Most of these are substantial folio or above in sizing
if exact sizing or condition reports are needed yell .. all
are post free etc mainly from "In 1773, he began A Set of Prints
Engraved after the Most Capital Paintings in the Collection of Her
Imperial Majesty the Empress of Russia, Lately in the Possession of
the Earl of Orford at Houghton in Norfolk, which was finished in
1788. a large part of Walpole's collection of paintings was sold
for just £40000 by his grandson George, Earl of Orford, to
Catherine the Great, all now in the Hermitage. .. originally sold
as "HOUGHTON GALLERY, FORMERLY IN THE POSSESSION or LORD ORFORD,
NOW IN THE COLLECTION OF THE EMPRESS OF RUSSIA ; 2 vols. impl
folio, containing 133 fine plates, some before letters, hf. bd.
uncut, £10. 10s Boydell. 1788 Galleries of Pictures. . . . time
machine anyone !
**Many of the Houghton Cabinet
mezzotints are also listed upon
|
Cupid Burning Armour
The Virgin and Child . . . . .. . mezzotint
after Domenichino by George Farington engraved by
Valentine Green published 1774 by Boydell final state from
Houghton. Stunning foxing/edge browning to page edge still full
page 14 cm border befor the foxed area! £125. . . from Houghton
GEORGE FARINGTON,, an English painter,born in the county
of Lancaster, in 1754. He was educated under Mr. West, and obtained
the prize in the Royal Academy for the best historical picture.. A
landscape painter who came to London in 1763 and worked under
Richard Wilson. He was a member of the Society of Artists from 1768
to 1773, and entered the RA schools in 1769. In 1773 he and his
brother George went to Houghton to draw the pictures, which were
subsequently engraved by Earlom and published by Boydell.From the
late 1770's to 1781 he lived and worked in the lake District, but
returned to London where he remained for the rest of his life. He
was elected ARA and RA in 1783 & 1785.He illustrated Boydell's
"History of the River Thames" 1794, and Published "Views of the
Lakes" 1789, and "Views of the Cities and Towns of England &
Wales" 1790. He also maintained a diary from 1793 which is an
important record of the arts of the period .This promising artist
afterwards went to India, where he would undoubtedly have acquired
both fame and fortune, but he died in the prime of life in 1788
, VALENTINE. GREEN. . ."This much respected and
venerable artist has lately ended a long life, chequered indeed by
the vicissitudes of success and adversity, but always distinguished
by honourable feeling and an assiduous exercise of his eminent
talents. Mr. Green was born in Warwickshire in 1739, and was
intended by his father for the profession of the law, for which
purpose he was placed under a respectable practitioner at Evesham,
in Worcestershire, with whom he passed two years; but having a
taste for drawing, he abandoned his office, and, without his
father's concurrence, became a pupil to an obscure line-engraver at
Worcester. His progress in that branch of engraving not succeeding
to his wishes, he came to London in 1765, where ne turned his
thoughts to scraping in mezzotinto, and, without the aid of an
instructor, arrived at a perfection which has seldom been equalled.
Mr. Green participates with Mac Ardell and Earlom the merit of
being the first artists who gave consequence and variety to the
particular mode of engraving to which they devoted themselves ; and
it is due to Mr. Green to remark, that his celebrated prints of
Hannibal and Regulus, after the pictures by Mr. \Vest in the royal
collection, were me first plates of equal magnitude and importance
that had appeared. These were succeeded by several others of
similar consideration, which will ever rank among the ablest and
most energetic efforts of mezzotinto. This indefatigable artist, by
his unremitting exertions during a period of upwards of forty
years, has produced nearly four hundred plates, engraved from the
most celebrated painters, ancient and modern. In 1789 Mr. Green
obtained a patent from the Duke of Bavaria of the exclusive
privilege of engraving and publishing prints from the pictures in
the Dusseldorf Gallery; and in the year 1795, had published
twenty-two prints of that collection. The enterprise promised to
remunerate him amply for so spirited an undertaking, but
unfortunately, during the siege of that city by the French in Ï798,
the castle and gallery were laid in ruins, and a very valuable
property belonging to him was destroyed. Other speculations,
flattering in their outset, were lost to him by the overwhelming
eruption of the French Revolution, of which Mr. Green thus became
one of the innumerable victims. In 1767 he was elected a member of
the Incorporated Society of Artists of Great Britain ; and in 1/74
one of the six associate engravers of the Royal Academy. On the
foundation of the British Institution he was appointed Keeper; and
it will be allowed that his zealous exertions to promote the
purposes of the establishment, and the urbanity of his manners to
the public and the artists, were exemplary. Mr. Green died in July,
1813. The merit of his works, and the importance of their subjects,
will authorize our giving an ample list of them.
