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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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STOCKS Lumb (29 Novembre 1812 – 28 Aprile 1892)
Santa Cecilia
Santa Cecilia, da Domenichino; la santa raffigurata a mezzo busto a sinistra, mentre strimpella un liuto e legge da uno spartito tenuto aperto per lei da un cherubino sdraiato su un tavolo, a destra, con globi e un altro schizzo della santa che suona un violino appesi al bordo, appuntati sotto i libri. Acquaforte e bulino, 1843 circa, con titolo e titolo 'Painted by Domenichino - Engraved by L.Stocks. The Picture in the collection of John Noble Esq. F.S.A. / London Published for the Proprietors by Geo. Virtue, 26, Ivy Lane, 1844'. Buona impressione, stampata su carta vergata coeva, con margini, in ottime condizioni. Bibliografia Stocks 1993, A Catalogue of Line Engravings by Lumb Stocks R A collected by J P Stocks (undescribed). St Cecilia, after Domenichino; the saint shown half-length on the left, strumming a lute and reading from a score held open for her by a cherub lying on a table, on the right, with globes and another sketch of the saint playing a viol hanging over the edge, pinned below books; lettered state. Etching and engraving, 1843 circa, lettered with title and 'Painted by Domenichino - Engraved by L.Stocks. The Picture in the collection of John Noble Esq. F.S.A. / London Published for the Proprietors by Geo. Virtue, 26, Ivy Lane, 1844'. After Domenichino. A good impression, printed on contemporary wove paper, with margins, very good condition. Bibliografia Stocks 1993, A Catalogue of Line Engravings by Lumb Stocks R A collected by J P Stocks (undescribed).
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Karen English
Neeny Coming Neeny Going
Troll Communications. Used - Good. Ships from the UK. Shows some signs of wear and may have some markings on the inside. 100% Money Back Guarantee. Your purchase also supports literacy charities. Troll Communications unknown
書籍販売業者の参照番号
: GRP111250108 ISBN : 0816737975 9780816737970
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Mallarme Stephane; Rendered into English by Jack Hirschman
IGITUR.
Los Angeles:: Press of the Pegacycle Lady 1974. Very good overall some dampstaining in lower gutter affecting the back cover and several pages - but still an attractive copy. Limited numbered edition in wrappers. The first English language translation of this piece by Mallarme #154 out of 500 numbered copies. Sewn in stiff rust-red paper wrappers with a photo illustration by Wallace Berman pasted on the front cover. 21 pp plus colophon. Press of the Pegacycle Lady, unknown
書籍販売業者の参照番号
: 78967 ISBN : 0915148048 9780915148042
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John A. English
Marching Through Chaos : The Descent of Armies in Theory and Practice
ABC-CLIO LLC 1998. Paperback. Very Good. Disclaimer:A copy that has been read but remains in excellent condition. Pages are intact and are not marred by notes or highlighting but may contain a neat previous owner name. The spine remains undamaged. At ThriftBooks our motto is: Read More Spend Less.Dust jacket quality is not guaranteed. ABC-CLIO, LLC paperback
書籍販売業者の参照番号
: G0275963926I4N00 ISBN : 0275963926 9780275963927
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English Mary C./ Irby Georgia L.
A Little Latin Reader
Oxford Univ Pr 2017. Paperback. New. 2nd edition. 215 pages. 8.25x5.50x1.00 inches. Oxford Univ Pr paperback
書籍販売業者の参照番号
: 2-0190645539 ISBN : 0190645539 9780190645533
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Mahabharata. Bhagavadgita. English
The Bhagavad Gita
Henry Holt & Co. Used - Good. Shows some signs of wear and may have some markings on the inside. Henry Holt & Co unknown
書籍販売業者の参照番号
: GRP118802164 ISBN : 0030654602 9780030654602
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Nigel English
AQA Science GCSE Biology Revision Guide: GCSE Biology: Revision Guide Aqa Science Revision Guides
Nelson Thornes 07/04/2006. Pamphlet. Used; Good. Includes Notes and/or Highlights WE SHIP WITHIN 24 HRS FROM LONDON UK 98% OF OUR ORDERS ARE RECEIVED WITHIN 7-10 DAYS. We believe you will be completely satisfied with our quick and reliable service. All orders are dispatched as swiftly as possible! Buy with confidence! Nelson Thornes unknown
書籍販売業者の参照番号
: 3780642 ISBN : 0748783121 9780748783120
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English L. E. F
Historic Newfoundland and Labrador
Tourism Branch Dept. of Development Provience of Newfoundland & Labrador. Used - Good. Good condition. geography history Tourism Branch, Dept. of Development, Provience of Newfoundland & Labrador unknown
書籍販売業者の参照番号
: SB12C-01753
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English GL. G. L.
