Grosvenor Prints

Renaissance artist Sofonisba Anguissola, from a 1561 self-portrait (still at Althorp, as mentioned on the print):   Sofonisba Angosciola. From an original Painting by herself in the Gallery at Althorp. Engraved by Hawksworth. London, Pubd. by Sherwood, Gilbert & Piper, Paternoster Row, Novr. 20, 1827. Engraving from an unidentified publication, sheet 185 x 120mm. 7¼ x 4¾". Trimmed to plate.   Sofonisba Anguissola (c.1532-1625) was an Italian painter of the Renaissance, and one of few female artists mentioned in Vasari's "Lives of Artists." [Ref: 19562]   £80.00   (£96.00 incl.VAT) This early portrait of Rubens was probably engraved from a now-lost original of the artist with his son, executed in the 1620s, of which a copy is now in the Hermitage, St Petersburg: Excellentissimus Dns D. Petrus Paulus Rubenius pictorum Apelles, decus huius saeculi, Orbis miraculum. Aulam Hispanicam, Gal...

Today sees the opening of the National Gallery's exhibition Barocci: Brilliance and Grace , celebrating the work of Urbino artist Federico Barocci (c.1533-1612). The following print, a 1649 reissue of a print engraved during Barocci's own lifetime, reproduces Barocci's painting of The Calling of St Peter and St Andrew (Brussels, Musée des Beaux-Arts) :  [The Calling of Peter and Andrew] Serenissimo Illustrissimo Principi Francisco Mariae de Ruvere Urbino Duci VI, Justiciae ac pietatis cultori integerrimo, bonarumq artium admiratori, mecaenati fuo Antonius Carensanus humilli D.D. 1590  Federicus Baroc. Urb. inventor. Adrian Collaert Sculpsit. alla Pace Gio: Iacomo de Rossi formis Romae 1649. Engraving, sheet 435 x 310mm (17 x 12¼"). Trimmed to plate; creasing. [Ref: 27284]   £230

Some of the most impressive prints of the eighteenth century are the set of chiaroscuro woodcuts from Venetian paintings by John Baptist Jackson (c.1700-c.1770), issued in groups between 1739 and 1745. Originally from London, Jackson was apprenticed to Jean Michel Papillon in Paris before settling in Venice by 1731. Disillusioned with the intricate engraving techniques then dominant, he determined to revive the bold chiaroscuro woodcut style of the early Northern European masters. Between 1739 and 1745 he designed seventeen of these woodcuts, using two or three tints to create a set of highly distinctive prints, of which we currently have the following in stock, all framed and mounted: The Holy Family and Four Saints, after Veronese Dives and Lazarus, after Bassano (right plate)                            ...