Bartolozzi Francesco, First Edition (26 results)

Soft cover. Condition: Very Good. No Jacket. 1st Edition. Paperback copy in plain white card cover, unclipped dustjacket in new removable protective clear sleeve. 43pp. Illustrated throughout, separate price list. Not library copy, no inscriptions. (41/6).

No Binding. Condition: Near Fine. Engraving (illustrator). First Edition. Image size 10 5/8" x 7 5/8", wide margins, 1" chip extending in about 3/8" from edge but remaining 3/8" beyond the plate mark; light foxing. Beneath the image, there are the credits to Reynolds and Bartolozzi, "Proof", "Ugolino", "London Printed for R. Sayer and J. Bennett, No. 53, Fleet Street, as the act directs, June 28, 1778.

No Binding. Condition: Good. F. Bartolozzi (illustrator). 1st Edition. 18th century oval aquatint engraved by the Italian artist/engraver Francesco Bartolozzi, the print is unframed and is laid onto the backing card, some light colouring with flesh tones and blue, some browning and a few light age spots, the actual image is clear the age wear is in the surrounds and margins, Measures approx 10 x 7.5 ins to the plate line and 12.5 x 10 inches edge to edge, Genuine and original. NOT a modern copy. dated Sept 8th 1783 and that is Guaranteed.

Soft cover. Condition: Good. 1st Edition. Sq. 12mo. Original paper covers. Engraved frontis, one two colour plate, 802 item catalogue. Covers rubbed and frayed with loss at one corner, light foxing and creasing.

Single Sheet. Condition: Near Fine. Original Antique Engraving. Original Antique Stipple Engraving On Antique Laid Paper. Plate Mark 39.6 X 2.6 Cm. A Domestic Scene, Young Man Sitting At Right, Reading, With Two Women Working On Clothes, A Small Child, And A Dog. Original Hand Coloring. "Painted By Morland" At Lower Left, "Bartoloxxi St" At Lower Right, With Large Text "Domestic Happinesf" In Large Script At Bottom. Plate Mark Approximately 15 7/16" X 11 1/2"" Rectangular; Image Is Also Rectangular; Large Margins. Francesco Bartolozzi Ra (1727 - 1815) Was An Italian Engraver, Whose Most Productive Period Was Spent In London. Bartolozzi Was Born In Florence. He Was Originally Destined To Follow The Profession Of His Father, A Gold- And Silver-Smith, But He Manifested So Much Skill And Taste In Designing That He Was Placed Under The Supervision Of Two Florentine Artists, Including Ignazio Hugford And Giovanni Domenico Ferretti Who Instructed Him In Painting. After Devoting Three Years To That Art, He Went To Venice And Studied Engraving. He Particularly Admired The Work Of Joseph Wagner. His First Productions In Venice Were Plates In The Style Of Marco Ricci, Zuccarelli, And Others, While Working For Wagner, Which Began To Draw Attention. He Then Moved For A Short Time To Rome, Where He Completed A Set Of Engravings Representing Frescoes At Grottaferrata By Domenichino Depicting The Life Of St Nilus. He Soon Returned To Venice And Left For London In 1764. He Lived In London For Nearly Forty Years. He Produced An Enormous Number Of Engravings, Including Clytie After Annibale Carracci, And Of The Virgin And Child, After Carlo Dolci. A Large Proportion Of Them Are From The Works Of Cipriani And Angelica Kauffman. Bartolozzi Also Contributed A Number Of Plates To Boydell's Shakespeare Gallery. He Also Drew Sketches Of His Own In Red Chalk. Soon After Arriving In London, He Was Appointed 'Engraver To The King' With An Annual Salary Of £300. He Was Elected A Founding Member Of The Royal Academy In 1768, And In 1802 Became The Founding President Of The Short-Lived Society Of Engravers. His Pupils Were Michele Benedetti, Ignatius Joseph Van Den Berghe, Thomas Cheesman, Lambertus Antonius Claessens, Daniel Gardner, Christiaan Josi, Johan Fredrik Martin, Conrad Martin Metz, Luigi Schiavonetti, John Keyse Sherwin, Heinrich Sintzenich, Peltro William Tomkins, Don Bernardo Zilotti,[2] And Gabriel Scorodomoff. Bartolozzi Was Not The Inventor Of The So-Called Crayon Manner Of Engraving, Which Imitated The Subtleties Of Chalk Drawings, But He Made It The Fashion. In 1802, Bartolozzi Accepted The Post Of Director Of The National Academy Of Lisbon, The City Where He Died. His Son Gaetano Stefano Bartolozzi, Born In 1757, Was Also An Engraver, And The Father Of Madame Vestris. (Source: Wikipedia).

