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browsing 4487 items
displaying items 4201 to 4300
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 TREW, Christoph Jakob (1695-1769)
Rosa I, Hundertblättrigte Rose mit 3 auseinander gewachsenen Blumen [Pl. 37]
[Pl. 37]. Nuremberg: [no date but circa 1750-1762]. Etching, with engraving, coloured by hand, by J.M. Seligmann. Very good condition. Plate mark: 14 1/4 x 9 3/8 inches. Sheet size: 15 1/4 x 10 1/2 inches.
A very fine image from the work described by Dunthorne as 'one of the finest records of the cultivated flowers of the period' and by Blunt (p. 166) as 'one of the most decorative florilegia of the mid-eighteenth century.' A complete copy of this work sold for almost $1,000,000 in London in 2002.
The great characteristic of this beautiful plate, from Trew's Hortus Nitidissimus, is the way in which the watercolour and bodycolour painting almost entirely eclipses the engraved lines.
Although the work was actually started by Johann Michael Seligmann (1720-1762), the engravings were based on the collection of flower drawings owned by the botanist and bibliophile Christoph Trew, a distinguished physician of Nuremberg. Georg Ehret (1708-1770), who enjoyed Trew's patronage from 1732 and traveled widely on his behalf before settling in London in 1736, produced the designs for 40 of the eventual total of 188 plates. The remainder were drawn up by a team of local artists, including J.C. Keller, Professor of Drawing at Erlangen University, the court painter Nikolaus Eisenberger, and A.L. Wirsing.
Cf. Brunet V, 943; cf. Dunthorne 310; cf. Great Flower Books (1990) p. 144; cf. Harvard Arnold, p. 700; cf. Johnston Cleveland 493; cf. Nissen BBI 1995; cf. Pritzel 9500
#7969 $2,750.00  
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 TREW, Christoph Jakob (1695-1769)
Caryophyllus II, Le Roy de Perfans [Carnation]; Caryophyllus I, Kayfer Carl der VI [Carnation]
Nuremberg: [no date but circa 1750-1762]. Etching, with engraving, coloured by hand, by J.M. Seligmann. Very good condition. Plate mark: 16 7/8 x 10 3/8 inches. Sheet size: 18 7/8 x 13 1/2 inches.
A very fine image from the work described by Dunthorne as 'one of the finest records of the cultivated flowers of the period' and by Blunt (p. 166) as 'one of the most decorative florilegia of the mid-eighteenth century.' A complete copy of this work sold for almost $1,000,000 in London in 2002.
The great characteristic of this beautiful plate, from Trew's Hortus Nitidissimus, is the way in which the watercolour and bodycolour painting almost entirely eclipses the engraved lines.
Although the work was actually started by Johann Michael Seligmann (1720-1762), the engravings were based on the collection of flower drawings owned by the botanist and bibliophile Christoph Trew, a distinguished physician of Nuremberg. Georg Ehret (1708-1770), who enjoyed Trew's patronage from 1732 and traveled widely on his behalf before settling in London in 1736, produced the designs for 40 of the eventual total of 188 plates. The remainder were drawn up by a team of local artists, including J.C. Keller, Professor of Drawing at Erlangen University, the court painter Nikolaus Eisenberger, and A.L. Wirsing.
Cf. Brunet V, 943; cf. Dunthorne 310; cf.Great Flower Books (1990) p. 144; cf. Harvard Arnold, p. 700; cf. Johnston Cleveland 493; cf. Nissen BBI 1995; cf. Pritzel 9500
#7973$1,400.00
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 TREW, Christoph Jakob (1695-1769)
Tulipa X [Pl. 56]
[Pl. 56]. Nuremberg: 1766. Etching, with engraving, coloured by hand, by A.L. Wirsing. Very good condition. Plate mark: 18 x 10 5/8 inches. Sheet size: 19 3/4 x 13 3/8 inches.
A very fine image from the work described by Dunthorne as 'one of the finest records of the cultivated flowers of the period' and by Blunt (p. 166) as 'one of the most decorative florilegia of the mid-eighteenth century.' A complete copy of this work sold for almost $1,000,000 in London in 2002.
The great characteristic of this beautiful plate, from Trew's Hortus Nitidissimus, is the way in which the watercolour and bodycolour painting almost entirely eclipses the engraved lines.
Although the work was actually started by Johann Michael Seligmann (1720-1762), the engravings were based on the collection of flower drawings owned by the botanist and bibliophile Christoph Trew, a distinguished physician of Nuremberg. Georg Ehret (1708-1770), who enjoyed Trew's patronage from 1732 and traveled widely on his behalf before settling in London in 1736, produced the designs for 40 of the eventual total of 188 plates. The remainder were drawn up by a team of local artists, including J.C. Keller, Professor of Drawing at Erlangen University, the court painter Nikolaus Eisenberger, and A.L. Wirsing.
Cf. Brunet V, 943; cf. Dunthorne 310; cf. Great Flower Books (1990) p. 144; cf. Harvard Arnold, p. 700; cf. Johnston Cleveland 493; cf. Nissen BBI 1995; cf. Pritzel 9500
#7974$4,750.00
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 TREW, Christoph Jakob (1695-1769)
Tulipa VIII [Pl. 55]
[Pl. 55]. Nuremberg: 1766. Etching, with engraving, coloured by hand, by A.L. Wirsing. Very good condition. Plate mark: 13 7/8 x 9 1/8 inches. Sheet size: 18 7/8 x 13 3/4 inches.
A very fine image from the work described by Dunthorne as 'one of the finest records of the cultivated flowers of the period' and by Blunt (p. 166) as 'one of the most decorative florilegia of the mid-eighteenth century.' A complete copy of this work sold for almost $1,000,000 in London in 2002.
The great characteristic of this beautiful plate, from Trew's Hortus Nitidissimus, is the way in which the watercolour and bodycolour painting almost entirely eclipses the engraved lines.
Although the work was actually started by Johann Michael Seligmann (1720-1762), the engravings were based on the collection of flower drawings owned by the botanist and bibliophile Christoph Trew, a distinguished physician of Nuremberg. Georg Ehret (1708-1770), who enjoyed Trew's patronage from 1732 and traveled widely on his behalf before settling in London in 1736, produced the designs for 40 of the eventual total of 188 plates. The remainder were drawn up by a team of local artists, including J.C. Keller, Professor of Drawing at Erlangen University, the court painter Nikolaus Eisenberger, and A.L. Wirsing.
