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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Catalogue: Decorative
Amateur Prints
Antiquities
Architecture and Interiors
Design & Ornament
Landscapes
Nudes
Pre-Raphaelite
Sculpture
Still Life
Titlepages
A Collection of Prints, Engraved after the most Capital Paintings in England. Published by John Boydell. Volume the Second, containing sixty Prints. with a Description of each Picture in English and French./ The Origin of Drawing.
J. Mortimer Inventit. S.F. Ravenet Sculpsit.
London: Printed for the Editor, MDCCLXXII./ Published May 1st. 1771 by John Boydell Engraver, in Cheapside London.
Letterpress with copper engraving, sheet 665 x 500mm (26¼ x 19½").
Title page to the second volume of "The Most Capital Paintings in England", a series of engravings in published in five volumes between the late 1760s and 1786, the first three of which (1769 to 1773) were originally published under the title Sculptura Britannica. These were a critical and financial success for the publisher John Boydell, who promoted the interests of artists, engravers and patrons, establishing a tradition in Britain for collecting prints. With an engraving illustrating the origin of drawing. According to some sources drawing originated with the tracing of human shadows.
[Ref: 14901] £280.00 (£336.00 incl.VAT)
J. Mortimer Inventit. S.F. Ravenet Sculpsit.
London: Printed for the Editor, MDCCLXXII./ Published May 1st. 1771 by John Boydell Engraver, in Cheapside London.
Letterpress with copper engraving, sheet 665 x 500mm (26¼ x 19½").
Title page to the second volume of "The Most Capital Paintings in England", a series of engravings in published in five volumes between the late 1760s and 1786, the first three of which (1769 to 1773) were originally published under the title Sculptura Britannica. These were a critical and financial success for the publisher John Boydell, who promoted the interests of artists, engravers and patrons, establishing a tradition in Britain for collecting prints. With an engraving illustrating the origin of drawing. According to some sources drawing originated with the tracing of human shadows.
[Ref: 14901] £280.00 (£336.00 incl.VAT)
![[Metal Ornament.]](jpegs/47004.jpg)
[Metal Ornament.]
S. Gribelin inv: et sculp:
[n.d, c.1720.]
Engraving. Plate: 135 x 200mm (5¼ x 8").
A collection of designs for engravings on two plates on one sheet by Simon Gribelin (1661-1733). Gribelin, a ornamental and metal engraver and designer fled France to England during the persecution of Huguenots, he was from a family of clockmakers and joined the Clockmakers Company in 1686.
[Ref: 47004] £95.00 (£114.00 incl.VAT)
S. Gribelin inv: et sculp:
[n.d, c.1720.]
Engraving. Plate: 135 x 200mm (5¼ x 8").
A collection of designs for engravings on two plates on one sheet by Simon Gribelin (1661-1733). Gribelin, a ornamental and metal engraver and designer fled France to England during the persecution of Huguenots, he was from a family of clockmakers and joined the Clockmakers Company in 1686.
[Ref: 47004] £95.00 (£114.00 incl.VAT)
![[Studies of Ornament, Animals and Women.]](jpegs/48016.jpg)
[Studies of Ornament, Animals and Women.] Ex Colectione Com: Cesaris Maximiliani Gini.
Fran: Mazzola in:. C:C:M:G: fecit.
[n.d., c.1788.]
Aquatint with etching. Plate: 315 x 205mm (12½ x 8'') very large margins. Foxing on upper right.
From the series 'Celeberrimi Francisci Mazzola Parmensis' 1788 after Parmigianino (1503-1540).
[Ref: 48016] £110.00 (£132.00 incl.VAT)
Fran: Mazzola in:. C:C:M:G: fecit.
[n.d., c.1788.]
Aquatint with etching. Plate: 315 x 205mm (12½ x 8'') very large margins. Foxing on upper right.
From the series 'Celeberrimi Francisci Mazzola Parmensis' 1788 after Parmigianino (1503-1540).
[Ref: 48016] £110.00 (£132.00 incl.VAT)
![[A Plan of a plain Kitchen Garden.]](jpegs/56367.jpg)
[A Plan of a plain Kitchen Garden.]
W.m Robertson Inv. & del.H. Schutz Sculp.
Pub.d Jan1. 1798 by R. Ackermann.
Aquatint with hand colour. 240 x 335mm (9½ x 13¼"). Creasing and stains.
A design for a garden with lawns and trees, but also marking a 'Ground for American plants or Flowering Shrubs', a 'Mellon Yard', and buildings for 'Pine stoves', 'Peach houses' and 'Orangerie'. From William Robertson's 'A Collection of Various Forms of Stoves, used for forcing Pine Plants, Fruit Trees, and Preserving Tender Exotics'. The title, as above, comes from the text description (supplied in facsimile). William Robertson (1770-1850), an Irish architect, also served Kilkenny as justice of peace, magistrate, alderman and was mayor of Kilkenny in 1831.
[Ref: 56367] £140.00 (£168.00 incl.VAT)
W.m Robertson Inv. & del.H. Schutz Sculp.
Pub.d Jan1. 1798 by R. Ackermann.
Aquatint with hand colour. 240 x 335mm (9½ x 13¼"). Creasing and stains.
A design for a garden with lawns and trees, but also marking a 'Ground for American plants or Flowering Shrubs', a 'Mellon Yard', and buildings for 'Pine stoves', 'Peach houses' and 'Orangerie'. From William Robertson's 'A Collection of Various Forms of Stoves, used for forcing Pine Plants, Fruit Trees, and Preserving Tender Exotics'. The title, as above, comes from the text description (supplied in facsimile). William Robertson (1770-1850), an Irish architect, also served Kilkenny as justice of peace, magistrate, alderman and was mayor of Kilkenny in 1831.
[Ref: 56367] £140.00 (£168.00 incl.VAT)
Ornamental Gardening. Suggestions for making a regular form of Ground picturesque, by giving Views into the neigbouring Scenery.
Publish'd by Nuttall, Fisher & Dixon, Liverpool, Mar.1818.
Rare coloured engraving with pencil additions. 268 x 210mm (10½ x 8¼").
Garden design. The English landscape garden, also called English landscape park or simply the English garden, is a style of "landscape" garden which emerged in England in the early 18th century, and spread across Europe, replacing the more formal, symmetrical jardin à la française of the 17th century as the principal gardening style of Europe. The English garden presented an idealized view of nature.
[Ref: 52401] £130.00 (£156.00 incl.VAT)
Publish'd by Nuttall, Fisher & Dixon, Liverpool, Mar.1818.
Rare coloured engraving with pencil additions. 268 x 210mm (10½ x 8¼").
Garden design. The English landscape garden, also called English landscape park or simply the English garden, is a style of "landscape" garden which emerged in England in the early 18th century, and spread across Europe, replacing the more formal, symmetrical jardin à la française of the 17th century as the principal gardening style of Europe. The English garden presented an idealized view of nature.
[Ref: 52401] £130.00 (£156.00 incl.VAT)
Ornamental Glasses (Köpping'sche Ziergläser.)
K [in image]. Karl Köpping [in pencil].
[c.1896] from the periodical Pan , vol. II, no. 3 (Oct-Nov-Dec 1896).
Etching 255 x 150mm (10 x 6”), with very large margins. Foxing on edge of margins.
Two art-nouveau glasses in the shape of flowers.
BM 1992,0125.6
[Ref: 62581] £180.00 (£216.00 incl.VAT)
K [in image]. Karl Köpping [in pencil].
[c.1896] from the periodical Pan , vol. II, no. 3 (Oct-Nov-Dec 1896).
Etching 255 x 150mm (10 x 6”), with very large margins. Foxing on edge of margins.
Two art-nouveau glasses in the shape of flowers.
BM 1992,0125.6
[Ref: 62581] £180.00 (£216.00 incl.VAT)
![[Ornamental Glasses.]](jpegs/47616.jpg)
[Ornamental Glasses.]
Karl Köpping, Köpping'sche Ziergläser Originalradierung Pan II.
[n.d., c.1896.]
