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Click here to subscribeWilliam Faithorne the Younger, after Godfrey Kneller - King William III, 18th century reverse coloured mezzotint on glass, 31cm x 25cm, within an ebonized and gilt composition frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A HAND-COLOURED MEZZOTINT OF LORD NELSON UNDERSTOOD TO HAVE BEEN PRESENTED BY ADMIRAL SIR T.M. HARDY TO E.D. KING, CIRCA 1826possibly after Henry Singleton and depicting Nelson overlooking the destruction of the L'Orient at the battle of the Nile, framed dimensions 22½ x 20in. (57 x 51cm.) verre églomisé mount inscribed Lord Nelson within contemporary gilt and oak leaf frame, with presentation plate inscribed said to have been presented (by) ADMIRAL SIR T.M. HARDY to CAPT. E.D. KING H.M.S. ‘WINDSOR CASTLE’ 1826 PRESENTED TO THE ROYAL NAVAL CLUB BY W. GRANT ESQ.Royal Naval Club & Royal Albert Yacht Club, Portsmouth
Francis Seymour Haden (1818 - 1910), Little Calais Pier (Port du Calais), first state etching, with pencil inscription in the margin to ‘Monsieur Felix Buhot from his friend Frederick Kappel’, signed & dated within the plate 1865, plate 8cm x 15.7cm, together with Winchelsea Canal, Schneiderman 150, etching & mezzotint, circa 1877 and later, penultimate state, cancelled in the first strike, on wove paper, image 15.5cm x 24cm and Twickenham Church, etching, signed & dated within the plate 1865, H107, plate 14cm x 21.5cmQty: 3The collection of Joan Elizabeth Mary Streeter. Little Calais Pier purchased Elizabeth Harvey - Lee, The London Original Print Fair.Twickenham Church purchased Craddock & Barnard, February 1986.No obvious faults.
A collection of etchings, comprising - Joseph Pennell (1857 - 1926) St Pauls Pavement, etching, plate 21.5cm x 28cm; Donald Shaw Maclaughlan (1876 – 1938) Low tide – London River, etching, signed, titled and dated within the plate 1910, signed in pencil within the margins, 23.5cm x 31.5cm; David Lucas (1802 – 1881) The Young Waltonians after J S Constable, mezzotint, unsigned, 30cm x 42cm; Hester Frood (1882 - 1971) Gloucester Cloisters, drypoint etching, number 2 of 2, signed within the plate, signed & titled in the margins, 25.5cm x 18.5cm; and Sir Frank Short (1857 – 1945) The Street, Whistable, etching, signed in pencil in the margins, plate 24cm x 34cm and Sunrise over Whitby Scaur, aquatint, signed in pencil in the margins, 20.5cm x 31cmThe collection of Joan Elizabeth Mary Streeter. Pennell, Frood and McLaughlin purchased Craddock & Barnard, February, May & October 1971 .
