SANDBY Paul
Nottingham 1725 or 1730/31 - 1809 London
Landscapes & Genre
Etchings
en construction.im aufbau.under construction
POLYGRAPHICUM SALES CATALOGUES
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1
A Mountain Village Scene near Edinburgh
with a Hay Cart & Buildings
Masterprint in Bistre
PAUL SANDBY
Etched on the Spot by P.Sandby 1750
Ex Collection Hammer.Stockholm
(Lugt 1237)
cf.
Fine Arts Museum of San Francisco
.
2
Horse&Rider
crossing a wooden bridge
Masterprint in Sepia
PAUL SANDBY
P.Sandby inv. et sculp. 1758
Ex Collection Christian Hammer
Stockholm
(Lugt 1237)
.
3
Coastal Scene. A horseman & a shepherd conversing
Fine Etching
Paul Sandby
Ex Collection Hammer.Stockholm
(Lugt 1237)
.
4
British 18th century Masterprint
PAUL SANDBY
Paul Sandby Invt. Sculpt.
Ex Collection Hammer.Stockholm
(Lugt 1237)
.
5
Fine Etching
Paul Sandby
Ex Collection Christian Hammer
Stockholm
(Lugt 1237)
cf.
Contents of the Princeton Gladstone Album cited below
.
6
Capriccio with Edinburgh Castle & Arthur's Seat
British 18th century Masterprint
PAUL SANDBY
Etched on the Spot by P. Sandby Sepr. 27 1750
cf. Yale Center Catalogue 1985 item 34
Ex Collection Hammer Stockholm
(Lugt 1237)
.
7
Fine Etching
PAUL SANDBY
Etched on ye Spot by P.Sandby Sepr. 6 .1750
Ex Collection Christian Hammer
Stockholm
(Lugt 1237)
.
8
The Promenade in the Park
British 18th century Masterprint
PAUL SANDBY
Paul Sandby Fecit 1751
Ex Collection Hammer.Stockholm
(Lugt 1237)
cf.
Collection
Fine Arts Museum of San Francisco
.
9
Fine Etching
PAUL SANDBY
P.Sandby Invt et Sculpt
Ex Collection Christian Hammer.Stockholm
(Lugt 1237)
.
10
British 18th century Masterprint
PAUL SANDBY
Ex Collection Christian Hammer.Stockholm
(Lugt 1237)
.
11
Fine 18th century Etching
PAUL SANDBY
Ex Collection Hammer.Stockholm
(Lugt 1237)
.
12
British 18th century Masterprint
PAUL SANDBY
[P.Sandby]delin et sculp Sepr 20, 17.50
Ex Collection Christian Hammer.Stockholm
(Lugt 1237)
.
13
Fine 18th century Etching
PAUL SANDBY
Ex Collection Hammer.Stockholm
(Lugt 1237)
.
14
British 18th century Masterprint
PAUL SANDBY
P.Sandby Fecit
Ex Collection Christian Hammer.Stockholm
(Lugt 1237)
.
15
Fine 18th century Etching
PAUL SANDBY
Ex Collection Hammer.Stockholm
(Lugt 1237)
.
16
British 18th century Masterprint
PAUL SANDBY
P.Sandby Invt et Sculp
Ex Collection Christian Hammer.Stockholm
(Lugt 1237)
.
17
Fine 18th century Portrait of a Lady
PAUL SANDBY
Ex Collection Hammer.Stockholm
(Lugt 1237)
.
18
British 18th century Masterprint
PAUL SANDBY
Ex Collection Christian Hammer.Stockholm
(Lugt 1237)
.
19
Fine 18th century Etching
PAUL SANDBY
Ex Collection Hammer.Stockholm
(Lugt 1237)
.
20
Conflict by the Well
British 18th century Masterprint
PAUL SANDBY
P.Sandby Invt.Sculp 1758
Ex Collection Christian Hammer.Stockholm
(Lugt 1237)
.
21
Hunting Genre Scene
Fine 18th century Etching
PAUL SANDBY
Ex Collection Hammer.Stockholm
(Lugt 1237)
.
Scenes of 18th century Life in England
It is thought that Paul Sandby created these particular small etchings
for his own use as gifts and teaching aids.
Etched c. 1756
cf.
Princeton Archives. Paul Sandby Etchings.Gladstone Album
cited below
.
Album of 18th-century Scottish Etchings
Called the father of English watercolor, Paul Sandby (1731-1809) , was a founding member of the Royal Academy of Arts.London.
This album stems from Sandby's early Scottish period, when he was a draughtsman with the military survey of the highlands.
Assembled and printed by the artist, with dates ranging from 1747 to 1758.
The etchings are primarily landscapes, with occacsional Scottish street characters intermixed.
One holds the comment 'etched on the spot P. Sandby 1750'
.
The album, with late 18th century half calf and blue/greenish marbled paper covered boards, has not title page.
