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MARTIN Johan Fredrik (Stoccolma 1755 - ivi 1816)
Festa di Sant'Andrea ad Amalfi
Veduta della festa di Sant’Andrea ad Amalfi, tratta da un disegno di Luois Jean Desprez. Amalfi festeggia Sant’Andrea, patrono della città, ben due volte all'anno, una il 30 novembre, l'altra il 27 giugno nell'anniversario del miracolo che salvò la città di Amalfi dall'invasione del pirata Kair-Ad-Din detto Barbarossa nel 1544. Sant'Andrea è protettore dei pescatori di tutto il mondo, di pescivendoli e di tutti coloro che hanno a che fare con la pesca. Ai festeggiamenti del 30 novembre, partecipa tutta la popolazione, ed è in questa occasione che avviene il “miracolo di Sant’Andrea”, per tanti versi molto simile al miracolo della liquefazione del sangue di San Gennaro. Probabile che il Desprez realizzi il disegno durante il suo viaggio in Italia, durante il quale descrive molto luoghi dell'Italia meridionale, poi base iconografica per il "Voyage Pittoresque" dell'abate Richard de Saint-Non.Incisione all'acquatinta ad inchiostro bistro, lievemente rifilata all'interno della linea marginale, piccole crepe di carta, per il resto in ottimo stato di conservazione. Rarissima. View of the feast of St. Andrew in Amalfi , taken from a drawing by Louis Jean Desprez. Amalfi celebrates St. Andrew, patron saint of the city, twice a year, on Nov. 30, the other June 27 anniversary of the miracle that saved the city from the invasion of Amalfi pirate Kair -Ad- Din said Barbarossa in 1544. St. Andrew is the patron of fishermen from all over the world, fishmongers and all those that have to do with fishing . The celebrations of November 30 , participates in the entire population, and it is on this occasion that happens the "miracle of St. Andrew " , in many ways very similar to the miracle of the liquefaction of the blood of San Gennaro.Likely that the realized design Desprez during his trip to Italy, during which describes a lot of places in southern Italy , then iconographic basis for the " Voyage Pittoresque " by the Richard de Saint-Non.Aquatint printed with bistro ink, slightly trimmed within the marginal line, small cracks of paper, otherwise in excellent condition. An extremely rare work. Frölich, Johan Fredrik Martins gravyrer, Stockholm, 1939, 291 II.
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COLEMAN Charles (Pontefract 1807 ca. - Roma 1874)
Valley of Yennie Subiaco
Acquaforte, tratta da 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', edito a Roma nel 1850. Magnifica prova, impressa su carta cina applicata su cartoncino, pieni margini, in perfetto stato di conservazione. Charles Coleman è stato un pittore inglese di paesaggi e animali, nato a Pontefract, nello Yorkshire, in Inghilterra. Fu attivo principalmente a Roma, dove fu un'importante influenza su Nino Costa e diede un contributo significativo alla formazione della Scuola di pittura di Campagna Romana. Dalle brulle colline dello Yorkshire, Charles Coleman arriva a Roma nel 1831 e si mostra un pittore appassionato del territorio che circonda l’urbe, pubblicando alla metà del secolo, presso la libreria Spithover, un ricco volume con 53 acqueforti: A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman. I paesaggi che Coleman rappresenta somigliano molto alle vedute desolate del suo Yorkshire, “ventose e abitate soltanto dall’erica”. Nella gran parte delle vedute dell’artista inglese il paesaggio si presenta con vivaci contrapposti, facendo sì che Coleman rappresenti un vero e proprio maestro per una o due generazioni di pittori romani e non solo. Era sprezzante dell'insegnamento accademico, credendo che l'osservazione dalla natura fosse la migliore educazione per un artista. Espose cinque volte alla Royal Academy di Londra, per l'ultima volta nel 1869. Etching from the 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', printed in Rome in 1850. A fine work, printed on China paper and laid on cardboard, full margins, in perfect condition. Charles Coleman was an English landscape and animal painter, born in Pontefract, Yorkshire, England. He was active primarily in Rome, where he was an important influence on Nino Costa and made a significant contribution to the formation of the School of "Campagna Romana" Painting. From the barren hills of Yorkshire, Charles Coleman arrived in Rome in 1831 and showed himself a passionate painter of the territory surrounding the urbe, publishing in the middle of the century, at the Spithover bookstore, a rich volume with 53 etchings: A series of subiects peculiar to the countryside of Rome and Pontine marshes designed from nature and etched by C. Coleman. The landscapes that Coleman depicts are very similar to the desolate views of his Yorkshire, "windy and inhabited only by heather". In most of the English artist's views, the landscape is presented with vivid contrasts, making Coleman a true master for a generation or two of painters in Rome and beyond. He was contemptuous of academic teaching, believing that observation from nature was the best education for an artist. He exhibited five times at the Royal Academy in London, for the last time in 1869.
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COLEMAN Charles (Pontefract 1807 ca. - Roma 1874)
Campagna romana
Acquaforte, tratta da 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', edito a Roma nel 1850. Magnifica prova, impressa su carta cina applicata su cartoncino, pieni margini, in perfetto stato di conservazione. Charles Coleman è stato un pittore inglese di paesaggi e animali, nato a Pontefract, nello Yorkshire, in Inghilterra. Fu attivo principalmente a Roma, dove fu un'importante influenza su Nino Costa e diede un contributo significativo alla formazione della Scuola di pittura di Campagna Romana. Dalle brulle colline dello Yorkshire, Charles Coleman arriva a Roma nel 1831 e si mostra un pittore appassionato del territorio che circonda l’urbe, pubblicando alla metà del secolo, presso la libreria Spithover, un ricco volume con 53 acqueforti: A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman. I paesaggi che Coleman rappresenta somigliano molto alle vedute desolate del suo Yorkshire, “ventose e abitate soltanto dall’erica”. Nella gran parte delle vedute dell’artista inglese il paesaggio si presenta con vivaci contrapposti, facendo sì che Coleman rappresenti un vero e proprio maestro per una o due generazioni di pittori romani e non solo. Era sprezzante dell'insegnamento accademico, credendo che l'osservazione dalla natura fosse la migliore educazione per un artista. Espose cinque volte alla Royal Academy di Londra, per l'ultima volta nel 1869. Timbro di collezione la verso di Luciana Simonetti (Lugt 3616). Etching from the 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', printed in Rome in 1850. A fine work, printed on China paper and laid on cardboard, full margins, in perfect condition. Charles Coleman was an English landscape and animal painter, born in Pontefract, Yorkshire, England. He was active primarily in Rome, where he was an important influence on Nino Costa and made a significant contribution to the formation of the School of "Campagna Romana" Painting. From the barren hills of Yorkshire, Charles Coleman arrived in Rome in 1831 and showed himself a passionate painter of the territory surrounding the urbe, publishing in the middle of the century, at the Spithover bookstore, a rich volume with 53 etchings: A series of subiects peculiar to the countryside of Rome and Pontine marshes designed from nature and etched by C. Coleman. The landscapes that Coleman depicts are very similar to the desolate views of his Yorkshire, "windy and inhabited only by heather". In most of the English artist's views, the landscape is presented with vivid contrasts, making Coleman a true master for a generation or two of painters in Rome and beyond. He was contemptuous of academic teaching, believing that observation from nature was the best education for an artist. He exhibited five times at the Royal Academy in London, for the last time in 1869. Collection marks on verso, by Luciana Simonetti (Lugt 3616).
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COLEMAN Charles (Pontefract 1807 ca. - Roma 1874)
Il riposo
Acquaforte, tratta da 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', edito a Roma nel 1850. Magnifica prova, impressa su carta cina applicata su cartoncino, pieni margini, in perfetto stato di conservazione. Charles Coleman è stato un pittore inglese di paesaggi e animali, nato a Pontefract, nello Yorkshire, in Inghilterra. Fu attivo principalmente a Roma, dove fu un'importante influenza su Nino Costa e diede un contributo significativo alla formazione della Scuola di pittura di Campagna Romana. Dalle brulle colline dello Yorkshire, Charles Coleman arriva a Roma nel 1831 e si mostra un pittore appassionato del territorio che circonda l’urbe, pubblicando alla metà del secolo, presso la libreria Spithover, un ricco volume con 53 acqueforti: A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman. I paesaggi che Coleman rappresenta somigliano molto alle vedute desolate del suo Yorkshire, “ventose e abitate soltanto dall’erica”. Nella gran parte delle vedute dell’artista inglese il paesaggio si presenta con vivaci contrapposti, facendo sì che Coleman rappresenti un vero e proprio maestro per una o due generazioni di pittori romani e non solo. Era sprezzante dell'insegnamento accademico, credendo che l'osservazione dalla natura fosse la migliore educazione per un artista. Espose cinque volte alla Royal Academy di Londra, per l'ultima volta nel 1869. Timbro di collezione la verso di Luciana Simonetti (Lugt 3616). Etching from the 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', printed in Rome in 1850. A fine work, printed on China paper and laid on cardboard, full margins, in perfect condition. Charles Coleman was an English landscape and animal painter, born in Pontefract, Yorkshire, England. He was active primarily in Rome, where he was an important influence on Nino Costa and made a significant contribution to the formation of the School of "Campagna Romana" Painting. From the barren hills of Yorkshire, Charles Coleman arrived in Rome in 1831 and showed himself a passionate painter of the territory surrounding the urbe, publishing in the middle of the century, at the Spithover bookstore, a rich volume with 53 etchings: A series of subiects peculiar to the countryside of Rome and Pontine marshes designed from nature and etched by C. Coleman. The landscapes that Coleman depicts are very similar to the desolate views of his Yorkshire, "windy and inhabited only by heather". In most of the English artist's views, the landscape is presented with vivid contrasts, making Coleman a true master for a generation or two of painters in Rome and beyond. He was contemptuous of academic teaching, believing that observation from nature was the best education for an artist. He exhibited five times at the Royal Academy in London, for the last time in 1869. Collection marks on verso, by Luciana Simonetti (Lugt 3616).
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Scotin Jean-Baptiste
Memento Mori
Acquaforte e bulino, 1747, stampata da H. Woodfall per John e Paul Knapton a Londra, nel 1749. Ottima impressione su carta vergata coeva, con margini, perfette condizioni. Questo raro lavoro fa parte dello splendido atlante anatomico del XVIII secolo, il The Tables of the Skeleton and Muscles of the Human Body di Albino. Venne pubblicato da John e Paul Knapton, a Londra, senza il permesso dell'autore solo due anni dopo la prima edizione del 1747, a Leida. Questa seconda edizione è stampata nello stesso enorme formato della prima edizione, con le illustrazioni derivanti dalle celebri tavole di Jan Wandelaar, curate qui da Charles Grignion, Jean-Baptiste Scotin, Ludovico Antonio-Ravenet e Louis-Pierre Boitard. Wandelaar posò scheletri e figure muscolose contro lussureggianti sfondi ornamentali per dare loro l'illusione di vitalità, arricchiti con contrasti di massa e luce per produrre un effetto tridimensionale. Etching with engraving, 1747. Printed by H. Woodfall for John and Paul Knapton, London, 1749. A very good impression on contemporary laid paper, with margins, perfect condition. This rare work is part of the most splendid anatomical atlas of 18th century, The Tables of the Skeleton and Muscles of the Human Body, published by John and Paul Knapton in London without author's permission (later that year they issued an English translation of the work), only two years after the 1st edition was published in 1747 in Leiden (largely at Albinus' own expense). This second edition is printed in the same enormous format as the first of 1747, with the celebrated Jan Wandelaar's plates re-engraved for this edition by Charles Grignion, Jean-Baptiste Scotin, Ludovico-Antonio Ravenet and Louis-Pierre Boitard. Wandelaar placed his skeletons and musclemen against lush ornamental backgrounds to give them the illusion of vitality, using contrasts of mass and light to produce a three-dimensional effect. ESTC (RLIN) N49651 Garrison-Morton (5th ed.), no. 399 Russell, K.F. British anatomy (2nd ed.), no. 5 Wellcome cat. of printed books, vol. II, p. 26.
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Gillray James (Londra 1757 - 1815)
Il collezionista di opere d'arte
Acquaforte, 1808, firmata in lastra in basso a sinistra. Edita da H. Humphreys a Londra.Bellissima prova, impressa su carta coeva, rifilata al rame, in ottimo stato di conservazione.L'opera raffigura, nello stile satirico tipico del Gillray, il ritratto di George Granville (1758–1833), secondo Duca di Stafford, all'ingresso della casa d'aste Christie's nel 1808. Etching, 1808, signed at lower left. A fine impression, printed on wove paper, trimmed to the platemark, very good condition. Published by H. Humphreys, London.This print is the satirical portrait of George Granville (1758–1833), the 2nd Marquis of Stafford walking into Christie's Auction House. Wright & Evans 560; British Museum Satires VIII.11076; Grego, p. 360; reprint G.W.G. (1830) II.66; Godfrey, Gillray 180B
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Ryland William Wynne (Londra 1732 - 1783)
Giove e Giunone
Acquaforte stampata ad inchiostro bruno, 1763, firmata e datata in lastra in basso a destra.Da un disegno di Baccio Bandinelli.Magnifica prova, impressa su carta vergata coeva, con margini, in perfetto stato di conservazione.L'opera è parte della raccolta di Charles Rogers, 'A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors', edita a Londra da John Boydell e altri nel 1778. Le tavole che sono contenute nell'opera riproducono a grandezza naturale e con gli stessi colori, una serie di disegni antichi nella collezione del Rogers. Etching printed in brown ink, lettered below the image "In the Collection of Mr. Reynolds. CR edidt. Baccio Bandinelli delt. W.W. Ryland sct. 1763".After a drawing by Baccio Bandinelli.A fine impression, printed on contemporary laid paper, with margins, perfect condition. The work is part of Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors. printed by J. Nichols in London, and sold by John Boydell, Benjamin White, and Peter Molini, 1778. The plates, which use a wide variety of techniques, show some old master drawings in Rogers's own collection. His preface states: “That these prints may be faithful imitations, they are engraved the same way as, as well as the same size, as the Originals are drawn; and printed, as nearly as possible, in the same colours”. A fine impression, printed on contemporary laid paper, with margins, perfect condition. R. Weigel, Die Werke der Maler in ihren Handzeichnungen p. 77 no. 122.