Cf. Brunet V, 943; cf. Dunthorne 310; cf. Great Flower Books (1990) p. 144; cf. Harvard Arnold, p. 700; cf. Johnston Cleveland 493; cf. Nissen BBI 1995; cf. Pritzel 9500
#7977$2,750.00
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 TREW, Christoph Jakob (1695-1769)
Rosa IV, The Single Eglatine or Sweet Briarbush [Pl. 42]
[Pl. 42]. Nuremberg: [no date but circa 1750-1762]. Etching, with engraving, coloured by hand, by J.M. Seligmann. Very good condition. Plate mark: 11 3/4 x 8 3/8 inches. Sheet size: 21 1/2 x 14 3/4 inches.
A very fine image from the work described by Dunthorne as 'one of the finest records of the cultivated flowers of the period' and by Blunt (p. 166) as 'one of the most decorative florilegia of the mid-eighteenth century.' A complete copy of this work sold for almost $1,000,000 in London in 2002.
The great characteristic of this beautiful plate, from Trew's Hortus Nitidissimus, is the way in which the watercolour and bodycolour painting almost entirely eclipses the engraved lines.
Although the work was actually started by Johann Michael Seligmann (1720-1762), the engravings were based on the collection of flower drawings owned by the botanist and bibliophile Christoph Trew, a distinguished physician of Nuremberg. Georg Ehret (1708-1770), who enjoyed Trew's patronage from 1732 and traveled widely on his behalf before settling in London in 1736, produced the designs for 40 of the eventual total of 188 plates. The remainder were drawn up by a team of local artists, including J.C. Keller, Professor of Drawing at Erlangen University, the court painter Nikolaus Eisenberger, and A.L. Wirsing.
Cf. Brunet V, 943; cf. Dunthorne 310; cf. Great Flower Books (1990) p. 144; cf. Harvard Arnold, p. 700; cf. Johnston Cleveland 493; cf. Nissen BBI 1995; cf. Pritzel 9500
#7979$1,500.00
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 TREW, Christoph Jakob (1695-1769)
Tulipa X [Pl. 59]
[Pl. 59]. Nuremberg: Christopher Trew, 1771. Etching, with engraving, coloured by hand, by A.L. Wirsing. Good condition apart from some overall light soiling and a mild crease extending from the left margin, through the image, to the extreme edge of the right margin. Plate mark: 12 3/4 x 8 5/8 inches. Sheet size: 18 7/8 x 13 1/2 inches.
A very fine image from the work described by Dunthorne as 'one of the finest records of the cultivated flowers of the period' and by Blunt (p. 166) as 'one of the most decorative florilegia of the mid-eighteenth century.' A complete copy of this work sold for almost $1,000,000 in London in 2002.
The great characteristic of this beautiful plate, from Trew's Hortus Nitidissimus, is the way in which the watercolour and bodycolour painting almost entirely eclipses the engraved lines.
Although the work was actually started by Johann Michael Seligmann (1720-1762), the engravings were based on the collection of flower drawings owned by the botanist and bibliophile Christoph Trew, a distinguished physician of Nuremberg. Georg Ehret (1708-1770), who enjoyed Trew's patronage from 1732 and traveled widely on his behalf before settling in London in 1736, produced the designs for 40 of the eventual total of 188 plates. The remainder were drawn up by a team of local artists, including J.C. Keller, Professor of Drawing at Erlangen University, the court painter Nikolaus Eisenberger, and A.L. Wirsing.
Cf. Brunet V, 943; cf. Dunthorne 310; cf. Great Flower Books (1990) p. 144; cf. Harvard Arnold, p. 700; cf. Johnston Cleveland 493; cf. Nissen BBI 1995; cf. Pritzel 9500
#9760$3,500.00
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 TREW, Christoph Jakob (1695-1769)
Corona Imperialis III, Orange Kron [Crown Imperial Fritillary] [Pl. 66]
[Pl. 66]. Nuremberg: [no date but circa 1750-1762]. Etching, with engraving, coloured by hand, by A.L. Wirsing, after J.C. Keller. Very good condition apart from some overall light soiling. Plate mark: 15 7/8 x 11 1/2 inches. Sheet size: 21 3/8 x 14 7/8 inches.
A very fine image from the work described by Dunthorne as 'one of the finest records of the cultivated flowers of the period' and by Blunt (p. 166) as 'one of the most decorative florilegia of the mid-eighteenth century.' A complete copy of this work sold for almost $1,000,000 in London in 2002.
The great characteristic of this beautiful plate, from Trew's Hortus Nitidissimus, is the way in which the watercolour and bodycolour painting almost entirely eclipses the engraved lines.
Although the work was actually started by Johann Michael Seligmann (1720-1762), the engravings were based on the collection of flower drawings owned by the botanist and bibliophile Christoph Trew, a distinguished physician of Nuremberg. Georg Ehret (1708-1770), who enjoyed Trew's patronage from 1732 and traveled widely on his behalf before settling in London in 1736, produced the designs for 40 of the eventual total of 188 plates. The remainder were drawn up by a team of local artists, including J.C. Keller, Professor of Drawing at Erlangen University, the court painter Nikolaus Eisenberger, and A.L. Wirsing.
Cf. Brunet V, 943; cf. Dunthorne 310; cf.Great Flower Books (1990) p. 144; cf. Harvard Arnold, p. 700; cf. Johnston Cleveland 493; cf. Nissen BBI 1995; cf. Pritzel 9500
#9763$3,750.00
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 TREW, Christoph Jakob (1695-1769)
Martagum III, the new Crimson Pensilvania Martagon [Pl. 33]
[Pl. 33]. Nuremberg: Christopher Trew, 1771. Etching, with engraving, coloured by hand, by J.M. Seligmann. Very good condition apart from some mild rippling. Plate mark: 16 3/8 x 11 1/4 inches. Sheet size: 21 3/8 x 14 3/4 inches.
A very fine image from the work described by Dunthorne as 'one of the finest records of the cultivated flowers of the period' and by Blunt (p. 166) as 'one of the most decorative florilegia of the mid-eighteenth century.' A complete copy of this work sold for almost $1,000,000 in London in 2002.
The great characteristic of this beautiful plate, from Trew's Hortus Nitidissimus, is the way in which the watercolour and bodycolour painting almost entirely eclipses the engraved lines.
