|
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
|
Christ laid in the
Sepulchre
after
Francesco Parmigiano engraved by
C.H.Hodges published 1788 by Boydell
from the Houghton Cabinet series
full page ;browning to page edge
£55
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.
|
|
Christ laid in the Sepulchre
2
after
Francesco Parmigiano engraved by
C.H.Hodges published 1788 by Boydell
from the Houghton Cabinet series
laid to paper cut to plate mark
andlaid to paper c 1830 £35
otherwise good 1 cm margins
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.
|
The Holy Family
after Morelli by George
Farington engraved by Valentine Green
> published 1775 by Boydell second
state from Houghton. Condition central
crease markfoxing to page edge well
away from the image ;crease bottom
right corner £65 inc
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. 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.
|
Mary Magdalen washing Christ's
feet
Mezzotint after
Rubens by Robert Dunkarton
(c.1744&endash;1811x17), engraver
and portrait painter. . . This is
the second edition by Dunkarton the
earlier on for the Houghton
collection printed by Boydell. This
is the 1810 reprint by Hurst
Robinson ( late Boydell's ) of
Cheapside. The quality is the same
rich image full page but NOT the
earlier one £95
Robert Dunkarton was a
London mezzotint engraver active
from 1770 to 1811. He began as a
portrait painter, exhibiting at the
Society of Artists and the Royal
Academy between 1768 and 1779,
whereupon he stopped exhibiting,
presumably concentrating on
engraving.
|
The Flight into Egypt
The Crucifixion
after
Morellio by George Farington
engraved by Spilsbury published 1778
by Boydell from the Houghton Cabinet
series laid to paper cut to plate
mark and laid to paper c 1830
£65 otherwise good 1 cm
margins
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.
|
Our Saviour in the Garden
after Filipo Lawri engraved by Peter
Simon published by Boydell in 1787 from
the Houghton Cabinet 21 x 27 image on a
complete page £45
Filipo Lawri / Filipo
Lauri (1623-1694) Filippo Lauri
(Rome, 25 August 1623 . . 12 December
1694) was an Italian painter of the
Baroque period, active mainly in
Rome.Born and active in Rome, his story
was featured in the biographies by
Baldinucci. He first studied with his
father, Balthasar Lauwers (a Flemish
landscape painter (Italianized as
Lauri), and then with his elder
brother, Francesco Lauri, and then with
his brother-in-law, Angelo Caroselli.
Filippo's brother had been a pupil of
Andrea Sacchi. In 1654 Lauri became a
member of the Accademia di San Luca in
Rome, and later became the Principe or
director of the academy. He painted
along with Filippo Gagliardi a canvas
depiction of Celebrations for Christine
of Sweden at Palazzo Barberini (now at
Palazzo Braschi).He was the youngest
son of a Flemish painter of landscapes
and pupil of Paul Bril, Bathazar
Lauwers (Baltassare Lauri), who
emigrated from Antwerp to Milan, then
Rome. Francesco's oldest brother
Francesco Lauri was also a painter and
a pupil of Andrea Sacchi, who died
young. Fillipo started his training
with his brother, and then became a
pupil of Angelo Caroselli. He often
painted figures for Claude Lorraine. He
was prolific. He employed many
engravers.
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.
|
Christ appearing to Mary in the
Garden 1
Pietro da Cortona
(Pietro Berrettini), 1596..1669.
engraved by Murphy 51x35.5 cm Published
by John and Josiah Boydell in 1781,
perfect copy full borders
£125
Pietro da Cortona, byname of
Pietro Berrettini (November 1, 1596-
May 16, 1669) was a prolific artist and
architect of High Baroque. Cortona is
best known for painting fresco
ceilings, a pursuit in which he had
ample competition in the Rome of his
day, but he was equally adept and
masterful with architectural design.
While an influential contemporary and
peer of the giants of the Roman
Baroque, his present fame, somewhat
undeservedly, does not match the
reverence awarded the likes of
Caravaggio, Bernini, and Borromini.
Berrettini was born to a family of
artisans including his uncle Filippo
Berrettini, in Cortona, then a town in
the Grand Duchy of Tuscany. He first
apprenticed with Andrea Commodi in
Florence. But soon departed for Rome at
about 1612, where he joined the studio
of Baccio Ciarpi. In Rome, he had
encouragement from many prominent
patrons including the Colonna.
According to a biography, his deft
copies of Raphael's Roman frescoes
brought him to the attention and
patronage (1623) of the Sacchetti
brothers, Marcello and Giulio
Sacchetti, who became respectively
cardinal (1626) and papal treasurer
during the Barberini papacy. In the
Sacchetti orbit, he met Cardinal
Francesco Barberini, the nephew of Pope
Urban VIII, as well as Cassiano dal
Pozzo.
These three men helped him gain a
major commission in Rome (1624-1626), a
fresco decoration in the newly
constructed Bernini church of Santa
Bibiana. In 1626, the Sacchetti engaged
Cortona to paint for them three large
canvases of Sacrifice of Polyxena,
Triumph of Bacchus, and Rape of the
Sabines (the latter, c. 1629) and to
paint a series of frescoes in the Villa
Sacchetti in Castel Fusano, near Ostia,
using a team that included the young
Andrea Sacchi. Soon the rising progidy
would attract the patronage of the
powerful papal Barberini family. He had
already been involved in the fresco
decoration of the Palazzo Mattei. And
Cardinal Orsini had commissioned from
him an Adoration of the Shepherds (c.
1626) for San Salvatore in Lauro.
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.
|
also listed as are the smaller versions
on the Houghton page
The Prodigal Son
after Salvator Rosa Engraving by
Ravenet from the Houghton Cabinet .