PORTRAITS AFTER SIR JOSHUA REYNOLDS. The Portrait of Sir Joshua
Reynolds. 1780 ; from the picture at the Royal Academy. The Duke of
Bedford, Lord Henry and Lord William Russell, and Miss Vernon.
1778. Lord Dalkeith, son of the Duke of Buccleuch. 1778. Maria
Isabella, Duchess of Rutland. Emilia Alaria, Countess of Salisbury.
1787. Anne, Viscountess Townshend. 1780. The three Lady
Waldegraves. 1784. Lady Louisa Manners. 1769. Lady Elizabeth
Cavendish. 1781. Louisa, Countess of Aylesford. 1783. Lady
Elizabeth Delme. 1779. Lady Talbot. 1782. Lady Caroline Howard.
1782. Lady Georgina Spencer, Duchess of Devonshire. 1780. Lady Jane
Halliday. 1779. Jane, Countess of Harrington, with her two Sons.
1780.
PORTRAITS AFTER VARIOUS MASTERS. Charles Theodore, Elector of
Bavaria ; after P. Battoni. Sir Thomas Wharton ; after Vandyck ;
for the Houghton Collection. Henry, Earl of Danby ; after the same
; for the same. George, Marquis of Huntly; after the same ; for the
same. Richard Cumberland, Esq. ; after Romney, 1771. Mrs. Yates, as
the Tragic Muse ; after the same. 1772. John Hamilton Mortimer,
painter ; after a picture by himself. Mr. Garrick and Mrs. Pritf
hard in Macbeth ; after Zof- fany. Mr. Powell and Mr. Bcnsley in
the characters of King John and Hubert ; after Mortimer.
HISTORICAL SUBJECTS, AFTER MR. WEST. The Stoning of Stephen ;
very fine. 1776. The Raising of Lazanis. Christ calling to him the
little Children. Peter denying Christ. Jacob blessing the Sons of
Joseph. 1768. Daniel interpreting Balthasar's Dream. 1777. Nathan
»aid unto David, " Thou art the man." 1784. St. Peter and St. Paul
going to the Sepulchre. The three Marys at the Sepulchre. Alexander
and his Physician. Regulus leaving Rome to return to Carthage.
Hannibal vowing eternal hatred to the Romans. Mark Anthony's
Oration on the Death of ÑRÑëÑâÑpÑs. Agrippina weeping over the Urn
of Gennanicus. The Death of Epaminondas. The Death of the Chevalier
Bayard.
SUBJECTS AFTER VARIOUS MASTERS. The Annunciation ; after Fed.
Baroccio. The Nativity ; after the same. The Virgin and Infant ;
after Domenithino. St. John with his Lamb ; after MuriUo. The
Assumption of the Virgin ; after the same. The Entombing of Christ
; after L. Caracci. Time clipping the Wings of Love ; after
lrandyck. Venus and Cupid ; after Ây. Caracci. The Descent from the
Cross ; after Hüben». The Visitation ; after the same. The
Presentation in the Temple ; after the same.
John Boydell (Shropshire, 1719 ..London, 1804) was
clearly one of England's most remarkable 18th century people. Born
to a poor family, he began his career as an at best mediocre
engraver of book plates. At this time England was at a very low ebb
as a serious centre for the creative arts (particularly engraving)
and Boydell sought to eradicate this problem by beginning a second
career as a print publisher. Modest experiments in the 1760's led
to a rapid expansion and the mid 1770's saw the publication of his
Liber Veritas, with mezzotint engravings by Richard Earlom after
the drawings of Claude in the King's Collection. Some of the finest
mezzotint engravings in the history of British art belong to
Boydell's series known today as The Houghton Gallery. Beginning in
1781, Boydell commissioned England's best mezzotint artists to
engrave the paintings by Italian Renaissance masters in the
collection of the Walpole at Houghton later sold to catherine,
Empress of Russia . In total, one hundred and twenty-eight plates
(133 images) were created by the time the set was completed in
1788.
|
Democritus and Protagoras engraved version of the
mezzotint below oddly a mirror image ??
