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[Landscape with Abraham and Isaac]. A Sua Eccellenza Il Sig.re Guiseppe Maria De Gerando.
[Landscape with Abraham and Isaac]. A Sua Eccellenza Il Sig.re Guiseppe Maria De Gerando. Barone dell' Impero, Referendario, Segretario Genereale del Ministro dell' Interno, Membro del Instituto e della Legione d'onore. Pietro Parboni D. D. D.
Gasparo Pussino dipinse. Pietro Parboni incise. Nicola de Antoni impresse.
[Rome, n.d. c.1810-1815].
Engraving. 490 x 610mm (19¼ x 24"), with large margins. Crease in bottom left corner.
A pastoral landscape with four figures; in the right hand of the foreground Abraham and Isaac walk up the path carrying kindling. Beyond, in the centre, are two seated figures with a donkey. After 'Landscape with Abraham and Isaac' (1665) by Gaspard Dughet (1615-1675), a student of Poussin. Dughet's successful career as a landscape artist saw him become one of the best known painters in Rome, alonside Poussin and Claude Lorrain.
From the Berkeley Collection, Spetchley Park.
[Ref: 55089]   £350.00  
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The Address to George 2.nd on Death of Fredrick Prince of Wales [ink mss].
The Address to George 2.nd on Death of Fredrick Prince of Wales [ink mss]. His Majesty's most Gracious Answer.
Dickinson ex.
Published according to Act of Parliament. [n.d. c1751].
Extremely rare engraving and printed broadside, sheet 305 x 240mm (12 x 9½"). Laid down on backing sheet. Stain across the ministers. Some foxing.
Ministers tell a throne seated George II (16831760) of the death of his son Frederick, Prince of Wales (17071751). In the past his death has been attributed to a burst lung abscess caused by a blow from a cricket or a real tennis ball, but it is now thought to have been from a pulmonary embolism.
[Ref: 55015]   £350.00  
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Angelica e Medoro in varj modi legati indieme di diversi nodi.- Orl. Fur. C. XIX. S. 36.
Angelica e Medoro in varj modi legati indieme di diversi nodi.- Orl. Fur. C. XIX. S. 36. All' Ornatissimo Sig.r Conte Girio Caradori.
Teodoro Matteini inventi. Gio. Folo Veneto inc. e vende in Roma. Giovanni Folo D. D. D.
Rome, [n.d. after 1795].
Engraving. 495 x 395mm (19½ x 15"), with large margins, Uncut. Creasing in the centre of the image. Some nicks and creasing around the edges. Minor foxing.
The famous scene of Angelica, who has been nursing the wounded Medoro, already besotted with her, carving their names into the trunk of a tree after she realises she has fallen in love with him. Cupid lurks behind a tree, having ignited the Angelica's love for Medoro. Engraving by Giovanni Folo after Teodor Matteini from the Italian epic 'Orlando Furioso' (1532).
From the Berkeley Collection, Spetchley Park.
[Ref: 55002]   £280.00   (£336.00 incl.VAT)
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Apollo
Apollo A Sua Eccellenza il Sig.r: Conte di Talbot Amatore e conoscitore delle Belle Arti.
Raffaele Sanzio d'Urb. inv. Franco Staccoli disegno. Pietro Bonato Veneto incise. In Roma presso Venanzio Monaldini Mercante de Libri e Stampe in Piazza di Spagne a N.o 79.
Rome, [n.d. c.1780-1820].
Engraving and etching. 345 x 420mm (13½ x 16½"), with large margins, Uncut. Light foxing in margins.
Apollo driving a chariot drawn by four horses. After a design by Raphael in the Sala dei Pontefici.
From the Berkeley Collection, Spetchley Park.
[Ref: 55080]   £450.00  
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[Signing of the Treaty of Breda, 1667]
[Signing of the Treaty of Breda, 1667] D'Eeuwige Gedenck-Teekene van de Engelse en Nederlandtse Oorlog en Vreede [...] fo.249
[Anon., c.1672.]
Engraving. Sheet 245 x 235mm (9½ x 9¼"). Tipped into backing sheet at sides. Slight creasing where folded into volume.
The signing of the Treaty of Breda, which brought to an end the Second Anglo-Dutch War (1665-7) in favour of the Dutch. This plate also appears on a large broadside comprising several scenes relating to the war, with letterpress, although the text here differs, indicating a different publication. The Breda Peace Conference is an important moment in the history of the North American colonies: the Dutch officially conceded New York and the surrounding colonies in New Jersey and Delaware to English control.
[Ref: 55141]   £480.00  
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[Treaty of Breda] Vreede-Handelingh tot Breda, gesloten op den XXXI Iuly, door de Gevolmachtighden van hare Kon:
[Treaty of Breda] Vreede-Handelingh tot Breda, gesloten op den XXXI Iuly, door de Gevolmachtighden van hare Kon: May:tn van Groot Brittannien, Vrankryck, Deenmarcken en der Hoogm: Herren Staten Generael vande Vereenichde Nederlanden ende geratificeert inde Kamer Conferentie, op den 24 Augusti, Anno 1667.
[Etched by Romain de Hooghe.]
te Amsterdam by I.Ottens. [n.d., 1720.]
Etching. 395 x 545mm (15½ x 21½"). Framed. Cut to image. Unexamined out of frame.
A celebration of the negotiations that led to the Treaty of Breda, which ended the Second Dutch War in 1667. A large image shows the delegates meeting; down the sides and above are nine more scenes of the English Ambassadors arriving and the celebrations afterwards, lettered A-K with the key in English beneath. The Breda Peace Conference is an important moment in the history of the North American colonies: the Dutch officially conceded New York and the surrounding colonies in New Jersey and Delaware to English control.
