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Lemuel Francis Abbott Esq.r.
Lemuel Francis Abbott Esq.r. Painted by Himself.
L.F. Abbott Pinx.t. Engraved by V. Green Mezzotinto Engraver to his Majesty.
Published Nov.r 14.th 1805 by J.no Harris No.30 Conduit Street, Bond Street, London.
Mezzotint. Sheet: 480 x 380mm (19 x 15"). Trimmed and laid on album sheet.
A famous & rare portrait an engraving after a self-portrait of portrait painter Lemuel Francis Abbott (1760-1802) depicted holding his famous painting of Horatio Nelson.
CS 1; Whitman: 147 II
[Ref: 47600]   £390.00  
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L'Artiste.
L'Artiste. [facsimile signature:] V. Adam.
[illegible signature in image.]
Imp. Lemercier & C.ie Paris. [n.d. c.1850.]
Lithograph on india with very large margins. Sheet 360 x 274mm (14¼ x 10¾").
Jean Victor Adam (1801-1867), the French painter and lithographer. He studied at the Ecole des Beaux-Arts, and after his 1819 exhibition, he was employed to paint various subjects for the Museum at Versailles.
[Ref: 34787]   £70.00   (£84.00 incl.VAT)

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Augustinus Aelius.
Augustinus Aelius.
P.E.Stroeling Fec.t.
[n.d., c.1821.]
Lithograph. Printed area 125 x 90mm (5 x 3½"). Printers' crease. Laid on album paper.
Bust portrait of a man with long sideburns. The BM's example is an 'unidentified man' with a note on the mount describing it as the frontispiece for 'Aglio's Woolley Hall of 1821'. Perhaps the title is a latinised version of Agostino Aglio (1777-1857), the Italian painter, decorator, and engraver who recorded the interior decorations of the Jacobean Woolley Hall.
BM: 1868,0612.614.
[Ref: 44153]   £80.00   (£96.00 incl.VAT)
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Franciscus Albanus Bonon. Albanum mihi Fama iubes depingere; pingam. Pictura, Is pariter si sibi Pictor erit.
Franciscus Albanus Bonon. Albanum mihi Fama iubes depingere; pingam. Pictura, Is pariter si sibi Pictor erit. [On pedestal:] Picturae Francisci Albani in Aede Verospia.
Petrus de Petris inv. et delin.
Io. Hyeronymus Frezza incid. Romae cum Priv. Sum. Pont. an. 1704.
Engraving with large margins. Image plate 362 x 280mm. 14¼ x 11". Title plate 32 x 280mm. 11¼ x 11". Crease to upper right corner. Foxed.
Frontispiece with Albani's portrait surrounded by Fame and a putto, with allegory of Painting lying in the foreground. One of a series of 17 prints after Francesco Albani's and Sisto Badalocchio's frescoes in Palazzo Verospi, Rome. Albani frescoed the loggia, while Badalocchio worked on the ground floor decorations. Francesco Albani (1578-1660), the Italian Baroque painter.
[Ref: 25905]   £230.00   (£276.00 incl.VAT)
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[Sir William Allan (in Circassian dress)]
[Sir William Allan (in Circassian dress)]
W.N. ft. 1819.
Etching, proof before all letters, 280 x 230mm. 11 x 9".
Portrait of Sir William Allan (1782-1850), history painter. Allan travelled widely in Eastern Europe, and is here depicted in traditional Circassian dress. Etching by William Nicholson from his own painting of Allan (now in the Scottish National Portrait Gallery, Edinburgh). In 1818 Nicholson began to publish a series entitled 'Portraits of distinguished living characters of Scotland, drawn and etched by William Nicholson from his portraits and those by other painters', for which this proof probably contributed.
D. Thomson & S.B. Lockhart, 'The Concise Catalogue of the Scottish National Portrait Gallery'
[Ref: 16377]   £140.00   (£168.00 incl.VAT)
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Christophe Gabriel Allegrain.
Christophe Gabriel Allegrain. Suclpteur du Roi, Recteur en son Académie de Peinture et de Sculpture. Né à Paris.
Peint pas Duplessis pour sa réception, 1774. Et gravé par I: S: Klauber pour sa réception à l'Académie de Paris 1787.
