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browsing 4347 items
displaying items 3801 to 3900
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 SHOTTER BOYS, Thomas (1803-1874)
Blackfriars, From Southwark Bridge
[London: T. Boys, 1842]. Hand-coloured lithograph by Thomas Shotter Boys, printed by Charles Hullmandel, deluxe edition, trimmed to the subject (as issued), mounted on modern 100% acid-free sheet. Very good condition. Image size (including text): 6 7/8 x 17 3/4 inches.
A very fine image from Boys' 'London As It Is': a work 'of considerable importance' (Abbey)
Abbey writes of the work London As It Is from which this beautiful image comes: apart "from the beauty of its plates, it records London at a period when good pictorial records were few. The London of the 1840's is probably more difficult to reconstruct than at any other period in the nineteenth century" (Abbey Life 239). High production costs and changing fashion caused aquatint to die out, photography was still in an experimental stage, and chromolithography did not appear until 1850. Boys' work was issued with the plates tinted and hand-coloured, including Boys' name at the foot, or as here, with the plates hand-coloured mounted in imitation of watercolours, with no imprint.
Boys garnered enormous prestige from this work and from his earlier, Picturesque Views in Paris, Ghent... (1839). The "accuracy of his portraits of buildings and his skill in composition have seldom been bettered" (Mallalieu Dictionary of British Watercolour Artists p.38).
Cf. Abbey Scenery 239
#14954 $1,250.00  
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 SIEBOLD, Philipp Franz von (1796-1866)
Nippon. Archiv zur Beschreibung von Japan und dessen Neben- und Schutzländern: jezo mit den südlichen Kurilen, Krafto, Koorai und den Liukiu-Inseln, nach japanischen und europäischen Schriften und eigenen Beobachtungen bearbeitet
Leiden: bei dem Verfasser, 1832-1852. 'Text': 7 volumes in three, large quarto (16 x 11 ½ inches). Six half-titles and titles, and 3pp. collation subsequently issued by Bernard Quaritch; half-title and 1832 title and 982pp. of text only (of 1426). Lithographed frontispiece, portrait of Schilling Canstadt, on india paper mounted, 95 lithographed plates, views and maps only (including 7 maps [1 folding, 4 double-page], 9 views [1 double-page]). (Some spotting, browning or old light marginal dampstaining to about 17 plates, 1 plate with tear to outer margin.) 19th-century green bubble-grain cloth, titled in gilt on the flat spines.
'Plate' volumes: 2 volumes, folio (23 ½ x 15 ½ inches). Letterpress title dated 1852, two section titles and 1 leaf of text. Lithographed frontispiece and 347 (of 382?) plates, views and maps only (including 17 maps [2 hand-coloured in outline, 12 double-page, 2 of these hand-coloured], 46 views; 10 plates hand-coloured or printed in colours, 67 on india-paper or tinted), extra-illustrated with 16 duplicate plates (Light old marginal dampstaining or spotting to about 80 plates.) 19th-century brown cloth-backed boards, titled in gilt on the flat spines.
A noble fragment of the "Nippon": an all encompassing work on Japan of the pre-Meiji era, the plate volumes are in the deluxe folio format which allows the full value and beauty of the images to be fully appreciated.
The total number of plates in both sections is 461, of these 103 are duplicates, giving a total of 358 individual images: this number comes closer to the probable required total of 382 than the number of plates in any other copy of the work recorded at auction since the war.
The plates printed on the smaller format paper of the text volumes to a large extent duplicate those in the plate volumes: of the 97 images in the text volumes, only 10 do not have the same image printed on large paper in the plate volumes. This together with total of 348 images in the plate volumes makes up the total of 358 images.
Siebold 's work was published over what was to prove to be the final decades of the Edo (or Tokugawa) period which ended with the overthrow of the last shogun and the restoration of supreme power to the emperor, in the form of Meiji Tenno. Siebold was able to record, from first-hand observation the final period of traditional Japan, a period which had lasted for over 200 years and had been, for the most part, a time of peace, political stability and economic growth. He was able to record a way of life, of art and religion much of which was swept away by the moves in the Meiji period to westernize and modernize.
The shogunate had been founded by Tokugawa Ieyasu in 1603. He achieved hegemony over the entire country by balancing the power of the potentially hostile domains (tozama) with strategically placed allies (fudai) and collateral houses (shimpan). As a further strategy of control, beginning in 1635, Ieyasu's successor required the domainal lords, or daimyo, to maintain households in Edo (modern Tokyo) and reside there for several months every other year.
As part of the systematic plan to maintain stability, the social order was officially frozen, and mobility between the four classes (warriors, farmers, artisans and merchants) was prohibited. Another aspect of the concern with political stability was fear of foreign ideas and military intervention with the result that and official policy of national seclusion was adopted. Contact with the outside world was limited to a few Chinese and Dutch merchants who were still allowed to trade through the southern port of Nagasaki.
The national economy expanded rapidly in the last quarter of the 17th century. The resultant increase in mercantile activity gave rise to a well-to-do merchant class which brought with it a dynamic urban culture that found expression in new literary and art forms.
This economic success brought with it the seeds of the destruction for the shogunate period: the daimyo and samurai classes began to experience financial difficulties as their income was not keeping pace with the rises experienced by the merchants. A number of attempts at reform were tried during the 18th century, but the financial strain on the warrior class increased. The period when Siebold was in Japan was one of increasing unrest from the samurai, peasant uprisings and constant financial problems. The powerful southwestern tozama domains of Choshu and Satsuma exorted the greatest pressure on the government and eventually bought about the final overthrow of the last shogun.
The present work is notoriously difficult to find complete: the extended period over which it was published, allied with the financial difficulties of the Dutch publisher, have ensured that few, if any, complete copies remain. In fact, booksellers of the period are recorded as having the greatest difficulty in completing sets, and the facsimiles published in 1897 and 1931 were reproduced from a number of different, but incomplete sets.
Cordier Bibliotheca Japonica 477.
