beechey sir william (18 Ergebnisse)

Loose Leaf. Zustand: New. Reproduction. Original title: Miss Mellon in the Character of Voltante in the Honey Moon German: Miss Mellon im Charakter von Voltante im Honigmond French: Mlle Mellon dans le personnage de Voltante dans la Lune de miel Spanish: Miss Mellon en el carácter de Voltante en la Luna de Miel High-quality fine-art reproduction based on an original work from the Ycba. Creation period: 19th century (1808). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Zustand: New. Reproduction. Original title: Sir William Beechey, R.A. German: == Weblinks ==== Einzelnachweise == French: Sir William Beechey, R.A. Spanish: Sir William Beechey, R.A. High-quality fine-art reproduction based on an original work from the Artic. Creation period: 19th century (June 11, 1814). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Zustand: New. In.

On 7 x 11 cm slip of paper. In fair condition, aged and creased. The note, all in Beechey's hand, and probably addressed to a bookseller, reads: 'Monsieur - | De Regno Laconico, de Piraeeo. 1687. 2to. | Mr. Beechey | 16th. May'.

No Binding. Zustand: Very Good. Drawn By Sir William Beechey and Engraved By Scriven (illustrator). A fine copper engraving. Mounted and ready to frame. A charming oval image with elaborated decorated borders with lion, eagle, etc. Married prince leoplod of saxe-coburg in 1816.

No Binding. Zustand: Very Good. Drawn By Sir William Beechey and Engrave By Scriven (illustrator). A fine copper engraving. Mounted and ready to frame. An oval image with an elaborate decorated surround with pipe, tamborine, scroll etc.The daughter of George III of england.

No Binding. Stipple engraving, Monthly Mirror,

No Binding. Stipple, inlaid,

Soft cover. Zustand: Very Good. 1st Edition. BEECHEY, Sir William (1753-1839). Autograph letter signed to J. W. Smith, British Museum about the Elgin Marbles. Dated Feb 20th 1826. 1 sheet folded (bifolium), written on the first page only; light horizontal folds, minor creasing, otherwise very good. Beechey writes on behalf of a Mr. Fisher, who wishes to draw from the Marbles in the British Museum. He states that he does not understand to whom a letter of recommendation should be addressed and asks Smith to 'have the goodness to put me in the way of it.'  Sir William Beechey was a prominent portrait painter of the late Georgian period, elected a Royal Academician in 1798 and knighted in 1798 following the success of his large equestrian portrait of George III reviewing the troops. He painted members of the royal family and leading figures of the period, and was closely associated with the artistic establishment of his day. The present letter concerns access to the Elgin Marbles at the British Museum only a decade after their acquisition by the nation (1816). . Signed by Author(s).

Stipple engraving, from 'Contemporary Portraits',

Zustand: Good. Steel engraving. 10 1/2 x 8 in. (sheet). Very Good, some toning and foxing in sheet margins.

Zustand: in gutem Zustand. (s. Foto). 2 volumes. London, Henry G. Bohn, 1846. 8°. VIII, 463, 495 S. mit 2 Stahlstich - Portraits. OKaliko - Einbände mit goldgeprägten Rücken, in gutem Zustand. (s. Foto). Sprache: eng.

Leather. Zustand: Very Good. None (illustrator). A two volume set of the literary works of the noted artist Sir Joshua Reynolds, bound in half calf by Blunson & Co. A two volume complete set.Illustrated with a monochrome frontispiece to 'Volume I'.This set features a collection of literary works by the noted English painter and founder of the 'Royal Academy of Arts' by Joshua Reynolds, which discuss art and artists.Bound in half calf with marbled paper to the boards by 'Blunders & Co' with their binder's stamp to the front blanks. Bound in half calf with marbled paper to the boards. Externally smart with rubbing to the extremities and joints, and slight fading to the spines. Bookplates belonging to 'Thomas Baring' to the front pastedowns. Internally firmly bound with clean and lightly age toned pages with owner's signature and binder's staps to the fronts. Very Good. book.

Zustand: Good. 38.5 x 32.5. Dust in margins. Short tear without loss lower left margin. British Museum number 1904,0819.429Portrait after Beechey, vignette-style with the artist half-length to right, face almost in profile, wearing a wig curled at the sides and tied behind, jacket over mid-toned waistcoat and cravat. 1809Stipple with some engravingPrint made by: Henry LandseerAfter: Sir William BeecheyIntermediary draughtsman: William Evans.

Zustand: Good. Mezzotint engraving by C. Turner. 69 x 44 cm. Image is worn with folds and tears.

Original copper engraving (60 x 44 cm, overall sheet 69 x 55 cm). Light foxing to outer margins, not affecting plate. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell, London, 1803. In 1789, the publisher John Boydell opened the Shakespeare Gallery, an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' (the practice of depicting scenes from the Bible, mythology or the classics) in contemporary British art, a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare, which had become so popular and so integral to British identity by the mid-18th century? The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84, along with dozens of 'Small Pictures'. Once the exhibition was mounted, reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase, either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. (The British Library).