Although the work was actually started by Johann Michael Seligmann (1720-1762), the engravings were based on the collection of flower drawings owned by the botanist and bibliophile Christoph Trew, a distinguished physician of Nuremberg. Georg Ehret (1708-1770), who enjoyed Trew's patronage from 1732 and traveled widely on his behalf before settling in London in 1736, produced the designs for 40 of the eventual total of 188 plates. The remainder were drawn up by a team of local artists, including J.C. Keller, Professor of Drawing at Erlangen University, the court painter Nikolaus Eisenberger, and A.L. Wirsing.
Cf. Brunet V, 943; cf. Dunthorne 310; cf. Great Flower Books (1990) p. 144; cf. Harvard Arnold, p. 700; cf. Johnston Cleveland 493; cf. Nissen BBI 1995; cf. Pritzel 9500
#9988$1,500.00
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 TREW, Christoph Jakob (1695-1769)
Plantae selectae quarum imagines ... pinxit Georgius Dionysius Ehret
Nuremberg, 1750-1773. 10 parts in one volume, folio (20 x 13 1/2 inches). Ten engraved titles, the first heightened in gold, the rest heightened in gold and red, 3 mezzotint portraits of Trew, G.D. Ehret, and J.J. Haid, 100 fine hand-coloured engraved plates after Georg Dionysius Ehret by Johann Jakob Haid, each with the first word of the caption highlighted in gold. Extra-illustrated with 20 hand-coloured engraved plates by J. Elias Haid (being the "Supplementum", numbered 101-120), each carefully mounted to size. Contemporary German speckled calf gilt, covers with double-fillet gilt border, spine in eight compartments with raised bands, light brown morocco lettering-piece in the second, the others with repeat overall decoration of a centrally-placed flower-spray tool within a starburst, surrounded by various small tools and cornerpieces of stylized foliage, edges stained green, expert repairs to corners, joints and head and foot of spine.
A very fine copy of one of the greatest eighteenth-century botanical books, with the very rare complete complement of 120 exquisite plates (including 100 after paintings by Georg Dionysius Ehret, and the 20 plates from the supplement). Also included is the rare preliminary leaf with a list of the plants which Ehret had painted for Trew's collection.
Only one other copy with 120 plates is recorded as having sold at auction in the past 30 years: the de Belder copy, which included the 20 extra plates, and the supplement title and text. This copy is without the supplemental text issued to accompany the additional plates.
Georg Dionysius Ehret, the greatest botanical artist of the 18th century, was unrivalled in his ability to "achieve realism, majesty, ineffable colour, all in one breathtaking look." (Hunt). He was born in Heidelberg in 1710, and originally worked as a gardener, practising drawing in his spare time. His artistic abilities led him into the service of a Regensburg banker named Leskenkohl who had commissioned him to copy plates from van Rheede tot Draakestein's Hortus indicus malabaricus (1678-1693). It was during this period that Trew met Ehret.
'Trew was a Nuremberg physician, anatomist, and botanist who at various times served as dean of the medical school at Nuremberg, as an Imperial Counselor, and as personal physician to the Emperor. He was made a Pfalzgraf and served as a patron of botanical (and anatomical) illustrators, filling roughly the same position in Germany as that occupied by Sir Hans Sloane in England' (Cleveland Collections p.397). Trew was to remain a friend and patron of Ehret's throughout his life, and by 1742 the germ of what was to become the present publication was already under discussion when Trew wrote to Christian Thran in Carlsruhe "Every year I receive some beautifully painted exotic plants [by Ehret] and have already more than one hundred of them, which with other pieces executed by local artists, should later on... constitute an appendicem to Weinmann's publication."
Ehret moved to London in the late 1730's, where he painted the recently introduced exotics at the Chelsea Physic Garden and established himself as a teacher of flower-painting and botany. Discussions about the projected work continued by letter until in 1748 when Johann Jacob Haid of Augsburg agreed to produce the engravings from Ehret's drawings. The first part was published in 1750, with six subsequent parts appearing before Trew's death 1769. The text to the final three parts remained unwritten and the plates to parts IX and X were still to be produced. The work was bought to a conclusion by Benedict Christian Vogel, Professor of Botany at the University of Altdorf. This copy does not include the engraved general title, or the portrait of Vogel but this 'is normal when the decuria [or part] titles are present' (Johnston Cleveland Collections p.397), it does however include what appears to be a rare preliminary text leaf not called for by either Hunt or Stafleu & Cowan, but possibly listed by Johnston. The two columns of text in German and Latin on the recto are headed 'Avertissement'. The German text ends with Haid's name and the date June 1750. The conclusion of the Latin text is on the verso, again in two columns, and takes up about a third of the page. The remainder of the page is taken up by a list in Latin, in three columns, headed 'Index plantarum, quarum imagines pinxit D. Ehretus / suntque Norimbergae in Museo D.D. Trew' followed by a list of 240 individual plants.
Gerta Calmann Georg Ehret, Flower painter extraordinary (1977) p.97; Dunthorne 309; Hunt II, 539; Great Flower Books (1990), p.144; Johnston Cleveland Collections 429; Nissen BBI 1197; Pritzel 9499; Stafleu & Cowan TL2 15.131.
#15347$175,000.00
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 TRIERE, Philippe after Jean Demosthene DUGOURC
Le Lever de la mariée
circa 1784. Engraving. Proof before letters. Printed on laid paper with watermark. In excellent condition with the exception of some very light foxing in the right margin. Image size: 15 x 11 7/8 inches. Plate mark: 18 5/8 x 13 3/8 inches. Sheet size: 18 7/8 x 14 1/8 inches.
A fantastic proof before letters of this decorative Rococo print of a happy couple the morning after their wedding.
Genre painting came back into favor when the Academy admitted Watteau's "The Pilgrimage to Cythera" to its ranks in 1717. From that point on a fashion for decorative subjects swept the country influencing an entire generation of French artists. This craze for intimate boudoir scenes did not subside until after the onset of the Revolution when, the frivolous tastes of the aristocratic elite were dispelled and a more sober era descended upon French art. This print is a wonderful example of French Rococo tastes. The picture is set in a sumptuous bedroom the morning after a young couple's wedding. The young bride sits on her father's lap while he speaks with his new son-in-law. Two chambermaids ready her toiletries while another closes the curtains on the marriage bed. This beautiful print is the pendant picture to Pierre Antoine Baudouin's "Le Coucher de la Mariee" which depicts the young newlyweds attiring to bed on their wedding night. Baudouin's painting was engraved by Moreau le jeune and finished by F. P. Simonet. Dugoure's frivolous scene is beautifully engraved by Triere creating a truly captivating image, which epitomizes the grand era of French Rococo art.
