem a Jewish mother kills her baby to show defiance to the legionaries, who recoil in horror. Titus Flavius Josephus (AD 37-c.100), the Romano-Jewish historian, served at the siege of Jerusalem in AD 70 as an interpreter, becoming a friend and advisor to the General Titus, later Emperor of Rome. His account, 'The Jewish War' (c. 75), is the main narrative of the period. By Bartolomeo Pinelli (1781-1835).
[Ref: 53279] £95.00 (£114.00 incl.VAT)

[Destruction of Jerusalem] Distruzione di Tempio di Gerusalemme. Storia delli Imperatori.
Pinelli inv e inc.
Roma 1823.
Etching. 310 x 420mm (12¼ x 16½"), with wide margins. Extensive tear.
During the destruction of Jerusalem the legionaries burst into Herod's Temple, slaughtering everyone inside. Titus Flavius Josephus (AD 37-c.100), the Romano-Jewish historian, served at the siege of Jerusalem in AD 70 as an interpreter, becoming a friend and advisor to the General Titus, later Emperor of Rome. His account, 'The Jewish War' (c. 75), is the main narrative of the period. By Bartolomeo Pinelli (1781-1835).
[Ref: 53280] £35.00 (£42.00 incl.VAT)

[Julius Caesar making an offering to the gods] [Vide Plin. Hist. Nat. LXXXVII C.II]
G.B. Cipriani inv. F. Bartolozzi sculp. London 1780
Etching and engraving, rare; platemark 330 x 240mm (13 x 9½"). Good impression; glued to backing sheet at corners.
Proof impression of the frontispiece to the first volume of 'Geminarum antiquarum delectus...', a publication detailing highlights from the collection of gems assembled by the fourth Duke of Marlborough, George Spencer (1739-1817) at Blenheim Palace. The book, in two volumes, was initially printed in an edition of one hundred copies for private distribution before being republished in 1845. Etching by Francesco Bartolozzi (1725-1815) after his frequent collaborator Giovanni Battista Cipriani (1727-85). Bartolozzi was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. This impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work.
Calabi & de Vesme 1740 ii/iv; for the frontispiece to the second volume of the 'Geminarum antiquarum delectus...' see ref. 42029.
[Ref: 43148] £260.00 (£312.00 incl.VAT)

Jupiter, Junon et Mercure. Dessin de Dosso Dossi dse Ferrare. E. Museo Prauniano. N.º 35.
Mar. Cath. Prestel Sc. 1777.
[Nuremberg, c.1780.]
Aquatint with etching, Collectors Mark verso, printed in black and brown. 355 x 430mm (14 x 17"). Old ink mss. in margin lower left. Large margins left & right.
From 'Dessins des meilleurs peintres d'Italie, d'Allemagne et des Pays-Bas, du Cabinet de M. Paul de Praun à Nuremberg'.
[Ref: 62199] £180.00 (£216.00 incl.VAT)

Olympy Iovis Simulcrum.
I. Honervogt excudit. [after Maarten van Heemskerck.]
[Paris, Honervogt, c.1620.]
Engraving. Image 205 x 250mm (8 x 9¾"). Trimmed within plate on three sides, remarginned with old paper, original bottom margin frayed.
The chryselephantine (gold & ivory) statue of Jupiter (more correctly Zeus) at Olympia, from a series depicting the Seven Wonders of the Ancient World. The giant figure sits astride an eagle, dwarfing the worshippers. To his right is a statue of Hercules, and in the foreground is a regal figure handing out wreaths to the winners of the Olympic Games, with a pair of wrestlers bottom right. The engraver was either of two Jacques Honervogts, father (active 1608-66), or son (c.1623-94). One was sued by Rubens for breach of copyright, and certainly this is a copy (including the verse) of an engraving by Philips Galle of the same subject.
[Ref: 26415] £500.00

[King Greeting a Queen.]
Engraving. Proof before all letters. Plate: 335 x 395mm (13¼ x 15½"), with large margins.
A classical scene showing a king on a throne greeting a woman in pearls, behind her stand several women. An engraving of a fresco.
[Ref: 47581] £160.00 (£192.00 incl.VAT)