Single Sheet. Condition: Near Fine. Original Antique Engraving. 16" X 21". One Of A Large Suite Of Engravings By Bertolozzi, After The Original Drawings By Holbien In The Collection Of The Crown. A Well Colored Impression, With Artist And Engraver Names Immediately Beneath The Portrait, And Publishing Information Below.

No Binding. Condition: Fine. Engraving (illustrator). Original Antique Engraving. Image Size 9 1/8" X 6 1/4", Wide Margins. Beneath The Image, There Are The Credits To Rubens And Bartolozzi, "Rubens' Second Wife / From The Original At Houghton Hall In The Collection Of The Earl Of Oxford" With The Printers Information And Date Below.

Paperback. Condition: Good+. First Edition. line engraving Francesco Bartolozzi, after William Owen the original picture in the possession of Lord Viscout Melville. One example of the engraving is in the National Portrait Gallery. This is coloured. Book.

Hardcover. Condition: Good. No Jacket. Francesco Bartolozzi (illustrator). 1st Edition. Please email for Photographs or further information. Good - First edition, Folio 40.5 x 27cm, complete The frontispiece is a portrait of the author engraved by F. Bartolozzi in 1777 2 vol. bound together, re-backed full-calf, frontispiece and 23 full-page plates, title/dedication pages toned with some repairs to paper, damp staining in places, some toning/light spotting/marking at edges, occasional small tear. 1780 1st Edition , A COMPLETE BODY OF HERALDRY Containing an Historical Enquiry into the origin of Armories; the Proper Methods of Blazoning and Marshalling Armorial Bearings; the Arms of all Sovereign Princes and States; an Historical Catalogue of all the Different Orders of Knighthood; the Arms of the Counties, Cities, Boroughs, and Towns Corporate in England and Wales; and of the abbies and Religious Houses; the Arms of Archiepiscopal and Episcopal Sees; a Discourse on Funeral Trophies; Glover's Ordinary of Arms Aaugmented and Improved; an Alphabet of Arms; and a Copious Glossary, By Joseph Edmundson Author Bio: Joseph Edmondson (died 1786) was an English herald and genealogist whose principal work is the Baronagium Genealogicum ("or the Pedigrees of the English Peers, Deduced from the Earliest Times: Originally Compiled by Sir William Segar, and Continued to the Present Time"), 5 volumes, published in London, 1764. Illustrated By: Francesco Bartolozzi Illustrator Bio: Francesco Bartolozzi RA (21 September 1727 - 7 March 1815) was an Italian engraver, whose most productive period was spent in London. He is noted for popularizing the "crayon" method of engraving. Synopsis: 2 volumes in 1, illustrated with copper plates, title continues after mottos: of all sovereign princes and states; as also the Atchievements [sic] of the peers, peeresses, and baronets, of England, Scotland, and Ireland. An historical catalogue of all the different orders of knighthood . The arms of the counties, cities, boroughs, and towns corporate, in England and Wales; and of the Abbies and religious houses founded therein: as also those of the royal boroughs in Scotland; and of the societies, bodies corporate, trading companies, &c. in London. The arms of Archiepiscopal and Episcopal sees in England and Ireland, and of those heretofore established in Scotland . A discourse on the origin, use, and abuse, of funeral trophies. Glover's Ordinary of arms, augmented and improved; an alphabet of arms, containing upwards of fifty thousand coats, with their crests, &c. and a copious glossary, explaining all the technical terms used in heraldry . A remarkable work who began as the painter of arms on the coaches of Queen Charlotte to the purchase of the manuscripts known as the Baronagium genealogicum (compiled by Simon Segar). Although he published other works, this is his most famous work which was subscribed by the royal family and a virtually all the higher aristocracy. It includes an alphabet of 50,000 coats of arms and owed much to the unpublished "offices of arms", an unpublished manuscript by John Anstit, the elder, Garter. One of the essential volumes on the great coats of arms of the English lords. (references: see A. Wagner, Heralds of England; W.T. Lowndes, The bibliographers manual of English literature). George III was among his major sponsors. the plates are all at the back of each Volume. Binding: Hardcover, folio (fo 12 × 19 in 305 × 483 mm ) Note: Binding/size selection follows standard bibliographic conventions and is approximate; exact measurements may vary. Collation: pp. Language: English Published By: T. Spilsbury and sold by J. Dodsley and T. Payne and Son et al, London Condition Report: Dust Jacket: No Jacket, Dust Jacket Condition: No Jacket Good - First edition, Folio 40.5 x 27cm, complete The frontispiece is a portrait of the author engraved by F. Bartolozzi in 1777 2 vol. bound together, re-backed full-calf, frontispiece and 23 full-page plates, title/dedication pages toned with some repairs to paper, da.

