Robertson after (15 risultati)

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Loose Leaf. Condizione: New. Reproduction. Original title: Caryatids at the Erechtheum German: Karyatiden im Erechtheum French: Caryatides à l'Erechtheum Spanish: Caryatidas en el Erechtheum High-quality fine-art reproduction based on an original work from the Ycba. Creation period: 19th century (ca. 1853). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.…

Original publisher's decorated cardboard binding. Spine edges and ends rather worn, flyleaves partly cut out, some (mostly marginal) stains, still a good and decorative copy. Text in French. Please see description or ask for photos.

Condizione: Good. Shute Barrington (1734-1826), Bishop of Durham. Stipple engraving. 242 x 300 mm. Mold stains; trimmed within the plate.

Condizione: Good. 6 inches by 4 inches. Engraving of an English country scene.

Condizione: Good. Stipple and steel engraving. 28 x 19 cm (sheet). With the blindstamp of Teachers College, Bryson Library, New York, in upper right sheet corner. With facsimile signature. Very Good, sheet lightly toned, paper loose at lower left sheet corner.

Engraving, coloured by hand, by Thomas Morris. A fine copy of this lively and accurate view of the Ranger's House in Greenwich, London. George Robertson, 'born in London about 1748, was son of a wine merchant, and received his education from a Mr. Rolfe in Red Lion Street, Clerkenwell. He studied art at Shipley's school, and was noted there for his skill in drawing horses, for which he received a premium from the Society of Arts in 1761. He afterwards went to Italy, and studied in Rome. He was patronised by William Beckford (1709-1770). with whom Robertson went to Jamaica, where Beckford had a large property. Robertson drew several views of this property in Jamaica, which on his return were finely engraved by D. Lerpinière, T. Vivares, and J. Mason, and published by John Boydell. He also exhibited views of Jamaica and other landscapes at the Incorporated Society of Artists' exhibitions, acting as vice-president of the society for some years. He obtained employment in London as a drawing-master, notably at a ladies' boarding school in Queen Square, Bloomsbury. He inherited a small fortune from an uncle and a house in Newington Butts, where he died on 26 Sept. 1788, aged about 40.' (DNB). Thomas Morris (fl. 1780-1800), 'born about 1750, was a pupil of Woollett. He worked in the line manner, and confined himself to landscape, the figures in his plates being frequently put in by others. Morris was employed by Boydell. His most important plates are: A landscape after G. Smith of Chichester, 1774; Hawking, after Gilpin, 1780; Fox Hunting, after Gilpin and Barret (the figures by Bartolozzi), 1783; view of Skiddaw, after Loutherbourg, 1787; Horse, Mare, and Foals, after Gilpin; Mare and Foals, after Garrard, 1793; views of the ranger's house in Greenwich Park and Sir Gregory Turner's mansion on Blackheath, a pair, after Robertson; and views of Ludgate Street and Fish Street Hill, a pair, after Marlow, 1795. A series of Indian views, from drawings by Hodges and others, was engraved by Morris for the European Magazine. He also executed a few original etchings, including two views on the Avon at Bristol, 1802.' (DNB).…

Oblong 4to. 235 x 330 m m. 28 steel engraved plates after paintings by Jean Brindesi [7 plates] and photographs by James Robertson [21 plates]. No title page as issued. Decorated cloth, gilt, cloth, worn, especially on the spine and old water stain on inner bottom corner margins of plates 24 - 28, not encroaching onto the printed image apart from very slightly on the final print. Scarce. Worldcat lists 4 copies: BL, St Andrews, Metropolitan Museum NY and the Getty Research Institute. Sotheby's sold a copy with a torn plate in 2002 for £1,300. …

Condizione: Good. Stipple engraving . 6 x 3.5 inches image size. Margins. Matted.J Archibald Robertson (1765-1835) was born in Scotland, and studied in London with the celebrated painters Sir Joshua Reynolds and Benjamin West. He emigrated to New York in the early 1790s, and became not only successful artistically as a painter of miniatures, but also socially, traveling in the best circles of Federalist New York City society. He knew Alexander Hamilton so well that he named his second son in Hamilton's honor. Around this time he painted a miniature portrait of Hamilton that is now lost; it was engraved, in 1834 by J.F.E. Prud'homme for the weighty collective biography National Portrait Gallery of Distinguished Americans. However, after Hamilton's death, Robertson made a second version of the miniature portrait that featured a 3/4 view of Hamilton, surrounded by law books, pamphlets, and scrolls to represent his various achievements. As a nod to his military career, his uniform hat, sword, and Cincinnati medal are (somewhat incongruously) on the shelf behind him. This version was engraved and sold as a popular, posthumous print of Hamilton, right, by William Rollinson. . Provenance: W. Bruce Fye.…

Condizione: gebraucht; sehr gut. Komplett in 2 Bänden, brauner Leinen mit Goldschrift, kleine Lagerspuren, allgemein gepflegter Zustand.

