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Religious Subjects.  .

Religious mezzotints etc  from the Houghton Gallery & others

Most of these are substantial folio or above in sizing if exact sizing or condition reports are needed yell .. all are post free etc mainly from "In 1773, he began A Set of Prints Engraved after the Most Capital Paintings in the Collection of Her Imperial Majesty the Empress of Russia, Lately in the Possession of the Earl of Orford at Houghton in Norfolk, which was finished in 1788. a large part of Walpole's collection of paintings was sold for just £40000 by his grandson George, Earl of Orford, to Catherine the Great, all now in the Hermitage. .. originally sold as "HOUGHTON GALLERY, FORMERLY IN THE POSSESSION or LORD ORFORD, NOW IN THE COLLECTION OF THE EMPRESS OF RUSSIA ; 2 vols. impl folio, containing 133 fine plates, some before letters, hf. bd. uncut, £10. 10s Boydell. 1788 Galleries of Pictures. . . . time machine anyone !
**Many of these will need to be posted ROLLED as too large for many countries postal service if flat***




Dance of Boy Angels.
Engraved by S Facius after a picture by Sir Anthony Van Dyke. published 1788 by Boydell second state from Houghton. Condition short base margin as cut from the huge folio to 1cm from plate top and base £75 inc delivery


The Holy Family
after Morelli by George Farington engraved by Valentine Green > published 1775 by Boydell second state from Houghton. Condition central crease markfoxing to page edge well away from the image ;crease bottom right corner £65 inc GEORGE FARINGTON,, an English painter,born in the county of Lancaster, in 1754. He was educated under Mr. West, and obtained the prize in the Royal Academy for the best historical picture.. A landscape painter who came to London in 1763 and worked under Richard Wilson. He was a member of the Society of Artists from 1768 to 1773, and entered the RA schools in 1769. In 1773 he and his brother George went to Houghton to draw the pictures, which were subsequently engraved by Earlom and published by Boydell.From the late 1770's to 1781 he lived and worked in the lake District, but returned to London where he remained for the rest of his life. He was elected ARA and RA in 1783 & 1785.He illustrated Boydell's "History of the River Thames" 1794, and Published "Views of the Lakes" 1789, and "Views of the Cities and Towns of England & Wales" 1790. He also maintained a diary from 1793 which is an important record of the arts of the period .This promising artist afterwards went to India, where he would undoubtedly have acquired both fame and fortune, but he died in the prime of life in 1788 , VALENTINE. GREEN. . ."This much respected and venerable artist has lately ended a long life, chequered indeed by the vicissitudes of success and adversity, but always distinguished by honourable feeling and an assiduous exercise of his eminent talents. Mr. Green was born in Warwickshire in 1739, and was intended by his father for the profession of the law, for which purpose he was placed under a respectable practitioner at Evesham, in Worcestershire, with whom he passed two years; but having a taste for drawing, he abandoned his office, and, without his father's concurrence, became a pupil to an obscure line-engraver at Worcester. His progress in that branch of engraving not succeeding to his wishes, he came to London in 1765, where ne turned his thoughts to scraping in mezzotinto, and, without the aid of an instructor, arrived at a perfection which has seldom been equalled. Mr. Green participates with Mac Ardell and Earlom the merit of being the first artists who gave consequence and variety to the particular mode of engraving to which they devoted themselves ; and it is due to Mr. Green to remark, that his celebrated prints of Hannibal and Regulus, after the pictures by Mr. \Vest in the royal collection, were me first plates of equal magnitude and importance that had appeared. These were succeeded by several others of similar consideration, which will ever rank among the ablest and most energetic efforts of mezzotinto. This indefatigable artist, by his unremitting exertions during a period of upwards of forty years, has produced nearly four hundred plates, engraved from the most celebrated painters, ancient and modern. In 1789 Mr. Green obtained a patent from the Duke of Bavaria of the exclusive privilege of engraving and publishing prints from the pictures in the Dusseldorf Gallery; and in the year 1795, had published twenty-two prints of that collection. The enterprise