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1845-63 John Gould Large Antique Print The Mammals of Australia - Tree Kangaroo

1845-63 John Gould Large Antique Print The Mammals of Australia - Tree Kangaroo

  • Title : Dendrolagus Ursinus, Mull....H C Richter del et lith....C Hullmandel Imp.
  • Ref #:  93441
  • Size: 22in x 15in (560mm x 385mm)
  • Date : 1845–63
  • Condition: (A+) Fine Condition

Description:
This large rare original hand coloured lithograph antique print of The Ursine Tree Kangaroo, by the artist HC Richter was printed by Charles Joseph Hullmandel 1789 – 1850 in the famous Naturalists John Goulds The Mammals of Australiapublished between 1845–63.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Blue, pink, red, green, yellow
General color appearance: - Authentic
Paper size: - 22in x 15in (560mm x 385mm)
Plate size: - 22in x 15in (560mm x 385mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Light age toning
Plate area: - None
Verso: - None

Background:
The Mammals of Australia is a three-volume work written and published by John Gould between 1845–63. It contains 182 illustrations by the author and its artist H. C. Richter. It was intended to be a complete survey of the novel species of mammals, such as the marsupials, discovered in the colonies of Australia.
The author, John Gould, best known for The Birds of Australia and other major works of ornithology, visited Australia in 1838. In his introduction, Gould says:.....It was not until I arrived in the country, and found myself surrounded by objects as strange as if I had been transported to another planet, that I conceived the idea of devoting a portion of my attention to the mammalian class of its extraordinary fauna......During his short stay he made observations on the natural history and employed his skills as a taxidermist to obtain specimens.
The publication of this major work by Gould followed his A Monograph of the Macropodidae or Family of Kangaroos in 1841. This work was the first comprehensive survey of Australian mammals, and gave an account of their classification and description. Gould also included the indigenous names for the species from the lists he made while in Australia. He used these names to make requests of the local peoples for his specimens, and recorded the regions where the names were used. This conserved a number of common names, such as dibbler (Parantechinus apicalis), which were later recommended by authorities.
The large lithographs reproduced the artwork of Richter, after the drawings and watercolours made in Australia by Gould and his wife, Elizabeth. (The contribution by Elizabeth Gould was uncredited). These were hand-coloured by a group of artists, led by Gabriel Bayfield, that required the completion of 26,572 plates. The illustrations produced during their visit to Australia were supplemented by the preserved specimens returned to England and detailed the characteristics of the species. These illustrations have become iconic images of the mammals of Australia. Among the best known of the illustrations from the work are the two of Thylacinus cynocephalus (Tasmanian tiger), copied since its publication and the most frequently reproduced, made more recognizable by Cascade Brewerys appropriation for its label in 1987. The government of Tasmania published a monochromatic reproduction of the same image in 1934, the author Louisa Anne Meredith also copied it for Tasmanian Friends and Foes (1881).
The Mammals of Australia was published by subscription in the format Imperial Folio; 13 parts in three volumes were issued from 1845 until 1863. To these the author added An Introduction to The Mammals of Australia (1863) in a separate work. This provided corrections and updates, a new preface, introduction, and a list of the mammals of the three volumes. The first two volumes were complete surveys of orders Marsupiata (marsupials), and, with Rodentia in the third, it formed the sum of known mammalian species of Australia. With the addition of those contained in the later Introduction the total of species described reached 166. The same work notes the exclusion of marine mammals such as whales from the volumes, but reprints a manuscript by Charles Coxen on the dugong.
Beyond the scientific value of this comprehensive survey, the document is cited in reference to its subjects conservation. Some of the species included in the work, such as Onychogalea lunata (crescent nailtail wallaby), have since succumbed to changes in land use since European colonisation.
The work was received with acclaim, but the high cost of production, especially of the coloured plates, reduced its accessibility. The original listed price was £41 for the complete set of volumes. The public curiosity for the unique fauna of Australia was met by this handsomely illustrated and comprehensive survey, and it spawned imitations in Australia. The curator of the Australian Museum, Gerard Krefft, produced the more affordable The Mammals of Australia (1871); intended for educational purposes and influenced by Goulds illustrations. Gracius Broinowskis abandoned work, Birds and Mammals of Australia (1884), so closely imitated the plates that an injunction was threatened by its publisher.

Gould, John FRS 1804 – 1881
Gould was an English ornithologist and bird artist. He published a number of monographs on birds, illustrated by plates that he produced with the assistance of his wife, Elizabeth Gould, and several other artists including Edward Lear, Henry Constantine Richter, Joseph Wolf and William Matthew Hart. He has been considered the father of bird study in Australia and the Gould League in Australia is named after him. His identification of the birds now nicknamed Darwins finches played a role in the inception of Darwins theory of evolution by natural selection. Goulds work is referenced in Charles Darwins book, On the Origin of Species.
Gould was born in Lyme Regis the first son of a gardener. He and the boy probably had a scanty education. Shortly afterwards his father obtained a position on an estate near Guildford, Surrey, and then in 1818 Gould became foreman in the Royal Gardens of Windsor. He was for some time under the care of J. T. Aiton, of the Royal Gardens of Windsor. The young Gould started training as a gardener, being employed under his father at Windsor from 1818 to 1824, and he was subsequently a gardener at Ripley Castle in Yorkshire. He became an expert in the art of taxidermy. In 1824 he set himself up in business in London as a taxidermist, and his skill helped him to become the first Curator and Preserver at the museum of the Zoological Society of London in 1827.
Goulds position brought him into contact with the countrys leading naturalists. This meant that he was often the first to see new collections of birds given to the Zoological Society of London. In 1830 a collection of birds arrived from the Himalayas, many not previously described. Gould published these birds in A Century of Birds from the Himalaya Mountains (1830–1832). The text was by Nicholas Aylward Vigors and the illustrations were drawn and lithographed by Goulds wife Elizabeth Coxen Gould. Most of Goulds work were rough sketches on paper from which other artists created the lithographic plates.
This work was followed by four more in the next seven years, including Birds of Europe in five volumes. It was completed in 1837; Gould wrote the text, and his clerk, Edwin Prince, did the editing. The plates were drawn and lithographed by Elizabeth Coxen Gould. A few of the illustrations were made by Edward Lear as part of his Illustrations of the Family of Psittacidae in 1832. Lear, however, was in financial difficulty, and he sold the entire set of lithographs to Gould. The books were published in a very large size, imperial folio, with magnificent coloured plates. Eventually 41 of these volumes were published, with about 3000 plates. They appeared in parts at £3 3s. a number, subscribed for in advance, and in spite of the heavy expense of preparing the plates, Gould succeeded in making his ventures pay, realising a fortune. This was a busy period for Gould who also published Icones Avium in two parts containing 18 leaves of bird studies on 54 cm plates as a supplement to his previous works. No further monographs were published as in 1838 he and his wife moved to Australia to work on the Birds of Australia. Shortly after their return to England, his wife died in 1841. Elizabeth Gould completed 84 plates for Birds of Australia before her death.
When Charles Darwin presented his mammal and bird specimens collected during the second voyage of HMS Beagle to the Zoological Society of London on 4 January 1837, the bird specimens were given to Gould for identification. He set aside his paying work and at the next meeting on 10 January reported that birds from the Galápagos Islands which Darwin had thought were blackbirds, gross-bills and finches were in fact a series of ground Finches which are so peculiar as to form an entirely new group, containing 12 species. This story made the newspapers. In March, Darwin met Gould again, learning that his Galápagos wren was another species of finch and the mockingbirds he had labelled by island were separate species rather than just varieties, with relatives on the South American mainland. Subsequently, Gould advised that the smaller southern Rhea specimen that had been rescued from a Christmas dinner was a separate species which he named Rhea darwinii, whose territory overlapped with the northern rheas. Darwin had not bothered to label his finches by island, but others on the expedition had taken more care. He now sought specimens collected by captain Robert FitzRoy and crewmen. From them he was able to establish that the species were unique to islands, an important step on the inception of his theory of evolution by natural selection. Goulds work on the birds was published between 1838 and 1842 in five numbers as Part 3 of Zoology of the Voyage of H.M.S. Beagle, edited by Charles Darwin. Elizabeth Gould illustrated all the plates for Part 3.
In 1838 the Goulds sailed to Australia, intending to study the birds of that country and be the first to produce a major work on the subject. They took with them the collector John Gilbert. They arrived in Tasmania in September, making the acquaintance of the governor Sir John Franklin and his wife. Gould and Gilbert collected on the island. In February 1839 Gould sailed to Sydney, leaving his pregnant wife with the Franklins. He travelled to his brother-in-laws station at Yarrundi, spending his time searching for bowerbirds in the Liverpool Range. In April he returned to Tasmania for the birth of his son. In May he sailed to Adelaide to meet Charles Sturt, who was preparing to lead an expedition to the Murray River. Gould collected in the Mount Lofty range, the Murray Scrubs and Kangaroo Island, returning again to Hobart in July. He then travelled with his wife to Yarrundi. They returned home to England in May 1840.
The result of the trip was The Birds of Australia (1840–48). It included a total of 600 plates in seven volumes; 328 of the species described were new to science and named by Gould. He also published A Monograph of the Macropodidae, or Family of Kangaroos (1841–1842) and the three volume work The Mammals of Australia (1849–1861).
Elizabeth died in 1841 after the birth of their eighth child, Sarah, and Goulds books subsequently used illustrations by a number of artists, including Henry Constantine Richter, William Matthew Hart and Joseph Wolf.
Throughout his professional life Gould had a strong interest in hummingbirds. He accumulated a collection of 320 species, which he exhibited at the Great Exhibition of 1851. Despite his interest, Gould had never seen a live hummingbird. In May 1857 he travelled to the United States with his second son, Charles. He arrived in New York too early in the season to see hummingbirds in that city, but on 21 May 1857, in Bartrams Gardens in Philadelphia, he finally saw his first live one, a ruby-throated hummingbird. He then continued to Washington D.C. where he saw large numbers in the gardens of the Capitol. Gould attempted to return to England with live specimens, but, as he was not aware of the conditions necessary to keep them, they only lived for two months at most.
Gould published: A Monograph of the Trochilidae or Humming Birds with 360 plates (1849–61); The Mammals of Australia (1845–63), Handbook to the Birds of Australia (1865), The Birds of Asia (1850–83), The Birds of Great Britain (1862–73) and The Birds of New Guinea and the adjacent Papuan Islands (1875–88).
The University of Glasgow, which owns a copy of Birds of Great Britain, describes John Gould as the greatest figure in bird illustration after Audubon, and auctioneers Sotherans describe the work as Goulds pride and joy.
Gould had already published some of the illustrations in Birds of Europe, but Birds of Great Britain represents a development of his aesthetic style in which he adds illustrations of nests and young on a large scale.
Sotherans Co. reports that Gould published the book himself, producing 750 copies, which remain sought after both as complete volumes, and as individual plates, currently varying in price from £450 – £850. The University of Glasgow records that the volumes were issued in London in 25 parts, to make the complete set, between 1863 and 1873, and each set contained 367 coloured lithographs.
Gould undertook an ornithological tour of Scandinavia in 1856, in preparation for the work, taking with him the artist Henry Wolf who drew 57 of the plates from Goulds preparatory sketches. According to The University of Glasgow Goulds skill was in rapidly producing rough sketches from nature (a majority of the sketches were drawn from newly killed specimens) capturing the distinctiveness of each species. Gould then oversaw the process whereby his artists worked his sketches up into the finished drawings, which were made into coloured lithographs by engraver William Hart.
There were problems: the stone engraving of the snowy owl in volume I was dropped and broken at an early stage in the printing. Later issues of this plate show evidence of this damage and consequently the early issue – printed before the accident – are considered more desirable.
The lithographs were hand coloured. In the introduction for the work, Gould states every sky with its varied tints and every feather of each bird were coloured by hand; and when it is considered that nearly two hundred and eighty thousand illustrations in the present work have been so treated, it will most likely cause some astonishment to those who give the subject a thought.
The work has gathered critical acclaim: according to Mullens and Swann, Birds of Great Britain is the most sumptuous and costly of British bird books, whilst Wood describes it as a magnificent work. Isabella Tree writes that it was seen – perhaps partly because its subject was British, as the culmination of [his] ... genius

$799.00 USD
More Info
1845-63 John Gould Large Antique Print of Tree Kangaroo The Mammals of Australia

1845-63 John Gould Large Antique Print of Tree Kangaroo The Mammals of Australia

  • Title : Dendrolagus Inustus, Mull....H C Richter del et lith....C Hullmandel Imp.
  • Ref #:  93442
  • Size: 22in x 15in (560mm x 385mm)
  • Date : 1845–63
  • Condition: (A+) Fine Condition

Description:
This large rare original hand coloured lithograph antique print of The Grizzled Tree Kangaroo, by the artist HC Richter was printed by Charles Joseph Hullmandel 1789 – 1850 in the famous Naturalists John Goulds The Mammals of Australiapublished between 1845–63.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Blue, pink, red, green, yellow
General color appearance: - Authentic
Paper size: - 22in x 15in (560mm x 385mm)
Plate size: - 22in x 15in (560mm x 385mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Light age toning
Plate area: - None
Verso: - None

Background:
The Mammals of Australia is a three-volume work written and published by John Gould between 1845–63. It contains 182 illustrations by the author and its artist H. C. Richter. It was intended to be a complete survey of the novel species of mammals, such as the marsupials, discovered in the colonies of Australia.
The author, John Gould, best known for The Birds of Australia and other major works of ornithology, visited Australia in 1838. In his introduction, Gould says:.....It was not until I arrived in the country, and found myself surrounded by objects as strange as if I had been transported to another planet, that I conceived the idea of devoting a portion of my attention to the mammalian class of its extraordinary fauna......During his short stay he made observations on the natural history and employed his skills as a taxidermist to obtain specimens.
The publication of this major work by Gould followed his A Monograph of the Macropodidae or Family of Kangaroos in 1841. This work was the first comprehensive survey of Australian mammals, and gave an account of their classification and description. Gould also included the indigenous names for the species from the lists he made while in Australia. He used these names to make requests of the local peoples for his specimens, and recorded the regions where the names were used. This conserved a number of common names, such as dibbler (Parantechinus apicalis), which were later recommended by authorities.
The large lithographs reproduced the artwork of Richter, after the drawings and watercolours made in Australia by Gould and his wife, Elizabeth. (The contribution by Elizabeth Gould was uncredited). These were hand-coloured by a group of artists, led by Gabriel Bayfield, that required the completion of 26,572 plates. The illustrations produced during their visit to Australia were supplemented by the preserved specimens returned to England and detailed the characteristics of the species. These illustrations have become iconic images of the mammals of Australia. Among the best known of the illustrations from the work are the two of Thylacinus cynocephalus (Tasmanian tiger), copied since its publication and the most frequently reproduced, made more recognizable by Cascade Brewerys appropriation for its label in 1987. The government of Tasmania published a monochromatic reproduction of the same image in 1934, the author Louisa Anne Meredith also copied it for Tasmanian Friends and Foes (1881).
The Mammals of Australia was published by subscription in the format Imperial Folio; 13 parts in three volumes were issued from 1845 until 1863. To these the author added An Introduction to The Mammals of Australia (1863) in a separate work. This provided corrections and updates, a new preface, introduction, and a list of the mammals of the three volumes. The first two volumes were complete surveys of orders Marsupiata (marsupials), and, with Rodentia in the third, it formed the sum of known mammalian species of Australia. With the addition of those contained in the later Introduction the total of species described reached 166. The same work notes the exclusion of marine mammals such as whales from the volumes, but reprints a manuscript by Charles Coxen on the dugong.
Beyond the scientific value of this comprehensive survey, the document is cited in reference to its subjects conservation. Some of the species included in the work, such as Onychogalea lunata (crescent nailtail wallaby), have since succumbed to changes in land use since European colonisation.
The work was received with acclaim, but the high cost of production, especially of the coloured plates, reduced its accessibility. The original listed price was £41 for the complete set of volumes. The public curiosity for the unique fauna of Australia was met by this handsomely illustrated and comprehensive survey, and it spawned imitations in Australia. The curator of the Australian Museum, Gerard Krefft, produced the more affordable The Mammals of Australia (1871); intended for educational purposes and influenced by Goulds illustrations. Gracius Broinowskis abandoned work, Birds and Mammals of Australia (1884), so closely imitated the plates that an injunction was threatened by its publisher.

