Landscape Two
Although the acclaimed exhibition Constable, Gainsborough, Turner and the Marking of Landscape at the Royal Academy of Arts has now finished, we have uncovered more prints relating to the exhibition since our first landscape post a few weeks back:
This engraving after Gaspar Dughet featured in the RA exhibition:
The Fisherman. In the Gallery at Houghton.
Gaspar Poussin pinxit. Joseph Farington delin. J. Mason Sculpsit.
Published May 1st, 1777 by John Boydell engraver, No. 90. Cheapside, London.
Engraving with large margins. Platemark: 480 x 390mm. (18¾ x 15¼"). Crease, bottom right, outside platemark; excellent impression.
[Ref: 28368] £220
although this print from the same series did not (both reproduce paintings then in the Walpole collection at Houghton):
The Sportsman. In the Gallery at Houghton.
Gaspar Poussin Pinxit. Joseph Farington delin.t John Browne Sculpsit.
Published Nov.r 1.st 1775 by John Boydell Engraver in Cheapside London.
Copper engraving with large margins, platemark 390 x 480mm (15¼ x 19"). Very fine impression, uncut.
[Ref: 28351] £360
One of the most famous engraving of the period is William Woollett's 'miracles d'harmonie', Niobe after Richard Wilson, combining mythological narrative with expansive landscape:
Niobe
William Woollett after Richard Wilson
originally published by Boydell, 1761
line engraving, platemark 490 x 610mm
damaged and laid on linen; John Ryall's publication details glued over top of original publication line
£120 + VAT
This engraving after Gainsborough, The Rural Lovers, was also included in the RA exhibition:
The Rural Lovers [/] Les Mans Champetres. Engraved from a picture of Mr. Tho.s Gainsborough in the profession of Mr. Panton Betew.
Thomas Gainsborough. F. Vivares sculp.t.
Published by F. Vivares aug 4th 1760.
Engraving with large margins, platemark: 500 x 410mm. (19¾ x 16¼").
[Ref: 28345] £280
...while this set of four engravings after Gainsborough were not only published but also engraved by John Boydell, the dominant force in the London print industry of the late 18th century:
Drawn after Nature. No 1 [-4].
Tho.s Gainsborough del.t. John Boydell sculp.t. Publish'd by J. Boydell, Engraver in Cheapsid. London, 1747 [but later].
Set of four engravings, with large margins. 255 x 345mm (10 x 13¾"). Plate IV repaired damaged in middle.
[Ref: 28191] £650
Two more prints relating to Turner which feature in the exhibition are Jason from his Liber Studiorum:
Jason.
Drawn & Etched by J.M.W. Turner Esq. R.A. Engraved by C. Turner.
Published as the Act directs by J.M.W. Turner Harley Street [1807]
Etching and mezzotint with large margins, platemark 210 x 290mm (8¼ x 11½").
Rawlinson: 6 (state 2 of 5)
[Ref: 27362] £350
and Stamford from Picturesque Views in England and Wales (1827-38):
Stamford, Lincolnshire
William Miller after JMW Turner
published 1830
sheet 230 x 290mm
£50 + VAT
While this publication shows how sets of prints after Turner were originally published:
The Harbours of England.
Engraved by Thomas Lupton from Original Drawings and expressly for the work by J.M.W. Turner, R.A. with illustrative text by John Ruskin, LL.D. Author of 'Modern Painters' etc.etc.
New Edition. London: Smith, Elder, & Co., 15 Waterloo Place. 1877.
A collection of twelve mezzotints and text, complied into a bound volume
[Ref: 21970] £145
This large mezzotint of Hampstead, after Constable, demonstrates that while mezzotint had largely been replaced by other forms of printmaking by the turn of the 20th century, practitioners such as Norman Hirst were still creating prints faithful to the aesthetic of Constable and David Lucas' collaborations. We also like the fact that the size of this print is identical to the Niobe of Richard Wilson and William Woollett, nearly 150 years earlier:
Stormy Noon_ Hampstead Heath
Norman Hirst after Constable
published by Leggatt brothers, 1902
mezzotint, platemark 490 x 610
laid on board
£180 + VAT
The Royal Academy show was an excellent guide to the development of British landscape through the work of three of its main protagonists. However, it is worth remembering that it is not comprehensive- the exhibition does not mention 'father of British landscape' George Lambert, from the generation prior to the foundation of the RA (for an example of his work, see our post on the Foundling Hospital). Nor is reference made to two other important artists who died too young to fully realise their potential, but nevertheless made important contributions to the period covered- Thomas Girtin:
[Bolton Abbey on the River Wharfe.]
[Thomas Girtin. John Charles Bromley.]
[n.d. c.1825.]
Mezzotint, proof before letters. Plate 198 x 279mm. 7¾ x 11". Very fine, with very large margins.
Plate 14 from "Rivers of England".
[Ref: 22830] £120.00 (£144.00 incl.VAT)
...and R.P. Bonington:
Coast Scene. R.P. Bonington. From a Picture in the Possession of Sir George Warrender.
J.D. Harding lithog.