Engraving by Salvator Rosa engraved by Isaac taylor from the
Houghton Cabinet . .. before letters;Proof Before Title'. Contains
the names of the artist, publisher and engraver along the lower
margin but no title some age soiling nothing major
£105
Isaac Taylor: An eighteenth century line engraver, Isaac
Taylor came to London in 1752 and first found employment as a
silversmith. Years later he engraved his first plates for The
Gentleman's Magazine. During the latter eighteenth century Taylor
was regularly employed by London's leading publishers.
Interestingly, both he and his son, Isaac Taylor, Junior,
(1759-1829) were commissioned by John Boydell for his Shakespeare
Gallery and the Houghton cabinet plates . . to assist this is
labelled as Isaacus !
Salvator Rosa (1615 . . March 15, 1673) was an Italian
Baroque painter, poet and printmaker, active in Naples, Rome and
Florence.
He was born in Arenella, in the outskirts of Naples: either June
20 or July 21, 1615. His father, Vito Antonio de Rosa, a land
surveyor, urged his son to become a lawyer or a priest, and entered
him into the convent of the Somaschi fathers. Yet, Salvator showed
a preference for the arts, thus secretly worked with his maternal
uncle Paolo Greco to learn about painting, and soon transferred
himself to his own brother-in-law Francesco Francanzano, a pupil of
Ribera, and afterwards to either Aniello Falcone[2], contemporary
with Domenico Gargiulo[3], or Ribera himself. Some sources claim he
spent time living with roving bandits[4]. At the age of seventeen
he lost his father; his mother was destitute with at least five
children, and Salvator found himself without financial support.
He continued apprenticeship with Falcone, helping him complete
his battlepiece canvases. Lanfranco took notice of his work, and
advised him to relocate to Rome, where he stayed from 1634-6.
Returning to Naples, he began painting haunting landscapes,
overgrown with vegetation, or jagged beaches, mountains, and caves.
These early landscapes were sold cheaply through private
dealers.
He returned to Rome in 1638-39, where he was housed by Cardinal
Francesco Maria Brancaccio, bishop of Viterbo. For the Chiesa Santa
Maria della Morte in Viterbo, Rosa painted his first and one of his
few altarpieces with an Incredulity of Thomas.
In 1646 he returned to Naples, and appears to have sympathised
with the insurrection of Masaniello,. It is alleged that Rosa,
along with other painters--Coppola, Paolo Porpora, Domenico
Gargiulo, Pietro dal Po, Marzio Masturzo, the two Vaccari and
Cadogna--all under the captaincy of Aniello Falcone, formed the
Compagnia della Morte, whose mission it was to hunt down Spaniards
in the streets, not sparing even those who had sought some place of
religious asylum. Finally he returned to stay in Rome in 1649. Here
he painted some important subjects, showing the uncommon bent of
his mind as it passed from landscape into history Democritus amid
Tombs, Death of Socrates, Regulus in the Spiked Cask (these two are
now in England), Justice Quitting the Earth and the Wheel of
Fortune.
While occupied with a series of satirical portraits, to be
closed by one of himself, Rosa was assailed by dropsy. He died a
half year later. In his last moments he married a Florentine named
Lucrezia, who had borne him two sons, one of them surviving him. He
lies buried in the Chiesa degli Angeli, where a portrait of him has
been set up.He was a significant etcher, with a highly popular and
influential series of small prints of soldiers, and a number of
larger and very ambitious subjects.
John Boydell (Shropshire, 1719 ..London, 1804) was
clearly one of England's most remarkable 18th century people. Born
to a poor family, he began his career as an at best mediocre
engraver of book plates. At this time England was at a very low ebb
as a serious centre for the creative arts (particularly engraving)
and Boydell sought to eradicate this problem by beginning a second
career as a print publisher. Modest experiments in the 1760's led
to a rapid expansion and the mid 1770's saw the publication of his
Liber Veritas, with mezzotint engravings by Richard Earlom after
the drawings of Claude in the King's Collection. This expensive
undertaking put England back on the printmaking map and was a huge
financial success for Boydell.
Some of the finest mezzotint engravings in the history of
British art belong to Boydell's series known today as The Houghton
Gallery. Beginning in 1781, Boydell commissioned England's best
mezzotint artists to engrave the paintings by Italian Renaissance
masters in the collection of the Empress of Russia at Houghton. In
total, one hundred and twenty-eight plates were created by the time
the set was completed in 1788.
|
Democritus and Protagoras
Engraving by Salvator Rosa engraved by William Pether from the
Houghton Cabinet . .. dated 1778 full page no defects other than
slight paper rippling where not stored flat in the past mezzotint
with good tone £145
Salvator Rosa (1615 . . March 15, 1673) was an Italian
Baroque painter, poet and printmaker, active in Naples, Rome and
Florence.