Gould, John FRS 1804 – 1881
Gould was an English ornithologist and bird artist. He published a number of monographs on birds, illustrated by plates that he produced with the assistance of his wife, Elizabeth Gould, and several other artists including Edward Lear, Henry Constantine Richter, Joseph Wolf and William Matthew Hart. He has been considered the father of bird study in Australia and the Gould League in Australia is named after him. His identification of the birds now nicknamed Darwins finches played a role in the inception of Darwins theory of evolution by natural selection. Goulds work is referenced in Charles Darwins book, On the Origin of Species.
Gould was born in Lyme Regis the first son of a gardener. He and the boy probably had a scanty education. Shortly afterwards his father obtained a position on an estate near Guildford, Surrey, and then in 1818 Gould became foreman in the Royal Gardens of Windsor. He was for some time under the care of J. T. Aiton, of the Royal Gardens of Windsor. The young Gould started training as a gardener, being employed under his father at Windsor from 1818 to 1824, and he was subsequently a gardener at Ripley Castle in Yorkshire. He became an expert in the art of taxidermy. In 1824 he set himself up in business in London as a taxidermist, and his skill helped him to become the first Curator and Preserver at the museum of the Zoological Society of London in 1827.
Goulds position brought him into contact with the countrys leading naturalists. This meant that he was often the first to see new collections of birds given to the Zoological Society of London. In 1830 a collection of birds arrived from the Himalayas, many not previously described. Gould published these birds in A Century of Birds from the Himalaya Mountains (1830–1832). The text was by Nicholas Aylward Vigors and the illustrations were drawn and lithographed by Goulds wife Elizabeth Coxen Gould. Most of Goulds work were rough sketches on paper from which other artists created the lithographic plates.
This work was followed by four more in the next seven years, including Birds of Europe in five volumes. It was completed in 1837; Gould wrote the text, and his clerk, Edwin Prince, did the editing. The plates were drawn and lithographed by Elizabeth Coxen Gould. A few of the illustrations were made by Edward Lear as part of his Illustrations of the Family of Psittacidae in 1832. Lear, however, was in financial difficulty, and he sold the entire set of lithographs to Gould. The books were published in a very large size, imperial folio, with magnificent coloured plates. Eventually 41 of these volumes were published, with about 3000 plates. They appeared in parts at £3 3s. a number, subscribed for in advance, and in spite of the heavy expense of preparing the plates, Gould succeeded in making his ventures pay, realising a fortune. This was a busy period for Gould who also published Icones Avium in two parts containing 18 leaves of bird studies on 54 cm plates as a supplement to his previous works. No further monographs were published as in 1838 he and his wife moved to Australia to work on the Birds of Australia. Shortly after their return to England, his wife died in 1841. Elizabeth Gould completed 84 plates for Birds of Australia before her death.
When Charles Darwin presented his mammal and bird specimens collected during the second voyage of HMS Beagle to the Zoological Society of London on 4 January 1837, the bird specimens were given to Gould for identification. He set aside his paying work and at the next meeting on 10 January reported that birds from the Galápagos Islands which Darwin had thought were blackbirds, gross-bills and finches were in fact a series of ground Finches which are so peculiar as to form an entirely new group, containing 12 species. This story made the newspapers. In March, Darwin met Gould again, learning that his Galápagos wren was another species of finch and the mockingbirds he had labelled by island were separate species rather than just varieties, with relatives on the South American mainland. Subsequently, Gould advised that the smaller southern Rhea specimen that had been rescued from a Christmas dinner was a separate species which he named Rhea darwinii, whose territory overlapped with the northern rheas. Darwin had not bothered to label his finches by island, but others on the expedition had taken more care. He now sought specimens collected by captain Robert FitzRoy and crewmen. From them he was able to establish that the species were unique to islands, an important step on the inception of his theory of evolution by natural selection. Goulds work on the birds was published between 1838 and 1842 in five numbers as Part 3 of Zoology of the Voyage of H.M.S. Beagle, edited by Charles Darwin. Elizabeth Gould illustrated all the plates for Part 3.
In 1838 the Goulds sailed to Australia, intending to study the birds of that country and be the first to produce a major work on the subject. They took with them the collector John Gilbert. They arrived in Tasmania in September, making the acquaintance of the governor Sir John Franklin and his wife. Gould and Gilbert collected on the island. In February 1839 Gould sailed to Sydney, leaving his pregnant wife with the Franklins. He travelled to his brother-in-laws station at Yarrundi, spending his time searching for bowerbirds in the Liverpool Range. In April he returned to Tasmania for the birth of his son. In May he sailed to Adelaide to meet Charles Sturt, who was preparing to lead an expedition to the Murray River. Gould collected in the Mount Lofty range, the Murray Scrubs and Kangaroo Island, returning again to Hobart in July. He then travelled with his wife to Yarrundi. They returned home to England in May 1840.
The result of the trip was The Birds of Australia (1840–48). It included a total of 600 plates in seven volumes; 328 of the species described were new to science and named by Gould. He also published A Monograph of the Macropodidae, or Family of Kangaroos (1841–1842) and the three volume work The Mammals of Australia (1849–1861).
Elizabeth died in 1841 after the birth of their eighth child, Sarah, and Goulds books subsequently used illustrations by a number of artists, including Henry Constantine Richter, William Matthew Hart and Joseph Wolf.
Throughout his professional life Gould had a strong interest in hummingbirds. He accumulated a collection of 320 species, which he exhibited at the Great Exhibition of 1851. Despite his interest, Gould had never seen a live hummingbird. In May 1857 he travelled to the United States with his second son, Charles. He arrived in New York too early in the season to see hummingbirds in that city, but on 21 May 1857, in Bartrams Gardens in Philadelphia, he finally saw his first live one, a ruby-throated hummingbird. He then continued to Washington D.C. where he saw large numbers in the gardens of the Capitol. Gould attempted to return to England with live specimens, but, as he was not aware of the conditions necessary to keep them, they only lived for two months at most.
Gould published: A Monograph of the Trochilidae or Humming Birds with 360 plates (1849–61); The Mammals of Australia (1845–63), Handbook to the Birds of Australia (1865), The Birds of Asia (1850–83), The Birds of Great Britain (1862–73) and The Birds of New Guinea and the adjacent Papuan Islands (1875–88).
The University of Glasgow, which owns a copy of Birds of Great Britain, describes John Gould as the greatest figure in bird illustration after Audubon, and auctioneers Sotherans describe the work as Goulds pride and joy.
Gould had already published some of the illustrations in Birds of Europe, but Birds of Great Britain represents a development of his aesthetic style in which he adds illustrations of nests and young on a large scale.
Sotherans Co. reports that Gould published the book himself, producing 750 copies, which remain sought after both as complete volumes, and as individual plates, currently varying in price from £450 – £850. The University of Glasgow records that the volumes were issued in London in 25 parts, to make the complete set, between 1863 and 1873, and each set contained 367 coloured lithographs.
Gould undertook an ornithological tour of Scandinavia in 1856, in preparation for the work, taking with him the artist Henry Wolf who drew 57 of the plates from Goulds preparatory sketches. According to The University of Glasgow Goulds skill was in rapidly producing rough sketches from nature (a majority of the sketches were drawn from newly killed specimens) capturing the distinctiveness of each species. Gould then oversaw the process whereby his artists worked his sketches up into the finished drawings, which were made into coloured lithographs by engraver William Hart.
There were problems: the stone engraving of the snowy owl in volume I was dropped and broken at an early stage in the printing. Later issues of this plate show evidence of this damage and consequently the early issue – printed before the accident – are considered more desirable.
The lithographs were hand coloured. In the introduction for the work, Gould states every sky with its varied tints and every feather of each bird were coloured by hand; and when it is considered that nearly two hundred and eighty thousand illustrations in the present work have been so treated, it will most likely cause some astonishment to those who give the subject a thought.
The work has gathered critical acclaim: according to Mullens and Swann, Birds of Great Britain is the most sumptuous and costly of British bird books, whilst Wood describes it as a magnificent work. Isabella Tree writes that it was seen – perhaps partly because its subject was British, as the culmination of [his] ... genius

$750.00 USD
More Info
1856 Delafield Antique Architectural Plan SM Kirov Medical Academy St Petersburg

1856 Delafield Antique Architectural Plan SM Kirov Medical Academy St Petersburg

Description:
This very large original lithograph print, an architectural plan of the S.M. Kirov Military Medical Academy in St Petersburg, Russia - during the time of the Crimean War and just prior to the American Civil War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 36in x 24in (915mm x 610mm)
Plate size: - 36in x 24in (915mm x 610mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - Folds re-enforced with archival tape

Background:
The S. M. Kirov Military Medical Academy (Военно-медицинская академия имени С. М. Кирова) is the oldest school of military medicine in Saint Petersburg and the Russian Federation. Senior medical staff are trained for the Armed Forces and conduct research in military medical services.
The origins of S.M. Kirov Military Medical Academy go back to the years of Peter the Great. In 1715 by the Tsars order the Admiralty Hospital in the Vyborg Side of Saint Petersburg was founded. In 1717 next to in the Land Military Hospital was opened. Since 1773 surgical schools attached to both hospitals were operating. In 1786 those schools were consolidated into the Main Medical College. It became the principal training center for army and fleet physicians.
Unofficially, the year 1714 is considered the foundation year of the academy. The Medical and Surgical Academy was established by the order of Emperor Paul I of 18/29 December 1798 on the initiative of Baron Alexei Vasilyev, General Director of the Medical College. At the same time a Neoclassical building for the Academy was designed by Antonio Porta. It was decorated with a set of panel paintings by Giuseppe Bernasconi.
Ranked as one of the best educational institutions in the Russian Empire, it was known as the Imperial Medical and Surgical Academy from 1808. According to the order of Emperor Alexander I, a member of the Medical and Surgical Academy had the rights, liabilities, and benefits of a member of the Academy of Sciences.
Sir James Wylie, a Scottish baronet, managed the academy between 1808 and 1838. His contributions have been commemorated with a monument which stood in front of the academy until the October Revolution. The monument was designed in 1859 by David Jensen. It was later relocated and replaced with a statue of Hygieia.
In 19th century the Imperial Medical and Surgical Academy played a major role in the development of Russian natural science and medicine. In 1840 — 1856 one of its professors was Nikolay Pirogov, considered the founder of field surgery.
Since 1861 Sergey Botkin, one of Pirogovs disciples, worked at the Academy. He is considered one of the founders of modern Russian medical science and education. Botkin introduced triage, pathological anatomy, and post mortem diagnostics into Russian medical practice.
In 1881 the Academys official name was changed into the Imperial Military Medical Academy. In the late 19th century, its physiology laboratory, founded by Ivan Sechenov, was at the forefront of medical research. Ivan Romanovich Tarkhanov conducted some important experiments there.
In 1890 — 1901 the Academys President was Viktor Pashutin, one of the founders of the pathophysiologic school in Russia and of pathophysiology as an independent scientific discipline.
The Nobel-prize winning physiologist Ivan Pavlov graduated from the Academy in 1879 with Gold Medal award. Since 1895 he headed Department of Physiology at the Academy for three decades.
In 1904 — 1924 Nikolai Kravkov, the founder of Russian national school of pharmacologists, headed the Academys Department of Pharmacology.
In 1903 — 1936 one of the Academys professors was Sergey Fedorov, the founder of the largest national school of surgery and «the father of Russian urology».
The academy was also among the pioneers of medical education for women, launching the courses for nurse-midwives in 1872. Nadezhda Suslova, the first female physician in Russia, attended Sechenovs classes at the academy. A school of gymnastics (now the Military Institute of Physical Culture) was launched in 1909.

Delafield, Richard Major General 1798 - 1873
Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

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1683 Daniel King & William Dugdale Antique Print of Old St Pauls Cathedral London - Pre Great Fire

1683 Daniel King & William Dugdale Antique Print of Old St Pauls Cathedral London - Pre Great Fire

  • Title  : Ecclesiae Cathedralis Sti Pauli facies Aquilonaris / The North Prospect of ye Cathedral Church of St Paul in London
  • Date  : 1683
  • Condition: (A+) Fine Condition
  • Ref # :  16365
  • Size   : 15 1/2in x 13 1/2in (395mm x 340mm) 

Description:
This fine original copper-pate antique print of the old St Pauls Cathedral London, was engraved by Daniel King prior to the Great Fire of London in 1666 and was published by Sir William Dugdale in the 1683 edition of Monasticon Anglicanum: A History of the Abbies and other Monasteries, Hospitals, Frieries, and Cathedral and Collegiate Churches, with their Dependencies, in England and Wales.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 15 1/2in x 13 1/2in (395mm x 340mm)
Plate size: - 14 1/2in x 9in (370mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued, small repair to bottom of page not affecting the image 
Verso: - None

Background: Old St Paul's Cathedral was the medieval cathedral of the City of London that, until 1666, stood on the site of the present St Paul's Cathedral. Built in 1087–1314 and dedicated to Saint Paul, the cathedral was the fourth church on the site at Ludgate Hill. Work began during the reign of William the Conqueror after a fire in 1087 that destroyed much of the city. Work took more than 200 years, and construction was delayed by another fire in 1135. The church was consecrated in 1240 and enlarged again in 1256 and the early 14th century. At its completion in the middle of the 14th century, the cathedral was one of the longest churches in the world and had one of the tallest spires and some of the finest stained glass.
The presence of the shrine of Saint Erkenwald made the cathedral a pilgrimage site during the Medieval period. In addition to serving as the seat of the Diocese of London, the building developed a reputation as a hub of the City of London, with the nave aisle, "Paul's walk", known as a centre for business and the London grapevine. After the Reformation, the open-air pulpit in the churchyard, St Paul's Cross, became the stage for radical evangelical preaching and Protestant bookselling.
The cathedral was already severely in decline by the 17th century. Restoration work by Inigo Jones in the 1620s was halted by the English Civil War. Sir Christopher Wren was attempting another restoration in 1666 when the cathedral was destroyed in the Great Fire of London. After demolition of the old structure, the present, domed cathedral was erected on the site, with an English Baroque design by Wren

Sir William Dugdale 1605-1686 was an English antiquary and herald. As a scholar he was influential in the development of medieval history as an academic subject.

$250.00 USD
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1770 Louis-Joseph Mondhare Antique Print View of St Pauls Cathedral, London England

1770 Louis-Joseph Mondhare Antique Print View of St Pauls Cathedral, London England

  • Title : Elevation Du Portail De La Cathedrale De St Paul De Londre
  • Ref #:  93461
  • Size: 14 1/2in x 9in (365mm x 245mm)
  • Date : 1770
  • Condition: (A+) Fine Condition

Description:
This original copper plate engraved antique print of St Pauls Cathedral, London was engraved and published by Louis-Joseph Mondhare in Paris in 1770

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 14 1/2in x 9in (365mm x 245mm)
Plate size: - 14 1/2in x 9in (365mm x 245mm)
Margins: - Min 1/8in (5mm)

Imperfections:
Margins: - Margins cropped to plate mark
Plate area: - None
Verso: - None

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background:
The task of designing a replacement structure was officially assigned to Sir Christopher Wren on 30 July 1669. He had previously been put in charge of the rebuilding of churches to replace those lost in the Great Fire. More than 50 City churches are attributable to Wren. Concurrent with designing St Pauls, Wren was engaged in the production of his five Tracts on Architecture.
Wren had begun advising on the repair of the Old St Pauls in 1661, five years before the fire in 1666. The proposed work included renovations to interior and exterior to complement the classical facade designed by Inigo Jones in 1630. Wren planned to replace the dilapidated tower with a dome, using the existing structure as a scaffold. He produced a drawing of the proposed dome which shows his idea that it should span nave and aisles at the crossing. After the Fire, it was at first thought possible to retain a substantial part of the old cathedral, but ultimately the entire structure was demolished in the early 1670s.
In July 1668 Dean William Sancroft wrote to Wren that he was charged by the Archbishop of Canterbury, in agreement with the Bishops of London and Oxford, to design a new cathedral that was Handsome and noble to all the ends of it and to the reputation of the City and the nation. The design process took several years, but a design was finally settled and attached to a royal warrant, with the proviso that Wren was permitted to make any further changes that he deemed necessary. The result was the present St Pauls Cathedral, still the second largest church in Britain, with a dome proclaimed as the finest in the world. The building was financed by a tax on coal, and was completed within its architects lifetime with many of the major contractors engaged for the duration.
The topping out of the cathedral (when the final stone was placed on the lantern) took place on 26 October 1708, performed by Wrens son Christopher Jr and the son of one of the masons. The cathedral was declared officially complete by Parliament on 25 December 1711 (Christmas Day). In fact, construction continued for several years after that, with the statues on the roof added in the 1720s. In 1716 the total costs amounted to £1,095,556 (£165 million in 2019).
On 2 December 1697, 31 years and 3 months after the Great Fire destroyed Old St Pauls, the new cathedral was consecrated for use. The Right Reverend Henry Compton, Bishop of London, preached the sermon. It was based on the text of Psalm 122, I was glad when they said unto me: Let us go into the house of the Lord. The first regular service was held on the following Sunday.
Opinions of Wrens cathedral differed, with some loving it: Without, within, below, above, the eye / Is filled with unrestrained delight, while others hated it: There was an air of Popery about the gilded capitals, the heavy arches ... They were unfamiliar, un-English

Mondhare & Jean (active 1759 - 1829)
Louis-Joseph Mondhare (1734 - Paris 1799) & Pierre Jean (1754 - 1829) were prominent Parisian publishers, engravers, print and map sellers who were active in Paris in the late 18th and early 19th centuries.
In 1784 Jean married the daughter of Mondhare, who formed a partnership with his son in law, changing forming a very successful partnership thereafter as Mondhare & Jean.
After Mondhare retirement in 1796, Jean carried on with the publishing & printing business, having inherited all of the printing plates that also included many map plates from the likes of Nolin, Clouet, D Anville , Delsile and others. Both Mondhare and Jean were responsible for the engraving and printing of the very decorative large wall maps by J B Nolin & J B L Clouet, as well as single plate maps and atlases. Mondares premises were located at Rue St Jacques, à lHôtel Saumur later movin

$235.00 USD
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1735 Schubler & Steidlin Antique Baroque Print Musical Ball Regensburg Ger. 1717

1735 Schubler & Steidlin Antique Baroque Print Musical Ball Regensburg Ger. 1717

  • Title : Bal, welche den 26. Sept: 1717 in Sr Durchl: Eminens des Herrn Cardinals residens zu Regensburg, in dem so genamten Lowen-Saal, gehalten worden....NB das Bal Zimmer war mit rohten Tuch belegt
  • Ref #:  93443
  • Size: 19in x 13 1/2in (490mm x 345mm)
  • Date : 1735
  • Condition: (A) Very Good Condition

Description:
This large original Baroque copper plate engraved antique print, numbered three of three, of an early 18th century Ball, part of the celebrations at the Royal Court in the Cardinal Castle of Regensburg, on September 26, 1717, by Johann Schubler, was engraved by Johann Matthias Steidlin or Steudlin 1717-1754 and published by the Jeremias Wolff Erben in 1735.
A wonderful piece of Baroque art, engraved and published by some of the foremost art engravers and publishers at the beginning of the 18th century.

Professionally matted and can be easily removed if required.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 19in x 13 1/2in (490mm x 345mm)
Plate size: - 19in x 13 1/2in (490mm x 345mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Small repair bottom right signature
Plate area: - Folds as issued
Verso: - None

Background:
In 1245 Regensburg became a Free Imperial City and was a trade centre before the shifting of trade routes in the late Middle Ages. In 1486, Regensburg became part of the Duchy of Bavaria, but its independence was restored by the Holy Roman Emperor ten years later. In the city took place the Diet of 1541, was adopted the Protestant Reformation in 1542 and its Town Council remained entirely Lutheran. From 1663 to 1806, the city was the permanent seat of the Imperial Diet of the Holy Roman Empire, which became known as the Perpetual Diet of Regensburg. Thus, Regensburg was one of the central towns of the Empire, attracting visitors in large numbers.
A minority of the population remained Roman Catholic, and Roman Catholics were denied civic rights (Bürgerrecht). Although the Imperial city had adopted the Reformation, the town remained the seat of a Roman Catholic bishop and several abbeys. Three of these, St. Emmeram, Niedermünster and Obermünster, were free imperial estates within the Holy Roman Empire, meaning that they were granted a seat and a vote at the Imperial Diet (Reichstag). So there was the unique situation that the town of Regensburg comprised five independent states (in terms of the Holy Roman Empire): the Protestant city itself, the Roman Catholic bishopric, and the three monasteries. In addition, it was seen as the traditional capital of the region Bavaria (not the state), acted as functional co-capital of the Empire (second to the Emperors court at Vienna) due to the presence of the Perpetual Diet, and it was the residence of the Emperors Commissary-Principal to the same diet, who with one very brief exception was a prince himself (for many years the Prince of Thurn and Taxis, still resident in the town).

Schübler, Johann Jacob 1689 - 1741
Schübler was born in Nuremberg as was known as a versatile German baroque master builder , architectural theorist and writer and mathematician.
Schüblers father Johann Jacob was a braid maker and language teacher, and he also had medical knowledge, which he also used for a fee. He came to Nuremberg from Strasbourg and became resident there by marrying Maria Elisabeth Hengel, the daughter of an independent braid maker. The later master builder Johann Jacob Schübler was the fourth of the couples eight children. Through his father and private tutors, he received careful training, mainly in artistic subjects as well as in old and new languages. Architectural painter Johann Andreas Graff gave him his first drawing lessons . In 1698 he began his apprenticeship as a draftsman in the studio of the portraitist, engraver and art dealerJacob von Sandrart (1630-1708), in addition he was taught by Georg Christoph Eimmart (1638-1705), the long-time director of the important Nuremberg Academy of Painters , a representative of the mathematically oriented artists of the time and founder of the observatory at the Nuremberg castle .
At that time, extensive study trips were common for aspiring artists to complete their training. Between 1705 and 1713, Schüblers years of traveling took him through Germany, Denmark and Norway, the Netherlands and France - with a stopover in 1711 with his parents in Nuremberg. The time around 1700 in Europe was particularly intensive secular and church building activity, numerous elaborate, representative buildings. Schüblers travel destinations were primarily places where the current building activity was concentrated. However, Italy was missing from this program. He made longer stays for scholarly studies in Leipzig and Copenhagen .
After his return in 1713, Schübler remained settled in Nuremberg. Prominent colleagues such as Balthasar Neumann (1687–1753) visited him and he corresponded with well-known artists and scientists. He rejected various offers from foreign employers because they did not seem attractive enough to him. In 1717 he received the order for a gate of honor, which was built to celebrate a princely wedding in the main square of the residential city of Sulzbach . Schübler had an expansive triumphal arch with three stacked columns and niches for allegorical figures built, which was generally praised. A permanent position at the court of the Sulzbach Palatinate Countshowever, did not result from this. So he remained the prevented Builder. Great vocations only reached him towards the end of his life. In 1740 the Danish king invited him to Copenhagen, in 1741 negotiations for a move to Berlin followed to the court of the Prussian king Friedrich II. Both offers came too late for Schübler. He died in September 1741 from a clock-like illness.
Schübler only started his own family at an advanced age. In 1727 he married Margareta Maria Hemme, the daughter of a respected art dealer. At around 40, the bride was even a little older than Schübler herself; she died two years after the marriage, the marriage remained childless. In 1733 Schübler had a second marriage to 26-year-old Margaretha Setzmair. She also came from a long-established, wealthy middle-class family. The couple had two daughters, one of whom died very early, and a son who was born several months after Schüblers death.
In 1734 Schübler was accepted as an external member of the Prussian Academy of Sciences in Berlin. The small Schüblerstrasse in Nuremberg reminds him of him.
Schüblers actual lifes work consisted of a large number of writings, the publication of which he began around 1715. With his later works in particular, he pursued the intention of scientifically examining the questions of the building industry based on proportion and perspective, thereby making them teachable and learnable for building theorists and practitioners of his time.
Initially, Schübler published smaller masterpieces that appeared in deliveries of six to twelve engravings and contained hardly any text. In it he showed architectural details (e.g. fireplaces , mansard windows , pulpits, altars, confessionals), furniture (beds, desks, clocks, night chairs) and technical objects such as pumping stations and fountains. He drew the originals himself, often with a light color, but hardly ever took over the transfer to the printing plates, even though he knew this technique. For this, he employed a large number of engravers, among them Johann August Corvinus, Johann Matthias Steidlin, Georg Lichtensteger and his own brother Georg Andreas. The objects depicted often appear grotesquely overloaded with decorative elements such as flower threads, sphinxes and the like, but were also not intended for direct implementation. Rather, the executing tradesmen were able to take very different suggestions from a single template. The templates appeared in the publisher Jeremias Wolff in Augsburg, which is renowned throughout Europe .
Schüblers more scientific and literary works were mostly published by Johann Christoph Weigel in Nuremberg. In 1719/20 Perspectiva Pes Picturae was published in two parts , a large-format work of art intended to provide the basis for architectural painting . 1723/24, again in two parts, came out a textbook on the column orders with practical aids for difficult problems, which was reprinted several times. This was followed by publications on the art of sundial (1726) and on the wood-fired parlor ovens(1728). Schüblers main works then appeared within five years. With them he wanted to provide a new, in-depth representation of the entire architecture, with the main areas of the Architectura Civilis and the Architectura Militaris . From the years 1732-35 are the five illustrated volumes of a Synopsis Architecturae Civilis eclecticae , to which the content of the theoretical work Ars inveniendi from 1734 on civil architecture can be assigned. The two volumes of carpentry (Ars Tignaria) date from 1731 and 1736 . The main works include Perspectiva Geometrica Practica .
Schüblers works were widespread, and individual writings had up to 20 editions. The last known new edition dates from 1786. The popularity of his practically applicable proposals ended with the domination of baroque and rococo in architecture. The new general artist lexicon by art historian Georg Kaspar Nagler (1801–1866) already discusses Schüblers works as examples of the aesthetic aberrations of an era that has been overcome and describes them as senseless outbursts of an unregulated imagination.

$235.00 USD
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1770 Louis-Joseph Mondhare Antique Print View of St Pauls Cathedral, London UK

1770 Louis-Joseph Mondhare Antique Print View of St Pauls Cathedral, London UK

  • Title : Le Portail de la grande Eglise de St Paul de Londre...a Paris chez Mondhare ru st Jacques
  • Ref #:  93460
  • Size: 15in x 9 1/2in (380mm x 235mm)
  • Date : 1770
  • Condition: (A+) Fine Condition

Description:
This original hand coloured copper plate engraved antique print of St Pauls Cathedral, London was engraved and published by Louis-Joseph Mondhare in Paris in 1770

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Early
Colors used: - Blue, pink, red, green, yellow
General color appearance: - Authentic
Paper size: - 15in x 9 1/2in (380mm x 235mm)
Plate size: - 13in x 9in (330mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background:
The task of designing a replacement structure was officially assigned to Sir Christopher Wren on 30 July 1669. He had previously been put in charge of the rebuilding of churches to replace those lost in the Great Fire. More than 50 City churches are attributable to Wren. Concurrent with designing St Pauls, Wren was engaged in the production of his five Tracts on Architecture.
Wren had begun advising on the repair of the Old St Pauls in 1661, five years before the fire in 1666. The proposed work included renovations to interior and exterior to complement the classical facade designed by Inigo Jones in 1630. Wren planned to replace the dilapidated tower with a dome, using the existing structure as a scaffold. He produced a drawing of the proposed dome which shows his idea that it should span nave and aisles at the crossing. After the Fire, it was at first thought possible to retain a substantial part of the old cathedral, but ultimately the entire structure was demolished in the early 1670s.
In July 1668 Dean William Sancroft wrote to Wren that he was charged by the Archbishop of Canterbury, in agreement with the Bishops of London and Oxford, to design a new cathedral that was Handsome and noble to all the ends of it and to the reputation of the City and the nation. The design process took several years, but a design was finally settled and attached to a royal warrant, with the proviso that Wren was permitted to make any further changes that he deemed necessary. The result was the present St Pauls Cathedral, still the second largest church in Britain, with a dome proclaimed as the finest in the world. The building was financed by a tax on coal, and was completed within its architects lifetime with many of the major contractors engaged for the duration.
The topping out of the cathedral (when the final stone was placed on the lantern) took place on 26 October 1708, performed by Wrens son Christopher Jr and the son of one of the masons. The cathedral was declared officially complete by Parliament on 25 December 1711 (Christmas Day). In fact, construction continued for several years after that, with the statues on the roof added in the 1720s. In 1716 the total costs amounted to £1,095,556 (£165 million in 2019).
On 2 December 1697, 31 years and 3 months after the Great Fire destroyed Old St Pauls, the new cathedral was consecrated for use. The Right Reverend Henry Compton, Bishop of London, preached the sermon. It was based on the text of Psalm 122, I was glad when they said unto me: Let us go into the house of the Lord. The first regular service was held on the following Sunday.
Opinions of Wrens cathedral differed, with some loving it: Without, within, below, above, the eye / Is filled with unrestrained delight, while others hated it: There was an air of Popery about the gilded capitals, the heavy arches ... They were unfamiliar, un-English

Mondhare & Jean (active 1759 - 1829)
Louis-Joseph Mondhare (1734 - Paris 1799) & Pierre Jean (1754 - 1829) were prominent Parisian publishers, engravers, print and map sellers who were active in Paris in the late 18th and early 19th centuries.
In 1784 Jean married the daughter of Mondhare, who formed a partnership with his son in law, changing forming a very successful partnership thereafter as Mondhare & Jean.
After Mondhare retirement in 1796, Jean carried on with the publishing & printing business, having inherited all of the printing plates that also included many map plates from the likes of Nolin, Clouet, D Anville , Delsile and others. Both Mondhare and Jean were responsible for the engraving and printing of the very decorative large wall maps by J B Nolin & J B L Clouet, as well as single plate maps and atlases. Mondares premises were located at Rue St Jacques, à lHôtel Saumur later movin

$190.00 USD
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1685 G B Falda & Sandrart Antique Print Villa Gardens Doria Pamphili, Rome Italy

1685 G B Falda & Sandrart Antique Print Villa Gardens Doria Pamphili, Rome Italy

  • Title : Prospecto Del Palazzo & Giardino Pamphilio Detto Del Bel Respiro...Architettura del Caualier Alessandro Algardi...Simon Felice delin....Norimburga appresso Gioni. Gac. de Sandart
  • Ref #:  93463
  • Size: 19in x 12 1/2in (490mm x 335mm)
  • Date : 1685
  • Condition: (A+) Fine Condition

Description:
This fine original copper plate engraved antique print of the Villa & Gardens of Doria Pamphili, Rome was engraved by Simone Felice for the 1685 edition of Giovanni Battista Faldas Li giardini di Roma, disegnati da Giovanni Battista Falda nuovamente dati alle stampe con direttione di Giov. Giacomo de Sandrart (The gardens of Rome, designed by Giovanni Battista Falda again printed with the direction of Giov. Giacomo de Sandrart) published in Nuremberg by Johann von Sandrart.