1. Original-Kupferstich in Punktierstich-Manier von Francesco Bartolozzi (in der Platte signiert) nach einer Zeichnung von Lady Diana Beauclerk (in der Platte signiert) auf feinem Büttenblatt mit Rückseitendruck, bildliche Darstellung ca. 13,5 x 15 cm, von alter Hand ausgeschnitten und auf stabilen Karton montiert, Blattgröße ca. 18 x 22,5 cm, sauber und sehr gut erhalten, sehr seltenes und schönes Blatt Francesco Bartolozzi (1727-1813) bedeutender italienischer Kupferstecher, Zeichner, Maler und Verleger, nach Studien in Florenz, Venedig und Rom lebte und arbeitete er von 1764 bis 1802 in London, wo er seine brillante Punktierstich-Kunst weiterentwickelte und von George III. zum "Engraver of the King" mit einem stattlichen Gehalt ernannt wurde, von 1802 bis kurz vor seinem Ableben Direktor der Nationalakademie in Lissabon 2100 gr.

1. Original-Kupferstich in Punktierstich-Manier von Francesco Bartolozzi (in der Platte signiert) nach einer Zeichnung von Lady Diana Beauclerk (in der Platte signiert) auf feinem Büttenblatt mit Rückseitendruck, bildliche Darstellung ca. 14 x 16 cm, von alter Hand ausgeschnitten und auf stabilen Karton montiert, Blattgröße ca. 17,5 x 22,5 cm, sauber und sehr gut erhalten, seltenes und schönes Blatt Francesco Bartolozzi (1727-1813) bedeutender italienischer Kupferstecher, Zeichner, Maler und Verleger, nach Studien in Florenz, Venedig und Rom lebte und arbeitete er von 1764 bis 1802 in London, wo er seine brillante Punktierstich-Kunst weiterentwickelte und von George III. zum "Engraver of the King" mit einem stattlichen Gehalt ernannt wurde, von 1802 bis kurz vor seinem Ableben Direktor der Nationalakademie in Lissabon 2100 gr.

Hardcover. Bartolozzi, Francesco (illustrator). First edition. 211, 152 pp. Large 4to, thirteen plates, some in color. List of Bartolozzi Works, more than 2000 entries. Index in each volume. "His etchings in imitation of the drawings of the most eminent painters, admirably represent the spirits of the originals, and he was not less successful in the exquisitely finished plates he produced in the various styles he practiced." [see: BRYAN'S DICTIONARY, Vol.I, p.91]. FREITAG 440. Backstrips nicked at extremities, two small spots cover Vol.II, covers slightly soiled, uncut. Interior clean, fresh and tight with age-toning to first few and least leaves at outer margins. Orig. full vellum lettered in gilt. Teg. Very good. 2 vols.

