Hamilton pinx: [Philip Ferdinand Van Hamilton] C: Auer del:
[German, Munich?, n.d., c.1823.]
Early and scarce sepia-tinted lithograph, heightened in white. Image 455 x 335mm, 18 x 13¼". Outline border. One repair and minor creasing in margins.
A large dead hare strung up by its legs dominates the centre of the composition; dead birds including tits, finches, thrush and partridge. After Philip Ferdinand Van Hamilton (Flemish, c.1664 - 1750). The engraver is Kaspar Auer (German, 1795 - 1821). This plate formed part of a series of lithographed reproductions after paintings in the royal collection in Munich. "At this early stage lithography had not been developed far enough to reproduce colours, so the artists contented themselves with the addition of one or two tint-stones, from which highlights were scraped out to reveal the white of the paper. But to a public educated on the traditional type of 'gallery' publication, where all the paintings were reproduced in engraving, even this touch of colour would have been a surprise, and would have associated these prints rather with the traditional chiaroscuro woodcut." BM:German Printmaking in the Age of Goethe'.
See BM 1854,1020.1430; for a reversed version of this image see ref. 9296
[Ref: 22738] £260.00
[German, Munich?, n.d., c.1823.]
Early and scarce sepia-tinted lithograph, heightened in white. Image 455 x 335mm, 18 x 13¼". Outline border. One repair and minor creasing in margins.
A large dead hare strung up by its legs dominates the centre of the composition; dead birds including tits, finches, thrush and partridge. After Philip Ferdinand Van Hamilton (Flemish, c.1664 - 1750). The engraver is Kaspar Auer (German, 1795 - 1821). This plate formed part of a series of lithographed reproductions after paintings in the royal collection in Munich. "At this early stage lithography had not been developed far enough to reproduce colours, so the artists contented themselves with the addition of one or two tint-stones, from which highlights were scraped out to reveal the white of the paper. But to a public educated on the traditional type of 'gallery' publication, where all the paintings were reproduced in engraving, even this touch of colour would have been a surprise, and would have associated these prints rather with the traditional chiaroscuro woodcut." BM:German Printmaking in the Age of Goethe'.
See BM 1854,1020.1430; for a reversed version of this image see ref. 9296
[Ref: 22738] £260.00