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BROWSERS/FOLIO STANDS
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JUSTIN F SKREBOWSKI
Units L3 & L4 Basement, Admiral
Vernon Arcade 141-149 Portobello Road London, W11 2DY, UK.
Telephone: 020 7792 9742 Mobile:
07774 612474
From abroad: +44 20 7792 9742 +44 7774 612474
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DECORATIVE MEZZOTINTS, STIPPLE ENGRAVINGS &C
New stock will be added throughout 2010
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Anon
A design
showing the general plan of the Parliament of Scotland; of the Order of
Precedence of the members of that Body on entering the House and of the sitting
of that illustrious Body.
18th
Century copper engraving printed onto laid paper.
Plate: 359 x
459 mm
In very good
condition.
Price: £70 |
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A design
showing the general plan of the Parliament of Scotland; of the Order of
Precedence of the members of that Body on entering the House and of the sitting
of that illustrious Body. |
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Wynne Ryland
after Kauffman
‘Achilles
sese ob Mortem Patrocli Afflictat’
Published on
4th December 1777
Stipple
engraving printed in sanguine onto laid paper.
Plate: 306 x
395 mm
Strong
impression. In good condition.
Price: £150 |
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Wynne Ryland
after Kauffman
[Cleopatra
mourning the death of Marc Antony]
Published 25th
March 1778 by W W Ryland, London
Stipple
engraving printed in sanguine onto laid paper.
Sheet: 368 x
284 mm
Strong
impression. In good condition.
Price: £180 |
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[Cleopatra
mourning the death of Marc Antony] |
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Wynne Ryland
after Kauffman
Penelope
awakened by Euryclea
Published 12th
May 1785 by John Boydell
Stipple/line
engraving printed onto laid paper.
Plate: 302 x
392 mm
Good
Impression.
Price: £170 |
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Penelope
awakened by Euryclea
Euryclea was a servant of Penelope and Odysseus. She was the first to recognize
Odysseus on his return and in this scene, she is waking Penelope to inform her
of her husband’s return. |
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Wynne Ryland
after Kauffman
‘Perseverance’
Published 9th
July 1777, London
Stipple
engraving printed onto rolled paper. Watermark visible in the paper – ‘1794 J.
Whatman’
Plate: 378 x
290 mm
In very good
condition.
Price: £180 |
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A decorative, allegorical image portraying the moral attribute, perseverance.
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J. F. Polctnich
after Jordaens
Le Roy de la
Feve
(The King of the Party)
Painted in
1639 and printed in 1796
18th
century copper engraving.
Sheet: 441 x
592 mm
A few very
small marginal tears. One larger repaired marginal tear (bottom margin).
Price: £250 |
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Le Roy de
la Feve
(The King of the Party)
Based on the
painting by Jacob Jordaens (one of the leading Flemish Baroque artist of the 17th
Century), this scene depicts the Flemish celebration of the Epiphany. One person
is appointed King for the evening and in this particular scene, Jordaens has
depicted the oldest member of the party as King. From the facial expressions and
the rowdy chaotic nature of the scene, Jordaen’s is showing his distaste for
drunkenness; on the original painting, the words “Nothing seems more like a
madman than a drunkard” are inscribed at the top. |
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Keating
after
Jordaens
Filial Piety
Published 25th
March 1790 by Keating
Mezzotint
Plate:
One or two
small marginal tears. Good Impression.
Price: £75 |
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Filial Piety
Image showing
the condemned disciple Simon being suckled by his daughter, Pero. The Judges, so
overwhelmed by such a show of filial piety, pardoned Simon for his daughter’s
actions. |

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**Barenulf
after Dugour
Atala delivrant Chactas
Stipple engraving printed using coloured ink.
Plate: 322 x 381 mm
Title/publishing line printed from a separate plate. Good impression.
Price: £90 |
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**Le Bas
after F. Boucher
Title erased
[Pastoral scene]
Copper engraving printed onto laid paper, mounted onto backing card.
Plate: 398 x 467 mm
Surface
abrasion just beneath the image where the title has been erased.
Price: £183 |
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A
decorative depiction of a pastoral scene, very typical of Boucher’s style.
