After John Smith (27 results)

No Binding. Condition: As Described. No Jacket. W. Angus after J. Prout (illustrator). A print of an engraving of 'Medmenham Abbey, Buckinghamshire' engraved by J. Smith from a drawing by F. Nash. An antique print, guaranteed to be over 210 years old. London: Published by Vernor, Hood & Sharpe, Poultry, February 12, 1807.This plate was taken from a book in the series 'The Beauties of England and Wales: or Delineations, Topographical, Historical and Descriptive, of Each County.' by John Britton. Published 1801-15. A little toning and some foxing (mainly to margins), with other marking and scuffing but reasonably clean for age. Mounted and matted with white and antique-white acid-free card, measuring 9" x 7" (22.9cm x 17.8cm) with a window size of a little under 7" x 5" and comes in a cellophane bag. This would make for a lovely gift and may appeal to those interested in Britain, Buckinghamshire, architecture, antique prints and the work of Smith and Nash. n.

Hardcover. Condition: Near Fine. Reprint. Xvi, 577 Pp. Reprint For Subscribers, Originally Issued In Red Wrappers. Red Morocco Binding By Riviere, Morocco Spine Labels, 5 Bands, Gilt Hunter's Riding Cap, Horse, Stag And Hound In Each Of Four Compartments With Elaborate Gilt Borders, Covers With Gilt Fox And Horseshoe Within Triple Gilt Border, All Edges Of Boards Gilt, Elaborate Gilt Turns, Marbled Endpapers, Original Wrappers Bound In At Rear With Both Covers And Spine. Near Fine, Wear At Top And Bottom Edges Of Spine Only, Binding Tight And Very Strong.

Hardcover. Condition: Near Fine. Reprint. Xii, 405 Pp. Reprint For Subscribers, Originally Issued In Red Wrappers. Red Morocco Binding By Riviere, Morocco Spine Labels, 5 Bands, Gilt Hunter's Riding Cap, Horse, Stag And Hound In Each Of Four Compartments With Elaborate Gilt Borders, Covers With Gilt Fox And Horseshoe Within Triple Gilt Border, All Edges Of Boards Gilt, Elaborate Gilt Turns, Marbled Endpapers, Original Wrappers Bound In At Rear With Both Covers And Spine. Near Fine, Wear At Top And Bottom Edges Of Spine Only, Binding Tight And Very Strong.

No Binding. No Jacket. Rawle after J. C. Smith (illustrator). A print of an engraving of 'Coventry from the priory Mill Dam' engraved by Rawle from a drawing by the late J. C. Smith. An antique print, guaranteed to be 210 years old. Stated as published by J. Harris, St Pauls Church Yard, July 1, 1814.This plate was taken from a book in the series 'The Beauties of England and Wales: or Delineations, Topographical, Historical and Descriptive, of Each County.' by John Britton. London: Printed for J. Harris et al., 1801-15. A little toning, some foxing (mainly to margins) and other light marking and scuffing but otherwise clean for age. Mounted and matted with white and antique-white acid-free card, measuring 9" x 7" (22.9cm x 17.8cm) with a window size of a little under 7" x 5" and comes in a cellophane bag. This would make for a lovely gift and may appeal to those interested in Britain, Coventry, architecture, antique prints and the work of Rawle and Smith. n.

Original stapled illustrated souvenir theatre programme. 9'' x 5¼''. Contains 40 pages with photographs and illustrations. In Very Good condition. Member of the P.B.F.A. OPERA.

Condition: Good. 6 x 4 inches. Engraving of an English country scene. "For the Beauties of England and Wales.".

First edition in publisher's original illustrated orange paper wrap covers [soft back], black lettering to the front, lovely illustrated advertisements to the rear and to the inside front and rear covers. 8vo. 9'' x 5¾''. Contains 16 pages of advertisements and pages 289-432. Slight sun fading down the spine and in Good condition, no dust wrapper as issued. Member of the P.B.F.A. NINETEENTH CENTURY.

