John Boydell (1719-1804) was educated to be a surveyor but upon seeing some beautiful landscape prints by W.H. Toms he was determined to be an artist and so apprenticed himself to that same artist. He became a masterful engraver and made a fortune and great reputation for himself. When this portrait was published he had entered politics and had been elected alderman in his ward. Michael Bryant's Biographical Dictionary of Painters and Engravers states that he produced 4,432 engravings in his lifetime, and they were housed in the large volumes depicted over his left shoulder in this portrait. Boydell points to his print showing St. George and the Dragon, and an engraver's burin is on the table next to him. He is credited with transforming Britain from a print importing country to one that exported that valuable and prestigious product. In 1791 he was elected to be Lord Mayor of London and continued to provide prints for the general population and artists in England. An exquisite piece. $1,600
Paul Sandby, R.A. "Ember Court, in Surrey, the Seat of the Right Hon. Lord Cranley." From A Collection of One Hundred and Fifty Select Views in England, Wales, Scotland, and Ireland. London, 1782-3. Ca. 5 1/4 x 7. Engraving by M. A. Rooker. Hand coloring. Full margins. Some foxing and discoloration, but overall very good impression and vibrant color.
From a series of beautiful prints of English landscapes and country houses by Paul Sandby, R.A. (1730-1809). Sandby, a painter and draughtsman of great fame, was rightly considered by his contemporaries to be one of the key figures in the development of British art in the second half of the eighteenth century. An especially talented topographical artist, he was singled out by Thomas Gainsborough as "the only Man of Genius...who has employ'd his Pencil that way". [L. Hermann, British Landscape Painting of the 18th Century]
These fresh and lovely views of magnificent English country houses in their landscape settings are excellent examples of Sandby's "genius" as a landscape and architectural artist. He was able to capture vividly the precise architectural and incidental detail, as well as the breathtaking settings, that make these English country seats so special. Wonderful prints from the great period of British landscape and topographical art. $145
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Prints from Boydell's History of the River Thames London: J. & J. Boydell, 1794-6. 8 1/8 x 12 3/8. Aquatint by Joseph Constantine Stadler. Full original hand color. Full margins. Very good condition.
John Boydell, a land surveyor in the employment of his father, was inspired by an engraving by W.H. Toms to leave his home in Shropshire about 1750 and walk to London to apprentice himself to Toms. After six years, Boydell set up his own shop and thus began his career as one of the greatest of print publishers. Boydell was much concerned with the French dominance of the European print market at mid-century, and it was mostly by his efforts that by the 1780s it was British engraved prints that were dominant. One of John's later projects, published with Josiah Boydell, was this series of views of the Thames River Valley. These prints, drawn by Joseph Farington, are excellent examples of the art of aquatinting, and they provide an intimate look at the heart of England during the late eighteenth century.
"Clower-Wall the Seat of Sr. Richard Cocks." From Britannia Illustrata or Views of Several of the Queens Palaces also of the Principal Seats of the Nobility and Gentry of Great Britain. London, . Drawing and etching by Johannes Kip and Leonard Knyff. Double folio. Image size 13 3/4 x 17. Etching. Hand-coloring. Full margins. Very good condition.
Johannes Kip (1653-1722) was a draughtsman and engraver, who worked first in his native Amsterdam before moving to London at the end of the seventeenth century. He did portraits, views, and book illustrations. His most important work was this lovely and informative series of bird's-eye views of English country seats. Architectural elements are rendered with great care and detail; and the surrounding formal gardens and distant nature are illustrated with luxurious fullness. Incidental figures and horses add delight and visual interest. Charming prints that are also archeologically significant for the information they give us about this great period in British architecture and landscape design. $750
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Joseph Wright of Derby. "Children of Walter Synnot, Esq." London: J.R. Smith, 1782. 17 1/2 x 13 1/2. Mezzotint with additional original hand coloring. Framed.
A charming portrait of children by the printmaker John Raphael Smith (1752-1812). Smith was one of the most prolific and expert printmakers of his day. His expert handling of mezzotint techniques are evident in this delicately rendered portrait.
This particular image is after a painting by Joseph Wright of Derby. Wright excelled at his depictions of the British Enlightenment's ongoing fascination of science and experimentation, whilst his depictions of children are rightly counted amongst his greatest works. Both themes form a central part of his most well known work, "An Experiment on a Bird in an Air Pump" of 1768.
In this portrait, the eldest boy is about to set a bird free, much to the dismay of the younger girl. A sentimental interpretation of the bird's imminent flight is a representation of the fleeting innocence of childhood. $850
Sir Joshua Reynolds. "Garrick Between Tragedy and Comedy." London: J. Jones, 1784. Engraved by Edward Fisher. 16 1/2 x 20 1/2 (image). Original hand color. Minor surface wear. Glued to board. Otherwise, very good condition.