Nevill, French Prints of the Eighteenth Century p. 135
#10251$950.00
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 TRUMBULL, After John (1756-1843, artist). - Waterman Lilly ORMSBY (1809-1883, engraver)
The Declaration of Independence
[New York?: no date, but c.1876]. Original steel printing plate, engraved by Waterman Lilly Ormsby. Plate maker's mark 'J. Garside / Newark N.J.' stamped on verso. Plate size 24 x 32 5/8 inches.
The original plate from which was printed one of the most admired engraved versions of 'the most important visual record of the heroic period of American history' ('Concise Dictionary of American Biography' p.1082).
The painting from which this image is taken was the result of eight years work by John Trumbull: this is not surprising when one learns that, of the 48 portraits that it finally included, a remarkable thirty six were executed from life. The painting, now in the Yale University Art Gallery, is undoubtedly Turnbull's masterpiece. ' Without a flourish, without heroic gesture, with the associations of power and elegance transformed into sobriety and determination, Trumbull's painting is not grand, but it achieves grandeur. There is not another like it in the world. The very immobility of the figures and the airlessness of the room suggest the frozen instant in which had been born the new state, to be led not by the caprice or ambitions of a monarch, but by the sweet dictates of republican reason.' (Irma Jaffé John Trumbull, p.117).
'As a national image, The Declaration of Independence has penetrated the American consciousness through reproductions in history books, popular magazines, calendars, and every kind of image-making medium.' ( Irma Jaffé John Trumbull, p.117). In the hierachy of the reproductions of this image, the large format steel-engraved plate produced by Ormsby must rank very near the top: indeed a copy of it is to be found in the White House itself.
Waterman Lilly Ormsby, born in Connecticut in 1809, studied at the National Academy of Design and after working for others in Albany, NY, and Lancaster, Mass., he eventually set up on his own in New York. In addition to being an engraver of the first order (as the present plate demonstrates) he was also the inventor of a number mechanical devices, including the 'pantograph' (according to Stauffer). In addition to fine art, he also specialised in engraving for paper money, and was one of the founders of the Continental Bank Note Co.
This plate, one of Ormsby's greatest (which still appears to be in good printable condition) is to be cherished as the matrix for the dissemination, through the engravings printed from it, of one of the most important images in American history.
Trumbull:
Concise Dictionary of American Biography p.1082; Groce & Wallace p.637; Sellers. Banjamin Franklin in Portraiture p.375; cf. T. Sizer The Works of Colonel John Trumbull.
Ormsby:
Concise Dictionary of American Biography p.751; Groce & Wallace p.478; cf. Hamilton Early American Book Illustrators and Wood Engravers 133, 467; Stauffer p.194
#3338$30,000.00
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 TURNER, A.A
ViIlas on the Hudson. A Collection of Photo-lithographs of Thirty-one Country Residences
New York: D. Appleton, 1860. Oblong folio. Three preliminary leaves, 31 photo-lithographic plates (most with two tints), 21 floor plans. Contemporary green pebbled cloth, stamped in gilt, expertly rebacked preserving original cloth backstrip. A few very light fox marks, the plates unblemished. An attractive, near fine copy. Modern green cloth box, dark green morocco lettering piece.
This book is the first large-scale use of photo-lithography in the United States, a medium which did not come into general use for another two decades. Its views are based on photographs made by A.A. Turner of large homes along the Hudson from upper Manhattan Island to Dobbs Ferry, mainly summer or pleasure homes of wealthy New Yorkers, and often exhibiting extravagant or playful architecture. The villas are remarkably lavish and some show considerable whimsy. Turner took the pictures in 1858 and 1859, and this lavish work appeared on the eve of the Civil War. All of the views have at least one additional color, and most two (either brown or green, or both) applied by stencil, with the picture inside a gilt printed border. The images have a slightly surreal quality which adds to the appeal of this remarkable book.
Hitchcock 1275; Truthful Lens 173; Reese, Stamped With a National Character.
#6656$12,500.00
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 TURNER, After Charles (1774-1857), and Joseph BARNEY (1751-1827)
The Woodman at Labor; The Woodman's Repast
London: G. Frailing at Mr. Murphy's, 1 December 1799 and 11 December 1799. Mezzotints, printed in colours and finished by hand, by G. Frailing, after Barney (the first title) and Turner (the second). Image size (including text): 18 3/4 x 15 7/8 inches approx. Sheet size: 21 1/2 x 17 1/8 inches and 21 3/4 x 17 1/2 inches.
A fine pair of images of the rural life of a wood-cutter and his family.
Charles Turner is known chiefly as a mezzotint engraver: an area in which he gained a well-deserved reputation for excellence. His best known work in this field was for J.M.W. Turner's 'Liber Studiorum'. The present print supports the assertion that he 'was a [also] good original draughtsman... [He] engraved from his own drawings portraits of J. M. W. Turner, Michael Faraday, William Kitchiner, Joseph Constantine Carpue the surgeon, and John Jackson the pugilist' (DNB).
Joseph Barney came to London at sixteen and 'studied under Zucchi and Angelica Kauffmann. He gained a premium at the Society of Arts in 1774, and whilst quite young was appointed drawing master at the Royal Military Academy. He held this post for twenty-seven years. He first exhibited at the Royal Academy in 1786. He dealt at first with classical, and afterwards with religious subjects; later he painted domestic life, and... finally... flower painting in the service of the prince regent' (DNB)
#6622$3,000.00
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 TURNER, After Francis Calcraft (c.1782-1846)
The Liverpool Great National Steeple Chase [Plate I (Preparing to start, by the Grand Stand); Plate II (Over the rail and brook); Plate III (Over the wall, view from the rear)]
London: Thos. McLean, 1 May 1839. Three out of a set of four aquatint engravings, printed in colours, and finished by hand, by J. Harris, after Turner (Some expert repairs, to the margins in the main, but plate I with 6 inch repaired tear into image area from upper margin). Image size (including text): 15 5/8 x 25 1/8 inches approx. Sheet size: 19 3/4 x 26 3/4 inches approx.
First issue of a series picturing the first running of the Grand National in 1839.