PIETSCHMANN, Max(1865 Dresden - 1952 Niederpoyritz) "The Bather"Mezzotinto. Platte: 27,5 x 19,5 cm, Blatt: 32,5 x 23 cm, in Umschlag montiert: 42 x 29 cm. Weiblicher Akt an einem Ufer sitzend; Umschlag typografisch bezeichnet "The Studio: Representative Art of Our Time - Mezzotint The Bather / an original plate by Max Pietschmann / Copyright of The Studio". Deutscher Maler, ebenso unter dem Pseudonym "Francois Laubnitz" bekannt; 1909 Professor an der Kunstakademie Dresden. PIETSCHMANN, Max(1865 Dresden - 1952 Niederpoyritz) "The Bather"Mezzotint. Plate: 27.5 x 19.5 cm, sheet: 32.5 x 23 cm, mounted in envelope: 42 x 29 cm. Female nude sitting on a bank; envelope typographically inscribed "The Studio: Representative Art of Our Time - Mezzotint The Bather / an original plate by Max Pietschmann / Copyright of The Studio". German painter, also known under the pseudonym "Francois Laubnitz"; 1909 professor at the Dresden Art Academy. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
T Dixon after I Jenkinson: 'View of the Town and Harbour of Liverpool from Seacombe', engraving pub. 1820; John Charles Bromleyafter Sir Thomas Lawrence: 'Rural Amusement', mezzotint pub. 1831; together with two further prints, three botanical prints, and three early 20th century watercolours (10)
House of Commons. The Several Plans and Drawings Referred to in the Third Report... upon the Improvement of the Port of London, title with list of plates and 'Supplement Plates' slip, 24 double-page plates as called for, most engraved with some hand-colouring, a few aquatints and one mezzotint, by Laurie & Whittle, James Basire, S.I. Neele, R. Metcalf and others, many folding, largest plate approx. 670 x 1840 mm (26 1/4 x 72 1/2 in), some minor spotting and browning, handling creases, contemporary blue paper wrappers with publisher's printed label to upper cover, slightly worn, scuffed, presented in modern blue cloth portfolio, elephant folio, 1800.
Spence (Joseph) Anecdotes, Observations, and Characters, of Books and Men, edited by Samuel Weller Singer, first edition, one of 50 large paper copies, extra illustrated with the insertion of c.190 additional pieces including an A.L.s. from Singer to William Upcott, 2 fine large original monochrome watercolours of Strawberry Hill by an anonymous hand, and the rest engravings, mostly portraits of writers, artists and musicians etc., mainly British, many mezzotint including over 15 by James Faber after Kneller's portraits of members of the Kit-Cat Club, others by John Smith, Edward Cooper and others, some excellent fine impressions of early portraits, but most trimmed close and tipped into blank leaves, near contemporary red morocco, gilt, by Rivière, spine gilt in compartments with floral tools, g.e., a little rubbed, joints slightly worn and with some splits, folio, 1820.⁂ One of only 50 copies printed on large paper with the view to extra-illustration. Portraits include Shakespeare, Pope, Locke, Newton, Wren, Defoe, Swift, Vanbrugh, Addison, Congreve, Henrietta Maria after Van Dyck, Handel by Houbraken, Newton with the Prism after Romney, Lord Burlington & many others.
Britton (John) The History and Description with Graphic Illustrations of Cassiobury Park, Hertfordshire: the Seat of the Earl of Essex, first edition, one of 170 copies, this one of 150 on small paper, presentation copy inscribed "To Allan Cunningham Esq. from the Author as a mark of esteem July 24 38" on slip mounted on front pastedown, list of subscribers, 2 engraved portraits of the author on one sheet (not called for in list of plates) and 20 engraved plates & plans, some aquatint, some soft-ground etching, 4 after Turner and 5 after Pugin, 8 wood-engraved vignettes of estate cottages to title and as head- & tail-pieces, title lightly foxed, plates with light foxing and marginal water-staining, bookplates of John Cheape and ?C.Mallord W.Turner, original cloth, rubbed and water-stained, rebacked in cloth, [cf.Abbey, Scenery 412, large paper copy], folio, Chiswick Press for the Author, 1837.⁂ Neither the list of plates nor Abbey call for the 2 portraits of Britton but Abbey also lists mezzotint portraits of George Earl of Essex and George Viscount Malden & Lady Eliz. Capel. These were presumably only issued with the large paper copies.Allan Cunningham (1784-1842), Scottish poet and author.
