Grosvenor Prints

William Barrowby, M.D.
F.Hayman Pinx.t. J.S.Müller sculp.t.
Sold by J.S.Müller at No 11 in Cravan Buildings ~ Price 2 Shill.ng.
A rare mezzotint. 350 x 250mm. Trimmed close to plate. Crease in top left corner.
It is said that this a portrait of the son of William Barrowby, Senior Fellow of the College of Physicians. The father cured Müller of a long illness, so Müller engraved this plate for free in gratitude. The painting by Hayman, although now untraced, is dated by Allen to the 1740s.
CS: 1. Ex: Collection of The Hon. C. Lennox-Boyd; Brian Allen, 'Francis Hayman'
[Ref: 3110] £240.00 (£288.00 incl.VAT)

Mrs. Barry.
Kettle Pinxt. S Paul [pseudonym of Samuel De Wilde?] fecit.
[n.d., c.1780.]
Rare mezzotint. 355 x 255mm (14 x 10"). Lower right margin corner chipped.
Ann (or Anne) Barry (née Street) (baptised 1733 - 1801), actress, sitting with her hands folded in her lap, wearing a white gown with ribbons looping the sleeves and a sash around her waist. Her hair is up with pearls, she has a pearl necklace, with cloak over left shoulder and her knees. After Tilly Kettle (1735-86).
Chaloner Smith 1 ('Paul'), only state but sitter's face with some retouching,
[Ref: 23453] £220.00 (£264.00 incl.VAT)

Mrs. Barry.
Kettle Pinxt. S Paul [pseudonym of Samuel De Wilde?] fecit.
[n.d., c.1780.]
Rare mezzotint. Sheet 355 x 250mm (14 x 9¾"). Trimmed to image on three sides, into plate at bottom.
Ann (or Anne) Barry (née Street) (baptised 1733 - 1801), actress, sitting with her hands folded in her lap, wearing a white gown with ribbons looping the sleeves and a sash around her waist. Her hair is up with pearls, she has a pearl necklace, with cloak over left shoulder and her knees. After Tilly Kettle (1735-86).
Chaloner Smith 1 ('Paul'), only state but sitter's face with some retouching, See ref: 23453.
[Ref: 61548] £180.00 (£216.00 incl.VAT)

James Barry Esq. From an original Cast, taken a short time before his Death.
Drawn by W.Evans, Engraved by C. Picart.
Published May 1, 1809, by T. Cadell & W. Davies, Strand London.
Stipple. Sheet 270 x 210mm, 10½ x 8¼". Trimmed within plate.
James Barry (1741-1806), a painter inspired by classical art, who decorated the great room of the Society of Arts with 'The Progress of Human Culture', 1777-83. This work was described by critic Andrew Graham-Dixon as 'Britain's late, great answer to the Sistine Chapel'.
See NPG 441 for Evans's original black crayon and wash on paper, circa 1805
[Ref: 27022] £70.00 (£84.00 incl.VAT)

James Barry Esq. Professor of Painting at the Royal Academy. From an original Cast, taken a short time before his Death.
Drawn by W.Evans, Engraved by C. Picart.
Published Feb. 11, 1811, by T. Cadell & W. Davies, Strand London.
Stipple. Sheet 380 x 330mm, 15 x 13". Slight creasing top left.
James Barry (1741-1806), historical painter and first Royal Academician to have been expelled from the Academy. Barry decorated the great room of the Society of Arts with 'The Progress of Human Culture', 1777-83, a work was described by critic Andrew Graham-Dixon as 'Britain's late, great answer to the Sistine Chapel'.
See NPG 441 for Evans's original black crayon and wash on paper, circa 1805
[Ref: 27023] £95.00 (£114.00 incl.VAT)

James Barry Esq.r late R.A. From a Picture Painted by himself about the Year 1783. European Magazine.
[James Barry.] Engraved by Ridley & Holl.
Published by J. Asperne, at the Bible, Crown & Constitution, 32, Cornhill April 30, 1806.
Stipple with small margins. Plate 159 x 114mm. 6¼ x 4½".
James Barry (1741-1806), the English painter who attracted the patronage of the statesman Edmund Burke who then sent him to Italy. Inspired by antique art, he executed several large historical works in a neo-classical style and, from 1777 to 1783, he decorated the great room of the Society of Arts. An ardent spokesman for high art, he became disillusioned with contemporary patronage and quarrelled with most of his colleagues.
[Ref: 27704] £60.00 (£72.00 incl.VAT)