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DEACON James (attivo a Londra intorno al 1770)
Tre studi di uomo che lotta con un leone
Silografia stampata in bruno, 1763, firmata e datata in tavola in basso a destra.Da un disegno di Luca Cambiaso, prima nella collezione Fawkener (come indicato nell'opera in basso al centro), ora al British Museum.Magnifica prova, impressa su due grandi fogli di carta vergata coeva, con margini, in perfetto stato di conservazione.L'opera è parte della raccolta di Charles Rogers, 'A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors', edita a Londra da John Boydell e altri nel 1778. Le tavole che sono contenute nell'opera riproducono a grandezza naturale e con gli stessi colori, una serie di disegni antichi nella collezione del Rogers. Woodcut printed in brown, 1763, signed at lower right.After a drawing by Luca Cambiaso, at that time in the Fawkener's collection and now at the British Museum.A fine impression, printed on two large sheet of contemporary laid paper, with margins, perfect condition.The work is part of Charles Rogers, 'A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors'. London: printed by J. Nichols, and sold by John Boydell, Benjamin White, and Peter Molini, 1778.The plates, which use a wide variety of techniques, show some old master drawings in Rogers's own collection. His preface states: 'That these prints may be faithful imitations, they are engraved the same way as, as well as the same size, as the Originals are drawn; and printed, as nearly as possible, in the same colours'
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COLEMAN Charles (Pontefract 1807 ca. - Roma 1874)
Campo Vaccino
Acquaforte, tratta da 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', edito a Roma nel 1850. Magnifica prova, impressa su carta cina applicata su cartoncino, pieni margini, in perfetto stato di conservazione. Charles Coleman è stato un pittore inglese di paesaggi e animali, nato a Pontefract, nello Yorkshire, in Inghilterra. Fu attivo principalmente a Roma, dove fu un'importante influenza su Nino Costa e diede un contributo significativo alla formazione della Scuola di pittura di Campagna Romana. Dalle brulle colline dello Yorkshire, Charles Coleman arriva a Roma nel 1831 e si mostra un pittore appassionato del territorio che circonda l’urbe, pubblicando alla metà del secolo, presso la libreria Spithover, un ricco volume con 53 acqueforti: A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman. I paesaggi che Coleman rappresenta somigliano molto alle vedute desolate del suo Yorkshire, “ventose e abitate soltanto dall’erica”. Nella gran parte delle vedute dell’artista inglese il paesaggio si presenta con vivaci contrapposti, facendo sì che Coleman rappresenti un vero e proprio maestro per una o due generazioni di pittori romani e non solo. Era sprezzante dell'insegnamento accademico, credendo che l'osservazione dalla natura fosse la migliore educazione per un artista. Espose cinque volte alla Royal Academy di Londra, per l'ultima volta nel 1869. Etching from the 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', printed in Rome in 1850. A fine work, printed on China paper and laid on cardboard, full margins, in perfect condition. Charles Coleman was an English landscape and animal painter, born in Pontefract, Yorkshire, England. He was active primarily in Rome, where he was an important influence on Nino Costa and made a significant contribution to the formation of the School of "Campagna Romana" Painting. From the barren hills of Yorkshire, Charles Coleman arrived in Rome in 1831 and showed himself a passionate painter of the territory surrounding the urbe, publishing in the middle of the century, at the Spithover bookstore, a rich volume with 53 etchings: A series of subiects peculiar to the countryside of Rome and Pontine marshes designed from nature and etched by C. Coleman. The landscapes that Coleman depicts are very similar to the desolate views of his Yorkshire, "windy and inhabited only by heather". In most of the English artist's views, the landscape is presented with vivid contrasts, making Coleman a true master for a generation or two of painters in Rome and beyond. He was contemptuous of academic teaching, believing that observation from nature was the best education for an artist. He exhibited five times at the Royal Academy in London, for the last time in 1869.
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COLEMAN Charles (Pontefract 1807 ca. - Roma 1874)
Pastori sui monti, vicino Civitella
Acquaforte, tratta da 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', edito a Roma nel 1850. Magnifica prova, impressa su carta cina applicata su cartoncino, pieni margini, in perfetto stato di conservazione. Charles Coleman è stato un pittore inglese di paesaggi e animali, nato a Pontefract, nello Yorkshire, in Inghilterra. Fu attivo principalmente a Roma, dove fu un'importante influenza su Nino Costa e diede un contributo significativo alla formazione della Scuola di pittura di Campagna Romana. Dalle brulle colline dello Yorkshire, Charles Coleman arriva a Roma nel 1831 e si mostra un pittore appassionato del territorio che circonda l’urbe, pubblicando alla metà del secolo, presso la libreria Spithover, un ricco volume con 53 acqueforti: A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman. I paesaggi che Coleman rappresenta somigliano molto alle vedute desolate del suo Yorkshire, “ventose e abitate soltanto dall’erica”. Nella gran parte delle vedute dell’artista inglese il paesaggio si presenta con vivaci contrapposti, facendo sì che Coleman rappresenti un vero e proprio maestro per una o due generazioni di pittori romani e non solo. Era sprezzante dell'insegnamento accademico, credendo che l'osservazione dalla natura fosse la migliore educazione per un artista. Espose cinque volte alla Royal Academy di Londra, per l'ultima volta nel 1869.ne. Etching from the 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', printed in Rome in 1850. A fine work, printed on China paper and laid on cardboard, full margins, in perfect condition. Charles Coleman was an English landscape and animal painter, born in Pontefract, Yorkshire, England. He was active primarily in Rome, where he was an important influence on Nino Costa and made a significant contribution to the formation of the School of "Campagna Romana" Painting. From the barren hills of Yorkshire, Charles Coleman arrived in Rome in 1831 and showed himself a passionate painter of the territory surrounding the urbe, publishing in the middle of the century, at the Spithover bookstore, a rich volume with 53 etchings: A series of subiects peculiar to the countryside of Rome and Pontine marshes designed from nature and etched by C. Coleman. The landscapes that Coleman depicts are very similar to the desolate views of his Yorkshire, "windy and inhabited only by heather". In most of the English artist's views, the landscape is presented with vivid contrasts, making Coleman a true master for a generation or two of painters in Rome and beyond. He was contemptuous of academic teaching, believing that observation from nature was the best education for an artist. He exhibited five times at the Royal Academy in London, for the last time in 1869.
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JACKSON John Baptiste (1701 - 1780)
Presentazione di Gesù al Tempio
Xilografia a chiaroscuro, 1745, in basso al centro la dedita dello stampatore: Illustrissimo, & Erudito Viro CAROLO FREDERICK Armigero, liberalium Artium Patrono, / Pauli Cagliari praeclarum hoc Opus in Ligno coelatum, in grati animi argumentum humiliter D. D. D. / J: B: Jackson”. Da un dipinto di Paolo VeroneseBell’esemplare, impresso su carta vergata coeva, completo dei margini bianchi, in ottimo stato di conservazione.La tavola è una della 24 dell’opera dal titolo “Titiani Vecelli, Pauli Caliarii, Jacobi Robusti, et Jacobi de Ponte opera selectiora” edita da J. B. Jackson nel 1745.La stampa è tratta dal dipinto di Paolo Caliari, detto il Veronese (1528-1588) per la cassa dell’organo della chiesa di S. Sebastiano, a Venezia, realizzato tra il 1558 e il 1560: le portelle dell’organo, chiuse, mostrano la “Presentazione di Gesù al Tempio”, mentre sul retro, visibile quando lo strumento è in uso, appare la scena della “Probatica piscina”. Chiaroscuro woodcut, 1745. inscribed lower center: “Illustrissimo, & Erudito Viro CAROLO FREDERICK Armigero, liberalium Artium Patrono, / Pauli Cagliari praeclarum hoc Opus in Ligno coelatum, in grati animi argumentum humiliter D. D. D. / J: B: Jackson”. After Paolo Veronese.Good example, printed on contemporary laid paper, white margins, in very good condition.Published as 1 of 24 prints and originally issued in portfolio with title: “Titiani Vecelli, Pauli Caliarii, JacobiRobusti, et Jacobi de Ponte opera selectiora”The plate is after an organ shutter of ca. 1588 painted by Paolo Veronese (1528-1588) for the Church of San Sebastiano, Venice. In 1558, Paolo designed the organ and painted its external shutters with the Presentation of Christ and the internal ones with a Pool of Bethesda (1560). The Presentation represents the bringing of the infant Jesus by Mary and Joseph to the Temple in Jerusalem to be 'consecrated to the Lord.' The Jewish rite of the 'purification' of the mother was celebrated simultaneously and involved the sacrifice of doves or pigeons and incorporated a procession of candles, both of which are portrayed by Veronese. The painted and actual architecture of Paolo's organ in San Sebastiano are coordinated so that, whether the shutters are open or closed, painted architecture continues the organ’s exterior architecture in both perspective and vocabulary. Kainen, Jacob. John Baptist Jackson : 18th-century master of the color woodcut, 1962
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PINE John
Battaglia navale
Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
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PINE John
Battaglia navale
Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
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PINE John
Battaglia navale
Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
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PINE John
Battaglia navale
Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
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PINE John
Battaglia navale
Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
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PINE John
Battaglia navale
Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
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Hastings Thomas (1778-1854)
View on the Tiber with Rome in the distance
Veduta panoramica di Roma presa da Ponte Milvio, tratta dal celebre dipinto di Richard Wilson, finemente incisa da Thomas Hasting nel 1824. Wilson (Montgomeryshire, 1º agosto 1714 – Denbighshire, 15 maggio 1782) è stato un pittore gallese e uno dei membri fondatori della Royal Academy nel 1768. Thomas Hastings era un pittore dilettante, disegnatore, acquerellista e incisore di paesaggi, vedute topografiche, soggetti marini e scene della costa. Nato Thomas Barnett; cambiò il suo cognome in Hastings nel 1812, con il quale espose e pubblicò dopo questa data. Ufficiale dell'esercito britannico 1795-1811, capitano dal 1799. Ufficiale di dogana dal 1819. Esposto alla Royal Academy of Arts, Society of Painters in Watercolours, British Institution, Liverpool Academy e Hibernian Academy. Socio dell'Accademia di Liverpool. Uno dei fondatori della Società degli Arcieri di Carisbrooke nel 1829. Incisione in rame, in ottimo stato di conservazione. Bibliografia Marianne A Yule, Captain Thomas Hastings (1778–1854): His full identity revealed, in “The British Art Journal”, Vol. 16, No. 2 (Autumn 2015), pp. 56-69. A panoramic view of Rome taken from Ponte Milvio, on the Tiber. After a painting of Richard Wilson and engraved by Thomas Hastings. Richard Wilson RA (1 August 1714 – 15 May 1782) was an influential Welsh landscape painter, who worked in Britain and Italy. With George Lambert he is recognised as a pioneer in British art of landscape for its own sake. Thomas Hastings was an amateur painter, draughtsman, watercolour artist and etcher of landscapes, topographical views, marine subjects and coast scenes. Born Thomas Barnett; changed his surname to Hastings in 1812, under which name he exhibited and published after this date. Officer in the British Army 1795-1811, Captain from 1799. Customs Officer from 1819. Exhibited at the Royal Academy of Arts, Society of Painters in Watercolours, British Institution, Liverpool Academy and Hibernian Academy. Associate of the Liverpool Academy. One of the founders of the Society of Carisbrooke Archers in 1829. A fine impression, printed on contemporary laid paper, good condition. Bibliografia Marianne A Yule, Captain Thomas Hastings (1778–1854): His full identity revealed, in “The British Art Journal”, Vol. 16, No. 2 (Autumn 2015), pp. 56-69.
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COOKE Edward William (Londra 1811 - 1880)
Roman Wine Cart
Litografia tinta firmata in basso a sinistra. Da un disegno dello stesso Cooke, ora conservato alla Royal Academy of Arts. Edward Cooke arrivò a Roma con sua sorella Laura il 23 dicembre 1845. Tranne che per un'escursione di due settimane a Tivoli, rimase in città fino al maggio dell'anno successivo. Roma era una destinazione insolita per un pittore di marine, e Cooke scrisse alla sua famiglia affermando che la stava "prendendo con freddezza" e aggiungendo che aveva 'taking it coolly' and adding that he had 'intended to paint one or two pictures for the Academy whilst here but it was impossible - 1st because I have been out of spirits and poorly, 2ndly the multitude of objects of intense interest have so completely seized all my thoughts since I left Genoa and the sea, that I seem for a time to have lost all my impressions of marine subjects and effects'. Tuttavia, Cooke disegnò avidamente i siti classici e medievali della città durante il suo soggiorno e questi formarono la base per diversi successivi dipinti ad olio di scene romane. Molti dei disegni furono incisi e pubblicati nelle due edizioni di Leaves from my Sketchbook (1876 e 1877). Nell'introduzione a queste pubblicazioni Cooke scrisse: "I viaggi in molti paesi, che si estendono per un periodo di cinquant'anni, hanno riempito i miei Sketch-books con diverse migliaia di schizzi, che spesso sono serviti a richiamare agli amici piacevoli ricordi di giorni felici e climi soleggiati, e ad eccitare il desiderio di visitare luoghi ugualmente notevoli per bellezza naturale e interesse storico". Tinted litograph signed at lower left. From a drawing by Cooke himself, now preserved at Royal Academy of Arts. Edward Cooke arrived in Rome with his sister Laura on December 23rd 1845. Except for a two week excursion to Tivoli, he remained in the city until May the following year. Rome was an unusual destination for a marine painter, and Cooke wrote to his family stating that he was 'taking it coolly' and adding that he had 'intended to paint one or two pictures for the Academy whilst here but it was impossible - 1st because I have been out of spirits and poorly, 2ndly the multitude of objects of intense interest have so completely seized all my thoughts since I left Genoa and the sea, that I seem for a time to have lost all my impressions of marine subjects and effects'. Nevertheless, Cooke avidly sketched the city's classical and medieval sites during his stay and these formed the basis for several subsequent oil paintings of Roman scenes. Many of the drawings were engraved and published in the two editions of Cooke's Leaves from my Sketchbook (1876 and 1877). In the introduction to these publications Cooke wrote, 'Travels in many countries, extending over a period of fifty years, have filled my Sketch-books with several thousand sketches, which have often served to recall to friends pleasant memories of happy days and sunny climes, and excite a wish to visit places alike remarkable for natural beauty and historic interest.'
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SANDBY Paul (Nottingham, 1731 - Londra,1809)
The Romans Polite to Strangers. Palazzo Ruspoli al Corso Rome
Acquatinta stampata ad inchiostro bistro, 1781, firmata in lastra in basso a destra e datate in basso al centro. Magnifica prova, impressa su carta vergata coeva con filigrana, sottili margini, leggere abrasioni al verso, nel complesso in eccellente stato di conservazione. Una delle quattro famose vedute del carnevale romane incise dal Sandby su disegno di David Allan (Alloa 1744 - Edimburgo 1796). Alla grande maggioranza di pitture, incisioni,acquerelli e disegni che illustrano le feste del carnevale romano con un eccesso di "colore", si contrappone questa serie, che descrive quei medesimi festosi eventi con un asciutto e spiritoso sguardo pur rilevandone la nascosta eleganza e sontuosità. Le acquetinte di Sandby sono tratte da una serie di dieci disegni di Allan eseguiti durante i suoi soggiorni romani e ora conservati nella Collezione Reale del Castello di Windsor. La tecnica dell’acquatinta, conferisce all’opera quel particolare tono simile all’acquarello rendendo le opere molto affascinanti. Aquatint printed in bistro ink, 1781, signed in plate at lower right and dated at lower center. Magnificent proof, printed on coeval laid paper with watermark, thin margins, light abrasions on verso, overall in excellent condition. One of the four famous Roman carnival views engraved by Sandby from a drawing by David Allan (Alloa 1744 - Edinburgh 1796). To the great majority of paintings, engravings, watercolors and drawings that illustrate the festivities of the Roman carnival with an excess of "color", is contrasted this series, which describes those same festive events with a dry and witty look while noting the hidden elegance and sumptuousness. Sandby's aquatints are taken from a series of ten drawings by Allan made during his Roman sojourns and now housed in the Royal Collection of Windsor Castle. Paul Sandby was a landscape painter and printmaker. David Allan was one of the first painters in Scotland to record the everyday life of ordinary people. He was based in Rome from around 1767 to 1777 where he painted historical subjects, portraits and the everyday life around him in a series of watercolours. In Scotland he enjoyed a successful career as both an artist and a teacher of art. Some of David Allan's watercolours of Rome were copied by Paul Sandby in London, as prints. The technique of aquatint (used here) allowed the engraver to create the effect of colour washes with the addition of etched lines for detail. This is a technique that provides an additional layer of meaning to the scene. The aquatint allows tonal variation and contrast which in turn creates atmosphere. There is a tremendous amount of detail in the print, and any British observer at the time would have received a good impression of what Rome was like from this print. Sandby's re-creation of Allan's watercolour would have made the image much more accessible through multiple copies. Only the most popular or marketable images would be copied as prints. The composition is quite complex. The background of the street and buildings is rendered with single point perspective, where the landscape appears to recede away to a single point in the distance. The viewpoint Allan chose was a low one. This means that the buildings appear to loom over the scene and a lot of sky is shown. In contrast, the action on the ground occupies only the lower third of the composition; Allan did not "zoom in" on any one aspect but created a general view of the scene. In this view, two British travellers on horseback are confronted by the extravagant costumes and masked figures from the entertainers at a Roman carnival. Despite their politeness these grotesque figures are slightly disturbing. Perhaps this scene demonstrates the alien and disorientating feeling of visiting a new city and discovering bizarre customs which the traveller has never experienced before.