Etching. Plate: 260 x 155mm (10¼ x 6"), with large margins
Karl Köpping's 'Ornamental Glasses' (Köpping'sche Ziergläser) (plate, facing page 252) from the periodical Pan , vol. II, no. 3 (Oct-Nov-Dec 1896)
[Ref: 47616] £160.00 (£192.00 incl.VAT)
Karl Köpping, Köpping'sche Ziergläser Originalradierung Pan II.
[n.d., c.1896.]
Etching. Plate: 260 x 155mm (10¼ x 6"), with large margins
Karl Köpping's 'Ornamental Glasses' (Köpping'sche Ziergläser) (plate, facing page 252) from the periodical Pan , vol. II, no. 3 (Oct-Nov-Dec 1896)
[Ref: 47616] £160.00 (£192.00 incl.VAT)
![[Ornamental Piece.]](jpegs/19911.jpg)
[Ornamental Piece.]
Paris inv.t et Delin.t PP Choffard Sculp.t 1781.
Engraving. Plate 190 x 198mm. 7½ x 7¾".
An ornamental piece executed for the 'Voyage pittoresque de Naples et de Sicile' of Saint-Non, published for 1781.
[Ref: 19911] £140.00 (£168.00 incl.VAT)
Paris inv.t et Delin.t PP Choffard Sculp.t 1781.
Engraving. Plate 190 x 198mm. 7½ x 7¾".
An ornamental piece executed for the 'Voyage pittoresque de Naples et de Sicile' of Saint-Non, published for 1781.
[Ref: 19911] £140.00 (£168.00 incl.VAT)
![[Sculpture] The Osprey, or Fishing Eagle, taken in Lord Melbourne's Park, at Brocket Hall in Hertfordshire in 1786.](jpegs/59171.jpg)
[Sculpture] The Osprey, or Fishing Eagle, taken in Lord Melbourne's Park, at Brocket Hall in Hertfordshire in 1786. One of the Wings was almost cut off in seizing it: M.rs Damer was present, and caught the Idea in that moment of its rage.
James Roberts del. Portrait Painter to his Royal Highness the Duke of Clarence. John Jones sculp.
Publish'd as the Act directs, June 26, 1790 by James Roberts, Hogarth's Passage, Oxford; and J. Jones, No 75 Great Portland Street, London.
Stipple. Sheet 345 x 250mm (13½ x 9¾"). Trimmed within plate.
An engraving of a sculpture by Mrs Anne Seymour Damer (1749-1828), published in the rare work 'A Series of Engravings from the Works of The Hon. Anne Damer'. She gave this sculpture to Horace Walpole who displayed it at Strawberry Hill. Damer was an honorary exhibitor at the Royal Academy 1784-1818. Walpole described her as a 'female genius'.
[Ref: 59171] £260.00 (£312.00 incl.VAT)
James Roberts del. Portrait Painter to his Royal Highness the Duke of Clarence. John Jones sculp.
Publish'd as the Act directs, June 26, 1790 by James Roberts, Hogarth's Passage, Oxford; and J. Jones, No 75 Great Portland Street, London.
Stipple. Sheet 345 x 250mm (13½ x 9¾"). Trimmed within plate.
An engraving of a sculpture by Mrs Anne Seymour Damer (1749-1828), published in the rare work 'A Series of Engravings from the Works of The Hon. Anne Damer'. She gave this sculpture to Horace Walpole who displayed it at Strawberry Hill. Damer was an honorary exhibitor at the Royal Academy 1784-1818. Walpole described her as a 'female genius'.
[Ref: 59171] £260.00 (£312.00 incl.VAT)
![[Outskirts of a Wood.]](jpegs/34821.jpg)
[Outskirts of a Wood.]
Ker.
[n.d. c.1812.]
Soft-ground etching. 145 x 202mm (5¾ x 8"). Cut.
View of the outskirts of a wood, which is seen on the right; hill in the background. (Charles) Henry Bellenden Ker (1780-1871), a lawyer active in the Boundary Commission just before the Reform Act of 1852 and amateur artist. As a young man he was patron to William Blake but Blake had to take legal steps to get paid.
Ex. Collection of the Hon.Christopher Lennox-Boyd.
[Ref: 34821] £60.00 (£72.00 incl.VAT)
Ker.
[n.d. c.1812.]
Soft-ground etching. 145 x 202mm (5¾ x 8"). Cut.
View of the outskirts of a wood, which is seen on the right; hill in the background. (Charles) Henry Bellenden Ker (1780-1871), a lawyer active in the Boundary Commission just before the Reform Act of 1852 and amateur artist. As a young man he was patron to William Blake but Blake had to take legal steps to get paid.
Ex. Collection of the Hon.Christopher Lennox-Boyd.
[Ref: 34821] £60.00 (£72.00 incl.VAT)
![[Rural Path].](jpegs/31692.jpg)
[Rural Path].
W.m De La Motte. 1801. Oxford.
1801.
Etching, very large margins. Platemark: 255 x 345mm. (10 x 13½"). Stain in bottom left corner of sheet. Puncture holes in left margin where previously bound. Watermarked paper, 'I Taylor 1801'.
A rural view of a path in a mountainous landscape. Numerous horses can be seen on the path, above which is a wooden beam connected to a water mill on the Thames. William Alfred Delamotte (1775 - 1863), was an English painter and engraver, who studied at the Royal Academy, becoming a student of Benjamin West.
[Ref: 31692] £230.00 (£276.00 incl.VAT)
W.m De La Motte. 1801. Oxford.
1801.
Etching, very large margins. Platemark: 255 x 345mm. (10 x 13½"). Stain in bottom left corner of sheet. Puncture holes in left margin where previously bound. Watermarked paper, 'I Taylor 1801'.
A rural view of a path in a mountainous landscape. Numerous horses can be seen on the path, above which is a wooden beam connected to a water mill on the Thames. William Alfred Delamotte (1775 - 1863), was an English painter and engraver, who studied at the Royal Academy, becoming a student of Benjamin West.
[Ref: 31692] £230.00 (£276.00 incl.VAT)
Paris Universal Exhibition, 1867. Repoussé Shield. The subjects from Milton's Paradise Lost. Elkington & Comp.y London, Liverpool, and Birmingham.
T. McLean & Co. Photos. 7 Haymarket, London.
Photographic print with printed text, 310 x 230mm. 12¼ x 9". Foxing.
Shield depicting scenes from John Milton's epic poem 'Paradise Lost' (1667), which narrates the Fall of Man and Adam and Eve's expulsion from Paradise.
[Ref: 14682] £120.00 (£144.00 incl.VAT)
T. McLean & Co. Photos. 7 Haymarket, London.
Photographic print with printed text, 310 x 230mm. 12¼ x 9". Foxing.
Shield depicting scenes from John Milton's epic poem 'Paradise Lost' (1667), which narrates the Fall of Man and Adam and Eve's expulsion from Paradise.
[Ref: 14682] £120.00 (£144.00 incl.VAT)
'The Park! that magnet of the town, That idol to which all bow down."
E. Hull 1823 [signed and dated in plate lower right.] E. Hull del. Printed by C. Hullmandel.
Published by E. Hull, North Brixton.
Original Coloured lithograph, 235 x 370mm.
Men and women promenading in a park, with carriages and horse riders behind them. A poodle to left. By Edward Hull (1815 - 1829; fl.), lithographer and drawing master who worked in London. On Whatman paper watermarked 1823.
[Ref: 8525] £260.00 (£312.00 incl.VAT)
E. Hull 1823 [signed and dated in plate lower right.] E. Hull del. Printed by C. Hullmandel.
Published by E. Hull, North Brixton.
Original Coloured lithograph, 235 x 370mm.
Men and women promenading in a park, with carriages and horse riders behind them. A poodle to left. By Edward Hull (1815 - 1829; fl.), lithographer and drawing master who worked in London. On Whatman paper watermarked 1823.
[Ref: 8525] £260.00 (£312.00 incl.VAT)
Le Passage de l'Eau. Gravé d'apres le Tableau Original de P. Wouvermens qui est au Cabinet de Mr Hallée Chevalier de l'Ordre de St. Michel de 13 pou. de haut sur 16. pou de large 7
P. Wouvermens Pinxit. J. Moyreau Sculp
[n.d. c.1754.]
