Landseer, Signed (11 results)

Soft cover. Condition: Very Good. 1st Edition. LANDSEER, Sir Edwin (1802-1873). Autograph signature, clipped from a letter, in ink on paper. Approximately 7cm, mounted on a larger card. Landseer was one of the most celebrated British painters of the nineteenth century, renowned for his animal subjects and for works such as the lions at the base of Nelson's Column. . Signed by Author(s).

Soft cover. Condition: Very Good. 1st Edition. LANDSEER, Sir Edwin Henry (1802-1873) to ROGERS, Samuel (1763-1855), introducing CUBITT, Sir William (1785-1861). Autograph letter signed, 9 May 1850. Single page, c. 185 × 115 mm, written in ink on pale cream wove paper, folded, with light age-toning and minor handling, otherwise in very good condition. The letter reads in full: 'Dear Mr Rogers, Pray have the kindness to let my friend Mr Cubitt see your precious house and lovely pictures. (He is the great Architect of modern times.) Believe me sincerely and faithfully yours, Edwin Landseer' A personal note of introduction from Sir Edwin Landseer, at the height of his fame and in the year of his knighthood, to the poet and collector Samuel Rogers, whose house in St James's Place was renowned as one of the most admired private galleries and literary salons in London. The 'Mr Cubitt' commended to Rogers is Sir William Cubitt, the leading civil engineer and architect of the period, later President of the Institution of Civil Engineers and responsible for major public works and royal commissions. Signed by Author(s).

Soft cover. Condition: Very Good. Dust Jacket Condition: Very Good. 1st Edition. LANDSEER, Edwin (1802-1873). Autograph letter signed to publisher Dominic Colnaghi, concerning a lithographic engraving after his sketch of Queen Victoria. Royal Academy, 12 September 1840. Single sheet, written on two sides; integral blank; respondent's name and signature of Landseer on verso. Folded as sent; light creasing from original folds; minor handling marks; A very good example. Landseer writes to Colnaghi that he has been 'so completely occupied here' that it has been impossible for him 'to go to the Palace with respect to the lithographic engraving from my sketch of the Queen.'  Addressed to Dominic Colnaghi, principal of the London print-publishing firm Colnaghi & Co., long associated with the publication and distribution of engravings after leading British artists. Edwin Landseer (1802-1873), Royal Academician and one of the most celebrated painters of the Victorian period, enjoyed close connections with Queen Victoria and Prince Albert. The present letter concerns the proposed lithographic reproduction of a sketch of Queen Victoria during the early years of her reign. Signed by Author(s).

Hardcover. Condition: Good. First Edition. xi, 402 pp., engraved frontispiece, additional engraved title, engraved vignette illustration, engraved illustrations by author in text, modern half-calf with marbled boards, index, occasional light foxing, heavier on first three leaves, minor damp stain at top corner of title page, otherwise copy in very good condition. INSCRIBED BY AUTHOR ON FRONT FLY LEAF. John Landseer, painter, engraver, and author. The lectures he delivered at the Royal Institution were cut short by his dismissal on the ground of disparaging allusions to Alderman John Boydell. Landseer published his lectures unaltered with severely commenting on Josiah Boydell and on a pamphlet which Boydell had issued. In 1817 he published " Observations on the Engraved Gems brought from Babylon to England by Abraham Lockett, Esq., considered with reference to Scripture History". Bibliographic reference: Brunet III, 815; Graesse IV, 96; Ibrahim Hilmy I, 355. #20129. Signed by Author(s).

Half-Leather. Condition: Good Minus. Landseer, Edwin (illustrator). First Edition. Landseer, Sir Edwin Henry [1802- 73]. India paper etchings by Landseer, England's most famous animal painter/etcher. A number of the etchings are signed [initialled] by the artist. "Proof before the number at top right hand corner." Lacking a title page or text pages. Undoubtedly a first edition by Gambart, no date stated but published in 1848. This marks the first time when these prints were published in collated form by anyone. No limitation statement, but Allibone states that 100 copies issued in 1848. Contemporary medium brown half leather, with boards of marbled paper. Hubbed spine with gilt-stamped title. The binding is quite worn, there are large losses at the spine head and tail, and the joints are split. A.E.G. Volume about 19 x 13 inches, and containing 17 copper-plate etchings by Landseer. The prints were created between 1822 and 1826, and all were etched by the artist himself. [Quite a few Landseer prints were etched, lithographed or engraved by others.] N 1 Return from deer stalking [1826]; N 2 Game card [1825], a later state with ruled lines and heading Woburn Abbey; N 3 Game card [1825], ditto; N 4 Landscape, a doorway under a tree in front water with a swan, Signed [/s/] EL [1825]; N 5 The sweeps, /s/ EL [1822]; N 6 The frog [AKA Dogs worrying a frog], /s/ EL 1822; N 7 Low life [1822]; N 8 The traveller's rest [1825]; N 9 The mountain torrent, /s/ EL [1825]; N 10 The watchman, /s/ EL 1825; N 11 The four dogs [heads] [AKA four Irish greyhounds], /s/ EL 1825; N 12 The donkeys, /s/ EL 1824 & Old horses, /s/ EL 1821[?], the two on one plate; N 13 The ladies' pets, /s/ EL 1823; N 14 The beggar, /s/ EL [1824]; N 15 The warren, /s/ EL 1826; N 16 The eagle, /s/ EL 1825; N 17 Highland shepherd's dog, /s/ EL 1824, possible later state with background retouched by J. Landseer, the artist's father. These are etchings pulled on India paper using the chine-collé process to bond the etchings on to thick, heavy under-sheets. As to most plates, a warm beige background color behind the image. Each sheet 48 x 32 cm. Most sheets with the Gambart blind-stamp in the lower margin. All sheets with tissue guards. The sheet margins are all quite foxed but, as to the impressions themselves, many of the images have scant foxing, perhaps on account of the putative overlay. A few of the images with moderate to pronounced foxing, especially N 1. Mounted to the front FEP is a handwritten note, "This beautiful Series of Etchings by Mr. Edwin Landseer, the great painter of Animal Life, were etched by him nearly Thirty years since. Single impressions before their publication for sale in 1848 have been sold for eight and even ten guineas each, so highly were they prized. Few impressions having been taken from the plates previously to publication rendered them highly prized curiosities to Amateurs." No doubt Landseer pulled etchings from the copper plates between the time of making each copper plate and 1848, the first publication year. Quantity and distribution unknown but believed quite limited. Though etchings by Landseer are far from numerous the engravings and etchings after his works are otherwise. It became the fashion in the second half of the 19th century to collect these. An interesting association copy. Front pastedown with the handsome armorial bookplate of John Rushout, 2nd Baron Northwick [1770-1859]. Lord Northwick was an English peer, a prominent landowner and a collector of art works. It seems highly likely that he would have acquired this Landseer publication new. Sources: The Athenĉum: Journal of English and Foreign Literature, Science, and the Fine Arts. No. 1101, December 2, 1848; Mr. Algernon Grave's Catalogue of the Works of Sir Edwin Landseer, London, 1875; Engravings and Their Value: A Guide for the Print Collector, by John Herbert Slater. Gill, London, 1897. 2nd ed. Signed by Illustrator(s).

Condition: Good. - sc 67 words penned on 8-7/8 inch high by 7-1/4 inch wide paper with an armorial device embossed at the top left corner. In his brief letter addressed to John Martin, a bookseller of the period and secretary of the Artists' Benevolent Fund, Charles Landseer apologizes that he will not be able to attend the anniversary meeting. Signed "Chas. Landseer". Once folded with a tear near the top right, the letter has been mounted from the verso to heavier stock. A piece torn from the bottom right corner of both the letter and its mount does not affect the text. Good. Thomas Landseer's brother, the painter Charles Landseer (1799-1879) trained under his father John and subsequently Benjamin Robert Haydon before attending London's Royal Academy. He accompanied Sir Charles Stuart de Rothesay on his voyage to Portugal and Brazil while sharpening his drawing skills. These drawings were then exhibited at the British Institution in 1828 and he sent his first painting to the Royal Academy in that same year. In addition to historical subjects, Charles Landseer painted portraits, genre scenes and animal studies.John Martin (1791-1855) was a bookseller and the secretary to the Artists' Benevolent Fund from 1833-45.

Hardcover. Condition: Fine. Landseer (illustrator). 2nd Edition. John Murray, London, 1854. the 2nd edition after the 1843 1st in a larger format, in a late 19th century gilt extra brown morocco binding by Bayntun of Bath, marbled boards show some rubbing else fine. With a short account of the natural history and fishing in the Tweed and some gaming as well, well written by a philosophical author of the quality of Walton halftitle, [7], (x-xvii[4], 2-298 pp, [2]adverts, 11 illustrations, textual large engravings after Landseer with hand watercolored engravings of Salmon, printed by A Spottiswoode, New Street Square. A very pretty copy of a book hard to find nowadays. beautifully bound, all edges gilt, marlbed endsheets and gilt raised bands with gilt fleuron compartments on spine. (Westwood 191/242. Sage 183). Binding.

Hardcover. Condition: Very Good. 1st Edition. 4to. A blank scrapbook, leather backed, boards. With four mounted drawings and a sheet of pencil sketches by Griggs, the first two are studies of Duntisbourne Rouse, 80x80mm on a sheet 140x110mm (initialled in pencil 'F.L.G. V.N.J'). the second 80x75mm on a sheet 140x100mm. A Cotswold farmhouse 105x75mm on sheet 140x90mm. A seaside view 120x55mm on a sheet 175x115mm. A sheet of pencil sketches, details of roofs, tree studies etc, 195x255mm. Bound-in is a copy of the Ashmolean catalogue 'Exhibition of Etchings and Drawings by Frederick Landseer Griggs, R.A., R.E. (1876-1938) and of The Engraved Work of Some of his Contemporaries', Eldon Gallery, 1-23 October 1966. With various cuttings and an A.L.S Christmas card from Michael Gullick of the Red Gull Press addressed to Elizabeth Bateman. Signed by Author(s).