promised to remunerate him amply for so spirited an undertaking, but unfortunately, during the siege of that city by the French in Ï798, the castle and gallery were laid in ruins, and a very valuable property belonging to him was destroyed. Other speculations, flattering in their outset, were lost to him by the overwhelming eruption of the French Revolution, of which Mr. Green thus became one of the innumerable victims. In 1767 he was elected a member of the Incorporated Society of Artists of Great Britain ; and in 1/74 one of the six associate engravers of the Royal Academy. On the foundation of the British Institution he was appointed Keeper; and it will be allowed that his zealous exertions to promote the purposes of the establishment, and the urbanity of his manners to the public and the artists, were exemplary. Mr. Green died in July, 1813. The merit of his works, and the importance of their subjects, will authorize our giving an ample list of them. PORTRAITS AFTER SIR JOSHUA REYNOLDS. The Portrait of Sir Joshua Reynolds. 1780 ; from the picture at the Royal Academy. The Duke of Bedford, Lord Henry and Lord William Russell, and Miss Vernon. 1778. Lord Dalkeith, son of the Duke of Buccleuch. 1778. Maria Isabella, Duchess of Rutland. Emilia Alaria, Countess of Salisbury. 1787. Anne, Viscountess Townshend. 1780. The three Lady Waldegraves. 1784. Lady Louisa Manners. 1769. Lady Elizabeth Cavendish. 1781. Louisa, Countess of Aylesford. 1783. Lady Elizabeth Delme. 1779. Lady Talbot. 1782. Lady Caroline Howard. 1782. Lady Georgina Spencer, Duchess of Devonshire. 1780. Lady Jane Halliday. 1779. Jane, Countess of Harrington, with her two Sons. 1780. PORTRAITS AFTER VARIOUS MASTERS. Charles Theodore, Elector of Bavaria ; after P. Battoni. Sir Thomas Wharton ; after Vandyck ; for the Houghton Collection. Henry, Earl of Danby ; after the same ; for the same. George, Marquis of Huntly; after the same ; for the same. Richard Cumberland, Esq. ; after Romney, 1771. Mrs. Yates, as the Tragic Muse ; after the same. 1772. John Hamilton Mortimer, painter ; after a picture by himself. Mr. Garrick and Mrs. Pritf hard in Macbeth ; after Zof- fany. Mr. Powell and Mr. Bcnsley in the characters of King John and Hubert ; after Mortimer. HISTORICAL SUBJECTS, AFTER MR. WEST. The Stoning of Stephen ; very fine. 1776. The Raising of Lazanis. Christ calling to him the little Children. Peter denying Christ. Jacob blessing the Sons of Joseph. 1768. Daniel interpreting Balthasar's Dream. 1777. Nathan »aid unto David, " Thou art the man." 1784. St. Peter and St. Paul going to the Sepulchre. The three Marys at the Sepulchre. Alexander and his Physician. Regulus leaving Rome to return to Carthage. Hannibal vowing eternal hatred to the Romans. Mark Anthony's Oration on the Death of ÑRÑëÑâÑpÑs. Agrippina weeping over the Urn of Gennanicus. The Death of Epaminondas. The Death of the Chevalier Bayard. SUBJECTS AFTER VARIOUS MASTERS. The Annunciation ; after Fed. Baroccio. The Nativity ; after the same. The Virgin and Infant ; after Domenithino. St. John with his Lamb ; after MuriUo. The Assumption of the Virgin ; after the same. The Entombing of Christ ; after L. Caracci. Time clipping the Wings of Love ; after lrandyck. Venus and Cupid ; after Ây. Caracci. The Descent from the Cross ; after Hüben». The Visitation ; after the same. The Presentation in the Temple ; after the same. John Boydell (Shropshire, 1719 ..London, 1804) was clearly one of England's most remarkable 18th century people. Born to a poor family, he began his career as an at best mediocre engraver of book plates. At this time England was at a very low ebb as a serious centre for the creative arts (particularly engraving) and Boydell sought to eradicate this problem by beginning a second career as a print publisher. Modest experiments in the 1760's led to a rapid expansion and the mid 1770's saw the publication of his Liber Veritas, with mezzotint engravings by Richard Earlom after the drawings of Claude in the King's Collection. This expensive undertaking put England back on the printmaking map and was a huge financial success for Boydell. Some of the finest mezzotint engravings in the history of British art belong to Boydell's series known today as The Houghton Gallery. Beginning in 1781, Boydell commissioned England's best mezzotint artists to engrave the paintings by Italian Renaissance masters in the collection of the Empress of Russia at Houghton. In total, one hundred and twenty-eight plates were created by the time the set was completed in 1788.


