Art by Medium: Intaglio

This piece titled "Ancient Walls of Flowers" is a limited edition piece by Kate VanVliet and is made from intaglio with soft ground on Rives BFK, artist-made frame. This piece is an ...

Artist proof, aquatint, mixed intaglio engraving by the Russian/American artist, Nahum Tschacbasov. Pencil signed and dated lower right, 1947. Artist Proof. Condition: good; slight...

Set of four prints depicting each layer of the printing process (Collotype), as well as a final print by Patricia Pearce (American, b. 1948). Each piece is individually matted. Two o...

Signed and numbered from the edition of 25. Seiko Tachibana was born in Japan and completed her Masters of Art Education at Kobe University, Japan. Her distinctive work balances Asian tradition with minimalist modernity. Tachibana’s work is exhibited internationally and has been acquired by many museum collections, including the Los Angeles County Museum, Fine Art Museums of San Francisco, The Portland Art...

Image dimensions: 34.6 x 35 cm. Editions of 120 examples and many Artist's proofs (111/120). Published in the Portafoglio "Tunisiaca3 1996: d'aprés Auguste Lumière". Signed and nu...

Medium: intaglio with monotype background Image size: 7.75 × 7.75 in (19.7 × 19.7 cm) Sheet size: 17.75 × 15.25 in (45.09 × 38.47 cm) Edition of 20 Year: 2022 Tachibana’s prints tak...

Artist: (after) John Hamilton Mortimer (English, 1740-1779) Title: "Packhorse and Soldier" Year: 1783 Medium: Original Etching on watermarked laid paper Limited edition: Unknown Prin...

Artist: Jean Berain (the Elder) (French, 1640-1711) Title: "Untitled" (Plate 35) Portfolio: Ornemens Inventez par J. Berain (Ornament Designs Invented by J. Berain) Circa: 1711 (Firs...

Medium: intaglio with monotype background Image size: 7.75 × 7.75 in (19.7 × 19.7 cm) Sheet size: 17.75 × 15.25 in (45.09 × 38.47 cm) Edition of 20 Year: 2022 Tachibana’s prints tak...

Artist: (after) George Morland (English, 1763-1804) Title: "A Rustic Family" Portfolio: Original Sketches from Nature by Various Masters *Signed by Morland in the plate (printed sign...

Artist: Colen Campbell (Scottish, 1676-1729) Titles: "Plan of the Principal Floor of Wilberry House" (Vol. 1, Plate 51) and "Wilberry House in the County of Wilt" (Vol. 1, Plate 52) ...

Hand signed. Edition of 60 prints, realized by Schifano at the very beginning of the 1970s. Very good conditions.

Lebadang (aka Hoi), Vietnamese (1922 - 2015) - Sailboat on Waves. Year: circa 1970, Medium: Etching with Relief, signed in pencil, Edition: EA, Size: 34.5 x 25 in. (87.63 x 63.5 cm)

Signed and numbered from the edition of 10. Yuji Hiratsuka was born 1954 in Osaka, Japan. In 1985 he moved to the United States to pursue graduate degrees in printmaking at New Mexi...

Artist: François-Nicolas Martinet (French, 1731-1800) Title: "Le Millouinan" (Plate 1002) Portfolio: Histoire Naturelle Des Oiseaux *Signed by Martinet in the plate (printed signatur...

Blue Jays Martin Barooshian, American (1929–2022) Date: circa 1981 Intaglio Etching and Aquatint, signed and numbered in pencil Edition of 175, AP 25 Image S...

Medium: intaglio with monotype background Image size: 7.75 × 7.75 in (19.7 × 19.7 cm) Sheet size: 17.75 × 15.25 in (45.09 × 38.47 cm) Edition of 20 Year: 2022 Tachibana’s prints tak...

