Thomas Rowlandson

Thomas Rowlandson Hand-colored Engraving "Queen's Palace, St. James Park"

1809

This a beautiful framed hand colored 17th century map of the southern portions of Holland by Nicolaus (Nicolas) Visscher II entitled "Hollandiae pars Meridionalis, vulgo Zuyd-Holland", published in Amsterdam in 1678. The map shows the region between Breda, Heusden, Gornichem, Gouda, Dordrecht, and Willemstad. It includes a decorative cartouche in the lower left corner. The map is presented in an attractive maple colored wood frame with gold trim and a fabric mat. There is a central vertical fold, as issued. There are small areas of discoloration consistent with age. The map is otherwise in very good condition. The Visscher family were one of the great cartographic families of the 17th century. Begun by Claes Jansz Visscher...

This hand-colored sea chart is entitled "Edinburgh Firth" from "Great Britain's Coasting Pilot. Being a New and Exact Survey of the Sea-Coast of England" by Captain Greenville Collin...

"A Representation of the Attack on Captain Wallis in the Dolphin by the Natives of Otaheite (Tahiti)" is an engraving created by the artist Sparrow based on an engraving in John Hawk...

"The Fleet of Otaheite, Assembled at Oparee" is an original 18th century engraving from a drawing by William Hodges (1744-1797), who was the artist who accompanies Captain Cook on hi...

Jean-Emile Laboureur (1877-1943), Le Promenade au Phare, engraving, 1925, signed in pencil lower left and numbered lower right (24/70) [with the initial in the plate lower left]. Ref...

Jean-Emile Laboureur (1877-1943), Printemps Breton, 1926, drypoint, roulette, aquatint, etching; signed in pencil lower left and numbered lower right (37/50) with the imp inscription...

William Strang (1859-1921), Le Bourg de Batz, etching and drypoint on copper, 1913, signed in pencil lower right [also signed and dated in the plate]. Refere...

Adolphe-Marie Beaufrere (1876-1960), Aux Approches de Madrid (also Aux Abords de la Ville), drypoint, 1927, signed and numbered (14/55), from the edition of 55, with the blindstamp of Sagot, publisher (Lugt 2254). Reference: Morane 27-19. In good condition, on very thin cream Japan paper, 6 1/2 x 9, the sheet 8 3/8 x 11 1/4 inches, archival matting. A fine impression, with the drypoint burr extremely rich and effective (due in part to the use of a Japan paper, which tends to diffuse the ink surrounding the drypoint lines). Beaufrere was born at Quimperle, in Brittany, and though he traveled widely he re-connected with this area throughout his life. As a teenager he decided that he wanted to become an artist and he traveled to Paris where, shortly after his arrival, he encountered the eminent Gustave Moreau, who took him on as a student. Moreau encouraged him to study old master prints, especially the prints of Rembrandt and Durer, which were available in the Cabinet des Estampes in Paris – this was to be critical in his development. Beaufrere began printmaking in about 1904, with some woodcuts, but soon got into etching and engraving. Curiously, one of his colleague/teachers at the time was the Canadian etcher Donald Shaw MacLaughlan. He began showing his prints, with some success, but after his marriage in 1905, and with the urging of his new wife, moved out of Paris and back to Brittany. This move had a mixed effect on his career – contacts with other artists became fewer, but he did maintain gallery relationships, and the French countryside and it’s inhabitants would provide a continuing source of inspiration. During the Great War Beaufrere served in the infantry, and had few opportunities to make art. But he did study a volume of Rembrandt’s prints...