1. Original-Kupferstich in Punktierstich-Manier von Francesco Bartolozzi (in der Platte signiert) nach einer Zeichnung von Lady Diana Beauclerk (in der Platte signiert) auf feinem Büttenblatt mit Rückseitendruck, bildliche Darstellung ca. 12 x 16 cm, von alter Hand ausgeschnitten und auf stabilen Karton montiert, Blattgröße ca. 18 x 23,5 cm, sauber und sehr gut erhalten, sehr seltenes wunderschönes Blatt Francesco Bartolozzi (1727-1813) bedeutender italienischer Kupferstecher, Zeichner, Maler und Verleger, nach Studien in Florenz, Venedig und Rom lebte und arbeitete er von 1764 bis 1802 in London, wo er seine brillante Punktierstich-Kunst weiterentwickelte und von George III. zum "Engraver of the King" mit einem stattlichen Gehalt ernannt wurde, von 1802 bis kurz vor seinem Ableben Direktor der Nationalakademie in Lissabon 2100 gr.

1. Original-Kupferstich in Punktierstich-Manier von Francesco Bartolozzi (in der Platte signiert) nach einer Zeichnung von Lady Diana Beauclerk (in der Platte signiert) auf feinem Büttenblatt mit Rückseitendruck, bildliche Darstellung ca. 13 x 15,5 cm, von alter Hand ausgeschnitten und auf stabilen Karton montiert, Blattgröße ca. 19 x 22 cm, sauber und sehr gut erhalten, sehr seltenes wunderschönes Blatt Francesco Bartolozzi (1727-1813) bedeutender italienischer Kupferstecher, Zeichner, Maler und Verleger, nach Studien in Florenz, Venedig und Rom lebte und arbeitete er von 1764 bis 1802 in London, wo er seine brillante Punktierstich-Kunst weiterentwickelte und von George III. zum "Engraver of the King" mit einem stattlichen Gehalt ernannt wurde, von 1802 bis kurz vor seinem Ableben Direktor der Nationalakademie in Lissabon 2100 gr.

Hardcover. Condition: Fair. 1st Edition. 2 volumes quarto 15x11 inches- original boards, crudely rebacked. Two titles, two lists of plates and 151 FINE ENGRAVED PLATES- the majority by Bartolozzi after Guercino- includes 30 double page folding plates. Some, mostly marginal, spotting- but affecting the decorative nature of only 6 plates and 6 plates with an old outer marginal crescent waterstain not affecting the image. A reasonably good copy of the first edition of this work- a rare printing that in later editions had only 91 plates.

Hardcover. Condition: Good. 1st Edition. London: London: Printed for W. Tomkins. The Letterpress by T Bensley. The Type by V. Figgins., First Edition Thus. Full leather binding, worn scratched and marked but structurally sound, heavily gilt decorated to the spine and boards, gilt page edges and marbled end papers with inner gilt dentelles. Imperial folio. Worming to the base of the Lavinia and Her Mother full page plate. 21 engraved illustrations as per the list of engravings, an engraved frontispiece, five full-page engravings, ten head-and-tail pieces and five vignettes. Boards ruled in gilt tooling. Spine elaborately stamped and lettered in gilt. Gilt dentelles. All edges gilt. Marbled endpapers. [10, title, dedication, subscribers list and list of engravings, [1]-236pp. Provenance: signature of RJJ Cary, Torr Abbey to the dedication. Approximately 19 inches tall. Condition Report Externally Spine good condition 12 raised bands, gilt decoration and titles, worn and rubbed with very minor loss. Joints good condition rubbed and worn. Corners good condition bumped and worn. Boards good condition heavily gilt decorated, marked scratched and worn with some loss to the leather. Page edges good condition top edge a;; gilt, top darkened, some waviness. See above and photos. Internally Hinges good condition sound. Paste downs good condition marbled paper, gilt dentelles. End papers good condition marbled end papers. Title good condition lightly tanned, half title present. Pages good condition lightly tanned throughout, creased to page 188. Binding good condition worn but attractive. See photos. Publisher: see above. Publication Date: 1747 Binding: Hardback.