This charming mezzotint is after an oil painting by Sir Joshua Reynolds, who is considered one of the greatest English portrait painter. Born in Devonshire in 1723, Reynolds displayed his artistic talents at an early age. He was sent to London in 1740 where he studied under Thomas Hudson until 1743. He then began painting portraits in London and Plymouth before traveling to Italy. Returning to London in 1752, Reynolds was commissioned to paint portraits of the royal family and the aristocracy. This success lead King George III to appoint Reynolds as the first President of the Royal Academy in 1768, and he retained the position until his death in 1789. Reynolds' portraits represent the embodiment of poise and elegance of English portraiture of the Eighteenth Century. This particular print is of the famous Eighteenth Century actor, David Garrick. Having to choose between the serious, Tragedy and the fun-loving Comedy, Garrick makes the obvious choice. $200
Francis Wheatley. "Sweet China Oranges, sweet China/Oranges sucrées, Oranges fines." Cries of London, Plate 3. Hand colored engraving, early 19th century. 16 x 12 (platemarks); 19 x 14 1/2 (sheet). Staining and repaired tear in lower margin. Else, very good condition.
A theme in English printmaking for over three hundred years, "Cries of London" prints form a visual record of London peddlers, charlatans, street hawkers, milkmaids, and grocers who made their living on the city streets. These various series, which presented glimpses of a London where tradesmen would advertise their wares with a musical shout or a melodic rhyme, vary in tone from idealistic visions of contented street vendors to satirical caricatures of humorous urban figures.
Francis Wheatley (1747-1801) was an English painter who was known for portraiture, but lost his customer base when he was elected to the Royal Academy in 1790 in preference to the King's nominee. His career dried up, and he would eventually die in poverty, with fellow Academicians paying for his funeral. In the interim, however, he painted thirteen scenes of the street life of his city - his version of the "Cries of London" - on which his fame rests. Having been born in Covent Garden, he was particularly able to resurrect the cries he heard in and around that area's famous market. Many of the women in his "Cries" are said to resemble his model wife, Clara Maria Leigh, who, when widowed, married actor Alexander Pope and achieved fame as an artist in her own right as Mrs. Pope.
In the original publication of the "Cries" by London publisher Colnaghi & Co. in 1794, several of Wheatley's "Cries," including this one, were engraved by Luigi Schiavonetti (1765-1810). As this print contains the attribution "D'après L. Schiavonetti," it is believed that this is from a later publication date, possibly French, and executed by a different engraver. Scholars of Jews in visual arts perceive the orange peddler here to be Jewish. $275
Joshua Reynolds. Macbeth IV, i. 'Macbeth consulting the witches.' Pl. 48. From The American Edition of Boydell's Illustrations of Shakespeare, Restored to all the Pristine Beauty of the First Proofs. New York: Shearjashub Spooner, 106 Liberty St., 1852. Engraving by Robert Thew. Published in two volumes. Ca. 17 1/2 x 23 1/2. With wide margins.
One image from a magnificent series of British prints based on the works of William Shakespeare published by the great John Boydell. Boydell, a land surveyor in the employment of his father, was inspired by an engraving by W.H. Toms to leave his home in Shropshire about 1750 and walk to London to apprentice himself to Toms. After six years, Boydell set up his own shop and began his career as a print publisher. He was much concerned with the French dominance of the European print market at mid-century, and mostly by his efforts in the 1780's Britain became a print exporting country.
As part of his concern with making a profit and supporting British art, Boydell established the Boydell Shakespeare Gallery, an establishment dedicated to British paintings depicting scenes from Shakespeare's plays. Boydell commissioned the paintings, put them on display in the gallery, and then published a folio work consisting of commissioned prints after 100 of the paintings in the gallery. Each print is expertly engraved and powerfully expresses the artistic inspiration that the subject provided. These are fascinating artistic expressions of the then current gothic interpretation of Shakespeare's works. The gallery and the prints were a boon for British artists, giving them inspiration and publicity at the same time. As almost all the paintings have since disappeared, the prints take on added interest as the surviving record of this fascinating episode in British art history. $650
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Plate 46. From Peintures des Vases Antiques de la Collection de Son Excellence Mr. Le Chevalier Hamilton. . . . Four volumes in French and Italian. Florence: Società Calcographica, 1802. Hand colored engraving.