The Prodigal Son
also listed as are the smaller versions on the religious page The Prodigal Son after Salvator Rosa Engraving by Ravenet from the Houghton Cabinet . ..dated 1781 £145 ie a differeng plate to the mini GEORGE FARINGTON,, an English painter,born in the county of Lancaster, in 1754. He was educated under Mr. West, and obtained the prize in the Royal Academy for the best historical picture.. A landscape painter who came to London in 1763 and worked under Richard Wilson. He was a member of the Society of Artists from 1768 to 1773, and entered the RA schools in 1769. In 1773 he and his brother George went to Houghton to draw the pictures, which were subsequently engraved by Earlom and published by Boydell.From the late 1770's to 1781 he lived and worked in the lake District, but returned to London where he remained for the rest of his life. He was elected ARA and RA in 1783 & 1785.He illustrated Boydell's "History of the River Thames" 1794, and Published "Views of the Lakes" 1789, and "Views of the Cities and Towns of England & Wales" 1790. He also maintained a diary from 1793 which is an important record of the arts of the period .This promising artist afterwards went to India, where he would undoubtedly have acquired both fame and fortune, but he died in the prime of life in 1788 SIMON FRANCIS RAVENET,, a,French engraver, born at Paris in 1706. After practising the art with considerable reputation in his native country, he came to England, and settled in London about the year 1750, and engraved several plates, which justly entitle him to the rank of an eminent artist. He gave both colour and brilliancy to his engravings, and finished them with great precision. He engraved a variety of historical subjects and portraits, among which are the following : PORTRAITS. George I. George II. ; after Mercier. Lord Camdcn ; after JKcynoldt. Alexander Pope, Poet. James Thomson, Poet. David Hume, Historian. Mr. Garrick and Mis« Bellamy, in Romeo and Juliet; after B. Wilson. VARIOUS SUBJECTS.The Emblem of Human Life ; after Titian ; Crozat collection. Venus and Adonis ; after P. Veronese ; the same. The Adoration of the Shepherds ; after D . Feti; thesame. Painting and Design ; after Guido. The Virgin, with the infant Jesus sleeping; after the same. Charity ; after Carlo Cignani. Sophonisba receiving the Nuptial Present ; after L. Giordano. The Death of Seneca ; after the same. Tobias's Nuptial Night ; after Le Sueur. Tobit Anointing his Father's Eyee ; after AQ. Caracci. The Lord of the Vineyard; after Rembrandt. The Prodigal Son ; after Sal. Rosa. Phryne tempting Xenocrates ; after the same. The Return of the Prodigal Son ; after Oturcino. Lucretia deploring her Fate ; after Cazali. Gunhilda, Empress of Germany, acquitted of a charge of adultery ; after the same. He died in 1774. [Zani and Basan say he was born in 17^1, and Rost says in 1707. He was a scholar of Ph. le Bas, but most of his works were executed in England. He was much employed by Boydell, as appears by his publications.] Salvator Rosa (1615 . . March 15, 1673) was an Italian Baroque painter, poet and printmaker, active in Naples, Rome and Florence. He was born in Arenella, in the outskirts of Naples: either June 20 or July 21, 1615. His father, Vito Antonio de Rosa, a land surveyor, urged his son to become a lawyer or a priest, and entered him into the convent of the Somaschi fathers. Yet, Salvator showed a preference for the arts, thus secretly worked with his maternal uncle Paolo Greco to learn about painting, and soon transferred himself to his own brother-in-law Francesco Francanzano, a pupil of Ribera, and afterwards to either Aniello Falcone[2], contemporary with Domenico Gargiulo[3], or Ribera himself. Some sources claim he spent time living with roving bandits[4]. At the age of seventeen he lost his father; his mother was destitute with at least five children, and Salvator found himself without financial support. He continued apprenticeship with Falcone, helping him complete his battlepiece canvases. Lanfranco took notice of his work, and advised him to relocate to Rome, where he stayed from 1634-6. Returning to Naples, he began painting haunting landscapes, overgrown with vegetation, or jagged beaches, mountains, and caves. These early landscapes were sold cheaply through private dealers. He returned to Rome in 1638-39, where he was housed by Cardinal Francesco Maria Brancaccio, bishop of Viterbo. For the Chiesa Santa Maria della Morte in Viterbo, Rosa painted his first and one of his few altarpieces with an Incredulity of Thomas. In 1646 he returned to Naples, and appears to have sympathised with the insurrection of Masaniello,. It is alleged that Rosa, along with other painters--Coppola, Paolo Porpora, Domenico Gargiulo, Pietro dal Po, Marzio Masturzo, the two Vaccari and Cadogna--all under the captaincy of Aniello Falcone, formed the Compagnia della Morte, whose mission it was to hunt down Spaniards in the streets, not sparing even those who had sought some place of religious asylum. Finally he returned to stay in Rome in 1649. Here he painted some important subjects, showing the uncommon bent of his mind as it passed from landscape into history Democritus amid Tombs, Death of Socrates, Regulus in the Spiked Cask (these two are now in England), Justice Quitting the Earth and the Wheel of Fortune. While occupied with a series of satirical portraits, to be closed by one of himself, Rosa was assailed by dropsy. He died a half year later. In his last moments he married a Florentine named Lucrezia, who had borne him two sons, one of them surviving him. He lies buried in the Chiesa degli Angeli, where a portrait of him has been set up.He was a significant etcher, with a highly popular and influential series of small prints of soldiers, and a number of larger and very ambitious subjects. John Boydell (Shropshire, 1719 ..London, 1804) was clearly one of England's most remarkable 18th century people. Born to a poor family, he began his career as an at best mediocre engraver of book plates. At this time England was at a very low ebb as a serious centre for the creative arts (particularly engraving) and Boydell sought to eradicate this problem by beginning a second career as a print publisher. Modest experiments in the 1760's led to a rapid expansion and the mid 1770's saw the publication of his Liber Veritas, with mezzotint engravings by Richard Earlom after the drawings of Claude in the King's Collection. This expensive undertaking put England back on the printmaking map and was a huge financial success for Boydell. Some of the finest mezzotint engravings in the history of British art belong to Boydell's series known today as The Houghton Gallery. Beginning in 1781, Boydell commissioned England's best mezzotint artists to engrave the paintings by Italian Renaissance masters in the collection of the Empress of Russia at Houghton. In total, one hundred and twenty-eight plates were created by the time the set was completed in 1788. This original mezzotint engraving is one of them.


