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1770046371London: John Johnston 1770. Early Edition. Disbound. Good Condition. Disbound modest edgewear a few short tears and chips scattered toning - general quite clean internally. There were a few editions some published in parts - this is apparently complete as issued and covers Act 1 and part of Act 2. 29pp. <br/><br/>The complete work is 81pp. Size: Folio. Quantity Available: 1. Shipped Weight: Under 1 kilo. Category: Music; Inventory No: 046371. John Johnston unknown books
17617777London: Published by R. H. Laurie; 53 Fleet Street and Bowles & Carver 1761. Mezzotint. New state ii/ii with the publication line altered. Inscription reads as follows: " J. Reynolds pinx.Cha Corbutt fecit./ Strive not TRAGEDY nor COMEDY to Engross a GARRICK who to your NOBLEST CHARACTER does EQUAL HONOUR./ Reddere Personae scit convenientia cuique./ Published by R.H.LAURIE; 53 Fleet Street and BOWLES & CARVER St. Pauls Church Yard London Price 6s.". In good condition apart from a small section of paper loss in the upper margin not extending into the image and two small skillfully mended tears on the bottom margin. Images size: 13 1/8 x 16 inches. One of the most famous portraits of the actor David Garrick by Sir Joshua Reynolds.<br/> <br/>David Garrick 1717-1779 was perhaps the most influential actor in the English theater. He successfully took on all aspects of theatrical production including actor manager playwright publicist and theatre advocate. He displayed an amazing range by convincingly playing parts in every genre from comedy to tragedy history to farce. From 1747 until his retirement in 1776 he was the manager of Drury Lane where he initiated many improvements: he introduced concealed stage lighting removed spectators from the stage and cultivated a naturalistic style of acting. Garrick was acutely conscious of the value of pictures as advertisements. He sat for every painter of note many of whom are now little more than names. He was painted in oils and in watercolours drawn in pencil and in pastels modelled in wax and in terracotta; his likeness even appeared on medals Wedgewood china and playing-cards. This portrait by his friend Reynolds demonstrates in a mildly humorous way the actor's talents and character; posed between Tragedy and Comedy Garrick is depicted the master of both. Garrick's broad smile and Tragedy's melodramatic stance note the dagger at her waist favor Comedy. Reynolds' painting was a huge public success and inspired many prints and paintings pirated prints of the image even made their way to the streets of Paris. The popularity of this image is a testimony to Garrick's fame and to Reynolds' talent. University of Florida website Penny An interesting derivative of this scene is Shakespeare Nursed by Tragedy and Comedy a beautiful stipple engraving based on a painting by Romney.<br/> <br/>Penny Reynolds 42; Chaloner Smith British Mezzotinto Portraits 31 this state not recorded; Russell English Mezzotint Portraits and their States 31 this state not recorded; Hamilton Catalogue Raisonné of the Engraved Works of Sir Joshua Renolds p.29; Lennox-Boyd Theatre: the Age of Garrick p.108; O'Donoghue Catalogue of Engraved British Portraits. in the British Museum 52. Published by R. H. Laurie; 53 Fleet Street, and Bowles & Carver unknown books
177536850London: Published by C. Shepherd 1775. Mezzotint. A fine impression of this early print of Charles Lee the famous general of the American Revolution.<br/> <br/>Public demand for portraits of Revolutionary heroes was not limited to America but spread to English and European print shops where an inquisitive audience clamored for a glimpse of the key figures of the war. Public interest reached such a frenzy that European printmakers published fictitious portraits before they had accurate likenesses of the sitters and thus many of the first English and European prints of Revolutionary colonials were completely invented. London publishers using the names C. Shepherd Thomas Hart and John Morris issued a series of mezzotints of the officers of the American Revolution none of which were taken from accurate portraits but rather were constructed on a visual formula and bore no resemblance to the individuals they claimed to be representing. Tomlinson's portrait of General Charles Lee is just such a portrait: the image bears little resemblance