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R. Benning del. et sculp. Sold by J. Boydell Engraverr<br />
at the Unicorn in Cheapside London 1756.<br />
Panoramic view on two sheets; engraving, paper<br />
watermarked<br />
with very large margins; rare r in good<br />
condition. Plate 305 x 489mm (12 x 19¼"). £1500<br />
A long view of London as it was in 1647, before the<br />
Great Fire, from Westminster Abbey to St. Katharine's<br />
and Essex on<br />
the north side of the Thames. Very<br />
detailed view<br />
of Southwark on the south<br />
of the Thames<br />
in the foreground.<br />
From "A Collection of One Hundred Views In England<br />
and Wales".<br />
John Boydell's 'Collection<br />
of Views' was made after he<br />
turned from engraver to print publisher in 1767. The<br />
first collection was issued in 1770, and included some<br />
plates by printmakers other than himself.<br />
Adams (London): 47.45 & 46.<br />
[Ref: 29381]<br />
6. [A Polar Bear.]<br />
[n.d. c.1900.]<br />
Etching, signed artist's proof, limited to 150<br />
impressions; framed. Plate<br />
215 x 279mm. 8½ x 11".<br />
Frame 419 x 458mm. 16½<br />
x 18". Paper lightly toned. .<br />
£590<br />
Polar bear facing up rocky<br />
slope taking scent.<br />
The only recorded state; the plate was then destroyed.<br />
[Ref: 25915]<br />
7.<br />
This Plate (representing a Negroes<br />
Dance in thee Island of Dominica) is<br />
humbly dedicated to the Honble,, , Charles<br />
O'Hara, Brigadier General of hiss Majestys<br />
Army in America, Col, ,, of Foot, & Lieut,,<br />
Col,, of the ColdstreamC<br />
m Regimentt of Foot<br />
Guards.<br />
A. Brunias Pinxt. et Sculpt,, London, Published 15<br />
Feby, 1779, by the Proprietor, N [blank] Broad Street,<br />
Soho.<br />
Stipple and etching on laid paper, fine impression;<br />
sheet 290 x 355mm. 11½ x 14". Margins trimmed. t<br />
Two small tearss into inscription area. A few worm<br />
holes to lower right r edge of image.<br />
£950<br />
A group of black people dancing, on the Caribbean<br />
island of Dominica, with drums and tambourines.<br />
Agostino Brunias (1730 - 1796). Whilst working in<br />
England for thee architect Robert Adam as a<br />
draughtsman and decorative artist, Rome-born Brunias<br />
met William Young who, in 1764, was nominated the<br />
first Commissioner and Receiver for sale of lands in<br />
the ceded (fromm France) West Indies islands of<br />
Dominica, St Vincent, V Grenada and Tobago. Brunias<br />
agreed to accompany Young g to the West Indies I as his<br />
personal artist. He spent seven years in thee Caribbean<br />
creating romantic genre scenes of markets, village and<br />
harbour scenes. . Brunias’s treatment of his human<br />
subjects reflects that of artists recording natural history<br />
specimens: every aspect of dress and accessory is<br />
captured in exhaustive detail l yet the figures appear as<br />
‘types’ rather than individuals. Dress is used as the<br />
marker of particular colonial l identities encountered on<br />
the islands: Carib, Black Carib, mulatto, slave,<br />
freedman, and planter. p Brunias’s romanticised images<br />
of<br />
island life, which w denied the harsh realities of<br />
plantation slavery, were popular with members of the<br />
white plantocracy, both in the West Indiess and in<br />
Britain.<br />
[Ref: 27814]