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browsing 4487 items
displaying items 4401 to 4500
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(total 45 pages)
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 WEINMANN, Johann Wilhelm (1683-1741)
Laburnum, seu Anagyris flore luteo [Common Laburnum with yellowish flower?]; Laburnum sive Anagyris Africana flore coeruleo, B [African Laburnum?]; Lacca in baculis, Laqueen baton, Gymi lacc; Laccifera Arbor, Laque, Lacc; Lachryma Jobi, Larme de Job [Job's Tears]; Lactuca capitata, Laitue pommèe [Lettuce]; Lactuca crispa, Laitue crepee [Crisp Lettuce] [Pl. 618]
[Pl. 618]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 3/4 x 8 1/4 inches. Sheet size: 15 1/2 x 9 7/8 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#7063 $400.00  
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 WEINMANN, Johann Wilhelm (1683-1741)
Genista seu Spartium flore albo [Broom with white flowers?]; Genista seu Spartium Hispanicum, Genest d'Espagne [Spanish Broom]; Genista Hispanicum flore pleno [Spanish Broom]; Genista Spartium Africanum Erocae folio floribus purpureo incarnatis [African Broom with purple flowers?]; Genista Spartium bacciferum Erocae foliis Afrcianum [Broom]; Genista vulgaris offiicinarum, Genet Souvage [Wild Broom?]; Genista humilis seu Chamae Spartium, Spargelle [Broom] [Pl. 532]
[Pl. 532]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition apart from some minor foxing in the margins and the image and very light soiling in the margins. Image size (including text): 12 3/8 x 8 1/8 inches. Sheet size: 15 5/8 x 10 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#7066$350.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Jambos Javanensis major, J. fructu sanguineo, J. Ceramensis fructu luteo [N. 601]
[N. 601]. [Regensburg]: [1734-1745]. Mezzotint, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 3/4 x 8 1/4 inches. Sheet size: 16 3/4 x 10 inches.
A fine image from the first work to use colour-printed mezzotint successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its two colour-printed precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a young female artist whose paintings were particularly clever.
Extremely influential at the time, Weinmann's work is now highly valued for the undoubted artistic standard of the plates but the individual plates also represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary binomial system.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#14642$470.00
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 WEINMANN, Johann Wilhelm (1683-1741)
[Pineapple] Ananas folio angusto serrato [N. 112]
[N. 112]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition with the exception of some very slight foxing at the extreme sheet edges. Image size (including text): 12 3/4 x 8 1/4 inches. Sheet size: 15 3/8 x 9 1/2 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#14643$825.00
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 WELLS, J after A. GRANT
Dunoly Castle
London: Published by J. Grives, 103 Strand, 30 March, 1789. Colour-printed aquatint with additional hand-colouring. Lovely contemporary colour. As usual text line is attached on verso of sheet. In excellent condition. Trimmed as usual and mounted on washline background. Mounting sheet is watermarked laid paper. Image size: 11 3/4 x 17 1/8 inches. Sheet size: 16 1/2 x 20 1/4 inches.
A wonderful view of Dunoly Castle, in the grand tradition of the picturesque English landscape.
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.
At the same time the concept of the picturesque landscape developed amongst artists and printmakers across England and Europe. As an aesthetic theory the picturesque presents an idealized and sentimentalized view of nature. Using this concept, artists strove to depict nature as an aesthetic form, which was designed to evoke awe and amazement in the viewer. This practice developed a visual language for landscape painting that dominated the genre until the onset of the twentieth century. The effects of the picturesque on landscape painting, in a large measure, forms the way we see the countryside today, and the manner in which we perceive and interpret "beauty". According to "the picturesque" nature is wild and abandoned yet it conforms to a symmetrical structure that defines a sense of beauty and visual harmony. This is a wonderful example of a picturesque eighteenth century landscape print. 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 printsellers who wished to capitalize on this trend for picturesque landscapes of the English countryside.
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.
Clayton, The English Print 1688-1802 p. 155; Lugt, Les Marques de Collections, (Supplement) 2715a
#10350$1,500.00
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 WELLS, J after A. GRANT
Stirling Castle
London: Published by J. Grives, 103 Strand, March 16, 1789. Colour-printed aquatint with additional hand-colouring. Lovely contemporary colour. As usual text line is attached on verso of sheet. In excellent condition. Trimmed as usual and mounted on washline background. Mounting sheet is watermarked laid paper. Image size: 11 9/16 x 17 inches. Sheet size: 17 1/8 x 20 9/16 inches.
A wonderful view of Stirling Castle, in the grand tradition of the picturesque English landscape.
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.
At the same time the concept of the picturesque landscape developed amongst artists and printmakers across England and Europe. As an aesthetic theory the picturesque presents an idealized and sentimentalized view of nature. Using this concept, artists strove to depict nature as an aesthetic form, which was designed to evoke awe and amazement in the viewer. This practice developed a visual language for landscape painting that dominated the genre until the onset of the twentieth century. The effects of the picturesque on landscape painting, in a large measure, forms the way we see the countryside today, and the manner in which we perceive and interpret "beauty". According to "the picturesque" nature is wild and abandoned yet it conforms to a symmetrical structure that defines a sense of beauty and visual harmony. This is a wonderful example of a picturesque eighteenth century landscape print. 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 printsellers who wished to capitalize on this trend for picturesque landscapes of the English countryside.
