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Catalogue: Arts
Academie des Arts
Academie des Arts Quel nouveau Temple ouvert nous fixe et nous enchante? / Là le marbre respire, et la toile est vivante [...]
Dessiné par C. Eisen / Gravé par François, au Triangle d'Or, Hotel des Ursins, C.P.R. [c.1750]
Engraving, sheet 395 x 285mm (15½ x 11¼"). Trimmed along platemark, glued to album sheet at corners. Ms inscription bottom right.
Allegory of the french Académie des Arts, with putti sketching from a sculpted bust and women admiring paintings and sculptures. Engraving by Jean-Charles François (1717-69) after a design by Charles Eisen (1720-78), painter, draughtsman and illustrator.
[Ref: 44926]   £420.00  
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Design of a painted Ceiling executed in the Room called the Japanned Room, in the Queen’s House. Plâfond peint, executé dans une Chambre nommée la Japonnaise, dans le Palais de la Reine.
Design of a painted Ceiling executed in the Room called the Japanned Room, in the Queen’s House. Plâfond peint, executé dans une Chambre nommée la Japonnaise, dans le Palais de la Reine. Plate VII.
R. Adam Architect 1762. B. Pastorini Sculp.
Published as the Act directs 1775.
Engraving with small margins. Plate 590 x 437mm. 23¼ x 17¼". Creasing.
Ceiling designs for the Japanese room in the Queen's Palace; Volume I, part 5, "Works in Architecture". Robert and his brother James Adam forever changed the face of British architecture by introducing innovative Classical design ideas. From 1754-57, Robert lived in Italy where he had a long productive friendship with Piranesi, which was inspirational for both men. Upon his return, the brothers launched their career by building the Adelphi from the Thames to the Strand in London, which although not a commercial success at the time, included one of London's most cherished buildings, the Adlephi Theatre. Together, the Adam brothers designed and built some of the most famous buildings in England, including such bastions of English architecture as Kenwood House, Keddlestone Manor, and Syon House. To the interiors of their English country houses, the Adams brought wonderful ornamental elements in niches, lunettes, festoons and reliefs. Their classically designed buildings were so numerous in London that they changed the prevailing feel of the city and established their brand of neo-Classicism as the model of elegance and importance. It is asserted that the brothers originated the concept of the uniform facade attached to the typical English row house, an architectural device that distinguishes London buildings. This monumental contribution is evidenced in the Adams' designs for Portland Place and Fitzroy Square, and these were used as architectural models for the whole city. The brothers brought their talents into other areas by designing furniture to complement their beautiful interiors and by creating and publishing a treatise of design entitled 'Works in Architecture'. The work was published in three volumes over an extended span of time, beginning in 1773, with the final volume being published posthumously in 1822.
[Ref: 27735]   £260.00   (£312.00 incl.VAT)
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[Anno Domini.]
[Anno Domini.]
[Painted by Edward Long R.A, Engraved by Herbert Bourne.] Signed in pencil.
London, April 17th. 1889 Published by Fairless & Beeforth, 25 New Bond Street, W. Copyright Entered to Act of Congress in the 1889 by Frank Hunter Potter in the Office of the Librarian of Congress at Washington U.S.A.
Mixed-method engraving. Signed artist's proof. 1110 x 622mm. 43¾ x 24½". Uncut. Occasional staining outside of image area.
Edwin Long (1829-1891) was born in Bath, had an early and precocious talent for drawing, studied at the RA Schools from 1849, and also was a student under John Phillip, who encouraged him to travel. in 1874 he visited Egypt and Syria, and this was the start of his career as an Orientalist painter. He developed a rich, exotic style, strong in detail and often on canvases of large size, allowing him to show long processions, enormous palaces or sweeps of mountains on an epic scale. His best years were in the 1870s-80s, when he was a popular, successful artist specialising in biblical stories and life in ancient Egypt. He became ARA in 1876 and RA in 1881. The painting is part of the collection in the Russell Coates Museum, Bouremouth, England.
