This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1907 Excerpt: ...of Highmore, and it is perhaps hardly fair to the latter to compare them, as Gravelot's are finely drawn with a sharp pen on a very small scale, while Highmore's were oil paintings, of which we only know the engravings of Truchy, who was no great engraver, and Benoist, who, if he was rather better, was hardly of the ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1907 Excerpt: ...of Highmore, and it is perhaps hardly fair to the latter to compare them, as Gravelot's are finely drawn with a sharp pen on a very small scale, while Highmore's were oil paintings, of which we only know the engravings of Truchy, who was no great engraver, and Benoist, who, if he was rather better, was hardly of the first order. But the comparison is worth making if only to show what an English artist could do at that date when virtually in competition with a Frenchman; and though Gravelot's work must be ranked by so many degrees the higher, that of Highmore has a greater value to us as being of our own school, and bringing home to us the life of the time with a sincerity that has certainly a charm of its own. Gravelot's "Ladies and Gentlemen on a Terrace," again, with all its delicate charm, is hardly English, and the voice of conscience tells me it is more likely that it represents a French scene than an English one; but the composition is so entirely charming that I feel sure an indulgence will be granted, and England be given the benefit of the doubt. Another foreigner who painted portraits in England was John Baptist Vanloo, a brother of Carl Vanloo, whose "Halte a la Chasse" in the Louvre eclipses most of the illustrations of Society we have in England. Even John Baptist, as Walpole observes, soon bore away the chief business of London from every other painter, and had his visit not been so short (1737-1742) there can be no doubt that he would have acquired a much greater fame in this country. As it is, his work is but little known. There is a portrait of his of Augusta, Princess of Wales, holding the young George III. by the hand, at Buckingham Palace; but a more charming, if less important, specimen is the half-length of Peg...
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Seller's Description:
First edition (hardback). 8vo (27cm by 18cm), x, 78pp. 4 colour plates, 33 b&w plates. Original brown cloth, gilt titling to the spine. Boards a little rubbed, light chafing to the head of the spine, preliminary pages foxed, gift inscription to the front free endpaper; overall, this book is in good condition.
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Seller's Description:
NY 1907 First edition. Illustrated with B&W and color reproductions Very good, no DJ. Red embrossed pictorial cloth, index, 78 pp. Spine a bit faded, minor soil, some f oxing, but overall tight, clean and even crisp. Entertaining story of art, artists, aristocracy and society of Georgian England.
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Seller's Description:
Very good. London: Seeley And Co., Limited; New York: E. P. Dutton & Co., 1907. Hardcover edition, lacks a wrapper. Bound into brown cloth & lettered in gilt to the spine. Blind embossed decs. to the upper. Light tanning to the cloth & bumped extremities. Internally pages a little toned, yet text remains sharp. Blotchy foxing to the pages. Binding sound. ALL ITEMS ARE SENT BY ROYAL MAIL.
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Seller's Description:
Good. Book 78 pages text + 4 col; or plates, 28 b/w plates, some with two illustrations per plate; 4to, dark red cloth, borders, illustration blind stamped front cover. Artists include Hogarth, Reynolds and Gainsborough. Spine sunned two inch tear, frayed edges, light wear, nameplate, name, 1941 date, sunning, some spotting text, good+; plates very good+; no dust jacket.