Smith, John Raphael (40 results)

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

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

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. Stiff unmarked book in crisp white dust jacket and with ribbon marker; 5.4 X 1.4 X 8.4 inches; 600 pages.

Hardcover. Condition: Good. First Edition. Hardcover, no jacket. Some soiling to boards. Front and rear hinges are cracked with a stain to the gutters. Interior is clean and unmarked, prints are bright. Good condition. Photos available upon request.

1st edition. Good copy in the original paper-covered boards. Spine bands and panel edges somewhat dulled and dust-toned as with age. Remains well-preserved overall. Physical description; 1 preliminary leaf, 6 pages VIII color mounted plates 31 x 25 cm. Notes; Each plate accompanied by guard sheet with descriptive letterpress. Subjects; Smith, John Raphael 1752-1812. Smith, John Raphael 1752-1812 color prints 18th century. Printmakers Great Britain. Prints. Color prints. 3 Kg.

Hardcover. 219p., very good first edition stated, black buckram cloth boards, unclipped dust jacket. Fiction, poetry, criticism from Europe & the USA.

1st edition. Good copy in the original paper-covered boards. Spine bands and panel edges somewhat dulled and dust-toned as with age. Remains well-preserved overall. Physical description; 1 preliminary leaf, 6 pages VIII color mounted plates 31 x 25 cm. Notes; Each plate accompanied by guard sheet with descriptive letterpress. Subjects; Smith, John Raphael 1752-1812. Smith, John Raphael 1752-1812 color prints 18th century. Printmakers Great Britain. Prints. Color prints. 1 Kg.

1st edition. Very good cloth copy, gilt-blocked title to spine. Spine bands and panel edges slightly dust-toned and rubbed as with age. Minor library marks remain (internally). Remains particularly well-preserved overall. Physical description; 6 pp., 8 plates ; 30 cm. Subjects; Smith, John Raphael 1752-1812. Printmakers Great Britain. Color prints. 3 Kg.

First Edition. Fair to good copy in the original title-labelled, decorative paper-covered boards. With a protecitve clear plastic cover. Lacking spine cover - text block intact. Hinges starting. Panel edges somewhat dulled and rubbed as with age. Remains quite well-preserved overall. Further scans, images etc. and additional bibliographical material available on request.; 8vo 8" - 9" tall; 1 pages; Physical description: 6 p., [8] leaves of colour plates ; 31cm. Subjects: Smith, John Raphael, 1752-1812. Printmakers -- Great Britain -- Prints. Notes: Each plate accompanied by guard sheet with descriptive letterpress. 6-page introduction by Malcolm C. Salaman. 3 Kg.

Condition: Good. Most items will be dispatched the same or the next working day. A copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned. A good hardcover copy without dustjacket. Clean, unmarked pages. Text is in French.

1st edition. Very good cloth copy, gilt-blocked title to spine. Spine bands and panel edges slightly dust-toned and rubbed as with age. Minor library marks remain (internally). Remains particularly well-preserved overall. Physical description; 6 pp., 8 plates ; 30 cm. Subjects; Smith, John Raphael 1752-1812. Printmakers Great Britain. Color prints. 1 Kg.

First Edition. Fair to good copy in the original title-labelled, decorative paper-covered boards. With a protecitve clear plastic cover. Lacking spine cover - text block intact. Hinges starting. Panel edges somewhat dulled and rubbed as with age. Remains quite well-preserved overall. Further scans, images etc. and additional bibliographical material available on request.; 8vo 8" - 9" tall; 1 pages; Physical description: 6 p., [8] leaves of colour plates ; 31cm. Subjects: Smith, John Raphael, 1752-1812. Printmakers -- Great Britain -- Prints. Notes: Each plate accompanied by guard sheet with descriptive letterpress. 6-page introduction by Malcolm C. Salaman. 1 Kg.

Soft cover. Condition: Fine. 27 Plates (illustrator). 1st Edition. (32) Pp. Booklet, Staple-Bound, Illustrated, In Card Covers. 27 Loose Plates. In Portfolio With $7.50 Price. Booklet And Plates Fine, Portfolio Dusty And With Many Small Chips Right Along Fore Edge And Upper Folds. The American Social Artist William Gropper's Copy Although Not Marked As Such; He Furnished One Of The Tributes In The Booklet.

Paperback. Condition: New. Print on Demand. This book features detailed descriptions of 36 paintings created by George Morland, a highly-regarded painter of English rural scenes, animals, and people. The author provides insights into Morland's unique approach to painting, which often featured scenes from everyday life rather than idealized or historical subjects. The author notes how Morland's paintings accurately captured the character of his subjects, creating works of art that are both visually appealing and historically significant as representations of English life and culture in the late 18th century. This book is a reproduction of an important historical work, digitally reconstructed using state-of-the-art technology to preserve the original format. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in the book. print-on-demand item.

Hardcover. Condition: Brand New. illustrated edition. 320 pages. 10.75x8.50x1.25 inches. In Stock.

