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Details
HOWITT, Samuel (1765?-1822). Shooting. London: R. Reeve, 1805.
Six hand-coloured aquatints, 284 x 426mm. images; 452 x 609mm. sheets. (Some light marginal soiling, small marginal stain on plates 5 and 6.) Tipped to guards in 19th-century green half morocco gilt (spine sunned, joints lightly rubbed). Provenance: Clarence S. Bement (numismatist and book collector; bookplate) -- Joseph Widener (1871-1943, American art collector, founding benefactor of the National Gallery of Art in Washington, D.C. and thoroughbred horse enthusiast; bookplate; acquired at his sale 29 November 1944).
A MAGNIFICENT SHOOTING SERIES, issued without a common title. Howitt was an entirely self-trained artist, and quite individual in style. ‘It is not easy to define his somewhat unique position amongst sporting painters for, as someone has put it: A Howitt is always a Howitt, wherever you meet it; and although he was fitfully and capriciously one in sentiment and heart with Rowlandson and Morland for a season, he never adopted their style or borrowed their technique’ (Spitzer). One plate watermarked 1802. Not in Mellon/Snelgrove. Spitzer, p. 164 (listing only four aquatints).
Six hand-coloured aquatints, 284 x 426mm. images; 452 x 609mm. sheets. (Some light marginal soiling, small marginal stain on plates 5 and 6.) Tipped to guards in 19th-century green half morocco gilt (spine sunned, joints lightly rubbed). Provenance: Clarence S. Bement (numismatist and book collector; bookplate) -- Joseph Widener (1871-1943, American art collector, founding benefactor of the National Gallery of Art in Washington, D.C. and thoroughbred horse enthusiast; bookplate; acquired at his sale 29 November 1944).
A MAGNIFICENT SHOOTING SERIES, issued without a common title. Howitt was an entirely self-trained artist, and quite individual in style. ‘It is not easy to define his somewhat unique position amongst sporting painters for, as someone has put it: A Howitt is always a Howitt, wherever you meet it; and although he was fitfully and capriciously one in sentiment and heart with Rowlandson and Morland for a season, he never adopted their style or borrowed their technique’ (Spitzer). One plate watermarked 1802. Not in Mellon/Snelgrove. Spitzer, p. 164 (listing only four aquatints).
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