The work is based on the original series edited by Gian Giacomo de Rossi a few years earlier (the first edition was certainly published after 1677 but before 1683) which included 19 tables of plants and perspective views of the most famous Roman gardens, 14 of which were engraved by GB Falda and 5 by Simon Felice.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 19in x 12 1/2in (490mm x 335mm)
Plate size: - 16in x 9 1/2in (400mm x 250mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background:
The Villa Doria Pamphili is a seventeenth-century villa with what is today the largest landscaped public park in Rome, Italy. It is located in the quarter of Monteverde, on the Gianicolo (or the Roman Janiculum), just outside the Porta San Pancrazio in the ancient walls of Rome where the ancient road of the Via Aurelia commences.
It began as a villa for the Pamphili family and when the line died out in the eighteenth century, it passed to Prince Giovanni Andrea IV Doria, and has been known as the Villa Doria Pamphili since.
The nucleus of the villa property, the Villa Vecchia or old villa, already existed before 1630, when it was bought by Pamfilio Pamfili, who had married the heiress Olimpia Maidalchini, to enjoy as a suburban villa. Thereafter he set about buying up neighbouring vineyards to accumulate a much larger holding, which was often known as the Bel Respiro or beautiful breath as it stood on high ground, above the malarial areas of Rome, and offered spectacular views which were a desirable feature of Baroque villa settings.
In 1644 Cardinal Giambattista Pamphili became elected to the papacy and took the name of Innocent X. In accordance with this change in status, the Pamphili aspired to a grander and more expansively sited new villa. Early designs were made, possibly by Virgilio Spada rather than the traditional attribution to Borromini, but these were rejected. Instead the project was placed in the hands of the Bolognese sculptor Alessandro Algardi in 1644, assisted by Giovanni Francesco Grimaldi.
The initial design had a central casino (not the modern usage as a gambling establishment) with wings, but only the central block was built. There is uncertainty as to who the architect was; Algardi was not an architect, and it may be that he had help from Carlo Rainaldi and that the construction was supervised by Grimaldi. The layout has a central circular room around which the other rooms were arranged. Construction began in 1645 and was complete by 1647 although embellishments and the garden layouts were not finished until 1653. The casino, sometimes known as the Casino del Bel Respiro, was designed as a complement to the Pamphili collection of sculptures both ancient and modern, and other Roman antiquities such as vases, sarcophagi and inscriptions; it was only ever intended for display of the collection and the family and guests resided in the older Vecchia Vigna.
As a show case for sculpture, the somewhat crowded Casino facades have rhythmically alternating windows with niches which were elaborately adorned with sculptures, both antique and modern, with busts in hollowed roundels, with panels of bas-reliefs, and reliefs.
The exterior containing statues gives a rich allure that was architecturally somewhat conservative for its date, looking back towards the Villa Medici or the Casina Pio IV, and rather more Mannerist than Baroque. It offered a foretaste of the richly stuccoed and frescoed interiors, where the iconographic program set out to establish the antiquity of the Pamphili, a family then somewhat parvenu in Rome, with origins in Gubbio. Inside, Algardi provided further bas-reliefs and stucco framing for the heroic frescoes drawn from Roman history painted by Grimaldi.
The casino is set into the hill slope such that the main entrance on the north side is at a level above the giardino segreto or secret garden enclosure on its south side, a parterre garden with low clipped hedges. The gardens on the sloping site were laid out from around 1650 by Innocents nephew, Camillo Pamphili, formalizing the slope as a sequence from the parterres that flank the Casino, to a lower level below, framed by the boschi or formalized woodlands that rose above clipped hedges, and eventually arriving at a rusticated grotto in the form of an exedra, from which sculptured figures emerge from the rockwork. The exedra, now grassed, formerly enframed a Fountain of Venus by Algardi, which is preserved in the Villa Vecchia, together with Algardis bas-reliefs of putti representing Love and the Arts that were formerly here. The fountain spilled into a small cascade that let into a short length of formal canal, which was intended to remind the viewer of the similar Canopus at Hadrians Villa— another programmatic connection of the Pamphili with Antiquity.
When Girolamo Pamphili died in 1760 without male heirs, the disputes which broke out among the possible heirs were settled in 1763 when Pope Clement XIII Rezzonico granted to Prince Giovanni Andrea IV Doria the right to take the surname, the arms and the vast properties of the Pamphili; the Princes claim was based on the marriage between Giovanni Andrea III Doria and Anna Pamphili. Since then, the villa has been known as the Villa Doria Pamphili.
Throughout the 18th century, features were regularly added such as fountains and gateways by Gabriele Valvassori and other architects retained by the Pamphili and their heirs. After the Napoleonic era, more sweeping changes were made. The parterres that were formal extensions of the casino were retained but replanted with the patterned planting of colourful carpet bedding supplied from greenhouses by the old villa. (Today the parterres have been replanted in 16th-century style, with panels of scrolling designs in close-clipped greens set in wide gravel walks.) In the sloping outer gardens the changes were more extensive, recasting them in the naturalistic manner of English landscape gardens. The grounds, filled with many surprise features and picturesque incidents, swept down to a small lake at the bottom, which already had an air of atmospheric maturity when it was painted in the 1830s by Alexandre-Gabriel Decamps. In the wooded, natural-appearing landscapes with clumps of characteristic umbrella-like stone pines along horizons stand statues and vases, which evoke a nostalgic antiquity. The 18th-century English landscape gardens such as Stowe and Stourhead that were the inspiration for this style aimed to bring to life the Italian landscapes with Roman ruins painted by Claude and Poussin. A notable difference is that at the Villa Doria Pamphilis giardino inglese the Roman remains are likely to be genuine. The site of the villa contained several Roman tombs that yielded vases, sarcophagi and inscriptions that were added to the Pamphili collection.

Falda, Giovanni Battista 1643 – 1678
Falda was an Italian architect, engraver and artist. He is known for his engravings of both contemporary and antique structures of Rome.
Falda was sent as a boy to Rome, to work in the studio of Bernini, and his draughtsmanship caught the eye of the publisher Giovanni Giacomo de Rossi. He engraved for Le fontane di Roma (Fountains in Rome) and for Palazzi di Roma (Palaces of Rome). The former books was expanded after Faldas death with engravings by Francesco Venturini. The latter was published in 1655 in collaboration with Pietro Ferrerio. He is sometimes known as Falda da Valduggia because of his birthplace.
His works became particularly popular with the first waves of Grand Tour participants during the latter parts of the 17th century and Falda became a commercial success as a result. His works appealed to tourists keen to retain a detailed and accurate representation of those parts of Rome they had visited.

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1724 Colen Campbell Antique Architect Print Garden Room Hall Barn, Downton Abbey

1724 Colen Campbell Antique Architect Print Garden Room Hall Barn, Downton Abbey

  • Title : A new Garden Room at Hall Barn near Beaconsfield in the County of Bucks... Vol. 3, pl. 49.
  • Ref #:  93462
  • Size: 15in x 11 1/2in (380mm x 295mm)
  • Date : 1724
  • Condition: (A+) Fine Condition

Description:
This fine original copper-plate engraved of the Garden Room of Hall Barn in Beaconsfield, Buckinghamshire, England, designed by the famous Scottish architect and publisher Colen Campbell was engraved in 1724 - dated - by the Dutch engraver Henry Hulsbergh - and was published in the 1724 edition of Campbells monumental architectural publication Vitruvius Britannicus or The British Architect. London
Hall Barn was also the location used in the filming of the TV series Downton Abbey as the Loxley House.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, green, blue, pink
General color appearance: - Authentic
Paper size: - 15in x 11 1/2in (380mm x 295mm)
Plate size: - 15in x 9 1/2in (380mm x 235mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background:
Hall Barn is a historic country house located in Beaconsfield, South Bucks district, in Buckinghamshire, England.
The Hall Barn estate was bought by Anne Waller in 1624. The house was built in the late-17th century by her son Edmund Waller, a poet and Member of Parliament at various times between 1624 and 1679. His grandson added the south wing. The estate was sold by his family in 1832 to Sir Gore Ouseley, 1st Baronet, who rebuilt the southern facade and was High Sheriff of Buckinghamshire for 1835.
Edward Levy-Lawson, 1st Baron Burnham bought the estate in 1880 and made a number of renovations and improvement and the estate remains under the management of the Lawson family - Hugh Lawson, 6th Baron Burnham - in the early 21st century.
There were royal visits to the estate, including from the Duke of Cambridge in November 1902. The Princess Royal took the salute at Hall Barn in the 1940s at the Girl Guide County Rally.
During the Second World War, the house was used as a hospital supplies unit. In November 1946, the Hall Barn Estate was reported in Tatler as being the lovely home and venue for the wedding reception for extended family and friends of the newly-wed daughter of the charming Lord and Lady Burnham.
Hall Barn has been used as a filming location for various films and series. In Gosford Park (2001) the opening sequence outside Lady Trenthams home was shot there, and the temple used as the scene for lunch after the shoot. Midsomer Murders Season 7, Episode 4 (2004) Sins of Commission, prominently features the black gatehouse to Hall Barn. It featured in the series Downton Abbey as Loxley House, the home of Sir Anthony Strallan. The location was also used in the 1981 Oscar-winning film Chariots of Fire as the home of the composite character Lord Andrew Lindsay, who memorably practiced his hurdling skills on the lawn by perching filled champagne glasses on each hurdle to determine if hed touched the hurdles or not on each jump. Hall Barn was also featured in the mini-series Sense and Sensibility (2008 miniseries), and used as the location for Delaford House. Black Beauty Film (1994)

Vitruvius Britannicus or The British Architect is from one of the finest works on architecture ever produced. Colen Campbell published the work in London in 1725. The engravings from this work feature illustrations, plans, and cross sections of English country houses and parks.
Campbell was the chief architect to the Prince of Wales. His work served as a design book that led to the construction of many of Britain’s great houses. Vitruvius Britannicus established Palladian architecture as the dominant style England in the 18th century.
Vitruvius Britannicus documented the buildings of some of the greatest architects of the times including Indigo Jones, Sir Christopher Wren, and Colen Campbell himself. The work is essential to the study of 17th and 18th century design and architecture in England.

Campbell, Colen 1676 - 1729
Campbell was a pioneering Scottish architect and architectural writer, credited as a founder of the Georgian style. For most of his career, he resided in Italy and England.
A descendant of the Campbells of Cawdor Castle, he is believed to be the Colinus Campbell who graduated from the University of Edinburgh in July 1695. He initially trained as a lawyer, being admitted to the Faculty of Advocates on 29 July 1702.
He had travelled in Italy from 1695–1702 and is believed to be the Colinus Campbell who signed the visitors book at the University of Padua in 1697. He is believed to have trained in and studied architecture under James Smith, this belief is strengthened by Campbell owning several drawings of buildings designed by Smith.
His major published work, Vitruvius Britannicus, or the British Architect... appeared in three volumes between 1715 and 1725. (Further volumes using the successful title were assembled by Woolfe and Gandon, and published in 1767 and 1771, see below.) Vitruvius Britannicus was the first architectural work to originate in England since John Shutes Elizabethan First Groundes. In the empirical vein, it was not a treatise but basically a catalogue of design, containing engravings of English buildings by Inigo Jones and Sir Christopher Wren, as well as Campbell himself and other prominent architects of the era.
In the introduction that he appended and in the brief descriptions, Campbell belaboured the excesses of Baroque style and declared British independence from foreigners while he dedicated the volume to Hanoverian George I. The third volume (1725) has several grand layouts of gardens and parks, with straight allées, for courts and patterned parterres and radiating rides through wooded plantations, in a Baroque manner that was rapidly becoming old-fashioned.
Buildings were shown in plan, section and elevation, but also some were in a birds-eye perspective. The drawings and designs contained in the book were under way before Campbell was drawn into the speculative scheme. The success of the volumes was instrumental in popularising neo-Palladian Architecture in Great Britain and America during the 18th century. For example, Plate 16 of Vitruvius Britannicus, a rendering of Somerset House in London, was an inspiration for American architect Peter Harrison when he designed the Brick Market in Newport, Rhode Island, in 1761.
Campbell was influenced as a young man by James Smith (ca 1645 – 1731), the pre-eminent Scots architect of his day, and an early neo-Palladian whom Campbell called the most experienced architect of Scotland (Vitruvius Britannicus, ii).
The somewhat promotional volume, with its excellently rendered engravings, came at a propitious moment at the beginning of a boom in country house and villa building among the Whig oligarchy. Campbell was quickly taken up by Lord Burlington, who replaced James Gibbs with Campbell at Burlington House in London and set out to place himself at the center of English neo-Palladian architecture. In 1718, Campbell was appointed deputy to the amateur gentleman who had replaced Wren as Surveyor General of the Royal Board of Works, an appointment that Burlington is certain to have pressed, but a short-lived one. When Benson, the new Surveyor was turned out of office, Campbell went with him.
Later Volumes There are some later volumes also published under the name Vitruvius Brittanicus, but they are not connected to Colen Campbells work, issued between 1715-1725. In 1739 a volume was issued by Badeslade and Rocque, described as Volume 4. However, this had little in common with Campbell, comprising mainly topographical perspective views of houses (54 plates). Between 1765–1771, Woolfe and Gandon published their Volumes 4 & 5 (with 79 plus 75 plates). They discounted Badeslades volume, believing their work to be a more correct continuation of Campbell, hence numbering it as Volume 4. The plates are indeed mostly plans and elevations of buildings largely in the Palladian style, most dating from after 1750. The various Volumes are fully described in Harris.
- Wanstead House, Essex: ca 1713/4 – 20 (illustrated left) In the first volume of Vitruvius Britannicus the most influential designs were two alternatives for a palatial Wanstead House, Essex, for the merchant-banker Sir Richard Child, of which the second design was already under way when the volume was published. (Campbell claimed that Wanstead House had Great Britains first classical portico, but this accolade probably belongs to The Vyne, Hampshire.
- Burlington House, London 1717. Remodelled the front and provided an entrance gateway for Richard Boyle, 3rd Earl of Burlington (Remodelled in 1868 and the gateway demolished.
- Stourhead, Wiltshire, 1721–24, as a seat for the London-based banker Henry Hoare. Wings were added in the later 18th century, and Campbells portico was not executed (though to his design) until 1841. The famous landscape garden round a lake, somewhat apart from the house, was developed after Campbells death, by Henry Flitcroft.
- Pembroke House, Whitehall, London, for Henry Herbert, 9th Earl of Pembroke, 1723, a London house in a prominent location for the heir of Jones Wilton House. It was rebuilt in 1757 and demolished in 1913. Lord Herbert (as he then was) was inspired by it to design the similar Marble Hill at Twickenham for Henrietta Howard, Countess of Suffolk, the mistress of the future George II. (Marble Hill was a 5-bay palladian villa with central pediment, raised on a high basement, with clumped screens of trees and formal turfed terraces descending to the Thames, illustrated right, that manifest the earliest stages of the English landscape garden.
- Houghton Hall, Norfolk, begun 1722, for Sir Robert Walpole, the Whig prime minister. Here Campbell was replaced by Gibbs, who capped the end pavilions with octagonal domes, and by William Kent, who designed the interiors.
- Mereworth Castle, Kent 1722 – 25: Campbells most overtly palladian design, based on Villa La Rotonda, capped with a dome with no drum, through which 24 chimney flues pass to the lantern.
- Waverley Abbey House, Surrey ca 1723–25 for John Aislabie (largely altered)
Title page, Vitruvius Britannicus; or, The British architect, containing the plans, elevations, and sections of the regular buildings, both publick and private in Great Britain, with variety of new designs, written by Colen Campbell
Nos 76 and 78 Brook Street, London W1, 1725 – 26. No. 76, which survives, was Campbells own house, the designs for its interiors published in his Five Orders of architecture, (1729). It carries a blue plaque commemorating him.
Compton Place, Eastbourne, Sussex, 1726 onwards, south front and extensive internal rebuilding for Sir Spencer Compton
Plumptre House, Nottingham 1724 - 30. Remodelled for John Plumptre MP.
Shawfield Mansion, Glasgow (1712) demolished 1792
Wanstead House, Essex (1714–15) demolished 1822
Hedworth House, Chester-le-Street (1726)
Hotham House, Beverley (1716–17) demolished c.1766
Burlington House, London, south front, and west wing (1717) subsequently extended and several occasions
Burlington (Ten Acre Close) Estate, London, layout (1717–18)
Burlington House, Great Gate and Street Wall (1718)
Rolls House, Chancery Lane, London (1718), demolished 1895–96
Ebberston Lodge, Ebberston, Yorkshire, including cascade (1718)
34 Great Burlington Street, London (1718–19)
33 Great Burlington Street, London (1719–20)
32 Great Burlington Street, London (c.1720); this was Campbells own house
31 Great Burlington Street, London (1719–24) rebuilt
Burlington Girls Charity School, Boyle Street, London (1719–21)
Wimbledon Manor House, Surrey, for Sir Theodore Janssen (1720); completion uncertain
Newby Park, (now Baldersby Park), near Topcliffe, Yorkshire (1720–21)
Houghton Hall, Norfolk; one of several architects to work on the building (1721–22)
Stourhead, Wiltshire, the portico part of Campbells design was only added in 1840 (1721–24); interiors destroyed by fire 1902
Mereworth Castle, Kent (1722–23)
Pembroke Lodge, Whitehall, London; executed Henry Herbert, 9th Earl of Pembrokes design (c.1724), demolished 1756
Plumptre House, Nottingham (1724)
Hall Barn, Buckinghamshire, garden buildings: Great Room (only partially survives), Temple of Venus, Obelisk & Doric Pavilion (1724)
Waverley Manor, Surrey (c.1725), extended 1770, damaged by fire and rebuilt 1833
Greenwich Hospital, Greenwich, London; additions to Queen Mary block and Queen Anne block (1726–29)
Compton Place, Eastbourne, remodelled house (1726–29)
76 Brook Street, London, internal alterations (c.1726); became Campbells new home
Hackney House, Hackney, London (c.1727), demolished before 1842
Althorp, Northamptonshire, new stables, loggia gate (c.1729–33)
Studley Royal Park, Yorkshire, the stables (c.1729) built after his death by Roger Morris

$170.00 USD
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1724 Johannes Kip Large Antique Print of St Marys Church, The Strand, London

1724 Johannes Kip Large Antique Print of St Marys Church, The Strand, London

  • Title : The South West Prospect of St Mary's Church in ye Strand
  • Date : 1724
  • Condition: (A+) Fine Condition
  • Ref:  40400
  • Size: 26 1/2in x 22in (670mm x 560mm)

Description: This large original copper-plate engraved antique print by Johannes (Jan) Kip, after Leonard Knyff, was published in the 1724 Joseph Smith edition of Britannia Illustrata or Nouveau Theatre de la Grande Bretagne. This beautifully engraved original antique print is testimony to the fine, detailed work produced by Jan Kip.

