All Bourne prints currently known to me
The Alms - Deeds of DorcasAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 7.9 x 9.2 in (20.1 x 23.3 cm) Estimated date engraved: about 1853 Source of print: This print from the Art Journal, July 1859. Probably first appeared in Royal Gallery of Art, Ancient and Modern: Engravings from the Private Collection of Her Majesty the Queen and His Royal Highness Prince Albert, edited by Samuel Carter Hall, 2 vol., London, Virtue & Co., 1854. Printed by: James S. Virtue Title of source painting: unknown Painter: William Charles Thomas Dobson Probable date of source painting: unknown Current location of painting: unknown Note: The original painting was exhibited at the Royal Academy in 1855. The engraving was probably executed in early 1859. The British Museum acquired acquired a copy of the Colnaghi print in 1861 and two copies of the Virtue print in 1870 and 1872. Rarity 3 based on sales appearances (on a scale of 1 to 8). This print is common (offered about 6 times per year).
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Andromeda Chained to the RockAttribution on print:"Engraved by H. Bourne" Size of Bourne engraving: 12 x 17 in (30.5 x 43.2 cm) Estimated date engraved: before 1881 Source of print: unknown Printed by: Holdgate Bros. Title of source painting: Andromeda Painter: Gustave Doré Probable date of source painting: 1869 Current location of painting: unknown Note: Information about painting and engraving from Dan Malan, Gustave Doré: Adrift on Dreams of Splendor, 1995 and others; original painting 66 x 102 inches; sold by Sotheby's for $575,000 in 1989. The British Museum acquired a copy of the engraving in 1928, signed in pencil by Doré and Bourne. That version indicates copyright in the U.S. in 1881. The original painting is reported to be in a private collection in France. Rarity 6 based on sales appearances (on a scale of 1 to 8). This print is scarce (offered about one time every two years).
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Anne: from the statue by Rysbrack at Blenheim HouseAttribution on print:"Engraved by H. Bourne" Size of Bourne engraving: 3.4 x 6.7 in (8.7 x 16.9 cm) Estimated date engraved: before 1882 Source of print: Pictures and Royal Portraits Illustrative of English and Scottish History: from the introduction of Christianity to the present time, Volume 2, page 52 by Thomas Archer Printed by: Blackie & Son Title of source painting: unknown Painter: J.L. Williams Probable date of source painting: unknown Current location of painting: unknown Rarity 4 based on sales appearances (on a scale of 1 to 8). This print is somewhat common (offered about three times per year).
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Anno Domini, Holy Family's Flight to EgyptAttribution on print:"Herbert Bourne" Size of Bourne engraving: 44.5 x 26.4 in (113 x 67 cm) Estimated date engraved: 1889 Source of print: Fairless & Beeforth Printed by: Fairless and Beeforth Title of source painting: Anno Domini Painter: Edwin Long Probable date of source painting: 1883 Current location of painting: Bournemouth, U.K. Note: Fairless & Beeforth commissioned Bourne to engrave a copy of Edwin Long's painting. The original painting and a copy the engraving is in the collection of the Russell-Cotes Art Gallery and Museum, Bournemouth, UK. Between the bottom edge of the engraving and the title is: 'London, April 17th, 1889. Published by Fairless & Beeforth.' Also hidden in the painting's pavement in the bottom right hand corner is 'E. Long 1883.' See also, Challis, Debbie, 'Seeing Race in Biblical Egypt: Edwin Longsden Long's Anno Domini (1883) and A. H. Sayce's The Races of the Old Testament (1891)'. Papers from the Institute of Archaeology, 2019, 28(1): pp. 1-22. DOI: 10.14324/111.2041-9015.006. A proof copy (proof before letters), supposedly signed in pencil by Bourne was found at Grosvenor Prints in August, 2020, (Hampton, Middlesex, U.K.) offered for 280 pounds (about $368 US). The size of Grosvenor's print was 43.75 x 24.5. Rarity 8 based on sales appearances (on a scale of 1 to 8). This print is rare (offered about one time or fewer per decade).
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Art Critics in BrittanyAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 7.2 x 9.3 in (18.2 x 23.6 cm) Estimated date engraved: about 1867 Source of print: From the Art Journal, March, 1867 Printed by: Virtue & Co. Title of source painting: unknown Painter: Abraham Solomon Probable date of source painting: 1867 Current location of painting: unknown Note: The British Museum acquired a proof impression of the engraving in 1874, with attribution text in pencil. Rarity 4 based on sales appearances (on a scale of 1 to 8). This print is somewhat common (offered about three times per year).
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Behold, God is My Saviour. I Will Trust and Not Be Afraid.Attribution on print: Size of Bourne engraving: unknown Estimated date engraved: about 1859 Source of print: Engraving of an unidentified painting from an unidentified book published by John Philp at the 'Establishment for Promoting Christian Fine Arts' in Portman Square, London. This illustration courtesy of the British Museum (registration number 1860,0114.436) acquired in 1860. Printed by: John Philp Title of source painting: unknown Painter: Theodor Mintrop Probable date of source painting: unknown Current location of painting: unknown Note: John Philp published numerous books dedicated to Christian study from his establishment in Portman Square, London. The British Museum speculates his publishing period 1860 to 1867. Two possible sources for this print include Dusseldorf Society's Engravings of Sacred and Legendary Subjects. and Societa Artistica of Florence, both published in 1860 or before. Please let me know if anyone has access to these works and can determine whether either is the source. The Dusseldorf Gallery (Society) published at least 500 engravings on a subscription basis, at least part through John Philp. The Society apparently published over an extended period, presumably in the 1850s and 1860s, so it is highly possible that one of those issues might also have been the source for this print. Rarity unknown (never seen offered for sale). This print is exceedingly rare.
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The Butt-Shooting a CherryAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 8.9 x 7.6 in (22.5 x 19.3 cm) Estimated date engraved: about 1869 Source of print: From the Art Journal, May, 1869. Printed by: Virtue & Co. Title of source painting: unknown Painter: William Mulready Probable date of source painting: 1848 Current location of painting: Victoria & Albert Museum Note: The bottom attribution is cut off in many examples. The British Museum acquired a copy in 1872. Rarity 3 based on sales appearances (on a scale of 1 to 8). This print is common (offered about 6 times per year).
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Charles IAttribution on print:"Engraved by H. Bourne" Size of Bourne engraving: 3.3 x 6.4 in (8.5 x 16.3 cm) Estimated date engraved: before 1878 Source of print: Pictures and Royal Portraits Illustrative of English and Scottish History: from the introduction of Christianity to the present time, Volume 1, page 152 by Thomas Archer Printed by: Blackie & Son Title of source painting: unknown Painter: J. L. Williams after painting by Anthony van Dyke Probable date of source painting: unknown Current location of painting: unknown Rarity 5 based on sales appearances (on a scale of 1 to 8). This print is somewhat scarce (offered about one time per year).
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Charles I in the Guard-Room, Insulted by the Soldiers of Cromwell, Jany. 27th 1649Attribution on print:"Engraved by H. Bourne" Size of Bourne engraving: 6.7 x 4.8 in (16.9 x 12.2 cm) Estimated date engraved: before 1878 Source of print: Pictures and Royal Portraits Illustrative of English and Scottish History: from the introduction of Christianity to the present time, Volume 1, page 168 by Thomas Archer Printed by: Blackie & Son Title of source painting: The King in the Guard-Room, with villainous roundhead soldiers blowing tobacco smoke in his patient face Painter: (Hippolyte) Paul Delaroche Probable date of source painting: 1838 Current location of painting: unknown Note: The painting was originally purchased by Lord Francis Edgerton and was in the Bridgewater Gallery in 1886. Rarity 7 based on sales appearances (on a scale of 1 to 8). This print is very scarce (offered about one time every five years).
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Charles IIAttribution on print:"Engraved by H. Bourne" Size of Bourne engraving: 3.7 x 6.7 in (9.4 x 16.9 cm) Estimated date engraved: before 1882 Source of print: Pictures and Royal Portraits Illustrative of English and Scottish History: from the introduction of Christianity to the present time, Volume 2 by Thomas Archer (immediately before title page) Printed by: Blackie & Son Title of source painting: unknown Painter: J.L. Williams after the portrait by Sir Godfrey Kneller Probable date of source painting: unknown Current location of painting: unknown Rarity 5 based on sales appearances (on a scale of 1 to 8). This print is somewhat scarce (offered about one time per year).