He was born in Arenella, in the outskirts of Naples: either June
20 or July 21, 1615. His father, Vito Antonio de Rosa, a land
surveyor, urged his son to become a lawyer or a priest, and entered
him into the convent of the Somaschi fathers. Yet, Salvator showed
a preference for the arts, thus secretly worked with his maternal
uncle Paolo Greco to learn about painting, and soon transferred
himself to his own brother-in-law Francesco Francanzano, a pupil of
Ribera, and afterwards to either Aniello Falcone[2], contemporary
with Domenico Gargiulo[3], or Ribera himself. Some sources claim he
spent time living with roving bandits[4]. At the age of seventeen
he lost his father; his mother was destitute with at least five
children, and Salvator found himself without financial support.He
continued apprenticeship with Falcone, helping him complete his
battlepiece canvases. Lanfranco took notice of his work, and
advised him to relocate to Rome, where he stayed from 1634-6.
Returning to Naples, he began painting haunting landscapes,
overgrown with vegetation, or jagged beaches, mountains, and caves.
These early landscapes were sold cheaply through private dealers.
He returned to Rome in 1638-39, where he was housed by Cardinal
Francesco Maria Brancaccio, bishop of Viterbo. For the Chiesa Santa
Maria della Morte in Viterbo, Rosa painted his first and one of his
few altarpieces with an Incredulity of Thomas.
In 1646 he returned to Naples, and appears to have sympathised
with the insurrection of Masaniello,. It is alleged that Rosa,
along with other painters--Coppola, Paolo Porpora, Domenico
Gargiulo, Pietro dal Po, Marzio Masturzo, the two Vaccari and
Cadogna--all under the captaincy of Aniello Falcone, formed the
Compagnia della Morte, whose mission it was to hunt down Spaniards
in the streets, not sparing even those who had sought some place of
religious asylum. Finally he returned to stay in Rome in 1649. Here
he painted some important subjects, showing the uncommon bent of
his mind as it passed from landscape into history Democritus amid
Tombs, Death of Socrates, Regulus in the Spiked Cask (these two are
now in England), Justice Quitting the Earth and the Wheel of
Fortune.
While occupied with a series of satirical portraits, to be
closed by one of himself, Rosa was assailed by dropsy. He died a
half year later. In his last moments he married a Florentine named
Lucrezia, who had borne him two sons, one of them surviving him. He
lies buried in the Chiesa degli Angeli, where a portrait of him has
been set up.He was a significant etcher, with a highly popular and
influential series of small prints of soldiers, and a number of
larger and very ambitious subjects.
William Pether (b Carlisle, c. 1738; d Bristol, 19 July
1821). English engraver and painter. He was a cousin of the
landscape painter Abraham Pether (1756-1812), and a pupil of Thomas
Frye, with whom he entered into partnership in 1761, the year after
receiving a premium for mezzotint from the Society of Arts. In 1762
he engraved Frye's portrait of George III in three sizes and for
the next 15 years engraved after Old Masters, particularly
Rembrandt, and also after contemporaries, particularly Joseph
Wright of Derby, whose chiaroscuro effects he captured admirably in
his plates of Lecture on the Orrery and The Alchemist He engraved
over 50 plates, some published by John Boydell, but most issued by
himself from various London addresses.
John Boydell (Shropshire, 1719 ..London, 1804) was
clearly one of England's most remarkable 18th century people. Born
to a poor family, he began his career as an at best mediocre
engraver of book plates. At this time England was at a very low ebb
as a serious centre for the creative arts (particularly engraving)
and Boydell sought to eradicate this problem by beginning a second
career as a print publisher. Modest experiments in the 1760's led
to a rapid expansion and the mid 1770's saw the publication of his
Liber Veritas, with mezzotint engravings by Richard Earlom after
the drawings of Claude in the King's Collection. This expensive
undertaking put England back on the printmaking map and was a huge
financial success for Boydell.