Britannia Illustrata was first issued in 1707 by David Mortier as a single volume containing 80 topographical etchings by Johannes Kip, after drawings by Leonard Knyff. Many are birds eye views of country seats, but there are also a number of interesting London views. The series was first reissued and expanded into two volumes in 1708-1713, and provided with a second French title Nouveau Theatre de la Grande Bretagne. 
 An expanded edition of Britannia Illustrata was re-published by Joseph Smith in 1724 under its French title, Nouveau Theatre...,  containing many of the plates from the original edition by Mortier and also containing may new plates of places, churches, cathedrals and architecture of the landed gentry.

Background:
The parish of St Mary le Strand may lay a good claim to being one of the oldest parishes in London. It stands dominating a roadway which since prehistory has been the main artery to the west from the City of London. In early Saxon times the Strand area was the very heart of London, for it seems that the City was effectively abandoned by the newly-arrived settlers. The Saxons predominantly inhabited "Lundenwic", an area stretching from Fleet Street to Whitehall and from the Thames to Covent Garden from the sixth to the ninth centuries. Christianity came to this settlement with St Mellitus and his followers in 604, and, despite their brief expulsion in the 620s, became firmly established. We do not know if any of the existing churches in the area date back that far but some, such as St Clement Danes, are known to have existed in later Saxon times. 

There is no record of when St Mary le Strand was founded, but the first church, which was dedicated to the Nativity of the Blessed Virgin Mary, stood just south of the present church on a site now covered by Somerset House. Throughout the Middle Ages, the Bishops of Worcester were the Patrons of the parish and had their London residence on an adjoining site. For throughout the period from the Norman Conquest to the Reformation, the Strand was mainly the home of bishops and princes. Within the parish were the "inns" - large town houses with chapels, stables and accommodation for a large retinue - of the Bishops of Worcester, Llandaff, Coventry and Lichfield. A large part of the parish was absorbed by the building of a great house, the Palace of the Savoy, by Count Peter of Savoy, the uncle of Henry III, in the 1240s. A century later this became the home of John of Gaunt, Earl of Lancaster, and the palace became a centre of culture; among its residents was Geoffrey Chaucer, who was married in the palace chapel. Gaunt's unpopularity, as the king's chief minister, caused the palace to be burned in the Peasant's Revolt. Despite its long absence, the fame of the palace has lasted in the area and was recreated in the nineteenth century by the Savoy Hotel and Theatre. 
The site where the present church stands was occupied in medieval times by Strand Cross. The origins of this are unclear. It was not a cross erected in memory of Queen Eleanor - as was Charing Cross - but seems to have dated back at least to Norman times. Perhaps it began as a market cross; by the early fourteenth century it had been rebuilt in a lavish manner, almost certainly following the design of the Eleanor Crosses. Strand Cross was a famous site and it is recorded that in the thirteenth century the local magistrates held their assizes in front of it.
Until the sixteenth century, the Strand was no more than a line of Bishops' palaces on the south side of the roadway stretching all the way to Whitehall. On the north side stood a wall which bounded the Convent - later Covent - Garden, while the churches further away, St Martin's and St Giles, stood "in-the-fields". All this was to change with the Reformation. The bishops' inns around the church were seized by Edward Lord Protector who set about building himself a renaissance palace in what was then the most fashionable part of town. Even with the extensive site that he had now obtained, further space was needed and towards the end of 1548 the Lord Protector's workmen fell upon St Mary's church and demolished it to provide stone for the new palace. Further stone was provided by the demolition of a cloister at St Paul's Cathedral known as Pardon Churchyard and the greater part of the Priory of St John at Clerkenwell. Even by the standards of the time, the demolition of so much sacred property was an outrage. Somerset was never to enjoy living in his new palace; just as it was nearing completion he was overthrown by his political enemies and executed at Tower Hill in 1551.
It is said that Somerset had intended to build a new parish church. If so, all thought of it passed away with his fall. Initially, the parishioners scattered but within a short time we find them gathered in the chapel of St John the Baptist in the Savoy. Here they would remain for the next 175 years. Now known at "St Mary le Savoy", the parishioners chose and paid for their own ministers. The most famous of these was Thomas Fuller, the church historian, who was appointed in 1642, fled during the Civil War and was restored to his living in 1660. 
Following the execution of Somerset, his palace had passed to the possession of the Crown. Elizabeth I occasionally lodged there and it was from Somerset House that she set off to give thanks after the defeat of the Armada. Under the Stuarts, extensive improvements were made to the palace, the most impressive being the lavish Roman Catholic chapel built by Charles I's queen, Henrietta Maria.
The roadway in front of Somerset House, where Strand Cross had stood and where the present church was later to stand, was occupied in the early seventeenth century by a windmill used to pump water. In 1634 the first Hackney Carriage stand in England was established here by one Captain Bailey. Here also a maypole was erected which became the most famous maypole in London. Demolished by the Puritans, a new maypole was erected in 1661. Parts of this maypole remained until 1717, when they were removed and presented to Sir Isaac Newton as the base for a telescope.
In 1711, an Act of Parliament was passed for building 50 New Churches in the fast expanding suburbs of London. These were the so-called "Queen Ann Churches"; among them are Hawksmoor's Chris
t Church Spitalfields, St Anne's Limehouse, and St George's-in-the-East, Archer's St Paul's Depftord and James' St George's, Hanover Square. St Mary le Strand was quick to apply for a church to replace their demolished one and, as the site on the Strand was so prominent, the Commissioners for building the New Churches decided to make the Strand church the most lavish of the churches. Initially, it was intended that there should not be a spire but that a column celebrating the building of the New Churches should stand directly in front of the church.

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

Imperfections:
Margins: - None
Plate area: -  None
Verso: - None

$150.00 USD
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1724 Johannes Kip Large Antique Print a View of Carlisle Church in Cumbria, England

1724 Johannes Kip Large Antique Print a View of Carlisle Church in Cumbria, England

Description: This large original copper-plate engraved antique print by Johannes (Jan) Kip, after Leonard Knyff, was published in the 1724 Joseph Smith edition of Britannia Illustrata or Nouveau Theatre de la Grande Bretagne. This beautifully engraved original antique print is testimony to the fine, detailed work produced by Jan Kip.

Britannia Illustrata was first issued in 1707 by David Mortier as a single volume containing 80 topographical etchings by Johannes Kip, after drawings by Leonard Knyff. Many are birds eye views of country seats, but there are also a number of interesting London views. The series was first reissued and expanded into two volumes in 1708-1713, and provided with a second French title Nouveau Theatre de la Grande Bretagne. 
 An expanded edition of Britannia Illustrata was re-published by Joseph Smith in 1724 under its French title, Nouveau Theatre...,  containing many of the plates from the original edition by Mortier and also containing may new plates of places, churches, cathedrals and architecture of the landed gentry.

Background: Carlisle Cathedral bears the scars of 900 years spent in this most tumultuous of regions. The scarred exterior and tower, has the effect of making the cathedral look more like a Border castle than a church! The cathedral suffered badly in the Civil War, when Parliamentary troops under General Leslie almost destroyed the nave, leaving only two bays standing.

The original nave was built by secular canons in 1092 as a collegiate church. That early church was built, but by 1123 the Augustinian order had taken over. The choir aisles are late 13th century, but the body of the choir was not completed until a century later.

The transepts and tower date from the 15th century. The glories of Carlisle are the east window, one of the best examples of decorated tracery anywhere, and the delicately carved capitals in the choir, depicting the seasons. The east window is believed to be the work of Ivo de Ragheton, who was also responsible for the west front of York Minster.

The barrel-vaulted choir ceiling is painted in vivid blue with gold trim. Medieval paintings in the north and south aisles and the choir represent the lives of the Apostles and saints Anthony and Cuthbert. The choir stalls and misericords are decorated with wonderful carvings dating from the early 15th century.

This is a finely engraved print being testimony to the beautiful and detailed work produced by Kip whose eye for detail was one of the most acknowledged of his day.

Condition Report
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - Early
Colours used: - Yellow, brown, green, red
General colour appearance: - Authentic
Paper size: - 
24 1/2in x 19 1/2in (610mm x 495mm)
Plate size: - 23in x 18in (585mm x 470mm)
Margins: - min 1/4in (6mm)

Imperfections:
Margins: - None
Plate area: -  None
Verso: - None

$150.00 USD
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1724 Johannes Kip Large Antique Print of Gloucester Cathedral, England

1724 Johannes Kip Large Antique Print of Gloucester Cathedral, England

  • Title : The South Prospect of The Cathedral of St Peters Glocester
  • Date : 1724
  • Condition: (A+) Fine Condition
  • Ref:  40415
  • Size: 26 1/2in x 22in (670mm x 560mm)

Description: This large original copper-plate engraved antique print by Johannes (Jan) Kip, after Leonard Knyff, was published in the 1724 Joseph Smith edition of Britannia Illustrata or Nouveau Theatre de la Grande Bretagne. This beautifully engraved original antique print is testimony to the fine, detailed work produced by Jan Kip.

Britannia Illustrata was first issued in 1707 by David Mortier as a single volume containing 80 topographical etchings by Johannes Kip, after drawings by Leonard Knyff. Many are birds eye views of country seats, but there are also a number of interesting London views. The series was first reissued and expanded into two volumes in 1708-1713, and provided with a second French title Nouveau Theatre de la Grande Bretagne. 
 An expanded edition of Britannia Illustrata was re-published by Joseph Smith in 1724 under its French title, Nouveau Theatre...,  containing many of the plates from the original edition by Mortier and also containing may new plates of places, churches, cathedrals and architecture of the landed gentry.

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

Imperfections:
Margins: - None
Plate area: -  None
Verso: - None

$150.00 USD
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1724 Kip Large Folio Antique Print of Worcester Cathedral, England

1724 Kip Large Folio Antique Print of Worcester Cathedral, England

Description: 
This finely engraved original large folio antique Cathedral print by Johannes Jan Kip, was engraved by James Collins was published in the 1724 by Joseph Smith monumental work Nouveau Theatre de la Grande Bretagne. This print also appeared in Britannia Illustrata by D. Mortier (brother of Pierre).
This is a finely engraved print being testimony to the beautiful and detailed work produced by Kip whose eye for detail was one of the most acknowledged of his day.

Background:
The history of Worcester goes back a long way. In 672, a council of the English Church was held, Worcester became the centre of five new dioceses formed. In the ninth century invasions from the Danes brought fighting to England, but Worcester being on the edge of the conflict escaped without much damage. In 983, Oswald founded a monastery at Worcester under the Benedictine rule, dedicated to St. Mary the Virgin. Wulfstan, in 1040 became a monk at Worcester and made such an impression, he became Bishop of Worcester in 1062. Wulfstan was the only Anglo-Saxon bishop to remain at his post after the Norman Conquest of 1066. In 1084, Wulfstan began rebuilding Worcester Cathedral, starting with the crypt, some of which still survives. He was canonised in 1203. Building work continued for some time, including rebuilding the two western bays of the nave in 1170 and around 1202 the central tower collapsed and there was a serious fire. In 1216, King John was buried at Worcester and he seems to have a devotion to St. Wulfstan. In 1224, Bishop William de Blois built the Lady Chapel, where he was buried when he died in 1236. In the fourteenth century the nave was completely rebuilt apart from the western bays. The central tower and the cloisters were completed built by 1374.

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

Imperfections:
Margins: - None
Plate area: -  None
Verso: - None

$150.00 USD
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1724 Johannes Kip Large Antique Print of Peterborough Cathedral, England

1724 Johannes Kip Large Antique Print of Peterborough Cathedral, England

Description: This large original copper-plate engraved antique print by Johannes (Jan) Kip, after Leonard Knyff, was published in the 1724 Joseph Smith edition of Britannia Illustrata or Nouveau Theatre de la Grande Bretagne. This beautifully engraved original antique print is testimony to the fine, detailed work produced by Jan Kip.

Britannia Illustrata was first issued in 1707 by David Mortier as a single volume containing 80 topographical etchings by Johannes Kip, after drawings by Leonard Knyff. Many are birds eye views of country seats, but there are also a number of interesting London views. The series was first reissued and expanded into two volumes in 1708-1713, and provided with a second French title Nouveau Theatre de la Grande Bretagne. 
 An expanded edition of Britannia Illustrata was re-published by Joseph Smith in 1724 under its French title, Nouveau Theatre...,  containing many of the plates from the original edition by Mortier and also containing may new plates of places, churches, cathedrals and architecture of the landed gentry.

Background:
An abbey was founded on the site around 655 by either Saxulf or Peada, the first Christian king of Mercia. The abbey was conconsecrated by the Archbishop of Canterbury in 655. at the end of the 9th century, the Danes invaded and raised the abbey to the ground. The abbey lay in ruins until the Bishop of Winchester, Aethelwold with help from King Edgar rebuilt the abbey and consecrated it in 972, in the presence of Archbishops Dunstan of Canterbury and Oswald of York. The second abbey was run under the rule of the Benedictines. The abbey dedicated to St. Peter had a wall built around it for defense and the name changed to Burgh St. Peter, where Burgh means fortified. In 1066, the abbot of Peterborough, Leofric, stood at Harold's side at Hastings but was wounded and died. His successor Brando mistakenly supported Edgar the Atheling instead of William and when William enforced his rule, Brando had to pay William a fine. A Norman abbot was installed at Peterborough when Brando died in 1069. In 1116 fire struck the abbey and the building was badly damaged. Building work begun in 1118. Building work took 120 years to complete. The building was consecrated in 1238 by the Bishop of Lincoln, Grosseteste. The abbey became a Cathedral in 1541 after the abbeys were dissolved in 1539. Notable people buried here are Catherine of Aragon, divorced from Henry VIII, and Mary, Queen of Scots was buried here first before being moved to Westminster Abbey.

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

Imperfections:
Margins: - None
Plate area: -  None
Verso: - None

$150.00 USD
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1724 Johannes Kip Large Antique Print of St Marys Church The Strand London England

1724 Johannes Kip Large Antique Print of St Marys Church The Strand London England

  • Title : Admodum Reverendis Amplissimis...Templi St Maria in Vico dicto The Strand
  • Date : 1724
  • Condition: (A+) Fine Condition
  • Ref:  40399
  • Size: 26 1/2in x 22in (670mm x 560mm)

Description: This large original copper-plate engraved antique print by Johannes (Jan) Kip, after Leonard Knyff, was published in the 1724 Joseph Smith edition of Britannia Illustrata or Nouveau Theatre de la Grande Bretagne. This beautifully engraved original antique print is testimony to the fine, detailed work produced by Jan Kip.

Britannia Illustrata was first issued in 1707 by David Mortier as a single volume containing 80 topographical etchings by Johannes Kip, after drawings by Leonard Knyff. Many are birds eye views of country seats, but there are also a number of interesting London views. The series was first reissued and expanded into two volumes in 1708-1713, and provided with a second French title Nouveau Theatre de la Grande Bretagne. 
 An expanded edition of Britannia Illustrata was re-published by Joseph Smith in 1724 under its French title, Nouveau Theatre...,  containing many of the plates from the original edition by Mortier and also containing may new plates of places, churches, cathedrals and architecture of the landed gentry.