#2906$120,000.00
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 SINCLAIR, THOMAS S. (ca. 1805-1881)
Panoramic View From the Summit of Santa Lucia, Santiago
Philadelphia: J.B. Lippincott & Co., 1856. Hand-coloured lithograph. Drawn from camera sketches by E.R. Smith and lithographed by T. Sinclair's Lithography, Philadelphia. Very good condition apart from some mild creasing and a few skillfully repaired small tears and losses in the right margin. Image size (including text): 67 1/2 x 9 1/4 inches. Sheet size: 69 3/4 x 11 3/8 inches.
A breathtaking panoramic view of Chile's capital city from the first volume of James Melville Gilliss's landmark publication, 'The U.S. Naval Astronomical Expedition to the Southern Hemisphere, During the Years 1849-'50-'51-'52'.
Five years after founding the U.S. Naval Observatory in Washington, D.C. in 1844, the eminent astronomer and naval officer James Melville Gilliss (1811-1865) embarked on a mission to South America to carry out a series of observations concerning measurements of the solar parallax. Commissioned by the Secretary of the U.S. Navy, the voyage was intended as a purely scientific expedition; however, during its course, Gilliss also made copious notes on the natural history, geography and politics of the rural and metropolitan areas he visited in Argentina and Chile. Upon returning to the United States, he published his findings and an abundance of accompanying illustrations as The U.S. Naval Astronomical Expedition to the Southern Hemisphere. While the third and fourth volumes of this important work are comprised of detailed astronomical observations, the first volume is dedicated to describing the various aspects of Chile, where Gilliss established an observatory on the hill of Santa Lucia in Santiago in 1849.
Trained in Edinburgh, Scotland, the prolific and talented lithographer Thomas S. Sinclair (ca. 1805-1881) established his prosperous lithography firm in Philadelphia in 1838. He was specifically renowned for his early innovative use of colour lithography, for which he was awarded a medal at the 1848 Franklin Institute's exhibition, and this beautiful partly coloured plate of Santiago is a testament to his mastery of the technique.
#12310$1,200.00
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 SINGLETON, After Henry ( 1766-1839)
Industry and Oeconomy
London: 25 March 1800. Stipple engravings, printed in colours, by Darcis (expertly repaired tear to upper margin in image area). Image size (including text): 23 1/8 x 18 3/4 inches. Sheet size: 26 3/8 x 21 inches.
A fine colour-printed stipple-engraved scene demonstrating the effects of application to life and business, after Henry Singleton.
The subject of this very fine image finds echoes in a number of earlier works, most notably William Hogarth's series titled 'The Industrious Apprentice'. The subject matter is illustrated by Samuel Collings' verses which appear with the title beneath each image. Singleton's work was extremely popular during his lifetime, and the present image certainly shows that he merited that popularity. The original was probably produced as a commission from Darcis as Singleton is known to have come to specialise in works that were intended as artwork for engravers.
#6596$2,500.00
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 SINGLETON, Henry ( 1766-1839) engraved by BARTOLOTTI and Charles KNIGHT
A Pair: "British Plenty" and "Scarcity in India"
London: circa 1794. A pair of colour printed stipple engravings. [British Plenty]: Engraved by Bartolotti. Printed on laid paper. A lovely impression in good condition. Trimmed within platemark on all sides. A series of creases along upper margin and a water stain on the extreme edge of the right margin. Paper is time stained. Image size: 20 x 15 3/4 inches. Sheet size: 23 1/2 x 17 1/4 inches. [Scarcity in India]: Engraved and published by Charles Knight. Printed on watermarked 1794 wove Whatman paper. A lovely impression in good condition. Trimmed just within platemark on bottom margin. Some creasing in extreme edges. Water stain in bottom margin and small hole in bottom left corner of sheet. Mended hole in center of sheet. Image size: 20 1/4 x 15 7/8 inches. Sheet size: 24 1/8 x 19 1/8 inches.
A stunning pair of "risque" prints by the celebrated English genre painter Henry Singleton.
Henry Singleton achieved early success painting literary and Biblical subjects, but he also produced many accomplished portraits and genre paintings. He spent the majority of his career in London where he was a regular exhibitor at the Royal Academy. He exhibited his first painting at the Academy while he was still a student there, and won a gold medal at the tender age of twenty-two. Singleton's beautiful paintings recall the pictures of George Morland, and depict, with insightful subtly, the tender side of English country life. His pretty genre paintings of rural and domestic life were a great source of inspiration for contemporary engravers who reproduced his work with industrious vigor. The popularity of these prints greatly enhanced Singleton's reputation, and made him one of the most celebrated painters of his day.
This intriguing pair of stipples represents a deviation from Singleton's more conservative images. Typically a sentimental painter, Singleton became known for his sweet moralistic genre scenes. In comparison, this amusing pair is openly suggestive if not overtly sexual. If just examining the titles, one would assume that the subject matter was about commerce or perhaps a moralistic declaration regarding poverty in the colonies. When viewed in conjunction with the images, the pair assumes a more risqué connotation.
In "British Plenty", a young man, sporting a delighted expression and eager demeanor, walks with two beautiful girls along the wharf. The fact that the women are most likely courtesans, an assumption supported by their flirtatious behavior and revealing clothing, immediately transforms the meaning of the image. In "Scarcity in India", two young Englishmen offer pretty trinkets to a young Indian girl outside a rural village. The girl responds to the familiar gestures and lascivious glances of the Englishmen with a meek expression and a demure pose. Singleton seems to be suggesting that Britain is wealthy in more ways than simple commerce, and that India's poverty extends to all levels of its society. Although, to a modern eye, Singleton's images are merely suggestive if not slightly amusing, to an eighteenth century audience these images would have been blatantly risqué. It is interesting that Singleton chose to place his scene in India, since he had never actually been there. Like many British artists, he produced paintings with an Indian theme in response to the great public demand for images of the colonies. This public fascination with India obviously extended to the erotic print trade, which sought to capture the latest fashions and most up to date trends.