The Levee, or the Maecenas of Scrubs and Scaramouches. Attic Miscellany.
Drawn by Collings. Etch'd by Barlow.
Published as the Act directs, by Bentley & C° June Ist 1791.
Etching. 195 x 235mm (7¾ x 9¼"). Original binding folds.
A boxing satire. A group of parasitic followers surround Richard Barry (1769-1793), 7th Earl of Barrymore, including boxers, jockeys, cock-fighters and a man resembling the Prince of Wales. On the back wall are paintings of 'Scrub' (after his nickname 'Lord Scrub), racing, cockfighting and a pierrot and harlequin. On the floor is an open book: 'New Pantomime by Bar & Co'. Despite being painted at an early age as an angelic Cupid by Richard Cosway, Barry found infamy as a rake, beginning at school at Eton, from where he would hire cabs to London to visit prostitutes. The Prince of Wales nicknamed him 'Hellgate'. He married the daughter of a sedan chair man: after he accidently killed himself with his own musket aged 23, she turned to prostitution and bare-knuckle boxing before becoming a matron of the female prisoners at the Tothill Fields Bridewell.
[Ref: 60162] £240.00 (£288.00 incl.VAT)

[Richard, Earl of Barrymore]
Painted by R. Cosway. Engraved by J Jehner.
Published June 24. 1778, by John Boydell Engraver in Cheapside London
Mezzotint with fantastic colour, 18th century watermark; 380 x 280mm (15 x 11"). Trimmed to plate.
Portrait of Richard Barry, Earl of Barrymore (1769-93), depicted as Cupid sitting on the grass beside a rose bush. With his back to the viewer, he looks over his shoulder while playing a lyre, all within a circular frame. As a young man the engraver, Isaac Jehner (1750-1818), had a series of accidents that broke his thighs and left arm, which were badly treated, leaving him on limited stature and disabled. He published a memoir, unusual for an engraver, called 'Fortune's Football' in 1806, described by Alexander as 'a pioneering account by a person with disabilites of his experiences'.
CS 1 I of I. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 65199] £360.00

[Richard Barry, 7th Earl of Barrymore] No. VIII. Antonietta. No. IX. The Theatrical Peer of Berks.
London, Published by A. Hamilton Jun.r. Fleet Street, 1. April, 1790.
Engraving. Plate: 175 x 110mm (7 x 4¼"). Light foxing and staining. Small margins, cut to plate at top. Few wormholes.
Two portrait busts set in ovals. On the right is a portrait of Richard Barry, 7th Earl of Barrymore (1769-1793) an English nobleman, theatrical enthusiast and rake. Known as Hellgate and Rake of Rakes. The portrait on the left depicts Antonietta, a French dancer Barry brought over from Paris to advise on his theatricals at his house at Wargrave. From the 'Histories of the Tête à Tête annexed...' series that appeared in 'Town and Country Magazine', a monthy magazine which featured articles on the scandals and romantic affairs of the nobility.
BM Satire 7700.
[Ref: 38574] £50.00 (£60.00 incl.VAT)

[Spranger Barry] M.r Barry in the Character of Macbeth. Axt 2.d Scene 3.
Ja.s Gwim. [engraved by Michael Jackson.]
Printed for Rob.t Sayer, Map & Printseller in Fleet Str.t. Publish'd according to Act of Parliament
Scarce mezzotint. 345 x 240mm (13½ x 9½"), large margins. Edges rubbed. Messy.
A full-length portrait of Irish actor Spranger Barry (1719-77), a daggar in each hand. He was a rival of David Garrick: in 1750 the Theatre Royal in Drury Lane and the Covent Garden Theatre put on competing performances of 'Romeo and Juliet', and the critics preferred Barry's Romeo to Garrick's.
CS I, ii of ii. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 66076] £290.00 (£348.00 incl.VAT)

Jean Bart.
J. Chapman sculp.
[n.d., c.1800.]
Stipple. Sheet size: 155 x 110mm (6 x 4¼"). Trimmed inside platemark. Laid on scrap sheet.
A portrait in an oval of French naval commander and privateer Jean Bart (1650 - 1702). Jean Bart was born in Dunkirk in 1650 and almost certainly spoke Flemish, at that time the native language in the region. When war broke out between France and the United Provinces in 1672, Bart entered the French service and became captain of one of the Dunkirk privateers. In this capacity he displayed such astonishing bravery, that Louis XIV sent him on a special mission to the Mediterranean, where he gained great distinction. He went on to achieve his greatest successes during the Nine Years' War (1688-1697).
[Ref: 34443] £65.00 (£78.00 incl.VAT)

Jean Bart. Ne a Dunkerque en 1650. Mort en 1702. Du grand Louis Jean-Bart etendit la puissance, L'Empire de Thetis admira sa valeur Et toujours ce soutien du pavillon de France Sera de nos marins le modele & l'honneur. Dedie aux Marins, a l'honneur, au courage et a l'amour de la patrie. En 181 paroitra le Portrait de l'Admiral Nelson.
Peint d'apres Nature par Hyacinthe Rigaud. Grave par Perrot.
Publie a Paris en 181 par Mr. Bernardini Illyrien, ancien Commissaire Principal de la Marine, de S.M. le Roi des Deux Siciles. Depose a la Direction generale.
Stipple printed in colour. Sheet 360 x 445mm. Tatty margins with some discolouration.
Jean Bart, French naval commander and privateer, who achieved his greatest successes during the War of the Grand Alliance (1688 - 1697). He captured 386 ships, destroying many more..
[Ref: 4902] £260.00 (£312.00 incl.VAT)