Copper engraving, platemark 295 x 375mm (11½ x 14¾"). Very large margins.
River hemmed by steep hills linked by a footbridge, running through a landscape; below, a country woman carrying a baby on her back and fording the river; anglers on the opposite bank. One of several good-quality engravings made in Paris in the early 18th century after Philips Wouvwerman (1619-68), Dutch painter specialising in horses, who was well represented in important collections during this period.
For the same image in reverse see ref. 30621.
[Ref: 38601] £160.00 (£192.00 incl.VAT)
P. Wouvermens Pinxit. J. Moyreau Sculp
[n.d. c.1754.]
Copper engraving, platemark 295 x 375mm (11½ x 14¾"). Very large margins.
River hemmed by steep hills linked by a footbridge, running through a landscape; below, a country woman carrying a baby on her back and fording the river; anglers on the opposite bank. One of several good-quality engravings made in Paris in the early 18th century after Philips Wouvwerman (1619-68), Dutch painter specialising in horses, who was well represented in important collections during this period.
For the same image in reverse see ref. 30621.
[Ref: 38601] £160.00 (£192.00 incl.VAT)
Pattern of Watchstand. Plate 6.V.
[For R.Ackermann's Repository of Arts, &c.] [n.d. c.1810.]
A rare engraving. 234 x 140mm. 9¼ x 5½".
The design for a watchstand to sit on a mantelpiece. Ackermann's Repository of Arts was an illustrated, British periodical published from 1809-1829 by Rudolph Ackermann. The formal title of the publication was "Respository of Arts, Literature, Commerce, Manufactures, Fashions, and Politics", and it did cover all of these fields. At the time, it was considered to be of great influence to the English taste in fashion, architecture, and literature.
[Ref: 19097] £75.00 (£90.00 incl.VAT)
[For R.Ackermann's Repository of Arts, &c.] [n.d. c.1810.]
A rare engraving. 234 x 140mm. 9¼ x 5½".
The design for a watchstand to sit on a mantelpiece. Ackermann's Repository of Arts was an illustrated, British periodical published from 1809-1829 by Rudolph Ackermann. The formal title of the publication was "Respository of Arts, Literature, Commerce, Manufactures, Fashions, and Politics", and it did cover all of these fields. At the time, it was considered to be of great influence to the English taste in fashion, architecture, and literature.
[Ref: 19097] £75.00 (£90.00 incl.VAT)
Paysannes au bord d'une Riviere. Le Tableau appartient a Mr De Peters Peintre Ordinaire de S.A.R. Le Prince Charles de Lorraine Gouverneur des Païs-Bas, Grand-Maitre de l'Ordre Teutonique.
Peint par Dietricy Peintre de la Cour de Saxe. Gravé par Daullé Graveur du Roi 1761.
A Paris, chez l'Auteur rue des Mathurines, vis-à-vis celle des Maçons.
Engraving. 490 x 370mm (19¼ x 14½"). Very large margins.
Peasant women beside a small river in a rocky landscape. After Christian Wilhelm Ernst Dietrich.
[Ref: 38122] £260.00 (£312.00 incl.VAT)
Peint par Dietricy Peintre de la Cour de Saxe. Gravé par Daullé Graveur du Roi 1761.
A Paris, chez l'Auteur rue des Mathurines, vis-à-vis celle des Maçons.
Engraving. 490 x 370mm (19¼ x 14½"). Very large margins.
Peasant women beside a small river in a rocky landscape. After Christian Wilhelm Ernst Dietrich.
[Ref: 38122] £260.00 (£312.00 incl.VAT)
![[Alle de werken van Mr. Wilhelm Perkins vermaarde Ghodgheleerde, T'weede Deel.]](jpegs/20142.jpg)
[Alle de werken van Mr. Wilhelm Perkins vermaarde Ghodgheleerde, T'weede Deel.] [Oval portrait: Mr Wilhelm Perkins Gheboren 1558. Ghestorven 1602.] [In ink:] Wm. Perkins. Proof.
[Th. Matham fecit.]
t'Amsterdam, By Iohannes van Someren. Ao. 1662.
Very scarce engraving. Unfinished, proof before all letters. Collector's mark on verso. Plate 284 x 184mm. 11¼ x 7¼". Wormhole by left angel's wing.
A frontispiece to a posthumous publication of the work of William Perkins (1558-1602), a clergyman and Cambridge theologian who was one of the foremost leaders of the Puritan movement in the Church of England.
See Ref: 20141 for lettered state. Ex Collection: W.B. Dukes (architect, d.1942.) Lugt: 2757a.
[Ref: 20142] £240.00 (£288.00 incl.VAT)
[Th. Matham fecit.]
t'Amsterdam, By Iohannes van Someren. Ao. 1662.
Very scarce engraving. Unfinished, proof before all letters. Collector's mark on verso. Plate 284 x 184mm. 11¼ x 7¼". Wormhole by left angel's wing.
A frontispiece to a posthumous publication of the work of William Perkins (1558-1602), a clergyman and Cambridge theologian who was one of the foremost leaders of the Puritan movement in the Church of England.
See Ref: 20141 for lettered state. Ex Collection: W.B. Dukes (architect, d.1942.) Lugt: 2757a.
[Ref: 20142] £240.00 (£288.00 incl.VAT)
![[Frontispiece to 'A Compleat Treatise on Perspective, in theory and practice, on the true principles of Dr. Brook Taylor'.]](jpegs/57903.jpg)
[Frontispiece to 'A Compleat Treatise on Perspective, in theory and practice, on the true principles of Dr. Brook Taylor'.]
[by Thomas Malton.]
Publishd by Tho.s Malton April 1st 1774. (but c. 1805)
Engraving, paper watermarked 1805. 320 x 230mm (12½ x 9"). Small margins on 3 sides; trimmed to image on left.
An architectural caprice with a mausoleum dedicated 'To the Memory of Dr Brook Taylor; in gratitude for his sublime Principles, on Perspective'. Brook Taylor (1685-1731) was an English mathematician whose 1715 essay 'Linear Perspective' set forth the principles of perspective in a more understandable form
[Ref: 57903] £160.00 (£192.00 incl.VAT)
[by Thomas Malton.]
Publishd by Tho.s Malton April 1st 1774. (but c. 1805)
Engraving, paper watermarked 1805. 320 x 230mm (12½ x 9"). Small margins on 3 sides; trimmed to image on left.
An architectural caprice with a mausoleum dedicated 'To the Memory of Dr Brook Taylor; in gratitude for his sublime Principles, on Perspective'. Brook Taylor (1685-1731) was an English mathematician whose 1715 essay 'Linear Perspective' set forth the principles of perspective in a more understandable form
[Ref: 57903] £160.00 (£192.00 incl.VAT)
Forum Modernis Aedificiis. LL.
P. de vriese inv.
[n.d. c.1740.]
Copper engraving. Plate 185 x 285mm. 7¼ x 11¼".
From "Les cinq rangs de l'architecture, a savoir, Tuscane, dorique, ionique, corinthiaque et composée avec l'instruction fondamentale." This book was an important Dutch contribution to the theory of perspective.
[Ref: 16105] £160.00 (£192.00 incl.VAT)
P. de vriese inv.
[n.d. c.1740.]
Copper engraving. Plate 185 x 285mm. 7¼ x 11¼".
From "Les cinq rangs de l'architecture, a savoir, Tuscane, dorique, ionique, corinthiaque et composée avec l'instruction fondamentale." This book was an important Dutch contribution to the theory of perspective.
[Ref: 16105] £160.00 (£192.00 incl.VAT)
Cubiculum Introspicientibus Modernum. MM.
[Paul Vrededman de Vries.]
[n.d. c.1740.]
Copper engraving. Plate 185 x 285mm. 7¼ x 11¼".
From "Les cinq rangs de l'architecture, a savoir, Tuscane, dorique, ionique, corinthiaque et composée avec l'instruction fondamentale." This book was an important Dutch contribution to the theory of perspective.
[Ref: 16106] £160.00 (£192.00 incl.VAT)
[Paul Vrededman de Vries.]