#16894$2,750.00
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 SKIPP, After Raymond L.
Portrait of Lester Piggott
London: Arthur Ackermann & Son Ltd, 1983. Coloured print by Royle Print Ltd. after Raymond L.Skipp. Image size (including text): 26 1/4 x 18 3/8 inches. Sheet size: 32 1/2 x 23 1/2 inches.
A very fine limited edition print, one of 850 copies signed in pencil beneath the image by Piggott and Skipp.
An excellent large-scale full-length portrait of the greatest 20th-century English jockey: Lester Piggott. His achievements include winning just over 5,300 races in the United Kingdom and overseas. These wins included nine Epsom Derbys, three Prix de l'Arc de Triomphes and a total of over 30 wins in English Classic races, as well as being champion jockey eleven times in 1960, 1964-71, 1981 & 1982. Outside the United Kingdom he rode and won in 27 different countries between 1955 and 1984.
#5588$350.00
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 SMIRKE, After Robert (1752-1845)
Conjugal Affection From the Original Picture presented to the City by Aldn. Boydell. To thier most excellent Majesties King George III, & Queen Charlotte. This Print is most humbly Dedicated by their most Dutiful and Loyal Subject Jno. [sic.] Boydell
London: J. & J. Boydell, 29 September 1799. Stipple engraving, printed in colours and finished by hand, by Robert Thew (3 inch tear to upper margin touching the image area). Image size (including text): 17 1/4 x 23 1/4 inches. Sheet size: 19 7/16 x 24 3/4 inches.
A fine colour-printed stipple-engraving, dedicated to the King and Queen whose tranquil domestic life was a by-word in late 18th century England.
Robert Smirke (1752-1845) was the son of a clever but eccentric travelling artist, was born at Wigton, near Carlisle, in 1752. He was brought to London by his father in 1766, and apprenticed to a coach-painter named Bromley. In 1772 he became a student of the Royal Academy, and in 1775 a member of the Incorporated Society of Artists. In 1804 he was elected to succeed Joseph Wilton as keeper of the Royal Academy, but George III refused to confirm the appointment, possibly through fear of the influence on the students of the artist's freely expressed revolutionary opinions. His last contribution to the academy, entitled Infancy, appeared in 1813, but he continued to exhibit occasionally elsewhere until 1834.... His works are characterised by good drawing, refinement, and quiet humour... Smirke painted also some pictures for Boydell's Shakespeare Gallery, and for Bowyer's History of England.... In the Guildhall, London, is a picture by him representing Conjugal Affection, or Industry and Prudence' (DNB).
Robert Thew (1758-1802) "...for a time followed the trade of a cooper; but, possessing great natural abilities, he invented an ingenious camera obscura, and later took up engraving, in which art, although entirely self-taught, he attained a high degree of excellence. In 1783 he went to Hull, where he resided for a few years, engraving at first shop-bills and tradesmen's cards. His earliest work of a higher class was a portrait of Harry Rowe..., and in 1786 he etched and published a pair of views of the new dock at Hull... Having executed a good plate of a woman's head after Gerard Dou, he obtained from the Marquis of Carmarthen an introduction to John Boydell, for whose large edition of Shakespeare he engraved in the dot manner twenty-two plates... He held the appointment of historical engraver to the Prince of Wales..." (DNB)
#6626$2,400.00
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 SMIT, Joseph (1836-1929)
Saxicola torquata Saxicola rubetra & Oenanthe oenanthe (Stonechat, Whinchat & Wheatear)
Pencil and water-colour, signed 'J.Smit' (lower right), early label mounted on verso, inscribed in blue pencil 'Wheatear, Whincahat, & Stonechat Section VI. Facing page 480'.
A fine ornithological water-colour, being original artwork for Richard Lydekker's Royal Natural History, published London 1893-96. Lydekker's work included examples from the greatest natural history artists of the period, such as Joseph Smit and his son Pierre-Jacques, prolific artists who contributed to many important zoological publications. In the 1880s and 1890s for example, both father and son produced artwork for the monumental British Museum (Natural History) Catalogue of the Birds in the…Museum.
Cf. Jackson, Bird Illustrators (1975), pp. 75-84; cf. Nissen ZBI 2612.
#4694$1,850.00
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 SMIT, Pierre Jacques (1863-1960)
Pyromelana orix & Steganura paradisea (Red Bishop & Paradise Willowbird)
[?London: circa 1893-1896]. Pencil and water-colour, signed 'P.J.Smit' , early label mounted on verso, inscribed in blue pencil 'Weaver Birds Section VI. Facing page 362'. Image size (including text): 7 3/4 x 5 1/8 inches. Sheet size: 11 1/4 x 8 inches.
A beautiful original watercolour of these spectacular exotic birds, pictured by one of tyhe most important ornithological artists of his day
A fine ornithological water-colour, being original artwork for Richard Lydekker's Royal Natural History, published London 1893-96. Lydekker's work included examples from the greatest natural history artists of the period, such as Joseph Smit and his son Pierre-Jacques, prolific artists who contributed to many important zoological publications. In the 1880s and 1890s for example, both father and son produced artwork for the monumental British Museum (Natural History) Catalogue of the Birds in the Museum.
Cf. Jackson, Bird Illustrators (1975), pp. 75-84; cf. Nissen ZBI 2612.
#4695$1,950.00
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 SMIT, Pierre Jacques (1863-1960)
Cinnyricinculus leucogaster and others (Amethyst Starling and other Glossy Starlings)
[?London: circa 1893-1896]. Pencil and watercolour, signed "P. J.Smit," early label mounted on verso, inscribed in blue pencil "Glossy Starlings Section VI. Facing page 349".
This is a fine ornithological watercolour, the original artwork for Richard Lydekker's Royal Natural History, published London in 1893-96. Lydekker's work included examples from the greatest natural history artists of the period, such as Joseph Smit and his son Pierre-Jacques, prolific artists who contributed to many important zoological publications. In the 1880s and 1890s, for example, both father and son produced artwork for the monumental British Museum's (Natural History) Catalogue of the Birds in the…Museum.