Latone. Le Ciel pour punir ces Brutaux / Par qui Latone est outragée / Vut que leur forme soit changée / En celle de vils animaux [...]
Jouvenet pinx Du Bosq sculp 1714.
A Pais chez Duchange Graveur du Roy rue St Jacques
Engraving, platemark 330 x 245mm (13 x 9½"). Trimmed to platemark; rust spot near centre; good impression.
Latona, daughter of the Titans Coeus and Phoebe, gave birth to Artemis and Apollo, children of Zeus, on Delos. Fleeing the wrath of Hera, Latona passed through Lycia. When she tried to drink from a well the local peasants stirred up mud to make the water undrinkable, so Latona turned them all into frogs, as shown here. Engraving after 'Latona and the Peasants of Lycia' by Jean Jouvenet (1649-1717), one of the most important painters of religious works in France in the late 17th and early 18th century. The painting was a royal commission for the château of Fontainebleau, executed c.1700-1.
For another engraving from the same painting see ref. 38113.
[Ref: 42000] £140.00 (£168.00 incl.VAT)

Leonidas.
Painted by Benj.n West, Esqr. Engrav'd by C.H. Hodges.
Publish'd May 1st. 1789, by John & Josiah Boydell, No. 90, Cheapside, London.
Engraving with etching, rare. 495 x 600mm (19½ x 23½"),, with tissue cover as issued. Narrow margins top and bottom, as issued, damp stain on right.
Leonidas II, king of Sparta 254-235 BC, sitting in judgement on his son-in-law Cleombrutus, who had usurped his throne (ruling as Cleonbrutus II, 242-241 BC). Leonidas's daughter pleads for her husband's life, resulting in the pair's banishment. Benhamin West (1738-1820), the Pennsylvanian painter best known for his 'Death of Wolfe', took a story from Plutarch for this painting, which he showed at the second exhibition of the newly-formed Royal Academy, 1768. The painting now resides in the Tate Gallery.
Ex: Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 36536] £520.00

La Vengeance de Latone. Ovid. Met. Liv. Vi. Fab. VI. Du Cabinet de Monsieur Damery Chevalier de l'Ordre Royal et Militaire de St Louis.
Gravé d'après le Tableau Original de Jouvenet par J. Daullé Graveur du Roy 1761.
AParis chez Daullé Graveur du Roi Quay des Augustins le Porte Cochere près la rue Gilles Cœur. [n.d., c.1760.]
Engraving. 500 x 350mm (19¾ x 13¾"). Very large margins.
Leto, daughter of the Titans Coeus and Phoebe, gave birth to Artemis and Apollo, children of Zeus, on Delos. Fleeing the wrath of Hera, Leto passed through Lycia. When she tried to drink from a well the local peasants stirred up mud to make the water undrinkable, so Leto turned them all into frogs. The central fountain in the terrace garden of Versailles depicts this scene.
[Ref: 38113] £320.00

Sacrifice à l'Amour. Cornaline du Cabinet de Messieurs Masson.
Eliz. Cheron L.H. delin. U. et J. de la Croix sculp.
Avec Privil. du Roi. [n.d. c.1710.]
Engraving, with large margins. Plate 286 x 209mm. 11¼ x 8¼".
Beneath a columned roof stands a statue of a cupid with a laurel in one hand a holding a drape wrapped over his body. Four men and a woman appear with an ox as a sacrifice. Plate 18 from "Pierres Antiques Gravées Tirées des Principaux Cabinets de la France".
[Ref: 25087] £140.00 (£168.00 incl.VAT)

Lucretia et Tarquinius.
Sim. da Pesaro pinx. Pichler sc. 1792.
Vienna apud Artaria Soc.
Mezzotint. 350 x 430mm (13¾ x 17").
The Rape of Lucretia.
[Ref: 4645] £380.00