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Charles II in Disguise Aided in His Escape by Jane Lane after the Battle of Worcester, 1651Attribution on print:"Engraved by H. Bourne" Size of Bourne engraving: 6 x 5.1 in (15.3 x 13 cm) Estimated date engraved: before 1878 Source of print: Pictures and Royal Portraits Illustrative of English and Scottish History: from the introduction of Christianity to the present time, Volume 1, page 182 by Thomas Archer Printed by: Blackie & Son Title of source painting: Jane Lane assisting Charles II to escape after the battle of Worcester, 1651 Painter: Edward Matthew Ward Probable date of source painting: 1864 Current location of painting: Commons' Corridor of the Houses of Parliament Note: This artist is sometimes referenced as Edgar Melville Ward, but is clearly in disagreement with the 1854 edition of Civil Engineer and Architect's Journal. vol 17. The original painting is known by several additional titles including: 2) Charles II and Jane Lane ; 3) Jane Lane helping Charles II to escape after the Battle of Worcester; 4) Jane Lane assisting the flight of Charles II; 5) Charles II assisted in his escape by Jane Lane Rarity 5 based on sales appearances (on a scale of 1 to 8). This print is somewhat scarce (offered about one time per year).
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Cherry EarringsAttribution on print:"Engraved by H. Bourne" Size of Bourne engraving: 6.9 x 8.7 in (17.4 x 22 cm) Estimated date engraved: unknown Source of print: Art and Artists of our Time by Clarence Cook; also Art Journal, April, 1886 Printed by: Selmar Hess Title of source painting: Cherry Earrings Painter: Frederick (Fred) Morgan Probable date of source painting: 1888 Current location of painting: unknown Rarity 3 based on sales appearances (on a scale of 1 to 8). This print is common (offered about 6 times per year).
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Chevalier de St George: son of James VIIAttribution on print:"H. Bourne" Size of Bourne engraving: 3.9 x 5 in (10 x 12.7 cm) Estimated date engraved: unknown Source of print: Imperial Gazetteer of Scotland Printed by: unknown Title of source painting: Portrait of Prince James Francis Edward Stuart Painter: Alexis Simon Belle (unattributed on engraving) Probable date of source painting: 1712 Current location of painting: National Portrait Gallery Rarity 5 based on sales appearances (on a scale of 1 to 8). This print is somewhat scarce (offered about one time per year).
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The Children in the WoodAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 9.9 x 7.5 in (25.1 x 19 cm) Estimated date engraved: about 1853 Source of print: This print from the Art Journal by Virtue & Co, May, 1856. Probably first appeared in Royal Gallery of Art, Ancient and Modern: Engravings from the Private Collection of Her Majesty the Queen and His Royal Highness Prince Albert, edited by Samuel Carter Hall, 2 vol., London, Virtue & Co., 1854. Printed by: Virtue & Co. Title of source painting: Children of the Wood Painter: John Thomas Peele Probable date of source painting: 1847 Current location of painting: unknown Note: The British Museum reports that a print is known from a different publisher (Colnaghi and Thomas Agnew and Sons) in the Royal Gallery of Art. (Presumably the print is by Bourne). The British Museum acquired its Colnaghi print in 1861 and its Virtue print in 1872. Rarity 3 based on sales appearances (on a scale of 1 to 8). This print is common (offered about 6 times per year).
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Christ Walking on the SeaAttribution on print:"H. Bourne" Size of Bourne engraving: 10.2 x 5 in (25.9 x 12.6 cm) Estimated date engraved: unknown Source of print: This print supposedly comes from an 1863 edition of L'Illustration: Journal Universel. I cannot confirm. Printed by: A. Fullerton & Co Title of source painting: Chist Walking on the Sea, Christ Walking on the Waters, Le Christ Marchant sur la Mer Painter: Charles Francois Jalabert Probable date of source painting: 1847 Current location of painting: unknown Note: This engraving currently seems to be extremely rare. Curiously, stock photos of both the engraving and source painting seem extremely common, especially considering how few times the painting has been referenced in the literature. Rarity 8 based on sales appearances (on a scale of 1 to 8). This print is rare (offered about one time or fewer per decade).
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Christ Disputing with the DoctorsAttribution on print:"H. Bourne" Size of Bourne engraving: 4.37 x 6.25 in (11 x 15.9 cm) Estimated date engraved: unknown Source of print: unknown Printed by: unknown Title of source painting: unknown Painter: Henry Decaisne (Henri de Caisne) Probable date of source painting: unknown Current location of painting: unknown Rarity 8 based on sales appearances (on a scale of 1 to 8). This print is rare (offered about one time or fewer per decade).
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Christ Leaving the PraetoriumAttribution on print:"H. Bourne" Size of Bourne engraving: 22 x 32.5 in (55.9 x 82.6 cm) Estimated date engraved: about 1877 Source of print: Commissioned and sold by Fairless and Beeforth for their Doré Gallery in London, 1868-1883. This engraving was probably completed in the summer of 1877. Printed by: Fairless & Beeforth Title of source painting: Christ Leaving the Praetorium Painter: Gustave Doré Probable date of source painting: 1867-1872 Current location of painting: unknown Note: Bourne worked on this engraving from 1872 to 1877. Contribution by Mr. Karl Cassar proves this print was copyrighted 1877 in both England and the U.S.. The original painting was 30 feet wide by 20 feet tall and is currently owned by Bob Jones University. Other versions were 282 x 187 and 130 x 104. Information about painting and engraving from Dan Malan, Gustave Doré: Adrift on Dreams of Splendor. 1995. The British Museum acquired a copy in 1950. That version was copyrighted in the U.S. in 1877 and published by the Doré Gallery in 1899. An article in the March 19, 1899 issue of "Lloyd's Weekly Newspaper" (page 7) said that over 5,000 copies had been sold and that some subscribers had waited three to four years for their copies.. Rarity 5 based on sales appearances (on a scale of 1 to 8). This print is somewhat scarce (offered about one time per year).
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Christian Martyrs in the ColiseumAttribution on print:"H. Bourne" Size of Bourne engraving: 22 x 32.5 in (55.9 x 82.6 cm) Estimated date engraved: about 1875 Source of print: Commissioned and sold by Fairless and Beeforth for their Doré Gallery in London, 1868-1883 Printed by: Fairless & Beeforth Title of source painting: Christian Martyrs Painter: Gustave Doré Probable date of source painting: 1870 Current location of painting: Puerto Rico Note: Image courtesy of Doyle Wilcox; information about painting and engraving from Dan Malan, Gustave Doré: Adrift on Dreams of Splendor, 1995; original painting size 90 x 58 (inches). The British Museum acquired a version of the print in 1950 titled, 'Christian Martyrs, Reign of Diocletian Rome AD 303'. That version was printed by Crowdy & Loud and published by the Doré Gallery in 1899. It was copyrighted in the U.S. in 1881. An article in the March 19, 1899 issue of "Lloyd's Weekly Newspaper" (page 7) said that over 3,000 copies had been sold. Rarity 5 based on sales appearances (on a scale of 1 to 8). This print is somewhat scarce (offered about one time per year).
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Clout the CauldronAttribution on print:"H. Bourne" Size of Bourne engraving: 5.2 x 6.1 in (13.1 x 15.6 cm) Estimated date engraved: about 1866 Source of print: The Poetical Works of Allan Ramsay with Selections from the Scottish Poets Before Burns by Charles MacKay. Printed by: Virtue & Co. Title of source painting: Clout the Cauldron Painter: James Archer Probable date of source painting: 1863 Current location of painting: unknown Note: Scottish painter James Archer painted the original source image, but so far, I have been unable to locate any details about this painting. The inspiration for the painting was a song of the same title commonly attributed to Scottish poet Allan Ramsay. Ramsay printed the song in a 1724 collection titled, Tea-Table Miscellany, vol. i. Scholarly research suggests Ramsay probably acquired the tune and perhaps intent, from an even earlier song. Similarly, Robert Burns used the tune of 'Clout the Cauldron' to present bawdy lyrics of his own creation. The source of the Bourne engraving contains more details on Ramsay as well as four stanzas of lyrics for the song. A mark on the shadowy side of the bottom step in the engraving bears Archer's mark and the inscription, '63'. If true, the painting dates from 1863 and Bourne's deriviative engraving followed very shortly thereafter. Bourne's style in this engraving closely matches his best works. Rarity 7 based on sales appearances (on a scale of 1 to 8). This print is very scarce (offered about one time every five years).
