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browsing 4642 items
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 PYNE, After James Baker (1800-1870)
Thurlemere and Wytheburn
Manchester: Thomas Agnew & Sons, 1853. Lithograph by W. Gauci, printed in tints by M. & N. Hanhart, coloured by hand. Very good condition apart from some overall light soiling and minor foxing. Image size (including text): 14 5/8 x 19 1/2 inches. Sheet size: 16 1/2 x 23 5/8 inches.
An evocative image of the Lake District, an area renowned as the cradle of the Romantic Movement in Britain.
The Lake District, an area of only some 700 square miles, contains all the main English lakes and is found within the northwestern counties of Cumbria and Lancashire. 'The Lakes' (as the area is also known) first came to prominence with the rise of the cult of the Picturesque in the second half of the 18th century, but it was Wordsworth, a native of Cumbria, born in 1770 on the outskirts of the Lake District itself, who really made it a mecca for those in search of the romantic ideal of landscape. He was joined in the area, at one time or another, by Robert Southey, Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats, Lord Byron, Sir Walter Scott, Thomas de Quincey and many others. By the middle of the 19th century, when the present image was produced, the area was well established in the national consciousness as the area of outstanding natural beauty in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became vice president). He travelled widely throughout Britain and Europe, but he is perhaps best known for his series of views of the Lakes, painted between 1848 and 1851.
Cf. Abbey Scenery 196 (1859 edition); cf. Tooley 387.
#9131 $750.00  
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 PYNE, After James Baker (1800-1870)
The Vale of Keswick, Bassenthwaite Lake, and the River Greta
Manchester: Thomas Agnew & Sons, 1853. Lithograph by W. Gauci, printed in tints by M & N Hanhart, coloured by hand. Very good condition apart from some overall light soiling and a skillfully repaired 3/4" tear in the left margin. Image size (including text): 15 1/4 x 20 1/4 inches. Sheet size: 16 1/8 x 23 1/8 inches.
An evocative image of the Lake District, an area renowned as the cradle of the Romantic Movement in Britain.
The Lake District, an area of only some 700 square miles, contains all the main English lakes and is found within the northwestern counties of Cumbria and Lancashire. 'The Lakes' (as the area is also known) first came to prominence with the rise of the cult of the Picturesque in the second half of the 18th century, but it was Wordsworth, a native of Cumbria, born in 1770 on the outskirts of the Lake District itself, who really made it a mecca for those in search of the romantic ideal of landscape. He was joined in the area, at one time or another, by Robert Southey, Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats, Lord Byron, Sir Walter Scott, Thomas de Quincey and many others. By the middle of the 19th century, when the present image was produced, the area was well established in the national consciousness as the area of outstanding natural beauty in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became vice president). He travelled widely throughout Britain and Europe, but he is perhaps best known for his series of views of the Lakes, painted between 1848 and 1851.
Cf. Abbey Scenery 196 (1859 edition); cf. Tooley 387.
#9132$750.00
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 PYNE, James Baker (1800-1870) lithographed by W. GAUCI
Grassmere from Loughrigg Fell
London: Published by Thos. Agnew & Son, 1853. Tinted lithograph with rich publisher's colour. Printed on wove paper. Trimmed to image as issued. In excellent condition. Sheet size: 13 1/4 x 19 9/16 inches.
A stunning view of Grassmere, from the deluxe portfolio edition of John Baker Pyne's magnificent work "The English Lake District."
The Lake District first came to the fore with the rise of the Romantic Movement during the second half of the eighteenth century. The poet William Wordsworth, a native of the district, established the area as the epitome of the ideal landscape, and artists and tourists alike visited the regions natural beauties in search of the Romantic ideal. Poets such as Byron, Shelley, and Keats proclaimed the Lakes as the manifestation of the "Picturesque." By the middle of the nineteenth century, when Pyne visited the area, the Lakes were well established in the national consciousness as the most beautiful natural reserve in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became Vice President). He traveled widely throughout Britain and Europe, but he is best known for his series of views of the Lakes, painted between 1848 and 1851. This exquisite view comes from the deluxe portfolio edition of Pyne's celebrated text "The English Lake District." First published in 1853, the deluxe edition was issued in custom-made portfolios with the images superbly coloured and tipped onto thick wove cards. Examples of these images are difficult to find, making this striking print a true rarity. Pyne's seminal work was later reissued by Day & Son in 1859 with the title "Lake Scenery of England."
Abbey, Scenery of Great Britain and Ireland, in Aquatint and Lithography 1770-1860, p. 123, no. 196, plate 7; Tooley, English Plate Books with Coloured Plates 1790-1860, no. 387, plate 14.
#13489$750.00
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 PYNE, James Baker (1800-1870) lithographed by W. GAUCI
Wast Water
London: Published by Thos. Agnew & Son, 1853. Tinted lithograph with rich publisher's colour. Printed on wove paper. Trimmed to image as issued. In excellent condition with the exception of some very minor foxing in the image. Sheet size: 13 3/16 x 19 3/4 inches.
A stunning view of Wast Water, from the deluxe portfolio edition of John Baker Pyne's magnificent work "The English Lake District."
The Lake District first came to the fore with the rise of the Romantic Movement during the second half of the eighteenth century. The poet William Wordsworth, a native of the district, established the area as the epitome of the ideal landscape, and artists and tourists alike visited the regions natural beauties in search of the Romantic ideal. Poets such as Byron, Shelley, and Keats proclaimed the Lakes as the manifestation of the "Picturesque." By the middle of the nineteenth century, when Pyne visited the area, the Lakes were well established in the national consciousness as the most beautiful natural reserve in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became Vice President). He traveled widely throughout Britain and Europe, but he is best known for his series of views of the Lakes, painted between 1848 and 1851. This exquisite view comes from the deluxe portfolio edition of Pyne's celebrated text "The English Lake District." First published in 1853, the deluxe edition was issued in custom-made portfolios with the images superbly coloured and tipped onto thick wove cards. Examples of these images are difficult to find, making this striking print a true rarity. Pyne's seminal work was later reissued by Day & Son in 1859 with the title "Lake Scenery of England."