Engraved by Jacques Philippe Le Bas, a popular French engraver, who some hailed
as ‘the incarnation of the engraving of the 18th century’. |
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J.F. Blondel
after Salléy
Cross section
of the Hotel de Ville with its decorations and illuminations for the Ball held
on the night of 30th August 1739 to celebrate the marriage of Madame
Louise Elizabeth of France and Prince Philippe of Spain
18th
century copper engraving printed onto laid paper. Watermark visible.
Plate: 517 x
704 mm
Several
repaired marginal tears. Crease line down the centre of the image. Slight
spotting. Good impression.
Price: £245 |
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Cross section
of the Hotel de Ville with its decorations and illuminations for the Ball held
on the night of 30th August 1739 to celebrate the marriage of Madame
Louise Elizabeth of France and Prince Philippe of Spain
An
architectural cross-section showing the Hotel de Ville in Paris is all its
finery for the marriage celebration of Louise Elizabeth and Prince Philippe of
Spain. Madame Louise Elizabeth was the eldest daughter of King Louis XV of
France and his Queen Consort Maria Leszczyńska, and the elder twin sister of
Henriette-Anne. She married Prince Philippe of Spain, becoming ‘Madame Infante’
and later became the Duchess of Parma. |
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Richard Earlom after Rembrandt Harmensz van Rijn
Susanna and the Elders
London, J. Boydell June 12th 1769
Mezzotint, scratch proof before titles
Trimmed to image, misc marginal repairs, faint traces of old creases
465x545mm
£280
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Susanna and the Elders
A strong, proof impression. A scene from the Apocryphal Book of Susanna written during the Babylonian exile of the Jews in about the second century BCE. It was later attached to the Book of Daniel as Chapter 13. Susanna was the beautiful young wife of Joachim, a wealthy respected Babylonian Jew, and their home became a meeting place for the leaders of the community. Two Elders or Judges became enamoured of Susanna and planned to spy on her as she took her bath in the pool in the gardens of her home. They waylaid her and attempted to rape her, but Susanna managed to flee and call for help. In court they falsely accused Susanna of adultery, saying they had seen her in Joachim's garden with a young lover who had subsequently escaped. The court could not doubt the evidence of two such eminent citizens and Susanna was condemned to death. However, the young Prophet Daniel came forward and masterfully cross examining the two accusers separately, discovered discrepancies in their story. Susanna was restored to her rejoicing family and the Elders condemned in her place. This mezzotint shows the anguished scantily clad figure of Susanna surprised while entering her pool; one old man tries to pull her drapery away, while the other hastens out of the shadows with an anticipatory leer on his face. In the background is Joachim's mansion and the monumental outlines of the city of Babylon. Rembrandt executed the majority of his Jewish and biblical subjects in the 1650's-60's.
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**Guiot
after Dugour
Chactas et Atala descendant le Fleure
Stipple engraving printed using coloured ink.
Plate: 331 x 423 mm
Repaired marginal tear (approx 85mm). A few other smaller marginal tears. Good
impression.
Price: £90
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Henry Hudson after Rembrandt Harmensz van Rijn King Belshazzar beholding the Hand Writing on the Wall
London, c. 1790
Mezzotint
Trimmed to image and within publication line, traces of old fold
475x615mm
£150
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King Belshazzar beholding the Hand Writing on the Wall
A loose interpretation
by Hudson of Rembrandt’s famous painting (now in the National Gallery,
London) of Belshazzar’s Feast. In the centre of the design Belshazzar,
as an oriental monarch in cloak and turban, starts back in horror
as the finger of God traces Hebrew letters (not written correctly
by Hudson here) on the wall in the background. A richly dressed
man and woman sit on the left and fruit and wine are on the table.
A scene from Chapter Five of the biblical Book of Daniel. Belshazzar
King of Babylon, son of Nebuchadnezzar had been feasting and praising
his gods, when he was startled and terrified to behold the hand
of God writing the words Mene Mene Tekel Upharsin on the wall. His
mother, entering the hall, suggested that he send for the Prophet
Daniel, who had been trusted by his father, to interpret the phenomena.