Engraved certificate dated May 27th 1811, admitting James Jones as a fireman in New York City. This certificate was made during the period when the fire department was made up of volunteers who formed rival gangs, each with its own runners who competed to get to the fire first. With an engraving at the bottom of firemen in action, with the caption, "Engraved by Peter Maverick from a drawing by Archibald Robertson. The text reads, "These are to certify that James Jones is pursuant to law, nominated and appointed one of the Firemen of the City of New York, May 27th, 1811 By the Com. Council, J Morton, clerk." No. 34 at the upper right. Toned & laid down with light damp mark at two places at right edge; toned vertical line at middle caused by crack in wood backing behind the certificate. 10 x 13 3/4". Eno 67.…

Engraving, printed on fine laid paper. Very good condition apart from some overall light soiling, minor creasing in the bottom margin, and a few mild surface abrasions in the margins. Some faint writing in black pen is visible in the top right corner of the sheet. One of a pair of views of Windsor Castle engraved by Fittler after the celebrated landscape painter George Robertson. Towards the middle of the eighteenth century, a trend developed among English artists and printmakers who 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 armchair travelers who collected topographical prints instead of traveling. Trained at the schools of the Royal Academy, James Fittler was a skilled etcher and engraver, who established his reputation with the numerous plates he executed, many of them portraits, after artists such as Delamotte, de Loutherbourg, and Lorraine. In addition to his engravings, he contributed copious book illustrations to publications such as Dibdin's Aeds Althorpianae (1822). In 1800, Fittler became an associate at the Royal Academy, where he regularly exhibited throughout his life. Cf. Dictionary of National Biography; cf. Benezit, Dictionnaire Des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 5, p. 492.…

An attractive watercolor painting of Mount Vernon by an unidentified, presumably amateur, artist inspired by the national craze for images of Washington's legendary home. The painting is signed, but the name is slightly obscured by a small stain, leaving only what appears to read "Pleskon" (?). The view is quite significant for featuring at least one enslaved person in the image, making it likely one of the first portrayals of an enslaved person at Mount Vernon. One of the most famous images of Mount Vernon is the engraving by Francis Jukes after Alexander Robertson. Published in 1800 just a few months after Washington's death, this image has been copied and adapted numerous times over the past two centuries. One notable adaptation is German-American artist C.A. Düring's Berg Vernon in Virginien, completed in 1827, which appears to have inspired the painting in hand, as well as its title: Berg Vernon in Virginien. Like Jukes/Robertson, Düring and our artist place the house at the center of the image viewed from the northeast, framed by trees and rolling hills, with the Potomac River stretching to the south. The choice of view and framing highlights Mount Vernon's distinct architectural features, such as its long piazza, cupola, Palladian windows, and the connection to the buildings leading off the rear of the house. Lydia Mattice Brandt notes that "the river view is an essential component of the composition, offering a visual connection between the rural plantation and the nation beyond.Waterways were essential components in American views, providing the artist with an easy way to create spatial depth in a picture while also hinting at America's rich natural infrastructure." Accordingly, Düring and our artist follow Jukes/Robertson in exaggerating the height of the hill, the breadth of the river, and the size of the ships, to emphasize the vast resources coming from Mount Vernon (though they change the location of the ships). From here, Düring and our artist diverge significantly. In the Jukes/Robertson engraving, a lone female figure walks the grounds, perhaps referencing Washington's recent death. Düring and our artist portray two couples, one in the foreground and another closer to the house. Of the two figures in the foreground of Düring's painting, one is clearly African American and may be one of the first portrayals of an enslaved person at Mount Vernon. Our artist seems to have reversed the couples; those in the foreground are clearly not enslaved, while the couple closer to the house are too vague to discern, although one person is carrying a tool or farm implement of some sort. Further, our artist, while certainly competent, forgoes some of the detail found in Jukes/Robertson; they also follow Düring in misrepresenting the size of the cupola in relation to the chimneys. Otherwise, our artist sets forth a handsome homage to both Düring and Jukes/Robertson. George Washington was certainly the most famous figure in early America, and his private home was no less captivating to the American public. Images of Mount Vernon were quite common in the late 18th century, usually incorporated into larger depictions of Washington himself. However, by the late 1700s, depictions of historic buildings, battlefields, and other significant locales became increasingly popular, and Mount Vernon was one of few private homes to receive such attention. Depictions of Mount Vernon not only idealized the house itself, but also captured the mystique of Washington as the embodiment of the ideal classical statesman who, like Cincinnatus, voluntarily relinquished his sword and national command to return to his farm and a noble life of agriculture. We could find no record of this painting and no other examples of images under this title. The Düring painting has appeared at auction twice. Lydia Mattice Brandt, "Picturing Mount Vernon" in Imprint: Journal of the American Historical Print Collectors Society, Vol. 38, no. 1 (Spring 2013). Watercolor painting, 14½ x 19 inches, matted to 18½ x 23 inches. A few spots of soiling, even tanning and dust soiling. Closed tears in lower portion of sheet, touching two letters in the manuscript title. Very good overall.…

Hand finished colour aquatint engraved by Francis Jukes. Lovely colour aquatint view of Passaic Falls in New Jersey by a noted British artist: one of the earliest views in New Jersey. This view is one of a series of four views executed by the Scottish artist Alexander Robertson during his visit to the United States in 1798, each engraved in aquatint in London by Francis Jukes. Deák notes that Passaic Falls was "one of the major natural wonders in America that beckoned early artists" and praises the view, which shows a lone fisherman in the foreground, dwarfed by the vertical walls of stone next to the falls, with the rushing torrent in the background. Deak, Picturing America 225; Stokes & Haskell, American Historical Prints E-19.…