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Contrary WindsAttribution on print:"H. Bourne, Sculpt" Size of Bourne engraving: 9.7 x 6.1 in (24.6 x 15.5 cm) Estimated date engraved: about 1869 Source of print: unknown Printed by: Selmar Hess Title of source painting: unknown Painter: Thomas Webster Probable date of source painting: 1843 Current location of painting: original at Victoria & Albert Museum Note: The British Museum acquired a proof impression of the engraving in 1913 from the Sheepshanks Collection. Rarity 1 based on sales appearances (on a scale of 1 to 8). This print is extremely common and continuously available (offered twice per month or more).
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The Crown of HopsAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 7.6 x 9.6 in (19.2 x 24.5 cm) Estimated date engraved: about 1850 Source of print: Art Journal, January, 1851. Printed by: D. Appleton & Co. Title of source painting: The Hop Garland Painter: William Frederick Witherington Probable date of source painting: about 1843 Current location of painting: unknown Note: The British Museum owns five copies of the engraving acquired in 1850, 1851, 1857, 1872 and 1878. The 1851 example is signed in pencil on the back by Bourne. Rarity 2 based on sales appearances (on a scale of 1 to 8). This print is very common (offered about one time per month).
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The Crown Offered to William and Mary by the Lords and Commons at Whitehall, Feby 12th, 1689Attribution on print:"H. Bourne" Size of Bourne engraving: 6.1 x 5.1 in (15.4 x 13 cm) Estimated date engraved: before 1882 Source of print: Pictures and Royal Portraits Illustrative of English and Scottish History: from the introduction of Christianity to the present time, Volume 2, page 44 by Thomas Archer Printed by: Blackie & Son Title of source painting: unknown Painter: Edward Matthew Ward Probable date of source painting: 1866 Current location of painting: Houses of Parliament corridor Note: The 1854 edition of The Civil Engineer and Architect's Journal clearly refers to the artist as Edward M. Ward (as opposed to Edgar Melville Ward) and the title as The Lords and Commons presenting the Crown to William and Mary in the Banquetting House. Rarity 4 based on sales appearances (on a scale of 1 to 8). This print is somewhat common (offered about three times per year).
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Daniel in the Den of LionsAttribution on print:"H. Bourne" Size of Bourne engraving: 6.1 x 8.2 in (15.4 x 20.9 cm) Estimated date engraved: 1857-1865 Source of print: Contributor Chen Jinchun Printed by: unknown Title of source painting: Daniel dans la fosse aux lions Painter: Emile Jean Horace Vernet (aka Horace Vernet) Probable date of source painting: 1857 Current location of painting: private collection Note: I have not yet seen this print sold and have, in fact, encountered only once in the collection of contributor Chen Jinchun. Like other Bourne prints of Biblical subjects, it seems likely that this appeared in an illustrated Bible. Some Bourne prints are known in the 1864, The Practical and Devotional Family Bible by Henry, Scott and McFarlane, but exact print titles in the Bibles remain elusive. It is always possible that Bourne's prints have appeared in other Bible editions. The original 1853 Vernet painting sold in 2019 for US$574,324. Rarity unknown (never seen offered for sale). This print is exceedingly rare.
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The Death of CleopatraAttribution on print:"H.C. Shelton finished by H. Bourne" Size of Bourne engraving: 7.9 x 9.7 in (20 x 24.6 cm) Estimated date engraved: about 1853 Source of print: This print from the Art Journal, September, 1861 by James Virtue. Probably first appeared in Royal Gallery of Art, Ancient and Modern: Engravings from the Private Collection of Her Majesty the Queen and His Royal Highness Prince Albert, edited by Samuel Carter Hall, 2 vol., London, Virtue & Co., 1854.. This engraving was started by H. C. Shenton and finished by Bourne. Printed by: James S Virtue. Title of source painting: Cleopatra with the Asp Painter: Guido (Reni) Probable date of source painting: 1628 Current location of painting: Royal Collection (Great Britain) Note: Note that Guido Reni also created a work titled Tod der Kleopatra (Death of Cleopatra), but that painting has a different pose and the asp is in the opposite hand. The British Museum acquired a copy of the Agnew version in 1861 and the Virtue print in 1872. The original painting was in the Royal Collection in 1861 Rarity 2 based on sales appearances (on a scale of 1 to 8). This print is very common (offered about one time per month).
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Death of Sir Philip SidneyAttribution on print:"H. K. Bourne" Size of Bourne engraving: 4.3 x 5.9 in (10.9 x 15.1 cm) Estimated date engraved: unknown Source of print: unknown Printed by: Virtue & Co. Title of source painting: unknown Painter: Jean Francis Rigaud Probable date of source painting: unknown Current location of painting: unknown Rarity 5 based on sales appearances (on a scale of 1 to 8). This print is somewhat scarce (offered about one time per year).
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The Duel InterruptedAttribution on print:"H. Bourne, Sculpt" Size of Bourne engraving: 10 x 6.2 in (25.4 x 15.8 cm) Estimated date engraved: about 1869 Source of print: reported from One Hundred Works of Great Masters by Aphonse Bacheret/ Also appeared in Art Journal, January, 1871. Printed by: George Barrie Title of source painting: The Interrupted Duel Painter: Marcus Stone Probable date of source painting: 1868 Current location of painting: unknown Note: The British Museum acquired a proof impression, hand lettered in pencil, in 1913. That version was apparently printed by Virtue & Co. in 1886. The painting was exhibited at the Royal Academy in 1868. Neither the Art Journal nor any succeeding commentary ever attributed any literary or performance source for the painting. Rarity 1 based on sales appearances (on a scale of 1 to 8). This print is extremely common and continuously available (offered twice per month or more).
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The Fair CorrespondentAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 7.3 x 8.9 in (18.5 x 22.7 cm) Estimated date engraved: before 1872 Source of print: Art Journal, September, 1867 Printed by: Virtue & Co. Title of source painting: unknown Painter: James Sant Probable date of source painting: unknown Current location of painting: unknown Note: The British Museum acquired a copy of the print in 1872. Rarity 4 based on sales appearances (on a scale of 1 to 8). This print is somewhat common (offered about three times per year).
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Fair-TimeAttribution on print:"H. Bourne, Engraver" Size of Bourne engraving: 7.7 x 9.5 in (19.5 x 24.2 cm) Estimated date engraved: about 1853 Source of print: Art Journal, January, 1853. (pub. George Virtue.) Printed by: G. Virtue Title of source painting: Fair-Time (originally Returning from the Ale-House) Painter: William Mulready Probable date of source painting: 1840 Current location of painting: Tate Britain (Tate Gallery) Note: Mulready exhibited an earlier version of this painting in 1809 with a different background. That version was titled Returning from the Ale-House. He subsequently altered that painting and exhibited it in 1840 with the title Fair Time or Returning from the Fair. The painting is currently owned by the Tate Gallery. The British Museum acquired two copies of Bourne's engraving of the painting in 1855 and one in 1872. One of the 1855 prints is inscribed by Bourne in pencil on the back. Rarity 3 based on sales appearances (on a scale of 1 to 8). This print is common (offered about 6 times per year).
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The Family of Charles IAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 9.4 x 7.7 in (24 x 19.6 cm) Estimated date engraved: about 1853 Source of print: This print from the Art Journal, June, 1858. Probably first appeared in Royal Gallery of Art, Ancient and Modern: Engravings from the Private Collection of Her Majesty the Queen and His Royal Highness Prince Albert, edited by Samuel Carter Hall, 2 vol., London, Virtue & Co., 1854. Printed by: James S. Virtue Title of source painting: unknown Painter: Anthony van Dyck Probable date of source painting: unknown Current location of painting: unknown Note: The Royal Museum acquired a copy of the Agnew print in 1861. Rarity 5 based on sales appearances (on a scale of 1 to 8). This print is somewhat scarce (offered about one time per year).
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Flagstaff and Anne Page (aka Mrs Ford)Attribution on print:"H. Bourne, Engraver" Size of Bourne engraving: 7.6 x 9.3 in (19.3 x 23.7 cm) Estimated date engraved: before 1872 Source of print: Art Journal, May, 1853 (pub. George Virtue.) Also appears in Imperial Edition of The Works of Shakespeare, Volume 1, by Charles Knight, 1873 (Virtue & Yorston, New York) Printed by: unknown Title of source painting: unknown Painter: George Clint Probable date of source painting: 1831 Current location of painting: unknown Note: Engraving represents act 3, scene 3 in Shakespeare's Merry Wives of Windsor. Some examples of the print are known labeled Falstaff and Mrs. Ford . The British Museum acquired a copy in 1872. Rarity 2 based on sales appearances (on a scale of 1 to 8). This print is very common (offered about one time per month).