Sir William Hamilton, after amassing and publishing fine illustrations of his first "Cabinet of Etruscan, Greek and Roman antiquities," sold the renowned collection to the British Museum, and began afresh to develop a second, similar collection. The first collection remains one of the Museum's greatest treasures.
Hamilton authored and published his Collection of Engravings from Ancient Vases, based on this second collection, between 1791 and 1795. This publication and Wedgwood's works on ceramics influenced John Flaxman and Henry Fuseli as well as many other European artists. These engravings are illustrations from the first Florentine edition of Collection of Engravings from Ancient Vases. Part of this group of vases was lost during Hamilton's hasty escape from Naples upon the invasion of the French in 1798; the remainder was eventually sold en masse to Englishman, Thomas Hope. Though Hope offered Hamilton less than he planned to receive, he promised to keep the vases together, for the study of artists and students of history, as Hamilton had always intended. $725
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Here a young curate is returning from his religious duties. At first, the scene seems to display a joyous domestic scene. However, traditional symbolism may suggest that all is not quite well. The yellow chair rails mimic the birdcage hanging outside the door creating a connection between the wife and the caged bird. While the small dog, fido, a symbol of fidelity, is nipping at the young man's coat. Such symbolism was common through the nineteenth century. $650
Here a young mother and her son bring a basket filled with geese and a piglet in lieu of money. Agricultural tithing was very common in Europe at the time. The rector must have had a successful day, as bottles of wine can be seen behind his desk and his pocket is stuffed with donations. $650
In 1782, Judge Francis Buller ruled that a man was allowed to beat his wife, provided that the instrument of violence was no larger around than his thumb. Even in the eighteenth century, this ruling was controversial, provoking Gillray to produce this satirical cartoon. According to one contemporary source, the artist's rendering of Buller's face was "a very striking likeness." Indeed, it is remarkably well-rendered and is clearly the object of Gillray's joke. As the working-class man in the background beats his wife with a regulation-sized stick, they serve as foils for the judge's folly. $325
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Richard Corbould. "Botany." From Encyclopædia Londinensis or, Universal dictionary of arts, sciences, and literature. London: J. Wilkes, March 1, 1805. Ca. 9 x 7 1/4. Stipple engravings with some line work by J. Chapman. Hand color. With light sticker mark in bottom margin. Otherwise, very good condition.
In the era of Enlightenment, books of knowledge, like Encyclopædia Londinensis, took on a new importance and nobility in the scope of book publishing. Fine artists like Richard Corbould were employed to draw allegorical prints to embellish the volumes. Exalting the pursuit of knowledge, these allegorical prints draw on neo-Classical vocabulary to confer nobility on the studies of geography, botany, painting, and others. In classically-draped garments, female figures pose amid Roman architecture and artifact, employing the tools of investigation specific to their discipline. This wonderful image contains an allegory of the science of botany. $250
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R. R. McIan. "Shaw." From The Clans of The Scottish Highlands. London: Ackermann and Co., 1845. Folio; ca. 12 x 8. Lithograph. Original hand-color. Full margins. Excellent condition. With text by James Logan.
A print of the Shaw clan from a series of beautiful hand-colored prints of the highland clans from Scotland by R.R. McIan. Queen Victoria was the first of the English monarchs to become interested in her Scottish heritage. In response to this royal interest, R. R. McIan and James Logan made extensive research into the clans of the Scottish highlands, and then produced their sumptuous volumes. This was the first comprehensive illustrated work on the Scottish clans, presenting a descriptive history of each clan and a picture of its clan plaid. Thus, these prints represent a primary source for subsequent work on the clans and their tartans. These are fascinating and colorful pieces of Scottish history. $250
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After Raeburn. "The McNab." London: 1929. 19 1/2 x 12 1/4. Mezzotint by Alfred Skrimshire. Hand color. Very good condition. $300
William Nicholson. Prints from An Alphabet. New York: R.H. Russell, 1898. Ca. 9 3/4 x 7 3/4. Lithograph transfers from wood block.
Sir William Nicholson (1872-1949) was an English artist well known for his unique style of woodcut prints. Beginning in the 1890s, he created posters with his brother-in-law James Pryde, using the pseudonyms J. & W. Beggarstaff. In 1897, Nicholson produced a woodcut print of Queen Victoria that was very well received and helped establish his reputation with the British public. About that same time Nicholson cut a series of wood blocks of An Illustrated Alphabet for publisher William Heinemann. Originally issued in a very small run of hand colored woodcuts, their popularity led to the images being transferred to lithographic stones and printed in a bound volume. Nicholson's style is instantly recognizable, with the broad strokes from his original woodcuts printed with subtle variations of earth tones, harking back to earlier British chap book illustrations. After the turn of the century, Nicholson turned more to painting, though he did continue to produce illustrations for several books. The prints from his alphabet volume offer a wonderful sample of Nicholson's vision and also of British culture at the end of the nineteenth century.