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Bickham il Giovane George (circa 1706 - 1771)
The Return from the Chace
Tavola tratta dal celebre The Musical Entertainer, stampato a Londra da Charles Corbett, [1737-1739 o dopo]. Bickham è principalmente conosciuto per quest'opera incisa, pubblicata per la prima volta in parti quindicinali, ciascuna con quattro tavole, tra il gennaio 1737 e il dicembre 1739. Una seconda edizione fu anche pubblicata in parti tra il 1740 e il 1741, e una terza, stampata dalle tavole originali, fu pubblicata da John Ryall nel 1765. Le 200 tavole sono canzoni di Purcell, Handel, Haydn, Corelli, Pepusch e altri, ognuna con una vignetta incisa, e a parte il loro interesse musicale, forniscono una visione affascinante della vita sociale del tempo. Otto dei disegni sono di Gravelot, e secondo l'opinione di Ray molti altri sono stati imitati dall'opera di Watteau, il che lo porta a dire che il canzoniere "può quasi essere considerato francese". George Bickham il Giovane era incisore, editore, tipografo e uno dei primi caricaturisti inglesi. Ha prodotto pubblicazioni didattiche, caricature politiche e stampe pornografiche. Era il figlio dell'incisore George Bickham il Vecchio, che pubblicò la Universal Penman. Acquaforte, stampata su carta vergata coeva, con margini, in ottimo stato di conservazione. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder & Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12 Plate taken from The Musical Entertainer. London: Charles Corbett, [1737-1739 or later]. Bickham was principally known for this engraved work, first issued in fortnightly parts, each with four plates, between January 1737 and December 1739. A second edition was also brought out in parts 1740-41, and a third, printed from the original plates, was issued by John Ryall in 1765. The 200 plates are songs by Purcell, Handel, Haydn, Corelli, Pepusch and others, each headed with an engraved vignette, and quite apart from their musical interest they provide fascinating insight into the social life of the time. Eight of the designs are after Gravelot, and in Ray's opinion many others were imitated from Watteau's Oeuvre, leading him to say the song book "may almost be regarded as French." George Bickham the Younger (c. 1706–1771) was an English etcher and engraver, a printseller, and one of the first English caricaturists. He produced didactic publications, political caricatures, and pornographical prints. He was the son of the engraver George Bickham the Elder (1684–1758), who published the Universal Penman (1733–41). Etching, printed on contemporary laid paper, with margins, perfect condition. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder & Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12.
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Bickham il Giovane George (circa 1706 - 1771)
The Chace
Tavola tratta dal celebre The Musical Entertainer, stampato a Londra da Charles Corbett, [1737-1739 o dopo]. Bickham è principalmente conosciuto per quest'opera incisa, pubblicata per la prima volta in parti quindicinali, ciascuna con quattro tavole, tra il gennaio 1737 e il dicembre 1739. Una seconda edizione fu anche pubblicata in parti tra il 1740 e il 1741, e una terza, stampata dalle tavole originali, fu pubblicata da John Ryall nel 1765. Le 200 tavole sono canzoni di Purcell, Handel, Haydn, Corelli, Pepusch e altri, ognuna con una vignetta incisa, e a parte il loro interesse musicale, forniscono una visione affascinante della vita sociale del tempo. Otto dei disegni sono di Gravelot, e secondo l'opinione di Ray molti altri sono stati imitati dall'opera di Watteau, il che lo porta a dire che il canzoniere "può quasi essere considerato francese". George Bickham il Giovane era incisore, editore, tipografo e uno dei primi caricaturisti inglesi. Ha prodotto pubblicazioni didattiche, caricature politiche e stampe pornografiche. Era il figlio dell'incisore George Bickham il Vecchio, che pubblicò la Universal Penman. Acquaforte, stampata su carta vergata coeva, con margini, in ottimo stato di conservazione. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder & Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12 Plate taken from The Musical Entertainer. London: Charles Corbett, [1737-1739 or later]. Bickham was principally known for this engraved work, first issued in fortnightly parts, each with four plates, between January 1737 and December 1739. A second edition was also brought out in parts 1740-41, and a third, printed from the original plates, was issued by John Ryall in 1765. The 200 plates are songs by Purcell, Handel, Haydn, Corelli, Pepusch and others, each headed with an engraved vignette, and quite apart from their musical interest they provide fascinating insight into the social life of the time. Eight of the designs are after Gravelot, and in Ray's opinion many others were imitated from Watteau's Oeuvre, leading him to say the song book "may almost be regarded as French." George Bickham the Younger (c. 1706–1771) was an English etcher and engraver, a printseller, and one of the first English caricaturists. He produced didactic publications, political caricatures, and pornographical prints. He was the son of the engraver George Bickham the Elder (1684–1758), who published the Universal Penman (1733–41). Etching, printed on contemporary laid paper, with margins, perfect condition. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder & Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12.
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Bickham il Giovane George (circa 1706 - 1771)
The Meeting in the Morning
Tavola tratta dal celebre The Musical Entertainer, stampato a Londra da Charles Corbett, [1737-1739 o dopo]. Bickham è principalmente conosciuto per quest'opera incisa, pubblicata per la prima volta in parti quindicinali, ciascuna con quattro tavole, tra il gennaio 1737 e il dicembre 1739. Una seconda edizione fu anche pubblicata in parti tra il 1740 e il 1741, e una terza, stampata dalle tavole originali, fu pubblicata da John Ryall nel 1765. Le 200 tavole sono canzoni di Purcell, Handel, Haydn, Corelli, Pepusch e altri, ognuna con una vignetta incisa, e a parte il loro interesse musicale, forniscono una visione affascinante della vita sociale del tempo. Otto dei disegni sono di Gravelot, e secondo l'opinione di Ray molti altri sono stati imitati dall'opera di Watteau, il che lo porta a dire che il canzoniere "può quasi essere considerato francese". George Bickham il Giovane era incisore, editore, tipografo e uno dei primi caricaturisti inglesi. Ha prodotto pubblicazioni didattiche, caricature politiche e stampe pornografiche. Era il figlio dell'incisore George Bickham il Vecchio, che pubblicò la Universal Penman. Acquaforte, stampata su carta vergata coeva, con margini, in ottimo stato di conservazione. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder & Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12 Plate taken from The Musical Entertainer. London: Charles Corbett, [1737-1739 or later]. Bickham was principally known for this engraved work, first issued in fortnightly parts, each with four plates, between January 1737 and December 1739. A second edition was also brought out in parts 1740-41, and a third, printed from the original plates, was issued by John Ryall in 1765. The 200 plates are songs by Purcell, Handel, Haydn, Corelli, Pepusch and others, each headed with an engraved vignette, and quite apart from their musical interest they provide fascinating insight into the social life of the time. Eight of the designs are after Gravelot, and in Ray's opinion many others were imitated from Watteau's Oeuvre, leading him to say the song book "may almost be regarded as French." George Bickham the Younger (c. 1706–1771) was an English etcher and engraver, a printseller, and one of the first English caricaturists. He produced didactic publications, political caricatures, and pornographical prints. He was the son of the engraver George Bickham the Elder (1684–1758), who published the Universal Penman (1733–41). Etching, printed on contemporary laid paper, with margins, perfect condition. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder & Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12.
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STRUTT Arthur John (Chelmsford, 12 giugno 1818 – Roma, 1888)
Pilgrim
Acquaforte, 1844 circa, firmata e datata in lastra in basso al centro. Figlio del pittore paesaggista Jacob George Strutt (1790-1864), del quale fu allievo, girovagò attraverso la Francia e la Svizzera in compagnia del padre, prima di giungere entrambi in Italia nel 1831, per stabilirsi a Roma. Rimase per il resto della sua vita in Italia, interessandosi soprattutto agli aspetti "pittoreschi", in particolare a quelli della Campagna romana, rivolgendo la sua attenzione, in modo specifico, ai paesaggi e ai costumi degli abitanti. Nel 1841 intraprese un viaggio a piedi verso il sud dell'Italia (allora Regno delle Due Sicilie, in compagnia dell'amico William Jackson, partendo da Porta San Giovanni (Roma) il 30 aprile e giungendo a Palermo il 15 dicembre, dopo aver attraversato la Campania e la Calabria. Le sue osservazioni furono raccolte in un libro, A pedestrian tour in Calabria & Sicily (Un viaggio a piedi in Calabria e in Sicilia) che ebbe un notevole successo, soprattutto nei paesi anglosassoni, ed è considerato ancor oggi un documento molto importante per comprendere la società del Regno delle Due Sicilie nel periodo pre-unitario. Magnifica prova, impressa su carta coeva, ampi margini, in perfetto stato di conservazione. Etching, 1844 circa, signed and dated at the bottom. Arthur John Strutt (1819, in Chelmsford – 1888, in Rome), was an English painter, engraver, writer, traveller and archaeologist. He was the son of the landscape painter Jacob George Strutt (1790–1864) and the writer and traveller Elizabeth Strutt. In 1841 he travelled on foot through central and southern Italy and in Sicily. He and his friend, the poet William Jackson, otherwise unknown, started from the Porta San Giovanni of Rome on 30 April 1841, reaching Palermo on 15 December, and arriving back at Rome in July of the following year. An account of this journey is given in his A Pedestrian Tour in Calabria & Sicily published in London, in 1842. A fine impression, on contemporary paper, large margins, very good condition.
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STRUTT Arthur John (Chelmsford, 12 giugno 1818 – Roma, 1888)
Pine in the Colonna Gardens, Rome
Acquaforte, 1844 circa, firmata in lastra in basso. Figlio del pittore paesaggista Jacob George Strutt (1790-1864), del quale fu allievo, girovagò attraverso la Francia e la Svizzera in compagnia del padre, prima di giungere entrambi in Italia nel 1831, per stabilirsi a Roma. Rimase per il resto della sua vita in Italia, interessandosi soprattutto agli aspetti "pittoreschi", in particolare a quelli della Campagna romana, rivolgendo la sua attenzione, in modo specifico, ai paesaggi e ai costumi degli abitanti. Nel 1841 intraprese un viaggio a piedi verso il sud dell'Italia (allora Regno delle Due Sicilie, in compagnia dell'amico William Jackson, partendo da Porta San Giovanni (Roma) il 30 aprile e giungendo a Palermo il 15 dicembre, dopo aver attraversato la Campania e la Calabria. Le sue osservazioni furono raccolte in un libro, A pedestrian tour in Calabria & Sicily (Un viaggio a piedi in Calabria e in Sicilia) che ebbe un notevole successo, soprattutto nei paesi anglosassoni, ed è considerato ancor oggi un documento molto importante per comprendere la società del Regno delle Due Sicilie nel periodo pre-unitario. Magnifica prova, impressa su carta coeva, ampi margini, in perfetto stato di conservazione. Etching, 1844 circa, signed at the bottom. Arthur John Strutt (1819, in Chelmsford – 1888, in Rome), was an English painter, engraver, writer, traveller and archaeologist. He was the son of the landscape painter Jacob George Strutt (1790–1864) and the writer and traveller Elizabeth Strutt. In 1841 he travelled on foot through central and southern Italy and in Sicily. He and his friend, the poet William Jackson, otherwise unknown, started from the Porta San Giovanni of Rome on 30 April 1841, reaching Palermo on 15 December, and arriving back at Rome in July of the following year. An account of this journey is given in his A Pedestrian Tour in Calabria & Sicily published in London, in 1842. A fine impression, on contemporary paper, large margins, very good condition.
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STRUTT Arthur John (Chelmsford, 12 giugno 1818 – Roma, 1888)
Roman Wine-Cart
Acquaforte, 1844 circa, firmata in lastra in basso al centro. Figlio del pittore paesaggista Jacob George Strutt (1790-1864), del quale fu allievo, girovagò attraverso la Francia e la Svizzera in compagnia del padre, prima di giungere entrambi in Italia nel 1831, per stabilirsi a Roma. Rimase per il resto della sua vita in Italia, interessandosi soprattutto agli aspetti "pittoreschi", in particolare a quelli della Campagna romana, rivolgendo la sua attenzione, in modo specifico, ai paesaggi e ai costumi degli abitanti. Nel 1841 intraprese un viaggio a piedi verso il sud dell'Italia (allora Regno delle Due Sicilie, in compagnia dell'amico William Jackson, partendo da Porta San Giovanni (Roma) il 30 aprile e giungendo a Palermo il 15 dicembre, dopo aver attraversato la Campania e la Calabria. Le sue osservazioni furono raccolte in un libro, A pedestrian tour in Calabria & Sicily (Un viaggio a piedi in Calabria e in Sicilia) che ebbe un notevole successo, soprattutto nei paesi anglosassoni, ed è considerato ancor oggi un documento molto importante per comprendere la società del Regno delle Due Sicilie nel periodo pre-unitario. Magnifica prova, impressa su carta coeva, ampi margini, in perfetto stato di conservazione. Etching, 1844 circa, signed at the bottom. Arthur John Strutt (1819, in Chelmsford – 1888, in Rome), was an English painter, engraver, writer, traveller and archaeologist. He was the son of the landscape painter Jacob George Strutt (1790–1864) and the writer and traveller Elizabeth Strutt. In 1841 he travelled on foot through central and southern Italy and in Sicily. He and his friend, the poet William Jackson, otherwise unknown, started from the Porta San Giovanni of Rome on 30 April 1841, reaching Palermo on 15 December, and arriving back at Rome in July of the following year. An account of this journey is given in his A Pedestrian Tour in Calabria & Sicily published in London, in 1842. A fine impression, on contemporary paper, large margins, very good condition.
