Women of the art world in our stock!
Happy International Women's Day Everyone! We wanted to highlight some of the incredible women in our stock:
Maria Maddalena Baldacci
Maria Mad.Gozzj del. P.Ant.Pazzi fc.
Engraving. 364 x 229mm.
Gualteri, Nicolas: [1688-1744] Phycisian and Botanist, Professor of Medicine at Pisa.
W: 1232-1
[Ref: 2789] £95.00 (£114.00 incl.VAT)
Maria Maddalena Baldacci (1718–1782) (née Gozzi) was an Italian painter. She was born in Florence. She painted portrait miniatures and crayon, including the portrait of Empress Maria Theresa. A pupil of Giovanna Fratellini and, after her death, of Giovanni Domenico Campiglia. In 1742 she married the painter, Giuseppe Baldacci.
Diana Beauclerk
[After Lady Diana Beauclerk.]
[London, Pub.d by August 1, 1805 by R. Ackermann, No 101, Strand.
Oblong quarto, red half morocco with marbled boards, rubbed. "The Works of Lady Beauclerk" in pencil on front endpaper. 16 colour-printed stipples. Extremely rare and fine collection. Occasional tears to edges of plates, some spotting. Uncut.
Finely-printed stipples of women and children, with the occasional appearance of Cupid. Lady Diana Beauclerk (1734-1808), daughter of the 3rd Duke of Marlborough. She illustrated a number of literary productions, including Horace Walpole's tragedy 'The Mysterious Mother' and 'The Fables of John Dryden', and provided designs for Josiah Wedgwood's bas-reliefs on jasper ornaments.
[Ref: 13808] £5,900.00
Lady Diana Beauclerk (née Lady Diana Spencer; another married name Diana St John, Viscountess Bolingbroke; 24 March 1734 – 1 August 1808) was an English noblewoman and celebrated artist.
Lady Diana eventually supported herself by painting. She was a very talented artist who was able to use her scandalous reputation as an adulterer and aristocratic woman to further her career as a painter and designer. She painted portraits, illustrated plays and books, designed Wedgwood's innovative pottery and decorated rooms with murals. With the support of her close friend Horace Walpole, whose letters illuminate every aspect of her life, she was able to establish herself as an admired artist at a time when careers were difficult for women.
Beauclerk illustrated several literary productions, including Horace Walpole's tragedy The Mysterious Mother, the English translation of Gottfried August Bürger's Leonora (1796) and The Fables of John Dryden (1797). After 1785 she was one of a circle of women, along with Emma Crewe (1741-c.1795) and Elizabeth Templetown (1746/7-1823), whose designs for Josiah Wedgwood were made into bas-reliefs on jasper ornaments.
Julia Conyers
Peint par Miss Julia Conyers. Gravé par Aug.in Le Grand.
[AParis chez Bance, Rue S. Denis, No 175 près celle aux Ours.] [n.d., c.1810.]
Pair of colour-printed stipples. Sheets 230 x 190mm (9 x 7½"). Trimmed within plates, losing titles and publication lines.
A pair of French nursery scenes: the first shows a morning scenes with woman and three children, the youngest trying to catch a butterfly; the second is in the evening, the mother nursing a baby while an older infant kneels to pray.
[Ref: 44290] £240.00 (£288.00 incl.VAT)
Fanny & Louisa Corbaux
[Designed by Fanny Corbaux. Drawn on Stone by Louisa Corbaux.] F. Corbaux.
[London: Charles Tilt, Fleet Street. 1837.]
Tinted lithograph large margins. 380 x 279mm (15 x 11").
Hinda leaning over a balcony. From 'Pearls of the East. Beauties from Lallarookh'; Lalla Rookh, the oriental romance by Thomas Moore, published in 1817. Marie Françoise Catherine Doetger "Fanny" Corbaux (1812–1883) was a British painter and biblical commentator. She was also the inventor of kalsomine (calcimine), whitewash with added zinc oxide. Her sister, Louisa (c.1808-1889), lithographed this print.
[Ref: 31078]
Maria Cosway
[Lodona.]
[Maria Cosway Pinxt. F. Bartolozzi R.A. Sculpt.]