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Typically of Morland's art, this picture provide a rich narrative of British life. $950
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Thomas Rowlandson. "Doctor Syntax Tumbling into the Water." From one of the Tours of Dr. Syntax. London, engraved between about 1812 and 1821. Ca. 4 1/2 x 7 1/2. Aquatint by Thomas Rowlandson. Original hand color. Some typical light stains, overall very good condition.
A delightful print from one of the famous "tours of Dr. Syntax." These tours chronicle the various escapades of the fictional 19th-century English clergyman, Dr. Syntax. The animated drawing and wonderful facial expressions make them excellent examples of Rowlandson's parodic work from the great age of English caricature. $65
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A charming print from popular sporting artist Cecil Aldin. Known for his bright images of classic British sporting scenes, including coaching, hunting, racing, and other sports, Aldin's chromolithographs are most desirable. $550
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"The Bachelor." London: L.H. Lefevre, 1906. 10 x 13. Etching by C.O. Murray. Signed in plate. Very good condition.
A delightful example of the work of Walter Dendy Sadler (1854-1923) who produced over one hundred and seventy prints in his lifetime. This example shows a bachelor smoking a clay pipe and relaxing by the fire with a loyal dog at his feet. Other images show gentle-folk enjoying drink, food and leisure activities. Sadler's prints are famous for depicting authentic costumes, as well as furniture, stemware and other decorative arts. $250
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William Hogarth. [The March to Finchley] From The Original Works of William Hogarth. London: John & Josiah Boydell, 1790. 16 1/4 x 21 1/2. Engraving by William Hogarth. On hand laid paper. Very good impressions. Very good condition.
William Hogarth (1697-1764) is considered by many to be the greatest English caricaturist of all time. He was an perceptive observer and his illustrations of the social and political conduct of his day are fascinating historical documents and humorous depictions of human foibles, which have remained much the same over the last two centuries. This print is from a portfolio issued in 1790 by John and Josiah Boydell, printed from the original plate engraved by Hogarth. $1,200
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William Hogarth. "Canvassing For Votes." London: John Stockdale, Piccadilly & John Walker and G. Robinson, Paternoster Row, 1812. Re-engraving by Thomas Cook. 15 7/8 x 21. Excellent condition.
This engraving is from an excellent collection of re-engraved Hogarth prints. This is one of his most famous images, showing the chaos and corruption surrounding electioneering in eighteenth century England, but with universal relevance to any election. Hogarth did a set of four prints showing an election and this one concerns the manner in which voters were bribed. Outside 'The Royal Oak' a candidate is buying trinkets to give to two women on the balcony, which a "undecided" voter is approached by agents for the competing candidates with offers of food and wine. In the background, a mob attacks the headquarters of the other party. Other more elaborate symbols fill the print, making it not only an attractive image, but also one well worth study. $450
After James Northcote. "Diligence & Dissipation, Plate 1." From Diligence and Dissipation. London: T. Gaugain, 1796-97. All approximately 18 1/2 x 21 1/4 (plate marks). Engraved by Gaugain & Hellyear. Some minor tears in margins, professionally repaired. Otherwise, very good condition.
One of a beautifully engraved set of prints that visually preach the virtue of living a moral life and the ramifications if one does not. This set of prints depict the lives of two servant girls, the "Good or Modest" girl and the "Wanton" girl. Both live and work in the same house. The good girl is diligent in her work and is chaste, whereas her coworker neglects her duties and is not a virtuous woman. The wanton is eventually thrown out into the street, pregnant, only to die of poverty. The good girl eventually marries her master to become the mistress of the house. Basically, the message of this set of prints presents is that good behavior and diligence in one's work will lead to great rewards. Otherwise, the only other consideration is ruin from immorality. $800
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Henry Singleton. "Gipsey's Stealing A Child." London, 1801. 16 1/2 x 22 1/4. Mezzotint by F. Green. Original hand color. With wear in margins and repaired tears in bottom margin. Otherwise, very good condition and appearance.
Henry Singleton (1766-1839) was a British artist of genre, historical, literary and biblical themed scenes. He was a precocious talent, exhibiting at the Society of Artists at age 14 and entering the Royal Academy Schools three years later. He exhibited every year from 1784 until his death at the Royal Academy and also at the British Institution beginning with its founding in 1806. Many of his paintings were made into mezzotints which became widely popular. This is a fine example of his work, beautifully mezzotinted in 1801. $750
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