The English Country House |

Prints

36 items
A pair of stipple engravings printed in colour and with hand colouring depicting scenes from Mestastasio Vol 7, the left hand image with the cut title band pasted to the reverse

Orpheus Binding Aglaial to Laurel

show details 		A pair of late 18th century stipple engravings with original colouring, painted and engraved by Joseph Barney and published in 1794 by E.Walker & Co. Within period oak frames.

The Dairy...........

show details 		An English late 19th Century Neo-classical carved and gilded moulding frame with reeded sight, plain hollow, plain reverse wedge frieze, and reverse wedge back edge with a dog tooth parquetry inlay. To the reverse is the trade label for Paul Vacani Originally from Italy, Paul Vacani and his father Andrew traded as framemakers, art and furniture dealers. The family's best known client was Sir Edward Burne-Jones. Without the optional slip the opening is increased to 33.75 in x 20.25 in

Vacani Frame

show details 		A Charles X gilded composition frame with lamb's tongue sight edge, flowerhead centres, palmette and corners. French circa 1830.

Charles X Frame

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Mr Grinling Gibbons, mezzotint, on laid paper, 1690, after Sir Godfrey Kneller Bt. (1646-1723) by John Smith (1654-1743) Within an early 20th century Hogarth type frame. Small tear to the right, paper repair to the far right of the title band. John Smith was a pioneer of the mezzotint process. Born in Northampton, he moved to London to become a printer's apprentice. He turned his attention to mezzotint engraving and became the pupil of Jan Van der Vaart. In the first nine years of his career Smith worked principally for five publishers: Richard Palmer, Edward Cooper, Alexander Browne, Pierce Tempest and Isaac Beckett. He began publishing for himself in 1687, and from 1692 he worked only for himself. When Beckett died in 1688 Smith inherited his position as chief engraver to Godfrey Kneller. Grinling Gibbons, an immigrant from Rotterdam he became Britain's greatest decorative woodcarver. He is best known for his realistic and fluid limewood carvings of swags and festoons of fruit, flowers and game for architectural interiors. He was also a skilled stone sculptor.

Mr Grinling Gibbons

show details 		A pair of stipple engravings with hand colouring

Narcissa & Flirtilla

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Dog & Bird's Nest

show details 		Three aquatints with hand colouring, London published by Thomas McLean, 26 Haymarket, 1827, within Victorian stained beech frames.

"The Cut............."

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A set of 18th century prints with hand colouring depicting the story of the Prodigal Son, within the original ebonized frames. Continental circa 1750.

The Prodigal Son

show details 		A pair of 18th century reverse painted mezzotints laid down onto glass; Queen Anne and her husband Prince George of Denmark, The Duke of Cumberland. The pair published by John Smith after the works by Sir Godfrey Kneller, Bt. Early 18th century and within the original carved and gilded oval frames. John Smith was a pioneer of the mezzotint process. Born in Northampton, he moved to London to become a printer's apprentice. He turned his attention to mezzotint engraving and became the pupil of Jan Van der Vaart. In the first nine years of his career Smith worked principally for five publishers: Richard Palmer, Edward Cooper, Alexander Browne, Pierce Tempest and Isaac Beckett. He began publishing for himself in 1687, and from 1692 he worked only for himself. When Beckett died in 1688 Smith inherited his position as chief engraver to Godfrey Kneller.

Queen Anne & Duke of Cumberland

show details 		London Published July 22nd 1890 by L.H. Lefevre 1a King Street St. James's. Blind bookseller's stamp top right hand margin. Signed by the artist Alma Tadema and further signed by the engraver, Leopold Lowenstein.

Alma Tadema Etching

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The Proverb Reversed

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Stipple engraving printed in colour, c.1800. Engraved by Hogg after the original painting by Rev. M.Peters and published in 1785 by J.W. Smith.

"Sophia"

show details 		Thomas King depicted in the role of Puff in the

Thomas King as Puff

show details 		Domestick Employement and Domestick Amusement, reverse painted mezzotints after the paintings by Philip Mercier.

Domestick............

show details 		The Right Honourable William Pitt, drawn by H. Edridge, 1801 and engraved by Anthony Cardon. London Published Dec. 26 1804 by H. Edridge, No 64 Margaret Street, Cavendish Square, and by Colnaghi & Co, Cockspur Street, Charing Cross. William Pitt, second son of William Pitt, 1st Earl of Chatham, was born at Hayes Place in the village of Hayes, Kent. He was sickly as a boy and educated at home by a Reverend Edward Wilson. He was intelligent and quickly became proficient in Latin and Greek. In 1773, aged fourteen, he attended Pembroke Hall (now Pembroke College, Cambridge), where he studied political philosophy, classics, mathematics, trigonometry, chemistry, and history. He remains the youngest ever Cambridge undergraduate.Whilst at Cambridge he was tutored by George Pretyman who became a lifelong personal friend. Pretyman became Bishop of Lincoln and then Winchester and PItt would draw upon his advice throughout his political career. While at Cambridge, he befriended the young William Wilberforce, who was also to become a lifelong friend and political ally in Parliament. Stipple engraving, unframed and still around the original stretcher. w.12 in x h.15 5/8 in.