-ARTIST STATEMENT- I depict my person in multiplicity with different selves representing dramatis personae. My likeness is both implicit and symbolic in the portrayal of my narrative; the drama involved in creating art and the artist’s role in society. I use realism to invite the viewer into mysterious inner worlds that are layered reflections of the outer. Dehumanizing environments are imbued with art historical references as a critique of power structures. The artist is an Everyman who is at odds with society and his self. Visually my work is a celebration of society’s dark undercurrents and its overlooked absurdities. I use charcoal and printmaking media as their tenebrous values add a fitting metaphor. The nuances of light and shadow seduce viewers into a world their better judgment would have them avoid. This provokes a sense of disquietude that causes viewers to assess our world through the austerity of a colorless, yet not humorless, light. -BIO- Christopher Ganz grew up in Northeast Ohio and from early on had a fertile imagination and an interest in art. Christopher's artistic education truly began at the University of Missouri, where his love of the human form led to many figure drawing classes and his exposure to the wonders of printmaking. Christopher's then went onto graduate school at Indiana University and a summer abroad program in Italy was a dream realized. Christopher then grasped charcoal with a renewed vigor and large, sfumato-laden drawings ensued. Christopher's artistic influences are many; from a seminal exposure to Dore's engravings of the Divine Comedy, to Rembrandt, Caravaggio, Goya, and up to Lucian Freud, Mark Tansey...

Artist: Colen Campbell (Scottish, 1676-1729) Title: "Powis House in Ormond Street London" (Vol. 1, Plate 42) Portfolio: Vitruvius Britannicus; or The British Architect, Containing th...

Artist: Robert Clutterbuck (English, 1772-1831) Title: "St. Alban's Abbey Church, High Altar screen" Portfolio: The History and Antiquities of the County of Hertford Year: 1815-1827 (First edition) Medium: Original Engraving on wove paper Limited edition: Unknown Printer: Nichols, Son, and Bentley, London, UK Publisher: Nichols, Son, and Bentley, London, UK Reference: Brunet II, No. 112; Lowndes No. 483; BAL RIBA No. 666; Upcott I, page 623 Sheet size: 17.63" x 11.38" Image size: 11.57" x 8.57" Condition: Scattered foxing throughout sheet; it doesn't show much within the image. Creasing to upper left and right corners. Has been professionally stored away for decades. It is otherwise a strong impression in good condition Notes: Provenance: private collection - Aspen, CO. Engraved by English artist John Henry Le Keux (1812-1896) after a drawing by English artist Frederick Nash (1782-1856). Comes from Clutterbuck's three volume "The History and Antiquities of the County of Hertford", (1815-1827) (First edition), which consists of 54 engravings. Printed from one copper plate on one color: black. "Vol. I. p. 65" printed upper right in margin. "Proof" printed lower right in margin. St Albans Cathedral, officially the Cathedral and Abbey Church of St Alban, also known as "the Abbey", is a Church of England cathedral...

Artist: Samuel and Nathaniel Buck (English, 1696-1779) and (?-1759/1774) Title: "Knaresborough Castle" (Plate 330) and "Sawley Abbey" (Plate ...

Considered a major force in the op art movement, Anuszkiewicz is concerned with the optical changes that occur when different high-intensity colors are applied to the same geometric ...

Medium: intaglio with monotype background Image size: 7.75 × 7.75 in (19.7 × 19.7 cm) Sheet size: 17.75 × 15.25 in (45.09 × 38.47 cm) Edition of 20 Year: 2022 Tachibana’s prints tak...

Medium: intaglio with monotype background Image size: 7.75 × 7.75 in (19.7 × 19.7 cm) Sheet size: 17.75 × 15.25 in (45.09 × 38.47 cm) Edition of 20 Year: 2022 Tachibana’s prints tak...

Carborundum and intaglio. Signed and numbered from the edition of 25. Tachibana’s prints take their inspiration from nature, a meditation on the forms and shapes of water, ferns an...

20th century monochromatic brown print with embossed ornaments (intaglio) by Ukrainian artist Bogdan Pikulicki. Artwork depicts female portrait in historic gown and hairstyle. Artwor...

Medium: photogravure (after the watercolor). Samuel Palmer had always admired the work of John Milton, and executed a suite of watercolors which were made into photo-engravings for "...

Medium: heliogravure (after the drawing). This impression on Alton Mill laid paper was printed in 1883 for "An English Version of the Eclogues of Virgil" and published in London by S...

