Onuphrio Muralto = Horace Walpole., The first state of the title-page, 1790, is found in thin paper copies, with uncorrected text, possibly for local sale., At least 2 copies on vellum have title-page in state 2, and text of the cancels., Half-title: Edwards's edition of the Castle of Otranto., BEIN: Vellum binding by Edwards of Halifax., and 25.5 cm. Frontispiece A and B. First leaf wanting. Extra-illustrated, including: folding map, drawings by F. Miller and G.P. Harding; 6 plates published by Harding in 1793; frontispiece of Sivrac's translation, 1795; Miel's plates from Berlin edition, 1794; Kirgate's notes; 2 trade cards.
Publisher:
Printed by Bodoni, for J. Edwards, bookseller of London
A view of an elegant carriage showing details of the underside of the wheels; the body and coach box are shown upright
Description:
Title from text above image., Publication date based on presentation inscription from John Hatchett to the Royal Society, 13th May 1789., Dedication below image: "To the most noble the Marquis of Landsdown, this plate of his Lordship's carriage is most humbly inscribed. By his Lordship's most obedient servant the inventor and patentee, John Hatchett, Long Acre London.", One of a series of two plates., Elaborate watercolor & body color, heightened with silver and partly finished with shellac or gum arabic., and With a wash drawing of a coachman, reins in hand, added behind the front wheels.
Unexecuted design for the town hall in Jersey, with scale. Bentley lived in Jersey between the years 1752 and 1756. On the verso, a small calculation in ink
Description:
Title written in ink by Horace Walpole below design. and Formerly mounted on leaf 41 in an album assembled by Horace Walpole: Drawings and designs by Richd. Bentley ... [Strawberry Hill], [ca. 1760].
Title from item., Inscribed with the title in unidentified hand below image: "The cottage at Strawberry Hill.", Inscribed with the artist's name in lower left corner below image: "Carne. Tringham ex.", and Amatuer copy after 1789 watercolor by J.C. Barrow's "The Cottage"?
Subject (Geographic):
Twickenham (London, England), England, and Twickenham.
Subject (Name):
Strawberry Hill (Twickenham, London, England)
Subject (Topic):
Buildings, structures, etc, Architecture, Domestic, Dwellings, and Houses
Drawing of the ornate cross that sat beneath the shrine in the Chapel at Strawberry Hill. This piece was bought by Horace Walpole at the sale of Richard Bateman in 1774
Description:
Title written in ink below image., Attribution to John Carter from local catalog card., A scale bar in inches runs along the bottom of the image., Date of production based on probable date for Richard Bull's assembly of the extra-illustrated volume in which this drawing appears. See Hazen., Mounted on page 231 of Richard Bull's copiously extra-illustrated copy of: Walpole, H. A description of the villa of Mr. Horace Walpole. Strawberry Hill : Printed by Thomas Kirgate, 1784. See Hazen, A.T. Bibliography of the Strawberry Hill Press (1973 ed.), no. 30, copy 13., and For further information, consult library staff.
Title written in an unidentified contemporary hand on a fragment pasted below the image., On verso: "No. M.", Note on verso, in pencil: "Chewton Illustrated Walpole, vol. I, pt. I. Sketch of the life of HW, Earl of Orford by Lord Dover.", Formerly shelved as part of the SH Views collection., Unknown artist., and Not in Manuscript Catalogue of 1763.
From Horace Walpole's 1784 edition of Description of the villa, he describes the Beauclerk drawings thus: "The beauty and grace of the figures and of the children are inimitable; the expression of the passions most masterly, particularly in the devotion of the countess with the porter, of Benedict in the scene with Martin, and the tenderness, despair, and resolution of the countess in the last scene; in which is a new stroke of double passion in Edmund, whose right hand is clenched and ready to strike with anger, the left hand relents. In the scene of the children, some are evidently vulgar, the others children of rank; and the first child, that pretends to look down and does leer upwards, is charming. Only two scenes are represented in all the seven, and yet all are varied; and the ground in the first, by a very uncommon effect, evidently descends and rises again. These sublime drawings are the first histories she ever attempted, were all conceived and executed in a fortnight."
Description:
Title, date and artist name written by Horace Walpole on the verso, in ink., One of six Beauclerk drawings for Mysterious mother in The Lewis Walpole Library., and Lady Diana Beauclerk, English artist, 1734-1808.
From Horace Walpole's 1784 edition of Description of the villa, he describes the Beauclerk drawings thus: "The beauty and grace of the figures and of the children are inimitable; the expression of the passions most masterly, particularly in the devotion of the countess with the porter, of Benedict in the scene with Martin, and the tenderness, despair, and resolution of the countess in the last scene; in which is a new stroke of double passion in Edmund, whose right hand is clenched and ready to strike with anger, the left hand relents. In the scene of the children, some are evidently vulgar, the others children of rank; and the first child, that pretends to look down and does leer upwards, is charming. Only two scenes are represented in all the seven, and yet all are varied; and the ground in the first, by a very uncommon effect, evidently descends and rises again. These sublime drawings are the first histories she ever attempted, were all conceived and executed in a fortnight."
Description:
Title, date and artist name written by Horace Walpole on the verso, in ink., One of six Beauclerk drawings for Mysterious mother in The Lewis Walpole Library., and Lady Diana Beauclerk, English artist, 1734-1808.
From Horace Walpole's 1784 edition of Description of the villa, he describes the Beauclerk drawings thus: "The beauty and grace of the figures and of the children are inimitable; the expression of the passions most masterly, particularly in the devotion of the countess with the porter, of Benedict in the scene with Martin, and the tenderness, despair, and resolution of the countess in the last scene; in which is a new stroke of double passion in Edmund, whose right hand is clenched and ready to strike with anger, the left hand relents. In the scene of the children, some are evidently vulgar, the others children of rank; and the first child, that pretends to look down and does leer upwards, is charming. Only two scenes are represented in all the seven, and yet all are varied; and the ground in the first, by a very uncommon effect, evidently descends and rises again. These sublime drawings are the first histories she ever attempted, were all conceived and executed in a fortnight."
Description:
Title, date and artist name written by Horace Walpole on the verso, in ink., One of six Beauclerk drawings for Mysterious mother in The Lewis Walpole Library., and Lady Diana Beauclerk, English artist, 1734-1808.