Some of the finest mezzotint engravings in the history of
British art belong to Boydell's series known today as The Houghton
Gallery. Beginning in 1781, Boydell commissioned England's best
mezzotint artists to engrave the paintings by Italian Renaissance
masters in the collection of the Empress of Russia at Houghton. In
total, one hundred and twenty-eight plates were created by the time
the set was completed in 1788.
|
Francis Halls + Captain of Bandinitti
Francis Halls self portrait drawn by George Farington engraved
by James Baptiste Michel from the Houghton Cabinet . ..dated
1777
After Salvator Rosa drawn by George Farington engraved by
James Baptiste Michel from the Houghton Cabinet . ..dated 1777
£105
GEORGE FARINGTON,, an English painter,born in the county
of Lancaster, in 1754. He was educated under Mr. West, and obtained
the prize in the Royal Academy for the best historical picture.. A
landscape painter who came to London in 1763 and worked under
Richard Wilson. He was a member of the Society of Artists from 1768
to 1773, and entered the RA schools in 1769. In 1773 he and his
brother George went to Houghton to draw the pictures, which were
subsequently engraved by Earlom and published by Boydell.From the
late 1770's to 1781 he lived and worked in the lake District, but
returned to London where he remained for the rest of his life. He
was elected ARA and RA in 1783 & 1785.He illustrated Boydell's
"History of the River Thames" 1794, and Published "Views of the
Lakes" 1789, and "Views of the Cities and Towns of England &
Wales" 1790. He also maintained a diary from 1793 which is an
important record of the arts of the period .This promising artist
afterwards went to India, where he would undoubtedly have acquired
both fame and fortune, but he died in the prime of life in 1788
Jean Baptiste Michel: A stipple and line engraver, Jean
Baptiste Michel studied art under Chenu, in his native Paris. After
establishing his reputation in France, J. B. Michel moved to London
around 1780. During the following years he was commissioned to
engrave decorative, religious and historical plates after the
designs of such old masters as Leonardo, Carracci, Pietro da
Cortona, Maratti, Velazquez and many others. He also engraved many
fine plates after contemporary painters such as Benjamin West and
Boucher. During the 1790's Jean Baptiste Michel was regularly
commissioned by John Boydell.
Salvator Rosa (1615 . . March 15, 1673) was an Italian
Baroque painter, poet and printmaker, active in Naples, Rome and
Florence.
He was born in Arenella, in the outskirts of Naples: either June
20 or July 21, 1615. His father, Vito Antonio de Rosa, a land
surveyor, urged his son to become a lawyer or a priest, and entered
him into the convent of the Somaschi fathers. Yet, Salvator showed
a preference for the arts, thus secretly worked with his maternal
uncle Paolo Greco to learn about painting, and soon transferred
himself to his own brother-in-law Francesco Francanzano, a pupil of
Ribera, and afterwards to either Aniello Falcone[2], contemporary
with Domenico Gargiulo[3], or Ribera himself. Some sources claim he
spent time living with roving bandits[4]. At the age of seventeen
he lost his father; his mother was destitute with at least five
children, and Salvator found himself without financial support.
He continued apprenticeship with Falcone, helping him complete
his battlepiece canvases. Lanfranco took notice of his work, and
advised him to relocate to Rome, where he stayed from 1634-6.
Returning to Naples, he began painting haunting landscapes,
overgrown with vegetation, or jagged beaches, mountains, and caves.
These early landscapes were sold cheaply through private
dealers.
He returned to Rome in 1638-39, where he was housed by Cardinal
Francesco Maria Brancaccio, bishop of Viterbo. For the Chiesa Santa
Maria della Morte in Viterbo, Rosa painted his first and one of his
few altarpieces with an Incredulity of Thomas.
In 1646 he returned to Naples, and appears to have sympathised
with the insurrection of Masaniello,. It is alleged that Rosa,
along with other painters--Coppola, Paolo Porpora, Domenico
Gargiulo, Pietro dal Po, Marzio Masturzo, the two Vaccari and
Cadogna--all under the captaincy of Aniello Falcone, formed the
Compagnia della Morte, whose mission it was to hunt down Spaniards
in the streets, not sparing even those who had sought some place of
religious asylum. Finally he returned to stay in Rome in 1649. Here
he painted some important subjects, showing the uncommon bent of
his mind as it passed from landscape into history Democritus amid
Tombs, Death of Socrates, Regulus in the Spiked Cask (these two are
now in England), Justice Quitting the Earth and the Wheel of
Fortune.