Landwehr, p.57, state II of II.
[Ref: 55139]   £1,280.00  
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Whoever engages in writing against national Prejudices should think of CÆSAR, swimming from the Pharos, saving his Commentaries with one Hand, and his Life with the other. Religion and the Liberal Arts are worth this Hazard: Even Envy and other Affections
Whoever engages in writing against national Prejudices should think of CÆSAR, swimming from the Pharos, saving his Commentaries with one Hand, and his Life with the other. Religion and the Liberal Arts are worth this Hazard: Even Envy and other Affections of Mankind should not intimidate a Person who means well: Success is not in every Person's Power; yet to attempt it in things deserving Praise is Praise-worthy.
See Dedication prefixt to A Dialogue concerning some things of importance to Ireland. Dublin MDCCLI.
Engraving 140 x 180mm (5½ x 7). Some creasing. Tears to margins one of which runs into the plate mark.
While chasing Pompey the Great during the Roman civil war, Caesar had entered Alexandria, Egypt and interfered in the dispute between Ptolemy and Cleopatra which resulted in the Alexandrian wars. In an attempt to seize Pharos Island Caesar lost to the Alexandrians and his boat was sunk forcing him to swim to safety. This print depicts the moment of Caesar swimming to safety, he holds a letter with one hand and makes his way through the water with the other. Two of his ships are sinking while presumably the ones still floating belong to the Alexandrians. The lighthouse of Alexandria can be seen amoung the mountainous background.
[Ref: 55018]   £160.00   (£192.00 incl.VAT)
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[The Sorrows of the Young Werter] Charlotte.
[The Sorrows of the Young Werter] Charlotte. The Shade of my Mother hovers round me, when in a still evening I sit in the midst of her Children, I wish that she could look down upon us, and see that I fulfil the promise I made her to be a Mother to them. Sorrows of Werter. To the Hon.ble Miss Grenville. This Print after an Original Drawing by H. Bunbury Esq.r is with the greatest respect Dedicated by Her most obedient humble Servant W. Dickinson.
H. Bunbury Esq.r Delin.t. Engraved by F. Bartolozzi.
London, Publish'd August 21.st 1783 by W. Dickinson Engraver & Printseller No.158 New Bond Street.
Etching with stipple. 400 x 361mm (15¾ x 14¼"), with large margins. Paper toned.
A woman seated in profile to right, holding a handkerchief on her laps with both hands; a little girl standing next to her, almost in profile to left, putting both hands on the woman's lap and looking up towards her; to right, an older girl seated, holding a book open on her lap with both hands, looking up to the sky; to left, a boy seated, in profile to left, blowing a small trumpet. A scene from 'Die Leiden des Jungen Werthers (The Sorrows of the Young Werter)' by Johann Wolfgang von Goethe (1749 - 1832).
De Vesme: 1415.
[Ref: 55054]   £260.00   (£312.00 incl.VAT)
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Marchande de Cupidons.
Marchande de Cupidons.
F. Bartolozzi pinx. J. Ogbourne sculp.
Pub. May 1 1783 by J. Thane, Rupoert Street, Hay Market.
Oval stipple, printed in dark sanguine. 200 x 225mm (8 x 9"). Top left corner restored. Slight damage below image.
A woman in classical dress holds a winged cherub on her lap as a another looks admiringly over her shoulder. A third woman grasps another cherub by the base of his wings to lift him out of a basket in which a third cherub sits.
[Ref: 54755]   £280.00   (£336.00 incl.VAT)
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Choir of Westminster Abbey during the coronation of His Most Gracious Majesty George the IV, July 10 1821.
Choir of Westminster Abbey during the coronation of His Most Gracious Majesty George the IV, July 10 1821.
Painted by Frederick Nash. Engraved by Charles Turner.
London Published Jan.y 1 1822 by F. Nash, No 40 Mary Street, Fitzroy Square, Mess.rs Colnaghi & Co, Cockspur Street, Hurst & Robinson, Cheapside, & Moltano, Pall Mall.
Finely hand coloured etching. Sheet 535 x 410mm (21 x 16¼"), on card, as issued. Dusty.
A scarce and decorative view of the coronation ceremony with 12 numbers depicting the orders.
Whitman: 798; this state with key below not seen by Whitman.
[Ref: 55055]   £350.00  
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Al Genio, a all'Eleganza dell' Alma. Sig.a Emerenziana Fratini Pentini.
Al Genio, a all'Eleganza dell' Alma. Sig.a Emerenziana Fratini Pentini. ... ille per Caelum volans, Proterra tenera tela molitur mana; Regnumque tantum minimus in Saperos habero. Seneca in Hip.
Stephanus Tofanelli invenit et delineavit. Johannes Folo Venetus sculp. et vendet Romae. Giovanni Folo D. D.
Rome, [n.d.]
Etching. 390 x 440mm (15½ x 17¼"), with large margins. Uncut. Some nicks and creases to the edges. Some cockling. Foxing in margins.
A boyish Cupid holding one of his arrows and tests the point. Quoted beneath the image is the Nurse from Seneca the Younger's 'Phaedra', warning Phaedra of the destructive power of Venus' son, a warning she does not heed which ultimately leads to her suicide. After Stefano Tofanelli's 'Amor Pungente', part of a pair with 'Amor Frecciante' (see Ref 54998).
From the Berkeley Collection, Spetchley Park.
[Ref: 54995]   £260.00   (£312.00 incl.VAT)
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Alle Grazie ed al Gusto elegante delli Illma Sig.ra Leoniloa Bottoni
Alle Grazie ed al Gusto elegante delli Illma Sig.ra Leoniloa Bottoni ... Merito hamatis manus est armata sagittis, Et phareta ex humero Gnosia utroque jacet; Ante ferit, quoniam tuti quam cernimus hostem, Nec quisquam ex illo vulnere sanus abit. - Propert. Lib. II. Egl. I.