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.
Clayton, The English Print 1688-1802 p. 155; Lugt, Les Marques de Collections, (Supplement) 2715a
#10353$1,500.00
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 WENING, Michael (1645-1718)
Closter Fürstenzell
Munich: Johann Lucas Straub, 1701-26. Hand-coloured engraving by Wening. Very good condition apart from some overall light soiling and minor foxing. Plate mark: 10 3/8 x 27 5/8 inches. Sheet size: 12 x 29 inches.
A fascinating and very beautiful print from Wening's rare work on the towns, castles and abbeys of Bavaria: 'Historico-topographica Descriptio'
This image is from Wening's only major published work, a large-scale study of Bavarian towns, churches and mansions published in four volumes between 1701 and 1726. Wening, who was born in Nuremberg, moved to Munich in 1666 and was appointed court engraver in 1669. He applied to Maximilian Emanuel, Duke of Bavaria, for a privilege (i.e the right to publish) for his proposed visual record of the four districts of Bavaria. It was granted, and Wening began to make his drawings in November 1696. By January 1697 he had completed 131 drawings. Evidently, he did not always receive the welcome he thought his due from the Bavarian noblemen whose castles he was drawing, but this only seems to have served to inspire him to make his engravings even more spectacular in order to prove his worth as an artist to his doubtful hosts. The present image has a lively immediacy that is very attractive and often lacking in the work of Wening's contemporaries.
#9218$600.00
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 WENING, Michael (1645-1718)
Das Churfürstl: Schloß Craukniß Scechst Landtshuett
Munich: Johann Lucas Straub, 1701-26. Hand-coloured engraving by J. M. Steidbin. Very good condition apart from some overall light soiling and minor foxing. Plate mark: 10 1/2 x 28 1/2 inches. Sheet size: 12 x 29 1/2 inches.
A fascinating and very beautiful print from Wening's rare work on the castles and monasteries of Bavaria: 'Historico-topographica Descriptio'
This image is from Wening's only major published work, a large-scale study of Bavarian towns, churches and mansions published in four volumes between 1701 and 1726. Wening, who was born in Nuremberg, moved to Munich in 1666 and was appointed court engraver in 1669. He applied to Maximilian Emanuel, Duke of Bavaria, for a privilege (i.e the right to publish) for his proposed visual record of the four districts of Bavaria. It was granted, and Wening began to make his drawings in November 1696. By January 1697 he had completed 131 drawings. Evidently, he did not always receive the welcome he thought his due from the Bavarian noblemen whose castles he was drawing, but this only seems to have served to inspire him to make his engravings even more spectacular in order to prove his worth as an artist to his doubtful hosts. The present image has a lively immediacy that is very attractive and often lacking in the work of Wening's contemporaries.
#9220$600.00
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 WENING, Michael (1645-1718)
Closter Bars
Munich: Johann Lucas Straub, 1701-26. Hand-coloured engraving by Wening. Very good condition apart from some overall light soiling and minor foxing. Plate mark: 10 3/8 x 27 1/2 inches. Sheet size: 12 x 28 7/8 inches.
A fascinating and very beautiful print from Wening's rare work on the towns, castles and abbeys of Bavaria: 'Historico-topographica Descriptio'
This image is from Wening's only major published work, a large-scale study of Bavarian towns, churches and mansions published in four volumes between 1701 and 1726. Wening, who was born in Nuremberg, moved to Munich in 1666 and was appointed court engraver in 1669. He applied to Maximilian Emanuel, Duke of Bavaria, for a privilege (i.e the right to publish) for his proposed visual record of the four districts of Bavaria. It was granted, and Wening began to make his drawings in November 1696. By January 1697 he had completed 131 drawings. Evidently, he did not always receive the welcome he thought his due from the Bavarian noblemen whose castles he was drawing, but this only seems to have served to inspire him to make his engravings even more spectacular in order to prove his worth as an artist to his doubtful hosts. The present image has a lively immediacy that is very attractive and often lacking in the work of Wening's contemporaries.
#9223$600.00
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 WENING, Michael (1645-1718)
Stüft Osterhoven [Osterhofen Monastery]
Munich: Johann Lucas Straub, 1701-26. Hand-coloured engraving by Wening. Very good condition apart from some overall light soiling and minor foxing. Plate mark: 10 5/8 x 28 3/4 inches. Sheet size: 12 1/4 x 29 1/8 inches.