JAMES WARD RA after ALEXANDER NASMYTH - 'The Spottiswoode Ox', mezzotint on wove paper (plate size 17¾ x 23¾in; 45 x 60.5cm). Numerous repairs and margins reduced, also 'Woburn Sheep Shearing' after GEORGE GARRARD ARA, stipple engraving and etching, Publ. by G Garrard, London 1811 (plate size 17¾ x 29¼in;45.5 x 74.5cm). Some foxing in the sky (2)
J H ThomasThe Folk-Lore of Wales, a series of seventeen proof engravings, each titled in pencil to the mount and inscribed 'With the Artist's Best Wishes', varying sizes from 5 x 10cm to 15 x 9cm, framed in one; Samuel Middiman after William Hodges - 'Shakespeare - As you Like It', monochrome engraving, 50 x 64cm; and a late 18th century mezzotint titled 'Industry', 35.5 x 25.5cm (3)
* Tissot (James Jacques Joseph, 1836-1902). Le Banc de Jardin, 1883, mezzotint, a superb, velvety, dark and richly inked impression of the first state (of three), a rare trial proof on chine collé, signed in pencil and inscribed by the artist 'Bon à Tirer / papier chine sur papier pâte / bon chaude', before the unsigned edition with letters, platemark 41.5 x 56.3 cm (16 1/2 x 22 1/4 ins), sheet size 56 x 76.7 cm (22 x 30 1/8 ins), mounted, framed and glazed (74 x 88.5 cm)QTY: (1)NOTE:Wentworth 75 i/iii.
* Tissot (James Jacques Joseph, 1836-1902). Le Matin, 1886, mezzotint on cream chine collé (on white wove paper), a good impression of the second (final) state, with margins, platemark/chine collé 48.5 x 26 cm (19 x 10 1/4 ins), sheet size 72 x 54.5 cm (28 3/8 x 21 1/2 ins.) mounted, framed and glazed (91 x 66 cm)QTY: (1)NOTE:Wentworth 82
THOMAS FRYE (c.1710-1762)Portrait of Thomas Fane, 8th Earl of Westmorland, of Brympton D’Evercy in Somerset (1701-1771), three-quarter lengthOil on unlined canvas, and contained in its fine original carved and gilded frame, 127 x 102cm (50 x 40¼”)Provenance: By descent at Brympton D’Evercy, Somerset, to Lady Georgiana Fane (1801-1874); her nephew the Hon. Spencer Ponsonby-Fane (d. 1915), younger son of the 4th Earl of Bessborough, and thence in the Clive-Ponsonby-Fane collection until the contents were largely dispersed in 1956; Private CollectionThomas Frye, from Edenderry, County Offaly, was the most extraordinarily inventive of Irish Georgian artists, and arguably the most underappreciated – at home at least. His achievements are better appreciated internationally, indeed Martin Postle argues that he is one of the ‘most intriguing and original artists to have emerged in Britain during the eighteenth century’. His activities straddled the dividing lines between the fine, graphic and applied arts – just at the moment when specialisation was becoming the norm. As his epitaph noted he was the ‘inventor and first manufacturer of porcelain in England’ at his factory in Bow, east of London, while, as Josiah Wedgwood put it, in 1769 he was ‘famous for doing heads in mezzotinto’, and his prints (‘dazzlingly innovative’, in Toby Barnard’s phrase) are among the most sought-after of all mezzotints. However, he was first and foremost a portrait painter, and he had enjoyed great success in the profession since winning a commission to paint a full-length state portrait of Fredrick, Prince of Wales for the Saddlers’s Company in the City of London in November 1736. As his epitaph noted: ‘No one was more happy in delineating the human countenance, He had the correctness of Van Dyke, & the colouring of Rubens’. Even Ellis Waterhouse who is generally grudging in his praise of Irish artists noted that Frye was ‘one of the most original and least standardised portrait painters of his generation’.Frye’s career in London exemplifies the period’s incipient globalization – of materials and motifs. He attempted to emulate Chinese porcelain technology with, it seems, clay imported from North America, while his pioneering production of mezzotint scraping imitated, quite openly, the work of the Venetian painter and printmaker Giovanni Battista Piazzetta. Reciprocally, Frye was directly influential on artists of rather greater reputation than his own. John Singleton Copley, as a young man in Boston (where Bow porcelain was advertised as being for sale), copied Frye’s mezzotint heads, while some of Wright of Derby’s most famous – and paradoxically innovative – works have been shown to quote almost verbatim from the same series.The portrait depicts Thomas Fane (1701-1771), the second son of Henry Fane of Brympton d'Evercy in Somerset (fig. 1), a manor house often described as the prettiest