Abbey, Scenery of Great Britain and Ireland, in Aquatint and Lithography 1770-1860 p. 123, no. 196, plate 13; Tooley, English Plate Books with Coloured Plates 1790-1860 no. 387, plate 12
#13490$750.00
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 PYNE, James Baker (1800-1870) lithographed by W. GAUCI
Lowes Water
London: Published by Thos. Agnew & Son, 1853. Tinted lithograph with rich publisher's colour. Printed on wove paper. Trimmed to image as issued. In excellent condition. Sheet size: 13 1/4 x 19 11/16 inches.
A stunning view of Lowes Water, from the deluxe portfolio edition of John Baker Pyne's magnificent work "The English Lake District."
The Lake District first came to the fore with the rise of the Romantic Movement during the second half of the eighteenth century. The poet William Wordsworth, a native of the district, established the area as the epitome of the ideal landscape, and artists and tourists alike visited the regions natural beauties in search of the Romantic ideal. Poets such as Byron, Shelley, and Keats proclaimed the Lakes as the manifestation of the "Picturesque." By the middle of the nineteenth century, when Pyne visited the area, the Lakes were well established in the national consciousness as the most beautiful natural reserve in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became Vice President). He traveled widely throughout Britain and Europe, but he is best known for his series of views of the Lakes, painted between 1848 and 1851. This exquisite view comes from the deluxe portfolio edition of Pyne's celebrated text "The English Lake District." First published in 1853, the deluxe edition was issued in custom-made portfolios with the images superbly coloured and tipped onto thick wove cards. Examples of these images are difficult to find, making this striking print a true rarity. Pyne's seminal work was later reissued by Day & Son in 1859 with the title "Lake Scenery of England."
Abbey, Scenery of Great Britain and Ireland, in Aquatint and Lithography 1770-1860, p. 123, no. 196, plate 18; Tooley, English Plate Books with Coloured Plates 1790-1860, no. 387, plate 5.
#13491$750.00
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 PYNE, James Baker (1800-1870) lithographed by W. GAUCI
Brother's Water
London: Published by Thos. Agnew & Son, 1853. Tinted lithograph with rich publisher's colour. Printed on wove paper. Trimmed to image as issued. In excellent condition. Sheet size: 13 1/4 x 19 3/4 inches.
A stunning view of Brother's Water, from the deluxe portfolio edition of John Baker Pyne's magnificent work "The English Lake District."
The Lake District first came to the fore with the rise of the Romantic Movement during the second half of the eighteenth century. The poet William Wordsworth, a native of the district, established the area as the epitome of the ideal landscape, and artists and tourists alike visited the regions natural beauties in search of the Romantic ideal. Poets such as Byron, Shelley, and Keats proclaimed the Lakes as the manifestation of the "Picturesque." By the middle of the nineteenth century, when Pyne visited the area, the Lakes were well established in the national consciousness as the most beautiful natural reserve in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became Vice President). He traveled widely throughout Britain and Europe, but he is best known for his series of views of the Lakes, painted between 1848 and 1851. This exquisite view comes from the deluxe portfolio edition of Pyne's celebrated text "The English Lake District." First published in 1853, the deluxe edition was issued in custom-made portfolios with the images superbly coloured and tipped onto thick wove cards. Examples of these images are difficult to find, making this striking print a true rarity. Pyne's seminal work was later reissued by Day & Son in 1859 with the title "Lake Scenery of England."
Abbey, Scenery of Great Britain and Ireland, in Aquatint and Lithography 1770-1860, p. 123, no. 196, plate 8; Tooley, English Plate Books with Coloured Plates 1790-1860, no. 387, plate 15.
#13492$750.00
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 PYNE, James Baker (1800-1870) lithographed by W. GAUCI
Vale of Keswick Bassenthwaite Lake and River Greeta
London: Published by Thos. Agnew & Son, 1853. Tinted lithograph with rich publisher's colour. Printed on wove paper. Trimmed to image as issued. In excellent condition with the exception of some minor foxing in the image. Sheet size: 13 13/16 x 20 1/8 inches.
A stunning view of Keswick Water, from the deluxe portfolio edition of John Baker Pyne's magnificent work "The English Lake District."
The Lake District first came to the fore with the rise of the Romantic Movement during the second half of the eighteenth century. The poet William Wordsworth, a native of the district, established the area as the epitome of the ideal landscape, and artists and tourists alike visited the regions natural beauties in search of the Romantic ideal. Poets such as Byron, Shelley, and Keats proclaimed the Lakes as the manifestation of the "Picturesque." By the middle of the nineteenth century, when Pyne visited the area, the Lakes were well established in the national consciousness as the most beautiful natural reserve in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became Vice President). He traveled widely throughout Britain and Europe, but he is best known for his series of views of the Lakes, painted between 1848 and 1851. This exquisite view comes from the deluxe portfolio edition of Pyne's celebrated text "The English Lake District." First published in 1853, the deluxe edition was issued in custom-made portfolios with the images superbly coloured and tipped onto thick wove cards. Examples of these images are difficult to find, making this striking print a true rarity. Pyne's seminal work was later reissued by Day & Son in 1859 with the title "Lake Scenery of England."
Abbey, Scenery of Great Britain and Ireland, in Aquatint and Lithography 1770-1860, p. 123, no. 196, plate 23; Tooley, English Plate Books with Coloured Plates 1790-1860, no. 387, plate 7.
#13493$750.00
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 PYNE, James Baker (1800-1870) lithographed by W. GAUCI
Windermere from Orrest Head
London: Published by Thos. Agnew & Son, 1853. Tinted lithograph with rich publisher's colour. Printed on wove paper. Trimmed to image as issued. In excellent condition with the exception of a small tear in the bottom left corner which has been expertly repaired. Sheet size: 13 1/8 x 19 5/8 inches.
A stunning view of Lake Windermere from Orrest Head, from the deluxe portfolio edition of John Baker Pyne's magnificent work "The English Lake District."