The present series represents the first running of the Grand National Steeple Chase in 1839, "William Lynn who promoted the race and Lord Sefton who acted as starter can be seen on the far left of Plate I. Having fallen on Captain Childe's Conrad, Captain Beecher can be seen in Plate II struggling out of the brook thereafter given his name" (Charles Lane British Racing Prints p.179). The race was won by Mr. J. Elmore's Lottery ridden by Jem Mason, second was Sir George Mostyn's Seventy-Four ridden by T. Olliver and third Mr. Theobald's Paulina ridden by Mr. Martin. The race is still run annually at Aintree, near Liverpool, and has come to be the most famous race of the Jump-Racing season.
"A contemporary of Henry Alken Snr, Turner's oils of hunting, shooting, racing and steeplechasing are similar in style and have some of the gaiety... of those of his peer. Turner claimed, as did Alken, a considerable personal experience of field sports, particularly hunting. London based, he exhibited paintings at the Royal Academy, the British Institution and the Royal Society of British Artists from 1810 to the year of his death. He also provided almost eighty designs which were engraved... as well as being engaged by the important publishers." (Charles Lane British Racing Prints p.175.
Lane British Sporting Prints p.179; Mellon British Sporting and Animal Prints p.195; Siltzer p.276.
#5169$6,000.00
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 TURNER, After Joseph Mallord William (1775-1851)
From Spenser's Fairy Queen
London: J.M.W.Turner, June 1811. Etching by J.M.W.Turner, with engraving and mezzotint by T.Hodgetts, on wove paper. Image size (including text): 7 1/8 x 10 3/8 inches. Sheet size: 10 7/8 x 15 7/8 inches.
Fourth state (of four) after the addition of lettering: a fine image from Turner's unrivalled 'Liber Studiorum'.
'It may be that Turner's Liber Studiorum contains the pith of all that is best in his life and work.' (Alexander J. Finberg J.M.W.Turner's liber Studiorum 1988, p.xxiii).
'Turner's Liber Studiorum was not intended to reproduce anything that was already in existence. It was from the first conceived in terms of engraving, and the single aim of the work was to produce a series of engravings in which his own powers of invention and design should be adequately expressed' (Finberg op. cit., p.xxi).
Turner's original intention had been to engrave only the etched outlines of each plate, and to then hand over each plate to be engraved and have mezzotint added by professional engravers. However, at some quite early point he did begin to experiment with the mezzotint-rocker and the scraper, probably to allow him to achieve a greater understanding of the limitations of the medium. In addition his instructions to his engravers were very specific, with the result that many of them achieved a level of perfection that they were unable to match in any other works.
'The plates of the Liber Studiorumare engraved nearly as well as if Turner had done them himself. It is no exaggeration to say that the plates are immeasurably finer than any landscapes engraved even by the same engravers when working by their own unaided skill. For the time being Turner endowed them with something of his own incomparable delicacy and accuracy of sight... Merely as a series of engravings Turner's Liber Studiorum deserves the reputation it has enjoyed... Almost every other plate is a classic of the art of mezzotint-engraving. Nothing finer in that medium has yet been accomplished. But they are much more than this.... Each plate is a fresh creation of Turner's genius; a new and original work, which stands by itself, and is its own glory and fulfilment.' (Finberg op.cit. 1988, p.xxiii).
Finberg 36 (fourth state); Rawlinson (third state).
#5542$600.00
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 TURNER, After Joseph Mallord William (1775-1851)
Water Mill
London: J.M.W.Turner, 1 February 1812. Etching by J.M.W.Turner, with engraving and mezzotint by R.Dunkarton, on wove paper. Image size (including text): 7 1/8 x 10 3/8 inches. Sheet size: 11 1/2 x 16 3/8 inches.
Third state (of three) after the addition of lettering: a fine image from Turner's unrivalled 'Liber Studiorum'.
'It may be that Turner's Liber Studiorum contains the pith of all that is best in his life and work.' (Alexander J. Finberg J.M.W.Turner's liber Studiorum 1988, p.xxiii).
'Turner's Liber Studiorum was not intended to reproduce anything that was already in existence. It was from the first conceived in terms of engraving, and the single aim of the work was to produce a series of engravings in which his own powers of invention and design should be adequately expressed' (Finberg op. cit., p.xxi).
Turner's original intention had been to engrave only the etched outlines of each plate, and to then hand over each plate to be engraved and have mezzotint added by professional engravers. However, at some quite early point he did begin to experiment with the mezzotint-rocker and the scraper, probably to allow him to achieve a greater understanding of the limitations of the medium. In addition his instructions to his engravers were very specific, with the result that many of them achieved a level of perfection that they were unable to match in any other works.
'The plates of the Liber Studiorumare engraved nearly as well as if Turner had done them himself. It is no exaggeration to say that the plates are immeasurably finer than any landscapes engraved even by the same engravers when working by their own unaided skill. For the time being Turner endowed them with something of his own incomparable delicacy and accuracy of sight... Merely as a series of engravings Turner's Liber Studiorum deserves the reputation it has enjoyed... Almost every other plate is a classic of the art of mezzotint-engraving. Nothing finer in that medium has yet been accomplished. But they are much more than this.... Each plate is a fresh creation of Turner's genius; a new and original work, which stands by itself, and is its own glory and fulfilment.' (Finberg op.cit. 1988, p.xxiii).
Finberg 37 (third state); Rawlinson (second or third state).
#5543$600.00
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 TURNER, After Joseph Mallord William (1775-1851)
[Dumbarton Rocks]
No place: no date]. Etching after J.M.W.Turner, with engraving and mezzotint by Thomas Lupton, on wove paper. Image size (including text): 7 13/16 x 10 7/16 inches. Sheet size: 13 1/16 x 15 5/16 inches.
A later impression of this fine image from Turner's unrivalled 'Liber Studiorum'.
'It may be that Turner's Liber Studiorum contains the pith of all that is best in his life and work.' (Alexander J. Finberg J.M.W.Turner's liber Studiorum 1988, p.xxiii).
'Turner's Liber Studiorum was not intended to reproduce anything that was already in existence. It was from the first conceived in terms of engraving, and the single aim of the work was to produce a series of engravings in which his own powers of invention and design should be adequately expressed' (Finberg op. cit., p.xxi).
Turner's original intention had been to engrave only the etched outlines of each plate, and to then hand over each plate to be engraved and have mezzotint added by professional engravers. However, at some quite early point he did begin to experiment with the mezzotint-rocker and the scraper, probably to allow him to achieve a greater understanding of the limitations of the medium. In addition his instructions to his engravers were very specific, with the result that many of them achieved a level of perfection that they were unable to match in any other works.