Fine engraving. 290 x 390mm (11½ x 15½"), with very large margins.
A three-quater length portrait of french sculptor Christophe-Gabriel Allegrain (1710-1795) next to his most famous sculpture 'La Baigneuse', exhibited in the Salon of 1767.
[Ref: 41437]   £280.00   (£336.00 incl.VAT)
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[Lawrence Alma-Tadema, R.A., in his studio]
[Lawrence Alma-Tadema, R.A., in his studio]
[T.L. Atkinson after John Collyer, pencil signatures]
[Published by T.H. Lefèvre, June 1 1885]
Mezzotint on india, very large margins; platemark 550 x 420mm (21½ x 16½"). Printsellers' Association blindstamp. Very scarce.
Lawrence Alma-Tadema (1836-1912), London painter of Greek and Roman settings, etcher, stage designer and decorative artist was born in January 1836. Shown in his studio holding palette and brushes, an unfinished canvas behind him. After training in Antwerp, Alma-Tadema moved to London in 1870 and became a member of the Royal Academy in 1879. He was knighted in 1899. After the portrait by John Collier (1850-1934), portrait painter who received guidance and encouragement from Alma-Tadema as a young artist. The print was originally sold as a companion to a portrait of another 19th century artist, Rosa Bonheur.
PSA limited to 275 artist's proofs (plate destroyed); ex: collection of the Late Hon C. Lennox-Boyd.
[Ref: 36360]   £520.00  
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Sofonisba Angosciola.
Sofonisba Angosciola.
From an original Painting by herself in the Gallery at Althorp. Engraved by Hawksworth.
[n.d. c.1760.]
Engraving. 165 x 121mm. 6½ x 4¾". Trimmed to platemark.
Taken from a "Self-Portrait with Clavichord", 1561. Sofonisba Anguissola (c.1532-1625) was an Italian painter of the Renaissance. As a female artist and within a certain class, she could not transcend the contraints of her sex. Despite this setback, she sought to stylise portraiture which in turn led her to be invited to join the Spanish Court, which became the turning point in her career, and King Philip II took a great interest in her future, wellbeing and artwork. She is one of few female artists mentioned in Vesari's "Lives of Artists."
From the Collection of J.S. Bumpus.
[Ref: 17242]   £70.00   (£84.00 incl.VAT)
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D. Antonius van Dyck Eques.
D. Antonius van Dyck Eques. [In image] Ant Van Dyck pinxit. De Larmessin Sculp.
From 'Academie des Science et des Arts', Amsterdam 1682.
Engraving. Sheet 190 x 135 (7½ x 5¼"). Trimmed to image and laid on album paper. Foxing along the left margin.
Half portrait of Sir Anthony van Dyck (1599-1641), back turned and looking over his shoulder. Van Dyck was a Flemish Baroque artist and, after artistic success in the Netherlands and Italy, was recruited as a court painter in England. He was granted a knighthood by Charles I.
[Ref: 53791]   £140.00   (£168.00 incl.VAT)
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M.r William Austin, Drawing Master of Brighton.
M.r William Austin, Drawing Master of Brighton. This Print is humbly dedicated to his Royal Highness the Prince of Wales with every mark of respect by his Highnesses much obliged & very humble Servant. W. Austin.
Edm.d Scott del.t. Ja.s Godby sculp.t.
Published as the Act directs March 25 1809 by W. Austin, No.20, Great Russell Street Brighton.
A fine stipple. Plate: 215 x 290mm (8½ x 11½"), very large margins. Dusty.
A seated portrait of drawing master and caricaturist William Austin (1721-1820). A pupil of George Bickham, Austin worked first as an artist and then as a drawing master in Brighton, he also owned a print shop which sold caricatures many of which supported Charles James Fox. Austin is shown holding a folio titled 'Patriotic Elections, Westminster, Middlesex, Surrey and Bedford' while a portfolio labelled 'Portraits of Mr Fox and other illustrious Characters' leans up against a table.
[Ref: 44589]   £190.00   (£228.00 incl.VAT)
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John Bacon Esq.r R.A.
John Bacon Esq.r R.A.
Painted by I. Russell R.A. Crayong Painter to His Majesty. Engraved by I. Collyer A.R.A. Engraver to Her Majesty.