Cf. Jackson, Bird Illustrators (1975), pp. 75-84; cf. Nissen ZBI 2612.
#4696$1,200.00
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 SMITH, After George (1713-1776, artist) of Chichester - William WOOLLETT (1735-1785)
The Apple Gatherers. Engraved after an Original Picture of Mr. Geo. Smith, in the Possession of Mr. Bradford
London: Laurie & Whittle, 12 May 1794. Copper engraving by William Woollett, coloured by hand. Expertly repaired tears, old creasing. Sheet size: 17 x 22 inches.
A fine image of an idealized sylvan landscape: a work by 'the first English engraver whose works were admired and purchased on the continent' (DNB).
William Woollett 'son of Philip Woollett, a flax-dresser at Maidstone, was born there on 15 Aug. 1735. Shortly after that date his father, having won a share in a lottery prize, took the Turk's Head inn at Maidstone, and there young Woollett gave the first indication of his artistic talent by scratching the sign of the house on a pewter pot. He was, in consequence, sent to London, where he became a pupil of John Tinney, and also studied drawing in the St. Martin's Lane Academy... Boydell... commissioned him to engrave the Niobe of Richard Wilson. This established his reputation as the ablest landscape engraver who had yet appeared in England.. So far Wollett had confined his practice almost exclusively to landscape work, but on the appearance in 1771 of West's Death of General Wolfe, he undertook to engrave it, sharing the venture with Boydell and William Wynne Ryland. The plate, which is his most celebrated work, was published in January 1776, and achieved extraordinary popularity both in England and abroad. On a proof of it being shown to the king shortly before its publication, the title of Historical Engraver to His Majesty was conferred upon Woollett... Some of his topographical drawings were engraved by Mason, Canot, and Elliott. In 1766 Woollett became a member of the Incorporated Society of Artists, of which he was also secretary for several years. He resided for some time in Green Street, Leicester Square, and later in Charlotte Street, Rathbone Place, where he died...on 23 May 1785...
Woollett stands in the front rank of the professors of his art, and he was the first English engraver whose works were admired and purchased on the continent. In his landscapes he succeeded, by a skilful combination of the graver and needle, in rendering the effects of distance, light, and atmosphere in a way not previously attempted, and his figure subjects are executed with remarkable vigour and purity of line.' (DNB).
William, George and John Smith were three artistically gifted brothers known as 'the Smiths of Chichester'. George, the most talented of the three, specialised in landscape painting. 'He depicted the rural and pastoral scenery of Sussex and other parts of England in a pleasing ... manner, based on the study of Claude and Poussin ... he was throughout his life a much-admired artist' (DNB).
#18830$1,500.00
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 SMITH, After George
Aberdeen from the South
London: Smith & Elder, 1822. Hand-coloured aquatint, by John Clark. Image size (including text): 13 3/4 x 20 1/4 inches. Sheet size: 22 1/8 x 28 1/8 inches.
An important topographical view of Aberdeen, county town of Aberdeenshire in north east Scotland
This view should perhaps be seen as an immediate forerunner of John Clark's own Views in Scotland published in London between 1824 and 1825 with a total of 35 plates. The view is taken from the south bank of the Dee looking across the river to what a contemporary gazetteer calls 'New Aberdeen', the same work notes that the town was situated 'on rising ground, on the north bank of the Dee, near the mouth of the river, and about 1 1/2 miles to the south of the river Dona royal burgh and parish in the county of the same name.' (Fullarton [publishers] A Gazetteer of the World 1856, I, p.12). The population in 1821 was 26,484 and had risen to 35,260 by 1841. The gazetteer notes that New Aberdeen 'is a large and handsome city with spacious streets. Union-street is upwards of a mile in length, and of great beauty. Broad-street... is celebrated as having been the residence of Lord Byron while under his mother's care.' The chief sources of income were from the docks, salmon fishing, machine manufacturing, spinning and weaving of cotton, flax and wool.
#5670$2,500.00
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 SMITH, After John of Chichester (1717-1764)
[Rural landscape with Castle] The Original Picture from which this Print was taken, in the year 1760, obtained the Second Premium granted by the Society for the Encouragement of Arts, Manufactures, and Commerce, in London
London: John Boydell, 24 January 1763. Copper engraving, coloured by hand, by William Woollett. (Expertly repaired tears to margins and plate mark, old creasing). Image size (including text): 17 x 22 3/4 inches. Sheet size: 20 1/2 x 26 1/4 inches.
A fine image of an idealized sylvan landscape: a work by 'the first English engraver whose works were admired and purchased on the continent' (DNB).
William Woollett (1735-1785) 'son of Philip Woollett, a flax-dresser at Maidstone, was born there on 15 Aug. 1735. Shortly after that date his father, having won a share in a lottery prize, took the Turk's Head inn at Maidstone, and there young Woollett gave the first indication of his artistic talent by scratching the sign of the house on a pewter pot. He was, in consequence, sent to London, where he became a pupil of John Tinney, and also studied drawing in the St. Martin's Lane Academy... Boydell... commissioned him to engrave the Niobe of Richard Wilson. This established his reputation as the ablest landscape engraver who had yet appeared in England.. So far Wollett had confined his practice almost exclusively to landscape work, but on the appearance in 1771 of West's Death of General Wolfe, he undertook to engrave it, sharing the venture with Boydell and William Wynne Ryland. The plate, which is his most celebrated work, was published in January 1776, and achieved extraordinary popularity both in England and abroad. On a proof of it being shown to the king shortly before its publication, the title of Historical Engraver to His Majesty was conferred upon Woollett... Some of his topographical drawings were engraved by Mason, Canot, and Elliott. In 1766 Woollett became a member of the Incorporated Society of Artists, of which he was also secretary for several years. He resided for some time in Green Street, Leicester Square, and later in Charlotte Street, Rathbone Place, where he died...on 23 May 1785...