'The plates of the Liber Studiorum are engraved nearly as well as if Turner had done them himself. It is no exaggeration to say that the plates are immeasurably finer than any landscapes engraved even by the same engravers when working by their own unaided skill. For the time being Turner endowed them with something of his own incomparable delicacy and accuracy of sight... Merely as a series of engravings Turner's Liber Studiorum deserves the reputation it has enjoyed... Almost every other plate is a classic of the art of mezzotint-engraving. Nothing finer in that medium has yet been accomplished. But they are much more than this.... Each plate is a fresh creation of Turner's genius; a new and original work, which stands by itself, and is its own glory and fulfilment.' (Finberg op.cit. 1988, p.xxiii).
Finberg 76.
#5671$400.00
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 TURNER, After Joseph Mallord William (1775-1851)
[The Farm-Yard with the Cock]
London: C.Turner, 29 March 1809. Etching by J.M.W.Turner, with engraving and mezzotint by Charles Turner, on laid paper. Image size (including text): 7 1/8 x 10 1/4 inches. Sheet size: 11 3/8 x 4 7/16 inches.
Second or third state (of three) after the addition of lettering: a fine image from Turner's unrivalled 'Liber Studiorum'.
'It may be that Turner's Liber Studiorum contains the pith of all that is best in his life and work.' (Alexander J. Finberg J.M.W.Turner's liber Studiorum 1988, p.xxiii).
'Turner's Liber Studiorum was not intended to reproduce anything that was already in existence. It was from the first conceived in terms of engraving, and the single aim of the work was to produce a series of engravings in which his own powers of invention and design should be adequately expressed' (Finberg op. cit., p.xxi).
Turner's original intention had been to engrave only the etched outlines of each plate, and to then hand over each plate to be engraved and have mezzotint added by professional engravers. However, at some quite early point he did begin to experiment with the mezzotint-rocker and the scraper, probably to allow him to achieve a greater understanding of the limitations of the medium. In addition his instructions to his engravers were very specific, with the result that many of them achieved a level of perfection that they were unable to match in any other works.
'The plates of the Liber Studiorum are engraved nearly as well as if Turner had done them himself. It is no exaggeration to say that the plates are immeasurably finer than any landscapes engraved even by the same engravers when working by their own unaided skill. For the time being Turner endowed them with something of his own incomparable delicacy and accuracy of sight... Merely as a series of engravings Turner's Liber Studiorum deserves the reputation it has enjoyed... Almost every other plate is a classic of the art of mezzotint-engraving. Nothing finer in that medium has yet been accomplished. But they are much more than this.... Each plate is a fresh creation of Turner's genius; a new and original work, which stands by itself, and is its own glory and fulfilment.' (Finberg op.cit. 1988, p.xxiii).
Finberg 17 (second or third state).
#5757$600.00
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 TURNER, Charles after T. LEEMING
John Grosvenor, Oxford
Oxford: Published by Mr. Leeming, High Street, & by Mr. Smith Printseller, High Street, Nov. 1, 1812. Mezzotint. State ii/ii with the title in open letters. In excellent condition. Image size: 17 1/4 x 13 7/8 inches. Plate mark: 20 1/8 x 14 inches. Sheet size: 24 5/8 x 17 7/8 inches.
A distinguished portrait of John Grosvenor, the noted surgeon from Oxford, by the celebrated mezzotint engraver Charles Turner.
Charles Turner was an excellent engraver who throughout his memorable career produced an array of wonderful images. Born in Oxfordshire, Turner moved to London in 1795, at which time he was employed by the famous engraver and publisher Boydell. Turner was a versatile engraver working in stipple and aquatint as well as mezzotint. Although, Turner produced a wide array of excellent prints in subjects ranging from topography to genre, his main artistic focus was portraiture. Throughout his career he produced more than six hundred plates, of which about two-thirds were portraits. Turner was a close friend of JMW Turner, and engraved many of the artists' paintings, in addition to engraving the plates for 'Liber Studiorum'. For any print connoisseur the work of Charles Turner is highly regarded. As an engraver he combined technical skill with artistic imagination to create beautiful enduring images.
John Grosvenor (1742-1823) was a noted surgeon in Oxford. He received his medical education at Worcester College, Oxford and went on to complete his training at the London hospitals. He was very successful in using friction to treat stiff and diseased joints and for a long time he was the most noted practical surgeon in Oxford. He became anatomical surgeon on Dr. Lee's foundation at Christ Church and late in life became the editor of the 'Oxford Journal'.
Whitman, Charles Turner 238, ii/ii; Burgess, Portraits in the Wellcome Institute 1226/1; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 1; Lennox-Boyd & Stogdon, state ii/ii
#7280$450.00
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 TURNER, Charles after J. HOPPNER
Charlotte Countess of Cholmondeley and the Hon. Henry Cholmondeley
London: Published by C. Turner, No 50 Warren Street, Fitzroy Square, July 15, 1805. Colour printed mezzotint. State ii/ii with the inscription strengthened. In good condition apart from some minor creasing and two small tears on the upper and lower margins. Trimmed within platemark and skillfully remargined onto cream wove paper. Image size: 22 7/8 x 14 11/16 inches. Sheet size: 25 15/16 x 16 1/2 inches.
A beautiful colour printed portrait of the Countess of Cholmondeley and her son.
This stunning portrait of Charlotte the Countess of Cholmondeley and her son is a lovely example of early colour printing, and exemplifies the unique talents of the engraver. Charles Turner was an outstanding engraver who throughout his memorable career produced an array of wonderful images. Born in Oxfordshire, Turner moved to London in 1795, at which time he was employed by the famous engraver and publisher Boydell. Turner was a versatile engraver working in stipple and aquatint as well as mezzotint. Although Turner produced a wide array of excellent prints in subjects ranging from topography to genre, his main artistic focus was portraiture. Throughout his career he produced more than six hundred plates, of which about two-thirds were portraits. Turner was a close friend of J.M.W. Turner, and engraved many of the artists' paintings, in addition to engraving the plates for 'Liber Studiorum'. For any print connoisseur the work of Charles Turner is highly regarded, as an engraver he combined technical skill with artistic imagination to create beautiful enduring images. (DNB)
Whitman, Charles Turner 110, this state not recorded; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 1; Lennox-Boyd & Stogdon, state i/ii
#7945$1,200.00
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 TURNER, J. M. W. engraved by R. WALLIS
Hastings
London: Published by E. Gambart & Co. 25 Berners Street, Oxford Street, Nov. 1st, 1851. Steel engraving. Printed on thick wove paper as usual. In good condition with the exception of a mended tear on the right margin. Tear and crease in lower left corner outside image. Image size (including text): 15 ½ x 23 3/16 inches. Plate mark: 20 x 26 1/8 inches. Sheet size: 23 x 29 1/8 inches.