Stephanus Tofanelli invenit et delineavit. Joannes Folo Venetus sculp. et vendit Romae. Giovanni Folo D. D. D.
Rome, [n.d.].
Etching. 390 x 440mm (15½ x 17¼"), with large margins Uncut. Horizontal crease down the centre of the image. Some nicks and creases to the edges. Foxing.
Cupid with his bow strung and quiver of arrows by his side. Quoted beneath the image is an excerpt from Propertius Lib II Elg. XII, not from II.I; the poet muses on the cultural and mythic personification of Love as he nurses his own heart, struck by Cupid's arrow. After Stefano Tofanelli's 'Amor Frecciante', part of a pair with 'Amor Pugente' (see Ref: 54995).
From the Berkeley Collection, Spetchley Park.
[Ref: 54998]   £360.00  
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Cupid and Cephisa,
Cupid and Cephisa, [One Day as I was walking in the Woods...] From the Original Picture, in the possession of George Bowles, Esqr. [&] Cupid and Cephisa, [Cephisa says, we ought to cut the Wings of Love...] From the Original Picture, in the possession of George Bowles, Esqr.
Angelica Kauffman pinx.t. Thomas Burke Fecit.
London, Publish'd July 10th. 1789 by T Burke, No. 5, Great College Street, Westminster. [&] Publish'd Feb.y 1st. 1789 by T Burke No 5 Great College Street, Westminster.
Very fine matching pair of stipples with etching, proof states before lines of verse, one with publisher's inscription scratched. Each 470 x 335mm (18½ x 13¼"), with large margins.
Two scenes from Montesquieu's 'Céphise et l'Amour'. In the first Cupid is discovered by Cephisa and a male companion (intended to be the author), lying asleep in a bush of flowers; in the second Cephisa raises one of his wings, preparing to cut it off, as her companion leans forward to stop her.
[Ref: 53336]   £850.00   view all images for this item
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Amore e Psiche.
Amore e Psiche. Sogetto tratto dalla favola di Apulejo. / Gruppo in mamo posseduto dal Principe Yousouppoff/ quasi in tutto simile all'altro esistente nell' I. Pallazo di Compiegne.
A. Canova inv e scolpi. P. Fontana inc.
[n.d. c.1812]
Etching and engraving. 290 x 375mm (11½ x 14¾"), with large margins.
Sculpture of Cupid reviving Psyche with a kiss, from the story in Apuleius' 'Metamorphoses'. The description suggests that this engraving by Pietro Fontana is after the second version of Antonio Canova's 'Cupid e Psiche', accquired by the Russian Prince Yusupov in 1796.
From the Berkeley Collection, Spetchley Park.
[Ref: 55010]   £160.00   (£192.00 incl.VAT)
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Amore e Psiche.
Amore e Psiche. Alla Maesta di Guiseppina Imperatrice. - Antonio Canova D. D. D.
A. Canova inv e scolpi. Tognoli dis. Dom. Marchetti inc. Gruppo in marmo di grandezza naturale esistente nella Galleria della M. S. a Malmaison.
[n.d.]
Engraving and etching. 540 x 410mm (21¼ x 16¼"), with large margins. Mint.
A sculpture of Cupid and Psyche, standing with Cupid's right arm draped over Psyche shoulders. Psyche delicately places a butterfly in Cupid's palm, symbolising that Psyche wholly and innocently trusts Cupid with her soul. This visual metaphor and arresting symbolic gesture illustrates more broadly the Neo-Platonic philosophy of the wandering soul, of which the sculptor Antonio Canova was a big believer. The sculpture was commissioned by Colonel John Campbell in 1878, along with the famous 'Cupid reviving Psyche with a kiss' (see also Ref 55010). This engraving has been dedicated to Empress Josephine (1763-1814), the first wife of Napolean Bonaparte.
From the Berkeley Collection, Spetchley Park.
[Ref: 55013]   £320.00  
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[Cymbeline] [Imogen's Chamber.
[Cymbeline] [Imogen's Chamber. On her left breast a mole, cinque spotted...]
W. Martin inv. et pinx. F. Bartolozzi sculps. 1786.
London, Publish'd June 21st; 1786 by W. Dickinson Engraver Bond Street.
Very fine etching with stipple, proof before title, printed in brown. 265 x 355mm (10½ x 14"), with large margins.
A scene from William Shakespeare's 'Cymbeline': Imogen sleeps in her bed while Iachimo leans over her writing a letter suggesting he has seduced her. After William Martin (1753 - c.1831), historical painter who was pupil and assistant to Cipriani until c.1784.
De Vesme 1840, state ii of iii.
[Ref: 53335]   £450.00  
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Diana.
Diana. All' Illmo e Rmo Monsig.r Marini Canonico della Basilica Lateranense Prefetto degl'Archivy di Castel S. Angelo e del Vaticano, Prelato Domestico di N. S.
Raffaele Sanzio d'Urb. inv. Stefano Tofanelli delin. Pietro Fontana incise. In Roma presso Venanzio Monaldini Mercante de Libri e Stampe in Piazza di Spagne a N.o 79.
Rome, [n.d. c.1782-1822].
Engraving and etching. 340 x 410mm (13¼ x 16), with large margins. Uncut. Near mint. Faint markings in the margins.
The goddess Diana driving a chariot pulled by two young girls. After a design by Raphael in the Sala dei Pontefici.
From the Berkeley Collection, Spetchley Park.
[Ref: 55081]   £420.00  
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Eco A Madame Stamaty
Eco A Madame Stamaty Son Fior Narciso Eco sonora io sono: To la bellezza, io l'armonia to dono.
Guido Head inv. e dipin. Agostino Tofanelli delin. Gio Folo incis. e vende in Roma. In segno di rispetto Giovanni Folo dedica.
Rome, [n.d. 1801].
Etching, open letter proof. 415 x 290mm (16¼ x 11½"), very large margins. Uncut. Foxing and creasing in the margins.
The nymph Echo by Agostino Tofanelli (1770-1834) and Giovanni Folo (1764-1836), after the oil painting 'Echo Flying from Narcissus' (1798) by Guy Head (1753-1800). As told by Ovid in Met III, Echo flees Narcissus' presence, humiliated and distraught, after he rejects her. The engravers have embellished Head's original composition with the addition of a figure in the background on the far bank on the water's edge, which is perhaps Narcissus.
From the Berkeley Collection, Spetchley Park.
[Ref: 54993]   £320.00  
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Elysium or Cupid Punish'd.
Elysium or Cupid Punish'd. ... Vide Parnell's Poems.
Stothard Pinx.t. Ogborne sculp.t.
London, publish'd Aug.t 1 1787, by T Macklin No. 19 Fleet Street.
Fine stipple, printed in colours. 270 x 305mm (10¾ x 12"). Narrow margins, repair in unprinted area top right.
Cupid tied to a tree by a group of nymphs.
[Ref: 54743]   £280.00   (£336.00 incl.VAT)
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Evelina Surprising M.r Macartney preparing to load his Pistols.
Evelina Surprising M.r Macartney preparing to load his Pistols.
N. Colibert Delin.t. Engraved by N. Colibert.
London, Publish'd March 20th 1786 by W. Dickinson Engraver & Printseller No.158 Bond Street.
Stipple. 245 x 170mm (9¾ x 6¾"), watermarked '178[?]', with large margins.
The heroine of Fanny Burney's 'Evelina' stops the impoverished Scottish poet from loading his pistols, she believes to commit suicide. He later admits that he had been unable to decide between that and armed robbery. First published 1778, 'Evelina' is a significant precursor to the romanticism of Jane Austen.
[Ref: 54745]   £190.00   (£228.00 incl.VAT)
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Germanicus.
Germanicus. C.Taciti Annal. Lib. II. Cap. 71.
H. Füger pinx. J. Pichler inc. Vindobonae 1795.
[Vienna, Tranquillo Mollo?, c.1795.]
A very large mezzotint. 640 x 880mm (25¼ x 34¾"). Trimmed close to plate top and bottom, some wear in inscription area, small tear in right margin. Rubbed top right.
Germanicus Julius Caesar (15 BC - AD 19) on his deathbed. The nephew and adopted son of Tiberius as well as a successful and popular general, his early death caused rumours of poisoning. He was the father of Caligula, grandfather of Nero and brother to Claudius, the three emperors after Tiberius. Vindobona was the camp of the Roman army at Vienna.
Tranquillo Mollo published a smaller mezzotint of the same painting in Vienna c. 1800 (BM 1877,0609.1566).
[Ref: 55085]   £550.00  
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Ebe con aureo serto incornata, Di nettare e d'ambrosia in Ciel ministra.
Ebe con aureo serto incornata, Di nettare e d'ambrosia in Ciel ministra.
A. Canova inv. e scolpi. G. Tognoli dis. D. Marchetti incise. Statua in marmo di grandezza naturale appatenente a Lord Cowder.
[n.d. c.1814].
Engraving and etching. 455 x 325mm (18 x 12¾"), with large margins. Mint.
Sculpture of Hebe tilting the mouth of the jug she carries above her head to the goblet she holds below. Hebe, the goddess of youth and daughter of Zeus, was a chief serving maid to the gods of Olympus and provided her patrons liberally with ambrosia. The original sculpture, commissioned by Lord Cowder, was completed in 1805 and was a marvel of marble sculpting. The weightless appearance of the goddesses garment, though hewn in dense stone, drew much praise and admiration.
From the Berkeley Collection, Spetchley Park.
[Ref: 55039]   £320.00  
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[Landscape with Hunter Shooting Ducks]. A Sua Eccellenza la Sig.ra Elisabetta Duchessa di Devonshire Amatrice e Protellrice delle Belle Arti.
[Landscape with Hunter Shooting Ducks]. A Sua Eccellenza la Sig.ra Elisabetta Duchessa di Devonshire Amatrice e Protellrice delle Belle Arti. L'Originale esiste presso il Sig.r Giovanni Maldura Pittore Paesista in Piazza di Spagna N.o 26. Pietro Parboni D. D. D.
Nicolo Pussino invento e dipinse. Pietro Parboni disegno e incise. Nicola de Antoni impresse. In Roma presso Nicola de Antoni, Neg.te in Piazza di Spagna N.o 84.
Rome, [n.d. after 1800]
Engraving. 490 x 600mm (19¼ x 23½"), with large margins. Mint.
A rustic landscape with two hunters shooting ducks with spears by the riverside. Two other figures lounge on the far bank. Engraved by Pietro Parboni (1783-1841) after Nicolas Poussin (1594-1665).
From the Berkeley Collection, Spetchley Park.
[Ref: 55090]   £450.00  
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Iride
Iride A Monsieur Arland.
Guido Head inv. e dipinse. Giovanni Folo incise e vende in Roma.
Rome [n.d. 1801]
Etching open letter proof, 420 x 290mm (16¼ x 11½"), with large margins. Uncut. Foxing in the margins.
The nereid Iris carrying a ewer of water from the River Styx to the Gods of Olympus. In Greek mythology Iris was the anthropomorphisation of the rainbow and messenger to the Gods. In Hesiod's Theogany she has the additional duty of carrying water from the Styx to the Gods when the gods took an oath.
From the Berkeley Collection, Spetchley Park.
[Ref: 54994]   £320.00  
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[The Marriage of Isaac and Rebecca]. A. S. A la Sig.ra Principessa Alessandrina di Dietrichstein Proshau, Lesley &. &. &.
[The Marriage of Isaac and Rebecca]. A. S. A la Sig.ra Principessa Alessandrina di Dietrichstein Proshau, Lesley &. &. &. Nata Contessa di Schouvaloff Accademica di S. Luca. Pietro Parboni D. D. D.
Claudio di Lorena inv. e dip. Pietro Parboni incise. Nicola de Antoni impresse e vende in Roma N. 35 Via del Corso.
Rome, [n.d. c.1800-1841].
Engraving. 480 x 600mm (19 x 23¾"), with large margins. Mint.
A pastoral scene of people dancing and playing instruments by the edge of a river. Also known as 'The Marriage of Isaac and Rebecca' after the oil painting by Claude Lorrain (c.1800-1882) completed in 1648.
From the Berkeley Collection, Spetchley Park.
[Ref: 55088]   £520.00  
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Giove
Giove Agli Amatori e Promotori delle Scienze Belle Arti.
Raffaele Sanzio d'Urb. inv. Steffano Tofanelli delin. Peitro Bonato Veneto incise. In Roma presso Venanzio Monaldini Mercante de Libri e Stampe in Piazza di Spagne a N.o 79.
Rome, [n.d.
Engraving and etching. 340 x 410mm (13¼ x 16), with large margins. Uncut. Near mint. Some light foxing in margins and title area.
Jupiter, holding a thunder bolt, driving his chariot pulled by a pair of eagles. The exterior of the chariot is embellished in high relief with eagles and what looks to be a harpy. After a design by Raphael in the Sala dei Pontefici.
From the Berkeley Collection, Spetchley Park.
[Ref: 55084]   £450.00  
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[Coronation of Frederick I of Prussia] Die Königl. Prüssische Salbung.
[Coronation of Frederick I of Prussia] Die Königl. Prüssische Salbung. Prospect der Schlos Capell in Königsberg, wie die beede Königl. Thronen geordoniret und dieselbe ausgezieret gewesen, bey geschehener Salbung Ao. 1701, den 18.
Eosander de Göthe Invent: et ordon.
[Frankfurt: heirs of Matthaus Merian, 1712.]
Fine & rare etching on three sheets conjoined. Total 390 x 910mm (15¼ x 36"). Original binding folds. Small margins.
The coronation of Frederick I of Prussia in the chapel at Königsberg Castle. By Johann Friedrich Eosander von Göthe (16691728) a Late-Baroque architect.
[Ref: 55053]   £550.00  
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La Cuccagna
La Cuccagna Celebre Quadro Original di Claudio Lorenese, esistent in Parigi.
Claudio di Lorena inv. e dip. Pietro Parboni dis. e inc. Si vende in Roma presso Nicola de Antoni Neg.a in Piazza di Spagna No. 84. Nicola de Antoni impresse.
Rome, [n.d. c.1800-1841].
Etching. 480 x 600mm (19 x 23¾"), with large margins. Mint.
A pastoral scene of gathered villagers or 'contadini in festa', dancing and playing music at the edge of a forest. Cattle and other livestock graze nearby. The original painting by Claude Lorrain (c.1600-1682) was completed in 1637 for Pope Urban VIII. It was the first in a series of four. Given the prestige of its commissioner, the series was the first great success in Lorrain's career.
From the Berkeley Collection, Spetchley Park.
[Ref: 55086]   £380.00  
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Leda. Tiré du Cabinet de M.r Watelet.
Leda. Tiré du Cabinet de M.r Watelet. Dediée à Monsieur Pierre. Chevalier de l'Orde du Roy, Professeur de l'Academie Royal de Peinture et de Sculpture, et premier Peintre de Monseigneur le Duc d'Orleans. Par son très humble et très obeissant Serviteur et Ami Lempereur.
J.B.M. Pierre pinx. N. Delaunay sculp.
A Paris, chez Lempereur, Graveur du Roy, rue et porte St Jacques, au dessus du petit Marché [n.d., c.1763.]
Engraving with etching. 18th century watermark, 320 x 370mm (12½ x 14½"), Small margins.
An oval scene of Leda lying naked and looking at the swan. A pair with 'Endymion'.
[Ref: 55071]   £260.00   (£312.00 incl.VAT)
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[Macbeth] The Banquet.
[Macbeth] The Banquet. _ Prithee, see there. Behold! look! loe! How say you! Shakespeare's Macbeth Act III Scene 3.d.
S. Harding delin.t. J. Baldrey Fecit.
London, Publish'd Oct.r 10th 1786, by W. Dickinson, Bond Street.
Fine stipple, printed in brown. 385 x 330mm (15¼ x 13") with margins. Title bit messy on right.
As Macbeth sees Banquo's ghost sitting in his chair he starts to rave and is retrained by his wife.
[Ref: 53327]   £320.00  
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[Macbeth.]
[Macbeth.] [From an Original Picture, in the Collection of Will,m Lock Esq.r.]
[Painted by Fran.co Zuccarelli. Engrav'd by W,,m Woollett.]
[Published as the Act directs Dec.r 29th. 1770, by W.m Woollett, in Green Street, Leicester Fields, London]
Etching. Proof before letters. Plate 335 x 430mm (13¼ x 17"), with margins. Repaired tears and some creasing.
Macbeth and Banquo meet the Three Witches in a wind-swept landscape. Behind soldiers try to restrain their terrified horses as lightening strikes a castle on the hilltop behind.
Fagan 74. See Ref: 54251 for lettered impression
[Ref: 55160]   £380.00  
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Marte
Marte All'Emo e Revmo Principe D. Fabrizio Ruffo Car.le Dianoco del Sitolo di S. M.a in Cosmedin Car.e delli Ord.i di S. M. Siciliana di S. Ferdinando, e s Gennaro, e di quelli di S. M. l'Imp.redelle Russie S. Andrea Alessandro Newski &c. &c. &c. Amatroe e Protettore delle belle Arti.
Raffaele Sanzio d'Urb. inv. Steffano Tofanelli delin. Peitro Bettelini incise in Roma. In Roma presso Venanzio Monaldini Mercante de Libri e Stampe in Piazza di Spagne a N.o 79.
Rome, [n.d. c.1800-1821].
Engraving and etching. 340 x 410mm (13¼ x 16), with large margins. Uncut. Mint.
Mars, the god of war, driving a chariot pulled by a pair of horses. After a design by Raphael in the Sala dei Pontefici.
From the Berkeley Collection, Spetchley Park.
[Ref: 55083]   £450.00  
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Mercurio.
Mercurio. Algi Amatori, e Promotori / delle Scienze e Belle Arti.
Raffaele Sanzio d'Urb. inv. Stefano Tofanelli delin. Pietro Bonato Veneto incise. In Roma presso Venanzio Monaldini Mercante de Libri e Stampe in Piazza di Spagne a N.o 79.
Rome, [n.d. c.1780-1820].
Engraving and etching. 350 x 420mm (13¾ x 16½"), with large margins, Uncut. Mint.
A depiction of Mercury being pulled in a chariot by two roosters. The god can be identified by his headpiece and winged shoes, and he carries the caduceus, the staff carried by messengers and heralds of Greek mythology. After a design by Raphael in the Sala dei Pontefici.
From the Berkeley Collection, Spetchley Park.
[Ref: 55077]   £450.00  
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[A monk carrying a skull.]
[A monk carrying a skull.]
[n.d., c.1780.]
Mezzotint. 175 x 140mm (6¾ x 5½"), with small margins. Worm hole repaired.
A shaven-headed monk holding a scull on his arm, pointing into an eye socket.
[Ref: 54692]   £260.00   (£312.00 incl.VAT)
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To her Imperial Majesty Catherine the Second this print from the Original Picture by Verkoyelle in the Imperial Collection is humbly Inscribed by her most devoted servant, James Walker.
To her Imperial Majesty Catherine the Second this print from the Original Picture by Verkoyelle in the Imperial Collection is humbly Inscribed by her most devoted servant, James Walker.
Engraver to her Imperial Majesty and Member of the Imperial Academy of Arts St. Petersburg.
July 1st 1789 published by James Walker St. Petersburg and John Dean London.
Very rare mezzotint. 505 x 695mm (20 x 27¼") large margins. A few small markings. Repaired tear made up in top right margin.
An interior scene depicting a musical party of men and women in costume, seated around a table on which lies a patterned Turkish carpet. Two women at the left are playing cards, while one on the right holds a lute while a man sings to her. A dog barks at a servant to the far left of the scene. After Dutch printmaker and painter Jan Verkolje (1650 - 1693).
[Ref: 55136]   £650.00  
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Dorme Clori: coll' arpa Amor la desta: Sorge sul fianco, e ad ascoltar s'arresta.
Dorme Clori: coll' arpa Amor la desta: Sorge sul fianco, e ad ascoltar s'arresta.
Ant. Canova inv. e marmo di grandezza naturale. G. Toignoli dis. Dom. Marchetti incise.
[n.d. c.1817].
Engraving and etching. 400 x 545mm (15¾ x 21½"), with large margins. Creasing and marking in top margin. Repaired tear in top margin.
Sculpture of a naiad, reclining on a lion skin while a young winged cupid plays the lyre at her feet, seen from behind. Embedded in the naiad's rocky couch is an over turned jar, from which flows a spring of water; while Canova (1757-1822) was content to call his subject a nymph, his friend and biographer Leopoldo Cicognara more accurately calls her a naiad, a type of nymph that presides in fresh water, prompted by the carved detail of flowing water. Antonio Canova's original sculpture, commissioned by Lord Cawdor in 1814, is a variant of Guido Reni's painting 'Venus reclining with Cupid' (c.1639); the sculpture is currently part of the Royal Collection at Buckingham Palace.
From the Berkeley Collection, Spetchley Park.
[Ref: 55020]   £350.00  
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[Orlando Furioso] [Angelica & Madora.]
[Orlando Furioso] [Angelica & Madora.]
G.B. Cipriani inc.t. Tho.s Burke sculp.t.
London Publish'd Oct/r 1783, by G. Durand, No 8 Catherine Street, Strand.
Stipple, proof before title, printed in brown. 135 x 170mm (5¼ x 6¾"), with very large margins. Uncut.
A scene from Italian epic 'Orlando Furioso' by Ludovico Ariosto. Having been nursed back to health by Angelica, the Saracen knight Medora carves their names into a tree, before they elope to China.
See BM 1931,0618.56 for a 1790 edition published by Read.
[Ref: 54744]   £260.00   (£312.00 incl.VAT)
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Politics.
Politics.
1791. [After Catherine Maria Fanshawe] R. Pollard, Sculpt. direct. & Perfecit. Aqua.t by J. Wells.
London: Publish'd April 6th 1791, by M. Ryland, No.107, New Bond Street.
Aquatint. 465 x 770mm (18¼ x 30¼"). Repaired tear, not entering image, central crease, wear to edges.
A group of men discuss politics around a salon fireplace, while the women gossip, yawn or sleep. Catherine Maria Fanshawe (1765-1834) was best known for her poetry, including the 'Riddle on the Letter H', which was originally mistakenly ascribed to Lord Byron.
[Ref: 53995]   £850.00  
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[Three putti with a garland of fruit.]
[Three putti with a garland of fruit.]
[Engraved by Francesco Bartolozzi after Guercino.]
[London: John Boydell, 1780.]
Fine stipple, printed in sanguine; Proof before all letters, 18th century watermark 195 x 330mm (7¾ x 13"), with very large margins.
A half-length composition, with Venus holding one arrow and Cupid's quiver while he reaches to draw another arrow from it. Engraved from a red chalk in the Royal Collection, which was probably an early sketch for the painting in Apsley House, home of the Duke of Wellington.
De Vesme 2196.
[Ref: 53328]   £280.00   (£336.00 incl.VAT)
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The Life and Adventures of Robinson Crusoe, Mariner,
The Life and Adventures of Robinson Crusoe, Mariner, who lived Eight and Twenty Years in an Uninhabited Island, on the coast of America, near the mouth of the Great River Oroonoque.
London: Darton & Co., Map and Print Seller, 58, Holborn Hill [n.d., c.1840].
Scarce wood engraving. Sheet 295 x 430mm (11½ x 17"). Nicks in right edge. Bit messy.
Twelve scenes covering the complete story of Daniel Defoe's ''Robinson Crusoe''. American interest.
[Ref: 55052]   £380.00  
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Saturno
Saturno Alla cognizone e transporto per le Belle Arti di S. Ex.ca il Sig.r D. Mario dei Principi Gabrielli degnissimo Presidente delle Ripe ed Acque de questa Citta de Roma.
Raffaele Sanzio d'Urb. inv. Stefano Tofanelli delin. Pietro Bonato Veneto incise. In Roma presso Venanzio Monaldini Mercante de Libri e Stampe in Piazza di Spagne a N.o 79.
Rome, [n.d. c.1800-1820].
Engraving and etching. 340 x 410mm (13¼ x 16), large margins Uncut. Foxing around the edges.
A depiction of Saturn holding a scythe in his chariot pulled by two winged serpent-monsters. After a design by Raphael in the Sala dei Pontefici.
From the Berkeley Collection, Spetchley Park.
[Ref: 55079]   £450.00  
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Al Sig. G. Guillon Le Thiere Pittore celeberrimo e Direttore della Imperiale e Reale Accademia di Francia in Roma.
Al Sig. G. Guillon Le Thiere Pittore celeberrimo e Direttore della Imperiale e Reale Accademia di Francia in Roma. Dal Quadro originale presso il S. Cav. Gio. Gherardo De Rossi. Pietro Parboni D. D. D.
Gasparo Pussino dipinse. Niccola de Antoni impresse. Pietro Parboni disegno e incise.
[Rome, n.d. c.1807-1832]
Etching with engraving. 465 x 610mm (18¼ x 24"), with wide margins. Mint.
A rustic scene of two shepherds quiding their sheep and cattle through a wood. After Gaspard Dughet (1615-1675), a student of Poussin. Dughet's successful career as a landscape artist saw him become one of the best known painters in Rome, alonside Poussin and Claude Lorrain.
From the Berkeley Collection, Spetchley Park.
[Ref: 55091]   £350.00  
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[The Temple of Apollo]. Al Sig.r Luigi Pavon Amatore delle elle Arti.
[The Temple of Apollo]. Al Sig.r Luigi Pavon Amatore delle elle Arti. Pietro Parboni D. D. D.
Claudio di Lorena inv. e dip. Nicola de Antoni impresse. Pietro Parboni incise. Nicola de Antoni vende in Roma, in Via del Corso No. 35.
Rome, [n.d. c.1800-1841].
Etching. 480 x 600mm (19 x 23¾"), with large margins. Near mint.
A scene from the myth of Cupid and Psyche; Psyche's father prays at the Temple of Apollo that she will find a suitable husband. After Claude Lorrain's (c.1600-1682) original painting 'The Father of Psyche sacrificing at the Temple of Apollo' (1662), painted for Angelo Albertoni, a Roman nobleman.
From the Berkeley Collection, Spetchley Park.
[Ref: 55087]   £380.00  
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Tempio di Venere
Tempio di Venere All' Egregio Sig.r Luigi Magrelli Ingegnere, Nobile Estimatore delle Belle Arti. Celebre Quandro di Claudio Lorenese, esistente, nella Galleria di S. E. il Sig.r Contestabile Colonna in Roma. Pietro Parboni
Claudio di Lorena inv. e dip. Pietro Parboni dis. e inc. Nicola de Antoni impresse. In Roma presso Nicola de Antoni Neg.te di Stampe in Piazza di Spgna N.o 83.
Rome, [n.d. after 1800].
Etching and engraving. 480 x 600mm (19 x 23¾"), with large margins. Extreme edges bit rough.
A scene of worshippers bringing offerings to the temple of Venus; many of the worshippers are garlanded and playing instruments. An engraving by Pietro Parboni after Claude Lorrain (c.1800-1882).
From the Berkeley Collection, Spetchley Park.
[Ref: 55092]   £420.00  
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Tersicore
Tersicore Aloisiae. E. Principibus. Stolbergis / Albaniae. Comitissae. / Antonius Canova.
[n.d. after 1808].
A. Canova inv. e scolpi in marmo. Gio. Tognoli dis. Piet. Fontana incise.
Mint engraving. 455 x 330mm (17¾ x 13"), with large margins.