Joseph Barth. Docteur en Medecine, Proffesseur d'Anatomie &c. Conseiller et Chirurgion Oculiste de S.M.I.R. Ap.
Peint par H.F. Füger. Gravé a Viemme par N. Rhein. 1788.
Se trouve à l'Academie Imp. des beaux Arts, à St. Anne chez Mr le Professeur Jacobé, au prémiere Etage.
Fine mezzotint. 380 x 265mm (15 x 10½"), large margins. Evidence of a hair on the printing plate, foxing bottom left.
A bust portrait in oval of Maltese-born ophthalmologist Joseph Barth (1746-1818), oculist to Emperor Joseph II at Vienna. He is regarded as the first professor of ophthalmology, at the University of Vienna.
Wellcome: 186 not in.
[Ref: 69983] £390.00

[Bartholomew Fair] The Fiend's Frying Pan or Annual Festival of Tom Foolery & Vice, Under the Sanction of the Lord Mayor and thew Worshipful Court of Aldermen! In the Age of Intellect. Pl 3.
Desaigned Etched & Published by George Cruikshank, Sept.r 1. 1832.
Etching. Sheet 275 x 380mm (10¾ x 15"). Trimmed to plate, laid on album paper, small tear, spotting.
Bartholomew Fair is depicted in a frying pan held above a fire by a huge horned demon with a toasting fork. Two imps hold up scrolls listing the 'Amusements of the People', including 'Drunkenness, Riot, Robbery, Rascality', more demons on top left. A tent has large advert for "Wild Beasts". An attack on the lawlessness of Bartholomew Fair, before an 1840 ban on exhibitions sent it into decline, ceasing completely by 1855.
BM Satires 17352.
[Ref: 57709] £280.00 (£336.00 incl.VAT)

Best Mode of Going to Bartholomew Fair.
Designed and Etched by T. Lane.
Pub. by G. Hunt Corner of York St & Bridges St.
Fine coloured aquatint. Sheet 305 x 225mm (12 x 8¾"). Trimmed within plate, tear through title, laid on album paper.
A man smoking a pipe and carrying a cudgel, his body protected by a barrel with spikes, heavy boots protrunding from the bottom. Bartholomew Fair, held on the 24th August in Smithfield, was founded as a cloth fair in 1133. It expanded over the years to include sideshows, especially prize-fighters, musicians, wire-walkers, acrobats, puppets, freaks and wild animals, as illustrated in a famous view in the 'Microcosm of London'. However it also became increasing rowdy, with fights and muggings, as satirised here, and eventually the fair was suppressed in 1855.
Hickman p.86.
[Ref: 58465] £230.00 (£276.00 incl.VAT)

Bartholomew Fair. Plate 8.
Rowlandson & Pugin del. et sculpt. J. Bluck Aquat.
London. Pub Feb. 1, 1808 at R. Ackermann’s Repository of Arts 101, Strand.
Hand coloured aquatint, J. Whatman 1806 watermark; plate 230 x 280mm (9 x 11"), with large margins. Two small stains within plate but not image.
The Bartholomew Fair was one of London's pre-eminent summer Charter fairs or street markets. The fair was established to fund the Priory of St Bartholomew and from 1133 to 1855 it took place on 24th August within the precincts of the Priory at West Smithfield, outside Aldersgate of the City of London. Published in Ackermann's famous work, the 'Microcosm of London', the figures were drawn by the famous caricaturist Thomas Rowlandson and the architecture by Augustus Pugin.
Abbey, Scenery: 212.
[Ref: 62775] £180.00 (£216.00 incl.VAT)

Bartholomew Fair.
Rowlandson & Pugin del. et sculpt. J. Bluck Aquat.
London. Pub Feb. 1, 1808 at R. Ackermann’s Repository of Arts 101, Strand.
Hand coloured aquatint with large margins. Platemark: 240 x 285mm (9½ x 11¼").
The Bartholomew Fair was one of London's pre-eminent summer Charter fairs or street markets. The fair was established to fund the Priory of St Bartholomew and from 1133 to 1855 it took place on 24th August within the precincts of the Priory at West Smithfield, outside Aldersgate of the City of London. Published in Ackermann's famous work, the 'Microcosm of London', the figures were drawn by the famous caricaturist Thomas Rowlandson and the architecture by Augustus Pugin.
Abbey, Scenery: 212.
[Ref: 34093] £220.00 (£264.00 incl.VAT)