An important lifetime print by Wallis after Turner's romantic view of Hastings from the sea.
From the age of 19, until his death in 1851, Turner was involved in the production of over 800 prints based on his paintings, watercolours, and drawings. He was intimately concerned with the production and reworking of plates after his works, often providing copious instructions and suggestions to the engravers. It was through the dissemination of these prints that Turner gained his reputation as one of the greatest and best-loved English painters. Even after his death his romantic paintings served as a continued source of inspiration for printmakers across Britain and the Continent. His grand paintings were reproduced in almost every medium available, from large steel plates, to mezzotints and chromolithographs. His works appeared as book illustrations and vignettes, as well as large separately published fine art prints. Turner's impact on the history of British painting is intimately connected with the print trade. Reproductive examples of his work were eagerly viewed and collected by the public, establishing his reputation as the greatest landscape painter of his generation. Turner not only viewed printmaking as an invaluable source of advertising, but valued the medium as a true art form. Prints remained a major focus throughout Turner's long career and helped shape his work as much as they advocated his talent.
This large steel plate was published by the influential print seller Gambart in 1851, along with another large view entitled "Dover" engraved by J. T. Willmore. This stunning print was one of the last plates that Turner worked on before his death in 1851. The print reproduced an exceptionally large watercolour that Turner completed in 1818. According to Rawlinson, Gambart had complained, "he had great difficulty in getting Turner to "touch" the Proof, as he was then very ill, and did not wish anyone to know where he was living". Turner expressed a great admiration for Wallis's monumental engraving and instructed Gambart to publish the plate as it was without any corrections from the artist. Marking the end of Turner's artistic collaboration with his engravers, Wallis's monumental engraving is a superb interpretation of Turner's magnificent watercolour. Wallis lovingly interprets the romanticism and fluidity of Turner's work with the ease of a true master, making this impressive image a true collector's item as well as a beauty to behold.
Herrmann, Turner Prints: The Engraved Work of J. M. W. Turner p. 2237-238, 271; Rawlinson, The Engraved Work of J. M. W. Turner, R. A. no. 665; Wilton, The Life and Work of J. M. W. Turner, (Catalogue of Watercolours) no. 504
#16108$850.00
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 United States Coast and Geodetic Survey
Chesapeake Bay, York River Hampton's Roads Chesapeake Entrance
Washington D.C.: Published by the United States Coast and Geodetic Survey, Sept. 1899. Engraving. Printed on wove paper. In excellent condition with the exception of a large in filled tear in the upper margin. Another expertly mended tear on the bottom margin. Image size: 37 3/4 x 27 1/4 inches. Sheet size: 29 7/8 x 42 inches.
A fascinating sea chart of the Chesapeake Bay, produced by the United States Coast and Geodetic Survey.
In response to the growing need for accurate coastal charts of America, Thomas Jefferson signed a bill creating the United States Coast Survey. Founded in 1807, the agency was responsible for conducting detailed surveys of the coastal areas, which were then carefully recorded in large navigational charts. These charts included information on shoals, reefs, and other navigational hazards that plagued American vessels. Ferdinand Hassler, a young Swiss engineer, was selected to establish the new agency, but various obstacles meant that the actual surveying did not commence until 1816, when Hassler began work on New York Bay.
Hassler was succeeded by Alexander Dallas Bache who dedicated himself to surveying the country's extended coastline. Under Bache the quality of the engraving and lettering in the charts achieved a high standard and the U. S. Coast and Geodetic Survey became a permanent, and heartily supported government function. The work of the Coast Survey not only resulted in the most accurate charts of America's coastal waters, but pioneered the techniques and equipment used by later surveyors in mapping the interior of the country.
Conducted under S. Pritchett, who ran the Survey office for only three years before becoming president of M.I.T, this detailed chart covers the Chesapeake Bay including the York River, and the Hampton Roads waterway. Water depths and sand bars are all carefully recorded, as are the various lighthouses along the coastline. Tides, soundings and buoys are also noted as well as weather signal stations and life saving stations. This is an important sea chart of this area and wonderful example of the maps produced by the United States Coast Survey.
#16000$1,500.00
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[UNITED STATES CONSTITUTION]
Plan of the New Federal Government [caption title]
Philadelphia: Robert Smith, [1787]. Folio (17 3/4 x 13 1/2 inches). 4pp., printed in double columns, untrimmed, expertly restored with tissue along center fold, one small hole in the text, affecting one letter. Contained in a leather-backed portfolio.
A significant discovery: a unique example of an early printing of the United States Constitution.
This previously unrecorded early printing of the Constitution, known only from this unique example, is arguably the earliest publicly available printed form of this foundation document. Not recorded by Evans, Bristol, Shipton & Mooney, or the North American Imprints Project. It prints the full text of the Constitution, the names of the delegates and the states they represented, the Constitutional Convention's resolution that the document be submitted to the states for ratification, and the text of George Washington's letter endorsing the Constitution.
This four-page handbill, issued by the Philadelphia printer, Robert Smith, gives every indication of being issued in great haste, with the text of pages 1 and 4 misaligned, and set in a double-column format typical of a newsletter handbill of the period. While undated, such a format clearly was not produced at leisure, and this handbill was almost certainly issued shortly after the Constitution was publicly announced on Sept. 17, 1787.
Robert Smith had been apprenticed with the Philadelphia firm of Dunlap and Claypoole - who later became the official printers to the Constitutional Convention - before launching his own newspaper, the Evening Chronicle, in Philadelphia in February, 1787. Smith took on a partner, James Prange, and the firm operated as Smith and Prange from November 1, 1787. The imprint on this printing of the Constitution reads "Philadelphia: Printed by Robert Smith," so it can be dated to between September 17 and November 1, 1787. The text of the Constitution was publicly read before the Pennsylvania General Assembly on the morning of September 18, and was printed by Dunlap and Claypoole (partly from the standing type they used to produce their official printing for the delegates on September 17th) and published in the regular issue of their weekly newspaper, the Pennsylvania Packet, on September 19.