First edition in publisher's original illustrated orange paper wrap covers [soft back], black lettering to the front, lovely illustrated advertisements to the rear and to the inside front and rear covers. 8vo. 9'' x 5¾''. Contains 16 pages of advertisements and pages 721-856. Slight sun fading down the spine and in Good condition, no dust wrapper as issued. Member of the P.B.F.A. NINETEENTH CENTURY.

First edition in publisher's original illustrated orange paper wrap covers [soft back], black lettering to the front, lovely illustrated advertisements to the rear and to the inside front and rear covers. 8vo. 9'' x 5¾''. Contains 16 pages of advertisements and pages 1-144. Slight sun fading down the spine and in Good condition, no dust wrapper as issued. Member of the P.B.F.A. NINETEENTH CENTURY.

First edition in publisher's original illustrated orange paper wrap covers [soft back], black lettering to the front, lovely illustrated advertisements to the rear and to the inside front and rear covers. 8vo. 9'' x 5¾''. Contains 16 pages of advertisements and pages 433-576. Slight sun fading down the spine and in Good condition, no dust wrapper as issued. Member of the P.B.F.A. NINETEENTH CENTURY.

First edition in publisher's original illustrated orange paper wrap covers [soft back], black lettering to the front, lovely illustrated advertisements to the rear and to the inside front and rear covers. 8vo. 9'' x 5¾''. Contains 16 pages of advertisements and pages 433-576. Slight sun fading down the spine, nibbling of the front cover to the bottom of the spine and top edge and in Good condition, no dust wrapper as issued. Member of the P.B.F.A. NINETEENTH CENTURY.

No Binding. Condition: Very Good. 1st Edition. Size: Print inside mount 42 x 26.5 cm. Condition: Print has a crease in it - please see image. Otherwise in very good condition, full margins and platemark, mount new. This print is from the first edition account of Captain Cook's Voyage to the Pacific Ocean, published in 1784. This was Cook's third voyage, starting in 1776, and the one in which he met his death in 1779. John Webber was the artist who accompanied Cook and his crew, and his drawings were subsequently engraved for the publication. Webber, only 27 years old at the time, went on to become a well known painter and fellow of the Royal Academy, but today is known mainly for his association with Cook and especially his painting of Cook's death and its many engraved versions. One principal purpose of Cook's voyage was to find the elusive North-West passage, which Cook failed to do. In the attempt he visited Kamchakta (in Russia), which is where Webber drew this scene. The print is on laid paper consistent with the date of 1784.

Condition: Good. Mezzotint engraving. 23.5 x 25 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Print mounted onto to a support sheet.

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

Hardback. Condition: Good. Multiple, including illustrations after Pugin and Rowlandson, Robert Cruikshank, and engravings from William Bond, James Bretherton. (illustrator). An uncommon edition of this work by Hackney-carriage-born John Thomas Smith, offering a nostalgic recollection of London. This edition is acknowledged by Wilfred Witten, the editor, to be the first thus annotated edition of the work. The first two editions of this work appeared in 1845, the third in 1861.Uncommon.Quarter paper vellum bound with gilt titles. Heartily illustrated with 47 plates, both monochrome and colour, including a frontispiece of the author (also, a plate missed from the work's 'List of Illustrations' titled 'Perdita Robinson' by J. T. Smith, on an unnumbered page [pp. 82-83]). Collated complete.Composed by a previous keeper of prints for the British Museum who was born in the back of a Hackney carriage, this work offers a nostalgic recollection of London, abounding with references to some of the city's best known areas and buildings. In the publisher's original quarter paper vellum binding. Externally, some marks and dulling to the colour of the boards and to the spine. Gilding bright. Some bumping to the head and tail of the spine, joints, and corners, which has resulted in a minor closed tear to spine's binding at rear joint, and minor loss of paper cover at corners. Hinges somewhat tender. Gift Inscription on first free endpaper. Internally, pages have spotting and toning throughout, not impacting readability. The odd minor closed tears to bottom edge; these are on plates between pp. 212-213, between pp. 302-303, between pp. 308-39, and between pp. 316-317, not to illustrations in any instance. Good. book.

Condition: Good. Engraving. 12.7 x 19 cm. (image). 16.3 x 22 cm. (sheet). Very Good. Some light surface soiling, and specks of foxing.