A fascinating and very beautiful print from Wening's rare work on the towns, castles and abbeys of Bavaria: 'Historico-topographica Descriptio'
This image is from Wening's only major published work, a large-scale study of Bavarian towns, churches and mansions published in four volumes between 1701 and 1726. Wening, who was born in Nuremberg, moved to Munich in 1666 and was appointed court engraver in 1669. He applied to Maximilian Emanuel, Duke of Bavaria, for a privilege (i.e the right to publish) for his proposed visual record of the four districts of Bavaria. It was granted, and Wening began to make his drawings in November 1696. By January 1697 he had completed 131 drawings. Evidently, he did not always receive the welcome he thought his due from the Bavarian noblemen whose castles he was drawing, but this only seems to have served to inspire him to make his engravings even more spectacular in order to prove his worth as an artist to his doubtful hosts. The present image has a lively immediacy that is very attractive and often lacking in the work of Wening's contemporaries.
#9227$600.00
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 WENING, Michael (1645-1718)
Unser Lieben Frauen Closter. Selingthas nechst Landtschuet. [Cloister of Our Blessed Lady Selingthas near Landshut]
Munich: Johann Lucas Straub, 1701-26. Hand-coloured engraving by Wening. Very good condition apart from some overall light soiling and minor foxing. Plate mark: 10 3/8 x 27 7/8 inches. Sheet size: 12 x 29 3/4 inches.
A fascinating and very beautiful print from Wening's rare work on the topography of Bavaria: 'Historico-topographica Descriptio'
This image is from Wening's only major published work, a large-scale study of Bavarian towns, churches and mansions published in four volumes between 1701 and 1726. Wening, who was born in Nuremberg, moved to Munich in 1666 and was appointed court engraver in 1669. He applied to Maximilian Emanuel, Duke of Bavaria, for a privilege (i.e the right to publish) for his proposed visual record of the four districts of Bavaria. It was granted, and Wening began to make his drawings in November 1696. By January 1697 he had completed 131 drawings. Evidently, he did not always receive the welcome he thought his due from the Bavarian noblemen whose castles he was drawing, but this only seems to have served to inspire him to make his engravings even more spectacular in order to prove his worth as an artist to his doubtful hosts. The present image has a lively immediacy that is very attractive and often lacking in the work of Wening's contemporaries.
#9228$600.00
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 WENING, Michael (1645-1718)
Schloß Nidern Aichbach
Munich: Johann Lucas Straub, 1701-26. Hand-coloured engraving by Wening. Very good condition apart from some overall light soiling and minor foxing. Plate mark: 10 3/8 x 27 5/8 inches. Sheet size: 12 x 29 inches.
A fascinating and very beautiful print from Wening's rare work on the castles and monasteries of Bavaria: 'Historico-topographica Descriptio'
This image is from Wening's only major published work, a large-scale study of Bavarian towns, churches and mansions published in four volumes between 1701 and 1726. Wening, who was born in Nuremberg, moved to Munich in 1666 and was appointed court engraver in 1669. He applied to Maximilian Emanuel, Duke of Bavaria, for a privilege (i.e the right to publish) for his proposed visual record of the four districts of Bavaria. It was granted, and Wening began to make his drawings in November 1696. By January 1697 he had completed 131 drawings. Evidently, he did not always receive the welcome he thought his due from the Bavarian noblemen whose castles he was drawing, but this only seems to have served to inspire him to make his engravings even more spectacular in order to prove his worth as an artist to his doubtful hosts. The present image has a lively immediacy that is very attractive and often lacking in the work of Wening's contemporaries.
#9230$600.00
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 WENING, Michael (1645-1718)
Closter Allersvach
Munich: Johann Lucas Straub, 1701-26. Hand-coloured engraving by Wening. Very good condition apart from some overall light soiling and minor foxing. Plate mark: 10 1/2 x 27 1/2 inches. Sheet size: 12 x 29 1/8 inches.
A fascinating and very beautiful print from Wening's rare work on the towns, castles and abbeys of Bavaria: 'Historico-topographica Descriptio'
This image is from Wening's only major published work, a large-scale study of Bavarian towns, churches and mansions published in four volumes between 1701 and 1726. Wening, who was born in Nuremberg, moved to Munich in 1666 and was appointed court engraver in 1669. He applied to Maximilian Emanuel, Duke of Bavaria, for a privilege (i.e the right to publish) for his proposed visual record of the four districts of Bavaria. It was granted, and Wening began to make his drawings in November 1696. By January 1697 he had completed 131 drawings. Evidently, he did not always receive the welcome he thought his due from the Bavarian noblemen whose castles he was drawing, but this only seems to have served to inspire him to make his engravings even more spectacular in order to prove his worth as an artist to his doubtful hosts. The present image has a lively immediacy that is very attractive and often lacking in the work of Wening's contemporaries.
#9231$600.00
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 WENING, Michael (1645-1718)
Statt Bilshoven
Munich: Johann Lucas Straub, 1701-26. Hand-coloured engraving by Wening. Very good condition apart from some overall light soiling and minor foxing. Plate mark: 10 1/2 x 27 3/8 inches. Sheet size: 12 x 29 1/8 inches.