The Lake District first came to the fore with the rise of the Romantic Movement during the second half of the eighteenth century. The poet William Wordsworth, a native of the district, established the area as the epitome of the ideal landscape, and artists and tourists alike visited the regions natural beauties in search of the Romantic ideal. Poets such as Byron, Shelley, and Keats proclaimed the Lakes as the manifestation of the "Picturesque." By the middle of the nineteenth century, when Pyne visited the area, the Lakes were well established in the national consciousness as the most beautiful natural reserve in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became Vice President). He traveled widely throughout Britain and Europe, but he is best known for his series of views of the Lakes, painted between 1848 and 1851. This exquisite view comes from the deluxe portfolio edition of Pyne's celebrated text "The English Lake District." First published in 1853, the deluxe edition was issued in custom-made portfolios with the images superbly coloured and tipped onto thick wove cards. Examples of these images are difficult to find, making this striking print a true rarity. Pyne's seminal work was later reissued by Day & Son in 1859 with the title "Lake Scenery of England."
Abbey, Scenery of Great Britain and Ireland, in Aquatint and Lithography 1770-1860, p. 123, no. 196, plate 4; Tooley, English Plate Books with Coloured Plates 1790-1860, no. 387, plate 3.
#13495$750.00
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 PYNE, James Baker (1800-1870) lithographed by W. GAUCI
[View of the Lake District]
London: Published by Thos. Agnew & Son, 1853. Tinted lithograph with rich publisher's colour. Printed on wove paper. Trimmed to image as issued. In excellent condition. Sheet size: 13 3/8 x 19 3/8 inches.
A stunning view of the Lake District, from the deluxe portfolio edition of John Baker Pyne's magnificent work "The English Lake District."
The Lake District first came to the fore with the rise of the Romantic Movement during the second half of the eighteenth century. The poet William Wordsworth, a native of the district, established the area as the epitome of the ideal landscape, and artists and tourists alike visited the regions natural beauties in search of the Romantic ideal. Poets such as Byron, Shelley, and Keats proclaimed the Lakes as the manifestation of the "Picturesque." By the middle of the nineteenth century, when Pyne visited the area, the Lakes were well established in the national consciousness as the most beautiful natural reserve in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became Vice President). He traveled widely throughout Britain and Europe, but he is best known for his series of views of the Lakes, painted between 1848 and 1851. This exquisite view comes from the deluxe portfolio edition of Pyne's celebrated text "The English Lake District." First published in 1853, the deluxe edition was issued in custom-made portfolios with the images superbly coloured and tipped onto thick wove cards. Examples of these images are difficult to find, making this striking print a true rarity. Pyne's seminal work was later reissued by Day & Son in 1859 with the title "Lake Scenery of England."
Abbey, Scenery of Great Britain and Ireland, in Aquatint and Lithography 1770-1860, p. 123, no. 196; Tooley, English Plate Books with Coloured Plates 1790-1860, no. 387.
#13496$750.00
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 Queen VICTORIA (1819-1901) and Prince ALBERT (1819-1861)
An album containing a collection of etchings
[dated 1840-1844]. Small folio (12 x 9 inches). 22 etchings (sheet size 11 x 8 inches and smaller, three on india paper mounted) tipped onto 22 leaves. Later red morocco gilt, the covers with gilt outer border of a wide fillet, surrounding inset wooden panels carved in semi-relief with a border of stylized flower sprays within arched spaces, around a central panel of semi-naturalistic foliage, the flat spine gilt in six compartments, gilt metal locking clasp, gilt edges, by Asprey, 166 Bond Street (impressed name and address on lock). Modern cloth box.
A fine and rare collection of 5 etchings by Queen Victoria and 17 by Prince Albert. A collection which gives insight into the domestic life of the monarch, a collection that was never meant to be seen outside the inner circle of the Royal court.
Queen Victoria and her Consort Prince Albert took up etching together in 1840; Sir George Hayter, R.A. was in attendance, painting their portraits, and agreed to give them instruction. It is reported that the Queen sought it as an amusement while in retirement during her pregnancies. The Royal couple etched together, deriving their compositions mostly from paintings and drawings in their collection, including pictures by Edwin Landseer; but they also produced the occasional original composition or worked from each other's sketches. Their enthusiasm lasted five years, until 1849. In all, Victoria etched about 62 plates, Albert 25.
The plates were etched at Windsor Castle, where there was also a small press on which proof impressions were pulled. From time to time, the plates were discreetly entrusted to a local printer called Brown, on strict instructions that all impressions made should be returned, with the plates, to the Castle.
Nonetheless, unauthorized proofs were taken. In 1847, a local reporter named Jasper Tomsett Judge, who had made a career as a "royal-watcher", filing news and gossip about the court, and publishing cheap pamphlets describing the stables and kitchens at Windsor and other such matters for tourists, got wind of the existence of a cache of impressions. These were in the possession of a fellow called Middleton, who had been a printer at Brown's, and had been given the plates to print from, but, obviously, had disobeyed the Royal instructions they came with. Middleton struck a deal with Judge, who paid £5 for 60 prints.
Judge then collaborated with a London bookseller and printer named William Strange on the publication of a critical catalogue of these etchings, to be sold to visitors to the exhibition they planned for Strange's shop in Paternoster Row. Aware of the delicacy of this plan, Judge apparently attempted to seek, by correspondence, the artists' permission to go ahead with the plan - but not, apparently, until after Judge had filed a press release publicizing both pamphlet and exhibition, which was picked up and printed in dozens of regional papers always hungry for any copy concerning the Court.