Getting Acquainted with Minerals
New York and London: McGraw-Hill 1934. xi 324 b/w frontis 257 text figs. . HB. 8vo orig. cloth. Ex-lib. From Milton Haven Grammar School. Vg. From the library of Michael P. Cooper 1946-2008 British mineralogist with his book plate and signature. . McGraw-Hill hardcover
書籍販売業者の参照番号
: S41393
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Richard English
Does Terrorism Work
Oxford University Press Incorporated 2016. Hardcover. As New. Disclaimer:An apparently unread copy in perfect condition. Dust cover is intact; pages are clean and are not marred by notes or folds of any kind. At ThriftBooks our motto is: Read More Spend Less.Dust jacket quality is not guaranteed. Oxford University Press, Incorporated hardcover
書籍販売業者の参照番号
: G0199607850I2N00 ISBN : 0199607850 9780199607853
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English Horace Bidwell
A comprehensive dictionary of psychological and psychoanalytical terms;: A guide to usage by Horace B. English and Ava Champney English
Longmans Green 1959. Hardcover. Good. Disclaimer:A copy that has been read but remains in clean condition. All pages are intact and the cover is intact. The spine may show signs of wear. Pages can include limited notes and highlighting and the copy can include previous owner inscriptions. At ThriftBooks our motto is: Read More Spend Less.Dust jacket quality is not guaranteed. Longmans, Green hardcover
書籍販売業者の参照番号
: GB0007FPQ7UI3N00
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Taragin Davira S. essay; Ward Alex essay; Drutt English Helen W. essay.
WOMEN'S TALES : Four Leading Israeli Jewelers an exhibition catalogue.
Hudson Hills Press LLC 2006. Paperback. Very Good. Disclaimer:A copy that has been read but remains in excellent condition. Pages are intact and are not marred by notes or highlighting but may contain a neat previous owner name. The spine remains undamaged. At ThriftBooks our motto is: Read More Spend Less.Dust jacket quality is not guaranteed. Hudson Hills Press LLC paperback
書籍販売業者の参照番号
: G1555952712I4N00 ISBN : 1555952712 9781555952716
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English Bible
The New English Bible: New Testament The Complete Text with Footnotes
Oxford / Cambridge University Press 1961. Paperback. Very Good. Disclaimer:A copy that has been read but remains in excellent condition. Pages are intact and are not marred by notes or highlighting but may contain a neat previous owner name. The spine remains undamaged. At ThriftBooks our motto is: Read More Spend Less.Dust jacket quality is not guaranteed. Oxford / Cambridge University Press paperback
書籍販売業者の参照番号
: GB001CY9VZII4N00
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English Fenwick W. Editor
Deciding What to Teach and Test: Developing Aligning and Auditing the Curriculum
Corwin 1999-11-18. Paperback. Good. Corwin paperback
書籍販売業者の参照番号
: 0803968329-3-14971798 ISBN : 0803968329 9780803968325
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English Fenwick W. Editor
Deciding What to Teach and Test: Developing Aligning and Auditing the Curriculum
Corwin 1999-11-18. Paperback. Acceptable. Corwin paperback
書籍販売業者の参照番号
: 0803968329-4-3504534 ISBN : 0803968329 9780803968325
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Bogan Christopher E.; English Michael J
Benchmarking for Best Practices: Winning Through Innovative Adaptation
McGraw-Hill 1994-08-01. Hardcover. Like New. McGraw-Hill hardcover
書籍販売業者の参照番号
: 0070063753-1-17590931 ISBN : 0070063753 9780070063754
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Sadler Judy Ann; English Sarah Jane Illustrator
A Easy Braids Barrettes and B Kids Can Do It
Kids Can Press 1997-06-30. Paperback. Good. Kids Can Press paperback
書籍販売業者の参照番号
: 1550743252-3-14689777 ISBN : 1550743252 9781550743258
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English Foreword
SpringBoard English Language Arts Senior English Grade 12 Consumable Student Edition 2014 CollegeBoard
CollegeBoard 2014-01-01. Good. CollegeBoard unknown
書籍販売業者の参照番号
: 1457302241-3-16893902 ISBN : 1457302241 9781457302244
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Bible in English
Children's Bible - Nrsv
Thomas Nelson Inc 1991-04-02. Hardcover. New. Thomas Nelson Inc hardcover
書籍販売業者の参照番号