Tarquin & Lucretia.
W De Rÿck pinx. J. Smith fec.t.
[n.d., c.1688.]
Scarce mezzotint. 265 x 340mm (10½ x 13½"). Trimmed to plate at bottom, narrow margins elsewhere, repairs to bottom right corner of plate with mss fill.
The Rape of Lucretia, with Tarquin kneeling above a naked Lucretia, knife in hand. According to Roman tradition the Rape of Lucretia precipitated a rebellion that overthrew the Roman monarchy and led to the transition of Roman government from a kingdom to a republic.
[Ref: 58106] £240.00 (£288.00 incl.VAT)

Lucrece.
Engraved by W. Dickinson.
London. Published Jan.y 1st 1780 by Watson & Dickinson No 158. New Bond Street.
Stipple, printed in sepia. 230 x 250mm (9 x 10"). Repaired tear entering plate at top right.
An oval portrait of Lucretia asleep, prior to the rape that brought down the Roman monarchy.
[Ref: 58069] £260.00 (£312.00 incl.VAT)

Lucretia.
Guido Renus pinxit N. Dupuis. Gall. Sculp.
London, Printed for Rob.t Sayer Map & Printseller, at the Golden Buck in Fleet Street. [c. 1757.]
Engraving, plate 485 x 325mm (19 x 12¾") very large margins. Central crease.
Lucretia wearing a dress exposing her breast and wrapped in bedding, kneels on the edge of her bed, with dagger in right hand and its sheath on the floor, looking upwards about to kill herself. According to Roman tradition Lucretia was a noblewoman, daughter of magistrate Spurius Lucretius and the wife of Lucius Tarquinius Collatinus, whose rape by Sextus Tarquinius (Tarquin) and subsequent suicide precipitated a rebellion that overthrew the Roman monarchy and led to the transition of Roman government from a kingdom to a republic.
[Ref: 56574] £240.00 (£288.00 incl.VAT)

Marcus Curius Dentatus rejecting the Bribes of the Samnites. From the Original Picture if the same Size, painted by Pietro da Cortona, in the Collection of his Grace the Duke of Devonshire; To Whom this Plate is most humbly inscribed, By his Grace's most Obliged, and mopst devoted Servant. J. Boydell. N.o. 1.
J. Mortimer delin.t. Anth.y. Walker Sculpsit.
Publish'd according to Act of Parliament 1.st. of March 1763, by J. Boydell Engraver, in Cheapside, London.
Engraving. 530 x 430mm (21 x 17"), with wide margins. Foxing. Damage in plate.
An interior scene in which two men wearing armour, carrying armfuls of princely gifts approach a seated man roasting vegetables in the fire. From Ancient Roman history Marcus Curius Dentatus (d.270), a plebian hero of the Roman republic famously refused bribes from the Samnites stating that he preferred to rule the possessors of gold rather than possessing it himself.
Ex Collection Duke of Westminster.
[Ref: 38328] £160.00 (£192.00 incl.VAT)

[Marcus Curius Dentatus rejecting the Bribes of the Samnites. From the Original Picture of the same Size, painted by Pietro da Cortona, in the Collection of his Grace the Duke of Devonshire, to whom this plate is most humbly inscribed, By his Grace's most obliged, and most devoted Servant, J. Boydell.]
[J. Mortimer delin.t. Anth.y Walker sculpsit.]
[Publish'd according to Act of Parliament 1st. of March 1763, by J. Boydell Engraver, in Cheapside, London.]
Engraving, proof before letters, 18th century watermark. 430 x 540mm (17 x 21¼"). Tears in margins taped.
An interior scene, with Samnite ambassadors entering to find Manius Curius Dentatus, (d. 270 BC), sitting by the hearth roasting turnips. When offered their armfuls of treasure Denatus, a Plebian famous for being incorruptible, refused, stating that he preferred to rule the possessors of gold rather than possessing it himself. As consul in 290BC Danatus ended the Samnite War, celebrating with a triumph. This is one of three plates from drawings by John Hamilton Mortimer (1740-79) after 17th century paintings in the collection of the Duke of Devonshire, the others being Cignani's 'Charity' and Poussin's 'The Shepherds in Arcadia'. They were published in John Boydell's ''The Most Capital Paintings in England'', a five-volume series published between 1769 and 1786. The series was a critical and financial success, establishing a tradition in Britain for collecting prints.
[Ref: 54060] £290.00 (£348.00 incl.VAT)