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The GardenAttribution on print:"H. Bourne, Engraver" Size of Bourne engraving: 8.5 x 6.5 in (21.5 x 16.4 cm) Estimated date engraved: about 1854 Source of print: Art Journal, July, 1854 Printed by: G. Virtue Title of source painting: unknown Painter: (Jean)-Antione Watteau Probable date of source painting: unknown Current location of painting: unknown Note: The British Museum acquired a copy in 1872. Rarity 4 based on sales appearances (on a scale of 1 to 8). This print is somewhat common (offered about three times per year).
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Garrick And His WifeAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 7.8 x 9.3 in (19.7 x 23.5 cm) Estimated date engraved: unknown Source of print: Famous British Artists: A Series Of Engravings On Japan Paper from the Art Journal, January, 1856. Printed by: Virtue & Co Title of source painting: David Garrick and his wife, Eva-Marie Veigel Painter: William Hogarth Probable date of source painting: 1757 Current location of painting: Royal Collection Note: The British Museum acquired a copy of this print in 1872. Bourne's subject was one of several paintings of similar title depicting the highly famous actor, playwright, producer and theatre manager David Garrick and his German dancer wife Eva-Marie Viegel. Rarity 3 based on sales appearances (on a scale of 1 to 8). This print is common (offered about 6 times per year).
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God's AcreAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 7.2 x 9.3 in (18.3 x 23.7 cm) Estimated date engraved: unknown Source of print: From the Art Journal in August, 1868. The engraving is also attributed to an appearance in Famous British Artists: A Series Of Engravings On Japan Paper. Printed by: unknown Title of source painting: unknown Painter: Emily Mary Osborn Probable date of source painting: 1866 Current location of painting: unknown Note: Also unconfirmed report of appearance in One Hundred Works of Great Masters by Aphonse Bacheret. The painting was first exhibited at the 14th Winter Exhibition at the French Gallery in London, 1866-1867. The original painting was sold by Christie's in 1879 and later offered for sale in 2008 by a Washington DC gallery. The British Museum acquired its engraving in 1872. Rarity 2 based on sales appearances (on a scale of 1 to 8). This print is very common (offered about one time per month).
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Grand Durbar at Cawnpore: after the suppresion of the Sepoy Revolt, Lord Canning investing the loyal Rajahs with decorations and proprietary rightsAttribution on print:"Engraved by H. Bourne" Size of Bourne engraving: 6.8 x 4.6 in (17.2 x 11.7 cm) Estimated date engraved: before 1882 Source of print: Pictures and Royal Portraits Illustrative of English and Scottish History: from the introduction of Christianity to the present time, Volume 2, page 168 by Thomas Archer Printed by: Blackie & Son Title of source painting: unknown Painter: Marshall Claxton Probable date of source painting: unknown Current location of painting: unknown Rarity 5 based on sales appearances (on a scale of 1 to 8). This print is somewhat scarce (offered about one time per year).
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The Happy Days of JobAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 7.6 x 9.1 in (19.2 x 23 cm) Estimated date engraved: about 1862 Source of print: Art Journal, October, 1862, pg 204. Printed by: James S. Virtue Title of source painting: The Prosperous Days of Job Painter: William Charles Thomas Dobson Probable date of source painting: 1845 Current location of painting: unknown Note: The British Museum acquired a copy in 1872. Rarity 2 based on sales appearances (on a scale of 1 to 8). This print is very common (offered about one time per month).
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Henrietta of OrleansAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 7.8 x 10.1 in (19.7 x 25.6 cm) Estimated date engraved: about 1852 Source of print: This engraving from the Art Journal, October, 1860 by Virtue & Co. Printed by: Virtue & Co. Title of source painting: Elizabeth Charlotte, Princess Palatine, Duchess of Orleans with her son Philip, and her daughter, Elizabeth Painter: Pierre Mignard Probable date of source painting: ca 1678-1688 Current location of painting: The Royal Collection Note: Painting referenced in Handbook to the Public Galleries of Art in and Near London as 'Henrietta Duchess of Orleans, youngest Daughter of Charles I.' The British Museum acquired a copy of the Agnew print in 1861. The original painting was lent by Queen Victoria to an exhibition at the British Institution in 1822 and 1834. Rarity 4 based on sales appearances (on a scale of 1 to 8). This print is somewhat common (offered about three times per year).
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Hindoo Maidens Floating Lamps on the GangesAttribution on print:"H. Bourne" Size of Bourne engraving: 7.2 x 4.9 in (18.4 x 12.5 cm) Estimated date engraved: unknown Source of print: unknown Printed by: unknown Title of source painting: unknown Painter: C. Armytage (probably Charles Armytage) Probable date of source painting: unknown Current location of painting: unknown Rarity 8 based on sales appearances (on a scale of 1 to 8). This print is rare (offered about one time or fewer per decade).
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IsabellaAttribution on print:"Engraved by H. Bourne" Size of Bourne engraving: 9.5 x 7 in (24.2 x 17.9 cm) Estimated date engraved: about 1883 Source of print: Art Journal, June, 1882. My copy has "Engraved at London, England in 1880" written on back in pencil Printed by: J.S. Virtue & Co. Title of source painting: Lorenzo and Isabella Painter: John Everett Millais Probable date of source painting: 1849 Current location of painting: Walker Art Galley Note: Millais' painting illustrates an episode from Lisabetta e il Testo di Bassilico by Giovanni Boccaccio. Commentary on both the subject and composition of the painting can be found at Wikipedia. According to that source, the painting is housed at the Walker Art Galley in Liverpool. Rarity 5 based on sales appearances (on a scale of 1 to 8). This print is somewhat scarce (offered about one time per year).
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Jeremiah's LamentationsAttribution on print:"H. K Bourne" Size of Bourne engraving: 6.7 x 4.3 in (16.9 x 10.8 cm) Estimated date engraved: unknown Source of print: Rev. Alexander Fisher, Family Devotional Bible (magazine) Printed by: Virtue & Yorston, New York Title of source painting: Jeremias auf den Trümmern von Jerusalem (Jeremiah on the Ruins of Jerusalem) Painter: Eduard Bendermann Probable date of source painting: 1835 Current location of painting: unknown Rarity 8 based on sales appearances (on a scale of 1 to 8). This print is rare (offered about one time or fewer per decade).
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Job and His FriendsAttribution on print:"H. Bourne, Engraver" Size of Bourne engraving: 10.1 x 6.9 in (25.6 x 17.6 cm) Estimated date engraved: about 1854 Source of print: Art Journal, October, 1854 Printed by: H. Wilkinson Title of source painting: Messenger announcing to Job the Irruption of the Sabeans and the Slaughter of the Servants Painter: Paul Falconer Poole Probable date of source painting: 1850 Current location of painting: unknown Note: The British Museum acquired a copy in 1872. Rarity 2 based on sales appearances (on a scale of 1 to 8). This print is very common (offered about one time per month).
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John Bunyan From a Painting in the Possession of John Fenwick, EsqAttribution on print:"H. Bourne" Size of Bourne engraving: 4.1 x 5.3 in (10.4 x 13.5 cm) Estimated date engraved: unknown Source of print: unknown Printed by: Virtue & Co. Title of source painting: unknown Painter: Thomas Sadler (not attributed on Bourne engraving) Probable date of source painting: 1684 Current location of painting: National Portrait Gallery (Great Britain) Rarity unknown (never seen offered for sale). This print is exceedingly rare.
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Joseph Sold By His BrethrenAttribution on print:"H. Bourne" Size of Bourne engraving: 6.3 x 7.5 in (16 x 19.2 cm) Estimated date engraved: 1855-1865 Source of print: Contributor Chen Jinchun Printed by: H. Bourne Title of source painting: Joseph's Coat (Le Manteau de Joseph) Painter: Emile-Jean-Horace Vernet (aka Horace Vernet) Probable date of source painting: 1853 Current location of painting: The Wallace Collection, London Note: The print is titled, Joseph Sold By His Brethren, but the painting is known as Joseph's Coat. In the 1890s, the painting resided in the Versailles Museum. It seems likely that this and several other Bourne Prints appear in an illustrated Bible. We know that one or more Bourne prints are found in the 1864, The practical and devotional family Bible by Henry, Scott and McFarlane. However, no one has yet reported print titles.That is not to say Bourne's prints of Biblical subjects have not appeared in other Bible editions. I have encountered this print only once in the collection of contributor Chen Jinchun. Rarity unknown (never seen offered for sale). This print is exceedingly rare.