[London, Published March 20, 1792, by Thos. Macklin, Poets Gallery, Fleet Street.]
Stipple, proof before letters. Sheet 370 x 475mm (14½ x 18¾"). Trimmed, top right repaired tear.
A
young woman in a wooded landscape leaning by a small waterfall by a
river, weeping; her hair and dress begin to merge with the water. A
scene from Alexander Pope's poem Windsor Forest (1713). Lodona, a nymph
fond of hunting, is chased by Pan and implores Cynthia (an epithet of
Diana the huntress goddess) to save her from her persecutor. No sooner
had she spoken than she became ''a silver stream which ever keeps its
virgin coolness''. She gives her name to The Lodden, an tributary of the
Thames in Windsor Forest.
[Ref: 44046] £380.00
Maria Luisa Caterina Cecilia Cosway (1760–1838) (née Hadfield) was an Italian-English painter, musician, society hostess and educator. She worked in England, France, and later Italy. On 18th January 1781, Maria married a fellow artist, the famous miniature portraitist Richard Cosway, with whom she had a strained relationship with, both taking various lovers.
Mary Darly
The Clerical Butcher Macaroni.
St James fec. [Darly.]
Pubd accordg to Act by MDarly 39 Strand Nov 6 1772.
Etching, 175 x 125mm. 7 x 5".
A
man holds a huge and intimidating butcher's cleaver in his right hand,
his left in his breeches pocket. He is plainly dressed in dark clothes
in the manner of a clergyman, in a small wig, plain neck cloth, a
buttoned waistcoat concealing his shirt. Probably someone called
Butcher. From 'Caricatures, Macaronies & Characters, published by
MDarly', in an album of caricatures published by Mary Darly dated
January 1776. It seems that her husband Matthew made the plates.
Numbered 'V.5' upper left and '2' upper right.
BM Satires: 5048.
[Ref: 14315] £180.00
(£216.00 incl.VAT)
Mary Darly (fl. 1756–1779) was a printseller, caricaturist, artist, engraver, writer, and teacher. She wrote, illustrated, and published the first book on caricature drawing, A ‘Book of Caricaturas’ (c. 1762), aimed at "young gentlemen and ladies." Mary was the second wife of Matthew Darly, also called Matthias (fl. 1741–1778), a London printseller, furniture designer, and engraver.
By 1756, the Darlys had printshops in Fleet Street and the Strand. Mary was the sole manager of the branch at "The Acorn, Ryders Court (Cranbourne Alley), Leicester Fields." Mary advertised in the daily papers in her own name as "etcher and publisher." She was one of the first professional caricaturists in England. The husband-and-wife team also offered drawing lessons to upper class men and women.
The Darlys relocated their shop from Fleet Street to the West End as the craze for homemade caricatures grew. At their West End shop, they published between 1771 and 1773 six sets of satirical "macaroni" prints, each set containing 24 portraits. The new Darly shop became known as "The Macaroni Print-Shop”. They also engraved the drawings of others. The Darlys were responsible for bringing Henry Bunbury's talents as a humorous caricaturist to public attention by publishing his work, and Anthony Pasquin had studied in the earlier part of his career at Matthew Darly’s studio
Lady Dashwood
[Birth and Triumph of Cupid] 8. Mistakes His Mark.
P.W. Tomkins Engraver to her Majesty [after 'Lady Dashwood'].
London, Published as the Act directs Jan.y 17, 1795 by Tompkins 19 New Bond Street.
Stipple and line engraving. 135 x 145mm (5¼ x 5¾"), with very wide margins.
Cupid
practising his archery against a tree. His first arrow is embedded in
the tree, snapped; his second misses. The title page of this work
reads: ''To the Queen, This Book Representing the Birth and Triumph of
Cupid In Her Majesty's Collection, from Papers cut by Lady Dashwood, is
with permission most humbly Dedicated by her Majesty's most devoted and
very much obliged Servant P.W. Tomkins''. 'Lady Dashwood' was the
pseudonym of Princess Elizabeth (1770-1840), the third daughter of
George III and Queen Charlotte. Her 'papercuts' were engraved by Peltro
William Tomkins, the court engraver and former pupil of Bartolozzi, and
were published at the King’s expense.