A fascinating and very beautiful print from Wening's rare work on the towns, castles and abbeys of Bavaria: 'Historico-topographica Descriptio'
This image is from Wening's only major published work, a large-scale study of Bavarian towns, churches and mansions published in four volumes between 1701 and 1726. Wening, who was born in Nuremberg, moved to Munich in 1666 and was appointed court engraver in 1669. He applied to Maximilian Emanuel, Duke of Bavaria, for a privilege (i.e the right to publish) for his proposed visual record of the four districts of Bavaria. It was granted, and Wening began to make his drawings in November 1696. By January 1697 he had completed 131 drawings. Evidently, he did not always receive the welcome he thought his due from the Bavarian noblemen whose castles he was drawing, but this only seems to have served to inspire him to make his engravings even more spectacular in order to prove his worth as an artist to his doubtful hosts. The present image has a lively immediacy that is very attractive and often lacking in the work of Wening's contemporaries.
#9233$600.00
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 WENING, Michael (1645-1718)
Schloß Eberspeunt sambt dem Marckh Belden
Munich: Johann Lucas Straub, 1701-26. Hand-coloured engraving by Wening. Very good condition apart from some overall light soiling and minor foxing. Plate mark: 10 5/8 x 28 1/4 inches. Sheet size: 12 x 28 3/4 inches.
A fascinating and very beautiful print from Wening's rare work on the towns, castles and monasteries of Bavaria: 'Historico-topographica Descriptio'
This image is from Wening's only major published work, a large-scale study of Bavarian towns, churches and mansions published in four volumes between 1701 and 1726. Wening, who was born in Nuremberg, moved to Munich in 1666 and was appointed court engraver in 1669. He applied to Maximilian Emanuel, Duke of Bavaria, for a privilege (i.e the right to publish) for his proposed visual record of the four districts of Bavaria. It was granted, and Wening began to make his drawings in November 1696. By January 1697 he had completed 131 drawings. Evidently, he did not always receive the welcome he thought his due from the Bavarian noblemen whose castles he was drawing, but this only seems to have served to inspire him to make his engravings even more spectacular in order to prove his worth as an artist to his doubtful hosts. The present image has a lively immediacy that is very attractive and often lacking in the work of Wening's contemporaries.
#9235$600.00
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 WENING, Michael (1645-1718)
Schloß sambl dem Marckh Molnbach (?)
Munich: Johann Lucas Straub, 1701-26. Hand-coloured engraving by Wening. Very good condition apart from some overall light soiling and minor foxing. Trimmed to plate mark on right and left sides. Plate mark: 10 3/4 x 28 7/8 inches. Sheet size: 12 x 28 3/4 inches.
A fascinating and very beautiful print from Wening's rare work on the castles and monasteries of Bavaria: 'Historico-topographica Descriptio'
This image is from Wening's only major published work, a large-scale study of Bavarian towns, churches and mansions published in four volumes between 1701 and 1726. Wening, who was born in Nuremberg, moved to Munich in 1666 and was appointed court engraver in 1669. He applied to Maximilian Emanuel, Duke of Bavaria, for a privilege (i.e the right to publish) for his proposed visual record of the four districts of Bavaria. It was granted, and Wening began to make his drawings in November 1696. By January 1697 he had completed 131 drawings. Evidently, he did not always receive the welcome he thought his due from the Bavarian noblemen whose castles he was drawing, but this only seems to have served to inspire him to make his engravings even more spectacular in order to prove his worth as an artist to his doubtful hosts. The present image has a lively immediacy that is very attractive and often lacking in the work of Wening's contemporaries.
#9237$600.00
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 WENING, Michael (1645-1718)
Schloß Bovau
Munich: Johann Lucas Straub, 1701-26. Hand-coloured engraving by Wening. Very good condition apart from some overall light soiling and minor foxing. Plate mark: 10 3/8 x 27 3/4 inches. Sheet size: 12 x 29 1/4 inches.
A fascinating and very beautiful print from Wening's rare work on the topography of Bavaria: 'Historico-topographica Descriptio'
This image is from Wening's only major published work, a large-scale study of Bavarian towns, churches and mansions published in four volumes between 1701 and 1726. Wening, who was born in Nuremberg, moved to Munich in 1666 and was appointed court engraver in 1669. He applied to Maximilian Emanuel, Duke of Bavaria, for a privilege (i.e the right to publish) for his proposed visual record of the four districts of Bavaria. It was granted, and Wening began to make his drawings in November 1696. By January 1697 he had completed 131 drawings. Evidently, he did not always receive the welcome he thought his due from the Bavarian noblemen whose castles he was drawing, but this only seems to have served to inspire him to make his engravings even more spectacular in order to prove his worth as an artists to his disinterested hosts. The present image has a lively immediacy that is very attractive and often lacking in the work of Wening's contemporaries.
#9239$600.00
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 WENING, Michael (1645-1718)
Schloß Taufkirchen
Munich: Johann Lucas Straub, 1701-26. Hand-coloured engraving by Wening. Very good condition apart from some overall light soiling and minor foxing, and a skillfully repaired 2 1/8" tear in the bottom margin. Plate mark: 10 3/8 x 27 3/4 inches. Sheet size: 12 x 29 5/8 inches.