Marcus Curius Dentatus rejecting the Bribes of the Samnites. From the Original Picture of the same Size, painted by Pietro da Cortona, in the Collection of his Grace the Duke of Devonshire,..[to whom the plate is dedicated by the publisher.]
J. Mortimer delin.t. Anth.y. Walker Sculpsit.
Publish'd according to Act of Parliament 1st. of March 1763, by J. Boydell Engraver, in Cheapside, London.
Engraving. 430 x 540mm (17 x 21¼").
An interior scene, with Samnite ambassadors entering to find Manius Curius Dentatus, (d. 270 BC), sitting by the hearth roasting turnips. When offered their armfuls of treasure Denatus, a Plebian famous for being incorruptible, refused, stating that he preferred to rule the possessors of gold rather than possessing it himself. As consul in 290BC Danatus ended the Samnite War, celebrating with a triumph. This is one of three plates from drawings by John Hamilton Mortimer (1740-79) after 17th century paintings in the collection of the Duke of Devonshire, the others being Cignani's 'Charity' and Poussin's 'The Shepherds in Arcadia'. They were published in John Boydell's ''The Most Capital Paintings in England'', a five-volume series published between 1769 and 1786. The series was a critical and financial success, establishing a tradition in Britain for collecting prints. One of a set of three plates from drawings by John Hamilton Mortimer (1740 - 1779) after 17th century paintings in the collection of the Duke of Devonshire: the others were engraved by J F Ravenet, being 'Charity' by Carlo Cignani and 'The Shepherds in Arcadia' by Poussin (see nos. 1162 & 1163).
[Ref: 11764] £240.00 (£288.00 incl.VAT)

Marcus Curius Dentatus rejecting the Bribes of the Samnites. From the Original Picture of the same Size, painted by Pietro da Cortona, in the Collection of his Grace the Duke of Devonshire, to Whom this Plate is most humnbly inscribed, By His Graces most Obliged and most devoted Servant. J.Boydell.
J. Mortimer delin.t. Anth,y Walker Sculpsit.
Publish'd according to Act of Parliament 1st. of March 1763, by J. Boydell Engraver, in Cheapside, London.
Engraving. 535 x 430mm (21 x 17"), uncut sheet. Tear to left just outside image area.
An interior scene, with Samnite ambassadors entering to find Manius Curius Dentatus, (d. 270 BC), sitting by the hearth roasting turnips. When offered their armfuls of treasure Denatus, a Plebian famous for being incorruptible, refused, stating that he preferred to rule the possessors of gold rather than possessing it himself. As consul in 290BC Danatus ended the Samnite War, celebrating with a triumph. This is one of three plates from drawings by John Hamilton Mortimer (1740-79) after 17th century paintings in the collection of the Duke of Devonshire, the others being Cignani's 'Charity' and Poussin's 'The Shepherds in Arcadia'. They were published in John Boydell's ''The Most Capital Paintings in England'', a five-volume series published between 1769 and 1786. The series was a critical and financial success, establishing a tradition in Britain for collecting prints.
[Ref: 14355] £230.00 (£276.00 incl.VAT)

Marcus Curius Dentatus rejecting the Bribes of the Samnites. From the Original Picture if the same Size, painted by Pietro da Cortona, in the Collection of his Grace the Duke of Devonshire; To Whom this Plate is most humbly inscribed, By his Grace's most Obliged, and most devoted Servant. J. Boydell.
J. Mortimer delin.t. Anth.y Walker sculpsit.
Publish'd according to act of parliament 1st of March 1763, by J. Boydell. Engraver, in Cheapside, London.
Engraving. 535 x 430mm. (21 x 17"), with large margins.
An interior scene, with Samnite ambassadors entering to find Manius Curius Dentatus, (d. 270 BC), sitting by the hearth roasting turnips. When offered their armfuls of treasure Denatus, a Plebian famous for being incorruptible, refused, stating that he preferred to rule the possessors of gold rather than possessing it himself. As consul in 290BC Danatus ended the Samnite War, celebrating with a triumph. This is one of three plates from drawings by John Hamilton Mortimer (1740-79) after 17th century paintings in the collection of the Duke of Devonshire, the others being Cignani's 'Charity' and Poussin's 'The Shepherds in Arcadia'. They were published in John Boydell's ''The Most Capital Paintings in England'', a five-volume series published between 1769 and 1786. The series was a critical and financial success, establishing a tradition in Britain for collecting prints.
From the Oettingen-Wallerstein Collection.
[Ref: 28418] £320.00