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FISHER Alfred Hugh (1867-1945)
San Giovanni, Siena
Acquaforte e puntasecca, 1910 circa, firmata in lastra in basso a sinistra Fisher f. Dedicata dall'artista a Malcolm Salaman; iscrizione a matita in basso: "To Malcolm Salaman from the artist, San Giovanni Siena. A. Hugh Fisher". Una bella impressione, stampata su carta coeva, con margini, in buone condizioni. Il dedicatario dell’opera, Malcolm Charles Salaman (Londra 6 settembre 1855 - 22 gennaio 1940) è stato un autore, giornalista e critico inglese. Fu educato alla University College School e all'Owens College di Manchester. Anche se aveva studiato ingegneria meccanica per quattro anni, divenne un giornalista e pubblicò due settimanali. I suoi scritti critici erano dedicati principalmente alle stampe e alle opere teatrali. Dal 1883 al 1894 fu critico drammatico e d'arte per il Sunday Times, e dal 1890 al 1899 fu nello staff di The Graphic. Scrisse regolarmente sulle stampe per le riviste d'arte The Studio e Apollo. Salaman scrisse anche le introduzioni ai 33 volumi della serie Modern Masters of Etching pubblicati tra il 1925 e il 1932 da The Studio, ognuno dei quali conteneva riproduzioni di 12 stampe di un grande incisore. Questa serie includeva volumi su Frank Brangwyn, Alphonse Legros, Ernest Stephen Lumsden, Malcolm Osborne e Edmund Blampied. Hugh Fisher si dedicò inizialmente all'incisione paesaggistica e architettonica, ma fu anche un abile incisore e incisore di ritratti, studi di figure e raffigurazioni di animali. Bibliografia H. Fisher, 'Catalogue of Etchings and Drypoint by A. Hugh Fisher', 1927. Etching and drypoint, circa 1910, signed at lower left Fisher f. Dedicated by the artis to Malcolm Salaman; inscribed at the bottom: To Malcolm Salaman from the artist, San Giovanni Siena. A. Hugh Fisher". A fine impression, printed on ivory wove paper, with margins, good condition. Malcolm Charles Salaman (London 6 September 1855 – 22 January 1940) was an English author, journalist and critic. He was educated at University College School and at Owens College, Manchester. Although he had studied mechanical engineering for four years, he became a journalist, and edited two weekly papers. His critical writing was devoted chiefly to prints and to plays. From 1883 to 1894 he was dramatic and art critic for the Sunday Times, and from 1890 to 1899 was on the staff of The Graphic. He wrote regularly on prints for the art magazines The Studio and Apollo. Salaman also wrote the introductions to the 33 volume series Modern Masters of Etching published between 1925 and 1932 by The Studio, each of which contained reproductions of 12 prints by a great etcher. This series included volumes on Frank Brangwyn, Alphonse Legros, Ernest Stephen Lumsden, Malcolm Osborne and Edmund Blampied. Hugh Fisher initially dedicated himself to landscape and architectural engraving, however he was also an accomplished etcher and engraver of portraits, figure studies and animal depictions. Bibliografia H. Fisher, 'Catalogue of Etchings and Drypoint by A. Hugh Fisher', 1927.
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MCNEIL WHISTLER James Abbot (Lowell, 10 luglio 1834 – Londra, 17 luglio 1903)
Chelsea
L'acquaforte mostra la chiesa di Chelsea e il vecchio Battersea Bridge, e il titolo originale, 'Chelsea', è preferibile anche se alcuni studiosi gli assegnano il nome Fulham. Si vedono tre chiatte in mezzo al Tamigi, quella più vicina al ponte presidiata da due barconi. Dietro di loro c'è un vecchio ponte, con quattro pilastri di legno visti a sinistra, una larga campata di ferro, e poi altri tre pilastri a destra. Ci sono figure, cavalli e carri sul ponte. Attraverso le arcate si vede un approdo di un battello a vapore, altri alberi e case su un terrapieno a destra, e un ponte sospeso. La marea è bassa, così che i due moli di destra sono fuori dall'acqua, e un paio di chiatte a fondo piatto si trovano sulla spiaggia a destra. A destra, un campanile quadrato si erge dietro il ponte, il casello è appena visibile alla fine del ponte, e una sostanziale casa quadrata e altri edifici si trovano all'estrema destra, circondati da alti alberi. L'incisione è stata denominata Fulham da Wedmore e dai catalogatori successivi per distinguerla da altre incisioni di Battersea Bridge e Chelsea. Tuttavia, non mostra Fulham. James Abbott McNeill Whistler (Lowell, 10 luglio 1834 – Londra, 17 luglio 1903) è stato un pittore ed incisore statunitense, raramente menzionato come James Whistler. Genio nella produzione di incisioni calcografiche, Whistler è stato tra i più inventivi ed influenti incisori della storia, realizzando quasi 500 opere in cinque decenni. L’acquaforte ha offerto a Whistler l’opportunità di unire la velocità di esecuzione, disegnando rapidamente le idee sulla lastra, alla possibilità di perfezionarle e svilupparle attraverso molteplici stati, mettendo in luce la sua complessa estetica. Il suo lavoro, con un approccio così innovativo, non ha solo attirato seguaci e imitatori, ma ha influenzato l’intero mondo dell’arte. Bibliografia Howard Mansfield A Descriptive Catalogue of the Etchings and Drypoints of James Abbott McNeill Whistler. Caxton Club, 1909, cat. no. 179; Edward Guthrie Kennedy, Royal Cortissoz The Etched Work of Whistler: illustrated by reproductions in collotype of the different states of the plates. The Grolier Club, 1910, cat. no. 182 ii/ii; Katharine A. Lochnan The Etchings of James McNeill Whistler. Ex. cat., The Metropolitan Museum of Art, New York, September 14–November 11, 1984; The Art Gallery of Ontario, Toronto, November 24, 1984–January 13, 1985. Yale University Press, Art Gallery of Ontario, New Haven, 1984, cat. no. 179, pp. 179, 280; Margaret F. MacDonald, Grischka Petri, Joanna Meacock James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow on-line website at http://etchings.arts.gla.ac.uk. University of Glasgow, 2012, cat. no. 181 v/v. Etching and drypoint, 1879; fifth state of five; printed in black ink on cream laid paper, good condition. The etchings shows Chelsea Church and old Battersea Bridge, and the original title, 'Chelsea', is preferable although some scholars assign it the name Fulham. Three barges are seen in the middle of the River Thames, the one nearest the bridge manned by two bargees. Behind them is an old bridge, with four wooden piers seen to left, a broad iron span, and then three more piers to right. There are figures, horses and carts on the bridge. Seen through the arches are a steamboat landing-stage, more trees and houses on an embankment on the right, and a suspension-bridge. The tide is low, so that the two right-hand piers are out of the water, and a couple of flat-bottomed barges sit high on the beach to right. To the right, a square church tower rises behind the bridge, the toll-booth is just visible at the end of the bridge, and a substantial square house and other buildings stand at far right, surrounded by tall trees. The etching may have been called 'Fulham' by Wedmore and subsequent cataloguers to distinguish it from other etchings of Battersea Bridge and Chelsea. However, it does not show Fulham. The changes have led to confusion and problems in identifying the subsequent history of this etching. James Abbott McNeill Whistler (Lowell, July 10, 1834 - London, July 17, 1903) was an American painter and engraver, rarely mentioned as James Whistler. A genius at producing intaglio etchings, Whistler was among the most inventive and influential printmakers in history, producing nearly 500 works over five decades. Etching offered Whistler the opportunity to combine speed of execution, drawing ideas quickly on the plate, with the ability to refine and develop them through multiple states, highlighting his complex aesthetic. His work, with such an innovative approach, not only attracted followers and imitators, but influenced the entire art world. Bibliografia Howard Mansfield A Descriptive Catalogue of the Etchings and Drypoints of James Abbott McNeill Whistler. Caxton Club, 1909, cat. no. 179; Edward Guthrie Kennedy, Royal Cortissoz The Etched Work of Whistler: illustrated by reproductions in collotype of the different states of the plates. The Grolier Club, 1910, cat. no. 182 ii/ii; Katharine A. Lochnan The Etchings of James McNeill Whistler. Ex. cat., The Metropolitan Museum of Art, New York, September 14–November 11, 1984; The Art Gallery of Ontario, Toronto, November 24, 1984–January 13, 1985. Yale University Press, Art Gallery of Ontario, New Haven, 1984, cat. no. 179, pp. 179, 280; Margaret F. MacDonald, Grischka Petri, Joanna Meacock James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow on-line website at http://etchings.arts.gla.ac.uk. University of Glasgow, 2012, cat. no. 181 v/v.
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HADEN Francis Seymour (Londra 1818 - 1910)
Old Chelsea, Out of Whistler's Window (Battersea Reach)
Veduta della riva di un fiume a Chelsea; in primo piano a sinistra, persone con cani, due che portano lunghi bastoni; chiatte ormeggiate vicino alla riva; la casa di Whistler vista a sinistra. Iscrizione in lastra, in alto a sinistra: "Whistler's House at Old Chelsea Seymour Haden ft. an[no] 1863". Acquaforte e puntasecca; secondo stato di due (Harrington); settimo stato di sette (Schneiderman). "All the foreground boats have vertical reflections. There is now a line at the base of the house most to the left, which extends almost to the margin of the plate. This plate 'wore out very soon and had to be destroyed before it had given its full quota of impressions. Published in Études à l'eau-forte (No. VIII.), under the title of 'Old Chelsea,' some copies having the First, others the Second State. Exhibited at the Royal Academy, 1865." [cf. Harrington, p. 28] "There are several preliminary drawings for this print […] similar in composition though the view point is from farther into the river. State VII. Published in Études à l'eau-forte (N. VIII). Line added at base of house on left and a few lines to indicate modeling at right on the wall. The smoke, rising from the chimney of the house, second from the right of Whistler's house, is no longer visible." [cf. Schneiderman, p. 143] Seymour Haden era l'improbabile combinazione di un chirurgo e un incisore. Sebbene abbia perseguito una carriera medica di grande successo, è ricordato soprattutto per i suoi lavori all'acquaforte e per i suoi scritti sull'acquaforte. Fece parte di un gruppo di artisti, tra cui James McNeill Whistler (1834-1903) e Alphonse Legros (1837-1911), il cui appassionato interesse per questo mezzo portò al cosiddetto revival dell'acquaforte, un periodo che durò fino al XX secolo. L'esaltazione dell'acquaforte per le sue intrinseche qualità spontanee raggiunse il suo apice durante questo periodo. Mentre la linea dell'ago da acquaforte, scrisse Haden, era "libera, espressiva, piena di vivacità", quella del bulino era "fredda, costretta, poco interessante" e "senza identità". Stampata su carta vergata coeva, con margini, condizioni perfette. Bibliografia Henry Nazeby Harrington The Engraved Work of Sir Francis Seymour Haden, P.R.E.: an illustrated and descriptive catalogue. Liverpool, 1910, cat. no. 54 ii, p. 28, ill; Richard S. Schneiderman A Catalogue Raisonné of the Prints of Sir Francis Seymour Haden. London, 1983, cat. no. 50 vii, p. 143, ill. View of a river bank in Chelsea; in the foreground at left, people with dogs, two carrying long sticks; barges moored near the bank; the house of Whistler seen to the left. Lettered in plate, lower left: "Whistler's House at Old Chelsea Seymour Haden ft. an[no] 1863". Etching and drypoint; second state of two (Harrington); seventh state of seven (Schneiderman). "All the foreground boats have vertical reflections. There is now a line at the base of the house most to the left, which extends almost to the margin of the plate. This plate 'wore out very soon and had to be destroyed before it had given its full quota of impressions. Published in Études à l'eau-forte (No. VIII.), under the title of 'Old Chelsea,' some copies having the First, others the Second State. Exhibited at the Royal Academy, 1865." [cf. Harrington, p. 28] "There are several preliminary drawings for this print […] similar in composition though the view point is from farther into the river. State VII. Published in Études à l'eau-forte (N. VIII). Line added at base of house on left and a few lines to indicate modeling at right on the wall. The smoke, rising from the chimney of the house, second from the right of Whistler's house, is no longer visible." [cf. Schneiderman, p. 143] Seymour Haden was the unlikely combination of a surgeon and an etcher. Although he pursued a very successful medical career, he is mostly remembered for his etched work as well as for his writings on etching. He was one of a group of artists, including James McNeill Whistler (1834–1903) and Alphonse Legros (1837–1911), whose passionate interest in the medium led to the so-called etching revival, a period that lasted well into the twentieth century. The extolling of etching for its inherent spontaneous qualities reached its pinnacle during this time. While the line of the etching needle, Haden wrote, was "free, expressive, full of vivacity," that of the burin was "cold, constrained, uninteresting," and "without identity." Printed on contemporary laid paper, with margins, perfect condition. Bibliografia Henry Nazeby Harrington The Engraved Work of Sir Francis Seymour Haden, P.R.E.: an illustrated and descriptive catalogue. Liverpool, 1910, cat. no. 54 ii, p. 28, ill; Richard S. Schneiderman A Catalogue Raisonné of the Prints of Sir Francis Seymour Haden. London, 1983, cat. no. 50 vii, p. 143, ill.
