Dunkarton (7 results)

1. Schabkunstblatt von Dunkarton (in der Platte signiert) nach Downman, bildliche Darstellung ca. 19 x 15,5 cm, Kartongröße ca. 24 x 19 cm, sehr gut erhalten, selten 2100 gr.

Mezzotint. State v/v, with the plate regrounded and reworked; face darker, details of rock-face obscured, inscription altered to previous state. In pristine condition. Image Size: 15 1/8 x 11 7/8 inches. A breathtaking impression of this stunning print by Robert Dunkarton, the master of the English mezzotint. This portrait of Lady Wharton (1594-1654) by van Dyck was one of the paintings that George Walpole sold to Catherine the Great, and which John Boydell had preserved for the nation in mezzotint by Dunkarton. Robert Dunkarton is considered to be a master of English mezzotint; his complicated images distinguish themselves with their rich detail and precise execution. His bold style focuses on the play between light and shade, forming a surface consistency which creates velvety tones and rich textures. Dunkarton practiced his trade in London during the close of the eighteenth century. He learned his skill as an engraver from the printmaker William Pether whose dark intimate style can be seen reflected in his pupil's work. Dunkarton began his career as a portrait painter, exhibiting at the Society of Artists and the Royal Academy between 1768 and 1779, after which he concentrated solely on printmaking. As an engraver he is known for his striking portraits after old master painters like Van Dyck, such as this stunning portrait of Lady Wharton from the Houghton Gallery, but some of his work at this period reproduces the works of contemporary painters like Reynolds and Copley. Chaloner Smith, British Mezzotinto Portraits 40, not described; Russell, English Mezzotint Portraits, and their States 40, not described; O'Donoghue, Catalogue of Engraved British Portraits. in the British Museum 1; Lennox-Boyd & Stogdon, state v/v.

Condition: Fine. Uncoloured mezzotint, 33 x 28 cm. Some restoration to edges of engraving just outside the platemark, but still an attractive item. Thomas Augustine Arne (1710-78) was born in the Covent Garden area of London. Between 1733 and 1776, Arne wrote music for about 90 stage works, including plays, masques, pantomimes, and opera. Many of his dramatic scores are now lost, probably in the disastrous fire at Covent Garden in 1808.

Condition: Good. Mezzotint engraving. 19.5 x 13.75 inches image on 23 x 17.5 inches sheet. Repaired tears in margins. Soiled.Major General Johnson,Who on the ever memorable 5th of June 1798, commanded his Majesty's Troops at the Battle of Ross. "And his lov'd Country by his Valour sav'd."Painted by Rob.t Woodburn. Engraved by Rob.t Dunkarton.Published June 4 1801 by R.Woodburn, Dublin; and Colnaghi & Co, No 23 Cockspur Street, London.Mezzotint. 505 x 355mm. The 'Battle of New Ross' in Ireland was bloodiest of the 1798 rebellion. Casualties are estimated at 2,500 rebels and 200 Garrison dead. The attempt by John Kelly to seize the 'Three Bullet Gate' is referenced as the 'bearna bhaoil' (Gap of Danger) in the Irish national anthem. New Ross is in the background of this portrait.

Condition: Good. Sepia ctching and mezzotint by Turner and Robert Dunkarton, 'Rispah | 2nd, Book of Samuel. Chap. 21.', published Turner, 23 April 1812.TImage 20.6 x 29cm. Shheet 32 x 39cm. Printed on rag paper watermarked Turkey Mill, Kent. Professional repairs to lower right blank margin.Finberg 46 iv/iv; Rawlinson 46 iv/iv.Turner distilled his ideas about landscape In "Liber Studiorum" (Latin for Book of Studies), a series of seventy prints plus a frontispiece published between 1807 and 1819. To establish the compositions, he made brown watercolor drawings, then etched outlines onto copper plates. Professional engravers usually developed the tone under Turner's direction, and Dunkarton here added mezzotint to describe a gruesome Old Testament subject. After the death of King Saul, his sons by his concubine Rizpah were executed by the Gibeonites, and left unburied. Their mother here protects the corpses, using a torch to ward off an approaching lion at night. The letter "H" in upper margin indicates Turner's category of Historical landscap. Turner's Liber Studiorum composition relates to the story of Rizpah [sic], as narrated in the Old Testament. King David delivered seven of his predecessor Saul's family, including two sons by Rizpah, as reparation for Saul's treatment of the Gibeonites. They wereput to death in the days of harvest, in the first days, in the beginning of barley harvest. And Rizpah the daughter of Aiah took sackcloth, and spread it for her upon the rock, from the beginning of harvest until water dropped upon them out of heaven, and suffered neither the birds of the air to rest on them by day, nor the beasts of the field by night.

A pair of colour printed mezzotints with added hand colour. (The Soldier's Widow) engraved by Richard Dunkarton, and (The Sailor's Orphans) engraved by William Ward. Both in good condition with the exception that (The Sailors Orphans) has slight surface damage in the image area. A pair of beautiful mezzotints after the sentimental genre paintings of William Redmore Bigg William Redmore Bigg was an excellent genre painter and extremely popular in his day. In subject and style Bigg echoed the work of his master Edward Penny, who also specialized in painting genre scenes with moral overtones. He was a regular exhibitor at the Royal Academy and the British Institution, and was a continued source of inspiration for contemporary engravers. His most successful scenes involve acts of charity and children. In the first image, nine schoolboys have gathered round a soldier's widow and child, older boys to one side and younger to the other. They have interrupted their cricket and kite flying, and having examined the soldier's sword are now in somber mood as they thoughtfully make a collection to give to the destitute family. In the second, a mother has brought her daughters and a group of their friends on a mission of mercy to the cottage of the sailor's mother and his three orphaned children. With tentative looks of compassion, they offer their gifts to the grieving family.

A pair of mezzotints. (The Soldier's Widow) engraved by Richard Dunkarton, and (The Sailor's Orphans) engraved by William Ward. Both in good condition with the exception of small marginal tears. (The Soldier's Widow) has a skillfully repaired upper right corner. A pair of beautiful mezzotints after the sentimental genre paintings of William Redmore Bigg William Redmore Bigg was an excellent genre painter and extremely popular in his day. In subject and style Bigg echoed the work of his master Edward Penny, who also specialized in painting genre scenes with moral overtones. He was a regular exhibitor at the Royal Academy and the British Institution, and was a continued source of inspiration for contemporary engravers. His most successful scenes involve acts of charity and children. In the first image, nine schoolboys have gathered round a soldier's widow and child, older boys to one side and younger to the other. They have interrupted their cricket and kite flying, and having examined the soldier's sword are now in somber mood as they thoughtfully make a collection to give to the destitute family. In the second, a mother has brought her daughters and a group of their friends on a mission of mercy to the cottage of the sailor's wife and his three orphaned children. With tentative looks of compassion, they offer their gifts to the grieving family.