[Marcus Curius Dentatus rejecting the Bribes of the Samnites From the Original Picture of the same Size, painted by Pietro da Cortona, in the Collection of his Grace the Duke of Devonshire, to Whom this Plate is most humnbly inscribed, By His Graces most Obliged and most devoted Servant. J.Boydell.]
P. da Cortona p. A Walker sc [ms]
[Vide Valer,,s Mar,,s Lib/ 4,, Cap 3-95 and Plutarch,, in Apophth No 1. under.Publish'd according to Act of Parliament 1st. of March 1763, by J. Boydell Engraver, in Cheapside, London.]
Engraving. 430 x 535mm (17 x 21"). Proof impression; title in early ms lower margin. Very large margins; uncut; tear in margins centre top.
An interior scene, with Samnite ambassadors entering to find Manius Curius Dentatus, (d. 270 BC), sitting by the hearth roasting turnips. When offered their armfuls of treasure Denatus, a Plebian famous for being incorruptible, refused, stating that he preferred to rule the possessors of gold rather than possessing it himself. As consul in 290BC Danatus ended the Samnite War, celebrating with a triumph. This is one of three plates from drawings by John Hamilton Mortimer (1740-79) after 17th century paintings in the collection of the Duke of Devonshire, the others being Cignani's 'Charity' and Poussin's 'The Shepherds in Arcadia'. They were published in John Boydell's ''The Most Capital Paintings in England'', a five-volume series published between 1769 and 1786. The series was a critical and financial success, establishing a tradition in Britain for collecting prints.
For published state see ref. 14355.
[Ref: 38583] £260.00 (£312.00 incl.VAT)

Cornaline Antique representant un Mariage. Elle est du_Cabinet de Mr. Bourdaloue.
Elizabeth Cheron L.H. delineavit. I. Audran sculpsit.
Avec Privilege du Roi. [n.d. c.1710.]
Engraving, with large margins. Plate 184 x 197mm. 7¼ x 7¾".
A young man and woman lying on the ground in the centre with parent figures to the right, and and old and young man to the left, the older figure playing pipes. Plate 6 from "Pierres Antiques Gravées Tirées des Principaux Cabinets de la France".
[Ref: 25095] £140.00 (£168.00 incl.VAT)

[Mercury.]
H.C. [Jan Collaert I.]
[n.d., c.1577.]
Engraving. Sheet: 150 x 95mm (6 x 3¾''). Trimmed in an oval losing a decorative border, laid on album sheet.
A mythological scene showing Mercury, holding his winged staff. From a series of six engravings showing the character from the myth of the Judgement of Paris by Jan Collaert I (1525-1580).
[Ref: 49685] £180.00 (£216.00 incl.VAT)

[A feast with Persians being murdered.]
[Engraved by Matthias Merian.]
[Frankfurt, Merian, c.1619.]
Rare engraving. 100 x 140mm (4 x 5½), set in German letterpress text.
An untitled classical scene, with a Graecian king at the end of the table standing up with a sword as women around the table stab their Persian guests. The surrounding text refers to Alexander the Great and Darius III of Persia but we have been unable to identify the event illustrated. From Gottfried's Historische Chronik.
[Ref: 49775] £130.00 (£156.00 incl.VAT)