See Complete Set Ref: 31775
[Ref: 53417] £75.00
(£90.00 incl.VAT)
Princess Elizabeth (1770 –1840) (Eliza) had a pretty stilted existence; King George and Queen Charlotte were keen to shelter their children, particularly the girls. She was also the closest daughter to their mother, which contributed to Charlotte's reluctance to let her marry. However Eliza was determined to enjoy her life so explored and developed her varied interests and hobbies.
She was a talented artist, producing several books of her own engravings to benefit various charities. She painted, learned printing techniques, silhouette cutting, painting upholstery and curtains, embroidery, and principles of architecture and gardening. She was also in close contact with court painters such as Benjamin West, Thomas Gainsborough and William Beechey, as well as the engraver Francesco Bartolozzi.
Lady Charlotte Elizabeth Egerton
Lady Charlotte Egerton [ink signature].
[n.d., c.1840.]
Very fine watercolour with pencil, with gilt foil border. 120 x 140mm (4¾ x 5½").
Brightly-coloured birds on a pencil branch. Lady Charlotte Egerton (d. 1878), wife of William Egerton, 1st Baron Egerton, of Tatton Park. One of the formal gardens is named 'Charlotte's Garden' in her honour.
[Ref: 52596] £220.00 (£264.00 incl.VAT)
Catherine Maria Fanshawe del.t. Caroline Walton Engraver to her Majesty, Sculp.t.
Re-issue circa 1820, of plate inscribed: London. Pub.d Jan.y 1 1793 by A.Molteno Printseller to her Royal Highness the Duchess of York No. 76 St. James's Street
Stipple, rare, printed in sepia. 280 x 290mm. Crack in platemark.
A classical view of sibling rivalry.
[Ref: 21392] £260.00 (£312.00 incl.VAT)
Jane Hogarth
The Politician. Etch'd from an Original Sketch of Wm: Hogarth's, in the Possession of Mr: Forrest.
Willm Hogarth Inv.t: Etch'd by J:K:Sherwin.
Pubd: as the Act directs by Jane Hogarth, 1775. [Added in pen:] '31 October'.
Paper discolouration, trimmed close to plate. Some tearing around the edges.
Satire
with a man reading a newspaper, oblivious of the candle that he holds
burning a hole in his hat. John Keyse Sherwin [1751- 1790] trained
under Bartolozzi.
BM Satires: 1978. Not in Paulson.
[Ref: 17018] £230.00
(£276.00 incl.VAT)
She was born Jane Thornhill circa 1709, the daughter of James Thornhill, a prominent painter at the time, and his wife Judith. She married William Hogarth in 1729, at Paddington.
After the passing of William, whom she outlasted by 25 years, Jane Hogarth kept on selling his work. She guarded his reputation and kept his papers. She was unable to sell her spouses copperplates without the authorization of William's sister Anne Hogarth, and paid Anne an annuity from the sale of prints. She began publishing editions of engravings in 1765, and saw to the longer term rights in 1767 by approaching parliament.
The protection under the Engraving Copyright Act 1734 was expiring on William Hogarth's earlier works. Jane Hogarth ensured that she regained the protections of her husband's initial copyright. The bill of 29 June 1767 extended her rights from fourteen years to twenty years, giving her "the sole right and liberty of printing and reprinting all the said prints, etchings, and engravings, of the design and invention of the said William Hogarth, for and during the term of twenty years"
Hogarth produced prints and advertised them as authentic works of William Hogarth, emphasising their moral nature. Printer Robert Sayer also had an "almost complete set of copies" of painter William Hograth's plates and sold prints at prices that undercut those of Jane Hogarth.
A cumulative tradition of commentary and biography was founded on the Lettres (1746) of the French miniaturist Jean André Rouquet, in London under George II, and anecdotes supplied by Horace Walpole. Jane Hogarth produced an edition with Rev. John Trusler titled ‘Hogarth Moralized’ (1768). Censored versions appeared in the 19th century. She had strong objections to ‘Biographical Anecdotes of William Hogarth’ (1781) by John Nichols, who found Trusler "dull and languid."