[n.d. c.1815.]
Engraving on india. Plate 202 x 127mm. 8 x 5".
John Bacon the Elder (1740-1799), was a sculptor, responsible for some important monuments, and a variety of statues in London and elsewhere. He was born in Southwark, son of a clothworker, learnt modelling under a porcelain maker in Lambeth, and by 1867 had become a modeller for Mrs Coade's Lambeth factory, while studying at the Royal Academy Schools. He later also worked for Wedgewood. He was elected an Associate of the Royal Academy in 1770, and full Academician in 1777, and it was from around this time that he began to win major commissions for sculptural works, including in 1779 the monument to Chatham in Westminster Abbey.
NPG: D16070.
[Ref: 18954]   £65.00   (£78.00 incl.VAT)
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John Bacon Esq. R.A.
John Bacon Esq. R.A.
Published by J.Sewell, Cornhill, 1 Sep. 1790.
Engraving, 120 x 185mm (4¾ x 7¼"). Foxing; torn along left side of platemark
Portrait from the 'European Magazine', of John Bacon (1740-1799), sculptor. Born in Southwark, Bacon was apprenticed to a porcelain manufacturer before becoming a sculptor. He won the first gold medal awarded for sculpture by the Royal Academy of Arts in 1769 and was later engaged to execute a bust of King George III. His work can be seen in St. Paul's Cathedral, Westminster Abbey, Christ Church and Pembroke College, Oxford, and Bristol Cathedral.
[Ref: 8781]   £65.00   (£78.00 incl.VAT)
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Johannes Van Balen
Johannes Van Balen Bon Painctre en petit et en grand [...] ouil ce tient mentinant,
Johannes van Balen pinxit. W: Hollar fecit.
J: Meyssens excudit [1649]
Etching, platemark 164 x 113mm (6? x 4?"). Laid onto album sheet.
Portrait of the Flemish artist Jan Van Balen (1611-54) etched after a self-portrait (now lost) by Wenceslaus Hollar. This is one of nine portraits etched by Hollar, when in Antwerp, for a collection of portraits published there by Meyssens in 1649 under the title 'Image de divers hommes desprit sublime'. Below the portrait is a biographical note, as Pennington notes, 'in execrable French'.
Pennington: 1356 iii/v. For a later state see ref. 4223.
[Ref: 23793]   £140.00   (£168.00 incl.VAT)
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Thomas Banks R.A.
Thomas Banks R.A.
Geo. Dance del. Feby. 1793. Wm. Daniell Fecit.
Published by Willm. Daniell No. 9 Cleveland Street, Fitzroy Square London, Septr. 15, 1809.
Soft-ground etching. 268 x 197mm. 10½" x 7¾".
Thomas Banks (1735 - 1805), English sculptor. He was taught drawing by his father, and in 1750 was apprenticed to a woodcarver. In his spare time he worked at sculpture, spending his evenings in the studio of the Flemish émigré sculptor Peter Scheemakers. Before 1772, when he obtained a travelling studentship given by the Royal Academy and proceeded to Rome, he had already exhibited several fine works. Banks was paid 500 guineas for the group which depicts Shakespeare, reclining against a rock, between the Dramatic Muse and the Genius of Painting.
[Ref: 8426]   £130.00   (£156.00 incl.VAT)
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Mr Robert Barker,
Mr Robert Barker, Inventor and Proprietor of the Panorama.
G. Ralph pinx.t. J. Singleton Sculp.t.
Published Oct.r 1,,st 1802, by W.m Richardson, York House, Strand.
Rare Stipple. Sheet 170 x 130mm (6¾ x 5¼"). Trimmed at sides.
Half-length portrait of Robert Barker (1739-1806), who coined the word 'panorama' in 1792 for his method of painting 360º views on a cylindrical surface. The following year he opened the world's first purpose-built panorama building, in Leicester Square. One of his most successful panoramas, showing London from the roof of Albion Mills, drawn by his son Henry Aston Barker, was published on six sheets in 1792.
[Ref: 57194]   £240.00   (£288.00 incl.VAT)
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James Barry Esq.r late R.A. From a Picture Painted by himself about the Year 1783.
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)
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James Barry Esq. Professor of Painting at the Royal Academy.