[Ref: 18108]   £280.00   (£336.00 incl.VAT)
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The Annunciation
The Annunciation from the original Drawing of the same size by Andrea Meldolla
R. Ford [in image lower right]
Etching, sheet 185 x 235mm (7¼ x 9¼"). Ms verso in old hand: 'Retouched R. Ford / 3rd impression'
The Annunciation, after 16th century Venice-based artist Andrea Meldolla. Etched by Richard Ford (1796-1858), art connoisseur and author who travelled widely in Europe and wrote a guidebook to Spain. Correggio and Parmigianino were particular enthusiasms of his.
[Ref: 35499]   £130.00   (£156.00 incl.VAT)
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Architecture.
Architecture.
London Printed for & Sold by J.Boydel in Cheapside, W.Herbert on London Bridge, & F.Bull on Ludgate Hill.
Engraving. 250 x 350mm.
[Ref: 829]   £200.00   (£240.00 incl.VAT)
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Architecture.
Architecture.
[n.d., c.1750.]
Engraving with original hand colour. 235 x 325mm (9¼ x 12¾"). Trimmed to image, laid on card.
An allegorical scene of the building of a neo-classical building, with an architect showing his plans to smartly-dressed people.
[Ref: 46394]   £220.00   (£264.00 incl.VAT)
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[28 numbered plates of the dimensions of Statues.]
[28 numbered plates of the dimensions of Statues.]
Ce Vend a Paris Chez Audran Rue S.Jacques aux deux Piliers d'or. Avec privilege du Roy.
28 etchings, each c. 310 x 220mm.
Diagrams showing the dimensions of classical statues.
[Ref: 462]   £380.00  
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Bacchus. Antique.
Bacchus. Antique.
[Engraved by B. Audran?]
[n.d., c.1719.]
Stipple & etching with small margins. 185 x 120mm (7¼ x 4¾").
A statue of Bacchus, with a stump-like thyrsus.
[Ref: 34608]   £90.00   (£108.00 incl.VAT)
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[Three banditti on horseback menacing a crouching figure.]
[Three banditti on horseback menacing a crouching figure.]
[Anon., c.1810.]
Pen lithograph, scarce; sheet 270 x 340mm (10½ x 13½"). Staining and mould to edges.
Dramatic early pen lithograph. The new medium allowed artists to draw directly onto a prepared stone, allowing them to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography.
[Ref: 36954]   £180.00   (£216.00 incl.VAT)
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[Three warriors in mountains.]
[Three warriors in mountains.]
[B. M. Fischer, c.1810.]
Pen lithograph, sheet 320 x 215mm (12½ x 8½"). Trimmed.
Early pen lithograph. The new medium allowed artists to draw directly onto a prepared stone, allowing them to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography.
Ex: collection of the late H. C. Lennox-Boyd.
[Ref: 36950]   £260.00   (£312.00 incl.VAT)
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[Man and horse crossing bridge.]
[Man and horse crossing bridge.]
TB [Thomas Barker, monogram lower left.]
Pen lithograph, rare; sheet 310 x 235mm (12½ x 9"). Tear and hole bottom; foxing; creases.
Early pen lithograph by Thomas Barker of Bath (1767-1827), painter and lithographer who in 1803 contributed to the first set of lithographs ever published. Probably taken from "Thirty Two Lithographic Impression from Pen Drawings of Landscape Scenery", 1814. Views around Bath, Wales, the Lake District and elsewhere.
Ex: collection of the late Hon. C. Lennox-Boyd.
[Ref: 36702]   £220.00   (£264.00 incl.VAT)
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[Child holding out cap for charity]
[Child holding out cap for charity]
TB [Thomas Barker]
Pen lithograph on india with watercolour wash by T. Barker, very rare; 230 x 160mm (9¼ x 6¼"). Paper tone and staining lower right.
Lithograph from Thomas Barker's (1769-1847) 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Barker was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in 1841.
For the complete set of 'Forty Lithographic Impressions' see ref. 13436
[Ref: 36705]   £220.00   (£264.00 incl.VAT)
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[Three children in ragged clothes]
[Three children in ragged clothes]
TB [Thomas Barker]
Pen lithograph on india backed onto thicker paper, india 220 x 140mm (8¾ x 5½"). Crease and tearing to india top left.
Separately published lithograph from Thomas Barker's 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Barker (1769-1847) was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in 1841.
For the complete set of 'Forty Lithographic Impressions' see ref. 13436.