La mise au tombeau ?
Vol2 No 20 Engraving by Eustache Le Sueur engraved byF.Aliamet from the Houghton Cabinet . .. before letters;Proof Before Title'. Contains the names of the artist, publisher and engraver along the lower margin but no title. Some age soiling remarkable otherwise as this engraving has a fold down base edge which would have been very vulnerable ******no title so a guess £125 inc FRANÇOIS GERMAIN ALIAMET,, younger brother of the preceding artist, born at Abbeville, in 1734. After having learned engraving at Paris, lie came to London, and was for some time under Sir Robert Strange. He has engraved several portraits, mainly historical subjects, of which the following are the principal : Mr. Pritchard, in the Character of Hermione ; after Pine Portrait of Dr, Sharp. The Adoration of the Shepherds ; after Caracci. The Cîrcumcision ; after Guido, oval. The Annunciation ; after Le Moine. St. Igniatius kneeling'; after the same. The Stoning of Stephen ; after Le Sueur. The Sacrifice to Pan ; after A. Sacchi. The Flatter)' of the Courtiers of Canute reproved ; after Pine. The Reduction of Calais ; after the same. Two&emdash; The Bathers ; after 'Watteau. [His works are considered inferior to his brother's,( JACQUES ALIAMET) although his line is neat and firm. The time of his death is not known.] Eustache Le Sueur b. 1616 Paris, d. 1655 Paris painter French Eustache Le Sueur's father, a woodworker and sculptor, placed his son Eustache in Simon Vouet's studio when he was about sixteen. Unlike many of his peers, Le Sueur never went to Rome, instead finding his classicizing influence in Vouet's Baroque style. Primarily a painter of religious subjects for churches in Paris and its environs, he was said to have little use for immoral excesses and to have loved order, simplicity, and seclusion. In the 1640s Le Sueur began studying Nicolas Poussin's works, and he may even have known Poussin. Le Sueur became interested in the psychological aspect of his subjects and developed a new classicism of composition and modeling while retaining his characteristic delicate, refined colors and tenderness. In his last years, he became engrossed in Raphael's works. In 1648 Le Sueur was one of twelve founder-members of the Académie Royale de Peinture et de Sculpture John Boydell (Shropshire, 1719 ..London, 1804) was clearly one of England's most remarkable 18th century people. Born to a poor family, he began his career as an at best mediocre engraver of book plates. At this time England was at a very low ebb as a serious centre for the creative arts (particularly engraving) and Boydell sought to eradicate this problem by beginning a second career as a print publisher. Modest experiments in the 1760's led to a rapid expansion and the mid 1770's saw the publication of his Liber Veritas, with mezzotint engravings by Richard Earlom after the drawings of Claude in the King's Collection. This expensive undertaking put England back on the printmaking map and was a huge financial success for Boydell. Some of the finest mezzotint engravings in the history of British art belong to Boydell's series known today as The Houghton Gallery. Beginning in 1781, Boydell commissioned England's best mezzotint artists to engrave the paintings by Italian Renaissance masters in the collection of the Empress of Russia at Houghton. In total, one hundred and twenty-eight plates were created by the time the set was completed in 1788.


