Henry Alken

Tandem Driving - Etching by Henry Alken - 1822

1822

Etching and aquatint realized by Henry Alken in 1822. Table from "The Sporting Repository", first edition. Very good condition. Henry Alken (1765-1851) was en english painter and e...

Etching and aquatint realized by Henry Alken in 1822. Table from "The Sporting Repository", first edition. Very good condition. Henry Alken (1765-1851) was en english painter and e...

Riding is an original print realized by an Anonymous artists of the 19th Century. Mixed colored lithograph. Good conditions except for some prepared rips. This lithograph represen...

Etching and aquatint realized by Henry Alken in 1846. Plate from "The Analysis of the Hunting Field". Very good condition. Henry Alken (1765-1851) was en english painter and engrav...

A crisp early 20th century lithograph with hand colouring, after English painter and engraver Henry Thomas Alken (1785-1851). The scene shows a period coaching party taking an awkwar...

A Cart Race Hand colored etching & aquatint, 1788 Signed in the plate (see photo) Published by William Hollande, London Inscribed in the plate with title, artist's name and publication line 'Rowlandson. 1788./ London. Pubd 1789 by Wm Holland No 50. Oxford Street.' Reference: M.Dorothy George, 'Catalogue of Political and Personal Satires in the British Museum', VI, 1938) British Museum Satires 7607 Grego, 'Rowlandson', i. 260, Grego II.392 Provenance: Chris Beetles Ltd., London (label), 2003 Jeffrey M. Kaplan, Washington, D.C. (label) Fursten zu Oettingen-Wallerstein, Lugt 2715a, verso (see photo) Condition: Excellent Printed on 18th century laid paper Archival framing by Chris Beetles Ltd., London Note: The British Museum has two impressions, one trimmed the other full sheet as this example. Accession Number: 1868,0711.35 The Metropolitan Museum has an impression: Accession number 59.533.314 Fitzwilliam Museum: Accession number: 34.14-286 Cleveland Museum of Art accession number: 1958.10 Image description per BM: Three ramshackle two-wheeled carts drawn by wretched horses race (right to left) against a background formed by the church... Note: The British Museum has two impressions, one trimmed the other full sheet as this example. Accession Number: 1868,0711.35 The Metropolitan Museum has an impression: Accession number 59.533.314 Fitzwilliam Museum: Accession number: 34.14-286 Cleveland Museum of Art accession number: 1958.10 Image description per BM: Three ramshackle two-wheeled carts drawn by wretched horses race (right to left) against a background formed by the clouds of dust which they have raised, with a row of gabled houses (right) inscribed 'St Giles', terminating in a church spire (left), and probably representing Broad St. Giles. The occupants of the carts are Irish costermongers typical of St. Giles. The foremost horse gallops, urged on by the shouts of a standing man brandishing a club. The other occupants, two women and a man, cheer derisively the next cart, whose horse has fallen, one woman falling from it head-first, another lies on the ground. The driver lashes the horse furiously. The third cart, of heavier construction, is starting. The horses are partly obscured by the clouds of dust, but denizens watch from casement windows and a door. Two ragged urchins (right) cheer the race; a dog barks. "It was said that the amount of copper Thomas Rowlandson etched would sheathe the British Navy. An inveterate gambler, for much of his life Rowlandson had to produce a flood of his comic prints to stay ahead of financial losses.A wealthy uncle and aunt raised Rowlandson after his textile-merchant father went bankrupt. His career developed quickly. He entered London's Royal Academy Schools in 1772, visited Paris in 1774, exhibited at the Royal Academy in 1775, and won a silver medal in 1777. He left school in 1778 to set up in business. Rowlandson's depictions of life in Georgian England exposed human foibles and vanity with sympathy and rollicking humor. During the 1780s he consolidated the delicate style he used for his coarse subjects. He worked mainly in ink and watercolor, his rhythmic compositions, flowing line, and relaxed elegance inspired by French Rococo art...

"En Auto" is an original color lithograph by Singils. The artist signed the piece in stone and wrote the title in the lower left. The edition number, also written lower left, is 46/5...

"Fast Trotting in the West (Milwaukee Race)" is an original hand-colored lithograph published by Currier & Ives. It depicts two horses pulling racing carts. The text below the picture reads "Fast Trotting in the West...Lucy and Goldsmith Maid...trotting their closely contested race over the cold spring course Milwaukee, Wis. Sept. 6th 1871...Where Goldsmith Maid won the 2nd heat in 2:17!! The fastest Mile heat in harness on record. Purse $4000 $2500 to 1st $1500 to 2nd horse____ 8 in. in harness. TIME 2:20 1/2 2:17 2:20" 16 3/4" x 26" image 22" x 27 3/4" paper 35 3/4" x 41 7/8" frame Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders...