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L'Homme Condamne a la Peine ou Talion
L'Homme Condamne a la Peine ou Talion
[French n.d., c.1780.]
14 colour-printed stipples cut to image and pasted onto a card, title underneath. Total 590 x 750mm (23¼ x 29½"). Some surface wear.
An extremely rare series of images illustrating a fable in which animals get revenge on Man the hunter. Around the outside are ten matching hunting scenes, including coursing, ferreting, goat shooting, hunting a bull with dogs and lion hunting. (The two scenes in the top corners differ in being identifiable mythological scenes: top left is Saint Eustace's vision of a stag with a crucifix lodged between its antlers; top right is Actaeon turning into a stag.) The two larger central scenes show a hunter and his dogs being led into a court headed by a lion, and the hunter being cooked on a fire, basted by a bear and goat, while his dogs are lynched as collaborators.
[Ref: 51971]   £780.00  
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Celadon and Amelia.
Celadon and Amelia. From an Original Picture, in the Collection of Wm. Lock Esq.r. [&] Ceyx and Alcyone. From an Original Picture in the possession of Ryland & Bryer.
R. Wilson pinxit Londini. Browne aqua forti fecit. Woollett sculp.t. [&] W.m Woollett sculp.t.
Publish'd June 10th. 1766 as the Act directs, by W. Woollett, in Green Street, Leicester Fields, R. Sayer & J. Bennett, Fleet Street, & J. Boydell, Cheapside, London. [&] Publish'd July 31st 1769, as the Act directs, by W.m Woollett, in Green Street, Leicester Fields, R. Sayer & J. Bennett, Fleet Street, & J. Boydell, Cheapside, London.
Fine pair of engravings, each 445 x 550mm (17½ x 21¾"). Repaired tear at top, small margins.
A pair of scenes about love and loss. In the first Celadon looks to the heavens with his arms outstretched in grief as Amelia lies dead at his feet. In the title area there is quotation from James Thomson's 'The Seasons'. In the second Alcyone stands on the shore, distraught with grief, supported by four nymphs as two others bring Ceyx's corpse ashore. There are four lines of their story from Ovid's Metamorphoses and Dryden's translation. Richard Wilson (1714 - 1782) was the preeminent British landscape painter of the mid-18th century. The original of 'Celadon' is lost; 'Ceyx' is in the National Museum of Wales.
Fagan: Celadon LVII VII of VIII; Ceyx LXV in between VI & VII.
[Ref: 52099]   £750.00   view all images for this item
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[Cleopatra.
[Cleopatra. E Tabula Guidonis Reni, in Pinacotheca Domini De Montriblou armigeri conservata.]
[Guido Reni Pinx.t. R. Strange delin.t et sculp.t 1777.]
[London: Robert Strange, 1790.]
Engraving., rare proof before all letters. 520 x 350mm (20½ x 14¼"). Thread margins.
Cleopatra clasping the asp to her bosom. From a collected edition of the engravings by Sir Robert Strange (1721-92) after famous paintings, in this case one by Guido Reni (1575 - 1642).
[Ref: 52078]   £260.00  
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Judas returning the Thirty Pieces of Silver to the Chief Priest and Elders.
Judas returning the Thirty Pieces of Silver to the Chief Priest and Elders. From the original Picture in the possession of J, Fanshaww Esq, to whom this Plate is respectfully inscribed by his much obliged and very obedient Servant, B.B. Evans.
Painted by Rembrandt. Engrav'd by R. Dunkarton.
Publish'd Jan.y 1 1791, by B.B. Evans, Poultry London.
A fine and rare mezzotint. 480 x 590mm (19 x 23¼") very large margins. Small tears in margins.
Judas kneeling on the on the ground, his hands joined in a gesture of abjuration, having thrown the thirty pieces of silver on the floor before the throne of the High Priest.
Charrington: 46 unidentified state.
[Ref: 51974]   £590.00  
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The Lady's Last Stake.
The Lady's Last Stake.
Painted by W. Hogarth. Engraved by T. Cheesman.
[n.d., c.1830.]
Rare engraving. Sheet 490 x 630mm (19¼ x 24¾"). Trimmed to plate, several repaired tears, creasing, surface wear in edges. Messy.
A woman sits before a fire, on which playing cards burn. A man stands holding bank notes and jewels in his hat. Having lost at cards the lady is faced with a moral dilemma: be ruined financially or morally. On the floor is a letter from her husband sending her money, addressed to Charlotte and signed Townly. This is the first published version of Hogarth's painting of c.1759, originally entitled 'Piquet: or Virtue in Danger', commissioned by James Caulfeild, later 1st Earl of Charlemont. After completion, Hogarth retained the painting for a period in order to engrave it, but he was dissatisfied with the result so abandoned the project.
The original is in the Albright-Knox Art Gallery in Buffalo, New York.
[Ref: 52072]   £280.00  
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Liberty & Captivity.
Liberty & Captivity. Proof.
Painted by Fanny Mc.Ian. Engraved by C.W. Wass.
London Published Feb.y 1st 1852 by T. Boys, 467 Oxford Street. _ Paris E, Gambart & Co., 9 rue d'Orleans ay Marais deposé.
Mezzotint. 680 x 550mm (26¾ x 21¾"). Some spotting and creasing, crack in bottom platemark.
A family in a prison cell, a suckling mother looking enviously at the house martins that have built a nest in the window. As the artist specialised in Scottish historical scenes it is likely that this depicts the family of a Jacobite. The painting was exhibited at the Royal Academy. Frances Matilda "Fanny" McIan (c.1814-1897) was the first superintendent of London's Female School of Design, which was launched in 1842 to train women for industrial roles like porcelain painters. McIan expanded the curriculum to include more fine arts subjects, like oil painting and wood engraving, and was chastised for allowing her students to draw nude models.
[Ref: 51975]   £280.00  
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[Sacred and Profane Love.]
[Sacred and Profane Love.]
[Engraved by Friedrich Weber after Titian.]
[Vienna, P. Kaeser, n.d., c.1860.]
Engraving, proof before letters on chine collé. 380 x 670mm (15 x 26½"), with very wide margins, with publisher's blindstamp. Uncut. Mint.
A clothed and a nude woman sit by a sarcophagus. Titian's oil of c.1515 is in the Galleria Borghese, Rome.
[Ref: 52070]   £260.00  
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[Bataillee arrivée dans le Tripot, qui trouble la Comedie.
[Bataillee arrivée dans le Tripot, qui trouble la Comedie. Roman Comique chap.3.]
[J.B. Pater Pinxit. Edm. Jeaurat Sculp.
A Paris chez L. Surogue graveur du Royaume rue des Noyers entre les 2 1re portes cocheres vis a vis le mur St Yves. Avec Privileges du Roy.] [n.d., c.1730.]
Rare & scarce etching, proof before all letters. 295 x 380mm (11½ x 19").
A punch-up, with weapons including two tennis rackets. One of sixteen plates of scenes from the 1651 'Le Roman Comique' (The Comic Romance), by Paul Scarron, a burlesque novel of a theatre troupe in Normandy. After Jean Baptiste Pater (1695 -1736), pupil of Watteau.
[Ref: 52119]   £590.00  
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Will Watch, the Bold Smuggler.
Will Watch, the Bold Smuggler. Star no 26.
Cunthorp del.
Alvey, lith. London R.d.
Fine coloured lithograph. Sheet 265 x 205mm (10½ x 8"). Tear through inscription taped.
A illustration of a famous ballad. Will Watch takes his leave of Sue for his last smuggling trip before mending his ways; however he is killed in a sea chase.
[Ref: 52067]   £60.00   (£72.00 incl.VAT)
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