[Ref: 36709]   £220.00   (£264.00 incl.VAT)
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[Two figures]
[Two figures]
TB [Thomas Barker]
Pen lithograph on india backed onto thicker paper with watercolour wash by Thomas Barker, 230 x 165mm (9¼ x 6¼"). Trimmed into india border; staining top centre.
Lithograph from Thomas Barker's (1769-1847) 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Barker was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in 1841.
For the complete set of 'Forty Lithographic Impressions' see ref. 13436
[Ref: 36710]   £220.00   (£264.00 incl.VAT)
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[Two seated women]
[Two seated women]
TB [Thomas Barker]
Pen lithograph, with period wash by T. Barker; sheet 235 x 160mm (9¼ x 6¼"). Laid on thick paper; tear on left.
Lithograph from Thomas Barker's (1769-1847) 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Barker was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in 1841.
For the complete set of 'Forty Lithographic Impressions' see ref. 13436. Ex: collection of the late Hon. C. Lennox-Boyd.
[Ref: 36703]   £140.00   (£168.00 incl.VAT)
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[Standing figure with staff]
[Standing figure with staff]
TB [Thomas Barker]
Pen lithograph, early unfinished proof; sheet 235 x 150mm (9¼ x 5¾"). Glued to backing sheet at top corners; water staining.
Lithograph from Thomas Barker's (1769-1847) 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Barker was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in 1841.
For the complete set of 'Forty Lithographic Impressions' see ref. 13436. Ex: collection of the late Hon. C. Lennox-Boyd.
[Ref: 36704]   £150.00   (£180.00 incl.VAT)
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[Elderly woman with bag.]
[Elderly woman with bag.]
TB [Thomas Barker]
Pen lithograph on india backed onto thicker paper, india 225 x 145mm (8¾ x 6"). Tearing to india at edges; slight staining. Damaged.
Lithograph from Thomas Barker's (1769-1847) 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Barker was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in 1841.
For the complete set of 'Forty Lithographic Impressions' see ref. 13436
[Ref: 36708]   £140.00   (£168.00 incl.VAT)
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[Young Boy Seated 1803]
[Young Boy Seated 1803]
Thomas Barker del.
Pen lithograph, very rare; separately issued early lithograph from Specimens of Polyautography, published in 1803 by Philipp Andre; sheet 275 x 210mm (10¾ x 8¼"). Glued to backing sheet at corners. Crease across centre. Overall staining.
Barker (1769-1847) He also published 'Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature' (1813), the first one-man collection of lithographs ever printed in England. Many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath. Barker was born in Wales but known as "Barker of Bath", after the city he moved to as a young man. As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in 1841.
Ex collection of the Late Hon. C. Lennox-Boyd; For the complete set of 'Forty Lithographic Impressions' see ref. 13436
[Ref: 36810]   £380.00  
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[Baroque Salon.]
[Baroque Salon.] Perspectivischer Auffzug des runden Saals, welcher in der mitte des Königl. Pallasts liget, im Grundriss mit lit. L. bezeichnet, wie solcher nach der Garten seiten anzusehen. 13
P. Decker Archit. inv. et del. C. Remshart Sculps.
Cum Priv. S.C. Maj. J. Wolff exc. Aug. Vind. [Augsburg, n.d., c.1716.]
Fine engraving. 360 x 435mm. (14¼ x 17¼"). Narrow margins. Small loss in title border.
Idealised depiction of a Baroque salon 'for the King's palace', with ceiling frescoes and mosaic floor. Open arches look out over gardens and other buildings.
[Ref: 44044]   £180.00   (£216.00 incl.VAT)
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[Barren Landscape.]
[Barren Landscape.]
[H.B. Ker.]
[n.d. c.1812.]
Soft-ground etching. 121 x 202mm (4¾ x 8"). Cut.
Barren landscape, with small three-arched hump bridge over a meandering river in foreground at left; a group of trees on the opposite bank; long bridge seen in the distance at right. (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: 34811]   £60.00   (£72.00 incl.VAT)
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Belhus Essex.
Belhus Essex.
HBK.
[n.d. c.1812.]