The precise measure of Judge's propriety is open for debate; in any event, Queen Victoria and Prince Albert were not amused and promptly filed an avalanche of suits and injunctions against Judge, Strange, Middleton and even Judge's son, who had been living in France during the whole affair. Opinion in the press appears to have taken sides against their fellow journalist, hurling scorn on Judge, his co-defendants, and their plan. In 1849, William Strange printed a lengthy pamphlet written and published by Judge, "The Royal Etchings". A Statement of Facts Relating To The Origin, Object, and Progress of the Proceedings in Chancery, Instituted by Her Majesty & the Prince Consort. In it, Judge attempts to demonstrate that he was acting out of patriotic love for his Queen, to bring to the attention of the public further proof of their Royal talents, in order to extend the range of reasons for their subjects to admire and adore them. He quotes at length from his previous pamphlets, recounts numerous instances when he showed and described these etchings to acquaintances, to prove he was unaware he might be engaged in any wrongdoing, and documents the painstaking efforts he made to procure permission for his project from the Royal Household, averring that he refused to sell any of his pamphlets before he had that permission in writing - which he never got, obtaining law suits instead.
The following etchings, by Queen Victoria and her Consort Prince Albert, are on india paper mounted on stiff paper which may be the "card" referred to by Judge in his description of the paper on which the etchings he purchased from Middleton were printed. Very few etchings by either Royal artist "escaped" the private collections at Windsor, where a complete set is preserved in an album; another set was donated by George V to the British Museum.
Titles and numbers (with all Victoria's prints numbered first, then Albert's, and arranged chronologically) are from A.H. Scott-Elliot, "The Etchings by Queen Victoria and Prince Albert," Bulletin of the New York Public Library, 65, March 1961, 139-153.
By Queen Victoria: 12 A Dachshund, full length, to right (Waldman), 1840; 49 Five studies of the Princess Royal, 1842-43; Pussy, before going to bed; Victoria on Jan 1, 1844, in the costume of the late Princess Royal; Victoria and Albert as Gotha peasants, 1845.
By Albert of Saxe-Coburg, Prince Consort; 63 A Bearded Oriental wearing a turban in profile to right, 1840; 64 Wallenstein and his servant (from Schiller), 1840; 67 Romeo and Tybalt, 1840; 68 Fiesko and Andrea Dorea, 1840 (second state); 70 The head of a Dachshund, 1840; 71 A Figure in armour and cloak, bearing an axe, 1840; 73 Head of a young man with curling hair, in profile to right, 1840; 74 Six men, in 16th century costume, seated around a table, 1841; 77 Götz of Berlichingen and the pilgrim, 1841; 78 Mignon, 1841; 79 The head of a man, full face, with straggling hair, 1841; 81 Two heads of eagles, 1841; 82 Two peasant women, one on crutches, 1842; 84 The Princess Royal and the Prince of Wales, 1843; 86 Crows and a fox attacking a dead stag, 1843 ; 87 A Greyhound and a skye terrier, lying down, 1844; a mining or dockside scene, 1851.
#2823$48,000.00
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 Quinby, Jane & Allan Stevenson
Catalogue of Botanical Books in the Collection of Rachel McMasters Miller Hunt
New York: '1948' but later. (Vol 1: 9 1/4 x 6"; Vol 2: 8 1/2 x 5 1/2 ").
3 vols. in 2, 8vo. Cloth. Martino reprint, limited to 400 copies of this essential reference for pre-1800 botanical works. Excellent condition
#16940$130.00
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 RABEL, Daniel (?1578-1637)
Histoire générale des insectes de Surinam et de toute l'Europe... Troisième édition revue, corrigée et considérablement augmentée par M. Buch'oz... à laquelle on a joint une troisième partie qui traite des plus belles fleurs
Paris: Chez L.C. Desnos, 1771. 1 volume ('...Tome Troisième, Des Plantes bulbeuse, Liliacées, Caryophyllées.'), folio (19 9/16 x 13 inches). 69 hand-coloured engraved plates of flowers after Rabel. Bound to style in 18th-century diced russia gilt, covers with triple fillet border with floral spray cornerpiece, spine in seven compartments with raised bands, red morocco lettering-piece in the second, the others with repeat decoration in gilt made up from various small tools.
A fine hand-coloured copy of the complete series of Rabel's plates to his 'Theatrum florae' : a fourth edition of one of the finest of the early 17th-century botanical works.
The rarest of Desnos's extraordinary publications, the present work is an unacknowledged fourth edition of Daniel Rabel's Theatrum florae. It includes all 69 of the plates that are present in the first three editions (published without text in Paris in 1622, 1627 and 1633 respectively). The plate captions found in the earlier editions have been burnished out, but reappear almost word for word in the text. The additional text is, in part if not all, by Bu'choz. The plants depicted include all the most decorative flowers available to 17th-century gardeners and is truly '...une tres-jolie collection... qui ont ete dessinees & gravees d'apres nature' (see preface to vol.I). The fact that Rabel's name is omitted is not surprising since it is not included in any of the earlier editions, and is only in the last 60 years that the work has been re-attributed to him. Rabel enjoyed a considerable reputation during his lifetime. Rightfully, he has now been rescued from obscurity, indeed, Blunt considered Rabel to be one of the two greatest French botanical artists of the 17th century, noting that his work, along with that of his successor Nicolas Robert, was 'consummate in its perfection' (The Art of Botanical Illustration p.114).
There is no mention of this later edition, but for references to the 17th-century editions, see: Blunt (1994) p.115; BM(NH) V,p.2088; Cleveland Collections 176 and 187; Hunt Printmaking in the Service of Botany 14; Nissen BBI 1575; L. Tongiorgi Tomasi An Oak Spring Flora 15; Pritzel 10855.
#17344$70,000.00
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 RADOS, Luigi de (1773-1840) after Jean Baptiste François BOSIO
Marie Louise Archid. d' Autriche
A Paris chez Bance ame M. d'Estampes rue St. Denis and a' Milan chez Joseph M. et Frere Ubiemi M. d' Estampes rue des Servi n. 506 Editeurs., 1810. Stipple with engraving. Printed on laid paper. Collectors blind stamp of a bee in lower right corner of title space. In excellent condition with the exception of a creased lower right corner. Trimmed just outside platemark on all sides. Crease on right edge outside image. Some creasing and paper loss on upper right corner. Image size: 24 5/8 x 16 7/8 inches. Plate mark: 30 x 19 1/2 inches. Sheet size: 30 3/16 x 19 3/4 inches.