Condition: Good. Folio (536 x 365 mm. 20.75 x 14.5 inches). Later half morocco with 8 raised bands over decorative paper-covered boards; in fine condition. 23 leaves. [i-xii], [1]33 [34]p. I=LXI engraved plates incl. the frontispiece by Bartolozzi.Engraved frontispiece and 60 engraved plates on 54 sheets, some double-page and/or folding, printed list of subscribers; small area of dampstaining in the right margins of the text and less so in the plates; and light foxing throughout; a few plates cropped to the plate mark sometimes affecting captions or plate numbers, scattered marginal tears and repairs.First edition. An elaborate description of a rare private residence of the Imperial period, Diocletian, -- Emperor of Rome,-- 245-313.The Fowler Architectural Collectin, no. [2]:" The plates .are of interest not only as fine examples of architectural engraving but as showing the source of some of the motives of the Adam style." OCLC Numbers 228757007; 456750309.

Hardcover. Condition: Very Good. First edition. Octavo. 182, [1]pp. Later plain papercovered boards, title handlettered on spine. Later neat gift inscription, and bookplate with small wax seal, both on front fly, spine toned, faint stain on front board, overall very good, internally slightly foxed, but otherwise fine. Includes the first printing of Vespucci's letter to the Medici about his third voyage. *Sabin 3800.*.

1. Original-Kupferstich in Punktierstich-Manier von Francesco Bartolozzi (in der Platte signiert) nach einer Zeichnung von Lady Diana Beauclerk (in der Platte signiert) auf feinem Büttenblatt mit Rückseitendruck, bildliche Darstellung ca. 14 x 15,5 cm, von alter Hand ausgeschnitten und auf stabilen Karton montiert, Blattgröße ca. 18,5 x 22 cm, sauber und sehr gut erhalten, sehr seltenes wunderschönes Blatt Francesco Bartolozzi (1727-1813) bedeutender italienischer Kupferstecher, Zeichner, Maler und Verleger, nach Studien in Florenz, Venedig und Rom lebte und arbeitete er von 1764 bis 1802 in London, wo er seine brillante Punktierstich-Kunst weiterentwickelte und von George III. zum "Engraver of the King" mit einem stattlichen Gehalt ernannt wurde, von 1802 bis kurz vor seinem Ableben Direktor der Nationalakademie in Lissabon 2100 gr.

1. Original-Kupferstich in Punktierstich-Manier von Francesco Bartolozzi (in der Platte signiert) nach einer Zeichnung von Lady Diana Beauclerk (in der Platte signiert) auf feinem Büttenblatt mit Rückseitendruck, bildliche Darstellung ca. 15 x 16 cm, von alter Hand ausgeschnitten und auf stabilen Karton montiert, Blattgröße ca. 18 x 21 cm, sauber und sehr gut erhalten, sehr seltenes wunderschönes Blatt Francesco Bartolozzi (1727-1813) bedeutender italienischer Kupferstecher, Zeichner, Maler und Verleger, nach Studien in Florenz, Venedig und Rom lebte und arbeitete er von 1764 bis 1802 in London, wo er seine brillante Punktierstich-Kunst weiterentwickelte und von George III. zum "Engraver of the King" mit einem stattlichen Gehalt ernannt wurde, von 1802 bis kurz vor seinem Ableben Direktor der Nationalakademie in Lissabon 2100 gr.