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)
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James Barry Esq. From an original Cast, taken a short time before his Death.
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)
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James Barry Esq.r late R.A. & Professor of Painting to the Royal Academy.
James Barry Esq.r late R.A. & Professor of Painting to the Royal Academy.
From a Picture painted by himself about the year 1783. J. Heath sculp.t A.R.A.
See page 57, of Mr. Barry's account of the series of Pictures at the Adelphi, printed by Adlard, London, the same year. [n.d. c.1804.]
Engraving. Sheet size: 165 x 110mm (6½ x 4¼"). Trimmed inside plate.
James Barry (1741-1806), was a painter who he attracted the patronage of the statesman Edmund Burke who 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.
[Ref: 39997]   £120.00   (£144.00 incl.VAT)
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Baccio Bandinel
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)
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Francis Bartolozzi Esq RA.
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)
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Francis Bartolozzi, Esq.r
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)
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Francis Bartolozzi R.A.
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)
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Francis Bartolozzi, Esq.r.
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)

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Davit Beck.
Davit Beck. Peintre, et Valet, de Chambre de la Serenissime Reyne de Sweede, envoie de Sa Ma: pour peindre les personnes Illustres de la Chrestiente. natif de Delft en Hollande.
Davit Beck pinxit. Ant. Coget sculpsit.
Ioan Meyssens exc. [n.d. c.1655.]
Engraving. Plate 172 x 114mm. 6¾ x 4½". Glued to backing sheet.
David Beck (1621-1656), here in his studio with a female portrait, was a Dutch Golden Age portrait painter. From Cornelis de Bie's "Het gulden cabinet vande edel vry schilder const".
[Ref: 24524]   £75.00   (£90.00 incl.VAT)
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Giovanni Bellini Pittore.
Giovanni Bellini Pittore.
Gio. Do. Campiglia del. P. Ant. Pazzi sc.
[n.d., c.1766.]
Fine engraving. 270 x 185mm (10½ x 7¼"), with large margins.
A half-length self-portrait of Giovanni Bellini (c.1430-1516), Venetian painter of the Renaissance. This portrait was part of A. F. Gori's monumental 'Museum Florentium', which set out to engrave all the portraits of painters, architects, sculptors and patrons of the arts in the major galleries of Florence. This vast undertaking was issued in parts, taking over thirty years (1731-1766) to complete. In this case, the intermediate artist was Giovanni Domenico Campiglia (1692-1768) and the engraver Pietro Antonio Pazzi (c. 1706 - after 1766).
[Ref: 59699]   £140.00   (£168.00 incl.VAT)
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Pietro Bellotti Pittore
Pietro Bellotti Pittore
Gio. Dom. Campiglia del. P. Ant. Pazzi Sc.
[n.d., c.1766.]
Etching. 272 x 184mm (10¾ x 7¼").
Engraving after Pietro Bellotti's 'self-portrait of the artist as laughter'. Bellotti (1625-1700), an Italian Baroque painter, was a pupil of Michele Ferrabosco in Venice, and patronized by Pope Alexander VIII and by the Duke of Uceda. This portrait was part of A. F. Gori's monumental 'Museum Florentium', which set out to engrave all the portraits of painters, architects, sculptors and patrons of the arts in the major galleries of Florence. This vast undertaking was issued in parts, taking over thirty years (1731-1766) to complete.
[Ref: 24763]   £130.00   (£156.00 incl.VAT)
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Galliari Bernardino.
Galliari Bernardino. Pittore Bielleso.
Rossetti Vercellese diseg. Cav. De - Gregory dresse. Rinaldi di Canelli incise.
[n.d., c.1820].
Engraving with large margins. Platemark: 190 x 135mm. (7½ x 5¼").
A portrait of Bernardino Galliari (1707-1794), in profile to left, with a paint brush raised in his right hand. An unfinished backdrop to a play can be seen in the background. Galliari was an Italian painter, born at Andorno. He was a famed scenic designer and decorator of theatres.
[Ref: 31684]   £110.00   (£132.00 incl.VAT)
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Thomas Bewick [facsimile siganture.]
Thomas Bewick [facsimile siganture.]
[Frederick Bacon, after James Ramsay.]