A fascinating and very beautiful print from Wening's rare work on the castles and monasteries of Bavaria: 'Historico-topographica Descriptio'
This image is from Wening's only major published work, a large-scale study of Bavarian towns, churches and mansions published in four volumes between 1701 and 1726. Wening, who was born in Nuremberg, moved to Munich in 1666 and was appointed court engraver in 1669. He applied to Maximilian Emanuel, Duke of Bavaria, for a privilege (i.e the right to publish) for his proposed visual record of the four districts of Bavaria. It was granted, and Wening began to make his drawings in November 1696. By January 1697 he had completed 131 drawings. Evidently, he did not always receive the welcome he thought his due from the Bavarian noblemen whose castles he was drawing, but this only seems to have served to inspire him to make his engravings even more spectacular in order to prove his worth as an artist to his doubtful hosts. The present image has a lively immediacy that is very attractive and often lacking in the work of Wening's contemporaries.
#9241$600.00
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 WESTALL, After Richard (1765-1836)
Girl and Pigs
London: J. & J. Boydell, 1 May 1802. Stipple engraving, printed in colours, with touches of hand-colouring, by Ogborne & Gaugain. Image size (including text): 9 1/4 x 12 1/2 inches. Sheet size: 12 x 14 1/4 inches approx. Gold leaf frame.
A charmingly observed rural scene, largely colour-printed.
A fine example of a stipple-engraved coloured print based on one of Westall's charming watercolours.
Westall was at his best in watercolour, and was the leader of a reform in figure-painting in this medium... The brilliancy of his colouring was considered novel and astonishing in his own day... A large number of Westall's rustic subjects were engraved, such as Rural Contemplation and Rural Music, by T. Gaugain, 1801; The Sad Story and The Woodcutter and Cowboy, by John Ogborne, 1802; A Storm in Harvest, 1802; and Reapers, 1805, by Robert Mitchell Meadows. (DNB).
#6505$1,500.00
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 WESTALL, After Richard (1765-1836)
A Boy Angling; A Boy Mending His Net
London: J. & J. Boydell, 1 May 1802. Stipple engravings, printed in colours, with touches of hand-colouring, by William Nutter & Thomas Gaugain (1) and Hollyer and Gaugain (2). Image size (including text): 9 1/4 x 12 1/2 inches approx. Sheet size: 14 1/8 x 16 5/8 inches approx.
A charming pair of scenes of childhood, colour-printed and beautifully finished by hand.
Fine examples of large scale aquatints from Westall, based on his own charming watercolours.
Westall was at his best in watercolour, and was the leader of a reform in figure-painting in this medium... The brilliancy of his colouring was considered novel and astonishing in his own day... A large number of Westall's rustic subjects were engraved, such as Rural Contemplation and Rural Music, by T. Gaugain, 1801; The Sad Story and The Woodcutter and Cowboy, by John Ogborne, 1802; A Storm in Harvest, 1802; and Reapers, 1805, by Robert Mitchell Meadows. (DNB).
#6576$2,400.00
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 WHEATLEY, Francis engraved by Joseph BARNEY
The Fisherman Going Out; The Fisherman's Return
London: Published by Thomas Macklin, 14 March, 1793. Stipple engraving. In good condition with the exception of both being laid down. (The Fisherman Going Out) with skillfully mended two inch tear just touching the image area. Image size (including text): 17 3/4 x 21 3/4 inches approx. Sheet size: 21 1/4 x 24 5/8 inches.
A fine pair of colour printed stipple engravings after Francis Wheatley a master of English genre painting.
Wheatley was born and trained in London, and in 1769 was one of the first students admitted to the newly founded Royal Academy. Although he initially practiced as a landscape painter, by the mid 1770s he had become a popular painter of small-scale portraits and informal 'conversation-pieces'. From the 1780s onwards, Wheatley turned increasingly to sentimental domestic scenes that were perfectly attuned to the genteel sensibilities of the period. Today he is generally remembered for his Cries of London, which depicted street vendor such as milkmaids, and fruit sellers engaged in their trade on the street sides. This series was a great success, and inspired a myriad of different engravings and copies by celebrated artists such as Johan Zoffany and J. G. Huck. Wheatley's pretty genre paintings of rural and domestic life were a great source of inspiration for contemporary engravers who reproduced his work with industrious vigor. The popularity of these engravings greatly enhanced Wheatley's reputation, and made him one of the most celebrated painters of his day.
Roberts F. Wheatley, R.A. His Life and Works p.46 (undated issue)
#6489$3,500.00
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 WHEATLEY, Francis engraved by Joseph BARNEY
The Fisherman Going Out; The Fisherman's Return
London: Published by Thomas Macklin, 14 March, 1793. Colour printed stipple engraving. In good condition. (The Fisherman Going Out) has an expertly repaired upper margin. Image size (including text): 17 3/4 x 21 3/4 inches approx. Sheet size: 20 1/8 x 23 1/2 inches.