Etching. 102 x 152mm (4 x 6"). Cut
Belhus, Essex: a road at right leading through a field; trees behind, windmill and house-roofs seen in background, and a small building among trees at left. (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: 34813]   £70.00   (£84.00 incl.VAT)
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Basso Relievo
Basso Relievo Basso-relievo round a Capital in the Cathedral of Carrara; Basso-relievo of Zethus Antiope & Amphion; Altars
Blake sc.
[Published by Longman, Hurst, Rees, Orme & Brown, London, Novemr. 11th 1818]
Stipple and line engraving, sheet 265 x 215mm (10½ x 8½"). Trimmed, losing publication line.
Plate from Abraham Rees' 'The Cyclopaedia; or, Universal Dictionary of Arts, Sciences, and Literature', engraved by the visionary artist and poet William Blake (1757-1827) to illustrate a text by sculptor John Flaxman. After a period of coolness, Blake and Flaxman were on good terms again at this time, and the sculptor intervened to secure Blake several engraving commissions (including this one) in the 1810s. Without these commissions, Blake might well have fallen into dire poverty at this time.
Russell 105.ii
[Ref: 40867]   £110.00   (£132.00 incl.VAT)
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Basso Relievo
Basso Relievo Basso-relievo round a Capital in the Cathedral of Carrara; Basso-relievo of Zethus Antiope & Amphion; Altars
G.M.
[Published by Longman, Hurst, Rees, Orme & Brown, London, Novemr. 11th 1818]
Stipple and line engraving, sheet 265 x 215mm (10½ x 8½"). Trimmed.
Plate from Abraham Rees' 'The Cyclopaedia; or, Universal Dictionary of Arts, Sciences, and Literature', copied from the engraving by the visionary artist and poet William Blake (1757-1827) to illustrate a text by sculptor John Flaxman.
Russell 105.ii (copy)
[Ref: 40868]   £45.00   (£54.00 incl.VAT)
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Basso Relievo
Basso Relievo Basso-relievo round a Capital in the Cathedral of Carrara; Basso-relievo of Zethus Antiope & Amphion; Altars
Blake sc.
Published by Longman, Hurst, Rees, Orme & Brown, London, Novemr. 11th 1818
Stipple and line engraving, platemark 275 x 195mm (10¾ x 7¾").
Plate from Abraham Rees' 'The Cyclopaedia; or, Universal Dictionary of Arts, Sciences, and Literature', engraved by the visionary artist and poet William Blake (1757-1827) to illustrate a text by sculptor John Flaxman. After a period of coolness, Blake and Flaxman were on good terms again at this time, and the sculptor intervened to secure Blake several engraving commissions (including this one) in the 1810s. Without these commissions, Blake might well have fallen into dire poverty at this time.
Russell 105.ii
[Ref: 40869]   £110.00   (£132.00 incl.VAT)
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A Book of Beasts Drawn from Nature, by M. Oudri, & Grav'd by P.Garon .
A Book of Beasts Drawn from Nature, by M. Oudri, & Grav'd by P.Garon .
Printed & Publish'd Aug.t 1750, by J. Rocque Land Surveyer, Charing Cross.
Etching. Sheet: 195 x 260mm (7¾ x 10¼").
The frontispiece to a drawing book of animals showing the rear of a horse, demonstrating the technique of foreshortening.
[Ref: 45929]   £95.00   (£114.00 incl.VAT)
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From an antique Bronze in the possession of Thomas Hollis Esq. F.R.S. F.S.A.
From an antique Bronze in the possession of Thomas Hollis Esq. F.R.S. F.S.A.
J.B. Cipriani del. J. Basire sculp.
Sumptibus Societatis Antiquariorum Londini MDCCLXV
Engraving, platemark 535 x 350mm (21 x 13¾"). Small margins.
Engraving of an extraordinary bronze sculpture owned by the political propagandist Thomas Hollis (1720-74). An ardent supporter of the arts, Hollis commissioned six paintings from Canaletto and gave numerous commissions to G.B. Cipriani (from whose drawing this print was made). Hollis also had a strong relationship with James Basire, the engraver of this plate, as recounted by Richard Goddard in a recent publication, '"Drawing on Copper": The Basire family of copper-plate engravers and their works', pp.113-7).
