{"title":"siglo XVIII","description":"","products":[{"product_id":"william-lock-the-younger-portrait-studies-of-man-in-profile-c-1780-drawing-jk-919","title":"William Lock el Joven, Estudios de retrato de hombre de perfil – dibujo de c.1780","description":"\u003cp\u003e Un dibujo a carbón original de c.1780, William Lock el Joven, Estudios de retratos de hombre de perfil.\u003c\/p\u003e\n\u003cp\u003e Una magnífica hoja a doble cara de los primeros estudios de William Lock el Joven de Norbury (1767-1847). En ambas caras del papel verjurado se encuentran bocetos de perfil de la cabeza, incluyendo un hombre barbudo con nariz aguileña.\u003c\/p\u003e\n\u003cp\u003e William Lock fue un talentoso dibujante que trabajó en el círculo de Henry Fuseli en Roma a finales del siglo XVIII, conocido por sus dibujos de temas históricos, mitológicos, bíblicos y shakespearianos. Sir Horace Walpole era un gran admirador de su obra, y Fuseli describió los dibujos del joven Lock como «inigualables para cualquier hombre de la época… en cuanto a inventiva, gusto y espíritu».\u003c\/p\u003e \u003cp\u003eEste dibujo es uno de una colección de dibujos de Lock que tenemos a la venta, cuya portada llevaba la firma de Lock (ver foto).\u003c\/p\u003e\n\u003cp\u003e Aunque este dibujo no está fechado, otros del grupo están fechados en 1780. Esto data las obras a principios de la adolescencia de Lock y muestra su talento precoz y la temprana influencia de Henry Fuseli.\u003c\/p\u003e\n\u003cp\u003e En carboncillo, sanguina y aguada parda sobre papel verjurado con marca de agua GR.\u003c\/p\u003e\n\u003cp\u003e La hoja está colocada sobre una hoja posterior de papel de color beige con textura rugosa, que era la hoja posterior correspondiente de un folio.\u003c\/p\u003e\n\u003cp\u003e Procedencia: Galería Covent Garden. Christie's 2016.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":51994487685449,"sku":"JK-919","price":110.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jk-919_3.jpg?v=1743166459"},{"product_id":"william-lock-the-younger-soldiers-in-armour-original-c-1780-graphite-drawing-jk-933","title":"William Lock el Joven, Soldados con armadura – Dibujo original en grafito de c.1780","description":"\u003cp\u003e Un dibujo original a grafito de c.1780, William Lock el Joven, Soldados con armadura.\u003c\/p\u003e \u003cp\u003eUn fantástico estudio temprano de soldados con armadura, realizado por William Lock el Joven, de Norbury (1767-1847). La pose de las figuras tiene un aire teatral; posiblemente se trate de un estudio para un tema shakespeariano o de otra obra literaria. En el reverso del papel se encuentran bocetos adicionales de un soldado con casco y ropajes. William Lock fue un talentoso dibujante que trabajó en el círculo de Henry Fuseli en Roma hacia finales del siglo XVIII, conocido por sus dibujos de temas históricos, mitológicos, bíblicos y shakespearianos. Sir Horace Walpole era un gran admirador de su obra, y Fuseli describió los dibujos del joven Lock como «incomparables con cualquier hombre de nuestra época… en cuanto a inventiva, gusto y espíritu». Este dibujo forma parte de una colección de dibujos de Lock que tenemos a la venta, cuya portada lleva la firma de Lock (véase la foto). Aunque este dibujo no está fechado, otros del grupo datan de 1780. Esto data las obras a principios de la adolescencia de Lock y demuestra su precoz talento y la temprana influencia de Henry Fuseli. En grafito y tinta parda (verso) sobre papel verjurado. La hoja se acompaña de una lámina posterior en papel beige de textura rugosa, que era la página posterior correspondiente de un folio. Procedencia: Galería Covent Garden. Christie's 2016.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":51994489913673,"sku":"JK-933","price":98.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jk-933_2.jpg?v=1743166470"},{"product_id":"francesco-bartolozzi-ra-after-cipriani-four-putti-original-1787-etching-print-jl-677","title":"Francesco Bartolozzi RA según Cipriani, Four Putti – Grabado original de 1787","description":"\u003cp\u003e Un grabado original de 1787, Francesco Bartolozzi RA, Four Putti.\u003c\/p\u003e \u003cp\u003eHermoso grabado de Francesco Bartolozzi RA (1728-1815) basado en un dibujo de Giovanni Battista Cipriani (1727-1785). Inscripción en la placa: «GB Cipriani inv. F. Bartolozzi sculp. London Pub as the act directs Mar.h 1.t 1787 by F. Bartolozzi». Aguafuerte y grabado puntillista.\u003c\/p\u003e\n\u003cp\u003e La hoja se ha colocado sobre cartulina, adherida en las esquinas y el centro. Presenta inscripciones a lápiz en el reverso que parecen estar relacionadas con el enmarcado, así como inscripciones parciales visibles en el borde inferior, como se muestra.\u003c\/p\u003e\n\u003cp\u003e Hoja: 25,2 x 31,3cm.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":51994978713929,"sku":"JL-677","price":78.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jl-677.jpg?v=1743169530"},{"product_id":"j-roberts-after-j-chatelain-south-west-view-willsdon-church-c-1750-engraving-jl-678","title":"J. Roberts según J. Chatelain, Vista suroeste de la iglesia de Willsdon – grabado de c.1750","description":"\u003cp\u003e Un grabado original de c.1750, J. Roberts, Vista suroeste de la iglesia de Willsdon.\u003c\/p\u003e \u003cp\u003eEsta vista del siglo XVIII de la iglesia de Willesden se deriva de un conjunto de cincuenta vistas de iglesias y pueblos que rodeaban el Londres georgiano temprano, dibujadas por el dibujante topográfico Jean Chatelain (1710-1758) y grabadas por James Roberts (1725-1799). El conjunto completo fue publicado por primera vez por Henry Roberts alrededor de 1750 con el título: «Cincuenta pequeñas vistas originales y elegantes de las más espléndidas iglesias, pueblos, perspectivas rurales y obras maestras de arquitectura, adyacentes a Londres».\u003c\/p\u003e\n\u003cp\u003e La impresión se colocó sobre papel soporte, con un borde de lavado. Posteriormente, el papel soporte se colocó sobre cartulina.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":51994978779465,"sku":"JL-678","price":24.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jl-678.jpg?v=1743169531"},{"product_id":"circle-of-robert-dighton-peasant-mother-children-c-1785-watercolour-painting-jm-750","title":"Círculo de Robert Dighton, Madre campesina y niños, c.1785, pintura de acuarela","description":"\u003cp\u003e Una pintura de acuarela original de c.1785, Círculo de Robert Dighton, Madre campesina y niños.\u003c\/p\u003e \u003cp\u003eEsta encantadora y vivaz imagen de una campesina de mejillas sonrosadas y sus hijos, posiblemente atribuida históricamente a Robert Dighton (1751-1814), se encuentra sobre su antiguo soporte. La acuarela guarda sin duda similitudes con la obra de Dighton: el intenso tratamiento de la tela, el fondo de aguada en capas y el carácter caricaturesco de las figuras. El físico rollizo y los rasgos exagerados de la madre, y el niño regordete y angelical sobre sus hombros, ofrecen una visión presente e idealizada, aunque sutilmente satírica, de la vida rural.\u003c\/p\u003e\n\u003cp\u003e En acuarela sobre papel verjurado.\u003c\/p\u003e\n\u003cp\u003e El papel tiene inscrito en el reverso '1[VIII]th cent. (circa 1785)' y de forma ilegible '[?]veston'.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":51996071362889,"sku":"JM-750","price":98.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jm-750.jpg?v=1743174179"},{"product_id":"john-henderson-boats-near-a-jetty-18th-century-monro-school-wash-drawing-jq-752","title":"John Henderson Snr, Barcos cerca de un embarcadero – Dibujo al agua de la Escuela Monro del siglo XVIII","description":"\u003cp\u003e Un dibujo al agua original del siglo XVIII, de John Henderson, Barcos cerca de un embarcadero.\u003c\/p\u003e\n\n \u003cp\u003eEste dibujo etéreo y poético en gris claro forma parte de un conjunto de trabajos descritos como Escuela Monro, un nombre fuertemente asociado con los primeros trabajos de JMW Turner y Thomas Girtin.\u003c\/p\u003e\n\n\u003cp\u003e John Henderson padre (1764-1843), artista aficionado y mecenas adinerado, fue vecino del Dr. Thomas Munro (1759-1833) en Adelphi Terrace, a orillas del Támesis en Charing Cross, Londres. El Dr. Monro, médico del rey, invitaba a jóvenes artistas a su casa los viernes de invierno por la noche, reteniendo sus obras y ofreciéndoles una cena de ostras. Entre los jóvenes artistas más destacados se encontraban Turner y Girtin, a quienes se les encargaba copiar bocetos de artistas más veteranos como John Robert Cozens, Thomas Hearne y Edward Dayes. Henderson también facilitaba sus dibujos para que se los copiaran, y se cree que él, a su vez, copiaba las obras de los jóvenes artistas.\u003c\/p\u003e\n\n \u003cp\u003eLos productos de la Escuela Monro eran a menudo, como esta obra, dibujos monocromos en aguada gris o azul. Algunas obras fueron colaboraciones, y en particular Henderson parece tener participación en la serie de dibujos azul-grises sobre temas de navegación de Dover, algunos de los cuales forman parte del legado de Turner en el Museo Británico. Se desconoce la ubicación costera de este tema, pero las obras de Henderson o atribuidas a él en las colecciones de la Tate, el Museo Británico y el Centro de Arte Británico de Yale incluyen temas de Dover, Weymouth y Yarmouth.\u003c\/p\u003e\n\n\u003cp\u003e Para el coleccionista actual, las obras de la Escuela Monro son particularmente intrigantes debido a la compleja interrelación entre Turner, Girtin y otros artistas asociados con Monro, y la uniformidad estilística en todo su trabajo.\u003c\/p\u003e\n\n \u003cp\u003eEl hijo mayor de John Henderson, también llamado John, fue un importante coleccionista que legó una gran colección de obras, incluyendo acuarelas de Girtin, al Museo Británico y obras de Antiguos Maestros a la National Gallery de Londres. Su hijo menor fue el pintor deportivo Charles Cooper Henderson, especializado en caballos y carruajes.\u003c\/p\u003e\n\n\u003cp\u003e Procedencia: De la colección del Dr. E. M. Brett de Hampstead. Abbott \u0026amp; Holder, 30 Museum Street, WC1A 1LH.\u003c\/p\u003e\n\n\u003cp\u003e Sobre papel verjurado con filigrana. La filigrana parece ser la siguiente: un león heráldico rampante blandiendo una espada y sosteniendo un haz de siete dardos y un sombrero empalado en una lanza. Este fue el símbolo de las repúblicas holandesas unidas (1581-1795), utilizado como filigrana entre 1654 y 1720. El lema que rodea al león parece decir: «Pro Patria Eiusque Libertate» (Por la Patria y la Libertad), y un estandarte debajo ostenta la palabra holandesa «Vryheid», «libertad».\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52010981458249,"sku":"JQ-752","price":280.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jq-752.jpg?v=1743411548"},{"product_id":"william-barrett-satyr-mathematician-cartouche-design-1750-watercolour-jt-552","title":"William Barrett, sátiro y matemático. Diseño de cartucho: acuarela de 1750.","description":"\u003cp\u003e Una pintura de acuarela original de 1750, diseño de cartucho de William Barrett, sátiro y matemático.\u003c\/p\u003e\n\u003cp\u003e Este inusual diseño de cartucho, fechado en 1750, es obra del anticuario y cirujano inglés William Barrett (1733-1789). La imagen es una curiosa fusión de matemáticas racionales y sensualidad dionisíaca. Dos sátiros rodean el cartucho, con alas que recuerdan a la mariposa sátiro, sosteniendo figuras tridimensionales; la figura del centro posiblemente sea Euclides, el matemático griego a menudo considerado el «fundador de la geometría». La composición es también un suntuoso ejemplo de diseño rococó fluido y con volutas, con un toque grotesco.\u003c\/p\u003e \u003cp\u003eBarrett es más conocido por su libro 'La historia y las antigüedades de la ciudad de Bristol', de 1789, que ilustró con grabados en cobre y comienza con un diseño de cartucho similar en estilo al dibujo actual.\u003c\/p\u003e\n\u003cp\u003e En grisalla sobre papel verjurado. Colocada sobre papel soporte.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52017229594953,"sku":"JT-552","price":310.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jt-552.jpg?v=1743497621"},{"product_id":"william-barrett-socrates-memento-mori-cartouche-design-1750-watercolour-jt-553","title":"William Barrett, Diseño de cartucho Memento Mori de Sócrates – Acuarela de 1750","description":"\u003cp\u003e Una pintura de acuarela original de 1750, de William Barrett, con diseño de cartucho Memento Mori de Sócrates.\u003c\/p\u003e\n\u003cp\u003e Este inusual diseño de cartucho, fechado en 1750, es obra del anticuario y cirujano inglés William Barrett (1733-1789). La imagen reflexiona con elegancia sobre el tema del Memento Mori, con el filósofo griego Sócrates en el centro, rodeado de dos esqueletos en medio de un cartucho rococó decorativo. Los esqueletos sirven como recordatorio de nuestra propia mortalidad, un tema atemporal abordado por artistas y que se remonta a Sócrates y su creencia en la importancia de contemplar la propia muerte. La composición es también un suntuoso ejemplo de diseño rococó fluido y con volutas, con un toque grotesco.\u003c\/p\u003e\n\u003cp\u003e Barrett es más conocido por su libro 'La historia y las antigüedades de la ciudad de Bristol', de 1789, que ilustró con grabados en cobre y comienza con un diseño de cartucho similar en estilo al dibujo actual.\u003c\/p\u003e \u003cp\u003eEn grisalla sobre papel verjurado. Colocada sobre papel soporte.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52017229889865,"sku":"JT-553","price":310.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jt-553.jpg?v=1743497622"},{"product_id":"arthur-pond-after-parmigianino-holy-family-with-st-john-original-1734-etching-print-jt-555","title":"Arthur Pond según Parmigianino, Sagrada Familia con San Juan – Grabado al aguafuerte de 1734","description":"\u003cp\u003e Un grabado original de 1734, de Arthur Pond según Parmigianino, Sagrada Familia con San Juan.\u003c\/p\u003e\n\u003cp\u003e Un fino aguafuerte en tinta marrón realizado por el pintor y grabador inglés Arthur Pond (c. 1705-1758) a partir de un dibujo del siglo XVI de Francesco Mazzola, también conocido como Parmigianino (1503-1540). Pond visitó Italia entre 1725 y 1727 con el pintor George Knapton, el pintor y poeta John Dyer y el anticuario Daniel Wray. Este grabado pertenece a la serie de Pond de 1734 «Grabados a imitación de dibujos», que realizó en colaboración con el hermano de George, Charles Knapton, también artista.\u003c\/p\u003e\n\u003cp\u003e La obra gráfica de Parmigianino fue muy codiciada y elogiada en Inglaterra a finales del siglo XVIII. Sir Joshua Reynolds y Benjamin West eran ávidos coleccionistas de los dibujos y grabados originales de Parmigianino.\u003c\/p\u003e \u003cp\u003eUna inscripción asociada (ver foto) indica la procedencia de este dibujo: Donado a Mary Twopenny por su primo David en Little Casterton en 1832. David Twopenny, plebeyo del Oriel College de Oxford y vicario vitalicio de Stockbury en Kent, era coleccionista de arte (una venta de su colección en Christie's incluyó una extensa colección de finos grabados de Turner).\u003c\/p\u003e\n\u003cp\u003e Recortado según la imagen y colocado sobre papel soporte con borde de línea de lavado.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52017232871753,"sku":"JT-555","price":180.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jt-555.jpg?v=1743497628"},{"product_id":"william-alexander-ruins-on-the-eu-ho-river-china-18th-century-graphite-drawing-ju-667","title":"William Alexander, Ruinas del río Eu Ho, China – Dibujo de grafito del siglo XVIII","description":"\u003cp\u003eUn dibujo de grafito original del siglo XVIII, William Alexander, Ruinas del río Eu Ho, China.\u003c\/p\u003e\n\u003cp\u003e Este fantástico dibujo en miniatura es del pintor, ilustrador y grabador inglés William Alexander (1767-1816). Alexander acompañó a la Embajada de Macartney a China en 1792 y fue el único artista inglés de finales del siglo XVIII que se adentró en el interior de China. Este dibujo muestra las ruinas de una torre de piedra, probablemente una fortificación, y lleva en el reverso la inscripción del artista: «Ruinas en el río Eu Ho».\u003c\/p\u003e \u003cp\u003eEl río Eu Ho, también conocido como Wei Ho, es un río importante en las provincias de Gansu y Shaanxi, en el centro-oeste de China. Históricamente, el valle del río Wei fue el primer centro de la civilización china y, hasta el siglo X d. C., albergó una sucesión de capitales. El Gran Canal —el canal o río artificial más largo del mundo, que desempeñó un papel fundamental en la reunificación del norte y el sur de China, así como en el intercambio comercial y la transmisión cultural dentro del imperio— desembocaba en el río Eu Ho y lo conectaba con el río Hoang Ho.\u003c\/p\u003e \u003cp\u003eA finales del siglo XVIII, China y Gran Bretaña eran mundos aparte. En 1792, Jorge III encargó la primera misión diplomática británica a China, encabezada por el conde Macartney de Lissanore, con el objetivo de negociar un tratado preferencial de comercio y amistad con el emperador Qianlong. William Alexander fue uno de los dos ilustradores (el otro fue Thomas Hickey) que participaron en la misión, encargados de documentar los nuevos paisajes que se encontraban. Los dibujos de Alexander se reprodujeron como láminas en el «Relato auténtico de la embajada de Lord Macartney» de Sir George Leonard Staunton en 1797. También produjo «Vistas de cabos, islas, etc. tomadas durante el viaje a China» (1798), láminas para los «Viajes por China» de Sir John Barrow (1804) y «Viaje a Cochinchina» (1806).\u003c\/p\u003e \u003cp\u003eA su regreso, Alexander publicó una serie de grabados coloreados a mano que representaban la corte china, así como escenas de la vida cotidiana en China, titulada «El traje de China, ilustrado en cuarenta y ocho grabados coloreados» (1805). Si bien se trata principalmente de figuras, los grabados también incluyen edificios y monumentos, como un puesto militar, la torre de un castillo, un puente de piedra, la puerta de la ciudad y una tumba. La obra tuvo tan buena acogida que en 1814 publicó otro libro titulado «Representaciones pintorescas de la vestimenta y los modales de los chinos, ilustradas en cincuenta grabados coloreados, con descripciones».