Mendicants / Houghton Gallery
'Bourgognone pinxit - James Peake Sculpsit', publication address: 'Published May 1st 1777 by John Boydell Engraver in Cheapside London Copper engraving clipped to just outside plate mark but through title. Tear left edge will repair no loss .Mendicant orders are religious orders which depend directly on charity for their livelihood. £45 inc delivery


Christ laid in the Sepulchre 2
 after Francesco Parmigiano engraved by C.H.Hodges published 1788 by Boydell from the Houghton Cabinet series laid to paper cut to plate mark andlaid to paper c 1830 £35 otherwise good 1 cm margins John Boydell (Shropshire, 1719 ..London, 1804) was clearly one of England's most remarkable 18th century people. Born to a poor family, he began his career as an at best mediocre engraver of book plates. At this time England was at a very low ebb as a serious centre for the creative arts (particularly engraving) and Boydell sought to eradicate this problem by beginning a second career as a print publisher. Modest experiments in the 1760's led to a rapid expansion and the mid 1770's saw the publication of his Liber Veritas, with mezzotint engravings by Richard Earlom after the drawings of Claude in the King's Collection. This expensive undertaking put England back on the printmaking map and was a huge financial success for Boydell. Some of the finest mezzotint engravings in the history of British art belong to Boydell's series known today as The Houghton Gallery. Beginning in 1781, Boydell commissioned England's best mezzotint artists to engrave the paintings by Italian Renaissance masters in the collection of the Empress of Russia at Houghton. In total, one hundred and twenty-eight plates were created by the time the set was completed in 1788.


Our Saviour in the Garden after Filipo Lawri
 engraved by Peter Simon published by Boydell in 1787 from the Houghton Cabinet 21 x 27 image on a complete page £45 Filipo Lawri / Filipo Lauri (1623-1694) Filippo Lauri (Rome, 25 August 1623 . . 12 December 1694) was an Italian painter of the Baroque period, active mainly in Rome.Born and active in Rome, his story was featured in the biographies by Baldinucci. He first studied with his father, Balthasar Lauwers (a Flemish landscape painter (Italianized as Lauri), and then with his elder brother, Francesco Lauri, and then with his brother-in-law, Angelo Caroselli. Filippo's brother had been a pupil of Andrea Sacchi. In 1654 Lauri became a member of the Accademia di San Luca in Rome, and later became the Principe or director of the academy. He painted along with Filippo Gagliardi a canvas depiction of Celebrations for Christine of Sweden at Palazzo Barberini (now at Palazzo Braschi).He was the youngest son of a Flemish painter of landscapes and pupil of Paul Bril, Bathazar Lauwers (Baltassare Lauri), who emigrated from Antwerp to Milan, then Rome. Francesco's oldest brother Francesco Lauri was also a painter and a pupil of Andrea Sacchi, who died young. Fillipo started his training with his brother, and then became a pupil of Angelo Caroselli. He often painted figures for Claude Lorraine. He was prolific. He employed many engravers. John Boydell (Shropshire, 1719 ..London, 1804) was clearly one of England's most remarkable 18th century people. Born to a poor family, he began his career as an at best mediocre engraver of book plates. At this time England was at a very low ebb as a serious centre for the creative arts (particularly engraving) and Boydell sought to eradicate this problem by beginning a second career as a print publisher. Modest experiments in the 1760's led to a rapid expansion and the mid 1770's saw the publication of his Liber Veritas, with mezzotint engravings by Richard Earlom after the drawings of Claude in the King's Collection. This expensive undertaking put England back on the printmaking map and was a huge financial success for Boydell. Some of the finest mezzotint engravings in the history of British art belong to Boydell's series known today as The Houghton Gallery. Beginning in 1781, Boydell commissioned England's best mezzotint artists to engrave the paintings by Italian Renaissance masters in the collection of the Empress of Russia at Houghton. In total, one hundred and twenty-eight plates were created by the time the set was completed in 1788.