Provenance: Thomas Pitt 1st Baron Camelford
[Ref: 45275]   £620.00  

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From an antique Bronze in the possession of Thomas Hollis Esq. F.R.S. F.S.A.
From an antique Bronze in the possession of Thomas Hollis Esq. F.R.S. F.S.A.
J.B. Cipriani del. J. Basire sculp.
Sumptibus Societatis Antiquariorum Londini MDCCLXV
Engraving, platemark 535 x 350mm (21 x 13¾"). Small margins. Cut to plate at bottom.
Engraving of an extraordinary bronze sculpture owned by the political propagandist Thomas Hollis (1720-74). An ardent supporter of the arts, Hollis commissioned six paintings from Canaletto and gave numerous commissions to G.B. Cipriani (from whose drawing this print was made). Hollis also had a strong relationship with James Basire, the engraver of this plate, as recounted by Richard Goddard in a recent publication, '"Drawing on Copper": The Basire family of copper-plate engravers and their works', pp.113-7).
Provenance: Thomas Pitt 1st Baron Camelford
[Ref: 45276]   £550.00  

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[Resting  camels.]
[Resting camels.]
G.I. Graham.
[n.d., c.1823.]
Lithograph. Sheet 170 x 240mm, 6¾ x 9½". Trimmed.
Pack camels at rest. Extremely rare early campaign litho.
[Ref: 25252]   £180.00   (£216.00 incl.VAT)
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[Carlton House.]
[Carlton House.] Plate III.
J.s Adam architect, 1767. D. Cunego Sculp Romae.
Published as the Act directs 1775.
Engraving with small margins. Plate 466 x 602mm. 18¼ x 23¾".
Carlton House, London., designs of the trophies for the pediments, panels over the doors, pateras and trophies over the columns and pilasters; Volume I, part 5, "Works in Architecture". Robert and his brother James Adam forever changed the face of British architecture by introducing innovative Classical design ideas. From 1754-57, Robert lived in Italy where he had a long productive friendship with Piranesi, which was inspirational for both men. Upon his return, the brothers launched their career by building the Adelphi from the Thames to the Strand in London, which although not a commercial success at the time, included one of London's most cherished buildings, the Adlephi Theatre. Together, the Adam brothers designed and built some of the most famous buildings in England, including such bastions of English architecture as Kenwood House, Keddlestone Manor, and Syon House. To the interiors of their English country houses, the Adams brought wonderful ornamental elements in niches, lunettes, festoons and reliefs. Their classically designed buildings were so numerous in London that they changed the prevailing feel of the city and established their brand of neo-Classicism as the model of elegance and importance. It is asserted that the brothers originated the concept of the uniform facade attached to the typical English row house, an architectural device that distinguishes London buildings. This monumental contribution is evidenced in the Adams' designs for Portland Place and Fitzroy Square, and these were used as architectural models for the whole city. The brothers brought their talents into other areas by designing furniture to complement their beautiful interiors and by creating and publishing a treatise of design entitled 'Works in Architecture'. The work was published in three volumes over an extended span of time, beginning in 1773, with the final volume being published posthumously in 1822.
[Ref: 27734]   £280.00   (£336.00 incl.VAT)
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[Castle Ruin.]
[Castle Ruin.]
HBK.
[n.d. c.1812.]
Soft ground etching. 114 x 152mm (4½ x 6"). Cut.
View of a castle with partly ruined tower on a hilltop from a field below, with trees in foreground at left and right. (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: 34804]   £60.00   (£72.00 incl.VAT)
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[Cattle.]
[Cattle.]
MRoo. [H.B. Ker.]
[n.d. c.1812.]
Etching. 190 x 132mm (7½ x 5¼"). Cut
A cattle standing on a path in frontal view; two learning milestones to left; copy of an etching by Johann Melchior Roos. (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: 34796]   £60.00   (£72.00 incl.VAT)
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[Cavalry officer and horse.]
[Cavalry officer and horse.]
[Anon., c.1818]
Pen lithograph, Slade 1818 watermark; sheet 195 x 245mm (7¾ x 9½"). Trimmed.
Early pen lithograph. The new medium allowed artists to draw directly onto a prepared stone, allowing them to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography.
Ex: collection of the late H. C. Lennox-Boyd.