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HERKOMER Hubert von (Waal, 26 maggio 1849 – Budleigh Salterton, 31 marzo 1914)
Ritratto di vecchio rivolto a destra
Monotipo o herkomergravure, 1891, firmato e datato sulla lastra in alto a destra Hubert Herkomer '91. Una bella impressione, stampata su carta contemporanea, con margini, condizioni perfette. “Il monotipo è il mezzo di stampa più diretto. L'artista dipinge su una superficie liscia e impermeabile, mette un pezzo di carta bianca sopra il dipinto e applica una pressione in modo che l'immagine dipinta venga trasferita sulla carta. […] Durante il diciannovesimo secolo ci fu molto ingegno nel trovare un modo per gli stampatori di creare edizioni che fossero pittoriche come il monotipo. Generalmente, gli inventori sperimentavano un composto speciale che poteva essere applicato al dipinto dell'artista ancora umido, non appena eseguito su una lastra di rame. Quando la lastra veniva asciugata e galvanizzata, poteva essere inchiostrata come una lastra incisa e stampata più e più volte, fornendo la spontaneità del monotipo, ma con la ripetibilità di altri mezzi di stampa. Vari inventori inventarono processi simili, e alla fine del 1800 erano disponibili tre processi per coloro che desideravano fare una stampa che avesse alcune delle qualità visive di un monotipo, ma che potesse anche essere prodotta in un'edizione di stampe identiche: il galvanografo, l'elettrotinta e l'herkomergravure, dal nome del suo inventore, Hubert Herkomer (1849-1914). William Merritt Chase (americano, 1849-1916) introdusse Herkomer al processo del monotipo nel 1885. Herkomer sviluppò il suo processo nel 1897, ma ne scrisse per la prima volta nel 1892. Potrebbe essere stato nel 1902 che Herkomer ricambiò il favore di Chase introducendolo all'herkomergravure, quando Chase tornò in Inghilterra. Il processo implicava la spalmatura di inchiostro su una lastra di rame e la creazione dell'immagine con le dita e/o i pennelli, come nel processo del monotipo. Poi la lastra veniva spolverata con una combinazione di polveri speciali, asciugata e placcata. L'immagine risultante era un quasi monotipo" (cfr. Andrew Stevens, American Monotypes from the Baker/Pisano Collection, pp. 3-6). Sir Hubert von Herkomer era un artista britannico di origine tedesca, e anche un regista e compositore pioniere del cinema. Sebbene fosse un ritrattista di grande successo, soprattutto di uomini, è ricordato soprattutto per le sue prime opere che avevano un approccio realistico alle condizioni di vita dei poveri Bibliografia Herkomer, Hubert. Etching and Mezzotint Engraving: Lectures Delivered at Oxford. New York: Macmillan, 1892; Andrew Stevens, American Monotypes from the Baker/Pisano Collection, Exh. Cat., by Russell Panczenko, Andrew Stevens, and D. Frederick Baker, pp. 3-6. Monotype or herkomergravure, 1891, signed and dated on plate at the upper right Hubert Herkomer ’91. A fine impression, printed on contemporary wove paper, with margins, perfect condition. “Monotype is the most direct print medium. The artist paints on a smooth, impermeable surface, places a blank piece of paper on top of the painting, and applies pressure so that the painted image is transferred onto the paper. […] Through the nineteenth century there was much ingenuity expended on finding a way for printmakers to create editions that were as painterly as monotype. Generally, inventors came up with a special compound that could be applied to the still-wet artist’s painting executed on a copper plate. When the plate was dried and electroplated, it could then be inked like an etched or engraved plate and printed again and again, providing the spontaneity of the monotype, but with the repeatability of other print media. Various inventors came up with similar processes, and by the end of the 1800s three processes were available for those wishing to make a print that had some of the visual qualities of a monotype, but could also be produced in an edition of identical prints: the galvanograph, the electrotint, and the herkomergravure, named after its inventor, Hubert Herkomer (English, 1849–1914). Herkomer was a popular painter of portraits and social genre scenes, and an inveterate experimenter in the arts. William Merritt Chase (American, 1849–1916) introduced Herkomer to the monotype process in 1885. Herkomer developed his process by 1897, but first wrote about it in 1892. It may have been in 1902 that Herkomer returned Chase’s favor by introducing him to the herkomergravure, when Chase next returned to England. The process involved smearing ink onto a copper plate and creating the image with fingers and/or brushes, as with the monotype process. Then the plate was dusted with a combination of special powders, dried, and electroplated. The resulting image was a quasi-monotype” (cfr. Andrew Stevens, American Monotypes from the Baker/Pisano Collection, pp. 3-6). Sir Hubert von Herkomer was a German-born British artist, and also a pioneering film-director and composer. Though a very successful portraitist, especially of men, he is mainly remembered for his earlier works that took a realistic approach to the conditions of life of the poor. Bibliografia Herkomer, Hubert. Etching and Mezzotint Engraving: Lectures Delivered at Oxford. New York: Macmillan, 1892; Andrew Stevens, American Monotypes from the Baker/Pisano Collection, Exh. Cat., by Russell Panczenko, Andrew Stevens, and D. Frederick Baker, pp. 3-6.
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FISHER Alfred Hugh (1867-1945)
Ritratto di Malcolm Salaman
Acquaforte e puntasecca, 1910 circa, firmata in alto a sinistra Fisher f. Dedicata dall'artista a Malcolm Salaman; iscrizione con inchiostro marrone in basso a destra: "To Malcolm Salaman from A. Hugh Fisher". Una bella impressione, stampata su carta avorio, con margini, in buone condizioni. Malcolm Charles Salaman (Londra 6 settembre 1855 - 22 gennaio 1940) è stato un autore, giornalista e critico inglese. Fu educato alla University College School e all'Owens College di Manchester. Anche se aveva studiato ingegneria meccanica per quattro anni, divenne un giornalista e pubblicò due settimanali. I suoi scritti critici erano dedicati principalmente alle stampe e alle opere teatrali. Dal 1883 al 1894 fu critico drammatico e d'arte per il Sunday Times, e dal 1890 al 1899 fu nello staff di The Graphic. Scrisse regolarmente sulle stampe per le riviste d'arte The Studio e Apollo. Salaman scrisse anche le introduzioni ai 33 volumi della serie Modern Masters of Etching pubblicati tra il 1925 e il 1932 da The Studio, ognuno dei quali conteneva riproduzioni di 12 stampe di un grande incisore. Questa serie includeva volumi su Frank Brangwyn, Alphonse Legros, Ernest Stephen Lumsden, Malcolm Osborne e Edmund Blampied. Hugh Fisher si dedicò inizialmente all'incisione paesaggistica e architettonica, ma fu anche un abile incisore e incisore di ritratti, studi di figure e raffigurazioni di animali. Bibliografia H. Fisher, 'Catalogue of Etchings and Drypoint by A. Hugh Fisher', 1927. Etching and drypoint, circa 1910, signed at upper left Fisher f. Dedicated by the artis to Malcolm Salaman; inscribed woth brown ink at lower right: “To Malcolm Salaman from A. Hugh Fisher”. A fine impression, printed on ivory wove paper, with margins, good condition. Malcolm Charles Salaman (London 6 September 1855 – 22 January 1940) was an English author, journalist and critic. He was educated at University College School and at Owens College, Manchester. Although he had studied mechanical engineering for four years, he became a journalist, and edited two weekly papers. His critical writing was devoted chiefly to prints and to plays. From 1883 to 1894 he was dramatic and art critic for the Sunday Times, and from 1890 to 1899 was on the staff of The Graphic. He wrote regularly on prints for the art magazines The Studio and Apollo. Salaman also wrote the introductions to the 33 volume series Modern Masters of Etching published between 1925 and 1932 by The Studio, each of which contained reproductions of 12 prints by a great etcher. This series included volumes on Frank Brangwyn, Alphonse Legros, Ernest Stephen Lumsden, Malcolm Osborne and Edmund Blampied. Hugh Fisher initially dedicated himself to landscape and architectural engraving, however he was also an accomplished etcher and engraver of portraits, figure studies and animal depictions. Bibliografia H. Fisher, 'Catalogue of Etchings and Drypoint by A. Hugh Fisher', 1927.
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GOFF Robert Charles (1837 - 1922)
Villa Borghese a Roma
Acquaforte, 1913, firmata in lastra in basso a sinistra R. Goff 1913. Firmata a matita in basso a destra R. Goff. Più in basso, sempre a matita, troviamo l’iscrizione “Studi – Borghese Gardens. Rome”. Bellissima prova, impressa su carta coeva, con margini, in ottimo stato di conservazione. Robert Charles Goff (1837-1922) fu un incisore e pittore specializzato in scene topografiche. Come incisore fu fortemente influenzato dal lavoro di James McNeill Whistler. Goff visse a Londra e Brighton ma viaggiò molto. Si trasferì negli anni 1890 in una villa con vista su Firenze e lui e la sua seconda moglie scrissero sulla zona. Il Brighton and Hove Museum and Art Gallery possiede una grande collezione di opere di Goff, che furono esposte nella mostra del 2011, dal titolo Robert Goff: An Etcher in the Wake of Whistler. La mostra comprendeva circa 50 opere di Goff, soprattutto acqueforti e alcune altre opere su carta. In mostra c'erano vedute locali di Brighton, Hove e Sussex, così come immagini dai suoi viaggi in altre parti della Gran Bretagna, Italia, Egitto e Giappone. Etching, 1913, signed in plate at lower left R. Goff 1913. Signed in pencil at lower right R. Goff. Further down, also in pencil, is the inscription "Studi - Borghese Gardens. Rome". Beautiful proof, printed on contemporary paper, with margins, in excellent condition. Robert Charles Goff (1837-1922) was an engraver and painter specialized in topographical scenes. As an engraver he was strongly influenced by the work of James McNeill Whistler. Goff lived in London and Brighton but traveled extensively. He moved in the 1890s to a villa overlooking Florence and he and his second wife wrote about the area. The Brighton and Hove Museum and Art Gallery has a large collection of Goff's work, which was displayed in the 2011 exhibition entitled Robert Goff: An Etcher in the Wake of Whistler. The exhibition included about 50 works by Goff, mostly etchings and a few other works on paper. On display were local views of Brighton, Hove and Sussex, as well as images from his travels to other parts of Britain, Italy, Egypt and Japan.
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HERKOMER Hubert von (Waal, 26 maggio 1849 – Budleigh Salterton, 31 marzo 1914)
Welsh Woman (Donna del Galles)
Acquaforte e puntasecca su carta vergata, 1878, firmata a matita in basso a destra Hubert Herkomer. Una bella impressione, con margini, buone condizioni. Il berretto arruffato e il grande cappello nero indossati da questa donna sono tradizionalmente gallesi. Herkomer era attratto dai soggetti umili, concentrandosi all'inizio della sua carriera sui residenti della sua nativa Baviera – suo padre era un artigiano che emigrò prima in America, poi in Inghilterra nel 1863. Alla fine degli anni 1870 Herkomer iniziò ad esplorare temi britannici e probabilmente si interessò al Galles attraverso la sua amicizia con il pittore e proprietario terriero gallese Charles William Mansel Lewis. Il nucleo familiare dell'artista comprendeva, dal 1874, Lulu Griffiths, un'infermiera gallese che divenne sua moglie nel 1884. Un'impressione di questa stampa fu esposta da M. Knoedler & Co, New York nel 1882 (n. 2) con la seguente didascalia dell'artista: "Un altro tentativo giovane e audace di fare qualcosa di insolito. Le linee sono troppo mordaci e non si fondono con il lavoro a puntasecca". Sir Hubert von Herkomer era un artista britannico di origine tedesca, e anche un regista e compositore pioniere del cinema. Sebbene fosse un ritrattista di grande successo, soprattutto di uomini, è ricordato soprattutto per le sue prime opere che avevano un approccio realistico alle condizioni di vita dei poveri Bibliografia Algernon Graves The Royal academy of arts; a complete dictionary of contributors and their works from its foundation in 1769 to 1904. London, 1905, vol. IV, p. 83, 1878, no. 1176: A Welsh woman, etching. Etching and drypoint on laid paper, 1878, signed on pencil at the bottom right Hubert Herkomer. A fine impression, with margins, good condition. The ruffled cap and large black hat worn by this woman are traditionally Welsh. Herkomer was attracted to humble subjects, focussing early in his career on residents of his native Bavaria–his family were craftspeople who emigrated first to America, then to England in 1863. In the late 1870s Herkomer began to explore British themes and likely became interested in Wales through his friendship with the painter and Welsh landowner Charles William Mansel Lewis. The artist's household included, from 1874, Lulu Griffiths, a Welsh nurse who became his wife in 1884. An impression of this print was exhibited at M. Knoedler & Co., New York in 1882 (no. 2) with the following caption by the artist: "Another young and bold attempt to do something unusual. The lines are too heavily bitten and do not blend with the drypoint work." Sir Hubert von Herkomer was a German-born British artist, and also a pioneering film-director and composer. Though a very successful portraitist, especially of men, he is mainly remembered for his earlier works that took a realistic approach to the conditions of life of the poor. Bibliografia Algernon Graves The Royal academy of arts; a complete dictionary of contributors and their works from its foundation in 1769 to 1904. London, 1905, vol. IV, p. 83, 1878, no. 1176: A Welsh woman, etching.
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BRANGWIN Frank (Bruges, 13 maggio 1867 – Ditchling, 11 giugno 1956)
L'ombre de la croix
Tavola tratta da A l'ombre de la Croix Studies Of Jewish Life In The Carpathians di Frank Brangwyn, stampato da Jérôme & Jean Tharaud a Parigi, Éditions Lapina, 1931). Si tratta di un’edizione con tiratura di 222 esemplari. Impressione fine su carta giapponese, con margini, condizione perfetta. Queste 64 acqueforti e puntasecca raffigurano scene di Israele e di un villaggio nei Carpazi. Secondo 'Frank Brangwyn, a mission to decorate life (Londra: The Fine Art Society, 2006), il libro era in due volumi e descrive la vita degli ebrei nell'Europa contemporanea. Le stampe di Brangwyn illustrano la città di Belz in Polonia che era un centro di pellegrinaggio. Sembra che Brangwyn abbia inciso la maggior parte delle tavole da fotografie. Sir Frank William Brangwyn era un artista gallese, pittore, acquerellista, stampatore, illustratore e designer. Brangwyn nacque a Bruges, in Belgio, dove suo padre, William Curtis Brangwyn, si trasferì dopo aver vinto un concorso organizzato dalla corporazione belga di San Tommaso e San Luca per progettare una chiesa parrocchiale. Brangwyn era un artista di tutti i mestieri. Oltre ai dipinti e ai disegni, produsse progetti per vetri colorati, mobili, ceramiche, vetreria da tavola, edifici e interni, fu litografo e illustratore di libri. Bibliografia W. Gaunt, The etchings of Frank Brangwyn, non descritte. Plate taken from the Frank Brangwyn’s A l’ombre de la Croix, Studies Of Jewish Life In The Carpathians by Jérôme & Jean Tharaud (Paris: Éditions Lapina, 1931) edition of 222. Fine impression on Japan paper, with margins, perfect condition. These 64 etchings and drypoints are from Anglo-Welsh artist, painter, engraver, and illustrator Frank Brangwyn's depict scenes from Israel and a village in Carpathian Mountains. According to 'Frank Brangwyn, a mission to decorate life' (London: The Fine Art Society, 2006), the book was in two volumes and describes the lives of Jewish in contemporary Europe. Brangwyn's prints illustrate the town of Belz in Poland which was a centre of pilgrimage. Brangwyn seems to have etched a majority of the plates from photographs. Sir Frank William Brangwyn was a Welsh artist, painter, watercolourist, printmaker, illustrator, and designer. Frank Brangwyn was born in Bruges, Belgium where his father, William Curtis Brangwyn, moved after winning a competition organised by the Belgian Guild of St Thomas and St Luke to design a parish church. Brangwyn was an artistic jack-of-all-trades. As well as paintings and drawings, he produced designs for stained glass, furniture, ceramics, table glassware, buildings and interiors, was a lithographer and woodcutter and was a book illustrator. Bibliografia W. Gaunt, The etchings of Frank Brangwyn, non descritte.