While occupied with a series of satirical portraits, to be
closed by one of himself, Rosa was assailed by dropsy. He died a
half year later. In his last moments he married a Florentine named
Lucrezia, who had borne him two sons, one of them surviving him. He
lies buried in the Chiesa degli Angeli, where a portrait of him has
been set up.He was a significant etcher, with a highly popular and
influential series of small prints of soldiers, and a number of
larger and very ambitious subjects.
John Boydell (Shropshire, 1719 ..London, 1804) was
clearly one of England's most remarkable 18th century people. Born
to a poor family, he began his career as an at best mediocre
engraver of book plates. At this time England was at a very low ebb
as a serious centre for the creative arts (particularly engraving)
and Boydell sought to eradicate this problem by beginning a second
career as a print publisher. Modest experiments in the 1760's led
to a rapid expansion and the mid 1770's saw the publication of his
Liber Veritas, with mezzotint engravings by Richard Earlom after
the drawings of Claude in the King's Collection. This expensive
undertaking put England back on the printmaking map and was a huge
financial success for Boydell.
Some of the finest mezzotint engravings in the history of
British art belong to Boydell's series known today as The Houghton
Gallery. Beginning in 1781, Boydell commissioned England's best
mezzotint artists to engrave the paintings by Italian Renaissance
masters in the collection of the Empress of Russia at Houghton. In
total, one hundred and twenty-eight plates were created by the time
the set was completed in 1788.
|
Farm Scene
after David Teniers drawn by George Farington engraved
by JAMES FITTLER Stunning large format engraving ; dated 1781 ,full
page before letters;Proof Before Title' part of the Houghton
collection £145 inc some age toning to page edges, otherwise
ful page and stunning
JAMES FITTLER,, an eminent English engraver, was born in
1758, at London. He distinguished himself by numerous works after
native and foreign masters, of different subjects and character ;
and book illustrations by him abound. His best engravings are
considered to be Lord Howe's Victory, and the Battle of the Nile,
both after Loutherbourg ; the portrait of B. West ; the plates in
Forster's British Gallery; and others in Dr. Dibden's Aedes
Althorpiante. The last work was published in 1822; and it does not
appear that he has published any of importance since.]
David Teniers the Younger(1610-1690) David Teniers, the
son of the painter David Teniers the Elder, was born in Antwerp in
1610. His father was his first and principal teacher in painting.
While David Teniers the Elder had been unsuccessful and was even
put into debtors' prison, Teniers the Younger became known all over
Europe.In the early 1630s Teniers the Younger became close with
Brouwer, who was of great influence on him. At that period he
worked in Antwerp, where, in 1632, be became member of St. Lukas
Guild, and, in 1645, was elected its deacon. In 1637, he married a
daughter of "Velvet Brueghel", Ruben's friend. The marriage
appeared to be a successful financial enterprise: the dowry was
serious, and besides it brought Teniers into the circle of
acquaintances of the great master.
In 1651, the Teniers moved to Brussels, He was a founding member
of the Antwerp Academy of Art (1663). His multiple pictures of
scenes of popular Flemish life, painted in attractive shades of
blue, red, cream and grey, with light effects and transparent
shadows, are much influenced by Brouwer. Teniers also made
small-scale copies of 246 pictures from this collection, a
"photographic" record, which helped to retrace the fate of some
masterpieces.Teniers' works were very popular during the 18th
century . One of the best collections is in Hermitage. David
Teniers the Younger died in Brussels in 1690.
John Boydell (Shropshire, 1719 ..London, 1804) was
clearly one of England's most remarkable 18th century people. Born
to a poor family, he began his career as an at best mediocre
engraver of book plates. At this time England was at a very low ebb
as a serious centre for the creative arts (particularly engraving)
and Boydell sought to eradicate this problem by beginning a second
career as a print publisher. Modest experiments in the 1760's led
to a rapid expansion and the mid 1770's saw the publication of his
Liber Veritas, with mezzotint engravings by Richard Earlom after
the drawings of Claude in the King's Collection. This expensive
undertaking put England back on the printmaking map and was a huge
financial success for Boydell.