The only identification is a book label reading 'Fasque',which is a Scottish country house in Kincardineshire, built in 1809.
The estate was purchased in 1829 by Sir John Gladstone, father of William Gladstone.
.
22
Rare 18th century British Etching
PAUL SANDBY
collection HELM&HELM lindach
.
23
Scarce 18th century British Etching
PAUL SANDBY
collection HELM&HELM lindach
.
24
Curious 18th century British Etching
PAUL SANDBY
Paul Sandby sculp
collection HELM&HELM lindach
.
25
British 18th century Masterprint
PAUL SANDBY
collection HELM&HELM lindach
.
26
Rare 18th century British Etching
PAUL SANDBY
collection HELM&HELM lindach
.
27
Curious 18th century British Etching
PAUL SANDBY
P.Sandby sc.
collection HELM&HELM lindach
.
28
Fine 18th century British masterprint
PAUL SANDBY
P.Sandby
interested in acquisition?ask for details
FAQ
details.orders.prices.shipping
POLYGRAPHICUM ART SALES CATALOGUES
PAINTER ETCHERS
à suivre. to be continued.wird fortgesetzt
paul sandby.portrait
:::
.
cf.
PAUL SANDBY
Bicentenary Expo Show
2010
Exhibition London
Royal Academy of Arts
13th March to 13th June 2010
following the
Exhibitions
at
Nottingham Castle Museum & Art Gallery
National Gallery of Scotland.Edinburgh
:::
Biography
Paul Sandby is widely accredited as being the artist who introduced the ‘picturesque’ to English landscape art and he was also one of the earliest exponents of original etching in England. Paul Sandby's first etchings date from the time when he was working as the chief draughtsman of the Ordnance Survey of Scotland (1747-1752). Upon his return to London in the spring of 1752, Sandby severed his ties with the Board of Ordnance and began to establish himself as a professional artist. Paul Sandby’s original etchings represent some of his finest work in the first decade after his return to London.
Paul Sandby’s magnificent work in aquatint is considered to be one of the major turning points in the history of printmaking. Aquatint was a novel etching process which was designed to introduce tonal values to the printed image. The popularity of this printmaking technique rivalled that of mezzotint until both were gradually displaced by lithography during the nineteenth century. The importance of Paul Sandby’s innovative and pioneering work in this medium cannot be overstated. Although Sandby neither invented the original process of aquatint, nor was the first to use it in this country, he established the technique as a means of reproduing topographical watercolours and gave the process the name by which it is known. ‘Aquatinta’, as he first called it, is derived from the words ‘Aqua’, meaning water, and ‘Tinctus’, meaning stained.
Paul Sandby refined the original process by introducing the concept of laying the aquatint ground through floating it on to the plate in a suspension in alcohol. His design could then be ‘painted’ on to the prepared plate using a water based substance which would cause the protective varnish to lift, thus, exposing the grounded plate to the effect of the acid bath. This method allowed him to produce the finest of grounds and gave him a freedom of handling through which the subtlest gradations of tone and the effects of watercolour washes could be obtained.
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PRINCETON
October 2008 Archives
Posted by Julie L. Mellby on October 30, 2008
Paul Sandby, Album of 18th-century Scottish etchings. Graphic Arts division (GAX) GA2008- in process
Called the father of English watercolor, Paul Sandby (1731-1809) was a founding member of the Royal Academy of Arts, London. This album stems from Sandby’s early Scottish period, when he was a draughtsman with the military survey of the highlands. It holds 75 etchings on 27 sheets, assembled and printed by the artist, with dates ranging from 1747 to 1758. The etchings are primarily landscapes, with occassional Scottish street characters intermixed. One holds the comment “etched on the spot P. Sandby 1750.”
The album, with late 18th century half calf and blue/greenish marbled paper covered boards, has no title page. The only identification is a book label reading “Fasque,” which is a Scottish country house in Kincardineshire, built in 1809. The estate was purchased in 1829 by Sir John Gladstone, father of William Gladstone.
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ITEM 1
Paul Sandby
1731-1809
Landscape in Scotland with a Hay Cart and Buildings, near Edinburgh.
Original etching in black ink. 1750. With the etched inscription and signature: 'Etched on the Spot by P.Sandby 1750.' From the first issue of the second Scottish series, 1750. Impression prior to the combined issue of all the Scottish etchings by Ryland and Bryer in 1765. With the
engraved no 2 and the letter 'H'.
Very fine delicate impression. On cream laid 18th century paper. Generally excellent condition. Trimmed just inside the platemark, but with 1/4 to 3/4 inch margins. Sheet: 9 x 7 1/8ins. Image: 8 1/8 x 6 5/8ins. (206x168mm)
A beautiful example of the delicacy of one of Sandby's earliest prints, drawn in pure etching, during the first part of his career when he was employed by the Ordnance survey on map-making in Scotland.