A fine pair of colour printed stipple engravings after Francis Wheatley a master of English genre painting.
Wheatley was born and trained in London, and in 1769 was one of the first students admitted to the newly founded Royal Academy. Although he initially practiced as a landscape painter, by the mid 1770s he had become a popular painter of small-scale portraits and informal 'conversation-pieces'. From the 1780s onwards, Wheatley turned increasingly to sentimental domestic scenes that were perfectly attuned to the genteel sensibilities of the period. Today he is generally remembered for his Cries of London, which depicted street vendor such as milkmaids, and fruit sellers engaged in their trade on the street sides. This series was a great success, and inspired a myriad of different engravings and copies by celebrated artists such as Johan Zoffany and J. G. Huck. Wheatley's pretty genre paintings of rural and domestic life were a great source of inspiration for contemporary engravers who reproduced his work with industrious vigor. The popularity of these engravings greatly enhanced Wheatley's reputation, and made him one of the most celebrated painters of his day.
Roberts F. Wheatley, R.A. His Life and Works p.46 (undated issue)
#6490$4,000.00
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 WHEATLEY, Francis engraved by Joseph BARNEY
The Fisherman's Return
London: Published by Thomas Macklin, 14 March, 1793. Stipple engraving. Image size (including text): 17 1/2 x 21 5/8 inches. Sheet size: 21 3/8 x 26 7/8 inches.
A fine copy of this beautiful print after Francis Wheatley, one of the most celebrated genre painters of his day.
Wheatley was born and trained in London, and in 1769 was one of the first students admitted to the newly founded Royal Academy. Although he initially practiced as a landscape painter, by the mid 1770s he had become a popular painter of small-scale portraits and informal 'conversation-pieces'. From the 1780s onwards, Wheatley turned increasingly to sentimental domestic scenes that were perfectly attuned to the genteel sensibilities of the period. Today he is generally remembered for his Cries of London, which depicted street vendor such as milkmaids, and fruit sellers engaged in their trade on the street sides. This series was a great success, and inspired a myriad of different engravings and copies by celebrated artists such as Johan Zoffany and J. G. Huck. Wheatley's pretty genre paintings of rural and domestic life were a great source of inspiration for contemporary engravers who reproduced his work with industrious vigor. The popularity of these engravings greatly enhanced Wheatley's reputation, and made him one of the most celebrated painters of his day.
Roberts F. Wheatley, R.A. His Life and Works p.46 (undated issue)
#6629$1,500.00
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 WHEATLEY, Francis engraved by Jean THOUVENIN
Rustic Hours Evening Les Heures Champêtres. La Soirée
London: Tessari & Co., circa 1815. Colour printed stipple engraving. Image size (including text): 15 3/4 x 21 inches. Sheet size: 20 1/8 x 24 3/4 inches.
A stunning print after Francis Wheatley, one of the most celebrated genre painters of his day.
Wheatley was born and trained in London, and in 1769 was one of the first students admitted to the newly founded Royal Academy. Although he initially practiced as a landscape painter, by the mid 1770s he had become a popular painter of small-scale portraits and informal 'conversation-pieces'. From the 1780s onwards, Wheatley turned increasingly to sentimental domestic scenes that were perfectly attuned to the genteel sensibilities of the period. Today he is generally remembered for his Cries of London, which depicted street vendor such as milkmaids, and fruit sellers engaged in their trade on the street sides. This series was a great success, and inspired a myriad of different engravings and copies by celebrated artists such as Johan Zoffany and J. G. Huck. Wheatley's pretty genre paintings of rural and domestic life were a great source of inspiration for contemporary engravers who reproduced his work with industrious vigor. The popularity of these engravings greatly enhanced Wheatley's reputation, and made him one of the most celebrated painters of his day.
Wheatley originally produced four images for the 'Rustic Hours' series which were engraved by H. Gillbank and published in 1800. The present plate is the Thouvenin issue. He is known to have worked on at least two of the images.
Roberts, F. Wheatley, R.A. His Life and Works p.44
#6631$2,400.00
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 WHEATLEY, Francis engraved by W. ANNIS
Coming from Market Revenant du Marché Pl.[ate the] 3rd; Returned from Market De Reour du Marché Pl.[ate the] 4th
London: Morgan & Pierce and C. Josi of Amsterdam, April 1803. A pair of colour printed mezzotints. In good condition apart from some spotting and browning in margins. Image size (including text): 21 1/4 x 17 3/4 inches approx. Sheet size: 25 3/8 x 20 5/8 inches approx.
A good pair of these fine colour-printed images.