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HADEN Francis Seymour (Londra 1818 - 1910)
Bit of River Bank (Sonning Bank)
Scena di una riva del Tamigi a Sonning; sullo sfondo, fattorie ed edifici; area non lavorata a sinistra. Acquaforte e puntasecca, 1865, non firmata; stampata su carta vergata, con margini, condizioni perfette. Questa impressione su carta vergata fu stampata nel 1868 per lo scarso primo volume di Philip Gilbert Hamerton, Etching and Etchers. Seymour Haden era l'improbabile combinazione di un chirurgo e un incisore. Sebbene abbia perseguito una carriera medica di grande successo, è ricordato soprattutto per i suoi lavori all'acquaforte e per i suoi scritti sull'acquaforte. Fece parte di un gruppo di artisti, tra cui James McNeill Whistler (1834-1903) e Alphonse Legros (1837-1911), il cui appassionato interesse per questo mezzo portò al cosiddetto revival dell'acquaforte, un periodo che durò fino al XX secolo. L'esaltazione dell'acquaforte per le sue intrinseche qualità spontanee raggiunse il suo apice durante questo periodo. Mentre la linea dell'ago da acquaforte, scrisse Haden, era "libera, espressiva, piena di vivacità", quella del bulino era "fredda, costretta, poco interessante" e "senza identità". Bibliografia Henry Nazeby Harrington The Engraved Work of Sir Francis Seymour Haden, P.R.E.: an illustrated and descriptive catalogue. Liverpool, 1910, cat. no. (116.II); Richard S. Schneiderman A Catalogue Raisonné of the Prints of Sir Francis Seymour Haden. London, 1983, cat. no. (106.IV). Scene of a Thames river bank at Sonning; in the background, farms and buildings; unworked area to the left. Etching and drypoint, 1865, not signed; printed on laid paper, with margins, perfect condition. This impression on laid paper was printed in 1868 for Philip Gilbert Hamerton's very scarce first volume of Etching and Etchers. Image size: 4 x 6 1/4 inches (102 x 157 mm) with an irregular platemark, as printed. Seymour Haden was the unlikely combination of a surgeon and an etcher. Although he pursued a very successful medical career, he is mostly remembered for his etched work as well as for his writings on etching. He was one of a group of artists, including James McNeill Whistler (1834–1903) and Alphonse Legros (1837–1911), whose passionate interest in the medium led to the so-called etching revival, a period that lasted well into the twentieth century. The extolling of etching for its inherent spontaneous qualities reached its pinnacle during this time. While the line of the etching needle, Haden wrote, was "free, expressive, full of vivacity," that of the burin was "cold, constrained, uninteresting," and "without identity." Bibliografia Henry Nazeby Harrington The Engraved Work of Sir Francis Seymour Haden, P.R.E.: an illustrated and descriptive catalogue. Liverpool, 1910, cat. no. (116.II); Richard S. Schneiderman A Catalogue Raisonné of the Prints of Sir Francis Seymour Haden. London, 1983, cat. no. (106.IV).
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BRANGWIN Frank (Bruges, 13 maggio 1867 – Ditchling, 11 giugno 1956)
The Meat Market, Bruges
Scena di strada affollata di uomini e donne, una bancarella appesa con conigli e altre carcasse che attraversano il primo piano, due uomini che parlano in primo piano a destra e una veduta di edifici cittadini, uno con un timpano a gradini a sinistra, sullo sfondo; secondo stato pubblicato, con l’aggiunta del cielo. Acquaforte con mezzotinto, 1906, firmata a matita in basso. Una bella impressione, stampata su carta giapponese avoriata, con margini, condizioni perfette. Secondo William Gaunt si tratta di una delle quattro acqueforti realizzate il Catalogue of Frank Brangwyn's Etchings, preparato da Frank Newbolt e pubblicato dalla Fine Art Society in un'edizione limitata di 150 esemplari nel 1908. Sir Frank William Brangwyn era un artista gallese, pittore, acquerellista, stampatore, illustratore e designer. Brangwyn nacque a Bruges, in Belgio, dove suo padre, William Curtis Brangwyn, si trasferì dopo aver vinto un concorso organizzato dalla corporazione belga di San Tommaso e San Luca per progettare una chiesa parrocchiale. Brangwyn era un artista di tutti i mestieri. Oltre ai dipinti e ai disegni, produsse progetti per vetri colorati, mobili, ceramiche, vetreria da tavola, edifici e interni, fu litografo e illustratore di libri. Bibliografia W. Gaunt, The etchings of Frank Brangwyn, n. 69 II. Street scene crowded with men and women, a market stall hung with rabbit and other carcases running across the foreground, two men talking in the foreground to right and a view of town buildings, one with a stepped gable to left, in the background; second, published state, sky put in. Etching with mezzotint and surface tone, 1906, signed on pencil at the bottom. A fine impression, printed on contemporay china paper, with margins, perfect condition. One of four etchings made for and included in, the Catalogue of Frank Brangwyn's Etchings, prepared by Frank Newbolt and published by the Fine Art Society in a limited edition of 150 in 1908, according to Gaunt. Sir Frank William Brangwyn was a Welsh artist, painter, watercolourist, printmaker, illustrator, and designer. Frank Brangwyn was born in Bruges, Belgium where his father, William Curtis Brangwyn, moved after winning a competition organised by the Belgian Guild of St Thomas and St Luke to design a parish church. Brangwyn was an artistic jack-of-all-trades. As well as paintings and drawings, he produced designs for stained glass, furniture, ceramics, table glassware, buildings and interiors, was a lithographer and woodcutter and was a book illustrator. Bibliografia W. Gaunt, The etchings of Frank Brangwyn, n. 69 II.
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GILLET Edward Franck (1874 - 1927)
Vecchi compagni
Puntasecca a inchiostro nero su carta vergata color crema, 1926, firmata in basso a sinistra: G. Firmato, a matita, in basso a destra: Frank Gillet. Bellissima prova, in ottimo stato di conservazione. Edward Frank Gillet, spesso accreditato come Frank Gillett, è stato un artista e illustratore britannico. Gillett lavorò a penna e inchiostro, pastello, acquerello e olio e fu notato come un abile caricaturista. Era ispirato dalla vita rurale di Norfolk e il suo lavoro spesso coinvolgeva lo sport, in particolare la caccia alla volpe e la caccia alla lepre. Il suo lavoro è stato esposto dalla Royal Academy of Arts e dalla Walker Art Gallery ed è detenuto dal British Museum e dal Victoria and Albert Museum. Drypoint in black ink on cream laid paper, 1926, signed, lower left: G. Signed, in pencil, lower right: Frank Gillet. A fine impression, very good condition. Edward Frank Gillett often credited as Frank Gillett, was a British artist and illustrator. He worked in pen and ink, pastel, watercolour, and oil. Gillett worked in pen and ink, pastel, watercolour, and oil and was noted as a skillful caricaturist. He was inspired by Norfolk's rural life and his work often involved sport, particularly fox-hunting and hare-coursing. His work has been exhibited by the Royal Academy of Arts and the Walker Art Gallery and is held by the British Museum and the Victoria and Albert Museum.
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COLEMAN Charles (Pontefract 1807 ca. - Roma 1874)
Carro trainato dai buoi
Acquaforte, tratta da 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', edito a Roma nel 1850. Magnifica prova, impressa su carta cina applicata su cartoncino, pieni margini, in perfetto stato di conservazione. Charles Coleman è stato un pittore inglese di paesaggi e animali, nato a Pontefract, nello Yorkshire, in Inghilterra. Fu attivo principalmente a Roma, dove fu un'importante influenza su Nino Costa e diede un contributo significativo alla formazione della Scuola di pittura di Campagna Romana. Dalle brulle colline dello Yorkshire, Charles Coleman arriva a Roma nel 1831 e si mostra un pittore appassionato del territorio che circonda l’urbe, pubblicando alla metà del secolo, presso la libreria Spithover, un ricco volume con 53 acqueforti: A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman. I paesaggi che Coleman rappresenta somigliano molto alle vedute desolate del suo Yorkshire, “ventose e abitate soltanto dall’erica”. Nella gran parte delle vedute dell’artista inglese il paesaggio si presenta con vivaci contrapposti, facendo sì che Coleman rappresenti un vero e proprio maestro per una o due generazioni di pittori romani e non solo. Era sprezzante dell'insegnamento accademico, credendo che l'osservazione dalla natura fosse la migliore educazione per un artista. Espose cinque volte alla Royal Academy di Londra, per l'ultima volta nel 1869. Etching from the 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', printed in Rome in 1850. A fine work, printed on China paper and laid on cardboard, full margins, in perfect condition. Charles Coleman was an English landscape and animal painter, born in Pontefract, Yorkshire, England. He was active primarily in Rome, where he was an important influence on Nino Costa and made a significant contribution to the formation of the School of "Campagna Romana" Painting. From the barren hills of Yorkshire, Charles Coleman arrived in Rome in 1831 and showed himself a passionate painter of the territory surrounding the urbe, publishing in the middle of the century, at the Spithover bookstore, a rich volume with 53 etchings: A series of subiects peculiar to the countryside of Rome and Pontine marshes designed from nature and etched by C. Coleman. The landscapes that Coleman depicts are very similar to the desolate views of his Yorkshire, "windy and inhabited only by heather". In most of the English artist's views, the landscape is presented with vivid contrasts, making Coleman a true master for a generation or two of painters in Rome and beyond. He was contemptuous of academic teaching, believing that observation from nature was the best education for an artist. He exhibited five times at the Royal Academy in London, for the last time in 1869.
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EARLOM Richard (Londra, 14 maggio 1743 – Londra, 9 ottobre 1822)
Putti
Acquatinta e acquaforte, stampata in seppia, 1789. Dalla serie: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani pubblicata a Londra da John & Josiah Boydell nel 1789. La serie consiste di cinquanta stampe da disegni di Cipriani 'incisi da Mr. Richard Earlom' inclusee sette incise da Maria Catharina Prestel, Bartolozzi, Kirk e Legat. Richard Earlom (1743-1822) fu uno dei più grandi incisori a mezzatinta e a puntini del suo tempo. Fu apprendista dell'incisore londinese G.B. Cipriani e studiò alla St Martin's Lane Academy. Vinse molti premi per i suoi disegni e incisioni. Nel 1774, iniziò a lavorare per John Boydell per il quale creò trecento tavole dopo Claude, pubblicate come il Liber Veritas (1777-1819). Creò anche per Boydell cinquantuno tavole di Cipriani. Earlom incise opere eccezionali sia dopo i disegni dei suoi contemporanei che dopo i vecchi maestri. Boydell commissionò il suo talento per alcune delle più famose tavole della Houghton Gallery e della Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) fu un pittore decorativo e designer fiorentino, attivo principalmente in Inghilterra. Nel 1755 fu portato a Londra dall'architetto Sir William Chambers e dallo scultore Joseph Wilton, che lo avevano conosciuto a Roma. Fu impiegato nella decorazione di molti edifici pubblici e case private e in alcuni casi progettò dettagli architettonici come intonaco, legno e scultura in pietra. Buoni esempi dei suoi dipinti sono alla Somerset House (dove lavorò per Chambers) e nel Philadelphia Museum of Art (una serie originariamente eseguita per Lansdowne House, Londra). Fu anche attivo come insegnante alla Royal Academy (fu membro fondatore nel 1768 e disegnò il suo diploma), e i suoi numerosi disegni decorativi (molti incisi da Bartolozzi, suo amico dai tempi degli studenti) ebbero una grande influenza. Il lavoro di Cipriani è compiuto piuttosto che ispirato, ma fu, nelle parole di Sir Ellis Waterhouse, 'una delle grandi figure di retrovia dello stile neoclassico in Inghilterra'. Aquatint and etching, printed in sepia ink, 1789. From the series: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani published in London by John & Josiah Boydell in 1789. The series consists of fifty-plate series of facsimile prints of Cipriani's drawings 'engraved by Mr. Richard Earlom' includes seven engraved by Maria Catharina Prestel, Bartolozzi, Kirk and Legat.. A letterpress contents page of the same sheet size, kept under Earlom's name with the majority of the series, gives titles and the series publication date of September 1st, 1789. Richard Earlom (1743-1822) was one of the greatest mezzotint and stipple engravers of his day. He was apprenticed to the London based engraver, G.B. Cipriani and studied at the St Martin's Lane Academy. He won many prizes for his drawings and engravings. In 1774, he began work for John Boydell for whom he created three hundred plates after Claude, published as the Liber Veritas (1777-1819). He also created for Boydell fifty-one plates after Cipriani. Earlom engraved outstanding works both after the designs of his contemporaries and after the old masters. Boydell commissioned his talents for some of the most famous plates in The Houghton Gallery and The Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) was a Florentine decorative painter and designer, active mainly in England. In 1755 he was brought to London by the architect Sir William Chambers and the sculptor Joseph Wilton, who had met him in Rome. He was employed in the decoration of many public buildings and private houses and in some cases designed such architectural details as plasterwork, woodwork, and stonecarving. Good examples of his paintings are at Somerset House (where he worked for Chambers) and in the Philadelphia Museum of Art (a series originally executed for Lansdowne House, London). He was also active as a teacher at the Royal Academy (he was a foundation member in 1768 and designed its diploma), and his numerous decorative designs (many engraved by Bartolozzi, his friend since student days) had wide influence. Cipriani's work is accomplished rather than inspired, but he was, in the words of Sir Ellis Waterhouse, 'one of the great backroom figures of the Neoclassic style in England'.
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EARLOM Richard (Londra, 14 maggio 1743 – Londra, 9 ottobre 1822)
La morte di Orfeo
Acquatinta e acquaforte, stampata in seppia, 1789. Dalla serie: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani pubblicata a Londra da John & Josiah Boydell nel 1789. La serie consiste di cinquanta stampe da disegni di Cipriani 'incisi da Mr. Richard Earlom' inclusee sette incise da Maria Catharina Prestel, Bartolozzi, Kirk e Legat. Richard Earlom (1743-1822) fu uno dei più grandi incisori a mezzatinta e a puntini del suo tempo. Fu apprendista dell'incisore londinese G.B. Cipriani e studiò alla St Martin's Lane Academy. Vinse molti premi per i suoi disegni e incisioni. Nel 1774, iniziò a lavorare per John Boydell per il quale creò trecento tavole dopo Claude, pubblicate come il Liber Veritas (1777-1819). Creò anche per Boydell cinquantuno tavole di Cipriani. Earlom incise opere eccezionali sia dopo i disegni dei suoi contemporanei che dopo i vecchi maestri. Boydell commissionò il suo talento per alcune delle più famose tavole della Houghton Gallery e della Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) fu un pittore decorativo e designer fiorentino, attivo principalmente in Inghilterra. Nel 1755 fu portato a Londra dall'architetto Sir William Chambers e dallo scultore Joseph Wilton, che lo avevano conosciuto a Roma. Fu impiegato nella decorazione di molti edifici pubblici e case private e in alcuni casi progettò dettagli architettonici come intonaco, legno e scultura in pietra. Buoni esempi dei suoi dipinti sono alla Somerset House (dove lavorò per Chambers) e nel Philadelphia Museum of Art (una serie originariamente eseguita per Lansdowne House, Londra). Fu anche attivo come insegnante alla Royal Academy (fu membro fondatore nel 1768 e disegnò il suo diploma), e i suoi numerosi disegni decorativi (molti incisi da Bartolozzi, suo amico dai tempi degli studenti) ebbero una grande influenza. Il lavoro di Cipriani è compiuto piuttosto che ispirato, ma fu, nelle parole di Sir Ellis Waterhouse, 'una delle grandi figure di retrovia dello stile neoclassico in Inghilterra'. Aquatint and etching, printed in sepia ink, 1789. From the series: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani published in London by John & Josiah Boydell in 1789. The series consists of fifty-plate series of facsimile prints of Cipriani's drawings 'engraved by Mr. Richard Earlom' includes seven engraved by Maria Catharina Prestel, Bartolozzi, Kirk and Legat.. A letterpress contents page of the same sheet size, kept under Earlom's name with the majority of the series, gives titles and the series publication date of September 1st, 1789. Richard Earlom (1743-1822) was one of the greatest mezzotint and stipple engravers of his day. He was apprenticed to the London based engraver, G.B. Cipriani and studied at the St Martin's Lane Academy. He won many prizes for his drawings and engravings. In 1774, he began work for John Boydell for whom he created three hundred plates after Claude, published as the Liber Veritas (1777-1819). He also created for Boydell fifty-one plates after Cipriani. Earlom engraved outstanding works both after the designs of his contemporaries and after the old masters. Boydell commissioned his talents for some of the most famous plates in The Houghton Gallery and The Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) was a Florentine decorative painter and designer, active mainly in England. In 1755 he was brought to London by the architect Sir William Chambers and the sculptor Joseph Wilton, who had met him in Rome. He was employed in the decoration of many public buildings and private houses and in some cases designed such architectural details as plasterwork, woodwork, and stonecarving. Good examples of his paintings are at Somerset House (where he worked for Chambers) and in the Philadelphia Museum of Art (a series originally executed for Lansdowne House, London). He was also active as a teacher at the Royal Academy (he was a foundation member in 1768 and designed its diploma), and his numerous decorative designs (many engraved by Bartolozzi, his friend since student days) had wide influence. Cipriani's work is accomplished rather than inspired, but he was, in the words of Sir Ellis Waterhouse, 'one of the great backroom figures of the Neoclassic style in England'.