Bartholomew Fair, 1721.
Published as the Act directs by J. F. Setchel, 23, King-Street, Covent-Garden [1824].
Fan leaf: etching and aquatint. 290 x 560mm (11½ x 22"). with letterpress descriptive label. Trimmed to plate on left, repairs to folds.
Scarce & fine Fan leaf showing London's famous Bartholomew Fair and its diverse entertainments, with numerous street sellers, performers and booths. Of interest are the early big wheel and a peep show of the Siege of Gibraltar. Published by bookseller and stationer John Frederick Setchel (1774 - 1846).
[Ref: 67448] £680.00

[Rev.d John Bartlam, A.M.]
[Painted by Geo. Dawe Esq.r R.A. Engraved by James Godby.]
[London: Edward Orme, 1823.]
Stipple, rare proof before letters, with very large margins. 375 x 285mm (14¾ x 11¼").
John Bartlam (1770-1823), vicar of Ponseland, Northumberland and Beoley, Worcestershire.
NPG D21485.
[Ref: 34383] £130.00 (£156.00 incl.VAT)

[William Berkeley] Sr. William Bartley. Admirall.
P. Lely pinxit.
R.Tompson excudit. [n.d. c.1680.]
A fine and rare mezzotint. 335 x 246mm (13¼ x 9¾"). Trimmed to plate.
William Berkeley, Admiral of the White, killed in battle with the Dutch, 1st June 1666.
CS: Tompson 5. Not in Parker. From the Collection of Viscount Hood.
[Ref: 12792] £230.00 (£276.00 incl.VAT)

[Presentation in the Temple] Venerunt in Jerusalem, ut sifterent eum Domino / S. Luc. Cap. II V.22 / Florentiae in Sacrario S. Marci
Fra. Bartolomeo di S. Marco pinxit / Ang. Campanella sculpsit Romae 1771
Engraving with small margins, platemark 290 x 275mm (11¾ x 10¾"). Glued to backing sheet.
'They brought him to Jerusalem, to present him to the Lord'. Engraving after Florentine painter Fra Bartolommeo (1472-1517). Painted for the novitiate chapel of S Marco, Florence in 1516, The Uffizi exchanged the work in 1793 for Durer's 'Adoration of the Magi' in Vienna. Fra Bartolommeo's painting is now in the Kunsthistorisches Museum, Vienna.
For another engraving of the same work, see ref. 27307.
[Ref: 35209] £140.00 (£168.00 incl.VAT)

Baccio Bandinel
E. De Boulonois fecit.
From 'Academie des Science et des Arts', Amsterdam 1682.
Engraving. Sheet 185 x 135mm (7¼ x 5¼"). Trimmed to image and laid on album paper.
Half portrait of Bartolommeo Bandinelli (1488-1560) surrounded by small scale sculptures. Bandinelli was an Italian sculptor influenced by and deeply obsessed with Michelangelo.
[Ref: 53800] £120.00 (£144.00 incl.VAT)

[Frontis to Caldecott's Musical Miscellany MS Vol. III.]
F. Bartolozzi sculp.
Goulding, D'Almaine, Potter & Co. Music Publishers 20 Soho Sq. [c.1810].
Etching. 115 x 210mm (4½ x 8¼") very large margins. Old ink mss. name added, crack in platemark, some spotting and creasing.
Mrs. Wadham Wyndham "Caldecott's Musical Miscellany MS Vol. III” was a musical score book printed by Goulding D'Almaine, Potter & Co music publishers and musical instrument sellers, with a cartouche design by Francesco Bartolozzi (1725-1815), filled with songs and pieces, most with titles and some composers, with an index of titles and composers at the back, and various verses at the front and comments on John Barratt at the back. Music publishers 'Goulding & D’Almaine' was founded in 1785; it became 'Goulding, D’Almaine, Potter & Co.' c.1810.
[Ref: 60980] £160.00 (£192.00 incl.VAT)

The Infant Toilet.
F.Bartolozzi R.A. inv.t. A Cardon sculp.t
London, Publish'd by Colnaghi, Sala & Co. late Torre, 132 Pall Mall.
Stipple, printed in brown. 200 x 220mm.
[Ref: 533] £240.00 (£288.00 incl.VAT)

[Music publisher's invitiation.]
F. Bartolozzi sculp.
Goulding, D'Almaine, Potter & Co. Music Publishers 20 Soho Sq. [c.1810].
Etching. 115 x 210mm (4½ x 8¼"). Narrow margins.
Decorative design by Francesco Bartolozzi (1725-1815). Music publishers 'Goulding & D’Almaine' was founded in 1785; it became 'Goulding, D’Almaine, Potter & Co.' c.1810.
[Ref: 35839] £190.00 (£228.00 incl.VAT)

[Untitled Female Profile.]
F. Bartolozzi in. et Sculp.
Publish'd according to Act of Parliament de 15 June 1776.
Stipple printed in sanguine. 125 x 165mm. Very slight paper discolouration.
[Ref: 538] £180.00 (£216.00 incl.VAT)