[Ref: 36951]   £180.00   (£216.00 incl.VAT)
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[A cavalry charge - first version.]
[A cavalry charge - first version.]
[Conrad Gessner.]
Pen lithograph. Sheet 230 x 315mm (9 x 12½"). Cut to image.
A pen lithograph by Conrad Gessner.
MAN: 66; See 52810 for second version.
[Ref: 52808]   £280.00   (£336.00 incl.VAT)
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[A cavalry charge - second version.]
[A cavalry charge - second version.]
[n.d., c.1803.]
Scarce pen lithograph, separately issued. Sheet 235 x 320mm (9 x 12½"). Trimmed close to printed border. Very slight worming on left.
A pen lithograph by Conrad Gessler.
MAN: 78; See ref: 52808.
[Ref: 52810]   £420.00  
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Chapel and Church Architecture With Designs for Parsonages.
Chapel and Church Architecture With Designs for Parsonages.
By Rev. George Bowler, Roxbury, Mass.
Boston John P.Jewett and Company. Cleveland, Ohio. Jewett, Proctor & Worthington. New York Sheldon, Blakeman & Company. 1856.
Folio, original half morocco gilt, spine very distressed; pp. 15, chromolithographic frontis., 32 tinted lithograph plates, 15 lithographic plans & diagrams, total 47 plates, with 18pp. explanatory text.
Elevations and floorplans for non-conformist churches in the Gothic revival style.
[Ref: 751]   £850.00  
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La Beneficenza
La Beneficenza All' Autore delle Notti Romane e della Italiana Saffo Antonio Canova.
A. Canova inv. e scolpi. Tognoli dis. Dom Marchetti inc. Gruppo in marino nel Mausoleo dell' Arciduchessa Maria Cristina in Vienna.
[n.d. c. 1805].
Etching and engraving. 550 x 410mm (21¾ x 16"), with large margins. Mint.
Sculpture of a woman, Charity, leading a stooped old man and praying child behind her. Part of Maria Christina's (1742-1798) impressive funerary monument, commissioned by her husband Albert, the Duke of Teschen (1738-1822), of Antonio Canova (1757-1822). The print is dedicated, somewhat cryptically, to the 'author of the Roman Nights' and 'Italian Sappho'. The monument itself has been relocated and acquired by the Museo Antonia Canova, Possagno.
From the Berkeley Collection, Spetchley Park.
[Ref: 55025]   £260.00   (£312.00 incl.VAT)
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[The Chellini Madonna]
[The Chellini Madonna] Ex Archetypo AEreo penes Nobilis: Virum Marchionem de Rockingham.
Edw.d Rumsey Del.t J.K. Sherwin Sculp.t in aqua forti
[London Published by R. Pollard Spa Fields Nov.r 25 1790]
Etching, sheet 310 x 290mm (12¼ x 11½"). Repairs bottom left at corner. Trimmed inside platemark;
Etching made from Donatello's relief of the 'Chellini Madonna', at the time it was in the collection of William Wentworth Fitzwilliam (1748-1833), politician and landowner. The bronze roundel served as a glass mould and perhaps also as a birth tray for bringing sweetmeats to a mother after birth. Named for the Florentine physician Giovanni Chellini Samminiati, who received the roundel as payment from a patient he was treating, it was brought to England by Charles Wentworth-Watson, second marquess of Rockingham and prime minister (1730-82). It then passed on through the Wentworth family by descent, before it was acquired by the Victoria & Albert Museum in London in 1976. It is one of the most important objects in the V & A collection.
[Ref: 43150]   £80.00   (£96.00 incl.VAT)
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The Chosen Five.
The Chosen Five.
Painted by Edwin Long R.A. Engraved by G. H. Every.
London, January 2nd, 1890, Published by Fairless & Beeforth, 126 New Bond Street W. Copyright Registered. Entered according to Act of Congress in the Year 1890 by Frank Hunter Potter, in the Office of the Librarian of Congress at Washington U.S.A.
Fine mezzotint on india paper with open letters. 585 x 857mm. 23 x 33¾". Uncut. Mint.
Companion to Search for Beauty in same state: see Ref. 14089.