It is almost certain that Smith produced this printing of the Constitution within a week of its announcement, and he may have indeed printed it as early as Tuesday, September 18th or Saturday, September 22nd - Tuesdays and Saturdays being the days of publication of The Evening Chronicle. Logically, Smith would have gone to press with this politically and historically important document as soon as the new plan was available to be set in type. Even a week later, the new plan would have been cold, essentially unsaleable news to Philadelphians. Indeed, if Smith somehow obtained the text of the Constitution from his former colleagues, Dunlap and Claypoole, this printing may be the earliest "unofficial" printing of the Constitution. Leonard Rapport observes that "most accounts name the September 19 edition of Dunlap and Claypoole's Pennsylvania Packet as the first printing of the Constitution (as distinguished from the Convention's official printing). Such attribution, however, ignores the fact that the PacketI was only one of five Philadelphia newspapers in which the Constitution appeared that morning. Was there a first among the newpapers?.
A tip-sheet in the New-York historical society hints that the race may have been lost for those particular newspapers even before the newsboys started their Wednesday morning [the 19th] deliveries. on September 18 Lt. Erkuries Beatty, Paymaster fo the First U.S. Infantry, was in Philadelphia buying supplies. His diary entry for that day reads: 'The business of the Convention read before the house of Assemby and was published in the Evening.' No copy of such a printing is known to exist. However, the Philadelphia Evening Chronicle appeared twice a week, on Tuesdays and Sundays. Copies of all the Chronicle's September issues survive with one exception - that of Tuesday, September, 18th. With copies of the official printing available Monday night or Tuesday morning there was time enough for thee printer of the Chronicle to have obtained and reprinted a copy by Tuesday evening. If it did not appear in the missing issue, the Chronicle would have had the distinction of being the only Philadelphia newspaper not to have published the Constitution " (Leonard Rappaport "printing the Constitution" in Prologue: the Journal of the National Archives I, vol.2, no.2, pp.81-82). It is quite possible that Robert Smith decided not to publish a regular issue of his newspaper on the 18th, and chose instead to devote his resources to printing this most important document. If this was in fact the case, then this document, known only from the present unique example, would constitute the first publicly available printing of the United States Constitution.
Similar handbills were issued in New York, Boston, Baltimore, and Richmond, as the news of the Constitution reached those cities, but the fact that Smith was located in Philadelphia allied with his former working relationship with Dunlap and Claypoole indicate that this printing precedes all those, and was in fact produced very shortly after the end of the Constitutional Convention. This large-format, small-type edition is not recorded in Evans, Shipton & Mooney, Bristol, NAIP, or any of the standard bibliographical sources; it was unrecorded until 1996, and, as of now, remains the only known copy.
Leonard Rapport "Printing the Constitution," in Prologue: The Journal of the National Archives, vol. 2, no. 2 (1970) pp.69-90.
#18656$335,000.00
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 UNITED STATES OF AMERICA
A photograph album of mounted topographical albumen photographs (Washington & New York)
[New York, etc: circa 1878]. Oblong folio (10 1/2 x 14 1/4 inches). 18 albumen photographs, ranging in size from 4 x 6 1/8 to 4 1/2 x 7 1/2 inches, mounted recto only of 9 leaves, each with pencilled titles. Recent half-green morocco to style, incorporating 19th century boards, spine simply gilt in six compartments.
A wonderful photographic album depicting the eastern United States.
The places visited include Washington, D.C. (5 images); Mount Vernon (1 image) and New York City (12 small images, including a fine overall view of lower Manhattan, an early view of Wall Street [1] and 'Grand Central Depot' [1]))
#13167$2,500.00
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 UNKNOWN
[English Landscape]
circa 1760. Engraving with heavy early colour. Trimmed as usual and mounted on early washline background. Mounted on early wove paper. In excellent condition with the exception of some minor scuff marks in the upper section of the image. Image size: 14 1/8 x 21 7/16 inches. Sheet size: 19 ½ x 26 3/8 inches.
A lovely landscape print with thick original colour from the famous Oettingen-Wallerstein collection.
Towards the middle of the eighteenth century a trend developed amongst English artists and printmakers, which sought to visually record the natural beauties of England and Wales. Sparked by a sense of national confidence and patriotism, English printmakers began to publish topographical prints of the important sights in the British Isles. In addition to being a visual record of the countryside they were meant to encourage public recognition of the beauty and history of England. They were aimed at English and foreign tourists who desired a memento of their travels, or at those vicarious tourists who collected topographical prints instead of traveling. This magnificent print is a wonderful example of this trend in English landscape painting. By trimming the image within the platemark and mounting it on a decorative washline background, the print has the effect of a landscape painting. The likeness is heightened by the addition of added body colour in the image and the use of a heavy painterly technique of engraving. This practice was common amongst engravers and print sellers who wished to capitalize on this trend for picturesque landscapes. This print is from the famed Oettingen-Wallerstein collection, which was compiled over two centuries by various members of the royal household. The collection is known for its stunning impressions and the immaculate condition of its prints.
Lugt, Les Marques de Collections, (Supplement) 2715a; Clayton The English Print 1688-1802 page 155-157
#14694$1,500.00
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 [UNKNOWN]
Pointers
London: Published by Edw. Orme, Bond Street, the corner of Brook Str, Jany. 1, 1817. Mezzotint. Printed on wove paper. In good condition with the exception of being trimmed just outside the platemark on all sides. A few creases in image and a small mended tear on bottom margin. Crease along upper left corner. Image size: 18 7/8 x 23 ¾ inches. Plate mark: 18 7/8 x 23 ¾ inches. Sheet size: 19 1/8 x 23 13/16 inches.
A captivating English mezzotint depicting two pointers
For most of the eighteenth and nineteenth century, animal portraiture, in particular painting and engravings of prized hunting dogs, became a veritable craze in England. This national passion occupied the talents and imaginations of some of the country's best artists, and created an entire genre of sporting art. This magnificent mezzotint is a striking example of this artistic phenomenon. Although we are unable to ascertain the artist and engraver of this striking image, it resembles, in style and composition, the grand animal paintings of George Stubbs and James Northcote. Published by Edward Orme in 1817, this impressive mezzotint depicts two prized pointers standing to attention. Edward Orme was one of the most prolific and successful printsellers in London. He made a name for himself publishing sporting prints, in particular works by and after Stubbs, and soon became one of the most important publishers of illustrated books in England. During the course of his career, Orme published more than 700 illustrated books including his seminal "British Field Sports" in 1807. He often acquired and republished earlier plates as well as producing original work himself. In addition to being a strong image, this impressive mezzotint is a wonderful reminder of the grand age of English sporting prints.
Dictionary of National Biography
#15340$2,500.00
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