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Francis Danby

  1793 – 1861
 
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The Opening of the Sixth Seal

The Opening of the Sixth Seal   1830

Mezzotint with etching, engraved by G.H. Phillips after Francis Danby.

Superb proof impression from the large first plate of this spectacular subject. First issue proof, as published by M.H. Colnaghi on 1st January 1830.

£7,500



The Passage of the Red Sea

The Passage of the Red Sea   1829

Mezzotint with etching, engraved by G.H. Phillips after Francis Danby.

Outstanding lettered proof impression of this magnificent mezzotint engraving, the enormous scale of which is perfectly suited to Francis Danby’s extravagant composition. First issue proof, as published by M.H. Colnaghi on 1st January 1829.

£6,800



Scenery of Bristol sold

Scenery of Bristol   1823

Original lithographs by Francis Danby, Samuel Jackson and James Johnson.

The complete folio containing three original lithographs, stitched in original brown paper wrappers, as first published. Extremely rare.

The folio contains:
“View from Kings, Weston Hill” by Francis Danby
“Redcliffe Church” by James Johnson
“View of St. Vincents Rocks, and the Old Hotwell House” by Samuel Jackson


The three original lithographs are stitched, as issued, into the original brown printed wrapper which reads “No. Price 7/6 (inscribed in ink in a contemporary hand). Three Views, illustrative of The Scenery of Bristol, and its Vicinity / London: Printed and published by Rowney and Forster, at their lithographic press, no.51, Rathbone Place. / 1823.” When writing on this folio in The Bristol School of Artists. Francis Danby and Painting in Bristol 1810-1840, Francis Greenacre remarks “They are the finest engraved Bristol views but of considerable rarity” (City Art Gallery Bristol, September 1973, p.96, item 72).

This exceptionally rare folio contains Francis Danby’s only original lithograph.

SOLD

 

The Irish born artist Francis Danby is considered to have been the leading painter of the Bristol School of artists during the Romantic period. Francis Danby had settled in Bristol in 1813 and over the next eleven years established himself as the finest landscape painter in the vicinity. During most of this time he painted in watercolours and it was only around 1818-19 that his work in oils began to emerge, his first major oil painting being exhibited in London at the British Institution in 1820 (The Upas Tree). By 1824 Francis Danby was heavily in debt and he fled the city of Bristol in secrecy, moving to the capital in the hope of fame and fortune. It was upon exhibition of his painting of Sunset at Sea after a Storm at the Royal Academy in 1824 that Francis Danby first rose to prominence in the London art scene. Regarded by Richard Redgrave as the “work that made the painter’s reputation” Sunset at Sea after a Storm was purchased to much fanfare at the exhibition by the President of the Royal Academy, Sir Thomas Lawrence. Here was a romantic seascape, which displayed that sublime depiction of limitless scale which John Martin had been using to such public acclaim. John Martin had already declared his opposition to the Royal Academy, but now the Academy appeared to have found its answer to John Martin’s spectacular triumphs through the art of Francis Danby.

Unfortunately, Francis Danby was plagued by financial and marital problems throughout his life and although he rose to considerable fame through his paintings emulating the style of John Martin, he fled England for Europe in late 1829 as a result of the breakdown of his marriage and continued debt. Although he returned to England around a decade later he never re-established the fame which he had attained during the 1820’s. In recent times Francis Danby’s work has been re-appraised and he is now acknowledged for his remarkable ability as a landscape artist rather than just for the few dramatic oils paintings through which he first rose to fame. [more]