..dated 1781 £145 ie a
differeng plate to the mini
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
SIMON FRANCIS RAVENET,,
a,French engraver, born at Paris in
1706. After practising the art with
considerable reputation in his native
country, he came to England, and
settled in London about the year 1750,
and engraved several plates, which
justly entitle him to the rank of an
eminent artist. He gave both colour and
brilliancy to his engravings, and
finished them with great precision. He
engraved a variety of historical
subjects and portraits, among which are
the following :
PORTRAITS. George I. George II. ;
after Mercier. Lord Camdcn ; after
JKcynoldt. Alexander Pope, Poet. James
Thomson, Poet. David Hume, Historian.
Mr. Garrick and Mis« Bellamy, in
Romeo and Juliet; after B. Wilson.
VARIOUS SUBJECTS.The Emblem of Human
Life ; after Titian ; Crozat
collection. Venus and Adonis ; after P.
Veronese ; the same. The Adoration of
the Shepherds ; after D . Feti;
thesame. Painting and Design ; after
Guido. The Virgin, with the infant
Jesus sleeping; after the same. Charity
; after Carlo Cignani. Sophonisba
receiving the Nuptial Present ; after
L. Giordano. The Death of Seneca ;
after the same. Tobias's Nuptial Night
; after Le Sueur. Tobit Anointing his
Father's Eyee ; after AQ. Caracci. The
Lord of the Vineyard; after Rembrandt.
The Prodigal Son ; after Sal. Rosa.
Phryne tempting Xenocrates ; after the
same. The Return of the Prodigal Son ;
after Oturcino. Lucretia deploring her
Fate ; after Cazali. Gunhilda, Empress
of Germany, acquitted of a charge of
adultery ; after the same. He died in
1774. [Zani and Basan say he was
born in 17^1, and Rost says in 1707. He
was a scholar of Ph. le Bas, but most
of his works were executed in England.
He was much employed by Boydell, as
appears by his publications.]
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.
|
Christ appearing to Mary in the
Garden 2
Pietro da Cortona
(Pietro Berrettini), 1596..1669.
engraved by Murphy 51x35.5 cm Published
by John and Josiah Boydell in 1781, 2nd
state before letters Crease over the
image £55
Pietro da Cortona, byname of
Pietro Berrettini (November 1, 1596-
May 16, 1669) was a prolific artist and
architect of High Baroque. Cortona is
best known for painting fresco
ceilings, a pursuit in which he had
ample competition in the Rome of his
day, but he was equally adept and
masterful with architectural design.
While an influential contemporary and
peer of the giants of the Roman
Baroque, his present fame, somewhat
undeservedly, does not match the
reverence awarded the likes of
Caravaggio, Bernini, and Borromini.
Berrettini was born to a family of
artisans including his uncle Filippo
Berrettini, in Cortona, then a town in
the Grand Duchy of Tuscany. He first
apprenticed with Andrea Commodi in
Florence. But soon departed for Rome at
about 1612, where he joined the studio
of Baccio Ciarpi. In Rome, he had
encouragement from many prominent
patrons including the Colonna.
According to a biography, his deft
copies of Raphael's Roman frescoes
brought him to the attention and
patronage (1623) of the Sacchetti
brothers, Marcello and Giulio
Sacchetti, who became respectively
cardinal (1626) and papal treasurer
during the Barberini papacy. In the
Sacchetti orbit, he met Cardinal
Francesco Barberini, the nephew of Pope
Urban VIII, as well as Cassiano dal
Pozzo.
These three men helped him gain a
major commission in Rome (1624-1626), a
fresco decoration in the newly
constructed Bernini church of Santa
Bibiana. In 1626, the Sacchetti engaged
Cortona to paint for them three large
canvases of Sacrifice of Polyxena,
Triumph of Bacchus, and Rape of the
Sabines (the latter, c. 1629) and to
paint a series of frescoes in the Villa
Sacchetti in Castel Fusano, near Ostia,
using a team that included the young
Andrea Sacchi. Soon the rising progidy
would attract the patronage of the
powerful papal Barberini family. He had
already been involved in the fresco
decoration of the Palazzo Mattei. And
Cardinal Orsini had commissioned from
him an Adoration of the Shepherds (c.
1626) for San Salvatore in Lauro.
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.
|
Moses Striking the Rock 1
after Nicolo Poussain
engraved by J B. Michel dated and
published by Boydell for the Houghton
Cabinet. . . edge browning , edge tear
bottom central cropped in from full
page at the top . . on the
lined/decorative edge £65
inc
Nicolas Poussin (15 June 1594
&endash; 19 November 1665) was a French
painter in the classical style. His
work predominantly features clarity,
logic, and order, and favors line over
color. Until the 20th century he
remained the dominant inspiration for
such classically oriented artists as
Jacques-Louis David and Paul
Cézanne. He spent most of his
working life in Rome except for a short
period when Cardinal Richelieu ordered
him back to France as First Painter to
the King.
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.
|
Moses Striking the Rock
after Nicolo Poussain engraved by J B.
Michel dated and published by Boydell for
the Houghton Cabinet. . . edge browning,
full page at the top £85 inc
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.
Nicolas Poussin (15 June 1594
&endash; 19 November 1665) was a French
painter in the classical style. His
work predominantly features clarity,
logic, and order, and favors line over
color. Until the 20th century he
remained the dominant inspiration for
such classically oriented artists as
Jacques-Louis David and Paul
Cézanne. He spent most of his
working life in Rome except for a short
period when Cardinal Richelieu ordered
him back to France as First Painter to
the King.
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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