A small collection of images and autograph material from four members of the prominent Landseer family of artists, John (1769-1852), his sons Thomas (1795-1880), Charles (1799-1879) and Edwin (1802-1873). John Landseer: Autograph Letter, Signed. Dated Foley Street, 17 May, no year, Dear Sir , apologizing for a mix-up, but perhaps it would be a bad thing to go ahead with the plan: I really think that for you to send A.D. Norwich would only fruitlessly hinder the plate .it would only appear to the Norwich men a mere copy, and where is the purpose of sending a copy? . One page, about 80 words, two horizontal folds, mounting adhesions to one back edge. John Landseer was a painter, engraver, and author. With his wife, who once posed for Sir Joshua Reynolds, he fathered four children who gained recognition for their art - three sons and a daughter. Plus: Thomas Landseer, Autograph Letter, signed, No date, to Messrs Graves and Warmsley, London print-sellers, active from 1841-1843. Asking them to take on an engraving he has done, and sending an impression of it, that my brother Edwin has seen and likes very much. After 1843 Graves continued on his own, becoming London s most prominent seller of prints of the greatest artists of the time. To Edwin Landseer alone, he paid more than 50,000 pounds for copyrights. Thomas Landseer, a master of all methods of engraving on metal , was especially busy with his brother Edwin s work. One sheet folded to make four pages, two are used. Plus: Carte de Visite, Thomas Landseer. Imprint of Elliott and Fry, London. He is about 70, bust portrait. Mounting adhesions to the back of the card, Very Good. Plus: Charles Landseer, painter of historical themes, carte de visite, imprint of John and Charles Watkins, in Fine condition; Plus: Sir Edwin Landseer, Two Autograph Letters, signed, and an Autograph Envelope, signed. Letter 1: Dated June 30, 1838. Landseer regrets that it was impossible to receive his correspondent, and hopes to see him before he returns home. He accepts ".the commission for your friend - I feel highly flattered by his desire to possess a picture from my hand, which I will execute as soon as possible.I hope my picture may arrive in America sooner than Mr. (illegible) expects.". One sheet, folded to make four pages, all are used. Folded as though for mailing, a Very Good letter. Letter 2: Dated March 31, 1844. Acknowledging payment of ".one hundred guineas for a picture in progress to be finished in 1844 for Mr. (illegible). One page, folded as though for mailing. Very Good. Envelope: Empty envelope addressed and signed by Edwin, calling card size, to Mr. Sully, Esq., 46 Marlborough Mall. Portrait painter Thomas Sully (1783-1872), British born, lived in the United States most of his life. He visited England for several months in 1837-38, staying at the 46 Marlborough address. Remains of sealing wax, Very Good. Plus: carte de visite of Edwin, bust portrait, imprint of George W. Thorne, New York. Card a little toned, Very Good. Edwin Landseer, the most popular artist of his time , was in great demand, especially for pictures of animals in farm, sporting, and wilderness settings. He was knighted by the Queen in 1850 (most of the above from DNB). Eight Landseer items.

Signed lower left "Albert Jan. 10, 1843.". 1 vols. Approx. 7-1/4 x 6 inches. Rare - the plate for this print remained private and was never used for a published edition. Etching by Prince Albert, matted Signed lower left "Albert Jan. 10, 1843.". 1 vols. Approx. 7-1/4 x 6 inches. Signed.

Framed. Condition: Fine. The charming drawing was intended for "The London Illustrated News". Although it was probably dashed off in no time by Landseer, it is far more than a doodle, for he applied wash to supplement the ink sketching. The vignette also demonstrates his utter mastery of animal portraiture, for he captures expression on the donkey as well as subtle contortions of the body that animate the animal, and communicate motion. The letter is on blue stationary with the page, 11.5 by 8.5 cm. Landseer's handwriting is not the best and so we are not sure of perhaps 25 percent of the words of the five line note, nor of the name of the Villa from which the letter was sent. The letter is a folded sheet, but all the content is on one page. It is mounted onto manila paper, creating generous margins. The frame is thus 41.5 by 31 cm. The frame is a wonderful complement, with its bands of gilt (and red flecked gilt) flanking a rich red in the center of the cove molded shape. The frame, modern and surely custom done, is well-worth using. Landseer is simply the most famous British animal artist of the Victorian era. Probably most fondly celebrated for his incomparable canine paintings, he was equally adept at portraying other species. His paintings of stags are absolutely iconic, as an example of Landseer's versatility in the broad genre of animal art.