Paul Sandby

1731 – 1809

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Episcopal Palace at St. David’s 1775

Aquatint with etching.

Outstanding early printing in dark brown ink with a variant version of the sky, as published by Paul Sandby himself in his first Welsh Series, entitled XII Views in South Wales.
Early impressions in dark brown ink, such as this, are now scarce.

£350

Carey Castle in Pembroke Shire 1774

Original aquatint with etching

Beautiful, tonal impression with the early sky, prior to reworking. Printed in dark brown ink, as published by Paul Sandby himself in his first Welsh Series, entitled XII Views in South Wales. Early impressions in dark brown ink, such as this, are now scarce.

SOLD

Part of the Remains of Llanphor near Pembroke 1775

Original aquatint with etching

Fine tonal impression, printed in umber-brown ink, as published by Paul Sandby himself in his first Welsh Series, entitled XII Views in South Wales, in 1775.

£295

Pimble Meer 1777

Original aquatint with etching.

Delicate tonal impression with the subtle balance of tints in the sky still fresh and before any sign of wear. Printed in dark sepia ink, as published by Paul Sandby himself in the scarce third series of XII Views in Wales.

A beautiful early example of one of Sandby’s most tranquil Welsh views.

SOLD

Scenes of 18th Century Life – Ten early proofs c.1756

Original etchings, one finished using manière a lavis.

Unique group of ten early proof impressions, apparently prior to the Ryland and Byer edition.
One proof amended with brown watercolour and inscribed with the artist’s name in pencil.
Each print is tipped to the support sheet at one or two corners and is in generally very good original condition.

SOLD

Capriccio with Edinburgh Castle and Arthur’s Seat 1750

Original etching.

Excellent, early impression with strong line and fine contrast. As issued in Paul Sandby’s second series of Scottish Etchings and with the number in the plate.

SOLD

[Coastal scene – A horseman and shepherd conversing] c.1758

Original etching.

Very good impression with strong etched line.

This etching is one of a group of six plates of similar format issued by Paul Sandby in 1758. Impressions from the 1758 edition are exceptionally rare – this impression is from the second edition, as published by Ryland & Byer in 1765,
prior to the editions published by Robert Sayer.

SOLD

[Landscape with a group of travellers] 1758

Original etching.

Generally very fine original condition.

SOLD

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 this country. 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. [more]