A captivating portrait of Marie Louise of Austria, Napoleon's second wife.
This is a magnificent print of Marie Louise of Austria executed in 1810, the year of her marriage to Emperor Napoleon. In 1809 when Josephine, Napoleon's first wife, failed to give him a son, the Emperor divorced her. He based this action on the spurious grounds that a parish priest had not been present at their marriage, but it was well known that this decision resulted from his desire for a male heir. Two months later he married Marie Louise, the daughter of Francis II, Emperor of Austria, and great-niece of Marie Antoinette. The marriage did nothing to end the enmity between France and Austria, but in 1811 Marie gave birth to a son, Francois Charles, who was made king of Rome.
This captivating print depicts Marie at one of the most pivotal moments of her life. She is portrayed as being both innocent and magisterial, fashionable as well as reserved which results in a hauntingly beautiful portrait of this young bride. Rados's print recalls the portrait of Marie, executed in the same year, by Jean Godfrey. Both works are monumental in size and depict the young princess in a park setting. The detailing of Marie's dress and the level of intricate detail in Rados's image, is nothing short of magnificent, and his soft engraving technique gives this print a delicacy, which is immensely appealing.
From the collection of William J. Latta of Philadelphia, a 19th century collector of Napoleonic material.
Regency to Empire: French Printmaking 1715-1814 no. 124; Le Blanc, Manuel de L'Amateur D'Estampes III, p. 269, no. 12; Lugt, Les Marques de Collections, No. 2825
#12764$1,950.00
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 RAEBURN, After Sir Henry (1756-1823)
To the Royal Company of Archers, this Portrait of Dr. Nathaniel Spens, a Favorite Member in the Uniform of a Scottish Archer is respectfully dedicated by their most Obedient Humble Servant John Beugo
Edinburgh: John Beugo, February 1796. Engraving, by John Beugo. Image size (including text): 23 1/2 x 15 3/4 inches. Sheet size: 27 7/8 x 19 1/4 inches.
A very fine engraving after 'the Scottish Reynolds'
"Among notable shots of the period may be mentioned... Dr. Nathaniel Spens, probably one of the best and most enthusiastic archers who ever drew a bow. A noble portrait of him by Raeburn, representing him in the act of shooting, now hangs in Archers' Hall [in Edinburgh, Scotland]; he was admitted a member in 1749, became praeses of the council in 1809, and died in 1815." (excerpt from The Badminton Library volume Archery )
"Raeburn's career of some thirty years as a fashionable portrait-painter was one of unbroken professional and social success. His fine presence, genial manners, shrewd sense, and great conversational powers made him a welcome guest in the brilliant society of his day. A complete collection of his works would make a Scottish national portrait gallery of ideal quality a whole army of wise, grave, humorous, capable, or beautiful countenances, painted simply and strongly by a man of genuine instinct. Robertson, Hume, Monboddo, Boswell, Adam Smith, Braxfield, Christopher North, Lord Newton, Dugald Stewart, John Erskine, Jeffrey, and Walter Scott were of the company, to name but the more famous. Burns is almost the only notable absentee from the roll of his sitters.
Raeburn was in love with his daily task. He used to declare portrait-painting to be the most delightful thing in the world, for every one, he said, came to him in the happiest of moods and with the pleasantest of faces. It is significant, too, of the generous temper he showed to his brother-artists that he described his profession as one that leads neither to discords nor disputes.... Fully occupied in his native city, Raeburn had little time for visits to London. He is said to have paid only three short visits to the capital...It was not until 1814 that Raeburn sent his first contribution to the English academy; he was at once elected an associate, and in the following year a full member... In 1822, when George IV paid his famous visit to Edinburgh, Raeburn was one of the citizens singled out for distinction, probably on the initiative of Scott. He was knighted at Hopetoun House, in recognition of his distinguished merit as a painter. The king was so much struck by his appearance and manner that he is said to have told Scott he would have made him a baronet but for the slur on the memory of Reynolds. In May of the following year he was appointed his Majesty's first limner and painter in Scotland, but he did not long enjoy these honours. A few weeks later he made one of a party to St. Andrews (in the annual archæological excursion instituted by the chief commissioner, Adam), among his companions being Scott and Miss Edgeworth. He returned to Edinburgh apparently in excellent health and spirits, and resumed his work on his two half-lengths of Scott, one of which he was painting for himself, and the other for Lord Montague... Within a few days he was seized with a mysterious atrophy. His doctors were unable to discover the cause of it, and, after a week of rapid decline, he died on 8 July 1823. He was buried in the Episcopal church of St. John's, at the west end of Prince's Street, Edinburgh. His grave is in the dormitory at the east end of the church, within a few yards of passers-by in the street." (DNB).
#5256$2,500.00
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 RAJON
[Thomas Carlyle]
circa 1875. Etching. Facsimile signature in lower right margin. In good condition with the exception of light paper discolouration and tape residue in the margins. Image size: 15 3/16 x 11 1/2 inches. Plate mark: 18 x 13 ½ inches. Sheet size: 23 1/8 x 17 5/8 inches.
An intimate portrait of Thomas Carlyle, the famous writer and social critic.
Thomas Carlyle, Scottish born writer and historian, was one of the formative influences on nineteenth-century intellectual life on both sides of the Atlantic. His published writings range from mathematics, German literature, and politics to biography, theology, literary criticism, and history. "Carlyle's genius," wrote Hector Macpherson, "was many-sided. He touched and ennobled the national life at all points. He lifted a whole generation of young men out of the stagnating atmosphere of materialism and dead orthodoxy into the region of the ideal....no English writer has done more to elevate and purify our ideas of life and to make us conscious that the things of the spirit are real..." (From British Authors of the Nineteenth Century, 115-118, The Victorian Web)
Not in O'Donoghue.
#4809$450.00
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 RAJON, Paul Adolphe.
[Mr. Reed]
circa 1880. Etching. Printed on fine Japanese paper. Proof impression before name of Rajon was engraved. In good condition apart from some creases in sheet. Image size: 5 x 3 ¾ inches. Plate mark: 6 x 4 ¼ inches. Sheet size: 10 ¾ x 7 ¾ inches.