Some of the finest mezzotint engravings in the history of
British art belong to Boydell's series known today as The Houghton
Gallery. Beginning in 1781, Boydell commissioned England's best
mezzotint artists to engrave the paintings by Italian Renaissance
masters in the collection of the Empress of Russia at Houghton. In
total, one hundred and twenty-eight plates were created by the time
the set was completed in 1788.
|
Dogs and Still Life x 2
after Jervase ( probably Charles JERVAS (c.1675-1739) )
drawn by George Farington engraved by P.C.Canot Stunning large
format engraving ; dated 1778 part of the Houghton collection
£145 inc some age toning/faint foxing , otherwise ful page
and stunning
CANOT, PETER CHARLES,/Pierre Charles Canot "a French
engraver, born in 1710. He came to England in 1740, where he
resided the remainder of his life. He engraved a great number of
plates of landscapes, marines, and other subjects, many of which
have great merit. Some of his best prints are those he engraved
after the marines and sea engagements, painted by Mr. Patón ;
besides which,
the following are his most esteemed plates : A slight Breeze ;
after fiacktiuysen. A fresh Breeze ; after H". Vandrvelde. A Calm ;
after the same. A Storm ; after the same. Returning from Market ;
after Berghem. The Farm-yard ; after P. de Laer. The Amorous Toper
; after D. Teniers. The Dutch Smokers; after the same. The Dutch
Cottage ; after PMement. Autumn ; after the same. Winter ; after
the same. A Dutch Merry-making ; after Ostade. Pvramus and Thisbe ;
after L. Kramer. The Tempest ; after S. de Vlieyher. An Italian
Landscape ; after Gaspar Poussin. A Landscape ; after Claude
Ittrraine. Sunrise, a marine ; after the same. Two pastoral
subjects ; after Rosa da Tiruli. Two views of Westminster Bridge
und London Bridge ; after Scott. Seren of Fox Huntings ; after
Wootton. [ He died in 1777.] "
GEORGE FARINGTON,, an English painter,born in the county
of Lancaster, in 1754. He was educated under Mr. West, and obtained
the prize in the Royal Academy for the best historical picture.. A
landscape painter who came to London in 1763 and worked under
Richard Wilson. He was a member of the Society of Artists from 1768
to 1773, and entered the RA schools in 1769. In 1773 he and his
brother George went to Houghton to draw the pictures, which were
subsequently engraved by Earlom and published by Boydell.From the
late 1770's to 1781 he lived and worked in the lake District, but
returned to London where he remained for the rest of his life. He
was elected ARA and RA in 1783 & 1785.He illustrated Boydell's
"History of the River Thames" 1794, and Published "Views of the
Lakes" 1789, and "Views of the Cities and Towns of England &
Wales" 1790. He also maintained a diary from 1793 which is an
important record of the arts of the period .This promising artist
afterwards went to India, where he would undoubtedly have acquired
both fame and fortune, but he died in the prime of life in 1788
John Boydell (Shropshire, 1719 ..London, 1804) was
clearly one of England's most remarkable 18th century people. Born
to a poor family, he began his career as an at best mediocre
engraver of book plates. At this time England was at a very low ebb
as a serious centre for the creative arts (particularly engraving)
and Boydell sought to eradicate this problem by beginning a second
career as a print publisher. Modest experiments in the 1760's led
to a rapid expansion and the mid 1770's saw the publication of his
Liber Veritas, with mezzotint engravings by Richard Earlom after
the drawings of Claude in the King's Collection. This expensive
undertaking put England back on the printmaking map and was a huge
financial success for Boydell.
Some of the finest mezzotint engravings in the history of
British art belong to Boydell's series known today as The Houghton
Gallery. Beginning in 1781, Boydell commissioned England's best
mezzotint artists to engrave the paintings by Italian Renaissance
masters in the collection of the Empress of Russia at Houghton. In
total, one hundred and twenty-eight plates were created by the time
the set was completed in 1788.
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The Cyclops at Their Forge
after the painting by by Luca Giordano, (Naples, 1632 . .
1705) engraved by John Murphy from the Houghton Cabinet . .. small
edge tears 5 cm from plate; old crease over pic;creased top right
corner some age toning / satining to right page edge still full
page good colour mezzotint £105
John Murphy (1740 ..1820) of Cork went to London to study
engraving. In time he became a master of the mezzotint and was
commissioned to make plates for the nobility and the family of
George III. He was equally well received for his engravings both
after the Italian masters and after his contemporaries, such as
Reynolds, Northcote, Romney, Stothard and Benjamin West. Many of
his engravings were also published by himself, however, he was
commissioned (along with Richard Earlom) to engrave some of the
most important plates from The Houghton Gallery.