Couverture rigide. Livre en français. Les grands graveurs. Cartonnage de l'éditeur. 15 pages + 64 reproductions. Arts : Divers. Livre.

Soft cover. Condition: Very Good. Van Dongen, Freas, Schoenherr et al (illustrator). 1st Edition. Great stories and art! All in Very Good or better condition. First appearance (Dec '60) of story Men in Action by Donald Westlake! Harder to find the Westlake issue and some of the 1961 issues.

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Reprinted from 1799 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set and contains approximately 28 pages. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: English.

John Raphael Smith (illustrator). 'WHAT YOU WILL.'This print shows an image of a naughty looking lady in a fancy dress sitting under a huge tree on a bench with a dog next to her feet. The titel is: What you will. Mirror image can be found on the internet.Made by John Raphael Smith after own design.Medium: Photogravure in reverse on wove paper.Sheet size: 28.7 x 39 cm (11.3 x 15.35 inch). Image size: 20.3 x 37.5 cm. (7.99 x 14.76 inch).NAUGHTY WOMAN-DOG-FASHION-HUGE TREE-BENCH | RBOS-A8-15BACKGROUND INFORMATIONSource: unknown, to be determined.Biography artist: John Raphael Smith (1751 1812) was an English painter and mezzotint engraver, son of Thomas Smith of Derby, the landscape painter, and father of John Rubens Smith, a painter who emigrated to the United States. Condition: good, given age. Fold in upper right corner. Foxing. Remains of paper tape on reverse. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

Condition: Good. Stipple Engraving. Oval. 4" x 3.5", Very Good. Name penciled on verso.

1p., 4to. Bifolium. Very good, on lightly-aged paper. Addressed on reverse of second leaf to 'James Elmes Esqre.' At the head of the letter Elmes has written: 'From J. Raphael Smith the celebrated mezzotinto Engraver | J Elmes', and down the bottom right-hand corner: 'From J. Raphael Smith, Painter in Crayons & Mezzotinto Engraver to Mr Elmes, with 2 proof prints | J. E'. At the foot of the page Elmes has identified 'Mr. Tooke' in the letter as 'Horne Tooke J.E.' Smith writes: 'Sir | I have sent you an impression of Sr. Francis Burdett for your portfolio & one in an unfinished state of Mr. Tooke which the bearer will bring back or call again for & a compleat impression shall be sent you in a ten day, as soon as they can be printed, the plate is finished but none taken off yet, the unfinished one will do for a certain purpose & a finished one much the better for your portfolio'.

Platte: 29,8 x 24 cm; Blatt: 42,2 x 32 cm etwas angestaubt, etwas stockfleckig, rechtes obere Eck leicht knittrig, sonst gut Sprache: Deutsch 1001 gr.

96 pp.; 25.5 x 20.3 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Zine published in conjunction with exhibition held in Paris which presented work from the JRP|Ringier publishing program. Artists and writers who had collaborated with JRP|Ringier in the past were invited by Gilles [Gavillet] and Ari Marcopolous to submit work on a 20.5 x 25.5 cm (8 x 10 inch) page or spread. Artists include: Ari Marcopoulos, Ugo Rondinone, Erik Steinbrecher, Allen Ruppersberg, Richard Prince, Olaf Breuning, Tom Burt, Steven Shearer, David Robbins, Francis Baudevin, Scott King, Mai-Thu Perret, Michele Robecchi, Daria Martin, Christophe Cherix, Liam Gillick, Amy O'Neill, Pierre Huyghe, Armin Linke, Art & Language, Xavier Veilhan, Vidya Gastaldon, Gianni Motti, AA Bronson, Karl Holmqvist, Jim Shaw, Olivier Mosset, Michael Smith, Philippe Decrauzat, Andrea Thal, Monica Bonvicini, Nicolas Trembley, Frabrice Gygi, Balthazar Lovay, Hans Ulrich Obrist, Paul O'Neill, Fabrice Stroun, Guyton\Walker, Walter Pfeiffer, Flag, Ján Mancuska, Andro Wekua, Raphael Gygax, John Welchman, Elodie Pong, Ivana Keser, Mathieu Mercier, Philippe Rahm, William Kentridge, Valentin Carron, Sean Landers, John Armleder, Dan Walsh, and Linder. Cover by Ari Marcopoulos. Fine. New, as issued. Contents clean and unmarked.

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Reprinted from 1914 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set and contains approximately 48 pages. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: English.

London, MacMillan and Co., 1902, in-8°, 259 pp, ed. decorated cloth, 30 bl/w ills. Contains the oeuvre catalogue. Some foxing, especially the endpapers.

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. This charming portrait of the fashionable Catherine Schindlerin expertly illustrates Smith's superior technique and artistic ingenuity. Catherine Schinderlin was a German singer and actress, who began her career in London in 1775, the year Reynolds did this portrait for the Duke and Duchess of Dorset. It shows the actress in the role of the "Coquette" from an as yet unidentified play or opera. 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 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 Prince of Wales' 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.