: 0840714610-11-16139393 ISBN : 0840714610 9780840714619
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Voelker Sarah Ray; English Literature Study Guides
Canterbury Tales The MAXNotes Literature Guides
Research & Education Association 1998-01-01. Paperback. New. Research & Education Association paperback
書籍販売業者の参照番号
: 0878919945-11-18388524 ISBN : 0878919945 9780878919949
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Common English Bible
CEB Common English Daily Companion Bible Hardcover
Common English Bible 2011-12-01. Hardcover. Good. Common English Bible hardcover
書籍販売業者の参照番号
: 1609260090-3-18108984 ISBN : 1609260090 9781609260095
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Common English Bible
CEB Common English Thinline Bible Hardcover
Common English Bible 2012-09-01. Hardcover. Like New. Common English Bible hardcover
書籍販売業者の参照番号
: 160926102X-1-18042279 ISBN : 160926102X 9781609261023
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DEPT OF ENGLISH AND LANGUAGES
Readings in Techinical Writing: A Collection of Student Projects
Kendall Hunt Publishing 2012-01-13. Misc. Supplies. New. Kendall Hunt Publishing unknown
書籍販売業者の参照番号
: 0757598269-11-16324765 ISBN : 0757598269 9780757598265
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English Todd; Sampson Sally; Tremblay Carl Photographer
The Olives Table: Over 160 Recipes from the Critically Acclaimed Restaurant and Home Kitchen of Todd English
Simon & Schuster 1997-03-12. Hardcover. New. Simon & Schuster hardcover
書籍販売業者の参照番号
: 0684815729-11-17479731 ISBN : 0684815729 9780684815725
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English Literature Study Guides; Kalmanson Lauren
Oedipus Trilogy The MAXNotes Literature Guides
Research & Education Association 1996-07-25. Paperback. Acceptable. Research & Education Association paperback
書籍販売業者の参照番号
: 0878910360-4-18388357 ISBN : 0878910360 9780878910366
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Common English Bible
CEB Common English Pew Bible Navy
Common English Bible 2012-03-01. Hardcover. New. Common English Bible hardcover
書籍販売業者の参照番号
: 1609260546-11-16488729 ISBN : 1609260546 9781609260545
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James Rapson; Craig English
Anxious to Please: 7 Revolutionary Practices for the Chronically Nice
MJF 2013-01-01. Hardcover. New. MJF hardcover
書籍販売業者の参照番号
: 1606711881-11-17996061 ISBN : 1606711881 9781606711880
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Kish Cecil Sir translated into English Verse
The Wagon of Life
Oxford 1947 1947. Hardcover. Good. Disclaimer:A copy that has been read but remains in clean condition. All pages are intact and the cover is intact. The spine may show signs of wear. Pages can include limited notes and highlighting and the copy can include previous owner inscriptions. The dust jacket is missing. At ThriftBooks our motto is: Read More Spend Less. Oxford, 1947 hardcover
書籍販売業者の参照番号
: GB000ZN0F1GI3N01
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365 Eminent Clergymen of the English Speaking World
God's Purpose A Book of 365 Daily Sermonettes for Home Worship
Universal Book and Bible House 1939. Hardcover. Good. Disclaimer:A copy that has been read but remains in clean condition. All pages are intact and the cover is intact. The spine may show signs of wear. Pages can include limited notes and highlighting and the copy can include previous owner inscriptions. At ThriftBooks our motto is: Read More Spend Less.Dust jacket quality is not guaranteed. Universal Book and Bible House hardcover
書籍販売業者の参照番号
: GB000H5AJLSI3N00
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John J. English
Spiritual Freedom : From an Experience of the Ignatian Exercises to the Art of Spiritual Guidance
Loyola Press 1995. Paperback. Very Good. Disclaimer:A copy that has been read but remains in excellent condition. Pages are intact and are not marred by notes or highlighting but may contain a neat previous owner name. The spine remains undamaged. An ex-library book and may have standard library stamps and/or stickers. At ThriftBooks our motto is: Read More Spend Less.Dust jacket quality is not guaranteed. Loyola Press paperback
書籍販売業者の参照番号
: G0829408231I4N10 ISBN : 0829408231 9780829408232
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