Medium: heliogravure (after the etching from Goya's Tauromaquia series). Printed in 1947 in a limited edition of 500 on Guarro laid paper, and published in Barcelona by Ediciones Ome...

Medium: heliogravure (after the etching from Goya's Tauromaquia series). Printed in 1947 in a limited edition of 500 on Guarro laid paper, and published in Barcelona by Ediciones Ome...

Medium: heliogravure (after the etching from Goya's Tauromaquia series). Printed in 1947 in a limited edition of 500 on Guarro laid paper, and published in Barcelona by Ediciones Ome...

Medium: heliogravure (after the etching from Goya's Tauromaquia series). Printed in 1947 in a limited edition of 500 on Guarro laid paper, and published in Barcelona by Ediciones Ome...

Medium: heliogravure (after the etching from Goya's Tauromaquia series). Printed in 1947 in a limited edition of 500 on Guarro laid paper, and published in Barcelona by Ediciones Ome...

Medium: heliogravure (after the etching from Goya's Tauromaquia series). Printed in 1947 in a limited edition of 500 on Guarro laid paper, and published in Barcelona by Ediciones Ome...

Medium: heliogravure (after the etching from Goya's Tauromaquia series). Printed in 1947 in a limited edition of 500 on Guarro laid paper, and published in Barcelona by Ediciones Ome...

Medium: heliogravure (after the etching from Goya's Tauromaquia series). Printed in 1947 in a limited edition of 500 on Guarro laid paper, and published in Barcelona by Ediciones Ome...

Medium: heliogravure (after the etching from Goya's Tauromaquia series). Printed in 1947 in a limited edition of 500 on Guarro laid paper, and published in Barcelona by Ediciones Ome...

Medium: heliogravure (after the etching from Goya's Tauromaquia series). Printed in 1947 in a limited edition of 500 on Guarro laid paper, and published in Barcelona by Ediciones Ome...

Medium: heliogravure (after the etching from Goya's Tauromaquia series). Printed in 1947 in a limited edition of 500 on Guarro laid paper, and published in Barcelona by Ediciones Ome...

Medium: heliogravure (after the etching from Goya's Tauromaquia series). Printed in 1947 in a limited edition of 500 on Guarro laid paper, and published in Barcelona by Ediciones Ome...

Medium: heliogravure (after the etching from Goya's Tauromaquia series). Printed in 1947 in a limited edition of 500 on Guarro laid paper, and published in Barcelona by Ediciones Ome...

Gottfried Honegger (Swiss, 1917 - ) - Brown, Blue, Green Composition, Year: circa 1988, Medium: Screenprint and Intaglio, signed and numbered in pencil, Edition: EA, Image Size: 38...

Color sugarlift aquatint and drypoint. Edition of 35

Artist: (after) Sir Augustus Wall Callcott (English, 1779-1844) Title: "Benevolent Cottagers" Year: 1816 Medium: Original Etching and Engraving on laid paper Limited edition: Unknown...

Signed, titled, and numbered from the edition of 25. There are seven related images in this series, all the same size. Sheet size: 9.88 H x 21 W Image Size: 22.5 H x 30 W T...