to contemporary accounts of his appearance and there is no record of him sitting for the artist. This portrait was executed and printed early in the war with the expectation that Lee would play a major role in the conflict an assumption based on his past military record in the French and Indian War. Although born in England Lee committed himself to the Patriot cause and soon became a leader in the Colonial army. He took part in the defense of Charleston and was a commander at the Battle of Monmouth. This is a fascinating early print of this Revolutionary general which not only records the practice of invented portraits but became a compositional model for other portraits of Revolutionary War heroes.<br/> <br/>Chaloner Smith British Mezzotinto Portraits Engraver not ascertained Class III 9; Cresswell The American Revolution in Drawings and Prints 147; George Catalogue of Political and Personal Satires.in the British Museum V 5296; Russell English Mezzotint Portraits and their States II p.450.9. Published by C. Shepherd unknown books
177539790London: 'C. Shepherd' 1775. Mezzotint engraving 14 x 10 inches superb impression with full margins. Framed 1 1/2" gold leaf Federal frame with ribbed panel and acanthus lead corners archival Antique white mat and UV Plexiglas. A striking and very rare mezzotint portrait of John Hancock as president of the Continental Congress.<br/> <br/>This portrait was already highly valued in 1904 when S.V. Henkels described the Hampton L. Carson copy of this print as being 'Of extreme rarity in beautiful condition with wide margin. The only copy I ever saw'. Henkels' assessment was borne out by the eventual hammer price of $120.00 - a huge price when compared to a number of the other prints of John Hancock in the same sale which fetched under $1.00. See S.V. Henkels and Davis & Harvey. Catalogue No. 906 Part III Unique Collection of Engraved Portraits The Hampton L. Carson Collection. Philadelphia: 1904 lot number 3189. The American patriot is depicted in the rectangular image within an oval frame wearing a formal wig with ribbon a high collar vest and top coat the tones of the print are deep and rich and the features clearly defined. This mezzotint was issued in England as the full reality of the conflict with the American colonies was becoming clear. London publishers using the names C. Shepard Thomas Hart and John Morris issued a series of mezzotints of the officers of the American Revolution. This mezzotint of John Hancock was probably done by R. Purcell who worked under the pseudonym C. Corbutt. Peter Thomas in his volume The American Revolution in the series The English Satirical Print 1600-1832 writes "The possibility of a compromise solution to the war had been embarrassing for those opponents of government who adopted a civil war interpretation of the conflict.This was founded on the belief or assertion that the King's government posed a sinister threat to liberty in all his dominions.The rebels across the Atlantic were therefore the first line of defence of British liberty and a series of prints throughout the war depicted as heroes American leaders like George Washington and John Hancock including the present print." Thomas reproduces what at first glance is the same engraving from the British Museum collection but a closer examination reveals that the image of Hancock shows some marked differences to the present example which is most likely an earlier state. Thomas identifies the artist as "Charles Corbutt" i.e. R. Purcell noting that the name "Littleford" in the caption may be fictitious. Cresswell in The American Revolution in drawings and prints also discusses this engraving but notes incorrectly that the portrait was "after a painting done by Copley in 1770-72."<br/> <br/>W.C. Andrews Essay on the Portraiture of the American Revolutionary War New York: 1896 pp.89-90; Cresswell The American Revolution in Drawings and Prints 102; George Catalogue of Political and Personal Satires . in the British Museum V. 5293; S.V. Henkels and Davis & Harvey. Catalogue No. 906 Part III Unique Collection of Engraved Portraits The Hampton L. Carson Collection. Philadelphia: 1904 lot number 3189; Russell English Mezzotint Portraits Engraver not ascertained Class III 5; Chaloner Smith British Mezzotinto Portraits Engraver not ascertained Class III 5; P. Thomas The American Revolution 44. 'C. Shepherd' unknown books