John Boydell (Shropshire, 1719 ..London, 1804) was
clearly one of England's most remarkable 18th century people. Born
to a poor family, he began his career as an at best mediocre
engraver of book plates. At this time England was at a very low ebb
as a serious centre for the creative arts (particularly engraving)
and Boydell sought to eradicate this problem by beginning a second
career as a print publisher. Modest experiments in the 1760's led
to a rapid expansion and the mid 1770's saw the publication of his
Liber Veritas, with mezzotint engravings by Richard Earlom after
the drawings of Claude in the King's Collection. This expensive
undertaking put England back on the printmaking map and was a huge
financial success for Boydell.
Some of the finest mezzotint engravings in the history of
British art belong to Boydell's series known today as The Houghton
Gallery. Beginning in 1781, Boydell commissioned England's best
mezzotint artists to engrave the paintings by Italian Renaissance
masters in the collection of the Empress of Russia at Houghton. In
total, one hundred and twenty-eight plates were created by the time
the set was completed in 1788.
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The Goatsherd; sheep , goats etc
after the painting by Philipp Peter ROOS (Rosa di Tivoli)
engraved by P C Canot from the Houghton Cabinet . ..perfect full
page good colour engraving £165
PETER CHARLES CANOT,,/Pierre Charles Canot "a French
engraver, born in 1710. He came to England in 1740, where he
resided the remainder of his life. He engraved a great number of
plates of landscapes, marines, and other subjects, many of which
have great merit. Some of his best prints are those he engraved
after the marines and sea engagements, painted by Mr. Patón ;
besides which, . . . . . the following are his most esteemed plates
: A slight Breeze ; after fiacktiuysen. A fresh Breeze ; after H".
Vandrvelde. A Calm ; after the same. A Storm ; after the same.
Returning from Market ; after Berghem. The Farm-yard ; after P. de
Laer. The Amorous Toper ; after D. Teniers. The Dutch Smokers;
after the same. The Dutch Cottage ; after PMement. Autumn ; after
the same. Winter ; after the same. A Dutch Merry-making ; after
Ostade. Pvramus and Thisbe ; after L. Kramer. The Tempest ; after
S. de Vlieyher. An Italian Landscape ; after Gaspar Poussin. A
Landscape ; after Claude Ittrraine. Sunrise, a marine ; after the
same. Two pastoral subjects ; after Rosa da Tiruli. Two views of
Westminster Bridge und London Bridge ; after Scott. Seren of Fox
Huntings ; after Wootton. [ He died in 1777.] "
Philipp Peter Roos, also called Rosa di Tivoli, was born
in 1651 in Frankfurt am Main, and died in Rome in 1705. He was a
member of the famous German artist family: his father, Johann
Heinrich Roos (1631-1685), his uncle, Theodor Roos (1638-1698), his
brothers, Johann Melchior Roos (1659-1731), Franz Roos (b.1672) and
Peter Roos (1675-1727) were all painters. Philipp Peter began his
artistic career as a pupil of his father. In 1677, on scholarship
of Landgrave of Hesse-Kassel, he traveled to Rome a city where his
father once lived and established numerous friendships. One of his
father's friends, well known artist by the name Giacinto Brandi,
became Philipp Peter's next teacher. The young artist began working
in Brandi's studio, then marry his master's daughter Maria Isabella
(d. 1703) in 1681.Soon, he became the most popular animalist
painter in Rome, acquiring, due to his exceptional speed of
working, the nickname Mercurius. In 1684 (1685?) he bought an old
house in Tivoli and settled in it (hence, his main nickname Rosa da
Tivoli). His paintings show, without exception, cattle, horses,
sheep, and goats, depicted in landscapes of the Roman Campagna.
John Boydell (Shropshire, 1719 ..London, 1804) was
clearly one of England's most remarkable 18th century people. Born
to a poor family, he began his career as an at best mediocre
engraver of book plates. At this time England was at a very low ebb
as a serious centre for the creative arts (particularly engraving)
and Boydell sought to eradicate this problem by beginning a second
career as a print publisher. Modest experiments in the 1760's led
to a rapid expansion and the mid 1770's saw the publication of his
Liber Veritas, with mezzotint engravings by Richard Earlom after
the drawings of Claude in the King's Collection. This expensive
undertaking put England back on the printmaking map and was a huge
financial success for Boydell.
Some of the finest mezzotint engravings in the history of
British art belong to Boydell's series known today as The Houghton
Gallery. Beginning in 1781, Boydell commissioned England's best
mezzotint artists to engrave the paintings by Italian Renaissance
masters in the collection of the Empress of Russia at Houghton. In
total, one hundred and twenty-eight plates were created by the time
the set was completed in 1788.
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