Christ appearing to Mary in the Garden 1
 Pietro da Cortona (Pietro Berrettini), 1596..1669. engraved by Murphy 51x35.5 cm Published by John and Josiah Boydell in 1781, perfect copy full borders £125 Pietro da Cortona, byname of Pietro Berrettini (November 1, 1596- May 16, 1669) was a prolific artist and architect of High Baroque. Cortona is best known for painting fresco ceilings, a pursuit in which he had ample competition in the Rome of his day, but he was equally adept and masterful with architectural design. While an influential contemporary and peer of the giants of the Roman Baroque, his present fame, somewhat undeservedly, does not match the reverence awarded the likes of Caravaggio, Bernini, and Borromini. Berrettini was born to a family of artisans including his uncle Filippo Berrettini, in Cortona, then a town in the Grand Duchy of Tuscany. He first apprenticed with Andrea Commodi in Florence. But soon departed for Rome at about 1612, where he joined the studio of Baccio Ciarpi. In Rome, he had encouragement from many prominent patrons including the Colonna. According to a biography, his deft copies of Raphael's Roman frescoes brought him to the attention and patronage (1623) of the Sacchetti brothers, Marcello and Giulio Sacchetti, who became respectively cardinal (1626) and papal treasurer during the Barberini papacy. In the Sacchetti orbit, he met Cardinal Francesco Barberini, the nephew of Pope Urban VIII, as well as Cassiano dal Pozzo. These three men helped him gain a major commission in Rome (1624-1626), a fresco decoration in the newly constructed Bernini church of Santa Bibiana. In 1626, the Sacchetti engaged Cortona to paint for them three large canvases of Sacrifice of Polyxena, Triumph of Bacchus, and Rape of the Sabines (the latter, c. 1629) and to paint a series of frescoes in the Villa Sacchetti in Castel Fusano, near Ostia, using a team that included the young Andrea Sacchi. Soon the rising progidy would attract the patronage of the powerful papal Barberini family. He had already been involved in the fresco decoration of the Palazzo Mattei. And Cardinal Orsini had commissioned from him an Adoration of the Shepherds (c. 1626) for San Salvatore in Lauro. John Murphy (1740 ..1820) of Cork went to London to study engraving. In time he became a master of the mezzotint and was commissioned to make plates for the nobility and the family of George III. He was equally well received for his engravings both after the Italian masters and after his contemporaries, such as Reynolds, Northcote, Romney, Stothard and Benjamin West. Many of his engravings were also published by himself, however, he was commissioned (along with Richard Earlom) to engrave some of the most important plates from The Houghton Gallery. John Boydell (Shropshire, 1719 ..London, 1804) was clearly one of England's most remarkable 18th century people. Born to a poor family, he began his career as an at best mediocre engraver of book plates. At this time England was at a very low ebb as a serious centre for the creative arts (particularly engraving) and Boydell sought to eradicate this problem by beginning a second career as a print publisher. Modest experiments in the 1760's led to a rapid expansion and the mid 1770's saw the publication of his Liber Veritas, with mezzotint engravings by Richard Earlom after the drawings of Claude in the King's Collection. This expensive undertaking put England back on the printmaking map and was a huge financial success for Boydell. Some of the finest mezzotint engravings in the history of British art belong to Boydell's series known today as The Houghton Gallery. Beginning in 1781, Boydell commissioned England's best mezzotint artists to engrave the paintings by Italian Renaissance masters in the collection of the Empress of Russia at Houghton. In total, one hundred and twenty-eight plates were created by the time the set was completed in 1788.