Background:
The parish of St Mary le Strand may lay a good claim to being one of the oldest parishes in London. It stands dominating a roadway which since prehistory has been the main artery to the west from the City of London. In early Saxon times the Strand area was the very heart of London, for it seems that the City was effectively abandoned by the newly-arrived settlers. The Saxons predominantly inhabited "Lundenwic", an area stretching from Fleet Street to Whitehall and from the Thames to Covent Garden from the sixth to the ninth centuries. Christianity came to this settlement with St Mellitus and his followers in 604, and, despite their brief expulsion in the 620s, became firmly established. We do not know if any of the existing churches in the area date back that far but some, such as St Clement Danes, are known to have existed in later Saxon times. 

There is no record of when St Mary le Strand was founded, but the first church, which was dedicated to the Nativity of the Blessed Virgin Mary, stood just south of the present church on a site now covered by Somerset House. Throughout the Middle Ages, the Bishops of Worcester were the Patrons of the parish and had their London residence on an adjoining site. For throughout the period from the Norman Conquest to the Reformation, the Strand was mainly the home of bishops and princes. Within the parish were the "inns" - large town houses with chapels, stables and accommodation for a large retinue - of the Bishops of Worcester, Llandaff, Coventry and Lichfield. A large part of the parish was absorbed by the building of a great house, the Palace of the Savoy, by Count Peter of Savoy, the uncle of Henry III, in the 1240s. A century later this became the home of John of Gaunt, Earl of Lancaster, and the palace became a centre of culture; among its residents was Geoffrey Chaucer, who was married in the palace chapel. Gaunt's unpopularity, as the king's chief minister, caused the palace to be burned in the Peasant's Revolt. Despite its long absence, the fame of the palace has lasted in the area and was recreated in the nineteenth century by the Savoy Hotel and Theatre. 
The site where the present church stands was occupied in medieval times by Strand Cross. The origins of this are unclear. It was not a cross erected in memory of Queen Eleanor - as was Charing Cross - but seems to have dated back at least to Norman times. Perhaps it began as a market cross; by the early fourteenth century it had been rebuilt in a lavish manner, almost certainly following the design of the Eleanor Crosses. Strand Cross was a famous site and it is recorded that in the thirteenth century the local magistrates held their assizes in front of it.
Until the sixteenth century, the Strand was no more than a line of Bishops' palaces on the south side of the roadway stretching all the way to Whitehall. On the north side stood a wall which bounded the Convent - later Covent - Garden, while the churches further away, St Martin's and St Giles, stood "in-the-fields". All this was to change with the Reformation. The bishops' inns around the church were seized by Edward Lord Protector who set about building himself a renaissance palace in what was then the most fashionable part of town. Even with the extensive site that he had now obtained, further space was needed and towards the end of 1548 the Lord Protector's workmen fell upon St Mary's church and demolished it to provide stone for the new palace. Further stone was provided by the demolition of a cloister at St Paul's Cathedral known as Pardon Churchyard and the greater part of the Priory of St John at Clerkenwell. Even by the standards of the time, the demolition of so much sacred property was an outrage. Somerset was never to enjoy living in his new palace; just as it was nearing completion he was overthrown by his political enemies and executed at Tower Hill in 1551.
It is said that Somerset had intended to build a new parish church. If so, all thought of it passed away with his fall. Initially, the parishioners scattered but within a short time we find them gathered in the chapel of St John the Baptist in the Savoy. Here they would remain for the next 175 years. Now known at "St Mary le Savoy", the parishioners chose and paid for their own ministers. The most famous of these was Thomas Fuller, the church historian, who was appointed in 1642, fled during the Civil War and was restored to his living in 1660. 
Following the execution of Somerset, his palace had passed to the possession of the Crown. Elizabeth I occasionally lodged there and it was from Somerset House that she set off to give thanks after the defeat of the Armada. Under the Stuarts, extensive improvements were made to the palace, the most impressive being the lavish Roman Catholic chapel built by Charles I's queen, Henrietta Maria.
The roadway in front of Somerset House, where Strand Cross had stood and where the present church was later to stand, was occupied in the early seventeenth century by a windmill used to pump water. In 1634 the first Hackney Carriage stand in England was established here by one Captain Bailey. Here also a maypole was erected which became the most famous maypole in London. Demolished by the Puritans, a new maypole was erected in 1661. Parts of this maypole remained until 1717, when they were removed and presented to Sir Isaac Newton as the base for a telescope.
In 1711, an Act of Parliament was passed for building 50 New Churches in the fast expanding suburbs of London. These were the so-called "Queen Ann Churches"; among them are Hawksmoor's Chris
t Church Spitalfields, St Anne's Limehouse, and St George's-in-the-East, Archer's St Paul's Depftord and James' St George's, Hanover Square. St Mary le Strand was quick to apply for a church to replace their demolished one and, as the site on the Strand was so prominent, the Commissioners for building the New Churches decided to make the Strand church the most lavish of the churches. Initially, it was intended that there should not be a spire but that a column celebrating the building of the New Churches should stand directly in front of the church.

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

Imperfections:
Margins: - None
Plate area: -  None
Verso: - None

$150.00 USD
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1724 Johannes Kip Large Antique Print of Chester Cathedral Church, Cheshire, England

1724 Johannes Kip Large Antique Print of Chester Cathedral Church, Cheshire, England

Description: This large original copper-plate engraved antique print by Johannes (Jan) Kip, after Leonard Knyff, was published in the 1724 Joseph Smith edition of Britannia Illustrata or Nouveau Theatre de la Grande Bretagne. This beautifully engraved original antique print is testimony to the fine, detailed work produced by Jan Kip.

Britannia Illustrata was first issued in 1707 by David Mortier as a single volume containing 80 topographical etchings by Johannes Kip, after drawings by Leonard Knyff. Many are birds eye views of country seats, but there are also a number of interesting London views. The series was first reissued and expanded into two volumes in 1708-1713, and provided with a second French title Nouveau Theatre de la Grande Bretagne. 
 An expanded edition of Britannia Illustrata was re-published by Joseph Smith in 1724 under its French title, Nouveau Theatre...,  containing many of the plates from the original edition by Mortier and also containing may new plates of places, churches, cathedrals and architecture of the landed gentry.

Background:
Standing on the site of a 10th century Saxon church, the present cathedral at Chester dates from the mid 13th century. Dedicated to St Werburgh, this Christian church was transformed into a Benedictine Abbey in 1092, colonised by a small group of monks from Normandy. Building of the new abbey church began immediately and took the best part of 150 years to complete but little evidence of the first church remains. The traditional sturdy Norman architecture was eventually replaced over the next two centuries by a more elegant Gothic style. Henry VIII dissolved the monastery in 1540 just as the monks of St Werburgh's Abbey were beginning to enjoy their new surroundings. A year later the abbey was given back as a cathedral, the last abbot of St Werburgh's becoming the first Dean of Chester Cathedral. 

Over the next two hundred years the cathedral slipped into a bad state of disrepair but was eventually saved from total collapse by the efforts of Sir George Gilbert Scott. His 19th century restoration of Chester Cathedral, both externally and internally, not only put in place essential repairs but also enhanced the appearance of the great church immensely. Most of the stained glass comes from this period and highlights the abbey's dedication to St Werburgh, as well as the long history of the cathedral. On the northern aisle of the nave, at the side of one of the large windows, sits the 'Chester Imp'. A charming little figure in chains, carved by one of the medieval monks, to protect the church from evil spirits.
Most medieval cathedrals have beautifully carved stalls in the quire but the quality of oak carving at Chester Cathedral is quite exceptional. Each stall is topped with an elaborately carved canopy set above a row of small corbels, and below each seat a magnificently carved misericord. This area of the church is so richly carved with such a diverse array of religious artefacts, animals, birds and grotesque figures that it is quite overwhelming.
Apart from the main church many of the monastic buildings from the ancient Benedictine Abbey have been remarkably preserved. The original cloisters, although largely rebuilt during the first half of the 16th century and subsequently restored at the beginning of the 20th century, are a constant reminder of the important part they played in monastic life. All the bays of the undercroft, containing some wonderful vaulting, have been utilised to provide an exhibition centre, gift shop and workshop. The monks' dining room or refectory is still used regularly, as is the superb Chapter House. .

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

Imperfections:
Margins: - None
Plate area: -  None
Verso: - None

$150.00 USD
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1724 Johannes Kip Large Antique Print of Bath Cathedral, Somerset, England

1724 Johannes Kip Large Antique Print of Bath Cathedral, Somerset, England

Description: 
This large original copper-plate engraved antique print by Johannes (Jan) Kip, after Leonard Knyff, was published in the 1724 Joseph Smith edition of Britannia Illustrata or Nouveau Theatre de la Grande Bretagne. This beautifully engraved original antique print is testimony to the fine, detailed work produced by Jan Kip.

Britannia Illustrata was first issued in 1707 by David Mortier as a single volume containing 80 topographical etchings by Johannes Kip, after drawings by Leonard Knyff. Many are birds eye views of country seats, but there are also a number of interesting London views. The series was first reissued and expanded into two volumes in 1708-1713, and provided with a second French title Nouveau Theatre de la Grande Bretagne.
 An expanded edition of Britannia Illustrata was re-published by Joseph Smith in 1724 under its French title, Nouveau Theatre...,  containing many of the plates from the original edition by Mortier and also containing may new plates of places, churches, cathedrals and architecture of the landed gentry.

Background:
Bath Abbey stands at the heart of the city of Bath; during the past twelve and a half centuries, three different churches have occupied this site:
An Anglo-Saxon Abbey Church dating from 757, pulled down by the Norman conquerors of England soon after 1066.
A massive Norman cathedral begun about 1090. It was larger than the monastery could afford to maintain and by the end of the 15th century was in ruins.
The present Abbey church founded in 1499, ruined after the dissolution of the monasteries in 1539 by order of Henry VIII.

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

Imperfections:
Margins: - None
Plate area: -  None
Verso: - None

$150.00 USD
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1724 Johannes Kip Large Antique Print The Holy Trinity Cathedral, Chichester, England

1724 Johannes Kip Large Antique Print The Holy Trinity Cathedral, Chichester, England

  • Title : The Cathedral Church of the Holy Trinity in Chichester
  • Date : 1724
  • Condition: (A+) Fine Condition
  • Ref:  40411
  • Size: 26 1/2in x 22in (670mm x 560mm)

Description: This large original copper-plate engraved antique print by Johannes (Jan) Kip, after Leonard Knyff, was published in the 1724 Joseph Smith edition of Britannia Illustrata or Nouveau Theatre de la Grande Bretagne. This beautifully engraved original antique print is testimony to the fine, detailed work produced by Jan Kip.

Britannia Illustrata was first issued in 1707 by David Mortier as a single volume containing 80 topographical etchings by Johannes Kip, after drawings by Leonard Knyff. Many are birds eye views of country seats, but there are also a number of interesting London views. The series was first reissued and expanded into two volumes in 1708-1713, and provided with a second French title Nouveau Theatre de la Grande Bretagne. 
 An expanded edition of Britannia Illustrata was re-published by Joseph Smith in 1724 under its French title, Nouveau Theatre...,  containing many of the plates from the original edition by Mortier and also containing may new plates of places, churches, cathedrals and architecture of the landed gentry.

Background:
The cathedral of the Holy Trinity at Chichester was founded in 1075, after the seat of the bishop was transferred to the town from nearby Selsey. It was consecrated in 1108, but a subsequent fire created a need for substantial rebuilding, which was not completed until 1184. The cathedral was reconsecrated in 1199. This was not the last stage in its development, by a long way. Richard de la Wyche, (Saint Richard of Chichester in the Anglican Communion), who was bishop from 1245 to 1253, was buried in the cathedral, where his shrine was a place of pilgrimage, until it was ordered destroyed in 1538, during the first stages of the English Reformation. Further damage to the cathedral had been done by fire after the second consecration, and much rebuilding was carried out in the Early English style. The original wooden ceiling had burnt out, and the sublimely simple present vaulting replaced it. The spire, which was originally built in the 14th century, was of poor-quality local stone, and collapsed suddenly in 1861, miraculously without loss of life. It was immediately rebuilt, by Sir Gilbert Scott, a noted scholarly architect.

The cathedral has many other unique features. Under the floor of the nave are the remains of a Roman mosaic pavement, which can be viewed through a glass window. Also in the interior are the grave of the composer Gustav Holst and the Gothic "Arundel tomb" referred to in a famous poem by Philip Larkin.
Despite its age, the cathedral contains several modern works of art, including tapestries by John Piper and Ursula Benker-Schirmer, a window by Marc Chagall, and a sculpture by Graham Sutherland.  

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

Imperfections:
Margins: - None
Plate area: -  None
Verso: - None

$150.00 USD
More Info
1724 Johannes Kip Large Antique Print of Rochester Cathedral, Kent, England

1724 Johannes Kip Large Antique Print of Rochester Cathedral, Kent, England

  • Title : The North Prospect of the Cathedral Church of Rochester
  • Date : 1724
  • Condition: (A+) Fine Condition
  • Ref:  40405
  • Size: 26 1/2in x 22in (670mm x 560mm)

Description: This large original copper-plate engraved antique print by Johannes (Jan) Kip, after Leonard Knyff, was published in the 1724 Joseph Smith edition of Britannia Illustrata or Nouveau Theatre de la Grande Bretagne. This beautifully engraved original antique print is testimony to the fine, detailed work produced by Jan Kip.

Britannia Illustrata was first issued in 1707 by David Mortier as a single volume containing 80 topographical etchings by Johannes Kip, after drawings by Leonard Knyff. Many are birds eye views of country seats, but there are also a number of interesting London views. The series was first reissued and expanded into two volumes in 1708-1713, and provided with a second French title Nouveau Theatre de la Grande Bretagne. 
 An expanded edition of Britannia Illustrata was re-published by Joseph Smith in 1724 under its French title, Nouveau Theatre...,  containing many of the plates from the original edition by Mortier and also containing may new plates of places, churches, cathedrals and architecture of the landed gentry.

Background:
Being the second oldest cathedral foundation in England, Rochester Cathedrals history goes back to AD604 when Augustine sent Bishop Justus to establish the house founded by King Ethelbert of Kent. Following several invasions by the Danes, the church was in a state of devastation by the time Bishop Gundulf was consecrated in 1077 but immediately he began a major building operation, and introduced a community of Benedictine monks in 1080.
The church suffered misfortune again in the mid 12th century with two serious fires, resulting in a further rebuilding programme. Since that time there has been continuous remodelling, refurbishments and restorations, mainly due to other historical events when the cathedral sustained damage. As a consequence of its very chequered history, Rochester Cathedral displays the varied building styles of each period, from the functional austerity of Gundulf's original structure, through the Romanesque, Gothic and Early English architectural periods, and continuing with renovation and restoration well into the 20th century following war damage.
The sturdy, squat Norman nave contrasts dramatically with the tall, narrow Gothic arches of the crossing. A superbly carved stone archway of the Decorated period (c1345), now enhanced with a solid oak door, leads to the chapter room and is a magnificent feat of craftsmanship. Quite unusually, the Lady Chapel is sited between the nave and the south transept as monastic outbuildings occupied the traditional location at the eastern end of the church when the chapel was added in the late 15th century. Beneath the quire transept is a beautifully preserved and vaulted crypt, with two bays surviving from the original Norman construction. There are also many fragments of medieval ceiling paintings to be found in this lower level sanctuary.
Though one of the smaller Norman cathedrals, Rochester was an important centre for pilgrimage during the 13th century, and even today attracts many visitors who are keen to learn more about its fascinating history. From a photographic perspective, a wonderful view of Rochester cathedral can be seen from the top of Rochester Castle, immediately opposite. We have visited both the Rochester Cathedral and Castle on many occasions, and still manage to uncover more information, or something interesting that we had previously overlooked. Earlier this year, we ventured for the first time into the cloister garth, discovering a substantial section of the ruined Chapter House. On the south side, the entrance arch to the monk's refectory survives and, looking behind it, the 13th century lavatorium and towel recess is still visible.