Hogarth also broadened her range. Bringing in John Keyse Sherwin, Hogarth published 'The Politician' in 1774, an engraving from a sketch supposed to have been made by William for his friend Ebenezer Forrest, which became included with prints of her husband's works. Hogarth also worked with Richard Livesay. They had a painting by William Hogarth turned into a print engraved by Francesco Bartolozzi, sold as Shrimps! Eventually, as the sale of the prints lost value, Hogarth was given a pension by the Royal Academy.
Jane died on 13 November 1789 in Chiswick, her estate passing to Mary Lewis, her cousin; who sold the rights to William Hogarth's copper plates to John Boydell, for an annuity.
Hannah Humphrey
[Duke of Cumberland] A Portrait.
[Thomas Rowlandson.]
Pub.d January 10th 1812 by H. Humphrey, 27 St. James's Street.
Fine hand-coloured etching with large margins. Platemark: 270 x 215mm (10¾ x 8½").
The
Duke of Cumberland walks in profile to the left, putting his spy-glass
to his right eye. He holds hat and cane, wears a high-collared coat with
a star, blue with red facings (the Windsor uniform), leather breeches,
and spurred top-boots. Behind is the pagoda in Kew Gardens, with a
background of distant trees. Companion print to item ref: 32088.
BM Satires: 11924.
[Ref: 32086] £260.00
(£312.00 incl.VAT)
Hannah Humphrey (fl.1745–1818) was a leading London print seller of the 18th century, significant for being the publisher of much of James Gillray's output.
The sister of William Humphrey, Hannah Humphrey first started selling prints from her brother's premises. She struck out on her own in 1778 or 1779, when she first established a printshop in St Martin's Lane.
She was very successful becoming one of the top two print sellers in London, the other one being Samuel Fores. Her shop in St James was visited by a fashionable clientele and had a large stock of social and political caricature, including caricature portraits of leading society figures. Notable artists she published beside Gillray included Thomas Rowlandson and James Sayers.
She moved premises several times: from 18 Old Bond Street (1778–83) to 51 New Bond Street (1783–89), to 18 Old Bond Street (1790–94), to 37 New Bond Street (1794–97) and finally settling in 27 St James's Street (1797–1817), depicted in the print ‘Very Slippy-Weather’. James Gillray lodged with her for much of his working life, and she looked after him after his lapse into insanity around 1810 until his death in 1815. In ‘Two-Penny Whist’, the character shown second from the left, an ageing lady with eyeglasses and a bonnet, is widely believed to be a depiction of Humphrey. She was known as Mrs Humphrey although she remained a spinster for all her life.
Angelica Kauffman
Angelica Kauffman pinx.t James Watson fecit.
Publish'd according to Act of Parliament March 25.th 1775, by James Watson No.64 Little Queen Ann Street & B: Clowes Engraver Gutter Lane Cheapside London.
Mezzotint, very scarce proof before title. 502 x 380mm (19¾ x 15"). Margins on left frayed.
Full-length portrait of painter of miniatures Margaret Bingham (née Smith, c.1740-1814), seated, leafing through a print portfolio on a table. The daughter of Sir James Smith, she married Charles Bingham (1735-1799), 1st Earl of Lucan in 1760.
CS: 10. Goodwin: 101. Alexander: 22.
[Ref: 27752] £490.00
Amelia Long
A L [monogram on stone.]
[British, n.d., c.1837.]
Rare lithograph with colour added by hand, 390 x 245mm. 15¼ x 9¾". Original card mount with ink ruled border. Some light foxing.
Amelia Long (née Hume), Lady Farnborough (1772-1837). In 1793 she married Charles Long, created Baron Farnborough in 1826. An amateur etcher and a vigorous patron of the arts, he assisted the watercolourist Thomas Girtin (1775-1802) to make his one visit to Paris in 1801. Lady Farnborough was Girtin's favourite pupil, and her work was widely admired by professional artists and drawing masters. Her watercolours also show the influence of her contemporary John Varley. At Petworth House, Sussex?
Not in Abbey; for a collection of prints by Long, see ref.3949
[Ref: 27037] £140.00 (£168.00 incl.VAT)
Harriette Oates
Ms. Oates. Lit. W. Wenzel litog.
