sartorius john nost (6 risultati)

Original hand-coloured engraving. Plate Size: 61 cm x 46.5 cm. Frame Size: 77 cm x 63 cm. In very good condition. Some minor traces of browning and tearing to outer margins only. A wonderful scene by John Nost Sartorius illustrating a late 18th century British fox hunt, in rich, clear engravings by J. Neagle and J. Peltro. Plate I shows the beginning of the hunt as the team of riders and hounds embark into the wooded grounds. The lines of verse from William Somerville's 'The Chase' (1735) read as follows: "Delightful Scene! / Where all around is gay, Men, Horses, Dogs; / And in each smiling countenance appears, / Fresh blooming health and universal joy. / See! how they range / Dispers'd, how busily this way and that, / They cross; examining with curious nose / Each likely haunt." Further inscription reads: 'To Osgood Hanbury, Esqr, of Coggeshall, Essex: This Print is dedicated by his most humble and obedient Servant John Harris.' John Nost Sartorius (17551828),] was an English painter of horses, horse-racing and hunting scenes. He is considered the best-known and prolific of the Sartorius family of artists. (Wikipedia).

Original hand-coloured engraving. Plate Size: 61 cm x 46.5 cm. Frame Size: 77 cm x 63 cm. In very good condition. Some minor traces of browning and paper imperfections to outer margins only. A wonderful scene by John Nost Sartorius illustrating a late 18th century British fox hunt, in rich, clear engravings by J. Neagle and J. Peltro. Plate III shows the beginning of the hunt as the team of riders and hounds have lost the scent. The lines of verse from William Somerville's 'The Chase' (1735) read as follows: "Here, Huntsman from the height / Observe you Birds of prey; if I can judge, / 'Tis there the villain lurks; they hover round / And claim him as their own. / Was I not right? / See! there he creeps along: Ha! yet he flies, / Nor yields to black despair, but one loose more, / And all his wiles are vain." Further inscription reads: 'To William Bowman, Esqr, of Clapton. This Print from the original Picture in his Poessession is most respectfully Inscribed by his much obliged and obedient Servant John Harris.' John Nost Sartorius (17551828),] was an English painter of horses, horse-racing and hunting scenes. He is considered the best-known and prolific of the Sartorius family of artists. (Wikipedia).

Original hand-coloured engraving. Plate Size: 61 cm x 46.5 cm. Frame Size: 77 cm x 63 cm. In very good- condition. Minor abrasion with slight tear to upper part of engraving. A wonderful scene by John Nost Sartorius illustrating a late 18th century British fox hunt, in rich, clear engravings by J. Neagle and J. Peltro. Plate IV shows the bad/good culmination of the hunt (one's opinion depending on whose side one takes - the hunters or the hunted) as the team of riders and excited hounds have captured the fox. The differing expressions on the riders' faces are fascinating. The accompanying lines of verse from William Somerville's 'The Chase' (1735) read as follows: "A chosen few / Alone the sport enjoy, nor droop beneath / Their pleasing toils. The unerring hounds / With peals of echoing vengeance close pursue. / Listen! now they are at him again. Now Reynard / Look to yourself. It is just up with him. / What a crash they make; the whole wood resounds. / That turn was very short. There now; / Aye; now they have him. Who-hoop. Further inscription reads: 'To Charles Boldero, Esqr, of Aspeden Hall Herts. This Print is dedicated by his much obliged and obedient Servant John Harris.' John Nost Sartorius (17551828),] was an English painter of horses, horse-racing and hunting scenes. He is considered the best-known and prolific of the Sartorius family of artists. (Wikipedia).

Aquatint, by Whesshel [sic.], i.e. J. Whessell. A highly decorative aquatint recalling the race at Newmarket on 25 March 1799: the reference works make no mention of this rare aquatint issue. This work recalls the contest between Diamond and Sir Henry Vane-Tempest's horse Hambletonian. They raced, for prize-money of three thousand guineas, over the Beacon Course at Newmarket on 25 March 1799. Hambletonian won. John Nost Sartorius was the only son of Francis Sartorius. He 'lived for much of his life at Carshalton in Surrey from where he exhibited no less than seventy-four paintings at the Academy; thirty-two elsewhere. Among his patrons were the Prince of Wales, Lord Derby and Christopher Wilson' (Charles Lane British Racing Prints p.157). Cf. Lane British Racing Prints p.160 (stipple engraving); cf. Siltzer p.243 (stipple engraving).

Ad I. George Stubbs (attrib.): Mezzotint etching, oil paint and glass, ca. 36,8 x 52 cm., Laurie & Whittle, London, 1795, framed. = Sparrow, British Sporting Artists, p.114-144 and passim. Some signs of wear characteristic for this technique and age. Not examined outside frame. "() he who knows what manner of beast was given Englishmen to admire before Stubbs'day, best recognises what we owe him. His obstinacy in rejecting the models of other men, saved him from falling into the exaggerations of any school. Because his horses and his [other] animals are correctly drawn, because they have that expression, and no other, belonging to their kind, the unthinking pass them with a glance, and call them commonplace. They are always as Nature made, with their own shapes, gestures and expressions - often ugly, but always true." (Sparrow). Ad II. John Nost Sartorius (attrib.): Mezzotint etching, oil paint and glass, ca. 36,8 x 52 cm., Laurie & Whittle, London, 1802, framed. = Sparrow, British Sporting Artists, p.85-88 and passim. Some signs of wear characteristic for this technique and age. Not examined outside frame.The technique of transferring a mezzotint to glass was invented in England in the 17th century, shortly after the development of the mezzotint. The reason was the addition of color to the mezzotint and the aim of getting as close as possible to the impression of a painting. To do this, the mezzotints are thoroughly moistened with water and then briefly dried between pieces of paper. In the meantime, the glass plate is coated with varnish or turpentine and the mezzotint is then pressed onto it. Carefully but thoroughly, the paper is pressed down with the fingers so that only the black ink and few traces of the paper remain on the varnish. This surface is varnished again and then the oil paint gives the work its color. To emphasize the painting-like character, the glass plates were then framed. This technique requires an experienced printer, but was so popular that even amateurs tried it. However, due to the fragility of the image support, examples are rarely found today. The printing process, which is largely unknown outside England, is sometimes confused with reverse glass painting.

No Binding. Condizione: Very Good. Large portrait of the famous racer Hambletonian, in its rarest issue, with full original hand colouring. Usually found uncoloured or with modern hand colouring. Strong impression. Of the two large portraits made of this horse, this is the most difficult to obtain. Hambletonian, was one of the best thoroughbred racehorses of the late 18th century, having won all of his race starts, except one. His victories included, two Doncaster Cups in the late 1790's and the St. Leger Stakes at Doncaster in 1795. Hambletonian was a bay colt, bred by John Hutchinson and foaled in 1792. He was by the sire King Fergus and a grandson of the two undefeated horses, Eclipse and Highflyer who was the sire of his dam Grey Highflyer. Published London by John Harris. Image Size: 490mm x 365mm (19.3" x 14.3"). Condition: Very small repaired tear to left sheet edge, otherwise in good condition, with strong original colouring. Technique: Copper engraving with original hand colouring.