[n.d. c.1740.]
Copper engraving. Plate 185 x 285mm. 7¼ x 11¼".
From "Les cinq rangs de l'architecture, a savoir, Tuscane, dorique, ionique, corinthiaque et composée avec l'instruction fondamentale." This book was an important Dutch contribution to the theory of perspective.
[Ref: 16106] £160.00 (£192.00 incl.VAT)
Templum Introspicientibus Modernum. OO.
Henr. Hondius Sculpsit.
[n.d. c.1740.]
Copper engraving. Plate 191 x 287mm. 7½ x 11¼".
From "Les cinq rangs de l'architecture, a savoir, Tuscane, dorique, ionique, corinthiaque et composée avec l'instruction fondamentale." This book was an important Dutch contribution to the theory of perspective.
[Ref: 16107] £160.00 (£192.00 incl.VAT)
Henr. Hondius Sculpsit.
[n.d. c.1740.]
Copper engraving. Plate 191 x 287mm. 7½ x 11¼".
From "Les cinq rangs de l'architecture, a savoir, Tuscane, dorique, ionique, corinthiaque et composée avec l'instruction fondamentale." This book was an important Dutch contribution to the theory of perspective.
[Ref: 16107] £160.00 (£192.00 incl.VAT)
Templum intro-spicientibus modernum. NN.
I. de vriese inv.
[n.d. c.1740.]
Copper engraving. Plate 192 x 281mm. 7½ x 11".
From "Les cinq rangs de l'architecture, a savoir, Tuscane, dorique, ionique, corinthiaque et composée avec l'instruction fondamentale." This book was an important Dutch contribution to the theory of perspective.
[Ref: 16108] £160.00 (£192.00 incl.VAT)
I. de vriese inv.
[n.d. c.1740.]
Copper engraving. Plate 192 x 281mm. 7½ x 11".
From "Les cinq rangs de l'architecture, a savoir, Tuscane, dorique, ionique, corinthiaque et composée avec l'instruction fondamentale." This book was an important Dutch contribution to the theory of perspective.
[Ref: 16108] £160.00 (£192.00 incl.VAT)
![[Titlepage and woodcut illustration from Hieronymus Rodler, 'Eyn schön nützlich büchlin und underweisung der kunst des Messens [...]']](jpegs/43669.jpg)
[Titlepage and woodcut illustration from Hieronymus Rodler, 'Eyn schön nützlich büchlin und underweisung der kunst des Messens [...]']
[Simmern: Hieronymus Rodler, 1531]
Two woodcuts, one with letterpress in black and red ink; very scarce; sheets 290 x 185mm (11½ x 7¼") and 175 x 170mm (7 x 6¾"). Both glued to backing sheet.
Two woodcut illustrations of artists at work, one showing five men at work in a studio, the other showing an artist depicting the view from his window. From Hieronymus Rodler's 'Eyn schön nützlich büchlin und underweisung der kunst des Messens mit dem Zirckel Richtscheidt oder Linial. Zu nutz allen kunstliebhabern furnemlich den Malern, Bildhawern, Goldschmiden, Seidenstickern, Steynmetzen, Schreinern, auch allen andern, so sich der kunst des Messens (Perspectiva zu latin gnant) zugebrauchen lust haben...' (1531). Rodler adapted ideas from Albrecht Dürer's 1525 'Unterweysung der Messung', simplifying them to make them accessible to a wider range of craftsmen.
[Ref: 43669] £480.00 view all images for this item
[Simmern: Hieronymus Rodler, 1531]
Two woodcuts, one with letterpress in black and red ink; very scarce; sheets 290 x 185mm (11½ x 7¼") and 175 x 170mm (7 x 6¾"). Both glued to backing sheet.
Two woodcut illustrations of artists at work, one showing five men at work in a studio, the other showing an artist depicting the view from his window. From Hieronymus Rodler's 'Eyn schön nützlich büchlin und underweisung der kunst des Messens mit dem Zirckel Richtscheidt oder Linial. Zu nutz allen kunstliebhabern furnemlich den Malern, Bildhawern, Goldschmiden, Seidenstickern, Steynmetzen, Schreinern, auch allen andern, so sich der kunst des Messens (Perspectiva zu latin gnant) zugebrauchen lust haben...' (1531). Rodler adapted ideas from Albrecht Dürer's 1525 'Unterweysung der Messung', simplifying them to make them accessible to a wider range of craftsmen.
[Ref: 43669] £480.00 view all images for this item
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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)
![[Fresco with Figure and a Phoenix.]](jpegs/42041.jpg)
[Fresco with Figure and a Phoenix.]
[n.d., c.1750.]
Etching. Sheet: 200 x 320mm (8 x 12½").
An etching of a fresco above an arch in which a negro figure holds a dish in which a pheonix rests in flames, behind a large sun shines brightly and below a figure of the wind blows at the figure's feet.
[Ref: 42041] £75.00 (£90.00 incl.VAT)
[n.d., c.1750.]
Etching. Sheet: 200 x 320mm (8 x 12½").
An etching of a fresco above an arch in which a negro figure holds a dish in which a pheonix rests in flames, behind a large sun shines brightly and below a figure of the wind blows at the figure's feet.
[Ref: 42041] £75.00 (£90.00 incl.VAT)
Mess.rs Wilkinson & Wornum's Upright Patent Piana Forte. Plate 10, Vol.7.
No.38 of R. Ackermann's Repository of Arts & Pub. 1. Feb. 1812 at 101 Strand, London.
Hand-coloured aquatint. Sheet: 240 x 150mm (9½ x 6''), with Whatman 1808 watermark. Trimmed into publication line.
[Ref: 49365] £70.00 (£84.00 incl.VAT)
No.38 of R. Ackermann's Repository of Arts & Pub. 1. Feb. 1812 at 101 Strand, London.
Hand-coloured aquatint. Sheet: 240 x 150mm (9½ x 6''), with Whatman 1808 watermark. Trimmed into publication line.
[Ref: 49365] £70.00 (£84.00 incl.VAT)
![[Frontispiece to Cornelis de Brun, 'Reizen over Moskovie, door Persie en Indie']](jpegs/41393.jpg)
[Frontispiece to Cornelis de Brun, 'Reizen over Moskovie, door Persie en Indie']
B. Picart delineavit anno 1711
Engraving, sheet 300 x 190mm (11¾ x 7½"). Crease.
Frontispiece to a travel volume by the Flemish artist Cornelis de Bruyn. The French engraver Bernard Picart (1673-1733) settled in Amsterdam in 1711, where he engraved this print.
[Ref: 41393] £130.00 (£156.00 incl.VAT)
B. Picart delineavit anno 1711
Engraving, sheet 300 x 190mm (11¾ x 7½"). Crease.
Frontispiece to a travel volume by the Flemish artist Cornelis de Bruyn. The French engraver Bernard Picart (1673-1733) settled in Amsterdam in 1711, where he engraved this print.
[Ref: 41393] £130.00 (£156.00 incl.VAT)
Les Agréments de l'éte.
Gravé par W.m Woollett d'aprèsLe dessein Original de Meme grandeur inventé et dessiné par Jean Pillement.
London, publish'd according to Act of Parliament June 26. 1760
Engraving, sheet 430 x 510mm (17 x 20¼"). Trimmed inside platemark and around text; nicks and tears to edges.
Figures relaxing and boating on a river in a sunny landscape. One of a series of the four seasons, 'Les Amusements du Printemps' engraved (in reverse) after drawings by Jean Pillement between 1757 and 1760, during the French painter and draughtsman's period working in England. Pillement's drawings for all four of the prints are now in the Louvre.
See Maria Gordon-Smith, 'Pillement', pp.69-73; Fagan 32
[Ref: 38963] £260.00 (£312.00 incl.VAT)
Gravé par W.m Woollett d'aprèsLe dessein Original de Meme grandeur inventé et dessiné par Jean Pillement.
London, publish'd according to Act of Parliament June 26. 1760
Engraving, sheet 430 x 510mm (17 x 20¼"). Trimmed inside platemark and around text; nicks and tears to edges.