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Juliet in the Cell of Friar LawrenceAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 7.8 x 8.7 in (19.8 x 22.2 cm) Estimated date engraved: before 1882 Source of print: Art Journal, February, 1873. Also in Art and Artists of Our Time, vol. III; also found in A Collection of Scenes and Characters from Famous Paintings by Eminent Artists Each Subject being Chosen by the Artist Himself as a Work of Art Entitling it to a Place in the Royal Academy Exhibitions As well as Authentic Character Portraits of Celebrated Shakespearean Actors. With Descriptive Text by the Eminent Shakespearean Scholars F.J. Furnivall, LL.D, Horace Howard Furness, Litt. D., Edward Dowden, LL.D. And other authorities. Also appears in Also appears in Imperial Edition of The Works of Shakespeare, Volume 2, by Charles Knight, 1873 (Virtue & Yorston, New York) Printed by: Blackie & Son Title of source painting: unknown Painter: Edward Matthew Ward Probable date of source painting: unknown Current location of painting: unknown Note: Froma painting depicting a scene in Shalespeare's Romeo and Juliet.>One source says that A Collection of Scenes and Characters from Famous Paintings shows this print titled as 'Juliet and Friar Laurence'. The British Museum acquired a copy of the engraving in 2001 supposedly from the 1873 Art Journal. The original painting was exhibited at the Royal Academy in 1867. It sold at Christie's Arp 21, 1894. Rarity 1 based on sales appearances (on a scale of 1 to 8). This print is extremely common and continuously available (offered twice per month or more).
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King Alfred Inciting the Anglo-Saxons: to Repel the Invasion of the Danes, A.D. 876Attribution on print:"Engraved by H. Bourne" Size of Bourne engraving: 7.1 x 4.2 in (18.1 x 10.6 cm) Estimated date engraved: before 1878 Source of print: Pictures and Royal Portraits Illustrative of English and Scottish History: from the introduction of Christianity to the present time, Volume 1, page 24 by Thomas Archer Printed by: Blackie & Son Title of source painting: King Alfred Inciting the Saxons to Prevent the Landing of the Danes Painter: George Frederic Watts Probable date of source painting: 1847 Current location of painting: Committee rooms of the Houses of Parliament Rarity 5 based on sales appearances (on a scale of 1 to 8). This print is somewhat scarce (offered about one time per year).
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The Knuckle-Bone PlayerAttribution on print:"Engraved by H. Bourne" Size of Bourne engraving: 5.9 x 10.1 in (15 x 25.7 cm) Estimated date engraved: about 1885 Source of print: Art Journal, April, 1884. Printed by: J.S. Virtue & Co. Title of source painting: variably referenced as The Knuckle-Bone Player and The Knucklebone Player Painter: Lord Frederic Leighton Probable date of source painting: 1867 Current location of painting: The study for this painting is at the Bewdley Museum, Worcestershire. Note: The original painting was exhibited in London at the Royal Academy in 1867. It was offered in Sotheby's sales in 1976 and 1977. It later appeared in an Oct. 24, 2006 sale at Sotheby's (lot 208) where it was estimated at $600,000 to $800,000. Rarity 4 based on sales appearances (on a scale of 1 to 8). This print is somewhat common (offered about three times per year).
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La Vigne (The Autumn Vine)Attribution on print:"none" Size of Bourne engraving: 12.5 x 22 in (31.8 x 55.9 cm) Estimated date engraved: 1886 Source of print: Commissioned and sold by Fairless and Beeforth for their Doré Gallery in London, 1868-1883 Printed by: Fairless-Beeforth Title of source painting: La Vigne Painter: Gustave Doré Probable date of source painting: 1874 Current location of painting: unknown Note: Information about painting and engraving from Dan Malan, Gustave Doré: Adrift on Dreams of Splendor, 1995; original painting 57 x 98 inches. The British Museum owns a copy (acquisition date unknown), published by Fairless & Beeforth, Doré Gallery. The print indicates it was copyrighted in the U.S. in 1886. It is blind-stamped as 'artist proof' in the bottom left corner. Correspondent Rita Darbonne contributed the example shown. It was published by Fairless & Beeforth, Doré Gallery, Mar. 18, 1886. At the bottom, in nearly invisible italic type is "Entered according to Act of Congress in the Year 1886 by Frank Hunter Potter in the Office of the Librarian of Congress at Washington U S A" An impressed stamp reads "L. B. Lettered Proof H M." Rarity unknown (never seen offered for sale). This print is exceedingly rare.
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Lady Jane Grey Declining the CrownAttribution on print:"H.K. Bourne" Size of Bourne engraving: 4.4 x 6.1 in (11.3 x 15.5 cm) Estimated date engraved: unknown Source of print: unknown Printed by: unknown Title of source painting: unknown Painter: Robert Smirke Probable date of source painting: 1793 Current location of painting: unknown Note: Another engraving of this painting by W. Bromley seems relatively common. Rarity 3 based on sales appearances (on a scale of 1 to 8). This print is common (offered about 6 times per year).
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Lady Jane Grey's Reluctance to Accept the Crown, July 8th, 1553Attribution on print:"Engraved by Herbert Bourne" Size of Bourne engraving: 6.4 x 4.6 in (16.3 x 11.8 cm) Estimated date engraved: before 1878 Source of print: Pictures and Royal Portraits Illustrative of English and Scottish History: from the introduction of Christianity to the present time, Volume 1, page 108 by Thomas Archer Printed by: Blackie & Son Title of source painting: unknown Painter: Charles Robert Leslie Probable date of source painting: 1827 Current location of painting: unknown Note: Source painting originally in the collection of the Duke of Bedford at Woburn Abbey. The National Portrait Gallery records one example of this engraving in its collection. Rarity 5 based on sales appearances (on a scale of 1 to 8). This print is somewhat scarce (offered about one time per year).
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Last Moments of the CzarAttribution on print:"H. Bourne" Size of Bourne engraving: 6.5 x 4.3 in (16.5 x 11 cm) Estimated date engraved: about 1857 Source of print: Edward Henry Nolan, The History of the War Against Russia Printed by: Virtue & Co. Title of source painting: unknown Painter: artist unknown Probable date of source painting: unknown Current location of painting: unknown Rarity 7 based on sales appearances (on a scale of 1 to 8). This print is very scarce (offered about one time every five years).
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The Last of EnglandAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 8.3 x 9.1 in (21 x 23.2 cm) Estimated date engraved: about 1872 Source of print: Art Journal, August, 1870. Also in The Art Treasures of England. The Master-pieces of the Best English, Irish and Scottish Painters and Sculptors, J. Vernon Whitaker, editor Printed by: Gebbie & Barrie Title of source painting: unknown Painter: Ford Madox Brown Probable date of source painting: 1852 Current location of painting: Birmingham Museum and Art Gallery Note: Models for the painting were Brown and his wife Emma.. The British Museum acquired a version of this print in 1872, printed by London, Virtue & Co. Rarity 3 based on sales appearances (on a scale of 1 to 8). This print is common (offered about 6 times per year).
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Le Malade Imaginaire (aka Argan and Doctor Diaforius)Attribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 7.3 x 9.1 in (18.5 x 23.2 cm) Estimated date engraved: about 1853 Source of print: reportedly from the Art Journal, May, 1871 Printed by: D. Appleton & Co, New York Title of source painting: unknown Painter: Abraham Solomon Probable date of source painting: unknown Current location of painting: unknown Note: A scene from the three-act play of the same name by Moliere which premiered in Paris in 1673; also known as The Hypochondriac. The original painting was exhibited at the Royal Academy of Arts in 1861. It was sold at Christie's in London Jun 29, 1895 and again Jun 4, 1982. The British Museum acquired an unlettered proof impression of the engraving in 1913. Rarity 1 based on sales appearances (on a scale of 1 to 8). This print is extremely common and continuously available (offered twice per month or more).
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Leah and RachelAttribution on print:"H. Bourne" Size of Bourne engraving: 5.8 x 8.4 in (14.8 x 21.3 cm) Estimated date engraved: unknown Source of print: unknown Printed by: A. Fullarton & Co., London and Edinburgh Title of source painting: unknown Painter: Jean Francois Portaels Probable date of source painting: unknown Current location of painting: unknown Rarity 8 based on sales appearances (on a scale of 1 to 8). This print is rare (offered about one time or fewer per decade).