\u003c\/p\u003e \u003cp\u003eLa Embajada Macartney no logró sus objetivos oficiales, pero posteriormente destacó por las extensas observaciones culturales, políticas y geográficas que sus participantes registraron en China y trajeron a Europa. Si bien, por un lado, la Embajada ayudó a desmitificar la percepción británica de Oriente, las observaciones orientalistas de sus miembros alimentaron la imaginación imperialista británica y su gusto por la cultura china. Como escribió Macartney triunfalmente en su diario: «Ahora dominamos la geografía de la costa noreste de China y hemos adquirido un conocimiento del Mar Amarillo que nunca antes habían navegado los barcos europeos».\u003c\/p\u003e\n\u003cp\u003e Procedencia: De la colección del Dr. E. M. Brett de Hampstead. William Drummond (Covent Garden Gallery, Londres).\u003c\/p\u003e\n\u003cp\u003e En cartulina fina. Uno de los dos dibujos de William Alexander que tenemos a la venta (ver JU-668).\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52017571791177,"sku":"JU-667","price":410.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/ju-667.jpg?v=1743500616"},{"product_id":"samuel-de-wilde-boy-in-a-hat-original-18th-century-graphite-drawing-jw-015","title":"Samuel De Wilde, Niño con sombrero – Dibujo original en grafito del siglo XVIII","description":"\u003cp\u003e Un dibujo de grafito original del siglo XVIII, Samuel De Wilde, Niño con sombrero.\u003c\/p\u003e \u003cp\u003eEste entrañable estudio de un niño es obra del retratista y grabador Samuel De Wilde (1751-1832). De Wilde es conocido por ser el principal pintor de retratos teatrales entre 1770 y 1820. El personaje de este boceto a grafito se asemeja a un dibujo de De Wilde de Ben en el drama de la Restauración de Congreve, «Amor por amor», grabado por James Bromley (V\u0026amp;A n.º S.1298-2012). Si bien puede que no se trate del mismo personaje, sin duda posee un elemento de teatralidad similar.\u003c\/p\u003e\n\u003cp\u003e Procedencia: De la colección del Dr. EM Brett de Hampstead; William Drummond, Bury Street Gallery, St James's, Londres.\u003c\/p\u003e\n\u003cp\u003e Sobre papel verjurado con filigrana. Presenta un boceto parcial a grafito en el reverso. Esta es una de las tres obras de De Wilde que tenemos a la venta, una de las cuales está firmada (véase JR-639).\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52017863622985,"sku":"JW-015","price":110.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jw-015.jpg?v=1743502704"},{"product_id":"william-lock-the-younger-sheet-of-facial-studies-original-c-1780-graphite-drawing-jw-277","title":"William Lock el Joven, Hoja de estudios faciales – c.1780, dibujo a grafito","description":"\u003cp\u003e Un dibujo original a grafito de c.1780, William Lock el Joven, Hoja de estudios faciales.\u003c\/p\u003e\n\u003cp\u003e Una maravillosa hoja temprana de estudios faciales llenos de carácter realizada por William Lock el Joven de Norbury (1767–1847).\u003c\/p\u003e \u003cp\u003eWilliam Lock fue un talentoso dibujante que trabajó en el círculo de Henry Fuseli en Roma a finales del siglo XVIII, conocido por sus dibujos de temas históricos, mitológicos, bíblicos y shakespearianos. Sir Horace Walpole era un gran admirador de su obra, y Fuseli describió los dibujos del joven Lock como «inigualables para cualquier hombre de la época… en cuanto a inventiva, gusto y espíritu».\u003c\/p\u003e\n\u003cp\u003e Este dibujo es uno de una colección de dibujos de Lock que tenemos a la venta, cuya portada llevaba la firma de Lock (ver foto).\u003c\/p\u003e\n\u003cp\u003e Aunque este dibujo no está fechado, otros del grupo están fechados en 1780. Esto data las obras a principios de la adolescencia de Lock y muestra su talento precoz y la temprana influencia de Henry Fuseli.\u003c\/p\u003e\n\u003cp\u003e En grafito sobre papel verjurado.\u003c\/p\u003e\n\u003cp\u003e La hoja está colocada sobre una hoja posterior de papel de color beige con textura rugosa, que era la hoja posterior correspondiente de un folio.\u003c\/p\u003e\n\u003cp\u003e Procedencia: Galería Covent Garden. Christie's 2016.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52017872929097,"sku":"JW-277","price":180.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jw-277_1.jpg?v=1743502769"},{"product_id":"after-charles-le-brun-physiognomy-study-of-ears-original-18th-century-chalk-drawing-kb-265","title":"Según Charles Le Brun, Estudio fisonómico de las orejas – Dibujo a tiza del siglo XVIII","description":"\u003cp\u003e Un dibujo original en tiza del siglo XVIII, según Charles Le Brun, Estudio fisomático de las orejas.\u003c\/p\u003e\n\u003cp\u003e Un maravilloso dibujo del siglo XVIII en sanguina sobre papel verjurado de Van der Lay.\u003c\/p\u003e \u003cp\u003eUna anotación en francés sobre un paspartú histórico (ya desaparecido) indica que el dibujo probablemente es de origen francés. La filigrana con flor de lis y las letras VDL alude al fabricante de papel holandés Van der Lay. Se cree que comenzaron a usar el monograma en filigranas poco antes de 1750 (Henk Voorn, De papiermolens in de provincie Noord-Holland).\u003c\/p\u003e\n\u003cp\u003e Los estudios de las orejas parecen ser una copia del trabajo del pintor y fisonomista francés Charles Le Brun (1619-1690), quien produjo un manual de dibujo sobre las emociones humanas que artistas y estudiantes han utilizado durante siglos como modelo para representar expresiones faciales. El enfoque de Le Brun fue eminentemente científico, basándose en la obra del filósofo René Descartes para comprender mejor las causas de las expresiones faciales.\u003c\/p\u003e\n\u003cp\u003e Este es uno de los dos estudios de sanguina francesa del siglo XVIII que tenemos a la venta (ver número de stock KB-266).\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52021414035785,"sku":"KB-265","price":380.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/kb-265.jpg?v=1743520513"},{"product_id":"manner-of-pierre-thomas-le-clerc-hand-study-original-18th-century-chalk-drawing-kb-266","title":"Estilo de Pierre Thomas Le Clerc, Estudio de la mano – Dibujo a tiza del siglo XVIII","description":"\u003cp\u003eUn dibujo original en tiza del siglo XVIII, al estilo de Pierre Thomas Le Clerc, Estudio a mano.\u003c\/p\u003e\n\u003cp\u003e Un maravilloso dibujo del siglo XVIII en sanguina sobre papel verjurado con marca de agua.\u003c\/p\u003e\n\u003cp\u003e Una anotación en francés sobre un paspartú histórico (ya desaparecido) indica que el dibujo probablemente es de origen francés. Se desconoce la identidad de la marca de agua, que muestra uvas y un corazón, pero las uvas indican que se trata de un papel francés.\u003c\/p\u003e\n\u003cp\u003e El tema del estudio de la mano se asemeja a los dibujos con tiza del artista francés Pierre Thomas Le Clerc (1740-1799), cuyo trabajo fue reproducido como grabados a crayón en la publicación 'Cahier de Principes de Dessins d'après Nature' en 1773.\u003c\/p\u003e\n\u003cp\u003e Este es uno de los dos estudios de sanguina francesa del siglo XVIII que tenemos a la venta (ver número de stock KB-265).\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52021414068553,"sku":"KB-266","price":368.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/kb-266.jpg?v=1743520514"},{"product_id":"f-finch-fortified-coast-after-sebastien-le-clerc-18th-century-watercolour-kb-490","title":"F. Finch, Costa fortificada según Sébastien Le Clerc – acuarela del siglo XVIII","description":"\u003cp\u003e Una pintura de acuarela original del siglo XVIII, F. Finch, Costa fortificada según Sébastien Le Clerc.\u003c\/p\u003e\n\u003cp\u003e Un atractivo dibujo en miniatura en grisalla basado en un grabado de Sébastien Le Clerc (1637-1714) realizado como parte de una colección para el duque de Borgoña.\u003c\/p\u003e\n\u003cp\u003e F. Finch es posiblemente Lady Frances Finch (1761-1838), hija de Heneage Finch, tercer conde de Aylesford. Su hermano, Heneage Finch, cuarto conde de Aylesford (1751-1812), fue paisajista.\u003c\/p\u003e\n\u003cp\u003e Sobre papel verjurado con marca de agua.\u003c\/p\u003e \u003cp\u003eTenga en cuenta que el dibujo tiene una hoja protectora de papel glassine en la parte posterior debido a que el reverso del dibujo está un poco pegajoso con adhesivo de montaje histórico.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52021465088329,"sku":"KB-490","price":54.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/kb-490.jpg?v=1743520768"},{"product_id":"demosthenes-statue-greek-statesman-orator-original-18th-century-engraving-print-kb-761","title":"Estatua de Demóstenes, estadista y orador griego – Grabado del siglo XVIII","description":"\u003cp\u003e Un grabado original del siglo XVIII: Estatua de Demóstenes, estadista y orador griego.\u003c\/p\u003e\n\u003cp\u003e Un hermoso grabado de finales del siglo XVIII o principios del XIX.\u003c\/p\u003e\n\u003cp\u003e Grabado por Aubert según Vautier.\u003c\/p\u003e\n\u003cp\u003e Sobre papel verjurado.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52021498609993,"sku":"KB-761","price":24.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/kb-761.jpg?v=1743521121"},{"product_id":"the-hon-booth-grey-thatched-cottage-with-chickens-late-18th-century-etching-kb-871","title":"El Honorable Booth Grey, Cabaña con techo de paja y gallinas – grabado de finales del siglo XVIII","description":"\u003cp\u003e Un grabado original del siglo XVIII, El Honorable Booth Grey, Cabaña con techo de paja y gallinas.\u003c\/p\u003e \u003cp\u003eEl Honorable Booth Grey está catalogado como parte del \"Círculo de Mary Delany\", y existe una serie de noventa collages de plantas realizados por el Honorable Booth Grey (actualmente se encuentran principalmente en el Centro de Arte Británico de Yale, New Haven, con algunos ejemplos en otros lugares, en particular el Museo Metropolitano de Nueva York).\u003c\/p\u003e\n\u003cp\u003e La identidad exacta de Booth Grey es incierta, ya que varios miembros de la familia en esa época llevaban el mismo nombre. El Museo Británico sugiere que podría tratarse de William Booth Grey (nacido en 1773), nieto materno de la segunda duquesa de Portland, quien fue gran amigo de Mary Delany (1700-1788). Sin embargo, Yale lo cataloga como Booth Grey (1740-1802). Existen dos grabados de Booth Grey en Yale similares al presente. Además, existía otro honorable Booth Grey (político) que era tío de William. Su hijo, también Booth Grey, se casó con la hermana de William, Sophia.\u003c\/p\u003e\n\u003cp\u003e Sobre papel verjurado. Tenga en cuenta el pequeño tamaño de esta obra.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52021513650505,"sku":"KB-871","price":48.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/kb-871.jpg?v=1743521276"},{"product_id":"chinese-bodhi-peepal-leaf-painting-late-18th-century-qing-dynasty-imperial-official-kc-253","title":"Chinese Bodhi Peepal Leaf Painting Late 18th-century – Qing Dynasty Imperial Official","description":"\u003cp\u003eAn original late 18th-century gouache painting on Bodhi leaf, Qing Dynasty Imperial Official.\u003c\/p\u003e\u003cp\u003eA particularly beautiful 18th-century Chinese painting on Bodhi leaf. The detail on the costume is exceptionally fine.\u003c\/p\u003e\u003cp\u003eThis is one of a set of Chinese paintings on Bodhi leaf comprising figures of the Qing Dynasty court. The delicate painting style and fine facial features suggest that it was painted at the end of the 18th century, towards the end of the rule of Qianlong Emperor (1711–1799); a number of the male figures are bodyguards or officials of the Imperial court, wearing clothing that matches that of Qianlong Emperor's staff.\u003c\/p\u003e\u003cp\u003eThe peepal tree, otherwise known as sacred fig or Bodhi tree, is native to south-west China, Indochina and the Indian subcontinent. Its leaves form perfect, delicate, transparent skeletons once dried, and as such are uniquely suited to this art form. The skeleton would typically be varnished, before being painting with vivid, backgroundless genre scenes.\u003c\/p\u003e\u003cp\u003eLike Chinese paintings on pith, paintings on peepal leaves were produced for the export market in the late 18th and 19th century. By 1833 the monopoly of trade by the English East India Company had come to an end, opening the China trade to dozens of British companies and seeing the number of merchants and volume of trade flourish. Paintings were produced in port cities to meet increasingly high Western demands for Chinese souvenirs.\u003c\/p\u003e\u003cp\u003eTypically paintings on peepal leaves and on pith would depict attractive local subjects such as customs, costumes and trades, and indigenous flora and fauna. The painting style would combine a traditional Chinese approach of flattened sweeps of colour with aspects of Western influence in detail and realism.\u003c\/p\u003e\u003cp\u003ePlease note that the leaf is loose and not mounted onto any backing.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52948550877513,"sku":"KC-253","price":110.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/kc-253.jpg?v=1757941486"},{"product_id":"chinese-bodhi-peepal-leaf-painting-late-18th-century-qing-dynasty-imperial-official-kc-251","title":"Chinese Bodhi Peepal Leaf Painting Late 18th-century – Qing Dynasty Imperial Official","description":"\u003cp\u003eAn original late 18th-century gouache painting on Bodhi leaf, Qing Dynasty Imperial Official.\u003c\/p\u003e\u003cp\u003eA particularly beautiful 18th-century Chinese painting on Bodhi leaf. The detail on the costume is exceptionally fine.\u003c\/p\u003e\u003cp\u003eThis is one of a set of Chinese paintings on Bodhi leaf comprising figures of the Qing Dynasty court. The delicate painting style and fine facial features suggest that it was painted at the end of the 18th century, towards the end of the rule of Qianlong Emperor (1711–1799); a number of the male figures are bodyguards or officials of the Imperial court, wearing clothing that matches that of Qianlong Emperor's staff.\u003c\/p\u003e\u003cp\u003eThe peepal tree, otherwise known as sacred fig or Bodhi tree, is native to south-west China, Indochina and the Indian subcontinent. Its leaves form perfect, delicate, transparent skeletons once dried, and as such are uniquely suited to this art form. The skeleton would typically be varnished, before being painting with vivid, backgroundless genre scenes.\u003c\/p\u003e\u003cp\u003eLike Chinese paintings on pith, paintings on peepal leaves were produced for the export market in the late 18th and 19th century. By 1833 the monopoly of trade by the English East India Company had come to an end, opening the China trade to dozens of British companies and seeing the number of merchants and volume of trade flourish. Paintings were produced in port cities to meet increasingly high Western demands for Chinese souvenirs.\u003c\/p\u003e\u003cp\u003eTypically paintings on peepal leaves and on pith would depict attractive local subjects such as customs, costumes and trades, and indigenous flora and fauna. The painting style would combine a traditional Chinese approach of flattened sweeps of colour with aspects of Western influence in detail and realism.\u003c\/p\u003e\u003cp\u003ePlease note that the leaf is loose and not mounted onto any backing.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52948552876361,"sku":"KC-251","price":180.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/kc-251.jpg?v=1757941492"},{"product_id":"canton-school-qing-dynasty-archer-soldier-original-18th-century-gouache-painting-kc-235","title":"Canton School, Qing Dynasty Archer Soldier – 18th-century gouache painting","description":"\u003cp\u003eAn original 18th-century gouache painting – Canton School, Qing Dynasty Archer Soldier.\u003c\/p\u003e\u003cp\u003eThis is one of an outstanding set of six Canton School gouache paintings on paper depicting Taoist deities and Qing Dynasty figures.\u003c\/p\u003e\u003cp\u003eBeginning in the late 18th century, centred on the treaty port of Canton (Guangzhou), there existed a thriving trade in ethnographical watercolours executed by local Chinese artists and sold to western merchants and travellers.\u003c\/p\u003e\u003cp\u003eThese works typically depict Chinese traditional customs, occupations, manufacture and trades, boats, plants and animals, and they blend Chinese and European painting techniques, resulting in a unique mix of artistic styles.\u003c\/p\u003e\u003cp\u003eThis set of six gouache paintings are a particularly high quality example; five of the six are painted on very delicate paper, which was customary for paintings dating from the early period (late 18th and early 19th century), when works were particularly fine and specifically produced using the highest standards for wealthy Europeans. Later in the 19th century the paper was usually thicker, catering for a wider mass-market.\u003c\/p\u003e\u003cp\u003eThe figures depicted are unusually large when compared with works from the studio of Pu-Qua (active c.1750–1850). They also not to be standard 'stock' export paintings (repeated figures produced in multiples for the market) as they do not bring up any specific matches when cross-referenced with the extensive collection of Chinese export paintings in the V\u0026amp;A, London.\u003c\/p\u003e\u003cp\u003eIn gouache on very fine, thin laid paper.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":53441682145609,"sku":"KC-235","price":795.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KC-235.jpg?v=1764695591"},{"product_id":"canton-school-qianlong-emperor-in-yellow-imperial-robes-original-18th-century-gouache-painting-kc-234","title":"Canton School, Qianlong Emperor in Yellow Imperial Robes – 18th-century gouache painting","description":"\u003cp\u003eAn original 18th-century gouache painting – Canton School, Qianlong Emperor in Yellow Imperial Robes.\u003c\/p\u003e\u003cp\u003eThis is one of an outstanding set of six Canton School gouache paintings on paper depicting Taoist deities and Qing Dynasty figures.\u003c\/p\u003e\u003cp\u003eBeginning in the late 18th century, centred on the treaty port of Canton (Guangzhou), there existed a thriving trade in ethnographical watercolours executed by local Chinese artists and sold to western merchants and travellers.\u003c\/p\u003e\u003cp\u003eThese works typically depict Chinese traditional customs, occupations, manufacture and trades, boats, plants and animals, and they blend Chinese and European painting techniques, resulting in a unique mix of artistic styles.\u003c\/p\u003e\u003cp\u003eThis set of six gouache paintings are a particularly high quality example; five of the six are painted on very delicate paper, which was customary for paintings dating from the early period (late 18th and early 19th century), when works were particularly fine and specifically produced using the highest standards for wealthy Europeans. Later in the 19th century the paper was usually thicker, catering for a wider mass-market.\u003c\/p\u003e\u003cp\u003eThe figures depicted are unusually large when compared with works from the studio of Pu-Qua (active c.1750–1850). They also not to be standard 'stock' export paintings (repeated figures produced in multiples for the market) as they do not bring up any specific matches when cross-referenced with the extensive collection of Chinese export paintings in the V\u0026amp;A, London.\u003c\/p\u003e\u003cp\u003eIn gouache on cream wove paper.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":53441682178377,"sku":"KC-234","price":410.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KC-234.jpg?v=1764695590"},{"product_id":"canton-school-taoist-warrior-deity-zhenwu-original-18th-century-gouache-painting-kc-237","title":"Canton School, Taoist Warrior Deity Zhenwu – 18th-century gouache painting","description":"\u003cp\u003eAn original 18th-century gouache painting – Canton School, Taoist Warrior Deity Zhenwu.\u003c\/p\u003e\u003cp\u003eThis is one of an outstanding set of six Canton School gouache paintings on paper depicting Taoist deities and Qing Dynasty figures.\u003c\/p\u003e\u003cp\u003eBeginning in the late 18th century, centred on the treaty port of Canton (Guangzhou), there existed a thriving trade in ethnographical watercolours executed by local Chinese artists and sold to western merchants and travellers.\u003c\/p\u003e\u003cp\u003eThese works typically depict Chinese traditional customs, occupations, manufacture and trades, boats, plants and animals, and they blend Chinese and European painting techniques, resulting in a unique mix of artistic styles.\u003c\/p\u003e\u003cp\u003eThis set of six gouache paintings are a particularly high quality example; five of the six are painted on very delicate paper, which was customary for paintings dating from the early period (late 18th and early 19th century), when works were particularly fine and specifically produced using the highest standards for wealthy Europeans. Later in the 19th century the paper was usually thicker, catering for a wider mass-market.\u003c\/p\u003e\u003cp\u003eThe figures depicted are unusually large when compared with works from the studio of Pu-Qua (active c.1750–1850). They also not to be standard 'stock' export paintings (repeated figures produced in multiples for the market) as they do not bring up any specific matches when cross-referenced with the extensive collection of Chinese export paintings in the V\u0026amp;A, London.\u003c\/p\u003e\u003cp\u003eIn gouache on very fine, thin laid paper.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":53441682112841,"sku":"KC-237","price":395.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KC-237.jpg?v=1764695590"},{"product_id":"canton-school-taoist-deity-with-dragon-original-18th-century-gouache-painting-kc-236","title":"Canton School, Taoist Deity with Dragon – 18th-century gouache painting","description":"\u003cp\u003eAn original 18th-century gouache painting – Canton School, Taoist Deity with Dragon.\u003c\/p\u003e\u003cp\u003eThis is one of an outstanding set of six Canton School gouache paintings on paper depicting Taoist deities and Qing Dynasty figures.\u003c\/p\u003e\u003cp\u003eBeginning in the late 18th century, centred on the treaty port of Canton (Guangzhou), there existed a thriving trade in ethnographical watercolours executed by local Chinese artists and sold to western merchants and travellers.\u003c\/p\u003e\u003cp\u003eThese works typically depict Chinese traditional customs, occupations, manufacture and trades, boats, plants and animals, and they blend Chinese and European painting techniques, resulting in a unique mix of artistic styles.\u003c\/p\u003e\u003cp\u003eThis set of six gouache paintings are a particularly high quality example; five of the six are painted on very delicate paper, which was customary for paintings dating from the early period (late 18th and early 19th century), when works were particularly fine and specifically produced using the highest standards for wealthy Europeans. Later in the 19th century the paper was usually thicker, catering for a wider mass-market.\u003c\/p\u003e\u003cp\u003eThe figures depicted are unusually large when compared with works from the studio of Pu-Qua (active c.1750–1850). They also not to be standard 'stock' export paintings (repeated figures produced in multiples for the market) as they do not bring up any specific matches when cross-referenced with the extensive collection of Chinese export paintings in the V\u0026amp;A, London.\u003c\/p\u003e\u003cp\u003eIn gouache on very fine, thin laid paper.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":53441682211145,"sku":"KC-236","price":395.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KC-236.jpg?v=1764695591"},{"product_id":"canton-school-taoist-warrior-deity-guan-yu-original-18th-century-gouache-painting-kc-238","title":"Canton School, Taoist Warrior Deity Guan Yu – 18th-century gouache painting","description":"\u003cp\u003eAn original 18th-century gouache painting – Canton School, Taoist Warrior Deity Guan Yu.\u003c\/p\u003e\u003cp\u003eThis is one of an outstanding set of six Canton School gouache paintings on paper depicting Taoist deities and Qing Dynasty figures.\u003c\/p\u003e\u003cp\u003eBeginning in the late 18th century, centred on the treaty port of Canton (Guangzhou), there existed a thriving trade in ethnographical watercolours executed by local Chinese artists and sold to western merchants and travellers.\u003c\/p\u003e\u003cp\u003eThese works typically depict Chinese traditional customs, occupations, manufacture and trades, boats, plants and animals, and they blend Chinese and European painting techniques, resulting in a unique mix of artistic styles.\u003c\/p\u003e\u003cp\u003eThis set of six gouache paintings are a particularly high quality example; five of the six are painted on very delicate paper, which was customary for paintings dating from the early period (late 18th and early 19th century), when works were particularly fine and specifically produced using the highest standards for wealthy Europeans. Later in the 19th century the paper was usually thicker, catering for a wider mass-market.\u003c\/p\u003e\u003cp\u003eThe figures depicted are unusually large when compared with works from the studio of Pu-Qua (active c.1750–1850). They also not to be standard 'stock' export paintings (repeated figures produced in multiples for the market) as they do not bring up any specific matches when cross-referenced with the extensive collection of Chinese export paintings in the V\u0026amp;A, London.\u003c\/p\u003e\u003cp\u003eIn gouache on very fine, thin laid paper.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":53441683554633,"sku":"KC-238","price":795.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KC-238.jpg?v=1764695599"},{"product_id":"canton-school-taoist-deity-wang-lingguan-original-18th-century-gouache-painting-kc-239","title":"Canton School, Taoist Deity Wang Lingguan – 18th-century gouache painting","description":"\u003cp\u003eAn original 18th-century gouache painting – Canton School, Taoist Deity Wang Lingguan.\u003c\/p\u003e\u003cp\u003eThis is one of an outstanding set of six Canton School gouache paintings on paper depicting Taoist deities and Qing Dynasty figures.\u003c\/p\u003e\u003cp\u003eBeginning in the late 18th century, centred on the treaty port of Canton (Guangzhou), there existed a thriving trade in ethnographical watercolours executed by local Chinese artists and sold to western merchants and travellers.\u003c\/p\u003e\u003cp\u003eThese works typically depict Chinese traditional customs, occupations, manufacture and trades, boats, plants and animals, and they blend Chinese and European painting techniques, resulting in a unique mix of artistic styles.\u003c\/p\u003e\u003cp\u003eThis set of six gouache paintings are a particularly high quality example; five of the six are painted on very delicate paper, which was customary for paintings dating from the early period (late 18th and early 19th century), when works were particularly fine and specifically produced using the highest standards for wealthy Europeans. Later in the 19th century the paper was usually thicker, catering for a wider mass-market.\u003c\/p\u003e\u003cp\u003eThe figures depicted are unusually large when compared with works from the studio of Pu-Qua (active c.1750–1850). They also not to be standard 'stock' export paintings (repeated figures produced in multiples for the market) as they do not bring up any specific matches when cross-referenced with the extensive collection of Chinese export paintings in the V\u0026amp;A, London.