Figures relaxing and boating on a river in a sunny landscape. One of a series of the four seasons, 'Les Amusements du Printemps' engraved (in reverse) after drawings by Jean Pillement between 1757 and 1760, during the French painter and draughtsman's period working in England. Pillement's drawings for all four of the prints are now in the Louvre.
See Maria Gordon-Smith, 'Pillement', pp.69-73; Fagan 32
[Ref: 38963] £260.00 (£312.00 incl.VAT)
![[Les Agréments de l'éte.]](jpegs/38964.jpg)
[Les Agréments de l'éte.]
[Gravé par W.m Woollett d'aprèsLe dessein Original de Meme grandeur inventé et dessiné par Jean Pillement.]
[London, publish'd according to Act of Parliament June 26. 1760]
Engraving, sheet 400 x 490mm (15¾ x 19¼"). Trimmed and pasted to larger sheet of paper; unfinished proof before letters.
Figures relaxing and boating on a river in a sunny landscape. One of a series of the four seasons, 'Les Amusements du Printemps' engraved (in reverse) after drawings by Jean Pillement between 1757 and 1760, during the French painter and draughtsman's period working in England. Pillement's drawings for all four of the prints are now in the Louvre.
See Maria Gordon-Smith, 'Pillement', pp.69-73; Fagan 32 between I & II. See Ref: 59607
[Ref: 38964] £360.00
[Gravé par W.m Woollett d'aprèsLe dessein Original de Meme grandeur inventé et dessiné par Jean Pillement.]
[London, publish'd according to Act of Parliament June 26. 1760]
Engraving, sheet 400 x 490mm (15¾ x 19¼"). Trimmed and pasted to larger sheet of paper; unfinished proof before letters.
Figures relaxing and boating on a river in a sunny landscape. One of a series of the four seasons, 'Les Amusements du Printemps' engraved (in reverse) after drawings by Jean Pillement between 1757 and 1760, during the French painter and draughtsman's period working in England. Pillement's drawings for all four of the prints are now in the Louvre.
See Maria Gordon-Smith, 'Pillement', pp.69-73; Fagan 32 between I & II. See Ref: 59607
[Ref: 38964] £360.00
Pious Annotations upon the Holy Bible Expounding the difficult places thereof Learnedly & plainly By the Reverend Learned and Godly Divine, Mr, John Diodati, Minister of the Gospel and now living in Geneva.
W. Hollar fecit 1643.
London: Printed for Nicolas Fussell 1643.
Etched titlepage. 195 x 130mm (7¾ x 5").
A title page for a book, with the title within a elaborate architectural border with portraits of Moses and Aaron, rare in this state.
Pennington 2659, i of iv.
[Ref: 44174] £320.00
W. Hollar fecit 1643.
London: Printed for Nicolas Fussell 1643.
Etched titlepage. 195 x 130mm (7¾ x 5").
A title page for a book, with the title within a elaborate architectural border with portraits of Moses and Aaron, rare in this state.
Pennington 2659, i of iv.
[Ref: 44174] £320.00
Pious Annotations Upon the Holy Bible Expounding the difficult places there:of Learnedly & plainly By the Reverend Learned and Godly Divine, M. Iohn Diodati Minister of the Gospecl and now living in Geneva.
W. Hollar fecit. 1643.
London Printed for Nicolas Fussel, 1643.
Etching. Plate 190 x 132mm (7½ x 5¼"). Creases, holes.
Title-page to Giovanni Diodati's 'Pious Annotations upon the Holy Bible'; architectural setting, with Moses holding tablets of the commandments in front of two columns at left, Aaron holding a censer at right, four scenes featuring the Evangelists above and below, open book on broken pediment at top centre, and semi-circle of light above, lettered in Hebrew with 'Jehova'. Giovanni Diodati (1576-1649), the Swiss Calvinist cleric, religious author and translator of the Bible.
P: 2659, i of iv.
[Ref: 34773] £120.00 (£144.00 incl.VAT)
W. Hollar fecit. 1643.
London Printed for Nicolas Fussel, 1643.
Etching. Plate 190 x 132mm (7½ x 5¼"). Creases, holes.
Title-page to Giovanni Diodati's 'Pious Annotations upon the Holy Bible'; architectural setting, with Moses holding tablets of the commandments in front of two columns at left, Aaron holding a censer at right, four scenes featuring the Evangelists above and below, open book on broken pediment at top centre, and semi-circle of light above, lettered in Hebrew with 'Jehova'. Giovanni Diodati (1576-1649), the Swiss Calvinist cleric, religious author and translator of the Bible.
P: 2659, i of iv.
[Ref: 34773] £120.00 (£144.00 incl.VAT)
Indice delle Tavole contenute in quest'Opera.
Etching. Total 235 x 250mm, 9½ x 10".
A caprice etched by Piranesi as an index to one of his books, with the text within a border printed from a separate plate, simulating a stone memorial. Above the 28-item list of plates is a Latin dedication to Augustus found on the Ponte di Rimino. Printed from two plates.
[Ref: 13915] £120.00 (£144.00 incl.VAT)
Etching. Total 235 x 250mm, 9½ x 10".
A caprice etched by Piranesi as an index to one of his books, with the text within a border printed from a separate plate, simulating a stone memorial. Above the 28-item list of plates is a Latin dedication to Augustus found on the Ponte di Rimino. Printed from two plates.
[Ref: 13915] £120.00 (£144.00 incl.VAT)
Antichita` Romane de' Tempi della Repubblica e de' Primi Imperatori, Designate, ed Incise da Giambattista Piranesi Architetto Veneziano... Parte Prima.
Roma si vende dall'Auttore dirimpetto l'Academia di Franzia.
Etching. Plate: 350 x 240mm (13¾ x 9½"), with very large margins. Uncut. Crease in margin top right.
A caprice etched by Piranesi as a half-title to one of his books, with the text within a border printed from a separate plate, simulating a stone memorial. Printed from two plates. The text roughly translates as 'Roman Antiquities from the time of the Republic and the First Emperors, designed and engraved by the Venetian architect Giambattista Piranesi and by the same is dedicated to the most illustrious and most reverened Monseigneur Giovanni Bottari, private chaplain to Pope Benedict XIV, the guardian of the Vatican Library and canon of Santa Maria in Trestevere.'
[Ref: 39980] £220.00 (£264.00 incl.VAT)
Roma si vende dall'Auttore dirimpetto l'Academia di Franzia.
Etching. Plate: 350 x 240mm (13¾ x 9½"), with very large margins. Uncut. Crease in margin top right.
A caprice etched by Piranesi as a half-title to one of his books, with the text within a border printed from a separate plate, simulating a stone memorial. Printed from two plates. The text roughly translates as 'Roman Antiquities from the time of the Republic and the First Emperors, designed and engraved by the Venetian architect Giambattista Piranesi and by the same is dedicated to the most illustrious and most reverened Monseigneur Giovanni Bottari, private chaplain to Pope Benedict XIV, the guardian of the Vatican Library and canon of Santa Maria in Trestevere.'
[Ref: 39980] £220.00 (£264.00 incl.VAT)
Premier Partie. Les Plans et Profilz de toutes les principalles Villes et lieux considerables de France Ensemble les Cartes Generalles de Chascunee Provinces et Les particuliéres de Chasque gouvernement diclees Faictes par S.r Tassin Geogra.e Ordinai.re de Sa Ma.té.
[Paris, c.1636.]
Engraved titlepage with hand colour. 110 x 150mm (4¼ x 6"), with very large margins.
The engraved titlepage to an atlas of French town plans, with allegorical figures displaying the title on a banner. A compass and surveying tools are on the ground next to a naked sleeping woman.
[Ref: 61307] £160.00 (£192.00 incl.VAT)
[Paris, c.1636.]
Engraved titlepage with hand colour. 110 x 150mm (4¼ x 6"), with very large margins.
The engraved titlepage to an atlas of French town plans, with allegorical figures displaying the title on a banner. A compass and surveying tools are on the ground next to a naked sleeping woman.
[Ref: 61307] £160.00 (£192.00 incl.VAT)
![[Frontispiece vignette to Leonard Plukenet, 'Almagesti botanici mantissa']](jpegs/42079.jpg)
[Frontispiece vignette to Leonard Plukenet, 'Almagesti botanici mantissa'] Anagr: Ut pene Nullus sic ardeo Aliis inserviendo consumor.