Rare lithograph, printed area 230 x 270mm (9 x 10½"). Very large margins.
Eruption of the Mount Vesuvius volcano near the Bay of Naples. Lithograph after Harriette Oates [fl. 1839] (née Rhodes), a topographical artist who made a series of views in Sicily and southern Italy in around 1839.
[Ref: 37110] £160.00 (£192.00 incl.VAT)
Maria Katherina Prestel
Dessin de Nicolas Berghem de Harlem. No. 12.
M.C. Prestel sc.
[n.d., 1797.]
Rare. Crayon manner stipple with white highlights, 270 x 405mm (10¾ x
16"), mounted on original backing sheet with engraved border and title,
outside platemark 370 x 475mm (14½ x 18¾"). Repaired tear at top centre
into image.
A rocky landscape with peasants, from a
catalogue of the drawings in the collection of Paulus Praun II
(1548–1616) in Nuremberg, prior to their sale in 1801. Written by by
Christoph Murr, the catalogue was illustrated with engravings by husband
and wife team Johann Gottlieb Prestel (1739-1808) and Maria Katharina
(maiden name Höll, 1747-94), despite their separation in 1786, when
Maria Katharina moved to London, working for John Boydell and others.
[Ref: 48602] £320.00
Maria Katharina Prestel (1747 –1794) née Maria Katharina Höll, was an engraver and painter from Nuremberg, and active in London.
She became a pupil of Johann Gottlieb Prestel whom she later married in 1769, but the couple separated in 1786, with her moveing to London with their daughter Ursula Magdalena Prestel. There she worked for John Boydell (1720-1804) and made aquatints. Her painting "Gypsy on a Common" was published in the 1905 book "Women Painters of the World.
Prestel's career in London was very successful and by the time of her death in 1794 she had produced over 73 engravings plates based on the works of German, Italian and Dutch artists.
She was famous for her large aquatint landscape prints that skilfully reproduced the subtle details of romantic landscape paintings. Prestel died in 1794 in Greater London.
Learning engraving and painting techniques from her mother and father, Ursula Magdalena Prestel moved to Brussels to begin her own career as an artist.
Catherine Read
C. Read Pinx.t. C. Corbutt fecit.
Printed for Rob.t Sayer No.53 Fleet Street [n.d., 1770].
Engraving. 325 x 225mm (12¾ x 9¾") very large margins. Blind stamp of the Milne Cooper Collection in inscription area.
Seated portrait of Harriet Powell (or Lamb, died 1779), tuning a guitar. She became the second wife of Kenneth Mackenzie, 1st Earl of Seaforth, although the marriage was secret. The daughter of an apothecary, she was described by Sir James Balfour Paul as 'a fashionable beauty of the town'. However Horace Bleackley was more explicit: 'The graceful Harriet Powell, equally frail and famous, whose winsome face was portrayed in many a mezzotint, had spent her early youth as an inmate of Mrs Hayes's disreputable establishment in King's Place, but now at last she had become faithful to one man, and was keeping house with Lord Seaforth, the creator of a famous regiment'. Engraved by Richard Purcell under pseudonym of Corbutt, after Catherine Read.
CS: 63, ii of ii.
[Ref: 60090] £390.00
She stayed in Rome until 1753, when she made the decision to travel to England; Albani was able to preserve her dignity despite her family's previous allegiance in the Jacobite uprising. There were plenty of commissions and patronage during this time. Queen Charlotte was among the elite group of clients she drew.
In 1764, Read was on the road back to Paris for commissioned portraits of Madame Elisabeth through the Dauphin. The Free Society (1761–1768) and the Society of Artists (1760–1772) both exhibited her work. In 1769, she was made an honorary member of the latter organisation, along with Mary Benwell and Mary Black, in response to the Royal Academy accepting Angelica Kauffman and Mary Moser into their respective fold. Later, after a failed petition to the king, Read left to join the Royal Academy and was expelled from the Society as consequence.
Amelia de Suffren
[Raglan Castle] Inside View of Ragland Castle.
Amelia de Suffren Pinx et Sculp.