in England. In 1757 Fane succeeded his unmarried elder brother Francis to their father's Brympton estate and in 1762 inherited the title of Earl of Westmoreland, and the seat at Apethorpe Hall, in Northamptonshire from John Fane, 7th Earl of Westmorland, his father's childless second-cousin – and one of Marlborough’s most distinguished officers.It was for the sitter’s grandson, John, the 10th Earl, Lord Lieutenant of Ireland between 1789 and 1794, that Westmorland Street in Dublin was named. In another historical twist, in 1762 Thomas’s daughter Mary, married Charles Blair, a wealthy owner of plantations in Jamaica, who was the great-great grandfather of Eric Arthur Blair, better known to history as George Orwell, making Frye’s sitter here Orwell’s great-great-great grandfather.An instructive comparison can be made between the present portrait, which dates from about 1740 and a later portrait of the same sitter by Sir Joshua Reynolds (fig. 2), especially interesting as we know that Frye was on very cordial terms with the younger artist. Reynolds’s full length dates from 1761 and hence shows the sitter as noticeably older but recognisably the same, genial and rather bluff individual. Perhaps helping to date the work, and certainly indicative of Frye’s studio practice, the hands, particularly that resting on his hip, are almost identically positioned in his 1739 portrait of Sir Charles Kemeys-Tynte (fig. 3) (National Gallery of Ireland). No doubt a shared preparatory drawing was reused, rather than the artist trying his sitters’ patience by depicting their hands individually.Condition Report: Good overall conditionCleaned and restoredSpots of overpainting, nothing too concerning Presentable, carved wood frameReady to hangWith three repair patches verso, please see image on our website showing the back of the painting
NATHANIEL HONE (1718-1784)Portrait of the Rev. William Sclater (1709-1778)Oil on canvas, 76 x 64cmProvenance: By descent from the sitter in the Sclater-Booth family, later Barons Basing This, one of the most engaging of all of Nathaniel Hone’s portraits, shows Rev. William Sclater (1709-1778), the Rector of St Mary-le-Bow, London. The portrait was reproduced in mezzotint by John Raphael Smith in 1777, the year it was painted, and it was almost certainly included in that summer’s exhibition at the Royal Academy. Hone’s exhibits drew a mixed critical reaction the Morning Chronicle for Monday 28 April 1777 addressed the issue of his palette, for which the artist was occasionally faulted, commenting that ‘Mr NATHANIEL HONE is a very good portrait painter but, as has been remarked of Mr Gainsborough, would be still better if the colouring of his faces was more natural’. Despite this reservation, the critic singled out his ‘portrait of a clergyman’ almost certainly the present work as ‘a very good picture’. This refined essay in black and white, offset by the sober red of the chair and light falling on his spectacles, refutes the critic’s attack on Hone for the hotness of his colours. Hone plays with the pictorial space with subtle, but still noticeable, virtuosity. Sclater’s knuckles project to, indeed seemingly almost beyond, the picture plane, Smith’s mezzotint responds even further to this element of the portrait by introducing an illusionistic play of light on the frame as the sitter seems to emerge from the painting’s space. Hone shows a genial, rather likeable, character with a noticeable sparkle in his eye and barely restrained smile, as it the sitter and artist had enjoyed the portrait process.Rev. William Sclater was born at Loughton, Essex, and was educated at Winchester and Oxford. He succeeded his father as Rector of Loughton in 1735, a position he held until his death. In 1750 he became lecturer at Christ Church, Newgate Street, and in 1769 was appointed Chaplain to the Lord Mayor, William Beckford, at whose marriage in 1756 he had officiated. In 1771 he was given the plum job as Rector of the famous city church of St. Mary-le-Bow on Cheapside. Rev. Sclater was killed not long after sitting for Hone ‘by the fall of a bag of caraway-seeds out of the slings as it was being hoisted into a grocer’s warehouse’. William Laffan, 2022