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EARLOM Richard (Londra, 14 maggio 1743 – Londra, 9 ottobre 1822)
Putti in riva al fiume
Acquatinta e acquaforte, stampata in seppia, 1786. Dalla serie: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani pubblicata a Londra da John & Josiah Boydell nel 1786. La serie consiste di cinquanta stampe da disegni di Cipriani 'incisi da Mr. Richard Earlom' inclusee sette incise da Maria Catharina Prestel, Bartolozzi, Kirk e Legat. Richard Earlom (1743-1822) fu uno dei più grandi incisori a mezzatinta e a puntini del suo tempo. Fu apprendista dell'incisore londinese G.B. Cipriani e studiò alla St Martin's Lane Academy. Vinse molti premi per i suoi disegni e incisioni. Nel 1774, iniziò a lavorare per John Boydell per il quale creò trecento tavole dopo Claude, pubblicate come il Liber Veritas (1777-1819). Creò anche per Boydell cinquantuno tavole di Cipriani. Earlom incise opere eccezionali sia dopo i disegni dei suoi contemporanei che dopo i vecchi maestri. Boydell commissionò il suo talento per alcune delle più famose tavole della Houghton Gallery e della Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) fu un pittore decorativo e designer fiorentino, attivo principalmente in Inghilterra. Nel 1755 fu portato a Londra dall'architetto Sir William Chambers e dallo scultore Joseph Wilton, che lo avevano conosciuto a Roma. Fu impiegato nella decorazione di molti edifici pubblici e case private e in alcuni casi progettò dettagli architettonici come intonaco, legno e scultura in pietra. Buoni esempi dei suoi dipinti sono alla Somerset House (dove lavorò per Chambers) e nel Philadelphia Museum of Art (una serie originariamente eseguita per Lansdowne House, Londra). Fu anche attivo come insegnante alla Royal Academy (fu membro fondatore nel 1768 e disegnò il suo diploma), e i suoi numerosi disegni decorativi (molti incisi da Bartolozzi, suo amico dai tempi degli studenti) ebbero una grande influenza. Il lavoro di Cipriani è compiuto piuttosto che ispirato, ma fu, nelle parole di Sir Ellis Waterhouse, 'una delle grandi figure di retrovia dello stile neoclassico in Inghilterra'. Aquatint and etching, printed in sepia ink, 1789. From the series: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani published in London by John & Josiah Boydell in 1789. The series consists of fifty-plate series of facsimile prints of Cipriani's drawings 'engraved by Mr. Richard Earlom' includes seven engraved by Maria Catharina Prestel, Bartolozzi, Kirk and Legat.. A letterpress contents page of the same sheet size, kept under Earlom's name with the majority of the series, gives titles and the series publication date of September 1st, 1789. Richard Earlom (1743-1822) was one of the greatest mezzotint and stipple engravers of his day. He was apprenticed to the London based engraver, G.B. Cipriani and studied at the St Martin's Lane Academy. He won many prizes for his drawings and engravings. In 1774, he began work for John Boydell for whom he created three hundred plates after Claude, published as the Liber Veritas (1777-1819). He also created for Boydell fifty-one plates after Cipriani. Earlom engraved outstanding works both after the designs of his contemporaries and after the old masters. Boydell commissioned his talents for some of the most famous plates in The Houghton Gallery and The Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) was a Florentine decorative painter and designer, active mainly in England. In 1755 he was brought to London by the architect Sir William Chambers and the sculptor Joseph Wilton, who had met him in Rome. He was employed in the decoration of many public buildings and private houses and in some cases designed such architectural details as plasterwork, woodwork, and stonecarving. Good examples of his paintings are at Somerset House (where he worked for Chambers) and in the Philadelphia Museum of Art (a series originally executed for Lansdowne House, London). He was also active as a teacher at the Royal Academy (he was a foundation member in 1768 and designed its diploma), and his numerous decorative designs (many engraved by Bartolozzi, his friend since student days) had wide influence. Cipriani's work is accomplished rather than inspired, but he was, in the words of Sir Ellis Waterhouse, 'one of the great backroom figures of the Neoclassic style in England'.
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MCNEIL WHISTLER James Abbot (Lowell, 10 luglio 1834 – Londra, 17 luglio 1903)
Little Evelyn
Litografia, 1896, disegnata su carta transfer bianca con una trama di pietra granulosa; unico stato; stampata con inchiostro nero sulla carta vergata color crema usata per l'edizione The Art Journal. Nella pietra a sinistra il monogramma a forma di farfalla. La bambina che posò per questo accattivante ritratto era la figlia di tre o quattro anni dell'amico di lunga data di Whistler, David Croal Thomson. Thomson si era interessato al lavoro dell'artista per molti anni e aveva organizzato la retrospettiva di grande successo dei suoi dipinti alla Galleria Goupil nella primavera del 1892. Era stato redattore di The Art Journal dal novembre 1892 e aveva già pubblicato una delle litografie di Whistler, Les Bonnes du Luxembourg" nel numero di dicembre 1894 del periodico. Whistler probabilmente fece il disegno di trasferimento di Evelyn quando visitò la famiglia Thomson nel gennaio 1896 nella loro casa fuori Londra. Qualche ossidazione, altrimenti in buone condizioni. Bibliografia Margaret F. MacDonald, Grischka Petri, Joanna Meacock James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow , 2012, cat. no. 146. Transfer lithograph, 1896, drawn on white transfer paper with a grained-stone texture; only state; printed in black ink on the cream laid paper used for The Art Journal edition. In the stone at left: butterfly monogram. The child who posed for this engaging portrait was the three - or four-year - old daughter of Whistler’s longtime friend, David Croal Thomson. Thomson had taken an interest in the artist’s work for many years and had organized the very successful retrospective of his paintings at the Goupil Gallery in the spring of 1892. He had served as editor of The Art Journal since November 1892 and had already published one of Whistler’s lithographs, Nursemaids: “Les Bonnes du Luxembourg” in the December 1894 issue of the periodical. Whistler probably made the transfer drawing of Evelyn when he visited the Thomson family in January 1896 at their home outside London. Some foxing, otherwise good condition. Bibliografia Margaret F. MacDonald, Grischka Petri, Joanna Meacock James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow , 2012, cat. no. 146.
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PENNELL Joseph
On the River
On the River, opera tratta da The Art Journal, 1894. Acquaforte, stampata su carta coeva, con margini, buone condizioni. Iscrizione all'interno dell'immagine: un cartello in primo piano è scritto: "Saloon & Steakhouse / Koh-i-Noor / Clacton on Sea...This Pier."; sotto l'immagine: "The Art Journal / Original Etching by Joseph Pennell / J. S. Virtue & Co. Limited". Joseph Pennell (americano, Philadelphia, Pennsylvania 1857-1926 New York), un quacchero nato a Philadelphia, trascorse i primi due decenni della sua carriera all'estero, vivendo principalmente a Londra, dove divenne uno stretto collaboratore di Whistler. Qui, rappresenta un soggetto del Tamigi per "The Art Journal", con navi a vapore, un ponte ferroviario e un cartello in primo piano che identifica un saloon e una steakhouse che si rivolgeva ai passeggeri in viaggio verso Clacton-on-Sea. La stampa a tutta pagina accompagnava un articolo con lo stesso titolo della moglie dell'artista, Elizabeth Pennell. L'artista fu elogiato dalla "Army and Navy Gazette" per la "completa padronanza delle linee" mostrata dall'acquaforte. On the River, from The Art Journal, 1894. Etching, printed on contemporary vowe paper, with margins, good condition. Inscription within image: a sign in the foreground is lettered: "Saloon & Steakhouse / Koh-i-Noor / Clacton on Sea...This Pier."; below image: "The Art Journal / Original Etching by Joseph Pennell / J. S. Virtue & Co. Limited". Joseph Pennell (American, Philadelphia, Pennsylvania 1857–1926 New York), a Philadelphia-born Quaker, spent the first two decades of his career abroad, living primarily in London, where he became a close associate of Whistler. Here, he represents a Thames subject for "The Art Journal," with steamboats, a railroad bridge, and foreground placard identifying a saloon and steakhouse that catered to passengers traveling to Clacton-on-Sea. The full-page print accompanied an article with the same title by the artist's wife, Elizabeth Pennell. The artist was praised by the "Army and Navy Gazette" for the "thorough mastery of line" displayed by the etching. One other critic, writing in the "Dundee Advertiser," thought the subject "quite Whistleresque" in treatment.
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Ryland William Wynne (Londra 1732 - 1783)
La Deposizione
Acquaforte stampata in marrone, da Parmigianino. La deposizione, particolare da uno schizzo del Parmigianino (Popham 1971, n. 373); il corpo di Cristo sostenuto da una figura che siede a sinistra e che lo guarda addolorata; in una cornice rettangolare a imitazione di una montatura per lavabo. Magnifica prova, impressa su carta vergata coeva, rifilata al rame, in perfetto stato di conservazione. L'opera è parte della raccolta di Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors, edita a Londra da John Boydell e altri nel 1778. Le tavole che sono contenute nell'opera riproducono, a grandezza naturale e con gli stessi colori, una serie di disegni antichi nella collezione del Rogers. Etching printed in brown, after Parmigianino. The Deposition, a detail after a sketch by Parmigianino (Popham 1971, no. 373); Christ's body supported by a figure who sits to left, looking down at Him sorrowfully; in rectangular frame in imitation of a wash mount. The work is part of Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors. printed by J. Nichols in London, and sold by John Boydell, Benjamin White, and Peter Molini, 1778. The plates, which use a wide variety of techniques, show some old master drawings in Rogers's own collection. His preface states: “That these prints may be faithful imitations, they are engraved the same way as, as well as the same size, as the Originals are drawn; and printed, as nearly as possible, in the same colours”. A fine impression, printed on contemporary laid paper, trimmed to the borderline, perfect condition.
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Ryland William Wynne (Londra 1732 - 1783)
Uomo con spada e bastone
Acquaforte stampata in marrone, da Salvator Rosa. Un giovane in piedi di profilo a sinistra, con cappello piumato, la mano destra sul petto, la sinistra sull'elsa della spada, un'altra figura sullo sfondo a sinistra. Da un disegno di Salvator Rosa; in cornice rettangolare a imitazione di un supporto del disegno. Magnifica prova, impressa su carta vergata coeva, rifilata al rame, in perfetto stato di conservazione. L'opera è parte della raccolta di Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors, edita a Londra da John Boydell e altri nel 1778. Le tavole che sono contenute nell'opera riproducono, a grandezza naturale e con gli stessi colori, una serie di disegni antichi nella collezione del Rogers. Etching printed in brown, after Salvator Rosa. A youth standing in profile to the left, wearing feathered hat, his right hand on his chest, the left hand on the hilt of his sword, another figure in the background to the left; after a drawing by Salvator Rosa; in rectangular frame in imitation of a wash mount. The work is part of Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors. printed by J. Nichols in London, and sold by John Boydell, Benjamin White, and Peter Molini, 1778. The plates, which use a wide variety of techniques, show some old master drawings in Rogers's own collection. His preface states: “That these prints may be faithful imitations, they are engraved the same way as, as well as the same size, as the Originals are drawn; and printed, as nearly as possible, in the same colours”. A fine impression, printed on contemporary laid paper, trimmed to the borderline, perfect condition.
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Ryland William Wynne (Londra 1732 - 1783)
Uomo con bastone
Acquaforte stampata in marrone, da Salvator Rosa. Un giovane in piedi di profilo a destra. Da un disegno di Salvator Rosa; in cornice rettangolare a imitazione di un supporto del disegno. Magnifica prova, impressa su carta vergata coeva, rifilata al rame, in perfetto stato di conservazione.L'opera è parte della raccolta di Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors, edita a Londra da John Boydell e altri nel 1778. Le tavole che sono contenute nell'opera riproducono, a grandezza naturale e con gli stessi colori, una serie di disegni antichi nella collezione del Rogers. Etching printed in brown, after Salvator Rosa. A man standing in profile to the right; after a drawing by Salvator Rosa; in rectangular frame in imitation of a wash mount. The work is part of Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors. printed by J. Nichols in London, and sold by John Boydell, Benjamin White, and Peter Molini, 1778.The plates, which use a wide variety of techniques, show some old master drawings in Rogers's own collection. His preface states: “That these prints may be faithful imitations, they are engraved the same way as, as well as the same size, as the Originals are drawn; and printed, as nearly as possible, in the same colours”. A fine impression, printed on contemporary laid paper, trimmed to the borderline, perfect condition.