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L'InamorataAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 7.2 x 9.1 in (18.4 x 23.1 cm) Estimated date engraved: about 1867 Source of print: From the Art Journal, December, 1867. Printed by: Virtue & Co. Title of source painting: unknown Painter: Henry Nelson O'Neil Probable date of source painting: 1854 Current location of painting: unknown Note: The British Museum acquired a proof impression of the engraving in 1874, with attribution text below the image in pencil. It also acquired a printed version in 1872. Rarity 5 based on sales appearances (on a scale of 1 to 8). This print is somewhat scarce (offered about one time per year).
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MerabAttribution on print:"unknown" Size of Bourne engraving: x in (15.75 x 24.75 cm) Estimated date engraved: about 1890 Source of print: unknown Printed by: Fairless & Beeforth Title of source painting: Merab Painter: Edwin Longsden Long, RA Probable date of source painting: 1883 Current location of painting: unknown Note: Exiistence of this engaving has been confirmed sparingly in the literature. Grosvenor Prints (Middlesex, UK) offered a print for L260 in 2020 and commented that the original painting had sold at Sotheby's in 1995. Rarity unknown (never seen offered for sale). This print is exceedingly rare.
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MichalAttribution on print:"Herbert Bourne" Size of Bourne engraving: unknown Estimated date engraved: about 1890 Source of print: unknown Printed by: Fairless & Beeforth Title of source painting: Michal Painter: Edwin Longsden Long, RA Probable date of source painting: 1883 Current location of painting: unknown Note: Example signed by Long and Bourne is known, quoted at £850 in the Mass Gallery, 2013. Fairless & Beeforth commissioned Bourne's engraving in 1883. Long's original painting sold at Sotheby's London for $31,894 USD in March, 1990. Rarity 7 based on sales appearances (on a scale of 1 to 8). This print is very scarce (offered about one time every five years).
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MiriamAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 9 x 9 in (22.8 x 22.8 cm) Estimated date engraved: about 1853 Source of print: This print from the Art Journal, March, 1856. Also an unconfirmed report that the image appeared in The Devotional Family Bible by Rev. Alexander Fletcher. Probably first appeared in Royal Gallery of Art, Ancient and Modern: Engravings from the Private Collection of Her Majesty the Queen and His Royal Highness Prince Albert, edited by Samuel Carter Hall, 2 vol., London, Virtue & Co., 1854. Printed by: Virtue & Yorston Title of source painting: Miriam's Song of Praise Painter: Wilhelm Hensel Probable date of source painting: 1836 Current location of painting: Royal Collection Note: one version is titled 'Miriam's Song' and is known to have appeared in 'The Classic and the Beautiful from the Literature of Three Thousand Years by the Authors and Orators of All Countries,' vol 4, by Henry Coppee, 1880; this seems to be substantially less common than the typical version titled simply as 'Miriam'. The British Museum acquired a copy of the Agnew print in 1861 and the Virtue print in 1872. It also says the original painting was presented to Queen Victoria in 1843. Rarity 4 based on sales appearances (on a scale of 1 to 8). This print is somewhat common (offered about three times per year).
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The MisersAttribution on print:"H. Bourne, Sc." Size of Bourne engraving: 7.6 x 9.3 in (19.4 x 23.7 cm) Estimated date engraved: about 1853 Source of print: This print from the Art Journal, March, 1860 by Virtue & Co. Probably first appeared in Royal Gallery of Art, Ancient and Modern: Engravings from the Private Collection of Her Majesty the Queen and His Royal Highness Prince Albert, edited by Samuel Carter Hall, 2 vol., London, Virtue & Co., 1854. Some sources attribute the printer to "Agnew." Printed by: George Barrie Title of source painting: The Misers Painter: Quentin Matsys Probable date of source painting: 1648-1663 Current location of painting: Royal Collection Note: Scholarly research strongly suggests that this painting is a mid-16th century derivative of Quentin Matsys' painting in the Louvre. Experts at the Royal Collection attribute this work to "follower of Marinus van Reymerswaele", Matsys' original inspiration. The original painting in the Royal Collection at Windsor, attributes the artist to a "Follower of Marinus van Reymerswaele." The British Museum acquired a copy of the Agnew print in 1861 and a copy of the Virtue print in 1872. Please read an extended narration about the original painting at The Royal Collection Trust Rarity 3 based on sales appearances (on a scale of 1 to 8). This print is common (offered about 6 times per year).
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Morning of the Battle of InverlochyAttribution on print:"Herbert Bourne." Size of Bourne engraving: 6.3 x 4.3 in (15.9 x 10.8 cm) Estimated date engraved: 1860s Source of print: unknown Printed by: Blackie & Son Title of source painting: unknown Painter: Keeley Halswelle Probable date of source painting: unknown Current location of painting: unknown Note: The origin of this engraving and its source painting by Halswelle remaiin unknown. The size of the print (6.6 x 9.5-in) indicates the print came from a book. Halswelle is known to have illustrated several books of poems published in Edinburgh by William P. Nimmo and others in the 1860s, but this image is NOT found in books of poems of Lord Byron or Thomas Moore. While a castle is seen in the far distance in this engraving, the image bears no resemblance to a more famous painting by Halswelle titled, Inverlochy Castle Rarity 8 based on sales appearances (on a scale of 1 to 8). This print is rare (offered about one time or fewer per decade).
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Moses Before PharaohAttribution on print:"H. Bourne" Size of Bourne engraving: 22 x 32.5 in (55.9 x 82.6 cm) Estimated date engraved: 1885 Source of print: Commissioned and sold by Fairless and Beeforth for their Doré Gallery in London, 1868-1883 Printed by: Fairless-Beeforth Title of source painting: Moses Before Pharaoh Painter: Gustave Doré Probable date of source painting: 1878-1880 Current location of painting: unknown Note: Information about painting and engraving from Dan Malan, Gustave Doré: Adrift on Dreams of Splendor, 1995. The British Museum acquired a copy in 1950. That version was published by the Doré Gallery in 1899. There is another version printed in London and copyrighted in the U.S. in 1885. Image contributed by Dan Malan. The original painting is located at the Dahesh Museum of Art and is 29.5' x 17.5'. Rarity unknown (never seen offered for sale). This print is exceedingly rare.
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The Most Noble The Marquis of HastingsAttribution on print:"H. Bourne" Size of Bourne engraving: 4.1 x 5 in (10.5 x 12.8 cm) Estimated date engraved: unknown Source of print: unknown Printed by: James S. Virtue Title of source painting: unknown Painter: Sir Martin Arthur Shee Probable date of source painting: unknown Current location of painting: unknown Rarity 6 based on sales appearances (on a scale of 1 to 8). This print is scarce (offered about one time every two years).
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Murder of Archbishop SharpeAttribution on print:"H. Bourne" Size of Bourne engraving: 6.9 x 4.7 in (17.4 x 12 cm) Estimated date engraved: unknown Source of print: unknown Printed by: Virtue & Co. Title of source painting: The Death of Archbishop Sharpe (unconfirmed) Painter: Sir William Allan Probable date of source painting: unknown Current location of painting: unknown Rarity 3 based on sales appearances (on a scale of 1 to 8). This print is common (offered about 6 times per year).
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The New CurateAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 10.4 x 6.4 in (26.3 x 16.3 cm) Estimated date engraved: about 1880 Source of print: Art Journal, January, 1879, vol 6, pg 121 Printed by: D. Appleton & Co. Title of source painting: The New Curate Painter: David Wilkie Wynfield Probable date of source painting: 1875 Current location of painting: unknown Note: Reported in several places that Wynfield painted The New Curate in 1877, but the painting was clearly referenced two years earlier in Academy Notes, 1875. The Art Journal reported that The New Curate had been exhibited at the London Royal Academy in 1876. Rarity 3 based on sales appearances (on a scale of 1 to 8). This print is common (offered about 6 times per year).
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New ShoesAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 8.7 x 8.7 in (22 x 22 cm) Estimated date engraved: about 1866 Source of print: Art Journal, April, 1866, vol 5., pg 116 Printed by: Virtue & Co. Title of source painting: New Shoes Painter: William Powell Frith Probable date of source painting: 1860 Current location of painting: unknown Note: The British Museum acquired a proof copy of the print (attribution text in pencil) in 1874. It acquired a printed version in 1872 Rarity 3 based on sales appearances (on a scale of 1 to 8). This print is common (offered about 6 times per year).
