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Condition: Scratch across the turban and crease to bottom right hand corner. [27750] £300 4. [The Head of the Executioner] Mezzotint William Say after Prince Rupert of the Rhine after José de Ribera (follower of) 1824 Image & Plate 131 x 160 mm, Sheet 159 x 187 mm unmounted The Monogram “Rpf” (Rupertus princeps fecit) scraped in the top right corner. This image in a larger format (Great Executioner), engraved by Prince Rupert in 1658, was published in the first edition of John Evelyn’s Sculptura. This engraving by Say is one of a number of known late copies of Prince Rupert’s so-called Little Executioner of 1662. José de Ribera (1591 - 1652) was a Spanish painter and etcher. A leading exponent of Neapolitan painting, he was a greatl influence on the young Luca Giordano. Prince Rupert, Count Palatine (1619-1682), was a soldier and patron of science. The third son of Frederick V and Elizabeth, the exiled King and Queen of Bohemia, Rupert was a nephew of Charles I. The inclusion of Rupert’s print of The Great Executioner in Evelyn’s Sculptura made him the earliest practitioner of mezzotint engraving to be published in England. The first to bring the method, invented by Ludwig von Siegen, to the country he also devised the rocker as a superior method of laying mezzotint grounds. William Say (1768-1834) went to London in 1788 and studied under engraver and painter James Ward. In 1807, he engraved William Beechey's portraits of the Duke and Duchess of Gloucester, to whom he was then appointed engraver. Over his lifetime, Say produced a total of 335 plates, which included works after old masters as well as contemporary artists. Like Prince Rupert, Say was also a pioneer of mezzotint engraving, producing the first ever mezzotint on steel in around 1819. Say's son Frederic Richard Say was a successful portrait painter. 5. [A lion and tiger fighting over a native] Etching and aquatint C. Callon Jnr Published by R. Pollard, Spa Fields, London. [c. 1785] Image 275 x 345 mm, Sheet 288 x 355 mm Proof before full aquatint. Robert Pollard (c.1755 - 1838) was a British painter, engraver and publisher. Born in Newcastle he studied under the engraver Ralph Beilby alongside fellow apprentice Thomas Bewick. He moved to London in 1774 and studied painting under Richard Wilson. Pollard returned to the study of engraving under the tutelage of Isaac Taylor. In 1781 he founded his own business in Islington , eventually employing his son Robert between 1817 and 1828, to form Pollard & Sons. He also continued to publish under his name alone. He retired from business in 1828. Condition: Small tear to left margin not affecting image, small tear to bottom margin and publication line just into image. [27766] £550 Chaloner Smith IV p1773, 7 [Earliest Specimens] (copy of), Griffiths - Stuart Britain 142, Hollstein 15 Le Blanc11, Lennox-Boyd i/i Ex. Col.: Hon Christopher Lennox-Boyd
Pre-Raphaelite & Victorian Etchings Henry Macbeth-Raeburn (1860-1947) was a noted Scottish painter and mezzotint engraver active in Edinburgh during the 1920's. He was a member of the Royal Academy and the Royal Society of Painters, Etchers, and Engravers. He is known today for his stylish mezzotints after celebrated eighteenth and nineteenth century portraits, which reproduced with accuracy and finesse the glory of these earlier masters. He had a penchant for the paintings of Reynolds, Gainsborough, and Sargent and produced many fine prints after their works. 6. The Wine of Circe. Etching Jules Payrau after Sir Edward Coley Burne-Jones 1896 Image 136 x 208 mm, Plate 175 x 245, Sheet 225 x 308 mm mounted From The Magazine of Art The Magazine of Art was an illustrated monthly British journal devoted to the visual arts, published from May 1878 to July 1904 in London and New York by Cassell, Petter, Galpin & Co. It included reviews of exhibitions, articles about artists and all branches of the visual arts, as well as some poetry, and was lavishly illustrated by leading engravers of the period. Sir Edward Coley Burne-Jones, 1st Bt (1833-1898) was a painter and designer closely associated with the later phase of the Pre-Raphaelite movement. He was inspired to take up art through his friendship with D.G. Rossetti and was also a lifelong friend and collaborator of William Morris, for whom he designed stained-glass windows, tapestries, tiles and book illustrations. Burne- Jones’ paintings of classical subjects and medieval romances exemplify the aesthetic dream-world of late nineteenth-century art. His reputation reached its height in the 1880s but began to decline during his lifetime with the onset of the Impressionists, whose style and choice of subject matter he despised. Condition: Some foxing to sheet not affecting image but inside of plate. [27621] £140 7. La Belle Dame Sans Merci. Etching Henry Macbeth-Raeburn after John William Waterhouse c.1895 Image 239 x 177 mm, 270 x 195 mm, Sheet 300 x 228 mm mounted From The Magazine of Art John William Waterhouse (c.1849 -1917) was an English painter known for working in the Pre- Raphaelite style. He worked several decades after the breakup of the Pre-Raphaelite Brotherhood, which had seen its heyday in the mid-nineteenth century, leading him to have gained the moniker of "the modern Pre- Raphaelite". Borrowing stylistic influences not only from the earlier Pre-Raphaelites but also from his contemporaries, the Impressionists, his artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend. Although not as well known as earlier Pre-Raphaelite artists, Waterhouse's work is currently displayed at several major British art galleries, and the Royal Academy of Art organised a major retrospective of his work in 2009. Condition: Some foxing to sheet and along the top edge of the image inside the plate. [27622] £120
Page 1 and 2: Sanders of Oxford ANTIQUARIAN PRINT
Page 3: 3. A Philosopher Giving a Lecture o
Page 7 and 8: one-man exhibition, most famously t
Page 9 and 10: 14. Knife Grinder Chromolithograph
Page 11 and 12: Modernism in the theatre. His major
Page 13 and 14: Lithograph William Nicholson Publis
Page 15 and 16: George Cruikshank (1792-1878), illu
Page 17 and 18: Portraits British Nobility 37. The
Page 19 and 20: Ex.Col.: Edgar Seligman Ex.Col.: Sy
Page 21 and 22: Condition: Trimmed to plate mark an
Page 23 and 24: the states-general. As a response,
Page 25 and 26: to England. During his years in the
Page 27 and 28: William Pether (1731 - 1821) was a
Page 29 and 30: Mezzotint After Sir Joshua Reynolds
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Page 35 and 36: Cornelius Johnson (1593-1661) was a
Page 37 and 38: 78. The Deutsch Prize, Santos Dumon
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February 1906 and acted as the Vice
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Samurai 138. Gentoku, on his black
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His first works date from the early
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including figures more subtle lands
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Cambridge 155. The Colleges of Camb
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France 161. Upper Dowdeswell the Se
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cosmographers and geographers of th
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190. The Environs of Paris Steel en
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Condition: Light toning to margins.
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300 x 374 mm unmounted Condition: L
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