The bible goes on to relate Daniel’s interpretation thus:
5:23 But hast lifted up thyself against the Lord of heaven; and
they have brought the vessels of his house before thee, and thou,
and thy lords, thy wives, and thy concubines, have drunk wine in
them; and thou hast praised the gods of silver, and gold, of brass,
iron, wood, and stone, which see not, nor hear, nor know: and the
God in whose hand thy breath is, and whose are all thy ways, hast
thou not glorified:
5:24 Then was the part of the hand sent from him; and this writing
was written.
5:25 And this is the writing that was written, MENE, MENE, TEKEL,
UPHARSIN.
5:26 This is the interpretation of the thing: MENE; God hath numbered
thy kingdom, and finished it.
5:27 TEKEL; Thou art weighed in the balances, and art found wanting.
5:28 PERES; Thy kingdom is divided, and given to the Medes and Persians.
5:29 Then commanded Belshazzar, and they clothed Daniel with scarlet,
and put a chain of gold about his neck, and made a proclamation
concerning him, that he should be the third ruler in the kingdom.
5:30 In that night was Belshazzar the king of the Chaldeans slain.
5:31 And Darius the Median took the kingdom, being about threescore
and two years old.
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Johann Jacob Haid after Hans (Jan) Boll
Absalom’s Submission to his Father King David, for pardon of the Assassination of his Brother Amnon, in Revenge of his having forced his Sister Tamar.
London, J. Boydell August 20th 1766
Mezzotint
Traces of old crease, laid onto card, slight rubbing.
520x370mm
£150
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Absalom’s Submission to his Father King David, for pardon of the Assassination of his Brother Amnon, in Revenge of his having forced his Sister Tamar.
A delicately executed, biblical subject. Absalom, King David’s favourite son, kneels before his father, hands clasped. David, in the dress and turban of an oriental potentate, raises his hand to bless his son, and on the ground is Absalom’s discarded bow and quiver of arrows. Absalom, David’s third son, is first mentioned as murdering his half brother Amnon, David's eldest son, in revenge for the rape of his full sister Tamar. For this he was driven into banishment, but he was eventually restored to favour through the good offices of his cousin Joab. Later, when some uncertainty seems to have arisen as to the succession, Absalom organized a revolt. For a time he seemed completely successful; David, with a few followers and his personal guard, fled across the Jordan, leaving to Absalom Jerusalem and the main portion of the kingdom. The usurper pursued the fugitives with his forces but was completely defeated in the forest of Ephraim (apparently west of Jordan) and killed by Joab, who found him caught by the hair in an oak tree.
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Angelique Moitte after L’Allemand
The Storm
Copper engraving on laid
paper
Very good impression.
Crease along the dedication line. Otherwise, in very good condition.
490 x 360 mm
£80 / €120
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The Storm
This image represents the arrival of the Enlightenment, a European literary and
philosophical movement of the 18th century. The bolt of lightening crashing down
through the oak is symbolic of the breakdown of the principal force which had
enslaved the human mind – religion (represented by the great oak ). The
Classical ruins depicted in the background, show how the movement, particularly
in the arts, confronted the ideas of Classical Antiquity which had so influenced
artists up till then.
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Muzzi
after E.A. Petitot
Marcia de Giudici d’Armi
18th C Copper engraving printed onto laid paper
Plate: 293 x 437 mm
Clear impression in good condition.
Price: £200 |
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Johann Peter Pichler after Philip Friedrich von Hetsch
Vespasianus und Julius Sabinus
Nuremberg, J. F. Frauenholz 1801
Mezzotint
Narrow margins
250x420mm
£180
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Vespasianus und Julius Sabinus
A rare, large, German mezzotint. This view shows the Emperor Vespasian sitting on his throne, gesturing angrily at the bound Sabinus and the kneeling figures of Sabinus’ wife Empona and her two weeping children. During 69AD and the Year of the Four Emperors, two Gallic noblemen Julius Classicus and Julius Sabinus, seeing that Rome was seriously weakened, decided to rebel and set up an Empire of their own in Gaul. Defeated in 70 AD by Petillius Cerealis, Sabinus and his wife, who had defended and hidden him, were brought to Rome and executed. The successful history painter Philip Friedrich von Hetsch (1758-1838), was born in Stuttgart. At the age of 13, against the wishes of his parents who intended him to become a court musician like his father, Hetsch entered the Ducal Military Academy to train as an artist.