Pitt The Younger

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Pair of hand coloured and tinsel decorated 'theatrical prints' depicting Queen Victoria and Prince Albert on rearing horses with Windsor Castle in the background.

The Tinsel Queen

show details 		A pair of stipple engravings in original gilt gesso frames. English circa 1790.

Cobb Nuts and Peas

show details 		A pair of English late 18th century stipple engravings printed in colour and within original gilt gesso frames. A label to the reverse is inscribed with text from Vide Ariosto and states that the original pictures are in the posession of Charles Boddam. Published by Thomas Macklin, 39 Fleet Street, Sept. 1781.

Vide Ariosto

show details 		A pair of fine stipple engravings, printed in colour, designed and engraved by Daniel Orme. Late Victorian mounts and gilt gesso frames.

A Song for a Sweetheart

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A pair of late 18th century stipple engravings printed in colour and with hand colouring, published by R.M. Meadows after J.R. Smith and in the original gilt gesso frames.

Attention & Inattention

show details 		A fine set of four monochrome stipple engravings in original gilt gesso frames, engraved by Scott after Morland. Published circa 1800.

Boys...

show details 		A pair of 18th century engravings 'Out of Place and Unpenshion'd, In Place...ha ha ha!' Published by Robert Sayer and Jonathan Smith, November 1769. In period gilt and ebonized 'Hogarth' frames.

Out of Place....In Place....

show details 		A rare reverse painted mezzotint laid down onto glass 'The Farm House on Fire', printed for Robert Sayer, printseller near Sergeants Inn Fleet Street, London. 18th century, in the original 'Hogarth' frame.

The Farm House on Fire

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A fine pair of stipple engravings by Francesco Bartolozzi after the work by Angelica Kauffman, printed in sanguine and within the original gilt gesso frames. English circa 1790. Francesco Bartolozzi (1727-1815) was an engraver, etcher and painter born in Florence, Italy. He was trained in the Florentine Academy and apprenticed to a Venetian engraver. In 1764, King George III's librarian brought him to England, where he was appointed Engraver to the King and later held the title of Royal Academician. A prolific engraver, he developed a stipple method invented in France, and his work was admired for its subtle modulations of light and shade and his sensitive and graceful portrayal of the human form. Engravings were the means of creating reproductions of fine art in the pre-photographic age, and Bartolozzi was considered one of the best. Prominent artists such as Sir Joshua Reynolds praised his work and his pupils nicknamed him

Francesco Bartolozzi / Angelica Kauffman

show details 		Six 18th century gouache coloured engravings depicting various elegant gardens. Excellent strong and original colouring. Within hand made and finished copies of 18th century frames.

Georgian Gardens

show details 		A pair English 17th Century carved and silver leafed oval frames with cavetto sight, leaf and flower panels to the reverse cushion moulded hollow and ribbon twist back edge.

A Pair of English Frames

show details 		A set of three mezzotints engraved by John Jones after the painting of 1788 by James Roberts. Jones was a London-based engraver and printseller who practiced in both mezzotint and stipple. During his industrious career he mainly engraved portraits and the majority of his work he published himself at his residence in Great Portland Street. He was an active exhibitor at the Society of Artists and from 1780-1791 served as Engraver Extraordinary to the Prince of Wales. Dimensions of plate: w.16 in x h.22 in/w.14 in x h.18 in w.23 in x h.27 in & w.31 in x h.27 in

Lord and Lady Spencer

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Mixed method engraving after the 1886 work by James Yates Carrington (1857-1892). Blind printsellers stamp to the top right margin. Within the original reeded mahogany frame.

Tea Time

show details 		A mid 18th century view of the Tower from the Thames. Good impression with fine original colour.

"A View of the Tower taken upon the Thames"

show details 		A reverse painted mezzotint laid down onto glass. London Published Nov. 14th 1805 by W.B. Walker and in the original

"Sunday or The Happy Cottagers"

show details 		A reverse painted mezzotint, after the work by Richard Carlile (himself a speaker at the meeting) laid down onto glass and showing

Peterloo Massacre

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The Four Seasons arranged over two prints. Reverse painted mezzotints laid down onto glass in original period frames, published August 14th 1807 by W.B Walker.

The Four Seasons

show details 		Reverse painted mezzotint laid down on glass. London published Sept. 1st 1806 by P.Gally. Original 'Hogarth' frame.

"Coming In"

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Bank of England

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Westminster Bridge

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