Nero depositing the Ashes of Britannicus. From the Original Picture painted by Le Sueur, in the Collection of Her Royal Highness the Princess Dowager of Wales, to Whom this Print is , with the most profound submission, dedicated by her Royal Highnesses most humble, most obedient and most dutiful, Servant, J.Boydell.
Le Sueur Pinxt. E. Edwards delin.t. J. S. Mullar Sculpsit.
Size of picture 4F:5 by 5F:2 in Height. No. 17 under. Publish'd according to Act of Parliamt. By J. Boydell, Engraver in Cheapside London May 1st 1765.
Copper engraving 375 x 510mm, 14¾ x 19¾inches.
The intrigues of Agrippa to displace Nero and to elevate Britannicus, the son of Claudius, led to Nero’s first domestic tragedy—the poisoning of Britannicus. The painting hangs at Windsor Castle with the title Caligula depositing the ashes of his mother and brother in the tomb of his ancestors. "The Most Capital Paintings in England" series of engravings in five volumes, late 1760s-1786, the first three (1769 to 1773) originally published under the title .Sculptura Britannica. These were a critical and financial success for the publisher John Boydell who promoted the interests of both artists, engravers and Patrons establishing a tradition in Britain for collecting prints.
[Ref: 14373] £220.00 (£264.00 incl.VAT)

Nero depositing the Ashes of Britannicus.
Le Sauer Pinx.t J. Boydell excud.t 1765 J. S. Muller Sculpsit.
London, 1765.
Copper engraving, proof before title, 18th century watermark. 510 x 385mm (20 x 15¼"), with widee margins.
The intrigues of Agrippa to displace Nero and to elevate Britannicus, the son of Claudius, led to Nero’s first domestic tragedy—the poisoning of Britannicus. The painting hangs at Windsor Castle with the title Caligula depositing the ashes of his mother and brother in the tomb of his ancestors. "The Most Capital Paintings in England" series of engravings in five volumes, late 1760s-1786, the first three (1769 to 1773) originally published under the title .Sculptura Britannica. These were a critical and financial success for the publisher John Boydell who promoted the interests of both artists, engravers and Patrons establishing a tradition in Britain for collecting prints.
[Ref: 53955] £260.00 (£312.00 incl.VAT)

Nymphs after Bathing.
G.B Cipriani Inv.t. F. Bartolozzi Sculp.
London Pub.d as the Act directs Jan.y 15.th 1783 by A. Torre N.o 44 Market Lane. A Paris chez L. Torre Porte St Antoine A.P.D.R.
Fine stipple printed in sanguine, plate 260 x 205mm (10½ x 8"), with large margins. Some very light foxing. Mint.
In a landscape, two beautiful nymphs arrange their hair after bathing in a stream.
De Vesme 467. Ex: Oettingen-Wallerstein collection. Sotheby's London / Milan Nov 1997.
[Ref: 60288] £280.00 (£336.00 incl.VAT)

Nymphs a Bathing. Les Nymphes Au Bain.
J. Vernet Pinx.t. Rob.t Sayer Excudit R. Laurie Sculp.
Printed for Rob.t Sayer, Printseller No. 53, Fleet Street London, Published as the Act directs, 10 May, 1770
Mezzotint 552 x 465mm (21¾ x 18¼"). Repaired tear through top plate mark and into engraved area. Watermark in paper.
An atmospheric image of this rare print.
[Ref: 20199] £590.00

Pætus and Arria. To Her Highness the Princess Daschkau, This Plate is, by Permission, Dedicated, by her Highness's most Dutiful & Obliged, humble Servant, Valentine Green.
Painted by B. West Historical Painter to his Majesty. Engrav'd by V. Green, Mezzotinto Engraver to his Majesty, & the Elector Palatine.
Published [****] No 24 Percy Street Bedford [****].
Mezzotint. Sheet 655 x 405mm (25¾ x 16"). Trimmed within plate, small area of creasing, dedication badly inked, publication line partially erased.
A scene from the letters of Pliny the Younger: Caecina Paetus, having received an order to commit suicide for his part in a rebellion against Emperor Claudius, cannot bring himself to do it. His wife, Arria, stabs herelf and tries to hand her husband the dagger, telling him that it didn't hurt. Pliny heard the story from Arria's granddaughter, Fannia. The scene was engraved by Valentine Green after American painter Benjamin West (1738-1820), and dedicated to Yekaterina Vorontsova-Dashkova (1743-1810), a close friend of Catherine the Great, who was created a Director of the Imperial Academy of Arts and Sciences on her return to Russia in 1782. Originally published by Green in 1781, this is a later state unrecored by Whitman.
Whitman: 224. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 48454] £240.00 (£288.00 incl.VAT)