J. Collins fec:
[published by T. Davies et al, 1700.]
Rare engraving, sheet 65 x 90mm (2½ x 3½"). False margins added.
Leonard Plukenet (bap. 1642-d. 1706), botanist, sitting at his desk. Vignette from Plukenet's 'Almagesti botanici mantissa' (1700), one of a series of magesterial volumes which presented Plukenet's collection, and in which several British plants made their first appearance. By this time Plukenet had been appointed superintendent of the royal gardens at Hampton Court, by William III, a king himself interested in horticulture.
[Ref: 42079] £130.00 (£156.00 incl.VAT)
J. Collins fec:
[published by T. Davies et al, 1700.]
Rare engraving, sheet 65 x 90mm (2½ x 3½"). False margins added.
Leonard Plukenet (bap. 1642-d. 1706), botanist, sitting at his desk. Vignette from Plukenet's 'Almagesti botanici mantissa' (1700), one of a series of magesterial volumes which presented Plukenet's collection, and in which several British plants made their first appearance. By this time Plukenet had been appointed superintendent of the royal gardens at Hampton Court, by William III, a king himself interested in horticulture.
[Ref: 42079] £130.00 (£156.00 incl.VAT)
![[Landscape with large trees.]](jpegs/35463.jpg)
[Landscape with large trees.]
Ric. Cooper del. 1802
Pen lithograph, rare; sheet 235 x 325mm (9¼ x 12¾"). Glued to backing sheet at corners; unidentified collector's stamp verso. Trimmed to image as usual.
One of the twelve pen lithographs from 'Specimens of Polyauthography', 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 artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography. Cooper (1740-1814) had studied in Paris with the famous engraver J.-P. Le Bas and earned the nickname 'the English Poussin' for his depictions of Rome and its surroundings. After succeeding Alexander Cozens as drawing master at Eton in 1768, in later life he became drawing master to Princess Charlotte (1796-1814).
For a print by Princess Charlotte, see ref. 23168; Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35463] £240.00 (£288.00 incl.VAT)
Ric. Cooper del. 1802
Pen lithograph, rare; sheet 235 x 325mm (9¼ x 12¾"). Glued to backing sheet at corners; unidentified collector's stamp verso. Trimmed to image as usual.
One of the twelve pen lithographs from 'Specimens of Polyauthography', 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 artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography. Cooper (1740-1814) had studied in Paris with the famous engraver J.-P. Le Bas and earned the nickname 'the English Poussin' for his depictions of Rome and its surroundings. After succeeding Alexander Cozens as drawing master at Eton in 1768, in later life he became drawing master to Princess Charlotte (1796-1814).
For a print by Princess Charlotte, see ref. 23168; Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35463] £240.00 (£288.00 incl.VAT)
![[Thatched cottage in a landscape]](jpegs/35466.jpg)
[Thatched cottage in a landscape]
H Ker 1807 [top left]. 1807 [lower left]
Rare pen lithograph. printed area 225 x 310mm (8¾ x 12¼"). Slight creasing; on cream wove paper.
Early lithograph by Charles Henry Bellenden Ker (c.1785-1871), whose work was included in the second issue of 'Specimens of Polyautography' issued in 1807. The first part of 'Specimens' (1803) was the first set of artist's lithographs ever published, showcasing the new medium 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. Ker was a law reformer, particularly in the area of statue law, but he also had a lifelong interest in art and science, as this early print demonstrates. Ker's father was a prominent botanist and he inherited this interest, becoming one of the first private growers of orchids in Britain, and providing the sketches for an important book on chinese plants.
Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35466] £220.00 (£264.00 incl.VAT)
H Ker 1807 [top left]. 1807 [lower left]
Rare pen lithograph. printed area 225 x 310mm (8¾ x 12¼"). Slight creasing; on cream wove paper.
Early lithograph by Charles Henry Bellenden Ker (c.1785-1871), whose work was included in the second issue of 'Specimens of Polyautography' issued in 1807. The first part of 'Specimens' (1803) was the first set of artist's lithographs ever published, showcasing the new medium 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. Ker was a law reformer, particularly in the area of statue law, but he also had a lifelong interest in art and science, as this early print demonstrates. Ker's father was a prominent botanist and he inherited this interest, becoming one of the first private growers of orchids in Britain, and providing the sketches for an important book on chinese plants.
Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35466] £220.00 (£264.00 incl.VAT)
![[Thatched cottage in a landscape]](jpegs/35467.jpg)
[Thatched cottage in a landscape]
H Ker 1807 [top left]. 1807 [lower left]
Pen lithograph with large margins, rare, printed area 225 x 310mm (8¾ x 12¼"). On white wove paper; watermarked 'C 1806'; crease lower right. Fine impression.
Early lithograph by Charles Henry Bellenden Ker (c.1785-1871), whose work was included in the second issue of 'Specimens of Polyautography' issued in 1807. The first part of 'Specimens' (1803) was the first set of artist's lithographs ever published, showcasing the new medium 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. Ker was a law reformer, particularly in the area of statue law, but he also had a lifelong interest in art and science, as this early print demonstrates. Ker's father was a prominent botanist and he inherited this interest, becoming one of the first private growers of orchids in Britain, and providing the sketches for an important book on chinese plants.
Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35467] £260.00 (£312.00 incl.VAT)
H Ker 1807 [top left]. 1807 [lower left]
Pen lithograph with large margins, rare, printed area 225 x 310mm (8¾ x 12¼"). On white wove paper; watermarked 'C 1806'; crease lower right. Fine impression.
Early lithograph by Charles Henry Bellenden Ker (c.1785-1871), whose work was included in the second issue of 'Specimens of Polyautography' issued in 1807. The first part of 'Specimens' (1803) was the first set of artist's lithographs ever published, showcasing the new medium 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. Ker was a law reformer, particularly in the area of statue law, but he also had a lifelong interest in art and science, as this early print demonstrates. Ker's father was a prominent botanist and he inherited this interest, becoming one of the first private growers of orchids in Britain, and providing the sketches for an important book on chinese plants.
Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35467] £260.00 (£312.00 incl.VAT)
![[Knight on horseback in a rocky landscape]](jpegs/35474.jpg)
[Knight on horseback in a rocky landscape]
E.V. Utterson 1806 [in image lower left]
London printed from stone at the polyautographic office, No 9 Buckingham Place, Fitzroy Square
Pen lithograph, very rare, sheet 320x 235mm (12½ x 9¼"). Glued at corners to original aquatint mount watermarked 'J[oseph] Ruse 1804' (platemark 425 x 330mm, 16¾ x 13"); slight creasing and glue residue at corners; slight foxing.
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. One of only a handful of prints made by Edward Vernon Utterson (bap.1777, d.1856), antiquary and literary editor. Utterson reprinted or edited a large number of early works of English literature, most notably those of Samuel Rowlands. He was a founding member of the Roxburghe Club, 'the oldest society of bibliophiles in the world', in 1812, along with fellow collectors such as Sir Francis Freeling.
For Freeling, see ref. 21624; Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35474] £290.00 (£348.00 incl.VAT)
E.V. Utterson 1806 [in image lower left]
London printed from stone at the polyautographic office, No 9 Buckingham Place, Fitzroy Square
Pen lithograph, very rare, sheet 320x 235mm (12½ x 9¼"). Glued at corners to original aquatint mount watermarked 'J[oseph] Ruse 1804' (platemark 425 x 330mm, 16¾ x 13"); slight creasing and glue residue at corners; slight foxing.
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. One of only a handful of prints made by Edward Vernon Utterson (bap.1777, d.1856), antiquary and literary editor. Utterson reprinted or edited a large number of early works of English literature, most notably those of Samuel Rowlands. He was a founding member of the Roxburghe Club, 'the oldest society of bibliophiles in the world', in 1812, along with fellow collectors such as Sir Francis Freeling.
For Freeling, see ref. 21624; Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35474] £290.00 (£348.00 incl.VAT)
![[Houses by a stream, with a bridge.]](jpegs/26890.jpg)
[Houses by a stream, with a bridge.]
