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

 

Saint John the Evangelist

Two Saints Worshiping the Virgin in the Cloud . .. mezzotint

after Carlo Maratti 1625..17I3) engraved by Riott published 1787 by Boydell second state from Houghton. full page crease top right corner away from plate area faint foxing £75

 

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 Placing of Christ in the Sepulchre

after Ludovico Caracci by George Farington engraved by Valentine Green > published 1775 by Boydell edge tears well away from plate full page stunning £145 stunning dark rich perefct copy mezzotint

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.

The Placing of Christ in the Sepulchre

after Ludovico Caracci by George Farington engraved by Valentine Green > published 1775 by Boydell edge tears well away from plate full page stunning £125 not as dark as the obviously earlier copy above mezzo

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.

Virgin , Jesus , Elizabeth and John . .. mezzotint

after Willibert by George Farington engraved by Valentine Green > published 1774 by Boydell full page perfect £95

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.

Cupid Burning Armour

The Virgin and Child . . . . .. . mezzotint also listed o Houghton page

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. 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.

Engraving by Eustache Le Sueur engraved byF.Aliamet 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 remarkable otherwise as this engraving has a fold down base edge which would have been very vulnerable ******no title so a guess £125 inc

FRANÇOIS GERMAIN ALIAMET,, younger brother of the preceding artist, born at Abbeville, in 1734. After having learned engraving at Paris, lie came to London, and was for some time under Sir Robert Strange. He has engraved several portraits, mainly historical subjects, of which the following are the principal : Mr. Pritchard, in the Character of Hermione ; after Pine Portrait of Dr, Sharp. The Adoration of the Shepherds ; after Caracci. The Cîrcumcision ; after Guido, oval. The Annunciation ; after Le Moine. St. Igniatius kneeling'; after the same. The Stoning of Stephen ; after Le Sueur. The Sacrifice to Pan ; after A. Sacchi. The Flatter)' of the Courtiers of Canute reproved ; after Pine. The Reduction of Calais ; after the same. Two&emdash; The Bathers ; after 'Watteau. [His works are considered inferior to his brother's,( JACQUES ALIAMET) although his line is neat and firm. The time of his death is not known.]

Eustache Le Sueur b. 1616 Paris, d. 1655 Paris painter French Eustache Le Sueur's father, a woodworker and sculptor, placed his son Eustache in Simon Vouet's studio when he was about sixteen. Unlike many of his peers, Le Sueur never went to Rome, instead finding his classicizing influence in Vouet's Baroque style. Primarily a painter of religious subjects for churches in Paris and its environs, he was said to have little use for immoral excesses and to have loved order, simplicity, and seclusion. In the 1640s Le Sueur began studying Nicolas Poussin's works, and he may even have known Poussin. Le Sueur became interested in the psychological aspect of his subjects and developed a new classicism of composition and modeling while retaining his characteristic delicate, refined colors and tenderness. In his last years, he became engrossed in Raphael's works. In 1648 Le Sueur was one of twelve founder-members of the Académie Royale de Peinture et de Sculpture

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.