The Prodigal Son
also listed as are the smaller versions on the Houghton page The Prodigal Son after Salvator Rosa Engraving by Ravenet from the Houghton Cabinet . ..dated 1781 £145 ie a differeng plate to the mini GEORGE FARINGTON,, an English painter,born in the county of Lancaster, in 1754. He was educated under Mr. West, and obtained the prize in the Royal Academy for the best historical picture.. A landscape painter who came to London in 1763 and worked under Richard Wilson. He was a member of the Society of Artists from 1768 to 1773, and entered the RA schools in 1769. In 1773 he and his brother George went to Houghton to draw the pictures, which were subsequently engraved by Earlom and published by Boydell.From the late 1770's to 1781 he lived and worked in the lake District, but returned to London where he remained for the rest of his life. He was elected ARA and RA in 1783 & 1785.He illustrated Boydell's "History of the River Thames" 1794, and Published "Views of the Lakes" 1789, and "Views of the Cities and Towns of England & Wales" 1790. He also maintained a diary from 1793 which is an important record of the arts of the period .This promising artist afterwards went to India, where he would undoubtedly have acquired both fame and fortune, but he died in the prime of life in 1788 SIMON FRANCIS RAVENET,, a,French engraver, born at Paris in 1706. After practising the art with considerable reputation in his native country, he came to England, and settled in London about the year 1750, and engraved several plates, which justly entitle him to the rank of an eminent artist. He gave both colour and brilliancy to his engravings, and finished them with great precision. He engraved a variety of historical subjects and portraits, among which are the following : PORTRAITS. George I. George II. ; after Mercier. Lord Camdcn ; after JKcynoldt. Alexander Pope, Poet. James Thomson, Poet. David Hume, Historian. Mr. Garrick and Mis« Bellamy, in Romeo and Juliet; after B. Wilson. VARIOUS SUBJECTS.The Emblem of Human Life ; after Titian ; Crozat collection. Venus and Adonis ; after P. Veronese ; the same. The Adoration of the Shepherds ; after D . Feti; thesame. Painting and Design ; after Guido. The Virgin, with the infant Jesus sleeping; after the same. Charity ; after Carlo Cignani. Sophonisba receiving the Nuptial Present ; after L. Giordano. The Death of Seneca ; after the same. Tobias's Nuptial Night ; after Le Sueur. Tobit Anointing his Father's Eyee ; after AQ. Caracci. The Lord of the Vineyard; after Rembrandt. The Prodigal Son ; after Sal. Rosa. Phryne tempting Xenocrates ; after the same. The Return of the Prodigal Son ; after Oturcino. Lucretia deploring her Fate ; after Cazali. Gunhilda, Empress of Germany, acquitted of a charge of adultery ; after the same. He died in 1774. [Zani and Basan say he was born in 17^1, and Rost says in 1707. He was a scholar of Ph. le Bas, but most of his works were executed in England. He was much employed by Boydell, as appears by his publications.] Salvator Rosa (1615 . . March 15, 1673) was an Italian Baroque painter, poet and printmaker, active in Naples, Rome and Florence. He was born in Arenella, in the outskirts of Naples: either June 20 or July 21, 1615. His father, Vito Antonio de Rosa, a land surveyor, urged his son to become a lawyer or a priest, and entered him into the convent of the Somaschi fathers. Yet, Salvator showed a preference for the arts, thus secretly worked with his maternal uncle Paolo Greco to learn about painting, and soon transferred himself to his own brother-in-law Francesco Francanzano, a pupil of Ribera, and afterwards to either Aniello Falcone[2], contemporary with Domenico Gargiulo[3], or Ribera himself. Some sources claim he spent time living with roving bandits[4]. At the age of seventeen he lost his father; his mother was destitute with at least five children, and Salvator found himself without financial support. He continued apprenticeship with Falcone, helping him complete his battlepiece canvases. Lanfranco took notice of his work, and advised him to relocate to Rome, where he stayed from 1634-6. Returning to Naples, he began painting haunting landscapes, overgrown with vegetation, or jagged beaches, mountains, and caves. These early landscapes were sold cheaply through private dealers. He returned to Rome in 1638-39, where he was housed by Cardinal Francesco Maria Brancaccio, bishop of Viterbo. For the Chiesa Santa Maria della Morte in Viterbo, Rosa painted his first and one of his few altarpieces with an Incredulity of Thomas. In 1646 he returned to Naples, and appears to have sympathised with the insurrection of Masaniello,. It is alleged that Rosa, along with other painters--Coppola, Paolo Porpora, Domenico Gargiulo, Pietro dal Po, Marzio Masturzo, the two Vaccari and Cadogna--all under the captaincy of Aniello Falcone, formed the Compagnia della Morte, whose mission it was to hunt down Spaniards in the streets, not sparing even those who had sought some place of religious asylum. Finally he returned to stay in Rome in 1649. Here he painted some important subjects, showing the uncommon bent of his mind as it passed from landscape into history Democritus amid Tombs, Death of Socrates, Regulus in the Spiked Cask (these two are now in England), Justice Quitting the Earth and the Wheel of Fortune. While occupied with a series of satirical portraits, to be closed by one of himself, Rosa was assailed by dropsy. He died a half year later. In his last moments he married a Florentine named Lucrezia, who had borne him two sons, one of them surviving him. He lies buried in the Chiesa degli Angeli, where a portrait of him has been set up.He was a significant etcher, with a highly popular and influential series of small prints of soldiers, and a number of larger and very ambitious subjects. John Boydell (Shropshire, 1719 ..London, 1804) was clearly one of England's most remarkable 18th century people. Born to a poor family, he began his career as an at best mediocre engraver of book plates. At this time England was at a very low ebb as a serious centre for the creative arts (particularly engraving) and Boydell sought to eradicate this problem by beginning a second career as a print publisher. Modest experiments in the 1760's led to a rapid expansion and the mid 1770's saw the publication of his Liber Veritas, with mezzotint engravings by Richard Earlom after the drawings of Claude in the King's Collection. This expensive undertaking put England back on the printmaking map and was a huge financial success for Boydell. Some of the finest mezzotint engravings in the history of British art belong to Boydell's series known today as The Houghton Gallery. Beginning in 1781, Boydell commissioned England's best mezzotint artists to engrave the paintings by Italian Renaissance masters in the collection of the Empress of Russia at Houghton. In total, one hundred and twenty-eight plates were created by the time the set was completed in 1788.