MARCELLUS LAROON (1679 - 1772)Portrait of James MacArdell, holding a porte crayon, half-length Oil on canvas, 59.7 x 40cmProvenance: With Henri-Phillipe Crombe, Brussels Sabin Galleries 1962Literature: Robert Raines, 'Marcellus Laroon', Paul Mellon Foundation For British Art, p. 194 and referenced on p.111James MacArdell who was born in Cow Lane, Dublin (now Greek Street) was the most celebrated mezzotint engraver of the 18th century, whose services were eagerly sought by the most eminent artists of the day, including Sir Joshua Reynolds, who famously said of MacArdell 'By this man I shall be immortalised'
After George Stubbs (1724-1806)Coloured mezzotint engraving“Sharke” engraved by George Townly Stubbs, engraver to HRH The Prince of Wales published Edward Orme, Bond Street, 19cm x 24cmCondition ReportPrint is dark and browned, possibly some fading and discolouration. some scratches and marks on the print. Appears to have been cut down at top and right side of print. Frame has areas of loss to the gesso and gilt. General wear and tear.
HOGARTH, WilliamThe Works … from the original plates restored by James Heath, (the text) by John Nash, large folio (603 x 700 mm), London: (Baldwin and Cradock), n.d. mezzotint and line engravings, frontispiece and the 115 plates (some double-page) as called for, half red morocco over marbled boards, spine profusely gilt in compartments, somewhat worn, upper cover and spine sprung, internally very good
A portfolio of prints, mainly 19th century, to include: the Society of Dilettanti, mezzotint before letters, 57 x 40cm; two satirical coloured etchings by Roberts after Woodward; a Daffy's Elixir advertising leaf c.1800; some Nelson related prints, and a watercolour portrait after George Dance of Richard Budd (1746-1821), 19 x 15cm; (condition varies)Provenance:Wood Hall, Hilgay, Norfolk
Cantemir (Demetrius). The History of the Growth and Decay of the Othman Empire, 1st edition in English, 2 parts in 1, London: James, John, and Paul Knapton, 1734-35, mezzotint portrait frontispiece, folding engraved plan of Constantinople, 22 engraved plates, lacking 4pp list of subscribers, bookplate of R M Burrell to front pastedown, damp-stained to lower margin throughout (affecting text and plates), hinges repaired, contemporary speckled calf gilt, rebacked with original spine laid on, boards water damaged, worn, folioQTY: (1)NOTE:Atabey 190; Blackmer 281. ESTC T136520. 'Nicholas Tindal translated this history of Turkey into English from Cantemir's Latin manuscript brought to England by his son Antiochus, who was Russian ambassador to England. Cantemir himself served as Hospodar of Moldavia in 1710. His history was considered authoritative, and it was only superseded by von Hammer's monumental history of the Ottoman Empire'. (Atabey)
Clapperton (Hugh). Journal of a Second Expedition into the Interior of Africa, from the Bight of Benin to Soccatoo, 1st edition, London: John Murray, 1829, half title, mezzotint portrait frontispiece, folding map (with short closed tear), single page engraved plan, occasional light spotting, a few small ink stamps of the Bibliotheca Edinensis, contemporary previous owner signature, 1829 to front pastedown, original cloth-backed boards, paper label to spine, spine faded and bumped at head, some light edge wear, 4to QTY: (1)
* Bowyer (R.). Grand Entry of the Allied Sovereigns into Leipsic, Precipitate Flight of the French through Leipsic pursued by the Allied Armies [and] Ceremony of the Te Deum by the Allied Armies on the Square of Louis XV at Paris, 1815, three aquatints with contemporary hand-colouring, originally published in the 'Annals of Europe' old folds, each approximately 305 x 515 mm, mounted, framed and glazed, together with Pratt (Joseph). "In Remembrance of your Vigil", May 17th - 20th 1910, uncoloured mezzotint after Luke Fildes, signed below the image in pencil by George V, some water staining, laid on linen and mounted on a stretcher, 845 x 530 mm, framed and glazed, with Simkin (R. after). Our British Cavalry, 1890, chromolithograph, old folds, one repaired closed tear, originally published in 'The Boys Own Paper', 275 x 695 mm, mounted, framed and glazed, with other three lithographs similar from the same publication, plus three other military prints, various sizes and conditionQTY: (11)
* [Turner (Charles). The Marlborough Family, C. Turner, October 24th 1815], uncoloured mezzotint after Sir Joshua Reynolds, trimmed to image on three margins and tipped on to later card, proof before title and letters, 820 x 660 mm, mounted, framed and glazedQTY: (1)NOTE:One of the largest mezzotints to be engraved in England. It wasn't published until 37 years after the original painting was first exhibited at the Royal Academy in 1778.