Wheatley was born and trained in London, and in 1769 was one of the first students admitted to the newly founded Royal Academy. Although he initially practiced as a landscape painter, by the mid 1770s he had become a popular painter of small-scale portraits and informal 'conversation-pieces'. From the 1780s onwards, Wheatley turned increasingly to sentimental domestic scenes that were perfectly attuned to the genteel sensibilities of the period. Today he is generally remembered for his Cries of London, which depicted street vendor such as milkmaids, and fruit sellers engaged in their trade on the street sides. This series was a great success, and inspired a myriad of different engravings and copies by celebrated artists such as Johan Zoffany and J. G. Huck. Wheatley's pretty genre paintings of rural and domestic life were a great source of inspiration for contemporary engravers who reproduced his work with industrious vigor. The popularity of these engravings greatly enhanced Wheatley's reputation, and made him one of the most celebrated painters of his day. Francis Wheatley produced four images for the '..Market' series, all of which were mezzotinted by Annis and published in April 1803.
Roberts, F. Wheatley, R.A. His Life and Work p.45 (the first incorrectly titled 'Going to Market')
#6632$4,000.00
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 WHEATLEY, Francis engraved by G. KEATING
Rustic Sympathy
London: Published by John Jefferys, 1 January, 1797. Colour printed mezzotint, with additional hand-colouring. Image size (including text): 19 x 25 1/8 inches. Sheet size: 21 1/2 x 27 inches.
A stunning impression of this charming print after Wheatley's painting, illustrating the rural ideal in England.
Wheatley was born and trained in London, and in 1769 was one of the first students admitted to the newly founded Royal Academy. Although he initially practiced as a landscape painter, by the mid 1770s he had become a popular painter of small-scale portraits and informal 'conversation-pieces'. From the 1780s onwards, Wheatley turned increasingly to sentimental domestic scenes that were perfectly attuned to the genteel sensibilities of the period. Today he is generally remembered for his Cries of London, which depicted street vendor such as milkmaids, and fruit sellers engaged in their trade on the street sides. This series was a great success, and inspired a myriad of different engravings and copies by celebrated artists such as Johan Zoffany and J. G. Huck. Wheatley's pretty genre paintings of rural and domestic life were a great source of inspiration for contemporary engravers who reproduced his work with industrious vigor. The popularity of these engravings greatly enhanced Wheatley's reputation, and made him one of the most celebrated painters of his day.
Roberts, F. Wheatley, R.A. His Life and Works p.43 (giving publication date of 1 January 1796)
#6634$2,500.00
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 WHEATLEY, Francis engraved by G. KEATING
Rustic Sympathy
London: Published by John Jefferys, 1 January 1796. Mezzotint. Open lettered proof. Image size (including text): 19 x 25 1/8 inches. Sheet size: 22 1/2 x 27 3/4 inches.
A stunning impression of this rare open letter proof of Wheatley's charming picture illustrating the rural ideal in England.
Wheatley was born and trained in London, and in 1769 was one of the first students admitted to the newly founded Royal Academy. Although he initially practiced as a landscape painter, by the mid 1770s he had become a popular painter of small-scale portraits and informal 'conversation-pieces'. From the 1780s onwards, Wheatley turned increasingly to sentimental domestic scenes that were perfectly attuned to the genteel sensibilities of the period. Today he is generally remembered for his Cries of London, which depicted street vendor such as milkmaids, and fruit sellers engaged in their trade on the street sides. This series was a great success, and inspired a myriad of different engravings and copies by celebrated artists such as Johan Zoffany and J. G. Huck. Wheatley's pretty genre paintings of rural and domestic life were a great source of inspiration for contemporary engravers who reproduced his work with industrious vigor. The popularity of these engravings greatly enhanced Wheatley's reputation, and made him one of the most celebrated painters of his day.
Roberts, F. Wheatley, R.A. His Life and Works p.43
#6635$1,500.00
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 WHEATLEY, Francis engraved by Giovanni VENDRAMINI
Cries of London, Plate 10, Old Chairs to Mend
London: Published by Colnaghi & Co. No. 132 Pall Mall, Sept. 1, 1795. Colour printed stipple engraving. Printed on wove paper. In good condition with the exception of being trimmed just within the platemark on all sides. Margins have some loss to surface of paper. Traces of glue residue on verso of sheet. Small sections of lost paper on upper and bottom margin has been expertly infilled. Image size: 14 x 11 inches. Sheet size: 16 5/8 x 13 1/4 inches.
A wonderful image of a chair mender from Wheatley's famous "Cries of London" series.
The "Cries of London" was a reoccurring theme in English printmaking for over three centuries. These colourful prints form a visual record of London's "lower orders", the peddlers, charlatans, street hawkers, milkmaids, and grocers who made their living on the city streets. They give the viewer a glimpse of a long forgotten London where tradesmen would advertise their wares with a musical shout or a melodic rhyme. Different versions of the "Cries" vary in tone from idealistic visions of contented street vendors to satirical caricatures of humorous urban figures. One of the most famous series of "London Cries" is the group of pretty pictures executed by Francis Wheatley. Wheatley's series was immensely popular and enjoyed a long period of success in the English print shops. Between 1792 and 1795 Wheatley exhibited 14 paintings of the "Cries" at the Royal Academy. The pictures attracted a great deal of attention at the exhibition and Colnaghi & Co. quickly agreed to publish a series of engravings after Wheatley's famous series. Only thirteen of the fourteen paintings were engraved and they were offered for sale individually or in a portfolio collection. The prints, which were executed in stipple, were engraved by some the most noted engravers in England; artists such as Luigi Schiavonetti, Giovanni Vendramini and Thomas Gaugain all contributed their work to the series. Complete collections of the "Cries" remained immensely popular, and by 1910 they were fetching more than James Audubon's folio "Birds of America" at auction. This lovely print is plate ten in the series and depicts an industrious craftsman mending chairs outside a simple house; St. Paul's is pictured in the background.