'The Search for Beauty' ref:14089
[Ref: 14077]   £350.00  
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[The Chosen Five.]
[The Chosen Five.]
[Painted by Edwin Long R.A. Engraved by G. H. Every.]
London, January 2nd, 1890, Published by Fairless & Beeforth, 126 New Bond Street W. Copyright Registered. Entered according to Act of Congress in the Year 1890 by Frank Hunter Potter, in the Office of the Librarian of Congress at Washington U.S.A.
Fine mezzotint on india paper with engraver's signature in pencil. 585 x 857mm (23 x 33¾"). Uncut. Mint.
This is also known as Zeuxis at Crotona. The ancient Greek painter Zeuxis, who in an attempt to portray the perfect beauty of Helen of Troy, invited the most beautiful women in the city of Croton to model for him. From these he selected five, taking from each their best physical features to make a composite ideal. Long's pendant to the present picture was a 'prequel' entitled The Search for Beauty, See ref:14093, in which the artist takes his pick of the available women on offer. The Painting hangs in the Russell Cotes Art Gallery And Museum Bournemouth England. For Companion see "Search for Beauty" ref:14093
[Ref: 14092]   £420.00  
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Siquis est Parwlus Veniat ad Me.
Siquis est Parwlus Veniat ad Me. Prov. 9.V.4.
S. Françoys Turonen inve. et pinx. N. Pitau sculp. cum privil. Regis.
[n.d., c.1680.]
Engraving. 495 x 350mm (19½ x 13¾"), very large margins. Damp stain on outside of right margin, pin-sized worm hole on plate mark.
'Whosoever is a little one, let him come to me'. The Christ child sitting on a globe, surrounded by angels and cherubim, arms stretched out in welcome. After Simon François de Tours (1606-1671).
[Ref: 39717]   £360.00  
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[Clarissa.]
[Clarissa.]
[Painted by J.E. Millais, 1887. Etched by Rajon.]
[n.d., c.1887.]
Etching. 445 x 300mm. Edges knocked.
[Ref: 4238]   £240.00   (£288.00 incl.VAT)
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[Classical bust]
[Classical bust] Apud Card. Caesium
[Anon, c.1650]
Engraving, platemark 220 x 150mm (8½ x 6"). False margins added.
[Ref: 46362]   £75.00   (£90.00 incl.VAT)
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Statua di Cleopatra Regina d'Egitto che Dorme con l'Aspide Legato al Braccio Sinistro.
Statua di Cleopatra Regina d'Egitto che Dorme con l'Aspide Legato al Braccio Sinistro. VIII.
Gio. Batis. de Poilly Sculp.
In Roma nella Stamp.a di Domenico de Rossi alla Pace con privilegio. [n.d. c.1704.]
Engraving. Plate 235 x 324mm. 9¼ x 12¾". Trimmed to plate left and right.
Cleopatra VII (69 BC-30 BC), Egyptian Queen, lover of Julius Caesar and later the wife of Mark Antony. After the Roman armies of Octavian (the future Emperor Augustus) defeated their combined forces, Antony and Cleopatra committed suicide, and Egypt fell under Roman domination. Rather than be dragged through the city in which she had been borne as a queen, she killed herself, possibly by means of an asp, symbol of divine royalty. From "Raccolta Di Statue Antiche E Moderne".
[Ref: 24900]   £160.00   (£192.00 incl.VAT)

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[Coastal Scene.]
[Coastal Scene.]
HB Ker 1812.
Etching. 95 x 210mm (3¾ x 8¼"). Cut on right.
Three sailing boats moored in a harbour at centre; a figure and rowing boat at left; pier at right. (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: 34791]   £90.00   (£108.00 incl.VAT)
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[Inscription, in Greek, in honour of the musician Crato].
[Inscription, in Greek, in honour of the musician Crato]. Marmori antiquo sub Eumene Pergami rege ante Christianam aeram plus CLannis in Cratonis [...]
[c.1737]
Rare engraving, 18th century watermark; platemark 525 x 420mm (20¾ x 16½"), very large margins.