Johannes Kip was a draughtsman and engraver, who worked first in his native Amsterdam before moving to London at the end of the seventeenth century. He did portraits, views, and book illustrations. (Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

Imperfections:
Margins: - None
Plate area: -  None
Verso: - None

$150.00 USD
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1856 Cap Richard Delafield Large Antique Schematics German Fortifications

1856 Cap Richard Delafield Large Antique Schematics German Fortifications

Description:
This large original lithograph print, schematics of parts of the German Forts in such cities as Coblenz, Posen, Mainz, Luxemburg, Landau & others - during the time of the Crimean War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 24 1/2in x 18in (615mm x 475mm)
Plate size: - 24 1/2in x 18in (615mm x 475mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - Folds re-enforced with archival tape

Background:
Under the term of the 1815 Peace of Paris, France was obliged to pay for the construction of a line of fortresses to protect the German Confederation against any future aggression by France. All fortresses were located outside Austria and Prussia — the two biggest, bickering powers of the Confederation.
Section C. Defensive System of the Germanic Confederation of the protocol drawn up at Paris on 3 November 1815, declared Mainz, Luxemburg, and Landau to be fortresses belonging to the Confederation of Germany, and stipulated that a fourth should be constructed on the Upper Rhine. In conformity with this act, a portion of the funds, which France was compelled to pay by way of indemnity for the cost of placing her on a peaceable footing, was thus appropriated: £200,000 were set aside for completing the works at Mainz; £800,000 were assigned to Prussia, to be applied upon its fortresses on the Lower Rhine; another £800,000 were reserved for constructing the new federal fortress on the Upper Rhine; and Bavaria was allowed £600,000 towards erecting another strong place on the Rhine, at Germersheim or some other point.
By 1835 the works about Mainz were completed; the twin fortresses of Koblenz and Ehrenbreitstein, and Cologne had been abundantly strengthened on the side of Prussia; and, on the Bavarian side, the fortress of Germersheim was in a state to defend the passage on the Upper Rhine. The western frontier of Germany had, in this way, been provided with a formidable line of defences against possible hostile actions by their neighbours. The eastern side of Germany has been additionally fortified by the erection of a strong citadel at Posen; and the southern was to be still further protected by the formidable works in course of construction at Brixen in the Tyrol.
The fortress of Ulm became a major strategic fortress able to accommodate 100,000 men and their equipment. Since the Kingdom of Württemberg had no engineering corps King William I appointed Moritz Karl Ernst von Prittwitz, a Prussian major, as the supervisor to oversee the building the fortresses. His plans included the provisions for the prospective development of the city Ulm. Major Theodor von Hildebrandt was appointed to oversee the building of fortresses around Neu-Ulm on the Bavarian side of the Danube.

Delafield, Richard Major General 1798 - 1873
Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

$125.00 USD
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1856 Capt Delafield Large Antique Schematics of Citadel & City of Poznan, Poland

1856 Capt Delafield Large Antique Schematics of Citadel & City of Poznan, Poland

Description:
This large original lithograph print, schematics of Fort Winiary, or Fortress & City of Posen or Poznan, now part of Poland, 19th century Prussia - during the time of the Crimean War and just prior to the American Civil War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 17in x 14in (430mm x 355mm)
Plate size: - 17in x 14in (430mm x 355mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - Folds re-enforced with archival tape

Background:
Fort Winiary was part of Festung Posen (Fortress Poznań), a system of defensive fortifications around the Polish city of Poznań.
Fort Winiary was first constructed under Prussian rule in the 19th century. It was the main fort in that system, and was among the first elements to be constructed. Detailed plans were approved on 21 February 1829, and the name Fort Winiary soon came to be applied, as the fort was situated on a hill where there were two villages called Winiary (the name alluding to the vine cultivation which had once taken place there). The fort would later become popularly known as Poznańs citadel (cytadela).
On 10 October 1829 an order was made restricting civilian building in a strip in front of the planned fort. In May and June 1830, the villages of Winiary and the nearby Bonin farm were evacuated, the inhabitants being moved to an area to the north-west (Neu Winiary). This is the neighbourhood known as Winiary today, part of the citys Jeżyce district (there is also an estate there named Bonin).
The fort had a main reduit (Kernwerk) on the southern (city) side, flanked by four redoubts (Redoute I and Redoute II to the west; Redoute IV and Redoute III to the east). At the eastern and western extremes were Ravelin I and Ravelin IV. The northern side of the fort consisted of (from west to east) Bastion I, Ravelin II, Bastion II, Ravelin III and Bastion III. The first and third redoubt were the first to be completed, in 1830, and the main réduit was finished in 1832. In 1834 three infantry battalions were garrisoned there. The third and fourth ravelins were finished in 1838 and 1839, completing the fort.
On 15 October 1856 the bastions were renamed Bastion Johann, Bastion Leopold and Bastion Ludwig, these being the forenames of the chief architect of Festung Posen and of the fort itself, Johann Leopold Ludwig Brese (later von Brese–Winiary).
Between 1865 and 1873 work was done to reinforce the forts powder stores (Kriegs-Pulver-Magazin No. 1 and No. 2). In the early 1890s an artillery laboratory (Spezial-Kriegs-Laboratorium) was built within the fort.

Delafield, Richard Major General 1798 - 1873
Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

 

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1856 Cap Richard Delafield Large Antique Schematics German Fortifications

1856 Cap Richard Delafield Large Antique Schematics German Fortifications

Description:

This large original lithograph print, schematics of parts of the German Forts in such cities as Coblenz, Posen, Mainz, Luxemburg, Landau & others - during the time of the Crimean War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 24 1/2in x 18in (615mm x 475mm)
Plate size: - 24 1/2in x 18in (615mm x 475mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Light age toning along folds, as issued
Verso: - Folds re-enforced with archival tape

Background:
Under the term of the 1815 Peace of Paris, France was obliged to pay for the construction of a line of fortresses to protect the German Confederation against any future aggression by France. All fortresses were located outside Austria and Prussia — the two biggest, bickering powers of the Confederation.
Section C. Defensive System of the Germanic Confederation of the protocol drawn up at Paris on 3 November 1815, declared Mainz, Luxemburg, and Landau to be fortresses belonging to the Confederation of Germany, and stipulated that a fourth should be constructed on the Upper Rhine. In conformity with this act, a portion of the funds, which France was compelled to pay by way of indemnity for the cost of placing her on a peaceable footing, was thus appropriated: £200,000 were set aside for completing the works at Mainz; £800,000 were assigned to Prussia, to be applied upon its fortresses on the Lower Rhine; another £800,000 were reserved for constructing the new federal fortress on the Upper Rhine; and Bavaria was allowed £600,000 towards erecting another strong place on the Rhine, at Germersheim or some other point.
By 1835 the works about Mainz were completed; the twin fortresses of Koblenz and Ehrenbreitstein, and Cologne had been abundantly strengthened on the side of Prussia; and, on the Bavarian side, the fortress of Germersheim was in a state to defend the passage on the Upper Rhine. The western frontier of Germany had, in this way, been provided with a formidable line of defences against possible hostile actions by their neighbours. The eastern side of Germany has been additionally fortified by the erection of a strong citadel at Posen; and the southern was to be still further protected by the formidable works in course of construction at Brixen in the Tyrol.
The fortress of Ulm became a major strategic fortress able to accommodate 100,000 men and their equipment. Since the Kingdom of Württemberg had no engineering corps King William I appointed Moritz Karl Ernst von Prittwitz, a Prussian major, as the supervisor to oversee the building the fortresses. His plans included the provisions for the prospective development of the city Ulm. Major Theodor von Hildebrandt was appointed to oversee the building of fortresses around Neu-Ulm on the Bavarian side of the Danube

Delafield, Richard Major General 1798 - 1873 - Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

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1856 Capt Delafield Large Antique Schematics Forts City of Lyons, France

1856 Capt Delafield Large Antique Schematics Forts City of Lyons, France

Description:
This large original lithograph print, schematics of various forts in and around the French city of Lyons - during the time of the Crimean War and just prior to the American Civil War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 29in x 20in (735mm x 515mm)
Plate size: - 29in x 20in (735mm x 515mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - Folds re-enforced with archival tape

Background:
The ceintures de Lyon (Belts of Lyon) were a series of fortifications built between 1830 and 1890 around the city of Lyon, France to protect the city from foreign invasion.
The belts comprised two defensive barriers that included forts, lunettes, ramparts, batteries, and other defensive structures. Many of these structures proved to be ineffective in war due to advancement in weapon technology and the evolution of attack strategies at the time. Some of the fortifications of the ceintures de Lyon have been destroyed, though many remain today.
In 1830 the maréchal de camp, Hubert Rohault de Fleury, commenced a project designed by military engineer Baron Haxo. With a budget of 10,000,000 francs (approximately €67,000,000 as of 2015) allocated for Lyon between 1831 and 1839, this first project included the restoration of the fortifications between Croix Rousse and Fourvière; the construction of two forts on the plateau of Caluire (Fort de Montessuy and Fort de Caluire, connected by the Enceinte de Caluire), facing the Dombes; closing access to the Presquîle by the construction of a south-facing building; building two forts – Fort de la Duchère and Fort de Grange Blanche – to protect access routes towards Paris and Auvergne.
The fortification of the city is divided into three sectors: The north was protected by the wall of Croix-Rousse and the structures between the Rhône and the Saône. The command was situated at fort de Montessuy. The west was covered by the hillfort of Fourvière and the associated forts of Vaise at Sainte-Foy. The command was situated at fort Saint-Irénée. The east was defended by the Redoute du Haut-Rhône and Fort de la Vitriolerie on the left bank of the Rhône. The command was situated at Fort Lamothe.
The work required almost 20,000 workers, which were locally sourced in an attempt to avoid insurrection such as the ongoing unrest of the Lyon silk workers (Canuts) over increased capitalism. Work began in 1831 to build seven structures, each structure requiring between 400 and 500 workers. The scope of this project included the construction of Fort de Montessuy and Fort de Caluire to the north; Fort des Brotteaux, Fort Montluc and Fort du Colombier to the east; the Redoute de la Part-Dieu to the west; and Fort Saint-Irénée, to protect the entire area.
In January 1831, an uprising began at a work site in Charpennes, however it was quickly stopped by the army. Other insurrections took place the same year, a series of Canut revolts, which succeeded in rallying soldiers on the side of the Canuts, resulting in the death of captain Viquesnel, aide-de-camp of Fleury, and the temporary withdrawal of the 20,000 soldiers who eventually retook the city in December 1831.
In 1832, three other structures were built to reinforce the defenses to the east: The Redoute de la Tête dor, Fort La Motte, and the Redoute des Hirondelles. A treaty was signed between the city of Lyon and the War Department, which stipulated that the city had to cede the land necessary for the construction of military buildings to the War Department, while the forts themselves would still belong to the city if the military decided to abandon them. It is thanks to this treaty that the forts of Croix Rousse, Fourvière, Loyasse, Vaise, and Saint-Jean would later be returned to the city.
Construction resumed in 1840. First the Fort de la Vitriolerie in 1840, then Fort de Sainte-Foy-lès-Lyon and the Lunette des Charpennes in 1842, Fort de la Duchère in 1844, the Redoute du Petit Sainte-Foy-lès-Lyon in 1852, and finally the Redoute du haut-Rhône in 1854.
A law was voted in on 10 July 1851, which defined the methods of destruction of these buildings or construction on their land. By 1854, 19 structures including 10 forts had been built around Lyon, creating a nearly 14-kilometre (8.7 mi) fortified perimeter.

Delafield, Richard Major General 1798 - 1873 - Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

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1889 Ernst Wasmuth Antique Print Lithograph of Neo-classical European Decoration

1889 Ernst Wasmuth Antique Print Lithograph of Neo-classical European Decoration

Description: 
This finely engraved coloured original antique lithograph print of neo-classical European decoration was published by Ernst Wasmuth in the 1889 edition of Farbige Decorationen, Berlin.

Farbige Decorationen, was published in two volumes between 1889 & 1896 . the volumes contained 121 coloured plates lithographed by Ernst Wasmuth, illustrating contemporary architectural and decoration.

Ernst Wasmuth - a very influential publisher who is famous for a book on the architect Frank Lloyd Wright entitled Studies and Executed Buildings of Frank Lloyd Wright, published in Germany in 1910. This two-volume work, which contains more than 100 lithographs of Wright’s designs, is commonly known as the Wasmuth Portfolio.(Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original
Colors used: - Brown 
General color appearance: - Authentic  
Paper size: - 19in x 12 1/2in (485mm x 320mm)
Margins: - Min 1in (25m)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

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1888 Paul Planat Lithograph Antique Hotel Architectural Print, France

1888 Paul Planat Lithograph Antique Hotel Architectural Print, France

Description: 

This finely engraved original antique print of a French Hotel was published by Paul Planat (1839 - 1911) in the 1888 edition of Encyclopédie de l'architecture et de la construction.

Published between 1888 - 1892 this monumental 13 volume work on Architecture and construction by Planat was a leap forward in both the understanding and representation of architecture at the end of the 19th century. (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original
Colors used: -  Green, yellow, blue, brown
General color appearance: -  Authentic
Paper size: - 18in x 13 1/2in (460mm x 345mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

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1862 Morel & Lemercier Large Antique French Lithograph Decoration Print

1862 Morel & Lemercier Large Antique French Lithograph Decoration Print

  • Title : Paris A Morel & Co. Editeurs...Imp. Lemercier r de Seine 57 Paris
  • Date : 1862
  • Condition: (A+) Fine Condition
  • Ref:  70548
  • Size: 16 1/2in x 13 1/2in (460mm x 345mm)

Description: 

This fine large original antique chromolithograph print of interior French decoration from the mid 19th century was published in the 1862 edition of Manuel de Peintures by A Morel & Co. Editeurs , Paris with the Chromolithograph by the famous French firm of Lemercier, Paris

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original 
Colors used: - Red, Green 
General color appearance: - Authentic
Paper size: - 16 1/2in x 13 1/2in (460mm x 345mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

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1862 Morel & Lemercier Large Antique French Lithograph Decoration Print

1862 Morel & Lemercier Large Antique French Lithograph Decoration Print

  • Title : Paris A Morel & Co. Editeurs...Imp. Petit et Bisiaux Lemercier r de Seine 57 Paris
  • Date : 1862
  • Condition: (A+) Fine Condition
  • Ref:  70549
  • Size: 16 1/2in x 13 1/2in (460mm x 345mm)

Description: 

This fine large original antique chromolithograph print of interior French decoration from the mid 19th century was published in the 1862 edition of Manuel de Peintures by A Morel & Co. Editeurs , Paris with the Chromolithograph by the famous French firm of Lemercier, Paris

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original 
Colors used: - Red, Green 
General color appearance: - Authentic
Paper size: - 16 1/2in x 13 1/2in (460mm x 345mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Light spotting in bottom margin
Plate area: - None
Verso: - None

$125.00 USD
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1862 Morel & Lemercier Large Antique French Lithograph Decoration Print

1862 Morel & Lemercier Large Antique French Lithograph Decoration Print

  • Title : Paris A Morel & Co. Editeurs...Imp. Lemercier r de Seine 57 Paris
  • Date : 1862
  • Condition: (A+) Fine Condition
  • Ref:  70540
  • Size: 16 1/2in x 13 1/2in (460mm x 345mm)

Description: 

This fine large original antique chromolithograph print of interior French decoration from the mid 19th century was published in the 1862 edition of Manuel de Peintures by A Morel & Co. Editeurs , Paris with the Chromolithograph by the famous French firm of Lemercier, Paris

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original 
Colors used: - Red, Green 
General color appearance: - Authentic
Paper size: - 16 1/2in x 13 1/2in (460mm x 345mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

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1740 Wolff & Corvinus Antique Arch Plan Officers Quarters, Royal Arsenal, Berlin

1740 Wolff & Corvinus Antique Arch Plan Officers Quarters, Royal Arsenal, Berlin

  • Title : Das von dem Tit. H. Commendanten der Residentz Berlin, durch den Tit. H. Philipp Gerlach Senior Capitain und Ingenieur gebaute Commendaten Hauß mit der vorderen faciata und allen dreyen Grund-Rissen
  • Ref #:  93449
  • Size: 19 1/2in x 15in (495mm x 390mm)
  • Date : 1740
  • Condition: (A+) Fine Condition

Description:
This large rare, original copper-plate engraved antique architectural print, view & plan of officers quarters at the Royal Arsenal in Berlin - plate No.17 of 19 - by Johann August Corvinus 1683 - 1738, after Andreas Mayers 1716 - 1782, was published in Eigentliche Abbildung des Prächtigen Königl. Lust Schlosses Charlottenburg, eine Meile von Berlin, sambt dem darhinden im Walde gelegenen schönen Lust Garten
(Set of 16 numbered plates, the first with the title, with plans and views of the buildings and gardens at Charlottenburg, the palace of the King of Prussia on the outskirts of Berlin.)
 by Jeremias Wolff Erben in 1740.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 19in x 12 1/2in (490mm x 335mm)
Plate size: - 14 1/2in x 10 1/2in (370mm x 260mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