Artist: Treadway Russell Nash (English, 1724-1811) Title: "The South View of the City of Worcester, from Digley Fields" and "Hewell, the Seat of the Right Honorable the Earl of Plymouth" Portfolio: Collections for the History of Worcestershire Year: 1781-1782 (First edition) Medium: Set of Two Original Engravings on watermarked laid paper Limited edition: Unknown Printer: John Nichols, London, UK Publisher: T. Payne and Son, J. Robson, B. White, Leigh and Sotheby, London, UK; Fletcher, Oxford, UK; and Lewis, Worcester, UK Reference: Upcott III, page 1330 Sheet size (each): approx. 10.25" x 16.63" Image size (each): approx. 7" x 12" Condition: "The South View of the City of Worcester, from Digley Fields" has some minor foxmarks in margins. "Hewell, the Seat of the Right Honorable the Earl of Plymouth" has toning and uneven discoloration to its sheet. Have been professionally stored away for decades. They are both otherwise strong impressions, the first in excellent condition, and the second in good condition Notes: Provenance: private collection - Aspen, CO. "The South View of the City of Worcester, from Digley Fields" was engraved by English artist Thomas Sanders (Active: Mid-Late 18th Century) after a drawing by himself. "Hewell, the Seat of the Right Honorable the Earl of Plymouth" was engraved by English artist Michael Angelo Rooker (1743-1801) after a watercolor painting by English artist Paul Sandby (1731-1809). Comes from Nash's two volume "Collections for the History of Worcestershire", (1781-1782) (First edition), which consists of 75 engravings. Each work is printed from one copper plate in one color: black. There was a (Second edition) "with Additions" bound in with Volume II of this portfolio published by John White in (1799). And both the First and Second editions of "Collections for the History of Worcestershire" are based off Thomas Sanders' 1779-1781 "Perspective Views of the Market Towns within the County of Worcester". "The South View of the City of Worcester, from Digley Fields" has an unidentified watermark in the center of its sheet resembling "XV". Biography: Treadway Russell Nash (24 June 1724 – 26 January 1811) was an English clergyman, now known as an early historian of Worcestershire and the author of Collections for the History of Worcestershire, an important source document for Worcestershire county histories. He was a fellow of the Society of Antiquaries of London. Treadway Russell Nash was born on 24 June 1724 born at Clerkenleap, in Kempsey, Worcestershire. His family were from Ombersley. They had lands there and at Claines, and had later bought lands in the Reformation around St Peter's, Droitwich. He was related to James Nash and John Nash, both MPs for Worcester. His father Richard, a grandson of Sir Rowland Berkeley, died in 1740, and Richard's eldest son in 1757. As a result, Treadway Russell Nash inherited the Russells' Strensham estates from his brother, as well as the Nash estates, and took both names. He was educated from the age of twelve at King's School, Worcester, and became a scholar at Worcester College, Oxford aged fifteen. In March 1749, he accompanied his brother on a trip to the continent, to aid Richard's health. They visited Paris for about six weeks, before spending the summer "on the banks of the Loire". They then visited "Bourdeaux, Thoulouse, Montpelier, Marseilles, Leghorn, Florence, Rome, Naples, Bologna, Venice, Padua, Verona, Milan, Lyons, and again Paris"; such expeditions are often known as the Grand Tour. On his return in late summer 1751, Nash took up a post as Vicar of Eynsham through his friend and future brother-in-law, John Martin. He also had an income as a tutor at Oxford. He took his Doctor of Divinity degree and left Oxford, having "gone out grand compounder", following the death of his brother. He also left his benefice at Eynsham in 1757. While at Oxford he had proposed a road from there to Witney (now the A40 and B4022), and also stood for Parliament. Nash married Margaret Martin...

Carborundum and intaglio. Signed and numbered from the edition of 25. Tachibana’s prints take their inspiration from nature, a meditation on the forms and shapes of water, ferns an...

Artist: Omar Rayo, Colombian (1928 - 2010) Title: Untitled V Year: circa 1970 Medium: Intaglio Etching and Aquatint, signed and numbered in pencil Edition: 50 Size: 30 in. x 22 ...