Woollett stands in the front rank of the professors of his art, and he was the first English engraver whose works were admired and purchased on the continent. In his landscapes he succeeded, by a skilful combination of the graver and needle, in rendering the effects of distance, light, and atmosphere in a way not previously attempted, and his figure subjects are executed with remarkable vigour and purity of line.' (DNB).
John Smith, the younger brother of the painter George Smith, 'was his pupil, and painted landscapes of a similar character; the two frequently worked on the same canvas. John exhibited with the Incorporated Society of Artists in 1760 and with the Free Society from 1761 to 1764. In 1760, again in 1761, he was awarded the second premium of the Society of Arts, and in 1762, when his brother George was not a candidate, the first; his premium landscape of 1760 was engraved by Woollett. He died at Chichester on 29 July 1764.' (DNB).
#5745$1,500.00
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 SMITH, H. & C. T
Map of New Haven County Connecticut
Philadelphia: H & C. T. Smith, 1856. Wall map, 54¼ x 53 inches, full period hand colour. Expertly repaired, backed with modern linen, trimmed in white cloth, on contemporary rollers. Some minor creasing and light tanning, but in all a very good copy.
A splendid map of New Haven County, Connecticut; the largest and most detailed for the area of the nineteenth century. Drawn on a scale of 1¼ inches to a mile, the map offers a wealth of information, including population statistics, a list of businesses in Waterbury and in New Haven (six booksellers and stationers, many more lawyers), a table of agricultural statistics, and another showing distances between towns. There are fine inset plans of several county towns, including New Haven, Waterbury, Milford, Meriden, Cheshire, Guilford, Birmingham, and many others. Twelve fine engravings depict Yale College, the college library, the New Haven railroad station and public green, and the Guilford Academy, among others.
Rumsey 1583; Thompson 169; Phillips, America, p.480.
#5638$3,500.00
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 SMITH, H. & C. T., and E. M. Woodford
Smith's Map of Hartford County, Connecticut
Philadelphia: 1855. Wall map, 70 x 50½ inches, in full period colour. Expertly restored, backed with modern linen, trimmed in maroon cloth, on contemporary rollers. Minor facsimile work in one of the upper insets. Save for some very light spotting, a lovely map, the colours bright and in original colour.
Rare. A splendid wall map of Hartford County, Connecticut.
The map is remarkably detailed, with each township separately coloured. Thompson notes that it "locates every building in the county, with names of owners marked, excepting with the city of Hartford." There are twenty finely engraved inset maps of county towns: Farmington, Rocky Hill, New Britain, Wethersfield, Glastonbury, South Glastonbury, Hartford, Windsor Locks, Suffield, Thompsonville, Broad Brook, Warehouse Point, Plainville, Cheneyville, Southington, Unionville, Collinsville, Hazardville, Plantsville, and Berlin. The entire map is surrounded by trelliswork panels that contain a series of thirty-one fine vignettes of prominent buildings and homes in the county. These include the State House in Hartford, the State Normal School in New Britain, the Connecticut Literary Institution in Suffield, and the home of Col. A. G. Hazard in Enfield. The map was based on surveys conducted by E.M. Woodford of West Avon, CT, and engraved and printed by Wagner & McGuigan of Philadelphia. Not in Phillips' America (though the single copy located by OCLC is at the Library of Congress), nor in Rumsey, who only notes a Smith wall map of New Haven County of 1856. Thompson locates three copies.
Thompson 164; Ristow, p.388. OCLC 46859550.
#6650$2,750.00
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 SMITH, J. Calvin
Guide through Ohio, Michigan, Indiana, Illinois, Missouri, Wisconsin, Iowa, Minnesota, Nebraska & Kansas. Showing the Township Surveys, Location of Cities, Towns, Villages, Post Hamlets, Canals, Rail and Stage Roads
New York: Colton, 1857. Engraved map, with full original colour, 20 x 27¼ inches, folding into gilt-stamped brown cloth covers.
The separately issued version of the map found in the 1857 printing of Colton's Traveler and Tourist's Guide-Book through the Western States. Not in Rumsey in this format.
Ristow, p.316
#3217$1,500.00
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 SMITH, J. Calvin
Map of the State of New York Showing the location of Boundaries of Counties & Townships Cities, Towns and Villages: the Courses of Rail Roads, Canals & Stage Roads
New York: Published by J. Disturnell, 1848. Engraved on steel by Sherman & Smith. Full period color, 19 x 23-1/2", folding into gilt stamped brown cloth covers. Two insets: The St. Lawrence River, from the New York State Line to Quebec; and City of New York with Part of Brooklyn and Williamsburgh. .
This is a finely engraved and detailed general map of the State of New York. Canals are shown in blue, and railroads in orange. Docketed on verso in blue pencil: "Jay Fiske Fort Plain N.Y." and "Map of New York State/ Fiske". Phillips, p. 513; not in Rumsey.
#6386$1,750.00
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 SMITH, John after Thomas MURRAY
Thomas Gill
London: Published by John Smith, circa 1694. Mezzotint. State ii/ii, with the engraved inscription. In excellent condition. Image size: 9 1/4 x 7 1/2 inches. Plate mark: 10 x 7 1/2 inches. Sheet size: 10 1/2 x 8 1/4 inches. In contemporary pear wood frame with gold details. Frame size: 12 5/8 x 10 1/4 inches.
A charming early mezzotint by John Smith depicting a young boy engaged in archery.
Thomas Gill, a child of about ten, is seen half length in clothes of the finest quality. A bow in hand, he appears to have paused momentarily to look confidently at the viewer, before resuming his archery.