Roberts F. Wheatley, R.A. His Life and Works London, 1910, pp.28-32
#12685$1,200.00
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 WHEATLEY, Francis engraved by Antoine CARDON
Cries of London, Plate 8, Round & Sound Five Pence a Pound Duke Cherries
London: Published by Colnaghi & Co. No. 132 Pall Mall, June 25, 1795. Colour printed stipple engraving. Printed on wove paper. In good condition with the exception of being trimmed just outside the platemark on upper and side margins. A paper loss on the bottom margin has been expertly infilled. Edges of upper right and left corners are missing. Margins are scuffed with slight traces of surface soiling. Image size: 14 x 11 inches. Sheet size: 17 3/8 x 13 inches.
A wonderful image of a cherry seller from Wheatley's famous "Cries of London" series.
The "Cries of London" was a reoccurring theme in English printmaking for over three centuries. These colourful prints form a visual record of London's "lower orders", the peddlers, charlatans, street hawkers, milkmaids, and grocers who made their living on the city streets. They give the viewer a glimpse of a long forgotten London where tradesmen would advertise their wares with a musical shout or a melodic rhyme. Different versions of the "Cries" vary in tone from idealistic visions of contented street vendors to satirical caricatures of humorous urban figures. One of the most famous series of "London Cries" is the group of pretty pictures executed by Francis Wheatley. Wheatley's series was immensely popular and enjoyed a long period of success in the English print shops. Between 1792 and 1795 Wheatley exhibited 14 paintings of the "Cries" at the Royal Academy. The pictures attracted a great deal of attention at the exhibition and Colnaghi & Co. quickly agreed to publish a series of engravings after Wheatley's famous series. Only thirteen of the fourteen paintings were engraved and they were offered for sale individually or in a portfolio collection. The prints, which were executed in stipple, were engraved by some the most noted engravers in England; artists such as Luigi Schiavonetti, Giovanni Vendramini and Thomas Gaugain all contributed their work to the series. Complete collections of the "Cries" remained immensely popular, and by 1910 they were fetching more than James Audubon's folio "Birds of America" at auction. This lovely print is plate eight in the series and depicts a cherry seller weighing out a portion of cherries for two eager children.
Roberts F. Wheatley, R.A. His Life and Works London, 1910, pp.28-32
#12687$1,000.00
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 WHEATLEY, Francis engraved by Thomas GAUGAIN
Cries of London, Plate 13, Turnips & Carrots ho.
London: Published by Colnaghi, Sala, & Co. No. 132 Pall Mall, May 1, 1797. Stipple engraving. Printed on wove paper. In excellent condition. Image size: 14 x 11 inches. Plate mark: 16 3/16 x 12 7/8 inches. Sheet size: 18 9/16 x 14 13/16 inches.
A wonderful image of a vegtable seller from Wheatley's famous "Cries of London" series.
The "Cries of London" was a reoccurring theme in English printmaking for over three centuries. These colourful prints form a visual record of London's "lower orders", the peddlers, charlatans, street hawkers, milkmaids, and grocers who made their living on the city streets. They give the viewer a glimpse of a long forgotten London where tradesmen would advertise their wares with a musical shout or a melodic rhyme. Different versions of the "Cries" vary in tone from idealistic visions of contented street vendors to satirical caricatures of humorous urban figures. One of the most famous series of "London Cries" is the group of pretty pictures executed by Francis Wheatley. Wheatley's series was immensely popular and enjoyed a long period of success in the English print shops. Between 1792 and 1795 Wheatley exhibited 14 paintings of the "Cries" at the Royal Academy. The pictures attracted a great deal of attention at the exhibition and Colnaghi & Co. quickly agreed to publish a series of engravings after Wheatley's famous series. Only thirteen of the fourteen paintings were engraved and they were offered for sale individually or in a portfolio collection. The prints, which were executed in stipple, were engraved by some the most noted engravers in England; artists such as Luigi Schiavonetti, Giovanni Vendramini and Thomas Gaugain all contributed their work to the series. Complete collections of the "Cries" remained immensely popular, and by 1910 they were fetching more than James Audubon's folio "Birds of America" at auction. This lovely print is plate thirteen in the series and depicts a pretty turnip and carrot seller with a donkey carrying large baskets of vegetables.
Roberts F. Wheatley, R.A. His Life and Works London, 1910, pp.28-32
#12711$900.00 | | | |