[Shepherdess sitting with sheep outside a cottage, spinning wool] Guidata ch'a la Greggia Irminda poi / S'asside e sta filando i Lini suio
Francesco Bartolozzi scolp. Appo Teodoro Viero Ven.d 1774
Etching, fine impression; scarce; platemark 235 x 175mm (9¼ x 7"). Thread margins.
One a series of six pastoral subjects etched after designs by the Venice-based publisher and artist Teodoro Viero (1740-95) by Francesco Bartolozzi (1725-1815). Bartlozzi was a Florentine engraver who 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. Fine 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. Inscription 'Solo all'Albertine' verso suggests the only other impression known to Calabi was in the Albertine Museum, Vienna.
Calabi & de Vesme 1342
[Ref: 43124] £220.00 (£264.00 incl.VAT)

[Young man fishing, with a woman and small boy nearby] Osservato da Fille il Pesce piglia / Per sostentar la debil sua Famiglia
Francesco Bartolozzi scolp. Appo Teodoro Viero Ven.d 1774
Etching, fine impression; scarce; platemark 235 x 175mm (9¼ x 7"). Thread margins.
One a series of six pastoral subjects etched after designs by the Venice-based publisher and artist Teodoro Viero (1740-95) by Francesco Bartolozzi (1725-1815). Bartlozzi was a Florentine engraver who 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. Fine 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. Inscription 'Solo all'Albertine' verso suggests the only other impression known to Calabi was in the Albertine Museum, Vienna.
Calabi & de Vesme 1343
[Ref: 43125] £220.00 (£264.00 incl.VAT)

[Young couple embracing; young woman and sheep on right] Soglion gli Amanti coltivar non poco / Le lusinghe, gli scherzi il riso, e il gioco
Francesco Bartolozzi scolp. Appo Teodoro Viero Ven.d 1774
Etching, fine impression; scarce; platemark 235 x 175mm (9¼ x 7"). Thread margins.
One a series of six pastoral subjects etched after designs by the Venice-based publisher and artist Teodoro Viero (1740-95) by Francesco Bartolozzi (1725-1815). Bartlozzi was a Florentine engraver who 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. Fine 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. Inscription 'Solo all'Albertine' verso suggests the only other impression known to Calabi was in the Albertine Museum, Vienna.
Calabi & de Vesme 1345
[Ref: 43126] £220.00 (£264.00 incl.VAT)

[Woman mourning and embracing a tomb in the form of a pot]
G.B. Cipriani inv. / F. Bartolozzi sculp.
Published as the Act directs Nov. 20 1776
Etching, sheet 155 x 160mm (6 x 6¼"). Trimmed inside platemark; slight foxing.
Title page to 'Miscellaneous works of Ph. D. Stanhope, Earl of Chesterfield' (1777). In a later state this print was identified as Bathsheba mourning her husband Uriah.
de Vesme 1694.2
[Ref: 35960] £70.00 (£84.00 incl.VAT)

[Profile of a Woman.]
F. Bartolozzi inv. et sculp.
Published according to Act of Parliament de 15 june 1776.
Stipple with large margins; Rare. Plate: 125 x 170mm (5 x 6¾"). Some light foxing.
Profile portrait of a woman wearing a shawl.
De Vesme: 117. State II of II. For an example in sanguine see ref: 538.
[Ref: 35553] £160.00 (£192.00 incl.VAT)

[F. Bartolozzi, R:A:]
Sir Joshua Reynolds Pinxit. J. Watson Fecit.
Publishd Sep.r 24. 1785 by T. Watson N.º 33, Strand London.
Fine mezzotint, proof, 375 x 275mm (14¾ x 10¾"), with large margins. On 18th century watermarked paper.
A half-length portrait of Florentine engraver Francesco Bartolozzi (1725-1815), in fur-trimmed jacket.
CS 3, ii of ii; Russell 3, iii of iii; Goodwin 46, iii of iii; Hamilton p.6, ii of iii. Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 68023] £420.00

F. Bartolozzi, R:A:
Sir Joshua Reynolds Pinxit. J. Watson Fecit.
Publishd Sep.r 24. 1785 by T. Watson N.º 33, Strand London.
Mezzotint. 375 x 275mm (14¾ x 10¾"), large margins.
A half-length portrait of Florentine engraver Francesco Bartolozzi (1725-1815), in fur-trimmed jacket.
CS 3, ii of ii; Russell 3, iii of iii; Goodwin 46, iii of iii; Hamilton p.6, ii of iii. Ex: collections of The Hon. Christopher Lennox-Boyd and Mrs. E.M. Hamilton (EMH ink stamp), and other Collector'
[Ref: 67985] £320.00