John Smith (1652?-1742) studied mezzotint engraving under Isaac Beckett and Jan Vander Vaart. He became the ablest and most industrious worker in mezzotint of his time, and the favourite engraver of Sir Godfrey Kneller, whose paintings he extensively reproduced, and in whose house he is said to have resided for some time. Smith's plates, which are executed in a remarkably brilliant and effective style, number about five hundred, and of these nearly three hundred are portraits of distinguished men and women of the period between the reigns of Charles II and George II, from pictures by Lely, Kneller, Wissing, Dahl, Riley, Closterman, Gibson, Murray, and others... Previous to 1700 his plates were mostly published by Edward Cooper, but about that date he established himself as a printseller at the Lyon and Crown in Covent Garden' (DNB)
Chaloner Smith, British Mezzotinto Portraits 108, i/i; Russell, English Mezzotint Portraits, and their States 108, ii/ii; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 1
#6508$600.00
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 SMITH, John after G. KNELLER
Richard Lord Clifford and Lady Jane his Sister
London: Published by John Smith at the Lyon & Crown in Russell Street, Covent Garden, circa 1704. Mezzotint. State i/i with the published engraved inscription. In good condition apart from some overall light foxing. Image size: 15 3/8 x 9 15/16 inches. Plate mark: 16 1/16 x 9 7/8 inches. Sheet size: 16 3/4 x 10 3/4 inches.
A delightful portrait of two young children by the eminent English painter, Sir Godfrey Kneller.
Sir Godfrey Kneller is considered one to be of the most famous portrait painters of his day; his elegant style of painting influenced English portraiture forever, and set a precedent for artists such as Reynolds and Lawrence. Although originally from Germany, Kneller studied under Ferdinand Bol in Rembrandt's studio in Amsterdam. After traveling extensively in Europe Kneller settled in England where he received the patronage of three different English monarchs from Charles II to George I. Amongst Kneller's most famous works are a series of ten captivating portraits of prominent court ladies, which came to be known as the "Ten Beauties of the Court." In 1702 Kneller was commissioned to paint a series of forty-three portraits of the celebrities of the Kit-Kat club, a series that is still considered a national treasure. Kneller's beautiful and dignified paintings shaped the art of portraiture in England and established him as an artist for his time. The commercial pairing of John Smith the mezzotint engraver and Godfrey Kneller was born out of a mutual admiration and close friendship. With his remarkable talent and industrious nature, Smith quickly became Kneller's favorite engraver, and even resided with him for a time in London. Throughout his career Smith engraved a vast quantity of Kneller's portraits, thus distributing Kneller's images to a broader public and increasing his renown.
Chaloner Smith, British Mezzotinto Portraits 53, i/i; O'Donoghue, Catalogue of Engraved British Portraits...in the British Museum 1; Lennox-Boyd & Stogdon, state i/i..
#7297$600.00
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 SMITH, John Raphael (1752-1812)
What You Will - Ce Qui Vous Plaira
London: J.R. Smith, 1 January 1791. Oval stipple engraving, printed in colours and finished by hand, by Smith. Image size (including text): 14 7/8 x 11 inches. Sheet size: 18 x 12 3/4 inches approx.
A delightfully sophisticated image of a lady dressed in the height of fashion: her steadfast amused gaze matching the title.
Smith came to London in about 1767, "'and, while still serving as a shopman, devoted his leisure to the practice of miniature-painting. He also attempted engraving, and his earliest plate, a portrait of Pascal Paoli, after Henry Bembridge, is dated 1769. He made rapid progress in this art, and soon gained a high position. Many of his plates from the works of Reynolds, Romney, and others, as well as from his own designs, are among the masterpieces of mezzotint engraving... Smith likewise carried on an extensive business as a publisher of engravings, and employed Girtin and Turner to colour prints. Desirous of himself becoming a painter, he neglected engraving when at the zenith of his fame, and turned his attention to drawing crayon portraits, which he executed with great rapidity and success... He also painted...subjects in a style resembling those of Morland and of Wheatley. His works appeared at the exhibitions of the Incorporated Society of Artists, the Free Society of Artists, and the Royal Academy between 1773 and 1805... He possessed great artistic talent, combined with a humorous and convivial temperament.." (DNB).
These examples from the collection of Sir William Augustus Fraser of Ledeclune and Moran (early armorial labels pasted onto back-boards)
Le Blanc III, p.546 no.252
#6581$1,750.00
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 SMITH, John Raphael after George MORLAND
No. 9 Breaking the Ice
London: Published by John Raphael Smith, 20 October 1801. Mezzotint with roulette, coloured by hand. Image size: 17 1/4 x 21 1/2 inches. Sheet size: 19 x 23 1/8 inches approx.
A touching scene after Morland: 'a master of genre and animal painting, an artist worthy to be placed in the same rank as the best of those Dutch masters whom he studied as a boy' (DNB)
This print is a wonderful example of the manner in which Morland perfectly conveys the hardships and beauties of country life, his depiction of a poor country family battling the hardships of winter shows the bitter side of the pastural ideal with grace and emotion. George Morland was one of the most successful genre painters of his time, creating, during his industrious career, some of England's most cherished paintings. At an early age Morland displayed his artistic genius, he learned to paint at three and exhibited his first work at the Royal Academy at the mere age of ten. Morland was a prodigious painter, producing more than 4000 paintings during the entirety of his career, and sometimes painting two or three works in a day.
His beautiful idealistic scenes were a favorite source of inspiration for contemporary engravers, and as many as 250 separate engravings were done of his paintings during his lifetime. One such engraver was John Raphael Smith, who throughout his prodigious career reproduced many of Morlands paintings. Smith was a highly influential figure in the late eighteenth-century British art world, he quickly became an impresario of the print-publishing trade producing nearly 400 prints during his lifetime, 130 of which were of his own design. This beautiful print refelects both the talents of the engraver and the genius of the artist, in its sentiment and execution it demonstrates the best of English genre.
#6589$2,850.00
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 SMITH, John Raphael after William Redmore BIGG
A Lady and her Children relieving a Cottager
London: Published by J. Birchall, 1 March 1784. Mezzotint. In excellent condition with the exception that the lower margin is trimmed within the plate mark. Image size (including text): 16 7/8 x 21 5/8 inches. Sheet size: 18 1/8 x 22 5/8 inches.
A beautiful mezzotint after the sentimental genre painting by William Redmore Bigg.