R. Turner [stamped.] [n.d. c.1852.]
Engraving on india with small margins, scarce, printseller's association stamp, publisher's blindstamp of R. Turner Newcastle. Limited edition 150 Autograph proofs on india paper; Plate 405 x 305mm (16 x 12").
Thomas Bewick (1753-1828), the British wood-engraver. He is credited with reviving this art and establishing it as a major form of printmaking. He developed the technique of cutting a design into hardwood cut across, rather than with, the grain, using a sharp tool called a bruin. In 1775, he received a payment from the Royal Society for the Encouragment of Arts, Manufactures and Commerce for a wood engraving of the 'Huntsman and the Old Hound'. Bewick's most important works are illustrations for books such as 'A General History of Quadrupeds' (1790) and 'A History of British Birds' (1797).
NPG: D31747.
[Ref: 29928]   £250.00   (£300.00 incl.VAT)
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Mr. Thos. Bewick,  Restorer of the Art of Engraving on Wood.
Mr. Thos. Bewick, Restorer of the Art of Engraving on Wood.
From an original Miniature by Murphy, in the possession of Mr. Bewick, with whose permission this Plate is Engraved by J. Summerfield.
Published Feby. 1, 1816, by T. McLean, Sackville Street, Piccadilly.
Engraving on india laid paper, 235 x 155mm. 9¼ x 6". A fine impression.
Scarce portrait of Thomas Bewick (1753 - 1828), wood-engraver. At the age of fourteen Bewick was apprenticed to Ralph Beilby, an engraver in Newcastle. He devoted himself to engraving on wood, and is credited with reviving this art and establishing it as a major form of printmaking. Bewick developed the technique of cutting a design into hardwood cut across, rather than with, the grain, using a sharp tool called a burin. In 1775, he received a payment from the Royal Society for the Encouragement of Arts, Manufactures and Commerce for a wood engraving of the Huntsman and the Old Hound. Bewick's most important works are illustrations for books such as A General History of Quadrupeds (1790) and A History of British Birds (1797 and 1804).
for the portrait with additional letterpress see ref. 18951
[Ref: 17200]   £160.00   (£192.00 incl.VAT)
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Mr. Tho.s Bewick,
Mr. Tho.s Bewick, celebrated Engraver on Wood.
Miss Kirkley, Pinx.t. T.A. Kidd, Sculp.t
Published as the Act directs, Jan.y 4th 1798 by G.G. & J. Robinson Paternoster Row, & I.A. Kidd NewCastle upon Tyne.
Engraving with very large margins, 195 x 140mm (7¾ x 5½").
Thomas Bewick (1753-1828), wood-engraver. At the age of fourteen Bewick was apprenticed to Ralph Beilby, an engraver in Newcastle. He devoted himself to engraving on wood, and is credited with reviving this art and establishing it as a major form of printmaking. Bewick developed the technique of cutting a design into hardwood cut across, rather than with, the grain, using a sharp tool called a bruin. In 1775, he received a payment from the Royal Society for the Encouragement of Arts, Manufactures and Commerce for a wood engraving of the Huntsman and the Old Hound. Bewick's most important works are illustrations for books such as A General History of Quadrupeds (1790) and A History of British Birds (1797 and 1804). This portrait is engraved from a painting by Caroline Kirkley (1795-1798, fl.), son of Sir Joshua Reynolds' manservant Ralph Kirkely.
[Ref: 33972]   £130.00   (£156.00 incl.VAT)
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Thomas Bewick the Celebrated Engraver on Wood.
Thomas Bewick the Celebrated Engraver on Wood.
William Nicholson Pinx.t. Thomas Ranson Sculp.t.
London Published by T. Ranson, Judd Place West New Road & Mess.rs Boydell Cheapside, Jan.y 1816.
Scarce etching, scratched letter proof on chine collé. 280 x 180mm (11 x 7"), with large margins. Some spotting and creasing,
Seated portrait of Thomas Bewick (1753-1828), holding burin, with a sketch of a cow on a table beside him. Thomas Ranson (1784-1828) was apprenticed in Newcastle before moving to London. He was a noted bank note engraver.
Provenance Davidson Album. Alexander: Pg 731.