Beth Ganz, 'Humphrey's Peak, Arizona', copperplate photogravure etching, edition 10, 2021. Signed, titled, and numbered 6/10 in pencil. A superb, richly-inked impression in warm black ink, on cream, wove, cotton rag paper; the full sheet in excellent condition. Archivally sleeved, unmatted. Image size 10 1/2 x 10 1/2 inches; sheet size 16 x 15 1/2 inches. From the artist's series of 64 photogravure etchings, 'Axis Mundi'. Additional works from the series are available; please inquire. Exhibited: 'Photography in Ink, A Look at Contemporary Copper-Plate Photogravure,' Curated by Leandro Villaro, Penumbra Exhibition Space Gallery, Nov 30, 2022 - March 15, 2023. ABOUT THE IMAGE Humphreys Peak (Hopi: Aaloosaktukwi, Navajo: Dookʼoʼoosłííd) is the highest natural point and the second most prominent peak after Mount Graham in the U.S. state of Arizona, with an elevation of 12,637 feet (3,852 m) and is located within the Kachina Peaks Wilderness in the Coconino National Forest, about 11 miles (17.7 km) north of Flagstaff, Arizona. Humphreys Peak is the highest of a group of dormant volcanic peaks known as the San Francisco Peaks. Humphreys Peak was named in about 1870 for General Andrew A. Humphreys, a U.S. Army officer who was a Union general during the American Civil War and who later became Chief of Engineers of the United States Army Corps of Engineers. The San Francisco Peaks are a sacred place for Hopi, Navajo, Havasupai, Zuni, Apache, and other Native American tribes. A place of sacred shrines and ancestral dwellings, The Peaks are associated with emergence, deities, ancestors, life-giving moisture, and spiritual ceremony and are still actively utilized today. Numerous medicinal herbs and other plants used in traditional ceremonies and to treat ailments are found at several levels of the Peaks. The plants are said to have place-specific energies—that is, they must come from these sacred sites to fulfill their proper function. To the Hopi, the Peaks are Nuvatukaovi, “The Place of Snow on the Very Top,” home for half the year to the ancestral kachina spirits who live among the clouds around the summit. When properly honored through song and ceremony, it is believed that the kachinas will bring gentle rains to thirsty crops. ABOUT THE SERIES 'AXIS MUNDI' "This body of work focuses on satellite images of sacred mountains around the world—places where heaven and earth are thought to meet. The phenomenon of revering mountains as holy sites is an archetype found in many cultures. "This shared experience finds a visual echo in the ubiquity of images of the earth that are now available to any person with a computer and an Internet connection. What does the specificity of place mean when we can move across the surface of the earth in seconds and reduce everything to a series of pixels? To me, this process recalls abstract painting, which transforms the specific into gesture and form. Rather than treat digital technology as necessarily destructive to human meaning and experience, my work offers new ways of seeing that are reconcilable with the old. To this end, I combine 19th Century Photogravure technique with 21st Century surveillance captures. "Axis Mundi consists of 64 copperplate photogravures. The work is laid out in a grid, which is an arbitrary conversion of the visual world into a flat space that happens both on the picture plane and in the data processing. The title refers to the belief in a 'world center,' often conceived of as a mountain: a place where communication between higher and lower realms is possible. This project is a search for such a center in a world of decentralization and fragmentation." —Beth Ganz ABOUT THE ARTIST Beth Ganz is a contemporary American multidisciplinary visual artist, who lives and works in New York City. She graduated from Pratt Institute with a BFA (honors) in Painting, Sculpture, and Printmaking. The focus of her work is the intersection of landscape, digital technology, and abstraction. Ganz works in paint, brush, and ink drawing, both independently and alongside digital and analog printing techniques, including photogravure and intaglio printing. Ganz’s work has been the subject of many solo exhibitions, including 'Atlas Project' at Cynthia-Reeves Gallery, 'Up Close and Far Away, Grids and Toiles: Beth Ganz at Wave Hill House,' Wave Hill, and 'Geothermal Topographies' at Reeves Contemporary. She has been shown in numerous group exhibitions, and her work is represented in many public and private collections, including the 9-11 Memorial Museum, the Library of Congress, the New York Historical Society, and the New York Public Library Prints Collection. Ganz teaches workshops in photogravure and intaglio at Manhattan Graphics Center and has been a long-time grantee of the Elizabeth Foundation for the Arts. AWARDS AND RESIDENCIES 2018 – Signal: Tri-State Juried Exhibition (2nd Place), Katonah Museum of Art, Katonah, New York (Juror: Lumi Tan) 2001-2014 – Studio Program, Elizabeth Foundation for the Arts, New York, NY 2005 – Johnson & Johnson Purchase Prize, 48th Annual National Print Exhibition, Hunterdon Museum of Art, Clinton, NJ 1999 – Prints USA Juror’s Award, Springfield Art Museum, Springfield, MO 1993 – 37th Annual National Print Exhibition (Honorable Mention), Hunterdon Art Center, Clinton, NJ 1992 – Small Impressions 1992 (Juror’s Award), Printmaking Council of New Jersey, NJ BIBLIOGRAPHY: MAGAZINES, JOURNALS, NEWSPAPERS, AND ONLINE MEDIA 2018 – Mary Legrand, “A Signal of Invention,” Bedford Record, July 2018 2017 – Sara Mintz, “Profile of an Artist: Beth Ganz,” Journal of the Print World, Vol. 40, #4, October 2017 2017 – Cate McQuaid, “Critics’ Picks, The Ticket: Music, Theater, Dance, Art and more,” Boston Globe, May 2017 4, 2017 2017 – Beth Ganz, “New Prints: Beth Ganz and the Atlas Project Landscape,” Journal of the Print World, I Vol. 40, #3, July 2017 Collections: Duke Energy, Charlotte, NC; Evelyn Lauder Breast Center at SKMCC, New York, NY; Frost Bank, Houston, Texas; Hofstra Museum, Hofstra University; Johnson and Johnson...