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Prestel Maria Catharina (Norimberga 1747 - Londra 1794)
Cerere
Acquatinta e acquaforte, stampata in seppia, 1789. Dalla serie: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani pubblicata a Londra da John & Josiah Boydell. La serie consiste di cinquanta stampe da disegni di Cipriani 'incisi da Mr. Richard Earlom' inclusee sette incise da Maria Catharina Prestel, Bartolozzi, Kirk e Legat. Maria Katharina Prestel (22 luglio 1747 - 16 marzo 1794), nata Maria Katharina Höll, è stata un'incisore e pittrice di Norimberga, attiva a Londra. Figlia di Maria e Thomas Höll, Prestel nacque a Norimberga dove divenne allieva di Johann Gottlieb Prestel. Si sposò con Prestel nel 1769 ma la coppia si separò nel 1786, quando si trasferì a Londra con la figlia Ursula Magdalena Prestel. Qui lavorò per John Boydell realizzando acquetinte. La carriera di Prestel a Londra fu di grande successo e alla sua morte, avvenuta nel 1794, aveva prodotto più di settantatre lastre di incisioni su opere di artisti tedeschi, italiani e olandesi. Era famosa per le sue grandi stampe di paesaggi all'acquatinta, con le quali riproduceva abilmente i sottili dettagli dei dipinti di paesaggi romantici. Giovanni Battista Cipriani, (1727-1785) fu un pittore decorativo e designer fiorentino, attivo principalmente in Inghilterra. Nel 1755 fu portato a Londra dall'architetto Sir William Chambers e dallo scultore Joseph Wilton, che lo avevano conosciuto a Roma. Fu impiegato nella decorazione di molti edifici pubblici e case private e in alcuni casi progettò dettagli architettonici come intonaco, legno e scultura in pietra. Buoni esempi dei suoi dipinti sono alla Somerset House (dove lavorò per Chambers) e nel Philadelphia Museum of Art (una serie originariamente eseguita per Lansdowne House, Londra). Fu anche attivo come insegnante alla Royal Academy (fu membro fondatore nel 1768 e disegnò il suo diploma), e i suoi numerosi disegni decorativi (molti incisi da Bartolozzi, suo amico dai tempi degli studenti) ebbero una grande influenza. Il lavoro di Cipriani è compiuto piuttosto che ispirato, ma fu, nelle parole di Sir Ellis Waterhouse, 'una delle grandi figure di retrovia dello stile neoclassico in Inghilterra'. Aquatint and etching, printed in sepia ink, 1789. From the series: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani published in London by John & Josiah Boydell. The series consists of fifty-plate series of facsimile prints of Cipriani's drawings 'engraved by Mr. Richard Earlom' includes seven engraved by Maria Catharina Prestel, Bartolozzi, Kirk and Legat.. A letterpress contents page of the same sheet size, kept under Earlom's name with the majority of the series, gives titles and the series publication date of September 1st, 1789. Maria Katharina Prestel (22 July 1747 – 16 March 1794) born Maria Katharina Höll, was an engraver and painter from Nuremberg, and active in London. Prestel, daughter of Maria and Thomas Höll, was born in Nuremberg where she became a pupil of Johann Gottlieb Prestel. She married Prestel in 1769 but the couple separated in 1786, at which point she moved to London with her daughter Ursula Magdalena Prestel. There she worked for John Boydell making aquatints. Her painting Gypsies on a Common was included in the 1905 book Women Painters of the World. Prestel's career in London was quite successful and by the time of her death in 1794, she had produced more than seventy three engraving plates after works by German, Italian, and Dutch artists. She was celebrated for her large aquatint landscape prints, through which she skillfully replicated subtle details of romanticized landscape paintings. Prestel died in Greater London. Giovanni Battista Cipriani, (1727-1785) was a Florentine decorative painter and designer, active mainly in England. In 1755 he was brought to London by the architect Sir William Chambers and the sculptor Joseph Wilton, who had met him in Rome. He was employed in the decoration of many public buildings and private houses and in some cases designed such architectural details as plasterwork, woodwork, and stonecarving. Good examples of his paintings are at Somerset House (where he worked for Chambers) and in the Philadelphia Museum of Art (a series originally executed for Lansdowne House, London). He was also active as a teacher at the Royal Academy (he was a foundation member in 1768 and designed its diploma), and his numerous decorative designs (many engraved by Bartolozzi, his friend since student days) had wide influence. Cipriani's work is accomplished rather than inspired, but he was, in the words of Sir Ellis Waterhouse, 'one of the great backroom figures of the Neoclassic style in England'.
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EARLOM Richard (Londra, 14 maggio 1743 – Londra, 9 ottobre 1822)
L'Abbondanza
Acquatinta e acquaforte, stampata in seppia, 1789. Dalla serie: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani pubblicata a Londra da John & Josiah Boydell. La serie consiste di cinquanta stampe da disegni di Cipriani 'incisi da Mr. Richard Earlom' inclusee sette incise da Maria Catharina Prestel, Bartolozzi, Kirk e Legat. Richard Earlom (1743-1822) fu uno dei più grandi incisori a mezzatinta e a puntini del suo tempo. Fu apprendista dell'incisore londinese G.B. Cipriani e studiò alla St Martin's Lane Academy. Vinse molti premi per i suoi disegni e incisioni. Nel 1774, iniziò a lavorare per John Boydell per il quale creò trecento tavole dopo Claude, pubblicate come il Liber Veritas (1777-1819). Creò anche per Boydell cinquantuno tavole di Cipriani. Earlom incise opere eccezionali sia dopo i disegni dei suoi contemporanei che dopo i vecchi maestri. Boydell commissionò il suo talento per alcune delle più famose tavole della Houghton Gallery e della Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) fu un pittore decorativo e designer fiorentino, attivo principalmente in Inghilterra. Nel 1755 fu portato a Londra dall'architetto Sir William Chambers e dallo scultore Joseph Wilton, che lo avevano conosciuto a Roma. Fu impiegato nella decorazione di molti edifici pubblici e case private e in alcuni casi progettò dettagli architettonici come intonaco, legno e scultura in pietra. Buoni esempi dei suoi dipinti sono alla Somerset House (dove lavorò per Chambers) e nel Philadelphia Museum of Art (una serie originariamente eseguita per Lansdowne House, Londra). Fu anche attivo come insegnante alla Royal Academy (fu membro fondatore nel 1768 e disegnò il suo diploma), e i suoi numerosi disegni decorativi (molti incisi da Bartolozzi, suo amico dai tempi degli studenti) ebbero una grande influenza. Il lavoro di Cipriani è compiuto piuttosto che ispirato, ma fu, nelle parole di Sir Ellis Waterhouse, 'una delle grandi figure di retrovia dello stile neoclassico in Inghilterra'. Aquatint and etching, printed in sepia ink, 1789. From the series: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani published in London by John & Josiah Boydell. The series consists of fifty-plate series of facsimile prints of Cipriani's drawings 'engraved by Mr. Richard Earlom' includes seven engraved by Maria Catharina Prestel, Bartolozzi, Kirk and Legat.. A letterpress contents page of the same sheet size, kept under Earlom's name with the majority of the series, gives titles and the series publication date of September 1st, 1789. Richard Earlom (1743-1822) was one of the greatest mezzotint and stipple engravers of his day. He was apprenticed to the London based engraver, G.B. Cipriani and studied at the St Martin's Lane Academy. He won many prizes for his drawings and engravings. In 1774, he began work for John Boydell for whom he created three hundred plates after Claude, published as the Liber Veritas (1777-1819). He also created for Boydell fifty-one plates after Cipriani. Earlom engraved outstanding works both after the designs of his contemporaries and after the old masters. Boydell commissioned his talents for some of the most famous plates in The Houghton Gallery and The Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) was a Florentine decorative painter and designer, active mainly in England. In 1755 he was brought to London by the architect Sir William Chambers and the sculptor Joseph Wilton, who had met him in Rome. He was employed in the decoration of many public buildings and private houses and in some cases designed such architectural details as plasterwork, woodwork, and stonecarving. Good examples of his paintings are at Somerset House (where he worked for Chambers) and in the Philadelphia Museum of Art (a series originally executed for Lansdowne House, London). He was also active as a teacher at the Royal Academy (he was a foundation member in 1768 and designed its diploma), and his numerous decorative designs (many engraved by Bartolozzi, his friend since student days) had wide influence. Cipriani's work is accomplished rather than inspired, but he was, in the words of Sir Ellis Waterhouse, 'one of the great backroom figures of the Neoclassic style in England'.
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SMITH John (1652 - 1743)
Natura morta
Natura morta da tavolo con rose e altri fiori in un ampio vaso di vetro bombato, illuminata da sinistra. Da un dipinto di Jean Baptiste Le Monnoyer. Mezzotinto, 1691 circa, firmato sotto l'immagine "J Baptiste Monnoyer pinxit" e "J Smith fecit & excudit". Esemplare del secondo stato di tre, prima della rielaborazione con i ritocchi alla lastra. Buona impressione su carta vergata, con margini molto sottili, una piega obliqua della carta nell'angolo superiore sinistro, per il resto buone condizioni. Nagler indica per questa lastra la data del 1691. John Smith (1652-1743) fu un editore e stampatore dotato e ambizioso, la cui lunga carriera iniziò sotto il regno di Carlo II e si concluse dopo l'ascesa di Giorgio II. Nato nel Northamptonshire, lavorò a Londra, specializzandosi nella tecnica relativamente nuova del mezzotinto. Tra il 1683 e il 1729 produsse oltre trecento stampe. La raffinatezza e la "modernità" delle sue stampe gli procurarono fama e poi prosperità materiale. Smith apprese la tecnica del mezzotinto dal tipografo Isaac Beckett (1653-88 circa) e dall'artista olandese Jan Van der Vaart (1653-1727). Riprodusse anche opere di alcuni artisti contemporanei britannici e stranieri. Secondo il curatore del British Museum questo è la sequenza degli stati: (i) con la scritta "J Baptiste Monnoyer pinxit". (ii) scritta "J Baptiste Monnoyer pinxit // J Smith fecit & excudit". (iii) come sopra, ma con lastra ritoccata. L'opera è molto rara; le altre impressioni conosciute sono: Londra BM, 1876,1111.21 (ii); Parigi BN (i, ii); Chatsworth (ii, 2 impressioni); Cambridge Fitzwilliam (ii); Glasgow Hunterian (ii); Haddington albums (ii); Londra NPG (ii); New York PL (riedizione Boydell; Stuart Collection 226); Oxford Christ Church (ii); Amsterdam RPK (ii); Londra V&A (ii); CLB (3 impressioni, ii). Al verso della stampa firma della collezione di Giuseppe Storck (Lugt 2291), più altro timbro di collezione sconosciuto a Lugt. Bibliografia Antony Griffiths, Early Mezzotint Publishing in England I John Smith, 1652-1743, in “Print Quarterly”, VI 1989 pp. 243-57; Wessely, John Smith: Verzeichniss seiner schabkunstblätter, n. 482; Chaloner Smith, British Mezzotinto portraits from the introduction of the art to the early part of the present century (undescribed); Nagler, Neues allgemeines Künstler-Lexikon n. 500. Table-top still-life with roses and other flowers in a wide, rounded glass vase, lit from the left; after Monnoyer. Mezzotint, circa 1691, lettered below image with 'J Baptiste Monnoyer pinxit' and 'J Smith fecit & excudit.' Example of the second state of three, before the plate reworked. A good impression on laid paper, with very thin margins, an oblique paper crease at upper left corner, otherwise good condition. Nagler gives the date 1691 for this plate. John Smith (1652-1743) was a gifted and ambitious printmaker and publisher whose long career began in the reign of Charles II and closed after the accession of George II. He was born in Northamptonshire and worked in London, specializing in the relatively new technique of mezzotint printing. Between 1683 and 1729 he produced over three hundred prints. Trained as a printmaker he was able to retain a controlling hand when, in the early 1690s, he turned from pure printmaking to printmaking and publishing. The refinement and 'modernity' of his prints brought him fame and then material prosperity and Smith's career, largely independent of interference from outside publishers, must have been an inspiration to William Hogarth (1697-1764) and the next generation of printmakers. Smith learnt the technique of mezzotinting from the printmaker Isaac Beckett (c.1653-88) and the Dutch artist Jan Van der Vaart (1653-1727). Smith also reproduced works of a number of contemporary British and foreign artists. According to the curator of The British Museum this is the list of states: (i) lettered 'J Baptiste Monnoyer pinxit' (ii) lettered 'J Baptiste Monnoyer pinxit // J Smith fecit & excudit.' (iii) lettering as above; plate reworked.). The work is very rare; the other known impressions are: London BM, 1876,1111.21 (ii); Paris BN (i, ii); Chatsworth (ii, 2 impressions); Cambridge Fitzwilliam (ii); Glasgow Hunterian (ii); Haddington albums (ii); London NPG (ii); New York PL (Boydell reissue; Stuart Collection 226); Oxford Christ Church (ii); Amsterdam RPK (ii); London V&A (ii); CLB (3 impressions, ii). Collection mark of Giuseppe Storck (Lugt 2291). Bibliografia Antony Griffiths, Early Mezzotint Publishing in England I John Smith, 1652-1743, in “Print Quarterly”, VI 1989 pp. 243-57; Wessely, John Smith: Verzeichniss seiner schabkunstblätter, n. 482; Chaloner Smith, British Mezzotinto portraits from the introduction of the art to the early part of the present century (undescribed); Nagler, Neues allgemeines Künstler-Lexikon n. 500.
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Byrne Elizabeth (Londra 1777-1849)
Natura morta con fiori
Acquaforte, 1816, firmata e datata in basso, con indicazione della produzione nel margine inferiore: "I. Van Os" e "2,3 ½ per 2,10 3/8". Bella impressione su carta coeva, meravigliosa coloritura a mano, in buono stato di conservazione. Elizabeth Byrne è stata una pittrice di paesaggio e incisore, in Gran Bretagna. Figlia del paesaggista William Byrne (1743-1805); sorella di Letitia Byrne (1779-1849) e John Byrne (1786-1847). Quest'opera fa parte della "Stafford Gallery" che aveva come titolo completo: "Engravings of the Most Noble the Marquis of Stafford's Collection of Pictures in London: Arranged According to Schools and in Chronological Order with Remarks on Each Picture". Questa collezione fu costituita dal III conte di Bridgewater, aumentata da George Granville Leveson-Gower, I duca di Sutherland e ospitata a Cleveland House a Londra. Fu aperta al pubblico nel 1806. La pubblicazione fu curata da W Y Ottley e P W Tomkins, edita in quattro volumi, 1810-1818, da Tomkins, Longman, Hurst, Rees & Orme, J White & Co. e Cadell & Davies, con illustrazioni incise da Tomkins, Fittler, Romney, Heath e altri, su disegni di W M Craig. Il libro comprendeva anche le piante delle tredici stanze, con l'indicazione della posizione di ogni dipinto. Bibliografia R K Engen, 'Dictionary of Victorian Engravers, Print Publishers and Their Works', 1979. Still-life of an urn with flowers, fruits lying in foreground, a garden beyond; after Jan van Os. Etching, 1816, signed and dated at the bottom, lettered in lower margin with production details: "I. Van Os" and "2.3 ½ by 2.10 3/8". A fine impression on contemporary paper, with fine later hand colour, in good condition. Elizabeth Byrne was a landscape painter & engraver, in Britain. Daughter of landscape-engraver William Byrne (1743-1805); sister of Letitia Byrne (1779-1849) and John Byrne (1786-1847). This work is a part of the "Stafford Gallery" had as its full title: 'Engravings of the Most Noble the Marquis of Stafford's Collection of Pictures in London: Arranged According to Schools and in Chronological Order with Remarks on Each Picture'. This collection was formed by the 3rd Earl of Bridgewater, augmented by George Granville Leveson-Gower, 1st Duke of Sutherland and housed at Cleveland House in London. It was opened to the public in 1806. The publication was undertaken by W Y Ottley and P W Tomkins, issued in four volumes, 1810-1818, by Tomkins; Longman, Hurst, Rees & Orme; J White & Co. and Cadell & Davies, with illustrations engraved by Tomkins, Fittler, Romney, Heath and others, from drawings by W M Craig. The book also included plans of the thirteen rooms, showing the location of each picture. Bibliografia R K Engen, 'Dictionary of Victorian Engravers, Print Publishers and Their Works', 1979
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