Pub.d May 1803 by the Author et by Colnaghi No.23 Cockspur S.tr London.
Scarce aquatint with etching. 300 x 405mm (11¾ x 16") large margins Slight creasing.
A
view of the ruins of Raglan Castle in Monmouthshire. Amelia de
Suffren, the widow of French Admiral comte Pierre André de Suffren de
Saint Tropez (1729-88) who had fought the British in the War of the
Austrian Succession, the Seven Years' War, the American War of
Independence, the Bourbon War in the East Indies and the 4th Anglo-Dutch
War), toured Wales during the Peace of Amiens (1802-3) recording many
views which she then published herself.
[Ref: 58251] £260.00
(£312.00 incl.VAT)
French painter and engraver of landscapes; active late 18th and early 19th centuries; engraved the illustrations for "A picturesque journey around South and North Wales"
Queen Victoria
V.R
1840.
Rare etching on india paper, by Queen Victoria usually gifted to visitors, plate 200 x 150mm (8 x 6"), with large margins. Foxing.
Portrait of a young Princess Adelheid of Hohenlohe-Langenburg (1835–1900), sitting on a rock, leaning her left hand on another and turned away from the viewer. After the pen and ink drawing by Queen Victoria (1819–1901) currently in the collection of the Royal Collection Trust. Princess Adelheid of Hohenlohe-Langenburg was the daughter of Queen Victoria's elder half-sister Princess Feodora of Leiningen. Princess Adelheid, known as Ada, visited England with her mother and siblings in September 1840.
[Ref: 61625] £480.00
Caroline Watson
B. Marillo Pinxit. Caroline Watson Sculpsit.
Publish'd Sep.r 1.st 1781 by John Boydell Engraver in Cheapside London.
Stipple, printed in sanguine. Plate: 230 x 180mm (9 x 7"), with very good margins.
A scene showing a young boy feeding his small dog.
[Ref: 47271] £120.00 (£144.00 incl.VAT)
Caroline Watson (c.1761–1814) was an English stipple engraver. She was the daughter of the Irish engraver James Watson, who worked in mezzotint, and studied under him.
She was known for her skilled worked in the stipple method, was particularly known for reproductions of miniatures, and was the only woman engraver to serve as an independent engraver in the British 18th century. She came to prominence as an engraver at about the same time as women began to make up a significant proportion print consumers.
In 1785 she engraved a pair of small plates of the Princesses Sophia and Mary, after John Hoppner, which she dedicated to Queen Charlotte. She was then subsequently appointed engraver to Queen.
Unfortunately her career began to wind down after 1810 due to ill health, and she died in 1814.
Mary Anne Theresa Whitby
Point Colonna, Isle of St. Pietro
[Probably by Mary Anne Theresa Whitby, c.1828]
Rare lithograph, printed on chine collé. 145 x 210mm (5¾ x 8¼"), with wide margins. Foxing.
View
of the distinctive rock formation of Punta Colonna on the island of San
Pietro off the west coast of Sardinia. The printmaker, Mary Anne
Theresa Whitby (1784-1850), was married to Captain John Whitby, flag
captain for Admiral Sir William Cornwallis. They lived on the admiral's
estate, Newlands: after John's death in 1806, Mary stayed on, spending
much of her time with Cornwallis, who left his estate to her on his
death in 1819. Being a keen amateur lithographer, Whitby established a
private press at Newlands, but she is better remembered for the first
successful sericulture (silk production) to England after three
centuries of attempts, presenting twenty yards of damask to Queen
Victoria in 1844. She performed genetic experiments on her silkworms for
Charles Darwin, who published her results in his 'The Variation of
Animals and Plants Under Domestication' (1868).
Ex: Collection of the late Hon. C. Lennox-Boyd.
[Ref: 35712] £180.00
(£216.00 incl.VAT)
Mary Anne Theresa Whitby (née Symonds 1783–1850) was an English writer, landowner, and artist. She became an authority on the cultivation of silkworms, and in the 1830s reintroduced sericulture to the United Kingdom. During the 1840s, she corresponded extensively with Charles Darwin about silkworms, conducting breeding experiments to help develop his theories of natural selection.