[Woman Painting a Vase.]
[Jan Chalon.]
[n.d., c.1780.]
Rare etching. 120 x 90mm (4¾ x 3½''), with large margins. Laid on album sheet.
A scene in a potters workshop in which a woman is shown painting a vase while watched over by a man.
[Ref: 48017] £140.00 (£168.00 incl.VAT)

Palamon & Arcite. No.2 of Macklin's British Poets. Vide Chaucers Palamon & Arcite, Moderniz'd by Dryden.
W. Hamilton R.A. pinxt. F. Bartolozzi R.A. & Engraver to his Majesty sculpt.
London, Publish'd March 20. 1790 by T. Macklin, Poets Gallery, Fleet Street.
Etching and stipple. 400 x 475mm (15¾ x 18¾"). Few repairs off image.
Palamon and Arcite interrupted in their duel by Theseus, Hypolita and Emelye, who chance on them while hunting; Hypolita kneeling at her husband's feet, staying his hand, huntsmen with the dogs in the background to left. From Macklin's 'One hundred pictures / Prints illustrative of the most celebrated British Poets ... with letter-press explanatory of the subject, extracted from the writings of the respective poets.' (from 1788).
De Vesme 1433.
[Ref: 28906] £190.00 (£228.00 incl.VAT)

Fetes au Dieu Pan - Dies Panos Festi.
A. Watteau pinxit. M. Aubert Sculpsit.
A Paris avec privilege du Roy [n.d., 1734].
Very fine etching, 410 x 490mm, 16 x 19¼". A fine impression, with good margins.
Feast in honour of Pan: people gathered on a terrace at the edge of a water in a wooded rocky landscape; on the left, a couple sitting and playing guitar near a grotto around which naked people are lying, pouring water out of bowls. In the middle, Harlequin and a man dressed in black reading a book while Pierrot plays flute (both characters in the Commedia dell'arte); on the right, satyrs, women and children sitting around a carafe of wine. The print was advertised by Veuve Chéreau and Surugue in 'Mercure', April 1734. After Antoine Watteau ( 1684 - 1721), from the 'Recueil Jullienne' series, Plate 228 to 'L'Oeuvre d'Antoine Watteau Peintre du Roy'. Jean de Jullienne (1686 - 1766) was a Parisian collector and patron of the arts who owned some 450 drawings by Watteau, and had them engraved.
BM 1838,0526.2.112.
[Ref: 25807] £450.00

[Paris.]
H.C. [Jan Collaert I.]
[n.d., c.1577.]
Engraving. Sheet: 150 x 95mm (6 x 3¾''). Trimmed in an oval losing a decorative border, laid on album sheet.
A mythological scene showing Paris holding up the golden apple, his bulls in the background. From a series of six engravings showing the character from the myth of the Judgement of Paris by Jan Collaert I (1525-1580).
[Ref: 49683] £180.00 (£216.00 incl.VAT)

Perseverance
Angelica Kauffman Pinx.t. W. Wynne Ryland sculp.t
Published by the Proprietor July 9 1777 at No. 159 Strand London.
Fine stipple engraving, J. Whatman 1794 watermarked paper; platemark 380 x 295mm (15 x 11½"), with large margins.
Scene from Homer's 'Odyssey'. Penelope, the wife of Odysseus, sits at her loom awaiting the return of her husband. Engraved after 'Penelope at her Loom', 1764 (Brighton Museum and Art Gallery, Sussex), an early painting produced in Rome by the history painter Angelica Kauffman (1741-1807). Born in Switzerland, Kauffman lived in England from 1766 to 1781 and was one of only two women (the other being Mary Moser) amongst the thirty-six founding members of the Royal Academy of Arts. This print differs from the source painting by extending the composition on the right to accommodate a large bust of Odysseus not in the original painting.
[Ref: 38671] £280.00 (£336.00 incl.VAT)

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