[Ref: 57720]   £240.00   (£288.00 incl.VAT)
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W. Redmore Bigg. R.A. [facsimile signature].
W. Redmore Bigg. R.A. [facsimile signature]. Proof.
W.m Fisk Pinxit. W.m Narnard Sculp.t.
Published by W.m Fisk, 19, Charles Street, Berniers Street, & W.m Barnard, 53, Pall Mall, June, 20th 1831.
Proof mezzotint. 270 x 215mm (10½ x 8½"). Narrow margins, mounted in album paper at edges.
Half-length portrait of genre painter William Redmore Bigg (1755-1828). During his lifetime he was hugely popular, with the best engravers were employed to reproduce his works in mezzotint.
CS 1, recorded as the only state. Russell 1, state ii of iii.
[Ref: 61631]   £140.00   (£168.00 incl.VAT)
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Lady Bingham.
Lady Bingham.
Angelica Kauffman pinx.t. James Watson fecit.
Printed and Publish'd according to Act of Parliament 1st April 1776, by James Bretherton, No 134 New Bond Street.
Mezzotint. 500 x 380mm (19¾ x 15"). Small repaired tear top left & very few repaired wormholes, small margins.
Full-length portrait of painter of miniatures Margaret Bingham (née Smith, c.1740-1814), seated, leafing through a print portfolio on a table. The daughter of Sir James Smith, she married Charles Bingham (1735-1799), 1st Earl of Lucan in 1760. This portrait was first published by James Watson in 1775.
CS: 10. Goodwin: 101. Alexander: 22. See 27752 for a proof.
[Ref: 43487]   £480.00  

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[Lady Bingham.]
[Lady Bingham.]
Angelica Kauffman pinx.t James Watson fecit.
Publish'd according to Act of Parliament March 25.th 1775, by James Watson No.64 Little Queen Ann Street & B: Clowes Engraver Gutter Lane Cheapside London.
Mezzotint, very scarce proof before title. 502 x 380mm (19¾ x 15"). Margins on left frayed.
Full-length portrait of painter of miniatures Margaret Bingham (née Smith, c.1740-1814), seated, leafing through a print portfolio on a table. The daughter of Sir James Smith, she married Charles Bingham (1735-1799), 1st Earl of Lucan in 1760.
CS: 10. Goodwin: 101. Alexander: 22.
[Ref: 27752]   £490.00  

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William Blake.
William Blake.
Painted by T. Phillips R.A. Engraved by L. Schiavonetti V.A.
London Pub.d March 1.1813, by R. Ackerman, 101 Strand.
Etching on india. Plate: 260 x 375mm (10 x 14¾"); very large margins. Foxing, india slightly lifting at bottom right.
A half-length portrait of poet and artist William Blake (1757-1827). Forgotten almost immediately after his death it wasn't until the late nineteenth century that he was rediscoverd and is now considered one of the seminal figures in the history of the poetry and visual arts of the Romantic movement.
[Ref: 40787]   £420.00  
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Richard Van Bleeck, Pictor.
Richard Van Bleeck, Pictor.
Si. Ipse pinxit, 1753. P. Van Bleeck jun.r fec.t 1735.
1735.
Mezzotint. Very fine impression. Platemark: 350 x 250mm (13¾ x 9¾").
After a self-portrait by Dutch Golden Age painter Richard Van Bleeck (1670 - 1748), three-quarter length, sitting at a table to right, looking towards the viewer, gesturing with left hand towards a palette on the table. A large nude torso is seen behind, half obscured by a curtain.
Chaloner Smith. 10.II
[Ref: 39398]   £360.00  
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[H. Bone Esq.r R.A.]
[H. Bone Esq.r R.A.]
[G.H. Harlow pinx.t. F.C. Lewis sculp.t. ]
[London, Published by G. Lawford, Saville Place Decr. 1st. 1824.]
Mezzotint, proof before all letters. 220 x 180mm (8½ x 7"), with large margins. Faint printer's crease in inscription area.
Henry Bone (1755-1834), enamel painter who began to exhibit miniatures at the Royal Academy in 1781.
[Ref: 61632]   £230.00   (£276.00 incl.VAT)
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Henry Bone RA [facsimile.]
Henry Bone RA [facsimile.]