Sculpture of Terpsychore, the muse of dance and choral singing, holding a lyre. The Greek inscription on the colomn reads 'Terpsychore Lyran'. The statue was commisioned by Lucien Bonaparte (1775-1840), originally intended to portray his wife Alexandrine de Bleschamp (1778-1855), however, for reasons that remain unknown, the completed work was acquired by Giovanni Battista Sommariva, who also bought the plaster cast to ensure no copies could be made. Sommariva, who was bessotted with the statue, referred to the sculpture as '[his] bride' and placed at the foot of his bed in his Parisian house.
From the Berkeley Collection, Spetchley Park.
[Ref: 55030]   £320.00  
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A Tigress.
A Tigress.
Engraved by John Murphy by Permission of Mr. George Stubbs from the Picture Painted by himself and in his Possession.
London, Published July 27, 1798 by J. Murphy, North side Paddington Green.
Coloured mezzotint. Sheet 490 x 610mm (19¼ x 24"). Trimmed to platemark. Very slight hole above Tiger's head.
A beautiful example of colouring of the famous image. Very rare mezzotint, showing a recumbent tigress, probably engraved from the life-size portrait of the Royal Tiger in Stubbs's possession when he died. The painting had originally been engraved by John Dixon in 1772; however that mezzotint plate had been destroyed, so John Murphy was allowed to engrave a new plate. One of the finest images produced in the history of mezzotint.
Lennox-Boyd 133: II of II.
[Ref: 54787]   £4,500.00  
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Venatio.
Venatio.
Joan: Strada. Academic. Fiorentin. figurauit. Raphael Sadeler scalp. et excud.
[Venice, c.1579.]
Engraving. Sheet 220 x 280mm (8¾ x 11"). Trimmed into plate top right, affecting title. Creasing.
'The Hunt'. The goddess Diana sits under a tree, a falcon in her left hand, surrounded by hunting equipment, including bows, crossbows, an arquebus (musket), fishing nets and hunting dogs. In the background riders are chasing deer and boars, crossbowmen are shooting birds and fishermen are using nets and line. Tennis racket on ground. Very early real tennis image. From the series 'Schema, Seu Speculum Principum'.
BM: 1874,0110.447.
[Ref: 54794]   £380.00  
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Venere Vincitrice.
Venere Vincitrice. All' Illustre, Mylord Cawdor, che ad esempio della presenta Statua incoraggi l'Autore alla Scultura di una Ninfa giacente in diversa attidudine. - Antonio Canova.
Ant. Canova inv. e scolpi in marme. Luigi Durantini dis. Ang. Bertini incise. Statua di grandezza naturale nel Palazzo Borghese in Roma.
Rome, [n.d. c. 1815]
Engraving and etching. 390 x 540mm (15½ x 21¼"), with large margins. Mint.
A sculpture of Pauline Bonaparte, portrayed as Venus, reclining in a triclinium, seen from the back. Pauline Bonaparte (1780-1825) was the second sister of Napoleon Bonaparte. After her first marriage ended with the death of her husband, she married Camillo Borghese. Anotnio Canova's sculpture was commissioned by Camillo in 1805 for his wife, who was originally to be portrayed as the chaste goddess Diana. Aware of her promiscuous reputation, but also tastefully drawing on the mythic ancestry of the Borghese family, Pauline had the subject changed to 'Venus'. The original sculpture is in the Galleria Borghese, Italy. See also Ref 55027.
From the Berkeley Collection, Spetchley Park.
[Ref: 55012]   £360.00  
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Venere Vincitrice.
Venere Vincitrice. All' Illustre, Mylord Cawdor, che ad esempio della presenta Statua incoraggi l'Autore alla Scultura di una Ninfa giacente in diversa attidudine. - Antonio Canova.
Ant. Canova inv. e scolpi in marme. Luigi Durantini dis. Ang. Bertini incise. Statua di grandezza naturale nel Palazzo Borghese in Roma.
Rome, [n.d. c. 1815]
Engraving and etching. 390 x 540mm (15½ x 21¼"), with large margins. Creasing top right corner.
A sculpture of Pauline Bonaparte, portrayed as Venus, reclining in a triclinium, seen from the front. Pauline Bonaparte (1780-1825) was the second sister of Napoleon Bonaparte. After her first marriage ended with the death of her husband, she married Camillo Borghese. Anotnio Canova's sculpture was commissioned by Camillo in 1805 for his wife, who was originally to be portrayed as the chaste goddess Diana. Aware of her promiscuous reputation, but also tastefully drawing on the mythic ancestry of the Borghese family, Pauline had the subject changed to 'Venus'. Her sculpted figure also holds an apple, invoking Venus' victory in the Judgement of Paris. The original sculpture is in the Galleria Borghese, Italy. See also Ref 55012.
From the Berkeley Collection, Spetchley Park.
[Ref: 55027]   £350.00  
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Venere
Venere A Sua Eccelenza il Sig.r Virginio Cenci de Conti Bolognetti Amatore e geniale delle Belle Arti.
Raffaele Sanzio d'Urb inv. Augustino Tofanelli delin. Guiseppe Bortignoni Veneto incise. In Roma presso Venanzio Monaldini Mercante de Libri e Stampe in Piazza di Spagne a N.o 79.
Rome [n.d. c.1800-1834].
Engraving and etching. 340 x 410mm (13¼ x 16), with large margins. Uncut. Mint.
Venus driving her chariot through the clouds pulled by four doves. After a design by Raphael in the Sala dei Pontefici.
From the Berkeley Collection, Spetchley Park.
[Ref: 55082]   £450.00  
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