An intimate portrait of Mr. Reed, the Keeper of Prints at the British Museum by the celebrated French etcher Paul Adolphe Rajon.
Paul Adolphe Rajon was a French painter and printmaker. After a rudimentary education he moved to Paris where he made a living as a photographer while studying at the Ecole des Beaux-Arts under Isidore-Alexandre-Augustin Pils. In Paris he became friendly with the etching revivalists and learnt to etch under Léon Gaucherel and Léopold Flameng. Although he made debut at the Salon in 1865 with a drawing, he decided to devote himself to etching and exhibited only etching for the rest of his career. His works, which were mainly reproductions of paintings by contemporary artists or by Old Masters such as Gainsborough, Rembrandt and Rubens, appeared in the journals L'Art and Gazette des beaux-arts and were also published by Galeries Goupil. He also produced original portrait etchings of contemporary writers including Turgenev, Tennyson and Théophile Gautier. In 1873 Rajon received a commission through Bracquemond to go to England. Thereafter he visited the country for six months a year, making portrait etchings such as Darwin, after Walter William Ouless (1848-1933), and Mrs Rose, after Frederick Sandys. Both in France and England he enjoyed financial and critical success and, through his acquaintance with the American print dealer Frederick Keppel (1845-1912) in New York, his fame also spread to the USA, which he visited. He was awarded medals for graphic art at the Salons of 1869, 1870, 1873 and at the Exposition Universelle of 1878.
#15339$275.00
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 RAMSAY, Allan (1713-1784) engraved by Alexander VAN HAECKEN
The Honble. Thomas Wentworth Esqr.
London: circa 1745. Mezzotint. Printed on laid paper. In fair condition with the exception of being trimmed within the plate mark on all sides. Edges of sheet have been remargined. Image is slightly rubbed. Image size: 12 3/8 x 9 7/8 inches. Sheet size: 14 x 9 7/8 inches.
A fine quality mezzotint portrait of Thomas Wentworth, Commander in Chief of the British forces in America.
An excellent image by Alexander Van Haecken, younger brother of Joseph Van Haecken (Van Aken) who worked for some time as Ramsay's studio assistant, specialising in drapery. Ramsay, son of the poet of the same name, achieved a great level of success as a portrait painter, but after his appointment in 1767 as portrait painter to the King, he became, for a while, the most fashionable of them all. The present work is a print from one of the earlier works done before he received the royal seal of approval.
Not in O'Donoghue.
#3713$750.00
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 RAMUSIO, Giovanni Battista (1485-1557)
Delle Navigationi et Viaggi raccolte da M. Gio. Battista Ramusio, in tre volumi divise... Volume primo [Secondo volume...; ...Volume terzo]
Venice: appresso i Giunti, 1613-1583-1606. 3 volumes, folio (12 x 8 2/3 inches). 10 folding or double-page maps and plans (3 engraved, 7 wood-cut). Near uniform early 17th-century vellum over pasteboard, text block with 'S. Antonio' lettered in ink in an early calligraphic hand on upper edges and 'M. Calvo' on the lower edges. Provenance: Apostolic Clerics of St. Jerome (La Citta' di Castello, Umbria, Italy, inscriptions 'Ex laboriosa industria fratris Hieronymi a Castello'); Religious Community of Sant'Antonio, Monte Calvo (inscriptions on edges of book blocks).
A fine set of this highly important compilation of world voyages: vol.I with the most complete form of the text and vols. II and III being the first publication of the most complete form of the text. This work should be one of the cornerstones of any collection of travel books
The sixth edition of the first volume, and the third edition of the second and third volumes of this fundamental collection of world voyages. The first editions of these three volumes appeared between 1550 and 1556. The number of accounts of voyages included in the compilation was increased in each of the first three editions. Therefore, the second and third volumes in the present set are particularly desirable as they include not only the most complete form of the text but also the first publication of a number of important voyages. The first volume is a textual reprint of the third edition (published in 1563), and thus includes the text in its most complete form.
Ramusio's effort is the first general compilation of narratives of the European exploration of the rest of the world. From John Locke to Henry Harrisse, scholars and bibliographers have praised Ramusio for his choice of material, his care and accuracy in presenting it, and his assiduous sorting of the evidence of the new discoveries. The first editions or first available editions of many of the most important voyages are contained herein, and the set is basic to any collection of voyages.
The first volume is devoted to Africa and the East, especially the narratives of early Portuguese exploration, covering De Gama, Alvarez, Barros, and Pigafetta. The maps in the first volume are some of the first engraved maps to appear in any travel book. The second volume describes the journeys of Marco Polo, Varthema's eastern travels, and Persian voyages. This is the first edition of the second volume to include an account of Sebastian Cabot. The third volume is entirely devoted to America, and includes accounts of Peter Martyr, Oviedo (whose book XX occupies almost half the volume), Cortès, Cabeça de Vaca, Guzman, Ulloa, Coronado, Fray Marcos di Niza, Xerez, Verrazano, and Cartier. The final section on New France is particularly notable, being an early general publication of Cartier's Canadian experiences.
Ramusio's maps are particularly important. The western hemisphere map in the third volume, the product of a collaboration between Ramusio and Oviedo, is the most complete one of its time, even showing Japan as more than one island. The Newfoundland and Hochelanga maps, resulting from Cartier's explorations, are the best early Canadian maps. The same can be said about the Brazil map.
Adams R-139; Borba de Moraes pp.698-99; Church 99; Cox p.28; European Americana 613/108, 583/59, 606/88; Sabin 67735, 67738, 67742; Streit I:337, I:143, I:282
#6956$62,500.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520). - Giovanni OTTOVIANI & Giovanni VOLPATO (engravers)
Delle Logge di Rafaele nel Vaticano
Rome: 1772. Large folio (29 ¾ x 17 ¼ inches).
Large folio. (29 ¾ x 17 ¼ inches) 2pp. letterpress text in French "Aux Amateurs des Beaux Arts" with uncoloured engraved head-piece and initial and colophon at foot of second page. One small format folding plate "Ordine tenuto nel disporre le stampe de pilastri delle logge Rafaele.." (7 x 19 1/32 inches), 34 hand-coloured engraved leaves (comprising: 1 general perspective view with title and portrait of Raphael by Volpato after Pietro Camporesi [strip attached at lower edge to bring up to size]; 2 folding plates of doorways by Ottoviani after Gaetano Savorelli and Camporesi [each on two sheets joined, 36 x 17 ¼ inches overall]; 14 views of pilasters on 28 plates by Ottoviani after Savorelli and Camporesi [ the first plate of each view cut to edge of image with strip attached to lower edge to bring up to size]; general plan "Spaccato per il longe del seconde piano del loggia" on three plates by Ottoviani after Savorelli and Camporesi [designed to form a single panoramic image] ). (Lower blank margin of text leaf torn and repaired, small tears to folds of the doorway plates.)
[Bound with:]
RAPHAEL. - Nicolas DORIGNY (1648-1746, engraver). [Psyches et Amoris nuptiae fabula a Raphaele Sanctio Urbinate Romae in Farnesianis hortis Transtyberim ad veterum aemulationem ac laudem colorum luminibus expressa a... Dorigny... delineata et incisa, et a Ioanne Petro Belloriio notis illustrata.] Rome: Domenico de' Rossi, 1693 [or later]. Large folio (29 ¾ x 17 ¼ inches). 10 hand-coloured engraved plates by Dorigny, titles and imprints printed in gold. 2 works in one volume. Late 18th-century Roman red morocco gilt (contemporary with the first work), covers with elaborate border of dog-tooth roll, double-fillet, and repeated use of a three-flower spray, a heart and a rococo drawer-handle tool, the same tool massed to form a lozenge shape at the corners and forming a triangular motif mid-way up the long sides, with stars, birds and small and large flower-spray tools, all enclosing a large central lozenge formed from an outline of a simpler variant drawer-handle tool and large flower sprays enclosing a center of massed scrolling foliage with pomegranates and acorns, the spine in seventeen sections with raised bands, lettered in the second, the others with repeat decoration of a central flower spray with smaller sprays at the corners, patterned paper pastedowns. (Ties lacking, light worming to head and foot of spine with resultant small tears and loss), modern cloth solander box, morocco lettering-piece on the "spine".
A very fine collection with richly hand-coloured plates of the best of the decorative interior work carried out by Raphael in Rome.
The album is hand-coloured and bound in Rome in the fourth quarter of the 18th-century, and is clearly as it was delivered to its original owner (perhaps a Grand-Tourist, perhaps a local dilettanti?) and perfectly echoes his wishes: just the first part of Ottoviani's excellent work on Raffaello's Logge frescoes, that is the part on the pilasters, and include Maitre Dorigny's engravings, hand-coloured as well of course, but only the Loggia of Psyche set, and make sure they are all the same size.
The first work, part one of three, concentrates on the decorative pilasters executed by Raphael and his assistants, as part of a larger scheme of redecoration, between 1518-1519 in the Logge on the main storey of the Vatican apartments. The remarkable prints, the first to be carried out of the decoration of the Logge, were probably planned as early as 1760, but were not executed until 1774 to 1776. The project was carried out by the painter Gaetano Savorelli, the draughtsman Ludovico Teseo, the architect Pietro Camporesi and the engravers Giovanni Ottaviani and Giovanni Volpato. The plates were remarkable not just for their size and magnificent colouring, but also because of the influence they had on contemporary taste. The decision was made to 'borrow' elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the 'grotesque' in the neo-classical period.
The second work is of Raphael's 'Cupid and Psyche' series of frescoes, carried out by Raphael between 1516 and 1518 in the Loggia of Psyche in the villa Farnesina in Rome. The series also comes with a title and an eleventh plate of the ceiling fresco in the adjoining Sala di Galatea, executed in 1512: neither the plate nor the title were ever bound in the present collection. Originally published by the Rossis, it is the work of Nicolas Dorigny (1658-1746) who lived and worked in Rome between about 1690 and 1719. The painter, classicist, and art historian Giovanni Pietro Bellori (1613-1696) provided the text at the foot of the plates (appropriate excerpts from Apuleuis's Golden Ass).
"Raphael Invenit: Stampe da Rafaello" (1985) Volpato 1; Ottaviano 2-19 and Dorigny 37-46. Brunet IV, cf.1110 & 1111; Berlin "Kat". Cf.4068 & 4066; "Raphael: Reproduktions-graphik aus vier Jahrhunderten (Coburg 1984) p.104 & no.245; "Giovanni Volpato 1735-1803" (Bassano del Grappa, 1988) 173.
#3753$125,000.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520)
Decorative pilaster with fruit, flowers, and tendrils [Num. I]
[Num. I]. Rome: 1772. Copper engraving by Ottaviani after drawings by Ludovico Teseo, printed in black with stunning later professional hand-colouring. Very good condition. Plate mark: 42 1/4 x 16 inches. Sheet size: 46 3/8 x 20 1/8 inches.
A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series, with later professional hand-colouring.
A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work and executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print, one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments, was probably planned as early as 1760, but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli, the draughtsman Ludovico Teseo, the architect Pietro Camporesi, and the engravers Giovanni Ottaviani and Giovanni Volpato.
The whole series was remarkable not just for the size and magnificent colouring of the prints, but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.
Cf. Brunet IV, 1110; cf. Berlin Kat. 4068; cf. Lambert Pattern and Design (V. & A.: 1983), p. 26; "Raphael Invenit: Stampe da Rafaello" (1985) Ottaviano 2; Raphael: Reproduktions-graphik aus vier Jahrhunderten (Coburg: 1984), p. 104
#14588$3,500.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520) - Nicolas DORIGNY (1648-1746, engraver).
