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Erscheinungsdatum: 1795
Anbieter: K Books Ltd ABA ILAB, York, YORKS, Vereinigtes Königreich
Buch
No Binding. Zustand: Very Good. Ridley (illustrator). A fine original engraved portrait. Mounted and ready to frame, 1795 A splended opportunity to purchase an original antique engraving.
Verlag: J. & D.A.Darling, London, 1850
Anbieter: Neil Holliday, Dymock, Vereinigtes Königreich
Buch
Hardcover. Zustand: Generally Good. Third Edition. Embellished with two hundred and eighty engravings on wood. Modern quarter brown calf over marbled boards.Raised bands, red leather title label. Some lower corners a little creased. Contents generally very clean and tight. 272 pp including index to the engravings.A very handsome copy.
Verlag: Geo Lawford Saville Passage London - 2nd Edition, 1829
Anbieter: Rhos Point Books, Conwy, Vereinigtes Königreich
A Hard Backed copy with No Dust Jacket. Contemporary brown half leather binding with marble effect stiff card boards. Gilt decoration to spine, raised bands and black leather title label. Marble effect end papers and page edging. Boards in Good condition, rubbed due to age and use with slight cracking to bottom edge of spine and inside front boards. Internally Very Good, not inscribed. Some discolouration, light foxing to end papers. 272 Pages. Frontispiece an engraving of the author by W H Worthington. The volume is embelished with two hundred and eighty(280) engravings on wood by Harvey, from Northcote's own designs. Northcote was an accomplished painter and a pupil of Sir Joshua Reynolds.
Verlag: London John and Josiah Boydell 1803., 1798
Anbieter: Robert Frew Ltd. ABA ILAB, London, Vereinigtes Königreich
Kunst / Grafik / Poster
Original copper engraving (60 x 44 cm, overall sheet 69 x 55 cm). Some foxing to margins, two small (3cm) tears to left margin, not affecting plate. From "A Collection of Prints . Illustrating the Dramatic Works of Shakespeare." published by Boydell, London, 1803. In 1789, the publisher John Boydell opened the Shakespeare Gallery, an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' (the practice of depicting scenes from the Bible, mythology or the classics) in contemporary British art, a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare, which had become so popular and so integral to British identity by the mid-18th century? The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84, along with dozens of 'Small Pictures'. Once the exhibition was mounted, reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase, either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. (The British Library).
Verlag: London John and Josiah Boydell 1803., 1790
Anbieter: Robert Frew Ltd. ABA ILAB, London, Vereinigtes Königreich
Kunst / Grafik / Poster
Original copper engraving (60 x 44 cm, overall sheet 68 x 55 cm). Tissue guard to verso. Very light foxing to outer margins, not affecting plate. From "A Collection of Prints . Illustrating the Dramatic Works of Shakespeare." published by Boydell, London, 1803. In 1789, the publisher John Boydell opened the Shakespeare Gallery, an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' (the practice of depicting scenes from the Bible, mythology or the classics) in contemporary British art, a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare, which had become so popular and so integral to British identity by the mid-18th century? The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84, along with dozens of 'Small Pictures'. Once the exhibition was mounted, reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase, either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. (The British Library).
Verlag: London John and Josiah Boydell 1803., 1795
Anbieter: Robert Frew Ltd. ABA ILAB, London, Vereinigtes Königreich
Kunst / Grafik / Poster
Original copper engraving (60 x 44 cm, overall sheet 68 x 55 cm). Tissue guard to verso. Orange-brown paint [?] speckles across lower half of sheet. From "A Collection of Prints . Illustrating the Dramatic Works of Shakespeare." published by Boydell, London, 1803. In 1789, the publisher John Boydell opened the Shakespeare Gallery, an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' (the practice of depicting scenes from the Bible, mythology or the classics) in contemporary British art, a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare, which had become so popular and so integral to British identity by the mid-18th century? The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84, along with dozens of 'Small Pictures'. Once the exhibition was mounted, reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase, either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. (The British Library).
Verlag: J. Fittler, London, 1792
Anbieter: Trafford Books PBFA, Manchester, Vereinigtes Königreich
Verbandsmitglied: PBFA
Kunst / Grafik / Poster
No Binding. Zustand: Very Good. Large format, plate size 50 x 37.3cm plus margins, on paper contemporary to the print; fine copper plate engraving, a little grubby in the margins; slightly chipped at right-hand corners; very good. A scarce engraving.
