Grosvenor Prints

Having assembled a collection of prints relating to Peter Lely in our last post, here we go right back to the start of the 17th century (and earlier) with prints relating to the exhibition 'The Lost Prince', currently taking place at London's National Portrait Gallery, which explores the world of Henry Stuart (1594-1612). We hope you enjoy it and wish a happy Christmas to all readers. This portait of Henry Stuart derives from the Isaac Oliver miniature of c.1610-12, of which several versions exist. The print retains the oval format common to most of these miniatures:   Henricus Princeps Walliae etc. R. White Sculp. Sam Mearne Excudit. [n.d. c.1700, but later?] Engraving. Plate 157 x 102mm. 6¼ x 4". [Ref: 24344]   £40.00   (£48.00 incl.VAT) This is a portrait of Isaac Oliver, the famous miniature painter, holding one of his works with several others on a table in front of him: Isaacus Oliverus, Anglus, Pictor.

With the Courtauld Gallery currently exhibiting the early work of Peter Lely in their exhibtion Peter Lely: a Lyrical Vision , we have compiled a small selection of prints after, or related to, Lely's paintings. Of Dutch origin, Lely (1618-80) is regarded as  'one of the outstanding artists to have worked in seventeenth-century England'. His modern reputation 'is dependent on his portraits of the Restoration Court with its cast of beauties, mistresses and aristocratic rakes', and he 'made an immense impact on English portraiture- perhaps more than his celebrated contemporary Van Dyck'. Following the Restoration of Charles II, Lely became Principal Painter to the King, a position he held from 1660 until his death in 1680. This self-portrait, published during Lely's lifetime, commemorates his position as Principal Painter to the King:   Petrus Leley. Pictor Caroli II Magnae Brittanniae Regis. P: Lely delin. A: de Jode Sculp. [n.d. c.1666.] Eng

To coincide with the Pre-Raphaelites exhibition (Tate Britain), a short listing of related prints: A portrait of one of the movement's leading lights, John Everett Millais:   [Sir John Everett Millais]. J.E. Millais RA. Waltner RE [scratched letters etched in plate]. 'Waltner' [pencil signature below image to right]. Entered according to Act of Congress in the year 1881 by Knoedler & Co in the Office of the Librarian of Congress at Washington. Published London January 1st. 1881 by The British & Foreign Artists' Association. Etching, signed artist's proof limited to 200 copies. 230 x 320mm. Light foxing and creasing, in margin only. [Ref: 4245]   £280.00   'In 1839 John Everett Millais was a student at the Royal Academy Schools, then located in the same building as the National Gallery, which was designed by William Wilkins and opened in 1838'. This print shows Tra

The British Museum's current exhibition of Spanish prints and drawings coincides with the publication of the catalogue Renaissance to Goya: Prints and Drawings from Spain , in relation to which we have selected a few prints from our own stock to highlight. A key figure in the history of Spain printmaking was Philip II (1527-98), of whom is written: 'Philip II's interest in prints and his awareness of their efficacy for disseminating images and information had a major impact on the development of engraving in Spain. His travels throughout Europe exposed him to the highly organized printmaking industry there'.     Philippus II. Caroli V. Filius, Hispaniar, Indiarum, Neapolis, Siciliae, Hierosolymae, &c Rex Catholicus...[etc.] [n.d., c.1590.] Engraving, roundel, sheet 190 x 185mm. 7½ x 7¼". Sheet trimmed, tipped into album page. Philip II (1527 – 1598), King of Spain, aged 59, wearing hat, fur-trimmed coat and collar of the order of the Golde

In relation to the exhibition 'Shakespeare: staging the world' currently on at the British Museum , we've put together the a brief list of prints from our stock relating to the themes explored in this exhibition:   Shakespeare from the First Folio Edition. J. Swaine sc. [n.d. c.1824.] Etching and engraving. 178 x 114mm. 7 x 4½".  [Ref: 24552]   £50.00   (£60.00 incl.VAT)   A 19th century copy of the first folio portrait, of which the exhibition catalogue states: 'The famous engraved 'portrait' by Martin Droeshout is one of only two verified likenesses of Shakespeare (the other is his tomb monument). Neither is a life portrait: [Ben] Jonson called the engraving a good likeness but exhorted the reader to "look/ Not on his picture, but his book".' To get an idea of what visiting London in Shakespeare's time was