Condition: Good. Engraving on rag. Image 6" x 8.5". Very Good. In protective sleeve.

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.

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1755 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. 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. Pages: 109 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. 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. Pages: 109 Language: English.

Hand-coloured aquatint engraving. Very good condition apart from some overall light foxing in the margins. A picturesque view of the Pyran falls near Hafod House from "Tour to Hafod," a fine collection of plates depicting the mansion and its surrounding landscape engraved by Stadler after drawings by Smith. In his text, J. E. Smith describes Pyran as "one of the most favourite water-falls" and explains how it "terminates an umbrageous glen in the most advantageous manner, opening upon the spectator by degrees, till the whole is seen in perfection" (p. 13). Comprised of 15 views, Tour to Hafod also included comprehensive descriptive text by the scientist and collector James Edward Smith. The work was most likely intended as a tribute to the social benefactor and literary man Thomas Johnes (1748-1816), who devoted much of his life to his home region of Cardiganshire, where he served as a lord-lieutenant, a colonel in the militia, and an MP for the borough of Cardigan. Located in Cardiganshire, Western Wales, Hafodychtryd or Hafod for short, was Johnes's country estate. Hafod House, his principal residence, was erected in 1785 in the "gothic" style of Thomas Baldwin of Bath. Upon settling there, Johnes set about ameliorating the conditions of the local poor by providing them with comfortable housing and employing them in a planting project that would beautify the neighboring areas. In addition to his concern for social welfare, he was extremely interested in improving parts of Cardiganshire and actively involved himself in the building of roads and bridges. Born in Irthington in 1749, John "Warwick" Smith was an accomplished topographical draughtsman and watercolourist, who enjoyed the generous patronage of the Earl of Warwick. In addition to his fine engravings of Italy, he contributed numerous illustrations to topographical publications such as Select Views in Great Britain (1812), Views of the Lakes of Cumberland (1791-5), Tour through Wales (1794), and A Tour to Hafod (1810). In 1805, Smith became a member of the Watercolour Society, where he frequently exhibited his works. Cf. Abbey, Scenery of Great Britain and Ireland 533; cf. Dictionary of National Biography.

Hand-coloured aquatint engraving. A picturesque view of the valley of the Rhydol River, near Hafod from "Tour to Hafod," a fine collection of plates depicting the mansion and its surrounding landscape engraved by Stadler after drawings by Smith. Comprised of 15 views, Tour to Hafod also included comprehensive descriptive text by the scientist and collector James Edward Smith. The work was most likely intended as a tribute to the social benefactor and literary man Thomas Johnes (1748-1816), who devoted much of his life to his home region of Cardiganshire, where he served as a lord-lieutenant, a colonel in the militia, and an MP for the borough of Cardigan. Located in Cardiganshire, Western Wales, Hafodychtryd or Hafod for short, was Johnes's country estate. Hafod House, his principal residence, was erected in 1785 in the "gothic" style of Thomas Baldwin of Bath. Upon settling there, Johnes set about ameliorating the conditions of the local poor by providing them with comfortable housing and employing them in a planting project that would beautify the neighboring areas. In addition to his concern for social welfare, he was extremely interested in improving parts of Cardiganshire and actively involved himself in the building of roads and bridges. Born in Irthington in 1749, John "Warwick" Smith was an accomplished topographical draughtsman and watercolourist, who enjoyed the generous patronage of the Earl of Warwick. In addition to his fine engravings of Italy, he contributed numerous illustrations to topographical publications such as Select Views in Great Britain (1812), Views of the Lakes of Cumberland (1791-5), Tour through Wales (1794), and A Tour to Hafod (1810). In 1805, Smith became a member of the Watercolour Society, where he frequently exhibited his works. Cf. Abbey, Scenery of Great Britain and Ireland 533; cf. Dictionary of National Biography.