Rogers (Samuel). Italy, a Poem, London: Edward Moxon, 1838, half title, 55 engraved plates after Turner, advertisement leaf, some light spotting, rear endpaper torn with loss, bookplate, all edges gilt, contemporary morocco gilt, edges a little rubbed, large paper copy, 4to, together with Fifty-Six Engravings Illustrative of Italy. A Poem, by Samuel Rogers, London: Jennings and Chaplin, circa 1830, 56 mounted engraved plates on india paper, after Turner, Flaxman and others, some light spotting, all edges gilt, contemporary morocco gilt, upper cover detached, edges rubbed, folio, plus Milton (John). Milton's Paradise Lost, with the life of the author to which is prefixed the celebrated critique by Samuel Johnson, London: C. Whittingham for T. Heptinstall, 1799, engraved portrait frontispiece, engraved title, 24 mezzotint plates by John Martin, subscribers list at end, occasional light spotting, previous owner inscription, hinges reinforced, bookplate, top edge gilt, contemporary morocco gilt, rebacked, most of original spine relaid, edges rubbed, large 8vo, and A Selection from the Liber Studiorum of J.M.W. Turner, 4 parts, circa 1890QTY: (4)
Robert Laurie (British c.1755-1836) and James Whittle (British c.1757-1818) (Publishers): 'Jack's return after Lord Howe's glorious victory to the tune of Oh! dear what can the matter be', mezzotint with hand colouring pub.1794, 35cm x 27cmNotes: This is a satirical patriotic broadsheet celebrating the British Naval victory over Napoleonic France and Spain on the 'Glorious First of June' in the war of the first coalition under the command of Admiral Richard Howe. 'Jack' was a common term for a sailor and he is depicted holding a coin purse with two British flags behind him.
Early printing.- Anonymous (German) Adoration of the Magi, woodcut, a good but later impression from the original block from the Derschau collection, traditionally thought to be from the late 15th century, on laid paper without watermark, sheet 393 x 280 mm (15 1/2 x 11 in), small nick to upper left corner, handling creases, unframed, probably late 18th century; together with another "early" woodcut by an anonymous hand depicting the Nativity, again probably a modern forgery in an early 16th century style, and with a mezzotint after Kneller, a group of anonymous modern German drawings from the 20th century, and an original portrait of the Italian mezzo-soprano castrato singer Gaetano Guadagni (1728-1792), black chalks on 18th century Ventian paper,after the engraved portrait, with erroneous inscription below identifying the sitter as Francesco Antonio Vallotti, sheet 435 x 265 mm (17 x 10 1/2 in), all unframed, 18th to 20th century (20)
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![* [Turner (Charles). The Marlborough Family, C. Turner, October 24th 1815], uncoloured mezzotint after Sir Joshua Reynolds, t](https://cdn.globalauctionplatform.com/037d2962-e884-4688-9f28-af1800d58310/039f32e5-7433-479c-826e-af19011d06ef/468x382.jpg)