Verlag: Geo. Lawford & John Murray, London, 1833
Anbieter: Royoung Bookseller, Inc. ABAA, Ardsley, NY, USA
Erstausgabe
Hardcover. Second & First editions. 272 , 248 pages. 20 x 12.5 cm. The illustrations, "the greater portion of which are of my own invention," with his headpiece designs for each one and with initial letters and tailpieces by William Harvey, pupil of Thomas Bewick." James Northcote was one of a number of prominent painters of the 18th century. Today Northcote is chiefly admired for his portraits, though his paintings of animals found favor in his lifetime. In his later years he devoted an increasing amount of time to history paintings, including some scenes from Shakespeare s history plays which were exhibited in Boydell s Shakespeare Gallery. The Second Series of the Fables was published posthumously, Both volumes with Index To The Engravings. Small owner stamp of Rev. J. Troy and small ex-library stamp top right corner of title page, interior contents fresh and bright, nicks to backstrip extremities. Contemporary crimson cloth decorated in blind, backstrips elaborately decorated in floral gilt motifs. Very good. 2 Vols.
Verlag: published by James Daniell & Co, London, 1799
Anbieter: Donald A. Heald Rare Books (ABAA), New York, NY, USA
Kunst / Grafik / Poster
Mezzotint, printed in colours and finished by hand, by Charles Turner. Rare, coloured issue of this poignant image taken from Aesop's fables. Northcote, who worked as pupil and assistant to Sir Joshua Reynolds for five years from 1771, produced works in a number of genres: portraits, historical and subject pictures, morally instructive scenes and, during the 1790s, animal painting. The present image of the lion (a symbol of strength) tamed by his love for a beautiful maiden is from Aesop's fables: Once, a Lion once fell in love with a lovely young girl. He approached her parents and asked for her hand in marriage. Her parents, not wishing to anger the King of the Beasts, were also unwilling to put their daughter into danger. Her father proposed a marriage contract: "We are honoured by your Majesty's proposal, but fearful for the safety of our daughter, a tender young thing. We fear that in the vehemence of your affection you might possibly do her some injury. Might I venture to suggest that your Majesty should have your claws removed, and your teeth extracted, then we would gladly consider your proposal again." The Lion was so much in love that he had his claws trimmed and his big teeth taken out. But when he came again to the parents of the young girl they simply laughed in his face, and bade him do his worst. Cf. Le Blanc IV, p.63, no. 67 (black and white only).
Verlag: published by J.R. Smith, London, 1785
Anbieter: Donald A. Heald Rare Books (ABAA), New York, NY, USA
Kunst / Grafik / Poster
Mezzotint and roulette, printed in colours and finished by hand, by John Raphael Smith. A charming image of a family duty and pleasure, ably engraved by one of the greatest mezzotinters of his day. Northcote, who worked as pupil and assistant to Sir Joshua Reynolds for five years from 1771, produced works in a number of genres: portraits, historical and subject pictures, animal painting and morally instructive scenes. The present image shows two young fashionably-dressed young ladies sitting with their grandmother. One completes some sewing that her grandmother's fingers are no longer nibble enough to complete, while her sister reads aloud. Their grandmother, content to have her granddaughters near, sits and quietly knits, listening to the reading. Her cat looks watchfully out at the viewer from the arm of her mistress' chair, an emblem of the peacefulness of the group John Raphael Smith (1752-1812) came to London in about 1767, "and, while still serving as a shopman, devoted his leisure to the practice of miniature-painting. He also attempted engraving, and his earliest plate, a portrait of Pascal Paoli, after Henry Bembridge, is dated 1769. He made rapid progress in this art, and soon gained a high position. Many of his plates from the works of Reynolds, Romney, and others, as well as from his own designs, are among the masterpieces of mezzotint engraving. Smith likewise carried on an extensive business as a publisher of engravings, and employed Girtin and Turner to colour prints. Desirous of himself becoming a painter, he neglected engraving when at the zenith of his fame, and turned his attention to drawing crayon portraits, which he executed with great rapidity and success. He also painted some fancy subjects in a style resembling those of Morland and of Wheatley. His works appeared at the exhibitions of the Incorporated Society of Artists, the Free Society of Artists, and the Royal Academy between 1773 and 1805. He possessed great artistic talent, combined with a humorous and convivial temperament." (DNB). Le Blanc III, p.546, no.227.