H. Corbould del. Thomson sculp.
London Published for the Proprietors of the European Magazine, by Lupton Relfe 13 Cornhill, May 1st. 1822.
Stipple, india proof. Plate 241 x 140mm. 9½ x 5½". Uncut.
Henry Bone (1755-1834), was an enamel painter who he moved from Cornwall to London in 1779 where he worked on jewellery designs and the enamelling of watches and fans. He began to exhibit miniatures at the Royal Academy in 1781. He executed many beautiful miniature pieces of much larger size than had been attempted before in England. Among them are copies of eighty-five portraits painted during the time of Queen Elizabeth I that are considered among his greatest works.
[Ref: 18946]   £85.00   (£102.00 incl.VAT)
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[Richard Parkes Bonington.]
[Richard Parkes Bonington.]
[Charles Damour.]
[n.d., c.1852.]
Aquatint. Sheet: 130 x 100mm (5 x 4''). Trimmed and laid on album sheet with the collector's stamp of Alfred Beurdeley.
A portrait of Romantic landscape painter Richard Parkes Bonington (1802-1828). Frontispiece to 'Oeuvres inédités de Bonington' 1852.
[Ref: 48674]   £160.00   (£192.00 incl.VAT)
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[Anne Brown] Clara.
[Anne Brown] Clara. From an Original Picture in the Collection of John Taylor, Esq.r.
Wm. Peters, R.A. pinx:t : Walker Excud:t.
Pubd. 13 Decr. 1777 by J. Walker No:13, Parliament Street
Fine stipple printed in colours, plate 265 x 205mm (10½ x 8"), with large margins.
Portrait of Anne Brown (also known as Cargill, c.1748-84) as Clara in Sheridan's 'The Duenna', seen bust-length in profile to left within oval frame, wearing lace-edged veil and cape. Reverse copy of a mezzotint by John Raphael Smith (1751-1812).
Ex: Oettingen-Wallerstein collection. Sotheby's London / Milan Nov 1997.
[Ref: 60277]   £320.00  
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[Anne Brown] Miss Ferard.
[Anne Brown] Miss Ferard. in the Strand London.
[After Rev Mathew William Peters] J.P. Woffinik Sculp.
[n.d. c.1780]
Stipple printed in sanguine, plate 265 x 205mm (10½ x 8"), with large margins.
Portrait of Anne Brown (also known as Cargill, c.1748-84) as Clara in Sheridan's 'The Duenna', seen bust-length in profile to left within oval frame, wearing lace-edged veil and cape.
Ex: Oettingen-Wallerstein collection. Sotheby's London / Milan Nov 1997.
[Ref: 60278]   £260.00   (£312.00 incl.VAT)
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[Anne Brown] Clara.
[Anne Brown] Clara. From an Original Picture in the Collection of John Taylor, Esq.r.
[After Rev Mathew William Peters]
Pub.d March 1.st 1780 by J.Walker N.o 148 Strand.
Fine stipple printed in colours, plate 160 x 135mm (6¼ x 5¼"). Thread margins.
Portrait of Anne Brown (also known as Cargill, c.1748-84) as Clara in Sheridan's 'The Duenna', seen bust-length in profile to left within oval frame, wearing lace-edged veil and cape. Reverse copy of a mezzotint by John Raphael Smith (1751-1812).
Ex: Oettingen-Wallerstein collection. Sotheby's London / Milan Nov 1997.
[Ref: 60279]   £160.00   (£192.00 incl.VAT)
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[Anne Brown] [Clara]
[Anne Brown] [Clara]
Peint par Guill.m Peters: R:A: Egrave' par : P : Charlay : L Ausgsbourg 15 Julliet 1778.
Fine stipple printed in sanguine, plate 200 x 160mm (7¾ x 6½"), with very large margins.
Portrait of Anne Brown (also known as Cargill, c.1748-84) as Clara in Sheridan's 'The Duenna', seen bust-length in profile to right within oval frame, wearing lace-edged veil and cape. A German reverse copy of the stipple after Rev Matthew William Peters (c.1741-1814) engraved by John Walker (fl.1776-1802).
Ex: Oettingen-Wallerstein collection. Sotheby's London / Milan Nov 1997.