Hand-coloured aquatint engraving. Good condition apart from some overall light soiling, a few mild surface abrasions in the margins, and several small tears and minor losses at the edges of the sheet. Light water stain in the lower left corner. A picturesque view of Hafod House from "Tour to Hafod", a fine collection of plates depicting the mansion and its surrounding landscape engraved by Stadler after drawings by Smith. Comprised of 15 views, Tour to Hafod also included comprehensive descriptive text by the scientist and collector James Edward Smith. The work was most likely intended as a tribute to the social benefactor and literary man Thomas Johnes (1748-1816), who devoted much of his life to his home region of Cardiganshire, where he served as a lord-lieutenant, a colonel in the militia, and an MP for the borough of Cardigan. Located in Cardiganshire, Western Wales, Hafodychtryd or Hafod for short, was Johnes's country estate. Hafod House, his principal residence, was erected in 1785 in the "gothic" style of Thomas Baldwin of Bath. Smith describes it as being "situated on a rising ground, in a rich and beautiful valley, watered by the river Ystwith, and encompassed with bold hills, richly wooded, or a great variety of forms. These woods abound with magnificent water-falls, formed chiefly by three mountain streams that empty themselves into the Ystwith in different parts of the valley, and are never dry." Upon settling there, Johnes set about ameliorating the conditions of the local poor by providing them with comfortable housing and employing them in a planting project that would beautify the neighboring areas. In addition to his concern for social welfare, he was extremely interested in improving parts of Cardiganshire and actively involved himself in the building of roads and bridges. Born in Irthington in 1749, John "Warwick" Smith was an accomplished topographical draughtsman and watercolourist, who enjoyed the generous patronage of the Earl of Warwick. In addition to his fine engravings of Italy, he contributed numerous illustrations to topographical publications such as Select Views in Great Britain (1812), Views of the Lakes of Cumberland (1791-5), Tour through Wales (1794), and A Tour to Hafod (1810). In 1805, Smith became a member of the Watercolour Society, where he frequently exhibited his works. Cf. Abbey, Scenery of Great Britain and Ireland 533; cf. Dictionary of National Biography.

Colour-printed mezzotint. In fair condition with the exception of being trimmed within the plate mark. Title has been inset. Nail burns in left margin. Tear in upper margin extending into image. Image size: 18 x 23 1/2 inches. A lovely colour printed impression of Smith's idyllic print of rural life, after a painting by George Morland. 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. He 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 pleasant rural 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. His brother-in-law, William Ward, engraved a great number of them. Here a young girl clings to her mother's apron, as her father takes up his rifle to go hunting. Her fearful reaction is contrasted with that of the dogs who are excited, and the maid who indifferently prepares the fire in the fireplace. Dawe, G. Morland p. 146.

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.

Venus sitting naked in her chariot surrounded by putty playing with wreaths and flowers. On the right background a hilly landscape. Possibly modern reprint from the original plate.After the composition by John Smith [see Rijksmuseum inv. RP-P-OB-32.948]. Mezzotint on paper; plate mark: 161 x 203 mm, total: 273 x 439 mm; on modern paper, therefore this might be a reprint from an original plate. Wessely, nr. 381.

Shepherd and shepherdess seated by a fountain, after Titian; the shepherd, semi-nude and wearing a loose sheet, with his arm around the shepherdess, wearing flowers in her hair and a loose dress; both holding musical pipes; in foreground to right, crook; fountain on the left, with sculpted shell; trees in the background. Signed below: "Titian Invent." and "I. Smith ex."Ganz notes that this is an adaptation of Titian's 'Three Ages of Man' in Edinburgh (Coll. of Duke of Sutherland), as first engraved by Wallerant Vaillant (Holl. 47/Wess. 238; same direction as Smith's mezzotint). According to Hollstein, Vaillant "probably worked after a drawing attributed to Jan de Bisschop in Amsterdam, inv. 1966:45," which was copied, in reverse, by an anonymous engraver and published by Pieter Schenck (Holl. 2037) and by Blooteling (Holl. 277).Smith's plate is a re-publication of an earlier mezzotint which was copied either from the anonymous mezzotint or the mezzotint by Blooteling.An impression is included in the Smith album in the NYPL, mounted near prints dated 1707.Published in London ca 1700.On verso collector's mark: VE in a circle: Pim van Eekelen (Amsterdam 1923-1984), L.5101.[NL] Schaapsherder en herderin bij een fontein, naar Titiaan. Mezzotint on paper, trimmed close to plate mark; total: 172 x 131 mm; in outstanding condition.