While the images have some resemblance to traditional Japanese Ukiyo-e prints, their sense of whimsy, satire and irony relate more closely to contemporary life and western sensibilit...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Emery Walker (1851 – 1933) after Edmund Hort New (1871 – 1931) Wadham College, Oxford Photogravure 27 x 41 cm New produced a series of pen-and-ink drawings of Oxford colleges, of which this is one. They paid homage to the artist David Loggan, often using the same aerial viewpoint as him, but showing the colleges two hundred years later. Emery Walker turned...

Artist: George Virtue (English, 1684-1756) Title: "King Henry VII" Portfolio: The Heads of the Kings of England, Proper for Mr. Rapin's History *Issued unsigned, though signed by Virtue in the plate (printed signature) lower right Year: 1736 Medium: Original Engraving on laid paper Limited edition: Unknown Printer: Unknown, London? UK Publisher: James, John, and Paul Knapton, London, UK Reference: Brunet No. IV.1115; Bryan V. No. 294 Framing: Recently framed in a gold ornate moulding with 100% cotton rag matting, and filet from Italy Framed size: 22.69" x 18.63" Image size: 11" x 7" Condition: Light toning and a few minor foxmarks to sheet. In very good condition Notes: Comes from Virtue's 1736 "The Heads of the Kings of England, Proper for Mr. Rapin's History" portfolio of approximately 63 engravings. Engraving of Henry VII, King of England. Half length with long hair, cap with jewelled brooch, jewelled collar, and robes edged in ermine, holding orb in left hand and sceptre in right. Within a rectangular frame with crown, orb, and sceptre above and with coat of arms, putti, and a portrait of Elizabeth of York below. With English inscription below. Henry VII (1457-1509) was the King of England and Lord of Ireland from his seizure of the crown on 22 August 1485 to his death. He was the first monarch of the House of Tudor. Henry attained the throne when his forces defeated King Richard III at the Battle of Bosworth Field, the culmination of the Wars of the Roses. Biography: George Vertue...

While the images have some resemblance to traditional Japanese Ukiyo-e prints, their sense of whimsy, satire and irony relate more closely to contemporary life and western sensibilit...

Signed and numbered from the edition of 10. Yuji Hiratsuka was born 1954 in Osaka, Japan. In 1985 he moved to the United States to pursue graduate degrees in printmaking at New Mexi...

Handmade portfolio of 47 Polaroid transfer prints with accompanying text by Mark Beard, handwritten in pencil (Edition of 10 + 5 APs) Signed and numbered in pencil 15.75 x 11.75 x ...

This print combines a number of intaglio techniques, as well as screenprint. It signed, number and titled on the back of the sheet. Edition of 32. The central image is of a shadowy d...

K. Laxma Goud Intaglio 13 x 10.5 inches 33 x 26.7 cm 2022 ( Set of 2 Works ) ( Framed & Delivered ) Style : Goud displays versatility over a range of mediums, from printmakin...

While the images have some resemblance to traditional Japanese Ukiyo-e prints, their sense of whimsy, satire and irony relate more closely to contemporary life and western sensibilit...

K. Laxma Goud Intaglio 12 x 9 inches 30.5 x 22.9 cm 2022 ( Framed & Delivered ) Style : Goud displays versatility over a range of mediums, from printmaking, drawing, watercolour,...