\u003c\/p\u003e\u003cp\u003eIn gouache on very fine, thin laid paper.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":53441683587401,"sku":"KC-239","price":810.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KC-239.jpg?v=1764695599"},{"product_id":"john-maule-ipswich-river-looking-towards-mr-cobbolds-from-rev-mr-cookes-wharf-original-1793-pen-ink-drawing-kc-906","title":"John Maule, Ipswich River Looking towards Mr Cobbold's from Rev Mr Cooke's Wharf – 1793 ink drawing","description":"\u003cp\u003eAn original 1793 pen \u0026amp; ink drawing – John Maule, Ipswich River Looking towards Mr Cobbold's from Rev Mr Cooke's Wharf.\u003c\/p\u003e\u003cp\u003eA wonderful 18th-century topographical sketch by John Maule (1771–1866), delicately drawn in grey ink.\u003c\/p\u003e\u003cp\u003eThis forms part of a collection of drawings by Maule that we have for sale, documenting interesting early views of landscapes and landmarks that are now much changed.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":53525780988233,"sku":"KC-906","price":26.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KC-906.jpg?v=1765989603"},{"product_id":"john-maule-avenue-in-greenwich-park-with-royal-observatory-london-original-1792-pen-ink-drawing-kc-905","title":"John Maule, Avenue in Greenwich Park with Royal Observatory, London – 1792 ink drawing","description":"\u003cp\u003eAn original 1792 pen \u0026amp; ink drawing – John Maule, Avenue in Greenwich Park with Royal Observatory, London.\u003c\/p\u003e\u003cp\u003eA wonderful 18th-century topographical sketch by John Maule (1771–1866), delicately drawn in grey ink.\u003c\/p\u003e\u003cp\u003eThis forms part of a collection of drawings by Maule that we have for sale, documenting interesting early views of landscapes and landmarks that are now much changed.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":53525798420809,"sku":"KC-905","price":28.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KC-905.jpg?v=1765989691"},{"product_id":"john-maule-netley-abbey-hampshire-original-1797-graphite-drawing-kc-893","title":"John Maule, Netley Abbey, Hampshire – 1797 graphite drawing","description":"\u003cp\u003eAn original 1797 graphite drawing – John Maule, Netley Abbey, Hampshire.\u003c\/p\u003e\u003cp\u003eA wonderful 18th-century topographical sketch by John Maule (1771–1866), delicately drawn in graphite.\u003c\/p\u003e\u003cp\u003eThis forms part of a collection of drawings by Maule that we have for sale, documenting interesting early views of landscapes and landmarks that are now much changed.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":53525823258953,"sku":"KC-893","price":38.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KC-893.jpg?v=1765989862"},{"product_id":"john-maule-view-on-the-river-brathay-lake-district-original-1792-watercolour-painting-kc-903","title":"John Maule, View on the River Brathay, Lake District – 1792 drawing in ink \u0026 wash","description":"\u003cp\u003eAn original 1792 watercolour painting – John Maule, View on the River Brathay, Lake District.\u003c\/p\u003e\u003cp\u003eA wonderful 18th-century topographical sketch by John Maule (1771–1866), delicately drawn in grey ink and wash.\u003c\/p\u003e\u003cp\u003eOn watermarked J Whatman wove paper.\u003c\/p\u003e\u003cp\u003eThis forms part of a collection of drawings by Maule that we have for sale, documenting interesting early views of landscapes and landmarks that are now much changed.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":53525854716233,"sku":"KC-903","price":48.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KC-903.jpg?v=1765990014"},{"product_id":"john-maule-gottorf-castle-schleswig-germany-original-1793-watercolour-painting-kc-908","title":"John Maule, Gottorf Castle, Schleswig, Germany – 1793 drawing in ink \u0026 wash","description":"\u003cp\u003eAn original 1793 watercolour painting – John Maule, Gottorf Castle, Schleswig, Germany.\u003c\/p\u003e\u003cp\u003eA wonderful 18th-century sketch by John Maule (1771–1866), delicately drawn in ink and grey wash. The drawing is after 'Matthew Wyatt's Foreign Views'. Matthew Wyatt was likely a member of the Wyatt artistic dynasty in England in the 18th and 19th centuries. The drawing is too early, however, to be after either Matthew Cotes Wyatt (1777–1862) or Sir Matthew Digby Wyatt (1820–1877).\u003c\/p\u003e\u003cp\u003eThis sketch forms part of a collection of drawings by Maule that we have for sale, documenting interesting early views of landscapes and landmarks that are now much changed.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":53525854781769,"sku":"KC-908","price":48.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KC-908.jpg?v=1765990023"},{"product_id":"thomas-worlidge-head-of-a-man-in-a-fur-cap-original-c-1759-graphite-drawing-kd-227","title":"Thomas Worlidge, Head of a Man in a Fur Cap – c.1759 graphite drawing","description":"\u003cp\u003eAn original c.1759 graphite drawing – Thomas Worlidge, Head of a Man in a Fur Cap.\u003c\/p\u003e\u003cp\u003eA characterful miniature portrait head, sketched in graphite, by Thomas Worlidge (1700–1766).\u003c\/p\u003e\u003cp\u003eWorlidge was one of the most well-known portrait painters and etchers in England in the 18th century. He was heavily influenced by the prints and drawings of Rembrandt, and may be regarded as a leading figure in the Rembrandt revival in England in the 18th century.\u003c\/p\u003e\u003cp\u003eThe majority of Worlidge's works were his own creations, not direct copies from Rembrandt, but he either partially adapted or was inspired by Rembrandt's works, especially the costumes. The fur cap and coat in the present sketch are similar to other portrait subjects by Worlidge after Rembrandt described as 'oriental'. A similar portrait of a man 'in character' dressed in furs is in the collection of the Metropolitan Museum of Art, New York (no. 2014.765).\u003c\/p\u003e\u003cp\u003eIn graphite on heavy cream paper.\u003c\/p\u003e\u003cp\u003eThis is one of two drawings by Thomas Worlidge that we have for sale (see stock number KD-228). The other drawing is dated 1759.\u003c\/p\u003e\u003cp\u003eProvenance: from an album associated with Park Gate, Altrincham, home of Lennox Bertram Lee (1864–1949), son of Sir Joseph Cocksey Lee (1832–1894), cotton spinner, merchant and Chairman of the Manchester Ship Canal 1886–7. The works in the album predate this and include a drawing of the children of Henry Lascelles, 2nd Earl of Harewood (1767–1841).\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":53972862894409,"sku":"KD-227","price":368.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KD-227.jpg?v=1772627839"},{"product_id":"elisabetta-sirani-cupid-burning-armour-original-1782-engraving-print-kd-444","title":"Charles White after Elisabetta Sirani, Cupid Burning Armour – 1782 engraving print","description":"\u003cp\u003eAn original 1782 engraving print – Charles White after Elisabetta Sirani, Cupid Burning Armour.\u003c\/p\u003e\u003cp\u003eA rare engraving after a painting by the 17th-century Italian painter Elisabetta Sirani (1638-1665), 'Cupid Burning Armour, In the Gallery at Houghton'. Published June 1st 1782 by John Boydell Engraver in Cheapside, London.\u003c\/p\u003e\u003cp\u003eHoughton was the home of Sir Robert Walpole, Britain's first Prime Minister, who amassed a fine collection of Old Master artworks.\u003c\/p\u003e\u003cp\u003eOn cream laid paper.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":54203094663497,"sku":"KD-444","price":26.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KD-444.jpg?v=1776264531"},{"product_id":"henry-william-bunbury-lady-rushout-children-original-18th-century-watercolour-painting-kd-374","title":"Attrib. Henry William Bunbury, Lady Rushout \u0026 Children – 18th-century watercolour painting","description":"\u003cp\u003eAn original 18th-century watercolour painting – Attrib. Henry William Bunbury, Lady Rushout \u0026amp; Children.\u003c\/p\u003e\u003cp\u003eOne of a pair that we have for sale, this fine 18th-century wash drawing depicts Lady Rushout and two children (see stock number KD-375 for pair).\u003c\/p\u003e\u003cp\u003eThis composition exists as a much later print by Charles Knight that was reproduced in The Connoisseur Volume XLI in 1915, after an original by Henry William Bunbury (1750–1811). The print closely, but not exactly, matches the present drawing.\u003c\/p\u003e\u003cp\u003eThe whereabouts of the Bunbury original is unclear, as is its relationship to our drawing, but the style and competence of the hand, and the existence of the complementary pair, suggest that this is likely by Bunbury.