This sketch shows ancient ruins. The top half of the page is left empty with sky. At the righ is an apsed portico and from it, to the left of the page, runs a wall studded with windows. In the foreground is a set of stairs with shrubbery overgrowing.
Animal horn engraved with the Royal Coat of Arms of the United Kingdom, in which a crowned lion and a chained unicorn supporting a shield stand above a banner with the motto “dieu et mon droit” (which directly translated from French means “God and my right” referring to the monarch’s divine right to govern which has been used as the motto of the British monarch since it was adopted by Henry V (1413-1422)). The shield consists of four quadrants: the first quadrant contains four lions, the second contains three fleurs de lis, the third contains a mermaid and a harp, the fourth contains three lions and a stag or dog-like animal. Surrounding the shield is a belt or garter upon which is emblazoned “Honi soit qui mal y pense” which means “evil unto they who think evil,” the motto of the Order of the Knights of the Garter, an ancient exclusive British order consisting of 25 members who were selected by the king of England. Near the base, the horn is engraved with a cityscape of Philadelphia from the harbor with numerous buildings, towers, boats and ships, and a man with a rifle shooting at a stag or lion in the distance.
The provincial carved powder horn is an indigenous North American art form. Made from the cow, ox or buffalo horn, powder horns were commonly used with 18th century muskets to safely store gunpowder, and their polished surfaces often provided a canvas for a professional carver. This work is engraved with the Royal Coat of Arms of the United Kingdom and a cityscape of Philadelphia, symbolizing the position of Philadelphia in the early history of the founding of America.
The View on the Taking of Quebec. Showing the manner of debarking of English forces of the resolute scrambling of the light Infantry up a Woody Precipice to dislodge the Captain's Post, which defended a small entrenched path, through which the troops were to pass. Also a view of the signal victory obtain'd over The French Regulars, Canadians and Indians which produc'd the Surrender of Quebec. Printed for Carrington Bowles, Map + Printseller, No. 69 in St. Paul's Church Yard, London
recto lc in print: A view on the taking of Quebec, Sep.r 13th, 1759. showing the manner of debarking the English Forces, & of the resolute scrambling of the light Infantry up a Woody Precipice to dislodge the Captain's Post, which defended a small entrenched path, through which the Troops were to pass. Also a View of the Signal Victory obtain'd over the French Regulars, Canadians & Indians, which produc'd the Surrender of Quebec.
recto lc in print: Printed for Carrington Bowles, Map & Printseller, No. 69 in St. Paul's Church Yard, London
Painting shows a large country estate house. Situated in the middle distance, the house angles into space. At the near end is a dovecotte and at the furthest point is an arcade attaching the main house to another building that is obscured by trees. The foreground is framed by trees on either side, the lefthand tree is partially dead. At center in the foreground is an elegant party in a boat on a small lake. This group consists of two women and a man, hand outstretched indicating the scene of the house in the distance. In addition, two men in vests are also part of the group in the boat, one of whom is seated, the other is propelling the boat with an oar. Swans, with wings extended behind them, also grace the surface of the water.
William Ashford became one of the best-known painters in late-18th century Ireland was born in Birmingham, England. His country house landscapes have a distinctly English mood and show prosperous estates that are well kept and reflect a harmony established beween man and nature. This building, Belan House, was built in 1745 and was the seat of the Earl of Aldborough. The composition was engraved by Argus and was published in Richardson's "Long Forgotten Days".
Mark, stamped in black, lower left: ? Pen flourish, l.l. (Could this be the mark of collector, Pierre Crozat, 1661-1740?) In pen, on front of mount: Guido Reni In pencil, on front of mount: Reni and 1?32 In pen, on back of mount: No 5. ?Guido Reni Zeich? In pencil, on back of mount: Lot 94 and 15.