Artist: Treadway Russell Nash (English, 1724-1811) Title: "Henbury Hall, late the Seat of Thomas Vernon, now of Henry Cecil Esq." and "Ombersley Court, the Seat of Lord Sandys" Portfolio: Collections for the History of Worcestershire Year: 1781-1782 (First edition) Medium: Set of Two Original Engravings and Etching with Aquatint on watermarked laid paper Limited edition: Unknown Printer: John Nichols, London, UK Publisher: T. Payne and Son, J. Robson, B. White, Leigh and Sotheby, London, UK; Fletcher, Oxford, UK; and Lewis, Worcester, UK Reference: Upcott III, page 1330 Sheet size (each): approx. 10.13" x 16.88" Image size (each): approx. 8.13" x 12.63" Condition: "Henbury Hall, late the Seat of Thomas Vernon, now of Henry Cecil Esq." has scattered light foxmarks in margins. The top edge is unevenly trimmed and a small taped tear to lower right corner. "Ombersley Court, the Seat of Lord Sandys" has light toning to sheet and some faint discoloration in right margin. A small light water stain to lower left corner. Have been professionally stored away for decades. They are both otherwise strong impressions in good condition Notes: Provenance: private collection - Aspen, CO. "Henbury Hall, late the Seat of Thomas Vernon, now of Henry Cecil Esq." was likely engraved by English artist James Ross (1745-1821) after a drawing by himself. "Ombersley Court, the Seat of Lord Sandys" was engraved by English artist Valentine Green (1739-1813) and English artist Francis Jukes (1745-1812) after a drawing by an unknown, likely English artist. The first work is an engraving; the second work is an etching with aquatint. Comes from Nash's two volume "Collections for the History of Worcestershire", (1781-1782) (First edition), which consists of 75 engravings. Each work is printed from copper plates in one color: black. There was a (Second edition) "with Additions" bound in with Volume II of this portfolio published by John White in (1799). And both the First and Second editions of "Collections for the History of Worcestershire" are based off Thomas Sanders' 1779-1781 "Perspective Views of the Market Towns within the County of Worcester". "Ombersley Court, the Seat of Lord Sandys" has an unidentified watermark in the center of its sheet. "Henbury Hall" is actually incorrectly misnamed; its correct name is "Hanbury Hall". "PLATES, Drawn and engraved by J. Ross, unless otherwise expressed." - "A Bibliographical Account of the Principal Works Relating to English Topography", (1818) - William Upcott. Biography: Treadway Russell Nash (24 June 1724 – 26 January 1811) was an English clergyman, now known as an early historian of Worcestershire and the author of Collections for the History of Worcestershire, an important source document for Worcestershire county histories. He was a fellow of the Society of Antiquaries of London. Treadway Russell Nash was born on 24 June 1724 born at Clerkenleap, in Kempsey, Worcestershire. His family were from Ombersley. They had lands there and at Claines, and had later bought lands in the Reformation around St Peter's, Droitwich. He was related to James Nash and John Nash, both MPs for Worcester. His father Richard, a grandson of Sir Rowland Berkeley, died in 1740, and Richard's eldest son in 1757. As a result, Treadway Russell Nash inherited the Russells' Strensham estates from his brother, as well as the Nash estates, and took both names. He was educated from the age of twelve at King's School, Worcester, and became a scholar at Worcester College, Oxford aged fifteen. In March 1749, he accompanied his brother on a trip to the continent, to aid Richard's health. They visited Paris for about six weeks, before spending the summer "on the banks of the Loire". They then visited "Bourdeaux, Thoulouse, Montpelier, Marseilles, Leghorn, Florence, Rome, Naples, Bologna, Venice, Padua, Verona, Milan, Lyons, and again Paris"; such expeditions are often known as the Grand Tour. On his return in late summer 1751, Nash took up a post as Vicar of Eynsham through his friend and future brother-in-law, John Martin. He also had an income as a tutor at Oxford. He took his Doctor of Divinity degree and left Oxford, having "gone out grand compounder", following the death of his brother. He also left his benefice at Eynsham in 1757. While at Oxford he had proposed a road from there to Witney (now the A40 and B4022), and also stood for Parliament. Nash married Margaret Martin...