Engraving, on a scale one third of the original, of a Greek inscription in honour of Crato, the musician of Pergamus. It was erected in the reign of Eumenes in the pre-Christian era and brought from the village of Segucque (between Smyrna [now Izmir] and Ephesus) by Captain Thomas Morley. The plate was engraved at the expense of the antiquary Joseph Ames, and dedicated to the Society of Antiquaries (to which Ames had been admitted in 1736).
See Ames, 'Typographical Antiquities'.
[Ref: 39684]   £290.00   (£348.00 incl.VAT)
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Cibelle.
Cibelle. All' Illusstrissima ed Eccellentissima Signora Alba Giustinian, Procuratessa Cornaro.
C. Cattini sculpt.
[n.d., c.1743.]
Engraving, 18th century watermark. Plate: 375 x 260mm (14¾ x 10¼") large margins.
A print of a bust statue of the figure of Cybele, the Anatolian mother goddess, shown wearing her mural crown. From Faldoni's series 'Delle Antiche Statue Greche e Romane che Nell’ Antisala della Libreria di San Marco e in Altri Luoghi si Trovano'.
[Ref: 46849]   £140.00   (£168.00 incl.VAT)
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[Days of Mourning.]
[Days of Mourning.]
[Painted by Edwin Long, R.A. Engraved by G. Sidney Hunt.] Signed in pencil.
London June 1st. 1892. Published by Fairless & Beeforth. 128, New Bond Street, W. Copyright Registered.
A mixed-method engraving. Signed artist's proof. 673 x 458mm. 26½ x 18". Uncut. Mint.
Edwin Long (1829-1891) was born in Bath, had an early and precocious talent for drawing, studied at the RA Schools from 1849, and also was a student under John Phillip, who encouraged him to travel. in 1874 he visited Egypt and Syria, and this was the start of his career as an Orientalist painter. He developed a rich, exotic style, strong in detail and often on canvases of large size, allowing him to show long processions, enormous palaces or sweeps of mountains on an epic scale. His best years were in the 1870s-80s, when he was a popular, successful artist specialising in biblical stories and life in ancient Egypt. He became ARA in 1876 and RA in 1881. Fairless and Beeforth commissioned the trilogy of paintings taken from Judges xi, 30-40, where Jepthah's Vow is recorded. This picture with The Martyr and the Return [see ref:14087 & 14094] make the trilogy.
[Ref: 14085]   £140.00   (£168.00 incl.VAT)
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[Statue of 'Capitoline Gaul']
[Statue of 'Capitoline Gaul'] Statua del Gladiatir moribondo, che si conserva nel Museo Capitolino [...]
Pietro Angeletti disegno. Andrea Rossi sculps.
[n.d., c.1780]
Engraving, platemark 370 x 500mm (14½ x 19¾").
Engraving of a wounded Gaul, after the famous sculpture in the Capitoline Museum, Rome. The statue was acquired for the museum in 1734 from the Ludovisi Sculpture Collection.
[Ref: 35217]   £320.00  
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Koniglicher Lust Bronnen.
Koniglicher Lust Bronnen.
P. Decker invent. et del. Johan Balthasar Probst Sculpsit.
Jeremias Wolff excudit Aug. Vind. [n.d., c.1711.]
Engraving. Watermarked paper. Platemark: 380 x 420mm (15 x 16¼"), with large margins. Creases.
A plate from 'Fürstlicher Baumeister, oder architectura civilis', (The Princely Architect or: Civil Architecture) published by Jeremias Wolff, 1711. In its essence this book contains the architect Paul Decker’s ideal prospect, or rather prescription, for the perfect nobleman’s palace.
[Ref: 40067]   £260.00   (£312.00 incl.VAT)
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[Tree in a landscape with figures seated by river]
[Tree in a landscape with figures seated by river]
Will. Delamotte del. Oxford 1805.
Lithograph, very scarce; sheet 230 x 320mm (9 x 12½"). Tears & losses to corners.
Early lithograph by William Delamotte (1775-1863), landscape artist. Delamotte lived in Oxford from 1798 working as a drawing master, and most of his works from this period were made in the vicinity. He later became a drawing master at the Royal Military College in Sandhurst. Influenced by Girtin's watercolour style, Delamotte was one of a group of landscape artists also including Constable and Turner, who took to making oil sketches in the open.
[Ref: 36812]   £160.00   (£192.00 incl.VAT)
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