Grosvenor Prints

  The Foundling Hospital was established in London by the sea captain Thomas Coram, who had been 'shocked by the sight of infants exposed in the streets, abandoned by their parents, 'left to die on dung hills''. Coram's portrait was painted by his friend William Hogarth and presented to the hospital: Catn. Thos. Coram who after 17 Years unwearied application, obtained the Charter of the Foundling Hospital, To the Governors & Guardians of the Hospital, this Print is humbly dedicated by their obedient humble Servt. R. Cribb. W. Hogarth Pinxt. W. Nutter sculpt. London, Published Dec. 1. 1796, by R. Cribb, No.288 Holborn. Stipple, 580 x 405mm. 22¾ x 16". Light foxing, mostly marginal. One tear to lower margin. [Ref: 11732]   £160.00   (£192.00 incl.VAT) A founding Governor of the hospital was the barrister John Milner, who had a major influence on the development of the hospital. His portrait was painted by Thomas Huds

Currently on display at the Royal Academy of Arts is an exhibition on Constable, Gainsborough, Turner and the Making of Landscape . This exhibition demonstrates the immense importance of printmaking in the birth and consolidation of the British landscape school. One of the principal models for early British landscape artists such as Richard Wilson, was Gaspard Dughet (then usually referred to as Gaspar Poussin- he was Nicolas Poussin's brother-in-law). This print was engraved after one of Dughet's paintings by Francis Vivares, who also made prints of pictures by English landscape painter Thomas Smith of Derby: [The Cascade.] In the Collection of the Right Honourable Sr: Robert Walpole. Gaspar Poussin pinx. Vivares Sculp. Copper engraving with very large margins, paper watermarked. Plate 310 x 400mm. [Ref: 26539]   £130.00   (£156.00 incl.VAT) Thomas Smith was, along with Richard Wilson, one of the first British painters to specialise in landscape. Ha

Anyone who watched Saturday's A History of Art in Three Colours: White on BBC4 (while the British Isles were appropriately covered with snow) will be familiar with Dr James Fox's thesis: -that J.J. Winckelman (1717-68), the pioneering art historian, saw the art of the ancient Greeks and Romans as the finest achievements of Western culture, and for Winckelman 'whiteness symbolised all of the qualities of ancient Greek civilization': Winkelmann. [n.d. c.1790.] Stipple with large margins. Plate 235 x 184mm. 9¼ x 7¼". [Ref: 24841]   £60.00   (£72.00 incl.VAT) -that while at the Vatican, as keeper of antiquities, he encountered the sculpture 'that would inspire him like no other', the Apollo Belvedere. The form of this statue is similar to the statue of Apollo shown here: Apollo Pythonem jaculans. [Apollo shooting the Python.] To Dr. Richard Mead Physician to His Majesty. _ This Plate is humbly inscrib'

A selection of prints engraved from paintings currently hanging in the National Gallery, London. 1. Leonardo da Vinci, Virgin of the Rocks , from the S. Francesco altarpiece: [The Madonna of the Rocks] [Charles William Campbell after Leonardo da Vinci] [n.d., c.1880] Rare mezzotint on chine collé, platemark 740 x 490mm (29 x 19"). Very large margins. Damage to margins, extending inside platemark bottom right but without damaging chine collé. [Ref: 23369]   £360 2. Willem van Mieris, A Woman and a Fish-Pedlar in a Kitchen (1713), here titled to focus attention       on the inquisitive cat in the foreground:   The Cat. Mieris pinxit. Burnet sculpsit. Published by John Murray Albermarle Street MDCCCXIII [1813]. Engraving, image 280 x 220mm. 11 x 8¾". Minor handling creases; overall a good impression. [Ref: 25935]   £130.00   (£156.00 incl.VAT) 3. Rubens, Portrait of Thomas Howard (1629-30):   [Thomas Howar

A selection of prints relating to the exhibition Doctors, Dissection & Resurrection Men currently at the Museum of London . One of the most famous representations of dissection in art is the final plate from William Hogarth's Four Stages of Cruelty , in which Hogarth's antagonist Tom Nero gets his comeuppance. The following illustration is from a set of copies of Hogarth's print, published with permission shortly after Hogarth's death: [The four stages of cruelty] Design'd by W.m Hogarth. [London: Robert Sayer, 1767.] Set of four engravings, with large margins. Each 360 x 260mm, 14¼ x 10¼". The progress of Tom Nero from his childhood torturing of a dog to murder, the gallows and the dissection table. After Hogarth's death in 1764 his widow Jane petitioned Parliament for extra copyright and was granted an additional twenty years of exclusivity. However she gave the London publisher Robert Sayer permission to publish 'Le