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Night of the Crucifixion (Les Tenébres)Attribution on print:"H. Bourne" Size of Bourne engraving: 22 x 32.5 in (55.9 x 82.6 cm) Estimated date engraved: about 1878 Source of print: Commissioned and sold by Fairless and Beeforth for their Doré Gallery in London, 1868-1883; engraved by Herbert Bourne and William Ridgeway. Printed by: Fairless-Beeforth Title of source painting: hand-titled After the Crucifixion on one artist's proof Painter: Gustave Doré Probable date of source painting: 1872-1873 Current location of painting: unknown Note: Engraved by Bourne and William Ridgeway (per Dan Malan et al). The original painting is 4 ft 3 in wide by 6 ft 4 in high. The British Museum acquired a version of the print in 1950 printed by Crowdy & Loud and published by the Doré Gallery in 1899. The print was copyrighted in the U.S. in 1880. (Image courtesy Victoria & Albert Museum.) Rarity 7 based on sales appearances (on a scale of 1 to 8). This print is very scarce (offered about one time every five years).
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The NoviceAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 4.6 x 7 in (11.7 x 17.8 cm) Estimated date engraved: unknown Source of print: Art Journal, August, 1867. Printed by: Virtue & Co. Title of source painting: unknown Painter: John Calcott Horsley Probable date of source painting: unknown Current location of painting: unknown Note: Original painting owned in 1867 by John Rhodes of Leeds. The Art Journal (pg 184) reported that the painting had been exhibited at the Royal Academy in 1856. The British Museum acquired a proof impression of the engraving in 1872. That copy has the attribution text handwritten in pencil. Rarity 3 based on sales appearances (on a scale of 1 to 8). This print is common (offered about 6 times per year).
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Novitiate MendicantsAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 7.3 x 9.6 in (18.5 x 24.4 cm) Estimated date engraved: unknown Source of print: Art Journal. November, 1872. Original painting currently owned by the Victoria & Albert Museum, London. Printed by: D. Appleton & Co. Title of source painting: Novitiate Mendicants Painter: Rothwell (probably Richard Rothwell) Probable date of source painting: 1837 Current location of painting: Victoria & Albert Museum Rarity 2 based on sales appearances (on a scale of 1 to 8). This print is very common (offered about one time per month).
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PurityAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 7.8 x 9.4 in (19.7 x 23.9 cm) Estimated date engraved: about 1864 Source of print: Art Journal, February, 1864 Printed by: James S. Virtue Title of source painting: unknown Painter: Henry Nelson O'Neil Probable date of source painting: unknown Current location of painting: unknown Note: The British Museum acquired a copy in 1872. Rarity 2 based on sales appearances (on a scale of 1 to 8). This print is very common (offered about one time per month).
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The Release of the Seven Bishops After their Trial in Wesminster Hall, June 29th 1688Attribution on print:"Engraved by H. Bourne" Size of Bourne engraving: 6.1 x 5.1 in (15.4 x 13 cm) Estimated date engraved: before 1882 Source of print: Pictures and Royal Portraits Illustrative of English and Scottish History: from the introduction of Christianity to the present time, Volume 2, page 30 by Thomas Archer Printed by: Blackie & Son Title of source painting: The Acquittal of the Seven Bishops Painter: Edward Matthew Ward, R.A. Probable date of source painting: unknown Current location of painting: fresco in the Commons corridor, Houses of Parliament Note: Painting referenced in the 1854 edition of The Civil Engineer and Architect's Journal. Rarity 6 based on sales appearances (on a scale of 1 to 8). This print is scarce (offered about one time every two years).
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Robert BurnsAttribution on print:"(H. Bourne?)" Size of Bourne engraving: unknown Estimated date engraved: unknown Source of print: The ONLY reference to an engraving of Burns by Bourne came from a British art dealer around the year 2000. I have been unable to confirm such an engraving. The complete lack of confirming evidence makes me think the attribution to Bourne was a listing error and that the real engraving was the somewhat common print by H. Robinson. Several other scarce engravings of Burns are known, including those by A.H. Payne, H.S. Sadd and Paton Thompson. Additionally, I have seen other unattributed engravings, none of which resemble Bourne's better works. Since it is impossible to prove a negative, I will keep this Bourne reference for a few more years. Printed by: unknown Title of source painting: Robert Burns Painter: Archibald Skirving Probable date of source painting: 1840 Current location of painting: unknown Rarity unknown (never seen offered for sale). This print is exceedingly rare.
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Robin & MakyneAttribution on print:"H. Bourne" Size of Bourne engraving: 4.3 x 6 in (10.8 x 15.2 cm) Estimated date engraved: unknown Source of print: unknown Printed by: Virtue & Co. Title of source painting: unknown Painter: William Fleming Vallance Probable date of source painting: unknown Current location of painting: unknown Note: The original painting was inspired by a Scottish poem by Robert Henryson (1425-1500) titled, Robin and Makyne. Rarity unknown (never seen offered for sale). This print is exceedingly rare.
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Ruth and NaomiAttribution on print:"H. Bourne" Size of Bourne engraving: 5.8 x 8.1 in (14.8 x 20.5 cm) Estimated date engraved: unknown Source of print: unknown Printed by: A. Fullarton & Co. Title of source painting: Ruth and Naomi Painter: Ary Scheffer Probable date of source painting: 1854 Current location of painting: Sudley House Museum, Liverpool Note: Painting date usually listed as unknown, but Sarah Tytler in Modern Painters and their Paintings, 1874, clearly says painted in 1854. Rarity 7 based on sales appearances (on a scale of 1 to 8). This print is very scarce (offered about one time every five years).
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Searching the ScripturesAttribution on print:"Engd by Herbert Bourne" Size of Bourne engraving: 7.9 x 7.8 in (20.1 x 19.8 cm) Estimated date engraved: unknown Source of print: unknown Printed by: Blackie & Son Title of source painting: unknown Painter: Alexander Strahuber Probable date of source painting: unknown Current location of painting: unknown Note: Source currently unknown. The British Museum acquired an example by donation in 2007. Rarity 4 based on sales appearances (on a scale of 1 to 8). This print is somewhat common (offered about three times per year).
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The Seven Ages of ManAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 9.4 x 6.9 in (23.8 x 17.5 cm) Estimated date engraved: unknown Source of print: Art Journal, July, 1874. Also appears in Imperial Edition of The Works of Shakespeare, Volume 1, by Charles Knight, 1873 (Virtue & Yorston, New York) Printed by: Virtue & Co. Title of source painting: The Seven Ages of Man: 'All the World's a Stage' Painter: William Mulready Probable date of source painting: 1838 Current location of painting: unknown Note: Engraving represents scene in Shakespeare's As You Like It. Rarity 4 based on sales appearances (on a scale of 1 to 8). This print is somewhat common (offered about three times per year).
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Soldiers of the Cross (Crusaders)Attribution on print:"H. Bourne" Size of Bourne engraving: 32.5 x 22 in (82.6 x 55.9 cm) Estimated date engraved: about 1880 Source of print: Commissioned and sold by Fairless and Beeforth for their Doré Gallery in London, 1868-1883 Printed by: Fairless & Beeforth Title of source painting: Soldiers of the Cross Painter: Gustave Doré Probable date of source painting: 1874 Current location of painting: unknown Note: Information about painting and engraving from Dan Malan, Gustave Doré: Adrift on Dreams of Splendor, 1995; original painting was 74 x 45 inches. The British Museum acquired a copy of the engraving in 1950. That print indicates it was printed by Crowdy & Loud, and published by the Doré Gallery in 1899. It was copyrighted in the U.S. in 1881. Image contributed by D. Smith, Mar., 2021. Rarity 8 based on sales appearances (on a scale of 1 to 8). This print is rare (offered about one time or fewer per decade).
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St AgnesAttribution on print:"H. Bourne" Size of Bourne engraving: 3.9 x 5.1 in (9.9 x 12.9 cm) Estimated date engraved: unknown Source of print: The Lives of the Fathers, Martyrs and Other Principal Saints, by Rev. Alban Butler Printed by: Virtue and Yorston Title of source painting: St Agnes Painter: Domenichino (Domenico Zampieri) Probable date of source painting: 1620 Current location of painting: Royal Collection Note: This image is an abbreviated form of the original which shows a standing St Agnes in a classical setting with a child and lamb at her feet. This engraving is also a well-executed mirror image of the original. A chalk study of this image is located in Windsor Castle. Rarity 6 based on sales appearances (on a scale of 1 to 8). This print is scarce (offered about one time every two years).
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Saint Barbara, Virgin & MartyrAttribution on print:"H. Bourne" Size of Bourne engraving: 3.9 x 5.2 in (9.9 x 13.2 cm) Estimated date engraved: about 1864 Source of print: The Lives of the Fathers, Martyrs and Other Principal Saints by Rev Alban Butler Printed by: Virtue & Yorston Title of source painting: unknown Painter: Peter Paul Rubens Probable date of source painting: unknown Current location of painting: unknown Rarity 8 based on sales appearances (on a scale of 1 to 8). This print is rare (offered about one time or fewer per decade).