\u003c\/p\u003e\u003cp\u003eThe subject of the drawing is Rebecca Rushout (1740–1818), daughter of Humphrey Bowles of Wanstead, who married John Rushout in 1766. He succeeded his father as 5th Baronet in 1773 and was created Baron Northwick in 1797. Lady Rushout is depicted with two of her five children—possibly the two eldest, Anne and Harriet. John Rushout became celebrated as one of the most important collectors of Old Master Pictures in the 19th Century, as well as of works by contemporary British artists. In 1832 he built a picture gallery at Northwick Park, Gloucestershire, but when that became too small, he acquired Thirlestane House, Cheltenham, which he opened to the public, creating one of the town's most popular attractions.\u003c\/p\u003e\u003cp\u003eHenry William Bunbury was principally a caricaturist, himself the aristocratic son of Sir William Bunbury, 5th Baronet of Mildenhall, Suffolk. He served as the Duke of York and Albany's equerry. In London he moved in the circles of Sir Joshua Reynolds, Dr Johnson and David Garrick.\u003c\/p\u003e\u003cp\u003eIn watercolour on cream wove paper with Whatman watermark.\u003c\/p\u003e\u003cp\u003eThe composition is formed to an oval, with the artist's test paint marks to the margin. At the upper edge of the sheet there is residue of two circular sealing wax marks.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":54203139948873,"sku":"KD-374","price":310.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KD-374.jpg?v=1776265261"},{"product_id":"henry-william-bunbury-lady-rushout-seated-children-original-18th-century-watercolour-painting-kd-375","title":"Attrib. Henry William Bunbury, Lady Rushout Seated \u0026 Children – 18th-century watercolour painting","description":"\u003cp\u003eAn original 18th-century watercolour painting – Attrib. Henry William Bunbury, Lady Rushout Seated \u0026amp; Children.\u003c\/p\u003e\u003cp\u003eThis fine 18th-century wash drawing is one of a pair that we have for sale depicting Lady Rushout and two children (see stock number KD-374 for pair).\u003c\/p\u003e\u003cp\u003eThe composition of the complementary drawing exists as a much later print by Charles Knight that was reproduced in The Connoisseur Volume XLI in 1915, after an original by Henry William Bunbury (1750–1811).\u003c\/p\u003e\u003cp\u003eThe whereabouts of the Bunbury original is unclear, as is its relationship to our drawing, but the style and competence of the hand, and the existence of the complementary pair, suggest that this is likely by Bunbury.\u003c\/p\u003e\u003cp\u003eThe subject of the drawing is Rebecca Rushout (1740–1818), daughter of Humphrey Bowles of Wanstead, who married John Rushout in 1766. He succeeded his father as 5th Baronet in 1773 and was created Baron Northwick in 1797. Lady Rushout is depicted with two of her five children—possibly the two eldest, Anne and Harriet. John Rushout became celebrated as one of the most important collectors of Old Master Pictures in the 19th Century, as well as of works by contemporary British artists. In 1832 he built a picture gallery at Northwick Park, Gloucestershire, but when that became too small, he acquired Thirlestane House, Cheltenham, which he opened to the public, creating one of the town's most popular attractions.\u003c\/p\u003e\u003cp\u003eHenry William Bunbury was principally a caricaturist, himself the aristocratic son of Sir William Bunbury, 5th Baronet of Mildenhall, Suffolk. He served as the Duke of York and Albany's equerry. In London he moved in the circles of Sir Joshua Reynolds, Dr Johnson and David Garrick.\u003c\/p\u003e\u003cp\u003eIn watercolour on cream wove paper with partial J Whatman watermark.\u003c\/p\u003e\u003cp\u003eThe composition is formed to an oval, with the artist's test paint marks to the margin. At the upper edge of the sheet there is residue of two circular sealing wax marks. Inscribed verso, 'De La Mere' (Of the Mother).\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":54203140276553,"sku":"KD-375","price":310.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KD-375.jpg?v=1776265269"},{"product_id":"reinier-vinkeles-amsterdam-street-scene-with-horse-sleigh-original-18th-century-watercolour-painting-kd-675","title":"Attrib. Reinier Vinkeles, Amsterdam Street Scene with Horse Sleigh – 18th-century watercolour painting","description":"\u003cp\u003eAn original 18th-century watercolour painting – Attrib. Reinier Vinkeles, Amsterdam Street Scene with Horse Sleigh.\u003c\/p\u003e\u003cp\u003eThis animated miniature street scene captures the bustling canal-side activity in 18th-century Amsterdam. Likely drawn around the 1760s by the Dutch painter and engraver Reinier Vinkeles (1741–1816), the view includes one of the distinctive horse-drawn sleighs (known as the ‘toeslede’ or ‘sleepkoets’) for which the city was known. Due to heavy taxes applied to wheeled vehicles, the wheel-less sleighs became a primary mode of urban public transit. The sleds were dragged across the cobblestone streets, with an oily cloth used to smooth the passage. The coachman walked alongside to guide the horse.\u003c\/p\u003e\u003cp\u003eMuch activity is squeezed into this small composition; finely clad gentlemen and women converse, alongside children and a dog. Large carts, carriages and mail coaches arriving in the city were too large for the narrow streets and left at designated 'cart squares', with much business then carried out on foot. In 1790 the German traveller-scientist Georg Forster visited Amsterdam and commented: 'in Amsterdam there are neighbourhoods where one can only painstakingly move through the swarming in narrow small streets. The whole day long, a continuous thunderous roaring dominates.'\u003c\/p\u003e\u003cp\u003eIn grey wash with red chalk on laid paper. The miniature sheet has been mounted onto cream card with wash- and gilt-line and window cut verso.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":54541814202697,"sku":"KD-675","price":795.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KD-675.jpg?v=1780570475"},{"product_id":"william-hayes-carolina-wood-duck-drake-bird-original-c-1780-etching-print-kd-676","title":"William Hayes, Carolina Wood Duck Drake Bird – c.1780 hand-coloured etching","description":"\u003cp\u003eAn original c.1780 etching print – William Hayes, Carolina Wood Duck Drake Bird.\u003c\/p\u003e\u003cp\u003eA rare ornithological study by William Hayes (1735–1802) et al. depicting a male wood duck, or Carolina duck, native to North America. Large and striking, the work is hand-coloured in watercolour and bodycolour over etched lines on watermarked Whatman laid paper. The rendering is typical of its time, isolating a single bird on a small patch of ground, with a focus on bold colouring, tending towards decorative appeal rather than strict scientific accuracy.\u003c\/p\u003e\u003cp\u003eThis picture forms part of a collection of five birds by Hayes that we have for sale.\u003c\/p\u003e\u003cp\u003eWilliam Hayes was an 18th-century bird illustrator, known as the first artist to record a single private collection of live birds. Seven members of his family or 'pupils' collaborated on the etching and hand-colouring of his bird subjects: his wife Anne and children Charles, William, Annette, Emily, Maria and Matilda.\u003c\/p\u003e\u003cp\u003eHayes is best-known for two publications, 'A Natural History of British Birds', 1775 and 'Portraits of Rare and Curious Birds, with their Descriptions, from the Menagery of Osterly Park [sic]', 1794–1799. The pictures in our collection do not appear to relate to a single publication. One of the plates (Sea Pie) is from 'A Natural History of British Birds', 1775; one (Ruff) is after a known watercolour by Hayes dated 1779; one (Carolina Duck) matches an engraving by Hayes signed and dated 1780; the final two (male and female Curassow) are subjects that feature in 'Portraits of Rare and Curious Birds' but the poses of the birds differ.\u003c\/p\u003e\u003cp\u003eHayes evidently produced illustrations that did not ultimately end up in his publications. It is also possible that the pictures relate to another extremely rare compilation by Hayes, 'The Portraits of British and Exotic Birds Coloured from Nature', 1778, of which only a single copy is known. This included birds belonging to one of Hayes's early patrons, the Earl of Sandwich.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":54609180164425,"sku":"KD-676","price":148.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KD-676.jpg?v=1781601285"},{"product_id":"william-hayes-ruff-bird-original-c-1779-etching-print-kd-677","title":"William Hayes, Ruff Bird – c.1779 hand-coloured etching","description":"\u003cp\u003eAn original c.1779 etching print – William Hayes, Ruff Bird.\u003c\/p\u003e\u003cp\u003eA rare ornithological study by William Hayes (1735–1802) et al. depicting a male ruff, a sandpiper native to northern Eurasia. Large and striking, the work is hand-coloured in watercolour and bodycolour over etched lines on laid paper. The rendering is typical of its time, isolating a single bird on a small patch of ground, with a focus on bold colouring, tending towards decorative appeal rather than strict scientific accuracy.\u003c\/p\u003e\u003cp\u003eThis picture forms part of a collection of five birds by Hayes that we have for sale.