Zustand: Very Good. Large scale portrait of Queen Charlotte during the early 19th century. , Image Size : 526x376 (mm), 20.71x14.80 (Inches), Platemark Size : 595x420 (mm), 23.43x16.54 (Inches), Paper Size : 630x480 (mm), 24.80x18.90 (Inches), Black & White, Steeple Engraving.

Enamel on copper, image 75 x 60 mm (oval format); inscribed, signed and dated on the counter-enamel verso: 'The Rt. Honble. The Earl of Buckinghamshire. Painted by Henry Bone ARA. Enamel Painter to HRH the Prince of Wales. Jany 1806'; some traces of surface dirt to the sitter's face and hair, and some very minor pitting in the painted texture around the sitter's head, but otherwise extremely well preserved; the work is unglazed, and set within the original lacquered wood frame, 130 x 110 mm, with original brass suspension hook at top edge. This important portrait miniature of Robert, Lord Hobart, 4th Earl of Buckinghamshire was painted in 1806 by Henry Bone, ARA (Associate of the Royal Academy). Bone's miniature is after William Beechey's full-length portrait of Hobart, also painted in 1806, which is now held in the Allport Library, nipaluna/Hobart. The portrait has a significant connection to Australian settler history. In 1803, under instructions from Philip Gidley King, Governor of New South Wales, the recent settlement in Van Diemen's Land at Risdon Cove on the River Derwent had been named "Hobart" in honour of Lord Hobart, the incumbent Secretary of State for War and the Colonies. When the settlement was abandoned a short time later, David Collins, the first Lieutenant-Governor of Van Diemen's Land (then under the jurisdiction of New South Wales) appropriated the name for the new settlement at Sullivan's Cove, which he called "Hobart Town". This name first appears in a General Order issued on 15 June, 1804. Hobart was proclaimed a city in 1842 and became the capital of the state of Tasmania at Federation in 1901. We know that Bone's enameled miniature must have been done towards the end of 1806: the National Portrait Gallery (London) holds in its Reference Collection (NPG D17298) the artist's preparatory study for the work, a pencil drawing squared in ink for transfer, which is captioned and dated by the artist 'Earl of Buckinghamshire, Septr. 1806' (an image of the drawing has been provided in this listing). The finished portrait miniature - or possibly a copy of it made by the artist, since it was standard practice for a miniature painter to produce multiple copies of the same work - was one of several enamels by Bone exhibited at the Royal Academy in 1808. It is described in the Academy's 1808 Exhibition catalogue thus: '357. Portrait of the Earl of Buckinghamshire, in enamel. H. Bone, A. [i.e., Associate]' (an image of the catalogue entry has been provided in this listing). This was not the first time that Bone had made an enamel portrait miniature of the same sitter. In 1800 he had painted a portrait of a slightly younger Robert, Lord Hobart which was after John Hoppner's large oil portrait done in the same year. Bone's preparatory sketch for his 1800 miniature is also held in the National Portrait Gallery Reference Collection (NPG D17274); like his 1806 study, it was acquired by the Gallery from Sir George Scharf in 1890. An example of Bone's 1800 enamel portrait miniature after Hoppner sold at Christie's, London, 7 December 2004 (lot 120) for £7170. Provenance: Ellison Fine Art, UK Acquired from the above in 2018 by the late Barry Lock (1934-2021), solicitor and philanthropist, London, UK Cheffin's Auctions, UK, 28-29 June 2023, lot 342 Private collection, Adelaide, Australia Biographical note on the sitter: Robert, Lord Hobart, 4th Earl of Buckinghamshire (1760-1816), soldier and politician, was the eldest son of George Hobart, 3rd Earl of Buckinghamshire and Albinia, daughter of Lord Vere Bertie, younger son of Robert Bertie, 1st Duke of Ancaster and Kesteven. He was educated at Westminster School. Early in his career he served in the British army during the American Revolutionary War. From 1784 he served as aide-de-camp to successive Lord Lieutenants of Ireland. He sat in both Irish and English Houses of Commons, from 1787 and 1788 respectively, and was appointed to the Privy Council in 1793. He gained valuable experience in colonial service during the period he served as Governor of Madras between 1793-98. After his recall in 1798 he entered the House of Lords after inheriting the Hobart title from his uncle. From 1801 to 1804 Hobart served as Secretary of State for War and the Colonies, displaying 'a better grasp of the local or colonial conditions, and a more active spirit than did some of his successors' (ADB). He succeeded his father to the earldom in November 1804, and died without issue in 1816, aged 55. Biographical note on the artist: Henry Bone RA (1755-1834), often referred to as the "Prince of Enamelers", was born in Truro, Devon. His early career was spent working as aporcelainand jewellery painter, but inthe 1790s he won renown as an enamel painter, and his portrait miniatures attracted the royal patronage of three successive monarchs across the next four decades.He was elected ARA on 2 November 1801, and RA on 11 February 1811. Soon after his death, Bone's collection of unsold enamel portraits was dispersed when it was sold by auction atChristie's on22 April 1836. His work has always been highly prized for its technical skill, but it is also worth noting that it was considered fashionable enough in the mid-nineteenth century for there to have been a series of major sales of his portraits in 1846, 1850, 1854, and 1856.