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James Ward after Rembrandt Harmensz van Rijn
The Centurion Cornelius. From an Original Picture brought to this Country by M. Bryan Esqr
London, Messrs. Ward April 10th 1800
Mezzotint
Misc neat marginal repairs, some affecting edges of engraved surface.
590x660mm
£280
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The Centurion Cornelius. From an Original Picture brought to this Country by M. Bryan Esqr
A strangely orientally dressed Roman centurion Cornelius, supposedly the first gentile convert to Christianity, instructing his servants to travel to Joppa, in accordance with his instructions from the angel, to invite St. Peter to his home in Caesarea so that he and his family might be baptised. The stern, bearded figure of Cornelius stands on the left, hand outstretched, while his three servants bow before him, hats in hand. The art connoisseur and picture dealer Michael Bryan (1757-1821), is best known today for his monumental, still useful and constantly revised Bryan’s Dictionary of Painters and Engravers first published in 1816.
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Etchings after Jean-Antoine Watteau
Born at Valenciennes, Watteau (1684–1721), who early displayed an interest in drawing, left for Paris to study art in 1702. After a harsh struggle to survive, he won recognition in 1709, when he won second prize in a student competition at the Academy. Three years later he was invited to join the Academy, and success followed swiftly. His patrons, who came from diverse levels of society, included dealers, antiquaries, and such connoisseurs as the great collector Pierre Crozat. In frail health, Watteau died from tuberculosis at the young age of 37, soon after a visit to London, where he had travelled in the hope of being cured by the eminent physician Dr. Richard Meade. All the etchings listed below are fine, strong impressions with wide margins.
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Balthazar Sigismund Setlezky after Jean-Antoine Watteau
La Fileuse
Augsburg, c. 1730
Etching
320x210mm
£100
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La Fileuse
A charming study of a young peasant girl spinning. She is depicted wearing a voluminous headdress, with an apron over her dress, standing and holding a spindle under her arm from which she twists the thread.
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Balthazar Sigismund Setlezky after Jean-Antoine Watteau
Mezzetin
Augsburg, c. 1730
Etching
220x320mm
£120
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Mezzetin
A study of the seated figure of the Commedia dell’Arte character ‘Mezzetin’, the amorous valet, frequently engaged in the pursuit of unrequited love. He sits in profile, wearing a large floppy hat, cape, and baggy breeches trimmed with tassels.
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Balthazar Sigismund Setlezky after Jean-Antoine Watteau
Study of a Negro boy and wine cooler
Augsburg, c. 1730
Etching
220x320mm
£120
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Study of a Negro boy and wine cooler
An interesting study of a negro boy, wearing a striped shirt and trousers, taking a bottle of wine from a large wine cooler.
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Balthazar Sigismund Setlezky after Jean-Antoine Watteau
Two
studies of a Persian diplomat
Augsburg, c. 1730
Etching
320x240mmm
£200
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Two
studies of a Persian diplomat
Two studies of a young man in oriental dress. One shows him full length, wearing a striped djellaba, a fur lined pelisse over one shoulder and a fur trimmed cap with two peaks at the crown. The other is closer study, showing the same man seated, wearing the same, strange peaked hat, with his hands in his lap, hidden in the folds of his gown.
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S. Trémollière after Jean-Antoine Watteau
Study of a young woman from ‘Les Plaisirs du Bal’
Augsburg, c. 1730
Etching
250x180mm
£100
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Study of a young woman from ‘Les Plaisirs du Bal’
A fine, sharp study for the figure of the young woman in a black dress dancing on the left in Watteau’s painting Les Plaisirs du Bal, now in Dulwich Picture Gallery. She curtseys, one hand holding her skirts, the other outflung, glancing alluringly over her shoulder. The full painting is a scene of wish-fulfilment, a warm dusk in the marble-vaulted summer-house of an Italian garden. There is a rustic band, dancers in fancy-dress, romance, flirtation and conversation. After the stuffy protocol of the Court at Versailles, this scene would have conveyed a daring informality.
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I.C. Zeitter after Paul Potter
Etching printed on chine
collé paper.
Excellent Impression.
Trimmed just outside the plate mark
217 x 153 mm
£30
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Study of a Bull's head.
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