Paul Sandby was one of the most important English landscape artists of the mid 18th century. His importance lies not only in the simple beauty of his handling of line and tone but also in the fact that he was really the first painter in England to fully understand and express the concept of 'The Picturesque'. The picturesque is an essential element in the transition from classicism and the romantic into the realism which was to be a driving force of the 19th century. It has been perfectly defined by that great writer on English 18th century art Iola Williams as ' that quality of attractiveness which resides in irregular broken surfaces, and in things seamed and roughened by the dilapidation of time'. It was a central concept in the changing ideas of architecture, in the great landscape designs of English country house parks, and above all in art. In Sandby it is perfectly expressed in his eye for the grouping of buildings, in the pattern of light on trees, on the flow of hills or in light on water.
In drawing and painting Sandby used a style typical of his period, a defined line linked to washes of colour or tone. It was this same technique which he used in his prints. His earliest prints, such as those of Scotland, were drawn in pure etching. However at the beginning of the 1770's he began to make his first prints in the revolutionary medium of aquatint. Whilst it cannot really be claimed that Sandby invented the medium of brush-drawn aquatint, as Le Prince in France had begun to experiment with a form of aquatint in the 1750's, Sandby was certainly the first artist to truly realise its visual possibilities. Aquatint uses a resin which when applied to a copperplate and then heated turns into a minute pattern of granules around which the etching acid bites creating an area of tone rather than line. Sandby discovered a way of converting Le Prince's dry aquatint powder into a liquid wash and then brushing it onto the plate in a tonal version of a watercolour wash. It resulted in print images with the most beautiful qualities of tonal light.
Sandby's earliest aquatints are views in Wales, drawn during visits to his friend Sir Watkin Williams-Wynne. These Welsh views were followed by studies of Warwick and Windsor, and by other views in Southern England. The handling of the brushed tones in some of these prints is of a quite exceptional delicacy and beauty, the variations in density quite extraordinarily subtle, creating dappled patterns of light and surface which are the very essence of the 'picturesque' English landscape
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SANDBY & CHATLAIN.
A Collection of Landskips, and Figures, &c. on twenty-nine copper-plates, designed, etched and engraved by Paul Sandby and M. Chatlain.
London. Robert Sayer. 1773. Small folio. Title page and 31 monochrome copper-plate engravings on twenty-nine plates, 18 are by Sandby and 13 are by Chatelain [sic]. The last 2 prints 'Storm' and 'Calm' by Chatelain are the only titled plates. The only dated plate is by Sandby and dated 1758. Marbled paper wrappers, respined.
'They merit a Place in the Cabinets of the Curious, and are useful Studies to those who would draw Landskips with Taste and Effect.' From the title page.
It is unclear who wrote these words, but Thomas Sandby (1730 - 1809), described by Gainsborough as 'the only man of genius who has painted real views from Nature in this country', would not have been arrogant to do so. These fine plates of various rustic scenes are clearly the work of an inspired hand and may be scenes drawn in and around Windsor where Sandby lived with his brother from 1753 onward. The plates by Chatlain, whilst very fine, seem, in comparison to those of Sandby, to be less delicate and, indeed, less natural.
Height: 238.000 mm
Width: 280.000 mm
Bequeathed by William Sandby
PD 1904-8-19-63
Prints and Drawings
Paul Sandby, The Artist's Studio, a watercolour and bodycolour drawing on blue paper
England, after AD 1772
Both Paul Sandby (1730-1809) and his brother Thomas (1721-98) began work first in their birthplace, Nottingham, before entering the Ordnance Drawing Room at the Tower of London, where they trained as military draughtsmen. After a period in Scotland, in 1751 Paul went to live with his brother, then Deputy Ranger of Windsor Great Park, where he painted and sketched the castle and local inhabitants, before settling in London in 1760.
Paul moved to 4 St George's Row, Bayswater in 1772 (later 23 Hyde Park Place, demolished 1901). It remained his home and studio for the rest of his life. This is an informal sketch in watercolour and bodycolour on grey paper. The view is from a back window of the house looking down into the garden. In the centre, reached by stairs, is his elegant studio, built in the neo-classical style while carved busts of figures, vases and statues decorate the building and garden.
Thomas Gainsborough recommended Paul Sandby to at least one patron who wanted views of his country estate as the only contemporary English landscape artist who painted 'real views from nature', as opposed to his own imaginary compositions. But in addition tho faithful topographical views, Sandby was also concerned with elevating the regard in which landscape was held at the Royal Academy, and painted many large imaginary views in bodycolour and watercolour, intended to hang framed alongside oils on the walls of the Academy and the houses of his patrons.
L. Herrmann, Paul and Thomas Sandby (Batsford, 1986)
L. Stainton, British landscape watercolours (London, The British Museum Press, 1985)
L. Stainton, Nature into art: English lands (London, The British Museum Press, 1991)
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