\u003c\/p\u003e\u003cp\u003eWilliam Hayes was an 18th-century bird illustrator, known as the first artist to record a single private collection of live birds. Seven members of his family or 'pupils' collaborated on the etching and hand-colouring of his bird subjects: his wife Anne and children Charles, William, Annette, Emily, Maria and Matilda.\u003c\/p\u003e\u003cp\u003eHayes is best-known for two publications, 'A Natural History of British Birds', 1775 and 'Portraits of Rare and Curious Birds, with their Descriptions, from the Menagery of Osterly Park [sic]', 1794–1799. The pictures in our collection do not appear to relate to a single publication. One of the plates (Sea Pie) is from 'A Natural History of British Birds', 1775; one (Ruff) is after a known watercolour by Hayes dated 1779; one (Carolina Duck) matches an engraving by Hayes signed and dated 1780; the final two (male and female Curassow) are subjects that feature in 'Portraits of Rare and Curious Birds' but the poses of the birds differ.\u003c\/p\u003e\u003cp\u003eHayes evidently produced illustrations that did not ultimately end up in his publications. It is also possible that the pictures relate to another extremely rare compilation by Hayes, 'The Portraits of British and Exotic Birds Coloured from Nature', 1778, of which only a single copy is known. This included birds belonging to one of Hayes's early patrons, the Earl of Sandwich.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":54609180590409,"sku":"KD-677","price":180.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KD-677.jpg?v=1781601308"},{"product_id":"william-hayes-female-yellow-knobbed-curassow-bird-original-c-1780s-etching-print-kd-678","title":"William Hayes, Female Yellow-knobbed Curassow Bird – c.1780s hand-coloured etching","description":"\u003cp\u003eAn original c.1780s etching print – William Hayes, Female Yellow-knobbed Curassow Bird.\u003c\/p\u003e\u003cp\u003eA rare ornithological study by William Hayes (1735–1802) et al. depicting a female curassow, native to Central and South America. Large and striking, the work is hand-coloured in watercolour and bodycolour over etched lines on watermarked Whatman laid paper. The rendering is typical of its time, isolating a single bird on a small patch of ground, with a focus on bold colouring, tending towards decorative appeal rather than strict scientific accuracy.\u003c\/p\u003e\u003cp\u003eThis picture forms part of a collection of five birds by Hayes that we have for sale.\u003c\/p\u003e\u003cp\u003eWilliam Hayes was an 18th-century bird illustrator, known as the first artist to record a single private collection of live birds. Seven members of his family or 'pupils' collaborated on the etching and hand-colouring of his bird subjects: his wife Anne and children Charles, William, Annette, Emily, Maria and Matilda.\u003c\/p\u003e\u003cp\u003eHayes is best-known for two publications, 'A Natural History of British Birds', 1775 and 'Portraits of Rare and Curious Birds, with their Descriptions, from the Menagery of Osterly Park [sic]', 1794–1799. The pictures in our collection do not appear to relate to a single publication. One of the plates (Sea Pie) is from 'A Natural History of British Birds', 1775; one (Ruff) is after a known watercolour by Hayes dated 1779; one (Carolina Duck) matches an engraving by Hayes signed and dated 1780; the final two (male and female Curassow) are subjects that feature in 'Portraits of Rare and Curious Birds' but the poses of the birds differ.\u003c\/p\u003e\u003cp\u003eHayes evidently produced illustrations that did not ultimately end up in his publications. It is also possible that the pictures relate to another extremely rare compilation by Hayes, 'The Portraits of British and Exotic Birds Coloured from Nature', 1778, of which only a single copy is known. This included birds belonging to one of Hayes's early patrons, the Earl of Sandwich.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":54609180754249,"sku":"KD-678","price":180.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KD-678.jpg?v=1781601318"},{"product_id":"william-hayes-male-yellow-knobbed-curassow-bird-original-c-1780s-etching-print-kd-679","title":"William Hayes, Male Yellow-knobbed Curassow Bird – c.1780s hand-coloured etching","description":"\u003cp\u003eAn original c.1780s etching print – William Hayes, Male Yellow-knobbed Curassow Bird.\u003c\/p\u003e\u003cp\u003eA rare ornithological study by William Hayes (1735–1802) et al. depicting a male curassow, native to Central and South America. Large and striking, the work is hand-coloured in watercolour and bodycolour over etched lines watermarked laid paper. The rendering is typical of its time, isolating a single bird on a small patch of ground, with a focus on bold colouring, tending towards decorative appeal rather than strict scientific accuracy.\u003c\/p\u003e\u003cp\u003eThis picture forms part of a collection of five birds by Hayes that we have for sale.\u003c\/p\u003e\u003cp\u003eWilliam Hayes was an 18th-century bird illustrator, known as the first artist to record a single private collection of live birds. Seven members of his family or 'pupils' collaborated on the etching and hand-colouring of his bird subjects: his wife Anne and children Charles, William, Annette, Emily, Maria and Matilda.\u003c\/p\u003e\u003cp\u003eHayes is best-known for two publications, 'A Natural History of British Birds', 1775 and 'Portraits of Rare and Curious Birds, with their Descriptions, from the Menagery of Osterly Park [sic]', 1794–1799. The pictures in our collection do not appear to relate to a single publication. One of the plates (Sea Pie) is from 'A Natural History of British Birds', 1775; one (Ruff) is after a known watercolour by Hayes dated 1779; one (Carolina Duck) matches an engraving by Hayes signed and dated 1780; the final two (male and female Curassow) are subjects that feature in 'Portraits of Rare and Curious Birds' but the poses of the birds differ.\u003c\/p\u003e\u003cp\u003eHayes evidently produced illustrations that did not ultimately end up in his publications. It is also possible that the pictures relate to another extremely rare compilation by Hayes, 'The Portraits of British and Exotic Birds Coloured from Nature', 1778, of which only a single copy is known. This included birds belonging to one of Hayes's early patrons, the Earl of Sandwich.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":54609180819785,"sku":"KD-679","price":180.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KD-679.jpg?v=1781601327"},{"product_id":"william-hayes-sea-pie-oystercatcher-bird-original-c-1775-etching-print-kd-680","title":"William Hayes, Sea Pie Oystercatcher Bird – c.1775 hand-coloured etching","description":"\u003cp\u003eAn original c.1775 etching print – William Hayes, Sea Pie Oystercatcher Bird.\u003c\/p\u003e\u003cp\u003eA rare ornithological study by William Hayes (1735–1802) et al. depicting an oystercatcher, historically known as a Sea Pie, native to the UK. Large and striking, the work is hand-coloured in watercolour and bodycolour over etched lines on laid paper watermarked 'GR'. The rendering is typical of its time, isolating a single bird on a small patch of ground, with a focus on bold colouring, tending towards decorative appeal rather than strict scientific accuracy.\u003c\/p\u003e\u003cp\u003eThis picture forms part of a collection of five birds by Hayes that we have for sale.\u003c\/p\u003e\u003cp\u003eWilliam Hayes was an 18th-century bird illustrator, known as the first artist to record a single private collection of live birds. Seven members of his family or 'pupils' collaborated on the etching and hand-colouring of his bird subjects: his wife Anne and children Charles, William, Annette, Emily, Maria and Matilda.\u003c\/p\u003e\u003cp\u003eHayes is best-known for two publications, 'A Natural History of British Birds', 1775 and 'Portraits of Rare and Curious Birds, with their Descriptions, from the Menagery of Osterly Park [sic]', 1794–1799. The pictures in our collection do not appear to relate to a single publication. One of the plates (Sea Pie) is from 'A Natural History of British Birds', 1775; one (Ruff) is after a known watercolour by Hayes dated 1779; one (Carolina Duck) matches an engraving by Hayes signed and dated 1780; the final two (male and female Curassow) are subjects that feature in 'Portraits of Rare and Curious Birds' but the poses of the birds differ.\u003c\/p\u003e\u003cp\u003eHayes evidently produced illustrations that did not ultimately end up in his publications. It is also possible that the pictures relate to another extremely rare compilation by Hayes, 'The Portraits of British and Exotic Birds Coloured from Nature', 1778, of which only a single copy is known. This included birds belonging to one of Hayes's early patrons, the Earl of Sandwich.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":54609180885321,"sku":"KD-680","price":180.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KD-680.jpg?v=1781601339"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/collections\/A2-c-JG-015.jpg?v=1745316354","url":"https:\/\/somersetandwood.com\/es-eu\/collections\/18th-century.oembed","provider":"Somerset \u0026 Wood Fine Art","version":"1.0","type":"link"}