Bartolozzi And his Works. A Biographical and Decriptive Account of the Life and Career of Francesco Bartolozzi, R.A. (Illustrated) with some observations on The Present Demand for and Value of his Prints; the way to detect Modern Impressions from Worn-out plates and to recognise falsely-tinted Impressions; Deceptions attempted with Prints; Print Collecting, Judging, Handling, &c.; together with a List of upwards of 2,000 - the most extensive record yet complied - of the Great Engraver's Works. "Sous leurs heureuses mains le cuivre devient or." Vol. I.
by Andrew W. Tuer
London : Field & Tuer, ye Leadenhalle Presse. Hamilton, Adams & Co., Paternoster Row. New York : Scriber & Welford, 743 & 745 Broadway. [n.d. c.1885].
Book: Two Vols. 4to (284 x 219mm). (i) pp 211. (ii) pp. 152. 13 plates printed in brown and sanguine. Board binding with gilt title on spine and front cover, with small gilt crest in bottom right-hand corner. (i) Ex Libris Royal Society of Arts Library. Rubbed, slightly torn binding with some spotting.
An illustrated catalogue of the life and works of Francesco Bartolozzi.
[Ref: 10199] £250.00 view all images for this item

Francis Bartolozzi Esq RA.
W.Artaud Pinx. Pastorini & P.W. Tomkins sculp.
London Published Feb 1st 1803, by H. Macklin, Poets Gallery, Fleet Street.
Engraving with small margins, 380 x 510mm. Slightly trimmed on left border.
Francesco Bartolozzi (1725-1815), Florentine engraver, elected a founding member of the Royal Academy in 1768 (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. The publisher, Hannah Macklin, was the widow of Thomas Macklin, continuing his business after his death in 1801.
[Ref: 31871] £360.00

Francis Bartolozzi Esq RA.
W.Artaud Pinx. Pastorini & P.W. Tomkins sculp.
London Published Feb 1st 1803, by H. Macklin, Poets Gallery, Fleet Street.
Engraving. 380 x 510mm (15 x 20")..
Francesco Bartolozzi (1725-1815), Florentine engraver, elected a founding member of the Royal Academy in 1768. The publisher, Hannah Macklin, was the widow of Thomas Macklin, continuing his business after his death in 1801.
[Ref: 454] £220.00 (£264.00 incl.VAT)

[F. Bartolozzi, R:A:]
[Sir Joshua Reynolds Pinxit. J. Watson Fecit.]
[Publishd Sep.r 24. 1785 by T. Watson N.º 33, Strand London.]
Mezzotint, proof before letters. 375 x 275mm (14¾ x 10¾"), with large margins. Old ink title and artists' names, paper toned, laid on card at edges.
A half-length portrait of Florentine engraver Francesco Bartolozzi (1725-1815), in fur-trimmed jacket. The BM's proof (Aa,9.1) has the same ink mss, suggesting it was done in the printing house.
CS 3, i of ii; Russell 3, i of iii; Goodwin 46, i of iii; Hamilton p.6, i of iii. Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 68024] £360.00

Francis Bartolozzi R.A.
[after Robert. Menageot.]
[n.d., c.1780.]
Stipple. 155 x 105mm (6¼ x 4¼"), with large margins.
Roundel portrait of Italian engraver Francesco Bartolozzi (1724-1815) as a young man.
[Ref: 40271] £180.00 (£216.00 incl.VAT)

Francis Bartolozzi, Esq.r
London, Pub 12 Oct. 1783 by R. Menageot, No.49 Broad Street, Soho
Stipple printed in brown, scarce, platemark 155 x 130mm (6¼ x 5"), with very large margins. Repaired wormhole title area
Francesco Bartolozzi (1725-1815), Florentine engraver who was elected a founding member of the Royal Academy in 1768 (the RA did not admit engravers at this time but made an exception in his case). Bartolozzi met George III's librarian Richard Dalton in Italy in 1763, and Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England Bartolozzi 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. The reproductive engraver Robert Menageot (1748-1783, fl.) published his original profile portrait of Bartolozzi in 1778. This slightly different plate, published by Menageot, was presumably made five years later because the success of the first plate had caused the plate to wear down from printing so many impressions.
Not in O'D; for other versions of the same likeness see refs.35725 and 40271.
[Ref: 47408] £140.00 (£168.00 incl.VAT)

Francis Bartolozzi, Esq.r.
Rob.t. Menageot del.t. et sculp.t.
[n.d., c.1778.]
Stipple printed in colour, rare. Sheet: 115 x 135mm (4½ x 5¼"). Trimmed within plate and publication line.
A half portrait in profile, set in a roundel of Italian engraver Francesco Bartolozzi (1724-1815). Bartolozzi lived and worked in London for nearly 40 years creating a huge number of stipple engravings throughout his career. Shortly after his arrival in London Bartolozzi was appointed as 'Engraver to the King'.
See also ref: 52441
[Ref: 35725] £120.00 (£144.00 incl.VAT)

Francis Bartolozzi Esq.r
Rob.t Menageot, del.t et sculp.t
London, Pub.d 12, Oct.r 1778, by R. Menageot, No.49 Broad Street, Soho.
Stipple printed in red. 152 x 114mm (6 x 4½").
Francesco Bartolozzi (1725-1815), Florentine engraver who was elected a founding member of the Royal Academy in 1768 (the RA did not admit engravers at this time but made an exception in his case). Bartolozzi lived and worked in London for nearly 40 years creating a huge number of stipple engravings throughout his career. Shortly after his arrival in London Bartolozzi was appointed as 'Engraver to the King'.
See Ref: 35725 for same image printed in colour.
[Ref: 52441] £180.00 (£216.00 incl.VAT)

[Agostino Carli. Fransescho Bartolozzi. Giovan. Battista Cipriani.]
Painted by J. Rigaud. Engraved by J.R. Smith.
Publishd March 5. 1778 by J.R. Smith, N.º 10 Batemans Building, Soho Square & W.m Humphrey N.º 60 S.t Martins Lane London.
Mezzotint, scratched rare letter proof before title, 18th century watermark. 460 x 505mm (18 x 19¾"). Creases. Small margins.
A group portrait of three Italian artists in London who were founder members of the Royal Academy in London in 1768: sculptor and painter Agostino Carli (c.1718-90), holding a mallet; engraver Francesco Bartolozzi (1727-1815) with a burin and portfolio of prints; and painter Giovanni Battista Cipriani (1727-1785) with palette, brush and easle. The plate was eventually published by John Boydell. The original painting is in the National Portrait Gallery (NPG 3186).
Ex: Collection of The Hon. C. Lennox-Boyd. CS 30, not mentioning this publication line. Frankau 60, i of iv. D'Oench 116.
[Ref: 64542] £320.00

Franciscus Bartolozzi. Florentiae natus 25a die 7bris 1728.
P.Violet Pinx. J. Bouilliard Sculpt.
Publish'd 1st Jully 1797 by J./ Boulliard London A Paris chezL'Auteur, Rue St.Thomas D'Enfer, Division des Thermes no 23 &720
Copper engraving. 365 x 250mm. Trimmed to just outside platemark with small tear into bottom right-hand side.
An engraver, etcher, and painter, b. at Florence, 1727; d. at Lisbon, 1815. His father was a goldsmith of excellent family and early taught the use of the burin to his boy who, when ten years of age, engraved two heads which gave promise of his future powers. In the Florentine Academy he learnt to work in oil, chalks, and aquarelle. Unsurpassed by any artist of his day in his knowledge of anatomy, and with a passion for the antique, young Bartolozzi became a master in depicting beauty of expression, movement, and form. From 1745 until 1751 he studied with Wagner, the Venetian historical engraver. This apprenticeship ended, he married Lucia Ferro and the young pair, on Cardinal Bottari's invitation went to Rome. Returning to Venice, his fame grew very rapidly, and in 1764, Dalton, King George III's librarian, took him to England, where he was appointed Engraver to the King, and, for years later, Royal Academician. In London he engraved over two thousand plates, nearly all in the stipple or the 'red-chalk style', a method recently invented by the French, but brought into vogue and elevated into a distinct art by Bartolozzi. He devoted himself to the human figure, and his engravings abound in sweet and tender types of beauty, graceful in form and outline. Everywhere are found delicate modulations of light and shade with a roundness, finish, and suggestion of flesh never before seen in engraved work. Bartolozzi's drawing was superb; and although he was a reproductive artist he improved the work he copied, especially the drawing, even Sir Joshua Reynolds thanking him for such a service. His pupils called him the 'god of drawing'. His splendid line work was obscured by the great popularity attained by his stippled prints, and his few etchings show a free, bold, and unfettered sweep of line. They, too, were reproduced from pictures by others, but the translation always improved on the original. In 1802 Bartolozzi went to Lisbon, where he was knighted, and where he worked and taught until his death. He was buried in the church of Saint Isabella. Among Bartolozzi's best reproductions are the 'Royal Academy Diploma', 'The Marlborough Gems', the 'Illustrations to Shakespeare', and some of his small 'Tickets', all in stipple; and 'The Silence' and 'Clytie', engraved in pure line.
[Ref: 14187] £260.00 (£312.00 incl.VAT)

The Aqueduct at Barton in Lancashire. Built by His Grace the Duke of Bridgewater.
Drawn on the Spot by Wm Orme of Manchester for which he obtaind the Larger Silver Pallet from the Society for the encouragement of Arts, Manufactures & Commerce.
[Published by Daniel and William Orme, n.d., c.1793.]
Etching and aquatint, open letter proof[?], image 395 x 525mm. Trimmed to plate on three sides, into plate at bottom.
The Barton Aqueduct, built by James Brindley (1716 - 1772), one of the earliest English engineers, to allow the Bridgewater Canal to cross the River Irwell. Having been called in by the Duke of Bridgewater (to whom this print is dedicated) in 1759 to advise upon the project for forming a canal by which the produce of the Worsley coal-mines could be cheaply transported to Manchester, Brindley produced a plan of striking originality. This included the construction of the aqueduct in 1761. This canal, suggested to the Duke of Bridgewater by the Grand Canal of Languedoc, was the first of any importance in England, and formed the commencement of the system of inland navigation in this country. Brindley seems to have laid out, or superintended, the construction of over 365 miles of canals. The most important of these was the Trent and Mersey canal, known as the Grand Trunk. The aqueduct was replaced with the current swing aqueduct when the Manchester Ship Canal was constructed because some sailing ships were unable to pass beyond the bridge. From a drawing by William Orme (1771 - 1854; active), landscape and transparency painter, and brother of Daniel and Edward Orme. This plate published under the title 'View of the celebrated aqueduct at Barton in Lancashire' with dedication to the Duke of Norfolk, President of the Society, on August 26th 1793. Very rare.
See BM: 1872,0713.600. From the Blackburn Collection.
[Ref: 57206] £690.00