1. Original-Kupferstich in Punktierstich-Manier von Francesco Bartolozzi (in der Platte signiert) nach einer Zeichnung von Lady Diana Beauclerk (in der Platte signiert) auf feinem Büttenblatt mit Rückseitendruck, bildliche Darstellung ca. 15,5 x 16,5 cm, von alter Hand ausgeschnitten und auf stabilen Karton montiert, Blattgröße ca. 20 x 23 cm, winziger Braunfleck im oberen Randbereich außerhalb der bildlichen Darstellung, ansonsten sauber und sehr gut erhalten, seltenes und schönes Blatt Francesco Bartolozzi (1727-1813) bedeutender italienischer Kupferstecher, Zeichner, Maler und Verleger, nach Studien in Florenz, Venedig und Rom lebte und arbeitete er von 1764 bis 1802 in London, wo er seine brillante Punktierstich-Kunst weiterentwickelte und von George III. zum "Engraver of the King" mit einem stattlichen Gehalt ernannt wurde, von 1802 bis kurz vor seinem Ableben Direktor der Nationalakademie in Lissabon 2100 gr.

Firenze, per Gaetano Cambiagi, 1789, in-8 piccolo, br. muta del primo Ottocento, pp. 40. Prima edizione. Ottime condizioni.

Ephemera. Condition: Very good condition. First printing. Large sepia stipple engraving depicting an important event in the Hundred Years War between England and France. King John of France, captured during the Battle of Poitiers in 1356 and held for an enormous ransom, is presented with his son to the English King. Engraved by Francesco Bartolozzi (1727-1815) an Italian engraver who perfected a technique of stipple engraving "in the crayon manner" which enabled him to interpret the chalk drawings of Renaissance and Baroque masters as engravings. Bartolozzi's engravings of Guercino drawings which he made in Venice convinced Richard Dalton, the librarian to George III, to invite him to come to Britain as engraver to the King. Bartolozzi remained in England for decades, becoming a founding members of the Royal Academy. He made engravings after the masters, as well as contemporary artists such as Reynolds, Gainsborough and Copley; he also made engravings after paintings for Boydell's 'Shakespeare Gallery'. The engraving after a painting by John Francis Rigaud (1742 - 1810), an Italian born painter of historical and decorative works as well as portraits, who moved to London in 1772, becoming a member of the Royal Academy in 1784. Engraving 15 1/2 x 13", on paper 21 x 16". Bright clean impression with crisp plate mark. A scarce print, at Yale Center for British Art, Paul Mellon Collection, Accession No. B1977.14.19784.

Condition: Good. Oblong folio. 50 x 39cm. 83 numbered plates.New half parchment and marbled board binding by the artisan binder, Sasha Mosalov.Title and dedication included in numbering of plates. Single letterpress leaf bears bibliographical information by Domenco de' Rossi. Dedicatory leaf incorporates port. of Cardinal Flavio Chigi, to whom first ed. was dedicated, engraved by V. Guigou. Plate 30 signed with initials by Robert van Audenaerd, who was responsible for other plates as well. Thirty-one of the plates by Bartoli are copies in reverse of plates from François Perrier's Icones et segmenta (Rome, 1645). Perrier's monogram appears on plates 53 & 54. See Indice.First ed. appeared probably in 1666 and comprised 81 plates. Plates 60 & 61 of the present ed., devoted to the Roman fresco known as the Aldobrandini Wedding, were etched by Bartoli in 1677 and added to the work. In 1690 a group of 31 plates was transferred to another de Rossi publication (Veteres arcus Augustorum), and replaced with 31 others in part by Bartoli. .References; OCLC Number874380230;RIBA, Early printed, 1 (1994), no. 206, p.116-7 [describes mainly a pre-1693 edition].Summary Note:The sculptures shown are accompanied by a short explanatory caption, and statement of location. Several are from the collections of the Barberini, Medici, Borghese, Mattei, Giustiniani and Pamphili; a smaller number from the collections of the Mazarins, Montalto, Della Valle, the Queen of Sweden, Farnese, Massimi, Sacchetti and Vitelleschi; one is from the collection of Cardinal Flavio Chigi, to whom the work is dedicated. Others are from the Vatican and Capitoline collections, from churches and from the Forum of Nerva. Only one is shown from outside Rome, from the royal collection in Madrid.

Image size 220 x 272 mm; sheet size 244 x 305 mm. In sepia ink on wove paper. The scene depicts a faun playing a flute-type instrument accompanied by two putti, one playing a tambourine and the other a pan flute; a fourth figure, a mortal, listens to the music while draping one arm around a large urn. Two tiny abrasions, visible only when put up to light. An attractive, clean, and fresh copy overall. Calabi & De Vesme 416 (the first printing of 1765). British Museum registration number 1868,0808.2705. The present printing would appear to be a later re-strike. Bartolozzi was a distinguished Italian engraver, active in London.

Guercino (illustrator). A finely detailed engraving of a man in a raincoat, wearing a plumed hat, with his head slightly turned to the left. A study of drapery and movement in the Baroque style.Made by Francesco Bartolozzi after Guercino.Medium: Etching on hand laid (verge) paper.Sheet size: 37 x 29.8 cm (14.57 x 11.73 inch). Image size: 16.2 x 20.8 cm. (6.38 x 8.19 inch).FRANCESCO BARTOLOZZI, GUERCINO, GIOVANNI FRANCESCO BARBIERI, ITALIAN BAROQUE, 18TH-CENTURY ENGRAVING, LONDON PUBLICATION, COPPER ENGRAVING, RAINCOAT, MASTER PRINT, HISTORICAL PRINT | PCO-E21-31BACKGROUND INFORMATIONThe engraving is included in the first volume of the edition "Eighty-two Prints engraved by F. Bartolozzi from the original Drawings of Guercino in the Collection of His Majesty" printed in London by the publisher Boydell around 1765 (Davoli 1995, p. 390). At least three editions of this highly prized edition are known: a first undated edition is printed on paper laid with sepia ink around 1765/66, a second undated edition is also printed with sepia ink but on unlaid paper datable to the very early nineteenth century and a third edition, dated 1835 is printed on paper not laid with black ink. This first volume consists of eighty-two prints all taken from drawings by Guercino: fifty-eight of these are by Bartolozzi (fifty-three have the signature, the others are attributed to him), six engravings are by Richard Dalton, George III's librarian, thirteen by James Basire and five by Giovanni Vitalba. Guercino's drawings relating to the edition, now partly considered to be of the school or later copies, are preserved in Windsor Castle where they had been since the eighteenth century (Mahon - Turner 1989).The prints of Guercino's drawings were engraved by Bartolozzi on behalf of Richard Dalton, librarian of the Crown, who also procured the engraver a two-year contract and the title of "King's Engraver". For an in-depth treatment of the subject, please refer to the catalogue of the exhibition "Francesco Bartolozzi engraver of the Graces" edited by Barbara Jatta (1995, pp. 109 - 120), who has shown that collectors were confused with the first Italian edition edited by Piranesi (1764) consisting of a single volume and this first London edition by Boydell, consisting of two volumes. Of this English edition, the Pinacoteca owns 15 sheets by Bartolozzi. Two states of the printouts are known: a first state without the underlying writings and a second state with the writings.Reference: Gozzi F. (edited by), Il Guercino: le stampe della Pinacoteca civica, Ferrara, 1996, Liberty house, p. 96.Biography engraver: Francesco Bartolozzi (1728-1815) was an Italian engraver known for his intricate stipple engravings, working in London and producing numerous fine prints based on the works of Renaissance and Baroque masters.Biography artist: Giovanni Francesco Barbieri, more commonly known as "Guercino" (1591-1666), was a leading Baroque painter from the Bolognese school, known for his dynamic compositions and dramatic use of light and shadow. He worked in Rome and Cento, creating religious, historical, and genre paintings. Condition: very good, given age. Clean impression with crisp details. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.