Saint John the Evangelist Two Saints Worshiping the Virgin in the Cloud
. .. mezzotint after Carlo Maratti 1625..17I3) engraved by Riott published 1787 by Boydell second state from Houghton. full page crease top right corner away from plate area faint foxing £75 John Boydell (Shropshire, 1719 ..London, 1804) was clearly one of England's most remarkable 18th century people. Born to a poor family, he began his career as an at best mediocre engraver of book plates. At this time England was at a very low ebb as a serious centre for the creative arts (particularly engraving) and Boydell sought to eradicate this problem by beginning a second career as a print publisher. Modest experiments in the 1760's led to a rapid expansion and the mid 1770's saw the publication of his Liber Veritas, with mezzotint engravings by Richard Earlom after the drawings of Claude in the King's Collection. This expensive undertaking put England back on the printmaking map and was a huge financial success for Boydell. Some of the finest mezzotint engravings in the history of British art belong to Boydell's series known today as The Houghton Gallery. Beginning in 1781, Boydell commissioned England's best mezzotint artists to engrave the paintings by Italian Renaissance masters in the collection of the Empress of Russia at Houghton. In total, one hundred and twenty-eight plates were created by the time the set was completed in 1788.


Moses Striking the Rock 1
after Nicolo Poussain engraved by J B. Michel dated and published by Boydell for the Houghton Cabinet. . . edge browning , edge tear bottom central cropped in from full page at the top . . on the lined/decorative edge £65 inc Nicolas Poussin (15 June 1594 &endash; 19 November 1665) was a French painter in the classical style. His work predominantly features clarity, logic, and order, and favors line over color. Until the 20th century he remained the dominant inspiration for such classically oriented artists as Jacques-Louis David and Paul Cézanne. He spent most of his working life in Rome except for a short period when Cardinal Richelieu ordered him back to France as First Painter to the King. John Boydell (Shropshire, 1719 ..London, 1804) was clearly one of England's most remarkable 18th century people. Born to a poor family, he began his career as an at best mediocre engraver of book plates. At this time England was at a very low ebb as a serious centre for the creative arts (particularly engraving) and Boydell sought to eradicate this problem by beginning a second career as a print publisher. Modest experiments in the 1760's led to a rapid expansion and the mid 1770's saw the publication of his Liber Veritas, with mezzotint engravings by Richard Earlom after the drawings of Claude in the King's Collection. This expensive undertaking put England back on the printmaking map and was a huge financial success for Boydell. Some of the finest mezzotint engravings in the history of British art belong to Boydell's series known today as The Houghton Gallery. Beginning in 1781, Boydell commissioned England's best mezzotint artists to engrave the paintings by Italian Renaissance masters in the collection of the Empress of Russia at Houghton. In total, one hundred and twenty-eight plates were created by the time the set was completed in 1788.


Moses Striking the Rock after Nicolo Poussain
engraved by J B. Michel dated and published by Boydell for the Houghton Cabinet. . . edge browning, full page at the top £85 inc Jean Baptiste Michel: A stipple and line engraver, Jean Baptiste Michel studied art under Chenu, in his native Paris. After establishing his reputation in France, J. B. Michel moved to London around 1780. During the following years he was commissioned to engrave decorative, religious and historical plates after the designs of such old masters as Leonardo, Carracci, Pietro da Cortona, Maratti, Velazquez and many others. He also engraved many fine plates after contemporary painters such as Benjamin West and Boucher. During the 1790's Jean Baptiste Michel was regularly commissioned by John Boydell. Nicolas Poussin (15 June 1594 &endash; 19 November 1665) was a French painter in the classical style. His work predominantly features clarity, logic, and order, and favors line over color. Until the 20th century he remained the dominant inspiration for such classically oriented artists as Jacques-Louis David and Paul Cézanne. He spent most of his working life in Rome except for a short period when Cardinal Richelieu ordered him back to France as First Painter to the King. John Boydell (Shropshire, 1719 ..London, 1804) was clearly one of England's most remarkable 18th century people. Born to a poor family, he began his career as an at best mediocre engraver of book plates. At this time England was at a very low ebb as a serious centre for the creative arts (particularly engraving) and Boydell sought to eradicate this problem by beginning a second career as a print publisher. Modest experiments in the 1760's led to a rapid expansion and the mid 1770's saw the publication of his Liber Veritas, with mezzotint engravings by Richard Earlom after the drawings of Claude in the King's Collection. This expensive undertaking put England back on the printmaking map and was a huge financial success for Boydell. Some of the finest mezzotint engravings in the history of British art belong to Boydell's series known today as The Houghton Gallery. Beginning in 1781, Boydell commissioned England's best mezzotint artists to engrave the paintings by Italian Renaissance masters in the collection of the Empress of Russia at Houghton. In total, one hundred and twenty-eight plates were created by the time the set was completed in 1788.




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