Published June 1st. 1830 by J. Carpenter & Son, Old Bond Street. Printed by C. Hullmandel.
Lithograph on india, with very large margins. 286 x 380mm. 11¼ x 15". Uncut.
One of a series of lithographs published in 4 parts from 1829-1830 and entitled: A series of subjects from the works of the late Richard Parkes Bonington
[Ref: 24972] £120.00 (£144.00 incl.VAT)
This engraving after Gaspar Dughet featured in the RA exhibition:
Gaspar Poussin pinxit. Joseph Farington delin. J. Mason Sculpsit.
Published May 1st, 1777 by John Boydell engraver, No. 90. Cheapside, London.
Engraving with large margins. Platemark: 480 x 390mm. (18¾ x 15¼"). Crease, bottom right, outside platemark; excellent impression.
[Ref: 28368] £220
although this print from the same series did not (both reproduce paintings then in the Walpole collection at Houghton):
Gaspar Poussin Pinxit. Joseph Farington delin.t John Browne Sculpsit.
Published Nov.r 1.st 1775 by John Boydell Engraver in Cheapside London.
Copper engraving with large margins, platemark 390 x 480mm (15¼ x 19"). Very fine impression, uncut.
[Ref: 28351] £360
One of the most famous engraving of the period is William Woollett's 'miracles d'harmonie', Niobe after Richard Wilson, combining mythological narrative with expansive landscape:
William Woollett after Richard Wilson
originally published by Boydell, 1761
line engraving, platemark 490 x 610mm
damaged and laid on linen; John Ryall's publication details glued over top of original publication line
£120 + VAT
This engraving after Gainsborough, The Rural Lovers, was also included in the RA exhibition:
Thomas Gainsborough. F. Vivares sculp.t.
Published by F. Vivares aug 4th 1760.
Engraving with large margins, platemark: 500 x 410mm. (19¾ x 16¼").
[Ref: 28345] £280
...while this set of four engravings after Gainsborough were not only published but also engraved by John Boydell, the dominant force in the London print industry of the late 18th century:
Drawn after Nature. No 1 [-4].Tho.s Gainsborough del.t. John Boydell sculp.t. Publish'd by J. Boydell, Engraver in Cheapsid. London, 1747 [but later].
Set of four engravings, with large margins. 255 x 345mm (10 x 13¾"). Plate IV repaired damaged in middle.
[Ref: 28191] £650
Two more prints relating to Turner which feature in the exhibition are Jason from his Liber Studiorum:
Drawn & Etched by J.M.W. Turner Esq. R.A. Engraved by C. Turner.
Published as the Act directs by J.M.W. Turner Harley Street [1807]
Etching and mezzotint with large margins, platemark 210 x 290mm (8¼ x 11½").
Rawlinson: 6 (state 2 of 5)
[Ref: 27362] £350
and Stamford from Picturesque Views in England and Wales (1827-38):
William Miller after JMW Turner
published 1830
sheet 230 x 290mm
£50 + VAT
While this publication shows how sets of prints after Turner were originally published:
Engraved by Thomas Lupton from Original Drawings and expressly for the work by J.M.W. Turner, R.A. with illustrative text by John Ruskin, LL.D. Author of 'Modern Painters' etc.etc.
New Edition. London: Smith, Elder, & Co., 15 Waterloo Place. 1877.
A collection of twelve mezzotints and text, complied into a bound volume
[Ref: 21970] £145
This large mezzotint of Hampstead, after Constable, demonstrates that while mezzotint had largely been replaced by other forms of printmaking by the turn of the 20th century, practitioners such as Norman Hirst were still creating prints faithful to the aesthetic of Constable and David Lucas' collaborations. We also like the fact that the size of this print is identical to the Niobe of Richard Wilson and William Woollett, nearly 150 years earlier:
Norman Hirst after Constable
published by Leggatt brothers, 1902
mezzotint, platemark 490 x 610
laid on board
£180 + VAT
The Royal Academy show was an excellent guide to the development of British landscape through the work of three of its main protagonists. However, it is worth remembering that it is not comprehensive- the exhibition does not mention 'father of British landscape' George Lambert, from the generation prior to the foundation of the RA (for an example of his work, see our post on the Foundling Hospital). Nor is reference made to two other important artists who died too young to fully realise their potential, but nevertheless made important contributions to the period covered- Thomas Girtin:
[Thomas Girtin. John Charles Bromley.]
[n.d. c.1825.]
Mezzotint, proof before letters. Plate 198 x 279mm. 7¾ x 11". Very fine, with very large margins.
Plate 14 from "Rivers of England".
[Ref: 22830] £120.00 (£144.00 incl.VAT)
...and R.P. Bonington:
J.D. Harding lithog.
Published June 1st. 1830 by J. Carpenter & Son, Old Bond Street. Printed by C. Hullmandel.
Lithograph on india, with very large margins. 286 x 380mm. 11¼ x 15". Uncut.
One of a series of lithographs published in 4 parts from 1829-1830 and entitled: A series of subjects from the works of the late Richard Parkes Bonington
[Ref: 24972] £120.00 (£144.00 incl.VAT)