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St CatherineAttribution on print:"Bourne" Size of Bourne engraving: 3.8 x 5.2 in (9.7 x 13.1 cm) Estimated date engraved: unknown Source of print: unknown Printed by: unknown Title of source painting: unknown Painter: Peter Paul Rubens Probable date of source painting: unknown Current location of painting: unknown Rarity 8 based on sales appearances (on a scale of 1 to 8). This print is rare (offered about one time or fewer per decade).
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SusannahAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 6.6 x 9.9 in (16.7 x 25.2 cm) Estimated date engraved: about 1866 Source of print: Art Journal, February, 1866 Printed by: Virtue & Co. Title of source painting: unknown Painter: John Rogers Herbert Probable date of source painting: unknown Current location of painting: unknown Note: The British Museum acquired a copy of the print in 1872. Rarity 4 based on sales appearances (on a scale of 1 to 8). This print is somewhat common (offered about three times per year).
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SuspenseAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 6.3 x 8 in (16 x 20.4 cm) Estimated date engraved: about 1865 Source of print: From the Art Journal, November, 1865. Also appeared in The Art Treasures of England. The Master-pieces of the Best English, Irish and Scottish Painters and Sculptors, Joseph Vernon Whitaker, editor. by Gebbie & Barrie (The title of this work showed some variation, possibly due to republication.) Printed by: Virtue & Co Title of source painting: unknown Painter: A. (probably Alexander) Johnston Probable date of source painting: unknown Current location of painting: unknown Note: The British Museum acquired a copy of the Virtue printing in 1872. The Virtue printing shows the additional text, 'from the picture in the collection of P. Bennoch, Esq., Blackheath' (lacking in the Gebbie & Barrie print.) Rarity 2 based on sales appearances (on a scale of 1 to 8). This print is very common (offered about one time per month).
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The SyrenAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 7.9 x 9.8 in (20 x 24.9 cm) Estimated date engraved: about 1875 Source of print: Art Journal, February, 1876 Printed by: D. Appleton & Co Title of source painting: The Syren Painter: Charles Louis Müller Probable date of source painting: unknown Current location of painting: unknown Rarity 2 based on sales appearances (on a scale of 1 to 8). This print is very common (offered about one time per month).
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The TambourineAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 7 x 10.9 in (17.7 x 27.8 cm) Estimated date engraved: about 1872 Source of print: Art Journal, February, 1872 Printed by: Selmar Hess, Gebbie & Barrie Title of source painting: unknown Painter: Pierre Louis Joseph deConinck Probable date of source painting: unknown Current location of painting: unknown Note: Painting reportedly appears in One Hundred Works of Great Masters by Aphonse Bacheret. This painting has proven difficult to locate. It sold at auction in the 1980s under the title Tambourine Girl, but its title has also been reported as Portrait of a Gypsy Girl with a Tambourine. Reportedly engraved in 1872. An unlettered proof of this engraving on chine colle resides in the British Museum. Rarity 2 based on sales appearances (on a scale of 1 to 8). This print is very common (offered about one time per month).
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Triumph of ChristianityAttribution on print: Size of Bourne engraving: unknown Estimated date engraved: about 1872 Source of print: Commissioned and sold by Fairless and Beeforth for their Doré Gallery in London, 1868-1883 Printed by: Fairless & Beeforth Title of source painting: Triumph of Christianity Painter: Gustave Doré Probable date of source painting: 1868 Current location of painting: unknown Note: Information about painting and engraving from Dan Malan, Gustave Doré: Adrift on Dreams of Splendor, 1995; original painting size 118 x 82 (inches or 9.8' x 6.8'). Image contributed by D. Smith, Mar., 2021. Original painting at The Joey and Tobey Tanenbaum Collection, 2002. Art Gallery of Hamilton, Ontario. Rarity unknown (never seen offered for sale). This print is exceedingly rare.
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The Village ChoirAttribution on print:"H. Bourne, Sculpt 1870" Size of Bourne engraving: 10 x 5.7 in (25.4 x 14.4 cm) Estimated date engraved: about 1867 Source of print: Art Journal, April, 1867. Also reported in The Art Treasures of England. The Master-pieces of the Best English, Irish and Scottish Painters and Sculptors, J. Vernon Whitaker, editor Printed by: Gebbie & Barrie Title of source painting: Village Choir, Bow Brickhill Church, Buckinghamshire Painter: Thomas Webster Probable date of source painting: 1847 Current location of painting: Victoria & Albert Museum; study for the painting at Royal Academy of Arts Note: The British Museum acquired a copy in 1872 printed by Virtue & Co that originated from the Art Journal of 1867. Some show a later date, probably representing a printing by a different publisher. Rarity 2 based on sales appearances (on a scale of 1 to 8). This print is very common (offered about one time per month).
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The Village SchoolAttribution on print:"H. Bourne, Engraver" Size of Bourne engraving: 10.1 x 5.6 in (25.6 x 14.2 cm) Estimated date engraved: unknown Source of print: Art Journal, August, 1854 Printed by: G. Virtue Title of source painting: A Dame's School Painter: Thomas Webster Probable date of source painting: 1845 Current location of painting: Tate Gallery, London Note: The British Museum owns three copies of the engraving, one signed by Bourne on the back. Rarity 4 based on sales appearances (on a scale of 1 to 8). This print is somewhat common (offered about three times per year).
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Watt's First ExperimentAttribution on print:"Herbert Bourne, Sculpt." Size of Bourne engraving: 9.4 x 7.2 in (23.9 x 18.3 cm) Estimated date engraved: about 1869 Source of print: Art Journal, July, 1868 Printed by: D. Appleton & Co. Title of source painting: Watt Discovering the Condensation of Steam; The Young James Watt Playing With Steam Painter: Marcus Stone Probable date of source painting: unknown Current location of painting: unknown Note: The British Museum acquired a copy of the Virtue print in 1872. Rarity 3 based on sales appearances (on a scale of 1 to 8). This print is common (offered about 6 times per year).
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Wycliffe On His Sickened Bed Assailed By His Friars At Oxford in 1378, after George ThomasAttribution on print:"Engraved by H. Bourne" Size of Bourne engraving: 6.4 x 4.6 in (16.2 x 11.7 cm) Estimated date engraved: before 1878 Source of print: Pictures and Royal Portraits Illustrative of English and Scottish History: from the introduction of Christianity to the present time, Volume 1, page 54 by Thomas Archer Printed by: Blackie & Son Title of source painting: 1854 Painter: George H Thomas Probable date of source painting: unknown Current location of painting: unknown Note: The genuine title of this work is questionable, since the work was commissioned by Blackie & Son for their work. Rarity 5 based on sales appearances (on a scale of 1 to 8). This print is somewhat scarce (offered about one time per year).
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Yorick and the GrisetteAttribution on print:"H. Bourne, Engraver" Size of Bourne engraving: 7.4 x 9.7 in (18.8 x 24.6 cm) Estimated date engraved: about 1852 Source of print: Art Journal, February, 1852 (pub. George Virtue.). That version lacks text concerning appearance of the picture in the Vernon Gallery. The Wilkinson printing version comes from a different unknown source, likely dated about 1853. Printed by: H. Wilkinson Title of source painting: Yorick and the Grisette Painter: Gilbert Stuart Newton Probable date of source painting: 1847 Current location of painting: Tate Gallery Note: The British Museum acquired three copies of the Wilkinson printing in 1853, 1855 and 1900. The 1853 print is signed on the back in pencil by Bourne. 'Grisette' was a 18th century term for a part-time prostitute. The painting was exhibited in London in 1830 and represents a scene from A Sentimental Journey Through France and Italy, a 1768 novel by Laurence Sterne. Rarity 2 based on sales appearances (on a scale of 1 to 8). This print is very common (offered about one time per month).
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A Young Painter's First WorksAttribution on print:"H. Bourne, Sculpt." Size of Bourne engraving: 9.3 x 7.1 in (23.6 x 18 cm) Estimated date engraved: about 1869 Source of print: The Art Journal, July, 1869. Printed by: London: Virtue & Co. Title of source painting: The Painter's First Work Painter: Marcus Stone Probable date of source painting: 1862 Current location of painting: unknown Note: The British Museum acquired a copy of the print in 1872. Rarity 3 based on sales appearances (on a scale of 1 to 8). This print is common (offered about 6 times per year).
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