William Redmore Bigg gained a reputation as an excellent genre painter, the sentimental morals and pretty appearance of his accomplished paintings made them extremely popular in their day. In subject and style Bigg echoed the work of his master Edward Penny, who also specialized in painting genre scenes with moralizing overtones. He was a regular exhibitor at the Royal Academy and the British Institution, and proved a continued source of inspiration for contemporary engravers. Bigg remains one of the most celebrated English genre painters, whose picturesque characterizations of the lower classes, express the sentiment and taste of his age. This stunning print stands as both a testimony to Smiths' superior engraving and an indicator of Bigg's artistry.
#6627$1,950.00
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 SMITH, John Raphael after Sir Joshua REYNOLDS
The Schindlerin
London: Published by John Boydell, Cheapside, Jan. 20, 1777. Mezzotint. State iii/iii, with the engraved inscription in thick and thin cursive letters. In good condition apart from some overall light surface soiling and foxing. Occasional rubbed creases throughout image. Laid down onto cream wove backing paper. Image size: 13 1/16 x 10 15/16 inches. Plate mark: 15 x 11 inches. Sheet size: 17 1/8 x 13 1/8 inches.
This charming portrait of the fashionable Catherine Schindlerin expertly illustrates Smith's superior technique and artistic ingenuity.
A highly influential figure in the late eighteenth-century British art world, John Raphael Smith was the most robust and prolific printmaker of his time. During his prodigious career, Smith produced nearly 400 prints, 130 of which were of his own design. The remainder were reproduced paintings by such noted British artists as Joshua Reynolds, George Romney, and Joseph Wright of Derby. Smith was an incredibly astute businessman and soon became an impresario of the print-publishing trade. At the 1783 exhibition of the Society of Artists, Smith exhibited his print of the Prince of Wales. This clever bit of marketing precipitated his appointment as the Regent's mezzotint engraver, immediately making him even more desirable to an art market hungry for quality prints. (D'Oench)
D'Oench, Copper into Gold, Prints by John Raphael Smith 88; Frankau, An Eighteenth Century Artist and Engraver, John Raphael Smith 306, iii/iii; Chaloner Smith, British Mezzotinto Portraits 147, iii/iii; Russell, English Mezzotint Portraits, and their States 147; O'Donoghue, Catalogue of Engraved British Portraits...in the British Museum 1; Lennox-Boyd & Stogdon, state iii/iii
#7514$750.00
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 SMITH, John Raphael after Thomas GAINSBOROUGH
His Royal Highness George Prince of Wales
London: Published by J.R. Smith, No. 83 Oxford Street, April 28, 1783. Mezzotint. State iii/x, with the plate reworked. Same inscription as previous states but re-engraved; three of the b's (in by Thos, by John, and Publish'd) now have loops in them. Traces of the previous incriptions are still visible. In good condition apart from some skillfully mended tears. Trimmed on the plate mark on bottom margin. Image Size: 24 1/8 x 17 13/16 inches. Plate mark: 25 13/16 x 17 7/8 inches. Sheet size: 26 x 18 1/4 inches.
This stunning portrait of George, the Prince of Wales was John Raphael Smith's most famous mezzotint, and earned him the title of Mezzotint Engraver to the King.
A highly influential figure in the late eighteenth-century British art world, John Raphael Smith was the most robust and prolific printmaker of his time. During his prodigious career, Smith produced nearly 400 prints, 130 of which were of his own design. The remainder reproduced painting by such noted British artists as Joshua Reynolds, George Romney, and Joseph Wright of Derby. Smith was an incredibly astute businessman and soon became an impresario of the print-publishing trade. At the 1783 exhibition of the Society of Artists, Smith exhibited his print of the Prince of Wales. This clever bit of marketing precipitated his appointment as the Regent's mezzotint engraver, immediately making him even more desirable to an art market hungry for quality prints. This large impressive plate was so popular that it underwent seven reworks over a period of thirty years so that figure of the Prince would correspond with the Regent's changing body shape and costume. (D'Oench)
Chaloner Smith, British Mezzotinto Portraits 167; Russell, English Mezzotint Portraits, and their States 167; Frankau, An 18th Century Artist and Engraver: John Raphael Smith..358; D'Oench, Copper into Gold, Prints by John Raphael Smith p. 85-86, p. 216-217 #218; C.G Boerner, English Mezzotints from the Lennox-Boyd Collection 62; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 19; Lennox-Boyd & Stogdon, state iii/x
#7673$1,850.00
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 SMITH, John Raphael after Rev. Matthew William PETERS
The Fortune Teller
London: Published by J. R. Smith, No. 83 Oxford Street, May 22, 1786. Coloured mezzotint. In good condition with the exception of some faint soiling in upper margin. Bottom margin outside platemark is coated with white paint. Water stains on verso of sheet, not noticeable on front of sheet. Image size: 14 3/4 x 17 inches. Plate size: 17 7/8 x 19 5/8 inches. Sheet size: 19 5/8 x 20 inches.
A wonderful mezzotint after Rev. Matthew William Peters, by one of the finest eighteenth century engravers.
This charming print is engraved after a painting by Rev. Matthew William Peters, and is a fascinating example of this period in British printmaking. Matthew Peters was trained in London under the portraitist Thomas Hudson. He quickly became a prominent member of the Society of Artists, exhibiting portraits in oil and pastel, and attracting a number of prominent aristocratic patrons, including the Duke of Manchester, the Marquess of Granby, and Lord Grosvenor, for whom he painted some of his most controversial pictures. Urged by his patrons, Peters painted a series of quasi-erotic character studies of courtesans, which at that time were quite unusual in Britain. These controversial pictures were eagerly reproduced by industrious printmaker/publishers such as Smith, and caused a flurry of curious customers to hurry to London print-shops. Following his ordination in 1781, Peters quickly denounced his early erotic pictures as immoral. Upon being appointed Honorary Chaplain to the Royal Academy, Peters expressed a profound regret "that he ever devoted his talents to such subjects". With this in mind, this picture becomes extremely interesting. In this work, Peters continues to observe and appreciate charming subjects in fancy costumes, but eliminates the erotic overtones present in his earlier works. Instead he has chosen to depict an age-old moral subject, fortune-telling, an institution in western art since the Renaissance. This print, which is expertly engraved by one of the finest eighteenth century printmakers, is a fascinating view into a turbulent period in Peters' life, when he struggled to produce images that would appeal to his viewers while remaining true to his moral beliefs.