W.H. Pyne 1806 [in image].
London, printed from stone at the polyautographic office, No. 9 Buckingham-Place, Fitzroy-Square.
Pen lithograph (polyautograph), rare, sheet 255 x 330mm. 10 x 13". Tape residue to upper corners; laid on conservation tissue.
This print appeared in the first published portfolio of drawings made by artists specifically for multiplication by lithography. Entitled 'Specimens of Polyautography', the collection was brought out by Philippe André in London in 1803 and consisted solely of pen lithographs. Contributors included Thomas Stothard R.A. and Richard Corbould. Six parts of six prints were planned but in the event only two parts appeared. The portfolio was re-issued in 1806 by G J Vollweiler, with additions. William Henry Pyne (1769-1843) was an English writer, painter and illustrator, who first exhibited at the Royal Academy in 1790. He specialized in picturesque settings including groups of people rendered in pen, ink and watercolour. Pyne was one of the founders of Royal Watercolour Society in 1804.
Not in Abbey. See V&A E.1136-1899.
[Ref: 26890] £85.00 (£102.00 incl.VAT)
W.H. Pyne 1806 [in image].
London, printed from stone at the polyautographic office, No. 9 Buckingham-Place, Fitzroy-Square.
Pen lithograph (polyautograph), rare, sheet 255 x 330mm. 10 x 13". Tape residue to upper corners; laid on conservation tissue.
This print appeared in the first published portfolio of drawings made by artists specifically for multiplication by lithography. Entitled 'Specimens of Polyautography', the collection was brought out by Philippe André in London in 1803 and consisted solely of pen lithographs. Contributors included Thomas Stothard R.A. and Richard Corbould. Six parts of six prints were planned but in the event only two parts appeared. The portfolio was re-issued in 1806 by G J Vollweiler, with additions. William Henry Pyne (1769-1843) was an English writer, painter and illustrator, who first exhibited at the Royal Academy in 1790. He specialized in picturesque settings including groups of people rendered in pen, ink and watercolour. Pyne was one of the founders of Royal Watercolour Society in 1804.
Not in Abbey. See V&A E.1136-1899.
[Ref: 26890] £85.00 (£102.00 incl.VAT)
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Le Petit Pont de pierre. Gravé par C. Norton 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. ye. 26th 1759.
Etching, 18th century watermark. Sheet 335 x 375mm (13¼ x 14¾"). Trimmed within plate.
A view of a ramshackle three-arched bridge in a rural landscape, with a ferryman taking a couple across the river by boat. From a series of three plates, with 'La Petite Montagne' and 'Le Petit Pont de pierre.'.
Gordon Smith p.80, plate 70. From the Airlie collection, Cortachy Castle.
[Ref: 57493] £260.00 (£312.00 incl.VAT)
C. Norton.
London Publish'd according to Act of Parliament Dec. ye. 26th 1759.
Etching, 18th century watermark. Sheet 335 x 375mm (13¼ x 14¾"). Trimmed within plate.
A view of a ramshackle three-arched bridge in a rural landscape, with a ferryman taking a couple across the river by boat. From a series of three plates, with 'La Petite Montagne' and 'Le Petit Pont de pierre.'.
Gordon Smith p.80, plate 70. From the Airlie collection, Cortachy Castle.
[Ref: 57493] £260.00 (£312.00 incl.VAT)
![[Frontispiece to Onofrio Panvinio's 'XXVII Pontificum Maximorum']](jpegs/32538.jpg)
[Frontispiece to Onofrio Panvinio's 'XXVII Pontificum Maximorum']
[Rome, published 1568 by Antoine Lafrery]
Etching, sheet 280 x 195mm (11 x 7¾"). Small tear at bottom.
Frontispiece to Panvinio's book of the likenesses and portraits of popes from Urban VI to Pius V, described as the 'first portrait book' (Bronwen Wilson, 'The World in Venice). The title page includes shields, a female personification of the church holding a cross, and the Holy Dove.
[Ref: 32538] £160.00 (£192.00 incl.VAT)
[Rome, published 1568 by Antoine Lafrery]
Etching, sheet 280 x 195mm (11 x 7¾"). Small tear at bottom.
Frontispiece to Panvinio's book of the likenesses and portraits of popes from Urban VI to Pius V, described as the 'first portrait book' (Bronwen Wilson, 'The World in Venice). The title page includes shields, a female personification of the church holding a cross, and the Holy Dove.
[Ref: 32538] £160.00 (£192.00 incl.VAT)
![[Porcelain Room] Die andere Seite des Cabinets.](jpegs/58771.jpg)
[Porcelain Room] Die andere Seite des Cabinets. Dieses Cabinet kan von lauter Spiegel um die wände herum und von Porcellan auch goldenen leisten oder allerhand färbigen [...]
P. Decker Archit inv: et del. Heinrich Jonas Ostertag Sculpsit.
Cum GratL et Priv: S.C. Maj. Jeremias Wolff excudit Aug. Vind. [Augsburg, n.d., 1711.]
Etching. 355 x 255mm (14 x 10"), with large margins.
A baroque design for a room ornament, with a fountain, mirrors and porcelain. It was published in the architect Paul Decker’s 'Fürstlicher Baumeister Oder: Architectura civilis' (The Princely Architect or: Civil Architecture), a guide to creating the perfect nobleman’s’ palace.
[Ref: 58771] £95.00 (£114.00 incl.VAT)
P. Decker Archit inv: et del. Heinrich Jonas Ostertag Sculpsit.
Cum GratL et Priv: S.C. Maj. Jeremias Wolff excudit Aug. Vind. [Augsburg, n.d., 1711.]
Etching. 355 x 255mm (14 x 10"), with large margins.
A baroque design for a room ornament, with a fountain, mirrors and porcelain. It was published in the architect Paul Decker’s 'Fürstlicher Baumeister Oder: Architectura civilis' (The Princely Architect or: Civil Architecture), a guide to creating the perfect nobleman’s’ palace.
[Ref: 58771] £95.00 (£114.00 incl.VAT)
![[Engraved frontispiece.]](jpegs/4708.jpg)
[Engraved frontispiece.]
J. Rob. sculp.
Apud Jos. Pote, Bibliop Etonens. [n.d., c.1750.]
Engraving. 130 x 80mm.
Pote (1703-1787) was a publisher and bookseller of Eton.
[Ref: 4708] £230.00 (£276.00 incl.VAT)
J. Rob. sculp.
Apud Jos. Pote, Bibliop Etonens. [n.d., c.1750.]
Engraving. 130 x 80mm.
Pote (1703-1787) was a publisher and bookseller of Eton.
[Ref: 4708] £230.00 (£276.00 incl.VAT)
![[Still life of pots & bottles.]](jpegs/57500.jpg)
[Still life of pots & bottles.] 53.
D. Cox, Del.t. T. Sutherland, Sculp.t.
London, Pub. March 1st 1821 by S. & J. Fuller, 34, Rathbone Place.
Aquatint, printed in colours and hand finished. Sheet 210 x 270mm (8¼ x 10½"). Trimmed within plate.
A broken pot, two bottles and an ewer on a table.
[Ref: 57500] £130.00 (£156.00 incl.VAT)
D. Cox, Del.t. T. Sutherland, Sculp.t.
London, Pub. March 1st 1821 by S. & J. Fuller, 34, Rathbone Place.
Aquatint, printed in colours and hand finished. Sheet 210 x 270mm (8¼ x 10½"). Trimmed within plate.
A broken pot, two bottles and an ewer on a table.
[Ref: 57500] £130.00 (£156.00 incl.VAT)
![[Garden with a mansion]](jpegs/33068.jpg)
[Garden with a mansion] Alt: 10. Lat: 26, unc.
Pahln et Prigel Pinx. Prenner incidit.
[Vienna, n.d., c.1728.]
Etching with engraved ornamental border printed from a separate plate; small margins; outer platemark 255 x 320mm (10 x 12½"). Laid paper; creases.