[Psyches et Amoris nuptiae fabula a Raphaele Sanctio Urbinate Romae in Farnesianis hortis Transtyberim ad veterum aemulationem ac laudem colorum luminibus expressa a... Dorigny... delineata et incisa, et a Ioanne Petro Belloriio notis illustrata]
Rome: Domenico de' Rossi, 1693 [or later]. Large folio. 10 hand-coloured engraved plates by Dorigny on laid paper (each 15 7/8 x 26 inches approximately), titles and imprints printed in gold, black ink-ruled borders, each plate cut to the edge of the image, mounted on large sheets of contemporary thick laid paper (each 29 3/8 x 40 3/8 inches approximately). Unbound.
A very fine suite of richly hand-coloured plates offering a stunning visual record of one of the best of the decorative interior schemes carried out by Raphael in Rome.
This wonderful series records Raphael's 'Cupid and Psyche' series of frescoes, carried out by him between 1516 and 1518 in the Loggia of Psyche in the villa Farnesina in Rome. The series also comes with a title and an eleventh plate of the ceiling fresco in the adjoining Sala di Galatea, executed in 1512: neither the plate nor the title are present here. Originally published by the Rossis, the engravings are the work of Nicolas Dorigny (1658-1746) who lived and worked in Rome between about 1690 and 1719. The painter, classicist, and art historian Giovanni Pietro Bellori (1613-1696) provided the text at the foot of the plates (appropriate excerpts from Apuleuis's Golden Ass).
"Raphael Invenit: Stampe da Rafaello" (1985) Dorigny 37-46; cf. Brunet IV, 1111; cf. Berlin Kat 4066
#15680$35,000.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520)
Loggie di Rafaele nel Vaticano
Rome: 1772-1777. Copper engraving by Volpato after a drawing by Camporesi, later professional hand-colouring. Good condition. Expert strengthening to verso of right outer blank margin, some old light creasing to 3 inches of the sheet. Plate mark: 25 x 16 3/8 inches. Sheet size: 26 3/4 x 19 1/8 inches.
This beautiful perspective view of Raphael's Loggia, served as the frontispiece to the celebrated text, "Loggie di Rafaele nel Vaticano".
This arresting print is a general perspective view of Raphael's design for the Loggia at the Vatican, with a large profile portrait of Raphael in a medallion over the entrance to the corridor. The plate served as the frontispiece to the first part of the "Logge di Rafaele nel Vaticano", which depicted the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print, one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments, was probably planned as early as 1760, but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli, the draughtsman Ludovico Teseo, the architect Pietro Camporesi, and the engravers Giovanni Ottaviani and Giovanni Volpato.
The whole series was of importance not just for the size and magnificent colouring of the prints, but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.
Cf. Brunet IV, 1110; cf. Berlin Kat. 4068; Lambert Pattern and Design (V. & A.: 1983), p. 26; "Raphael Invenit: Stampe da Rafaello" (1985) Volpato 1; Raphael: Reproduktions-graphik aus vier Jahrhunderten (Coburg: 1984), p. 104; G. Marini (editor) Giovanni Volpato 1735-1803 (1988) no. 198.
#15684$4,500.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520)
Decorative pilaster with fruit, flowers, and tendrils [Num. VII]
[Num. VII]. Rome: 1772. Copper engraving by Ottaviani after drawing by Savorelli and Camporesi, printed in black with stunning later professional hand-colouring. Good condition. Trimmed close to and within platemark, some small expert repairs to blank margins. Sheet size: 42 1/4 x 16 1/2 inches.
A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series, with later professional hand-colouring.
A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print, one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments, was probably planned as early as 1760, but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli, the draughtsman Ludovico Teseo, the architect Pietro Camporesi, and the engravers Giovanni Ottaviani and Giovanni Volpato.
The whole series was remarkable not just for the size and magnificent colouring of the prints, but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.
Cf. Brunet IV, 1110; cf. Berlin Kat. 4068; cf. Lambert Pattern and Design (V. & A.: 1983), p. 26; "Raphael Invenit: Stampe da Rafaello" (1985) Ottaviano 8; Raphael: Reproduktions-graphik aus vier Jahrhunderten (Coburg: 1984), p. 104.
#15811$1,750.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520)
Decorative pilaster with fruit, flowers, and tendrils [Num. VIII]
[Num. VIII]. Rome: 1772. Copper engraving by Ottaviani after drawing by Savorelli and Camporesi, printed in black with stunning later professional hand-colouring. Good condition. Shaved to within plate area, lower and left margins expertly extended. Sheet size: 42 3/4 x 16 inches.
A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series, with later professional hand-colouring.
A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print, one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments, was probably planned as early as 1760, but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli, the draughtsman Ludovico Teseo, the architect Pietro Camporesi, and the engravers Giovanni Ottaviani and Giovanni Volpato.
The whole series was remarkable not just for the size and magnificent colouring of the prints, but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.
Cf. Brunet IV, 1110; cf. Berlin Kat. 4068; cf. Lambert Pattern and Design (V. & A.: 1983), p. 26; "Raphael Invenit: Stampe da Rafaello" (1985) Ottaviano 9;"Raphael: Reproduktions-graphik aus vier Jahrhunderten (Coburg: 1984), p. 104.
#15812$1,750.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520)
Decorative pilaster with fruit, flowers, and tendrils [Num. III]
[Num. III]. Rome: 1772. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi, printed in light brown coloured ink with contemporary hand-colouring. Good condition. Trimmed to just within plate mark along lower margin, expert repairs to left margin, not affecting image area. Sheet size: 42 1/2 x 17 1/8 inches.
A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series, with contemporary colouring of the highest quality from the golden age of the hand-coloured print.
A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print, one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments, was probably planned as early as 1760, but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli, the draughtsman Ludovico Teseo, the architect Pietro Camporesi, and the engravers Giovanni Ottaviani and Giovanni Volpato. The plate is remarkable not only as the first important visual record of Raphael's work, but also for the quality of the hand-colouring - the work on this image is, in our opinion, some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print.
The whole series was of importance not just for the size and magnificent colouring of the prints, but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legi | | | |