Condition: Good. Mezzotint . Tipped onto a blue support sheet. 35 x 25cm. Tears without loss in lower margin. Repaired tear from the dog to the printed text. The copy at the British Museum lacks the printed date in the lower margin.British Museum number 1935,0522.1.16.Description Satire; an extravagantly dressed woman catches a fashionable man by the arm as she points with her fan at a mezzotint droll in a print-shop window; a small dog looks up at her; an old gentleman with a stick standing on the right, stares at the prints and is surprised by a man with a warrant for his arrest. 1774.Inscription content: Lettered with title and "Printed for Carington Bowles, at his Map & Print Warehouse, No. 69 in St. Pauls Church Yard, London.Published as the Act directs 25 June 1774.Curator's comments:. The shop is Carington Bowles's own shop in St Paul's Church Yard. All the prints in the window must be his publications. The date June 25 1774 appears on another impression. For another print of the window, see BMSat.6352.Bibliographic references:. D'Oench 1999 / Copper into Gold: Prints by John Raphael Smith (1751-1812) (45) BM Satires / Catalogue of Political and Personal Satires in the Department of Prints and Drawings in the British Museum (3758) . Frankau 1904 / Eighteenth Century Artists and Engravers: William Ward A.R.A. and James Ward R.A. (332). Chaloner Smith 1883 / British Mezzotinto portraits from the introduction of the art to the early part of the present century (undescribed).

Pastel. Glazed in the orig. contemp. giltwood frame; some light wear to extremities. Image approx. 61 x 51 cm A very nice large head-&-shoulders portrait of James White, 1775-1820, author and advertising agent. Born in Worcester, he spent his earliest days in the Malvern Hills, but in 1783 was admitted to Christ's Hospital on the presentation of Thomas Coventry. At school he cut something of a dandy: Leigh Hunt recalled 'admiring his handsome appearance, and unimprovable manner of wearing his new clothes'. His education ended in 1790, but he continued at Christ's Hospital, working as a clerk in the treasurer's office. A friendship with Charles Lamb, begun in their student days, now ripened. By the mid-1790s White was Lamb's 'most familiar friend'. Lamb introduced White to Shakespeare's Henry IV and White, a natural humorist, developed a powerful imaginative identification with Falstaff. He would 'talk to you nothing but pure Falstaff the long evenings through', and occasionally dressed up as Shakespeare's comic hero. He was even known among his friends as Sir John. This fascination with Falstaff culminated in Original Letters, &c. of Sir John Falstaff and his Friends from Genuine Manuscripts (1796), written with Lamb's assistance. The volume was designed as a humorous counterpart to William Henry Ireland's recent 'discovery' (i.e. forgery) of Shakespeare's manuscripts, though Lamb later liked to emphasise the purely literary value of the Letters, deriving, he said, 'from the fullness of a young soul, newly kindling at the Shakspearian flame, and bursting to be delivered of a rich exuberance of conceits'. Letters was not a success on first publication (although there were several posthumous editions) and appears to have been White's only attempt at authorship. In 1800 he founded an advertising agency in Warwick Square which moved to 33 Fleet Street about 1808, and became R. F. White & Son Ltd. This was, arguably, the first such agency to introduce the idea of writing copy for clients' advertisements. Tradition has it that James White was called on to place advertisements for the school and was thus pulled into the world of newspapers and advertising which had long centered around the taverns of Fleet street. Before long White found himself handling advertising for other people, he was able to operate this from his house which was next door to the school whilst continuing to work as a clerk in the treasurer's office. White had romantic ideas about the feasting practised in 'Old' England and took over Elizabeth Montagu's role as patron of May Day feasts for London's chimney sweepers. He served sausages instead of beef and pudding, acting as head waiter himself: Lamb's account of these merry occasions came in the form if his celebrated essay 'The praise of chimney-sweepers', which first appeared in the London Magazine in 1822, then in Essays of Elia. White married Margaret Faulder, 17921864, daughter of Robert Faulder, a bookseller, in 1811, and they had six children. He died at his house in Burton Crescent, London, on 13 March 1820, leaving a sizeable fortune, and was buried in Paddington churchyard. He was remembered as a man of unmatched good humour and drollness. In 1822 Lamb wrote of his friend: 'He carried away with him half the fun of the world when he died - of my world at least'. After his death, his business seems to have been initially managed by his wife, and was later taken over by his son Robert Faulder White. White's advertising agency, subsequently R.F. White & Son Ltd, remained in the hands of his family until the death of his great-grandson, Gilbert White, in 1962. PLEASE NOTE: For customers within the UK this item is subject to VAT at 20%.

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.

Mezzotint with roulette, coloured by hand. Image size: 17 1/4 x 21 1/2 inches. 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 pastoral life with grace and sympathy. 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 career translated many of Morland's paintings to print. 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.