Petrus Barwick M.D. Serenissimo Regi Carolo II.o e Medicis ordinarys.
G. Vertue Sculp.
[n.d. c.1721.]
Engraving. 178 x 108mm. 7 x 4¼". Trimmed.
Portrait of Dr Peter Barwick (1619-1705), Physician in ordinary to Charles II., half-length to left, with head turned to look to front; wearing a wig, dark coat decorated with ribbons, fur-trimmed sash, and broad collar trimmed with lace; in an oval frame placed on a pedestal. Frontispiece to Peter Barwick's 'Vita Johannes Barwick', 1721.
W: 192. NPG: D30036. Alexander: 326.
[Ref: 24575] £75.00 (£90.00 incl.VAT)

Tamkupt. / Baschkir.
Schadow del. Buchhorn sculp.
[n.d., c.1813].
Aquatint, very scarce. Sheet size: 260 x 333mm. (10¼ x13"). Trimmed with lower corners of sheet missing.
A Bashkir archer on horseback with bow and arrow poised to fire. The Bashkirs are Turkic people, indigenous to Bashkortostan, extending on both sides of the Ural Mountains, the area where Europe meets Asia. Ludwig Buchhorn (1770 - 185) is considered to be the most eminent draughtsman of his time besides J.G. Schadow, with whom he regularly worked with. This print is taken from 'Russische Kriegsvöler', first published in 1813.
[Ref: 31404] £140.00 (£168.00 incl.VAT)

I.B. Basedow.
J.D. Philipp geb: Syrang sc.
[German, n.d., c.1731 (?per pencil annotation to verso).]
Etching, 215 x 175mm. 8½ x 7". Slight stain lower right.
Oval portrait in profile of Johann Bernhard Basedow (1724 - 1790), German educational reformer, teacher and writer. He founded the Philanthropinum, a short-lived but influential progressive school in Dessau, and was the author of "Elementarwerk", a popular illustrated textbook for children.
[Ref: 21605] £130.00 (£156.00 incl.VAT)

Prospect der Statt Basel von Seiten der Vestung Hüningen. Vue et Perspective de la ville de Bâle du côté de Huningue. (Coat of arms and key listing buildings beneath the image.)
Em Büchel delin. et pinxit, I. M. Weis Argent. sc. 1744.
Cum Privil. Ampliss. Senat. Basil.
A rare engraving. Plate 458 x 679mm. 18 x 26¾".
A view of Basel, Switzerland, along the Rhine towards the Mittlere Brücke with the Basler Münster in the background. Boats and rafts on the river; a fisherman in the near foreground. Emmanuel Büchel, Swiss artist, 1705-1775, was baker, illustrator, topographer and painter and Johann Martin Weis 1711-1751, was a German engraver from Stuttgart. This is print number two of a series of four prints drawn by Büchel between 1743 and 1747 and engraved by J.M. Weiss in Strasbourg.
[Ref: 20210] £520.00

Beyde Stett Basel mit dem fürfliessenden Rhein und allen fürnemmen gebeüwen.
C.S. RMD.
[Basel, n.d., c.1570.]
Woodcut. Printed area 270 x 350mm, 10½ x 13¾". Small split in upper centrefold repaired.
Early map-view of Basel, drawn by Christoph Schweicker (whose initials appear in the Rhine on the left) and engraved by Hans Rudolf Manuel Deutsch (monogram RMD bottom left), published in Sebastian Münster's 'Cosmographia'. Basel was Münster's home city: he was Professor of Hebrew at Basle University, editing the Hebrew Bible and translating it into Latin. He died of the plague in 1552. His 'Cosmographia' one of the most successful books of the C16th, with 24 editions.
[Ref: 13170] £220.00

Bazel, enn beroemde Stadt aen den Ryn, alwaer het graf is van Erasmus.
Pet: Schenk Amst. C.P.
[n.d., c.1700.]
Engraving. 215 x 270mm. Stitch holes in left margin.
A prospect of Basel in Switzerland. The title notes that it is where Erasmus was buried.
[Ref: 7480] £230.00 (£276.00 incl.VAT)

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