D'Oench, Copper into Gold: Prints by John Raphael Smith 1751-1812 p. 224, No. 274; Smith Catalogue No. 135 & 136; Ackermann 1802, p. 9 , described as companion prints; Chaloner Smith, British Mezzotinto Portraits [Ward], 97, [Smith], 186; Frankau, An 18th Century Artist and Engraver: John Raphael Smith 146
#8168$2,250.00
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 SMITH, John Rubens after George MORLAND
Innocence Alarmed
London: Published by H. Macklin, Poets Gallery, Fleet Street, Jan. 1803. Colour-printed mezzotint. In fair condition with the exception of being trimmed within the plate mark. Title has been inset. Nail burns in left margin. Tear in upper margin extending into image. Image size: 18 x 23 1/2 inches. Sheet size: 19 1/2 x 24 1/2 inches.
A lovely colour printed impression of Smith's idealic print reflecting the English rural ideal, after a painting by George Morland.
George Morland was one of the most successful genre painters of his time, creating, during his industrious career, some of England's most cherished paintings. At an early age Morland displayed his artistic genius, he learned to paint at three and exhibited his first work at the Royal Academy at the mere age of ten. He was a prodigious painter, producing more than 4000 paintings during the entirety of his career, and sometimes painting two or three works in a day. His beautiful idealistic scenes were a favorite source of inspiration for contemporary engravers, and as many as 250 separate engravings were done of his paintings during his lifetime. His brother-in-law, William Ward, engraved a great number of his paintings reproducing in print his endearing paintings of English country life. Ward's engravings after Morland are some of the most beautiful prints of the period; they combine fine technical skill and inspired artistic imagination to create enduring images that speak of the taste and beauty of the age.
Dawe, G. Morland p. 146
#9985$1,500.00
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 SMITH, Samuel (publisher)
A Correct TIDE-TABLE, Shewing the true Time of HIGH WATER at London-Bridge, to every Day in the Year 1805...
[London]: Printed and sold by Samuel Smith, [1805?]. Broadside, 15 x 9¼ inches. Old, light fold lines. Near fine.
A comprehensive list showing the times of high tide on the River Thames at London Bridge for each day of the year 1805. Additional information allows the user to adapt the times for a few dozen other cities and ports. You would not have wanted to sail the Thames in 1805 without it. A nice ephemeral survival, and scarce.
#15962$450.00
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 SMITH, Thomas [known as Smith of Derby]
Set of 4 Views: No. 1: A View of Darwentwater & c. from Crow-Park, No. 2: A View of Thirlmeer, & c, No. 3: A View of Ennerdale Broadwater, & c, No.4: A View of Windermeer.
Published by Thomas Smith, 1767. Engraving with beautiful hand-colour. Printed on laid paper. No. 1: In excellent condition with the exception of being trimmed on the platemark on the top and bottom margins. Image size: 14 1/8 x 20 3/4 inches. Sheet size: 15 3/8 x 22 3/8 inches. No. 2: In excellent condition with the exception of being trimmed on the platemark on the top and bottom margins. Tiny tear on bottom margin just inside platemark. Image size: 14 1/8 x 20 3/4 inches. Sheet size: 15 3/8 x 22 1/2 inches. No. 3: In excellent condition with the exception of being trimmed on the platemark on the top and bottom margins. Image size: 14 1/8 x 20 3/4 inches. Sheet size: 15 1/2 x 22 7/16 inches. No. 4: In excellent condition. Image size: 14 1/8 x 21 inches. Platemark size: 15 1/4 x 21 3/4 inches. Sheet size: 15 7/16 x 22 inches.
A stunning set of four views of the Lake District by Smith of Derby, one of the most celebrated English landscape painters.
Towards the middle of the eighteenth century a trend developed amongst English artists and printmakers, which sought to visually record the natural beauties of England and Wales. Sparked by a sense of national confidence and patriotism, English printmakers began to publish topographical prints of the important sights in the British Isles. In addition to being a visual record of the countryside they were meant to encourage public recognition of the beauty and history of England. They were aimed at English and foreign tourists who desired a memento of their travels, or at those vicarious tourists who collected topographical prints instead of traveling.
One of the earliest and most influential landscape artists to begin this trend was Thomas Smith who came to be known as "Smith of Derby". Smith traveled the north of England painting famous houses and beautiful views. He was one of the first artists to depict wild landscape scenes, which became immensely fashionable with the development of the "picturesque landscape" towards the end of the century. Smith's paintings not only captured the English countryside at the onset of the Industrial Revolution, but also recorded the activities of visiting tourists and local inhabitants. These works capture a period in England's history, which was forever changed by the wheels of progress. Before the mills and the factories came to dominate the landscape of northern England Smith depicted its wild beauty and breathtaking scenery. This beautiful set is a wonderful example of Smith's superior work.
Clayton The English Print 1688-1802 page 155-157
#10658$3,500.00
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 SMITH, Thomas [known as Smith of Derby] engraved by J. MASSON
Thorp Cloud &c. This Pyramidal Mountain is in Derbyshire, the River Dove washes its foot; the front (where the View was taken) is in Staffordshire at the bottom of the Gradens of Geo. Port, of Ilam Esq...
Published by Thomas Smith, 1751. Engraving with beautiful hand-colouring. Printed on laid paper. In excellent condition with the exception of two skillfully mended tears on the bottom margin, and four skillfully mended tears on the top margin. Corners on left margin have been folded. Image size: 14 x 20 5/8 inches. Plate mark: 15 1/2 x 21 1/2 inches. Sheet size: 16 x 22 3/8 inches.
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