Garden scene after a painting by Peeter van Avont and Jan Brueghel the Younger (Vienna, Kunsthistorisches Museum). Plate 38 of the 'Theatrum Artis Pictoriae' (often referred to as the 'Galerie Impériale de Vienne'), a series of plates of paintings in the Imperial collection in Vienna executed by Anton Joseph Prenner (Austrian, 1683 - 1761) and published in Vienna in four parts, each of 40 plates, from 1728 to 1733.
[Ref: 33068] £240.00 (£288.00 incl.VAT)
Pahln et Prigel Pinx. Prenner incidit.
[Vienna, n.d., c.1728.]
Etching with engraved ornamental border printed from a separate plate; small margins; outer platemark 255 x 320mm (10 x 12½"). Laid paper; creases.
Garden scene after a painting by Peeter van Avont and Jan Brueghel the Younger (Vienna, Kunsthistorisches Museum). Plate 38 of the 'Theatrum Artis Pictoriae' (often referred to as the 'Galerie Impériale de Vienne'), a series of plates of paintings in the Imperial collection in Vienna executed by Anton Joseph Prenner (Austrian, 1683 - 1761) and published in Vienna in four parts, each of 40 plates, from 1728 to 1733.
[Ref: 33068] £240.00 (£288.00 incl.VAT)
![[Trompe l'oeil with armour and military gallery]](jpegs/33070.jpg)
[Trompe l'oeil with armour and military gallery] Alt: 25. Lat: 41, unc.
Ioann Iordans Pinxit
[Vienna, n.d., c.1728.]
Etching with engraved ornamental border printed from a separate plate; small margins; outer platemark 260 x 320mm (10 x 12½"). Laid paper. Few slight stains not visible.
Scene after Jacob Jordaens from the 'Theatrum Artis Pictoriae' (often referred to as the 'Galerie Impériale de Vienne'), a series of plates of paintings in the Imperial collection in Vienna executed by Anton Joseph Prenner (Austrian, 1683 - 1761) and published in Vienna in four parts, each of 40 plates, from 1728 to 1733.
[Ref: 33070] £260.00 (£312.00 incl.VAT)
Ioann Iordans Pinxit
[Vienna, n.d., c.1728.]
Etching with engraved ornamental border printed from a separate plate; small margins; outer platemark 260 x 320mm (10 x 12½"). Laid paper. Few slight stains not visible.
Scene after Jacob Jordaens from the 'Theatrum Artis Pictoriae' (often referred to as the 'Galerie Impériale de Vienne'), a series of plates of paintings in the Imperial collection in Vienna executed by Anton Joseph Prenner (Austrian, 1683 - 1761) and published in Vienna in four parts, each of 40 plates, from 1728 to 1733.
[Ref: 33070] £260.00 (£312.00 incl.VAT)
The Innocent. Beaute Innocente. 17.
[Alex.r Cozens inv. Fra.s Bartolozzi Sculp.]
[Publish'd April 10. 1777, by Alex.r Cozens, Leicester Street, Leicester Fields, London.]
Very rare, 1st state, engraving 470 x 325mm (18½ x 12¾") very large margins. Publication line so rubbed practically illegible. Slight mount stain. Crease upper and lower left corners. Right margin trimmed going into plate mark.
A plate from the book 'Principles of Beauty, Relative to the Human Head,' By Alexander Cozens, 'London: Printed by James Dixwell, No. 148, in St. Martin's Lane, near Charing Cross. M. DCC. LXXVIII'.
De Vesme: 2056
[Ref: 60609] £160.00 (£192.00 incl.VAT)
[Alex.r Cozens inv. Fra.s Bartolozzi Sculp.]
[Publish'd April 10. 1777, by Alex.r Cozens, Leicester Street, Leicester Fields, London.]
Very rare, 1st state, engraving 470 x 325mm (18½ x 12¾") very large margins. Publication line so rubbed practically illegible. Slight mount stain. Crease upper and lower left corners. Right margin trimmed going into plate mark.
A plate from the book 'Principles of Beauty, Relative to the Human Head,' By Alexander Cozens, 'London: Printed by James Dixwell, No. 148, in St. Martin's Lane, near Charing Cross. M. DCC. LXXVIII'.
De Vesme: 2056
[Ref: 60609] £160.00 (£192.00 incl.VAT)
![[Frontispiece to an almanac] The Prophetic Messenger for 1830.](jpegs/27491.jpg)
[Frontispiece to an almanac] The Prophetic Messenger for 1830. Hieroglyphic, for the Eventful Year 1830.
London, Published by William Charlton Wright [c.1830].
Hand-coloured etching, rare with aquatint, folding (as normal) frontispiece to 'The prophetic messenger, or, The events, predictions, and the weather, that will occur in each month...' by "Raphael". Lacking margins; closed tear into image lower right.
A kaleidoscope of vignettes illustrating the significant events anticipated for the year 1830; including representations of coronations, fires, extreme weather, political agitation, funerals, military campaigns and scientific advances. The 8vo annuals were published 1795-1832. Each issue has a folding coloured frontispiece.
See Cambridge University Library: Waddleton.d.9.1-3.
[Ref: 27491] £220.00 (£264.00 incl.VAT)
London, Published by William Charlton Wright [c.1830].
Hand-coloured etching, rare with aquatint, folding (as normal) frontispiece to 'The prophetic messenger, or, The events, predictions, and the weather, that will occur in each month...' by "Raphael". Lacking margins; closed tear into image lower right.
A kaleidoscope of vignettes illustrating the significant events anticipated for the year 1830; including representations of coronations, fires, extreme weather, political agitation, funerals, military campaigns and scientific advances. The 8vo annuals were published 1795-1832. Each issue has a folding coloured frontispiece.
See Cambridge University Library: Waddleton.d.9.1-3.
[Ref: 27491] £220.00 (£264.00 incl.VAT)
Psyches et Amoris nuptiae fabula a Raphaele Sanctio Urbinate Romae in Farnesianis hortis Transtyberim ad veterum aemulationem ac laudem colorum luminibus
Expressa a Nicolao Dorigny ad similitudinem delineata et incisa, et a Joanne Petro Bellorio notis illustrata.
Typis ac Sumptibus Dominici Rubeis Io. Jacobi Filii ac Heredis. Romæ ad Templum S.te Mariæ de Pace cum Privilegio summi Pontificis, et sup. Perm. Ædita Anno M.D.C.XCIII de XV Augusti. [1693.]
Engraved titlepage, printed in sanguine. 410 x 570mm (16 x 22½") Wear to edges, holes in printed surface.
The title page of a series of engravings of Raphael's 'Loggia di Psyche' at the Villa Farnesina, Rome. It contains the title and a short explanatory text in Latin, with an allegorical decoration featuring a river god (probably the Tiber) supporting an armorial shield, with a female figure of Fame blowing a trumpet and a putto flying above, holding a crown. Raphael's murals in the villa were drawn and engraved by Nicolas Dorigny (1658-1746), described by art historian Giovanni Pietro Bellori (1613-1696) and published by Domenico de Rossi (1647-1729).
[Ref: 33916] £120.00 (£144.00 incl.VAT)
Expressa a Nicolao Dorigny ad similitudinem delineata et incisa, et a Joanne Petro Bellorio notis illustrata.
Typis ac Sumptibus Dominici Rubeis Io. Jacobi Filii ac Heredis. Romæ ad Templum S.te Mariæ de Pace cum Privilegio summi Pontificis, et sup. Perm. Ædita Anno M.D.C.XCIII de XV Augusti. [1693.]
Engraved titlepage, printed in sanguine. 410 x 570mm (16 x 22½") Wear to edges, holes in printed surface.
The title page of a series of engravings of Raphael's 'Loggia di Psyche' at the Villa Farnesina, Rome. It contains the title and a short explanatory text in Latin, with an allegorical decoration featuring a river god (probably the Tiber) supporting an armorial shield, with a female figure of Fame blowing a trumpet and a putto flying above, holding a crown. Raphael's murals in the villa were drawn and engraved by Nicolas Dorigny (1658-1746), described by art historian Giovanni Pietro Bellori (1613-1696) and published by Domenico de Rossi (1647-1729).
[Ref: 33916] £120.00 (£144.00 incl.VAT)