[Ref: 60276]   £280.00   (£336.00 incl.VAT)
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Henry Bunbury Esq.
Henry Bunbury Esq.
Laurence pinx. Ryder sculp.
London Published as the Act directs 24 Apr: 1789 by S: Watts No28 Walcot Place Lambeth & to be had at T: Ryder's No.43 Great Titchfield St.
Stipple with small margins. Plate 412 x 322mm (16¼ x 12¾").
Henry William Bunbury (1750-1811), holding a sheet of figures across his lap inscribed 'Long Minuet', completing the drawing with a pencil in his right hand, which rests on a table at left. The Long Minuet is one of Bunbury's famous large panoramic images.
[Ref: 29958]   £480.00  
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Henry Bunbury Esq.
Henry Bunbury Esq.
Laurence pinx. Ryder sculp.
London Published as the Act directs 24 Apr: 1789 by S: Watts No28 Walcot Place Lambeth & to be had at T: Ryder's No.43 Great Titchfield St.
Stipple printed in sepia with small margins, platemark 412 x 322mm (16¼ x 12¾"). Damaged at top of two corners.
Henry William Bunbury (1750-1811), holding a sheet of figures across his lap inscribed 'Long Minuet', completing the drawing with a pencil in his right hand, which rests on a table at left. The Long Minuet is one of Bunbury's famous large panoramic images.
For impression printed in black ink see ref. 29958.
[Ref: 41062]   £420.00  
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A. W. Callcott, Esq. R.A.
A. W. Callcott, Esq. R.A.
Painted and Engraved by J Linnell.
London Published March. 1st.1832 By J Linnell. Porchester Terrace Bayswater.
Mezzotint. Plate 407 x 278mm.
Sir Augustus Wall Callcott (1779-1844) Painter, student of John Hoppner although he focused on Landscapes. John Linnel was an English painter who made a good living as a fashionable portraitist, but preferred to paint landscapes. In 1837, he married the daughter of Samuel Palmer, one of his influences. He gave up portraiture in the 1840’s and moved to Redhill to devote his career to his landscapes. These paintings were highly desired and caused Linnel to amass a great deal of wealth. However, he was not favored among his colleagues and was denied membership to the Royal Academy.
[Ref: 3909]   £280.00   (£336.00 incl.VAT)
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Jacobo. Calottus Nobilis
Jacobo. Calottus Nobilis Lotharingus Calcographus.
[Michel Lasne.]
[n.d., c.1750s.]
Engraving, unfinished proof?, sheet 155 x 105mm. 6 x 4¼". Trimmed within plate.
Portrait of painter and engraver Jacques Callot (1592 - 1635) in oval frame forming a creature's head in the upper part, a coat of arms with stars below. With unlettered cartouche below portrait. A copy in reverse of a plate engraved by Michel Lasne (1596 - 1667) after his own design in 1626.
[Ref: 11992]   £160.00   (£192.00 incl.VAT)
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Antonio Canova.
Antonio Canova.
Engraved by Thomson
Published by Henry Fisher, Caxton, London, Oct.r 1 1823.
Stipple, platemark 220 x 135mm (8½ x 5¾"). Small margins.
Antonio Canova (1757-1822), Italian sculptor who was the most innovative and widely-acclaimed practitioner of the neo-classical style. He was made famous by his marble sculptures rendering the delicate touch of the nude flesh. Being neo-classical, his work marked a return to the classical perfection and fine art after the excessive extravagance of the Baroque era.
[Ref: 41416]   £65.00   (£78.00 incl.VAT)
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Antonio Canova.  [Facsimile signature.]
Antonio Canova. [Facsimile signature.]
F.X. Fabre pinxit. W.H. Worthington sculp.
Published by Septimus Prowett, 269 Strand. [n.d., c.1830.]
Engraving on india laid paper, 340 x 230mm. 13½ x 9". Slightly foxed.
Antonio Canova (1757 - 1822) admiring one of his creations in his studio. Canova was an Italian sculptor who became famous for his marble sculptures that delicately rendered nude flesh. The epitome of the neoclassical sculptor, his work marked a return to classical refinement after the theatrical excesses of Baroque art. After François Xavier Fabre (1766 - 1837).
[Ref: 13593]   £160.00   (£192.00 incl.VAT)

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