 

Background:
Berlin straddles the banks of the River Spree, which flows into the River Havel (a tributary of the River Elbe) in the western borough of Spandau. Among the citys main topographical features are the many lakes in the western and southeastern boroughs formed by the Spree, Havel, and Dahme rivers (the largest of which is Lake Müggelsee). Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. About one-third of the citys area is composed of forests, parks, gardens, rivers, canals and lakes. The city lies in the Central German dialect area, the Berlin dialect being a variant of the Lusatian-New Marchian dialects.
First documented in the 13th century and situated at the crossing of two important historic trade routes, Berlin became the capital of the Margraviate of Brandenburg (1417–1701), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933), and the Third Reich (1933–1945). Berlin in the 1920s was the third-largest municipality in the world. After World War II and its subsequent occupation by the victorious countries, the city was divided; West Berlin became a de facto West German exclave, surrounded by the Berlin Wall (1961–1989) and East German territory. East Berlin was declared capital of East Germany, while Bonn became the West German capital. Following German reunification in 1990, Berlin once again became the capital of all of Germany.
The Thirty Years War between 1618 and 1648 devastated Berlin. One third of its houses were damaged or destroyed, and the city lost half of its population. Frederick William, known as the Great Elector, who had succeeded his father George William as ruler in 1640, initiated a policy of promoting immigration and religious tolerance. With the Edict of Potsdam in 1685, Frederick William offered asylum to the French Huguenots.
By 1700, approximately 30 percent of Berlins residents were French, because of the Huguenot immigration. Many other immigrants came from Bohemia, Poland, and Salzburg.
Since 1618, the Margraviate of Brandenburg had been in personal union with the Duchy of Prussia. In 1701, the dual state formed the Kingdom of Prussia, as Frederick III, Elector of Brandenburg, crowned himself as king Frederick I in Prussia. Berlin became the capital of the new Kingdom, replacing Königsberg. This was a successful attempt to centralise the capital in the very far-flung state, and it was the first time the city began to grow. In 1709, Berlin merged with the four cities of Cölln, Friedrichswerder, Friedrichstadt and Dorotheenstadt under the name Berlin, Haupt- und Residenzstadt Berlin.
In 1740, Frederick II, known as Frederick the Great (1740–1786), came to power. Under the rule of Frederick II, Berlin became a center of the Enlightenment, but also, was briefly occupied during the Seven Years War by the Russian army. Following Frances victory in the War of the Fourth Coalition, Napoleon Bonaparte marched into Berlin in 1806, but granted self-government to the city. In 1815, the city became part of the new Province of Brandenburg.
The Industrial Revolution transformed Berlin during the 19th century; the citys economy and population expanded dramatically, and it became the main railway hub and economic centre of Germany. Additional suburbs soon developed and increased the area and population of Berlin. In 1861, neighbouring suburbs including Wedding, Moabit and several others were incorporated into Berlin. In 1871, Berlin became capital of the newly founded German Empire. In 1881, it became a city district separate from Brandenburg.

Wolff, Jeremais 1663 - 1724
Wolff was an German engraver and publisher. Born in Augsburg, he originally trained as a clock and automat maker, later changing course and opening a small copperplate engraving shop. His success was impressive and became one of the largest European art, print & map publishers in the first half of the 18th century. Wolff employed some of the best engravers of the time and although not an engraver himself, only Wolffs name was recorded on the engravings. Many of his engravers went uncredited for their work. In 1710 Wolff was one of the founder member of the Empire State Academy of Arts in Augsburg.
After his death in 1724, Wolffs publishing business was inherited by his sons and son-in-law, Johann Balthasar Probst (1673–1750) a notable engraver at the time. The firm continued on in Augsburg under the name Jeremias Wolff Erben.
Together with the Nuremberg copperplate engraver Paul Decker , Wolff published a series of engravings showing the war successes of Prince Eugene of Savoy in Italy , southern Germany and the Spanish Netherlands, during the War of the Spanish Succession . The prints are exhibited in the Museum of Military History, in Vienna .

 

$110.00 USD
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1740 Wolff & Corvinus Antique Arch Print of Charlottenburg Palace Stables Berlin

1740 Wolff & Corvinus Antique Arch Print of Charlottenburg Palace Stables Berlin

  • Title : Ist ein von Hr. Andreas Schlütter Seel. inventirt und aufgebauer Schöner Marstall Datierung
  • Ref #:  93447
  • Size: 19in x 12 1/2in (490mm x 335mm)
  • Date : 1740
  • Condition: (A+) Fine Condition

Description:
This large rare, original copper-plate engraved antique architectural print, view of the facade of the Charlottenburg Palace stables in Berlin - plate No.15 of 16 - by Johann August Corvinus 1683 - 1738, after Andreas Mayers 1716 - 1782, was published in Eigentliche Abbildung des Prächtigen Königl. Lust Schlosses Charlottenburg, eine Meile von Berlin, sambt dem darhinden im Walde gelegenen schönen Lust Garten
(Set of 16 numbered plates, the first with the title, with plans and views of the buildings and gardens at Charlottenburg, the palace of the King of Prussia on the outskirts of Berlin.)
 by Jeremias Wolff Erben in 1740.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 19in x 12 1/2in (490mm x 335mm)
Plate size: - 14 1/2in x 10 1/2in (370mm x 260mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

 

Background:
Berlin straddles the banks of the River Spree, which flows into the River Havel (a tributary of the River Elbe) in the western borough of Spandau. Among the citys main topographical features are the many lakes in the western and southeastern boroughs formed by the Spree, Havel, and Dahme rivers (the largest of which is Lake Müggelsee). Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. About one-third of the citys area is composed of forests, parks, gardens, rivers, canals and lakes. The city lies in the Central German dialect area, the Berlin dialect being a variant of the Lusatian-New Marchian dialects.
First documented in the 13th century and situated at the crossing of two important historic trade routes, Berlin became the capital of the Margraviate of Brandenburg (1417–1701), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933), and the Third Reich (1933–1945). Berlin in the 1920s was the third-largest municipality in the world. After World War II and its subsequent occupation by the victorious countries, the city was divided; West Berlin became a de facto West German exclave, surrounded by the Berlin Wall (1961–1989) and East German territory. East Berlin was declared capital of East Germany, while Bonn became the West German capital. Following German reunification in 1990, Berlin once again became the capital of all of Germany.
The Thirty Years War between 1618 and 1648 devastated Berlin. One third of its houses were damaged or destroyed, and the city lost half of its population. Frederick William, known as the Great Elector, who had succeeded his father George William as ruler in 1640, initiated a policy of promoting immigration and religious tolerance. With the Edict of Potsdam in 1685, Frederick William offered asylum to the French Huguenots.
By 1700, approximately 30 percent of Berlins residents were French, because of the Huguenot immigration. Many other immigrants came from Bohemia, Poland, and Salzburg.
Since 1618, the Margraviate of Brandenburg had been in personal union with the Duchy of Prussia. In 1701, the dual state formed the Kingdom of Prussia, as Frederick III, Elector of Brandenburg, crowned himself as king Frederick I in Prussia. Berlin became the capital of the new Kingdom, replacing Königsberg. This was a successful attempt to centralise the capital in the very far-flung state, and it was the first time the city began to grow. In 1709, Berlin merged with the four cities of Cölln, Friedrichswerder, Friedrichstadt and Dorotheenstadt under the name Berlin, Haupt- und Residenzstadt Berlin.
In 1740, Frederick II, known as Frederick the Great (1740–1786), came to power. Under the rule of Frederick II, Berlin became a center of the Enlightenment, but also, was briefly occupied during the Seven Years War by the Russian army. Following Frances victory in the War of the Fourth Coalition, Napoleon Bonaparte marched into Berlin in 1806, but granted self-government to the city. In 1815, the city became part of the new Province of Brandenburg.
The Industrial Revolution transformed Berlin during the 19th century; the citys economy and population expanded dramatically, and it became the main railway hub and economic centre of Germany. Additional suburbs soon developed and increased the area and population of Berlin. In 1861, neighbouring suburbs including Wedding, Moabit and several others were incorporated into Berlin. In 1871, Berlin became capital of the newly founded German Empire. In 1881, it became a city district separate from Brandenburg.

Wolff, Jeremais 1663 - 1724
Wolff was an German engraver and publisher. Born in Augsburg, he originally trained as a clock and automat maker, later changing course and opening a small copperplate engraving shop. His success was impressive and became one of the largest European art, print & map publishers in the first half of the 18th century. Wolff employed some of the best engravers of the time and although not an engraver himself, only Wolffs name was recorded on the engravings. Many of his engravers went uncredited for their work. In 1710 Wolff was one of the founder member of the Empire State Academy of Arts in Augsburg.
After his death in 1724, Wolffs publishing business was inherited by his sons and son-in-law, Johann Balthasar Probst (1673–1750) a notable engraver at the time. The firm continued on in Augsburg under the name Jeremias Wolff Erben.
Together with the Nuremberg copperplate engraver Paul Decker , Wolff published a series of engravings showing the war successes of Prince Eugene of Savoy in Italy , southern Germany and the Spanish Netherlands, during the War of the Spanish Succession . The prints are exhibited in the Museum of Military History, in Vienna .

 

$110.00 USD
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1740 Wolff & Corvinus Antique Arch Print of The Royal Arsenal in Berlin Germany

1740 Wolff & Corvinus Antique Arch Print of The Royal Arsenal in Berlin Germany

  • Title : Das von dem H. Architect und Bau-Meister Nering Seel. angefangne, und von dem unvergleichlichen Architect Ober-Ingenier und Bau-Meistern H. Obrist Both in vollkommenen Perfection Stand gebrachte und von jedermann belobte Herr. Zeug-Haus, dessen vordere faciata
  • Ref #:  93454
  • Size: 19in x 12 1/2in (490mm x 335mm)
  • Date : 1740
  • Condition: (A+) Fine Condition

Description:
This large rare, original copper-plate engraved antique architectural print, view & plan of The Royal Arsenal in Berlin Houses - plate No.13 of 16 - by Johann August Corvinus 1683 - 1738, after Andreas Mayers 1716 - 1782, was published in Eigentliche Abbildung des Prächtigen Königl. Lust Schlosses Charlottenburg, eine Meile von Berlin, sambt dem darhinden im Walde gelegenen schönen Lust Garten
(Set of 16 numbered plates, the first with the title, with plans and views of the buildings and gardens at Charlottenburg, the palace of the King of Prussia on the outskirts of Berlin.)
 by Jeremias Wolff Erben in 1740.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 19in x 12 1/2in (490mm x 335mm)
Plate size: - 14 1/2in x 10 1/2in (370mm x 260mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

 

Background:
Berlin straddles the banks of the River Spree, which flows into the River Havel (a tributary of the River Elbe) in the western borough of Spandau. Among the citys main topographical features are the many lakes in the western and southeastern boroughs formed by the Spree, Havel, and Dahme rivers (the largest of which is Lake Müggelsee). Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. About one-third of the citys area is composed of forests, parks, gardens, rivers, canals and lakes. The city lies in the Central German dialect area, the Berlin dialect being a variant of the Lusatian-New Marchian dialects.
First documented in the 13th century and situated at the crossing of two important historic trade routes, Berlin became the capital of the Margraviate of Brandenburg (1417–1701), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933), and the Third Reich (1933–1945). Berlin in the 1920s was the third-largest municipality in the world. After World War II and its subsequent occupation by the victorious countries, the city was divided; West Berlin became a de facto West German exclave, surrounded by the Berlin Wall (1961–1989) and East German territory. East Berlin was declared capital of East Germany, while Bonn became the West German capital. Following German reunification in 1990, Berlin once again became the capital of all of Germany.
The Thirty Years War between 1618 and 1648 devastated Berlin. One third of its houses were damaged or destroyed, and the city lost half of its population. Frederick William, known as the Great Elector, who had succeeded his father George William as ruler in 1640, initiated a policy of promoting immigration and religious tolerance. With the Edict of Potsdam in 1685, Frederick William offered asylum to the French Huguenots.
By 1700, approximately 30 percent of Berlins residents were French, because of the Huguenot immigration. Many other immigrants came from Bohemia, Poland, and Salzburg.
Since 1618, the Margraviate of Brandenburg had been in personal union with the Duchy of Prussia. In 1701, the dual state formed the Kingdom of Prussia, as Frederick III, Elector of Brandenburg, crowned himself as king Frederick I in Prussia. Berlin became the capital of the new Kingdom, replacing Königsberg. This was a successful attempt to centralise the capital in the very far-flung state, and it was the first time the city began to grow. In 1709, Berlin merged with the four cities of Cölln, Friedrichswerder, Friedrichstadt and Dorotheenstadt under the name Berlin, Haupt- und Residenzstadt Berlin.
In 1740, Frederick II, known as Frederick the Great (1740–1786), came to power. Under the rule of Frederick II, Berlin became a center of the Enlightenment, but also, was briefly occupied during the Seven Years War by the Russian army. Following Frances victory in the War of the Fourth Coalition, Napoleon Bonaparte marched into Berlin in 1806, but granted self-government to the city. In 1815, the city became part of the new Province of Brandenburg.
The Industrial Revolution transformed Berlin during the 19th century; the citys economy and population expanded dramatically, and it became the main railway hub and economic centre of Germany. Additional suburbs soon developed and increased the area and population of Berlin. In 1861, neighbouring suburbs including Wedding, Moabit and several others were incorporated into Berlin. In 1871, Berlin became capital of the newly founded German Empire. In 1881, it became a city district separate from Brandenburg.

Wolff, Jeremais 1663 - 1724
Wolff was an German engraver and publisher. Born in Augsburg, he originally trained as a clock and automat maker, later changing course and opening a small copperplate engraving shop. His success was impressive and became one of the largest European art, print & map publishers in the first half of the 18th century. Wolff employed some of the best engravers of the time and although not an engraver himself, only Wolffs name was recorded on the engravings. Many of his engravers went uncredited for their work. In 1710 Wolff was one of the founder member of the Empire State Academy of Arts in Augsburg.
After his death in 1724, Wolffs publishing business was inherited by his sons and son-in-law, Johann Balthasar Probst (1673–1750) a notable engraver at the time. The firm continued on in Augsburg under the name Jeremias Wolff Erben.
Together with the Nuremberg copperplate engraver Paul Decker , Wolff published a series of engravings showing the war successes of Prince Eugene of Savoy in Italy , southern Germany and the Spanish Netherlands, during the War of the Spanish Succession . The prints are exhibited in the Museum of Military History, in Vienna .

 

$110.00 USD
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1740 Wolff & Corvinus Antique Arch Print Plans of Residential Houses in Berlin

1740 Wolff & Corvinus Antique Arch Print Plans of Residential Houses in Berlin

  • Title : Zwey von Hr. von Grünenberg inventirte und gebaute Burgerl. Wohnhäusser mit ihren Faciaten u. Grundrissen
  • Ref #:  93450
  • Size: 19in x 12 1/2in (490mm x 335mm)
  • Date : 1740
  • Condition: (A+) Fine Condition

Description:
This large rare, original copper-plate engraved antique architectural print plans of Berlin Houses - plate No. 12 of 16 - by Johann August Corvinus 1683 - 1738, after Andreas Mayers 1716 - 1782, was published in Eigentliche Abbildung des Prächtigen Königl. Lust Schlosses Charlottenburg, eine Meile von Berlin, sambt dem darhinden im Walde gelegenen schönen Lust Garten
(Set of 16 numbered plates, the first with the title, with plans and views of the buildings and gardens at Charlottenburg, the palace of the King of Prussia on the outskirts of Berlin.)
 by Jeremias Wolff Erben in 1740.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 19in x 12 1/2in (490mm x 335mm)
Plate size: - 14 1/2in x 10 1/2in (370mm x 260mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

 

Background:
Berlin straddles the banks of the River Spree, which flows into the River Havel (a tributary of the River Elbe) in the western borough of Spandau. Among the citys main topographical features are the many lakes in the western and southeastern boroughs formed by the Spree, Havel, and Dahme rivers (the largest of which is Lake Müggelsee). Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. About one-third of the citys area is composed of forests, parks, gardens, rivers, canals and lakes. The city lies in the Central German dialect area, the Berlin dialect being a variant of the Lusatian-New Marchian dialects.
First documented in the 13th century and situated at the crossing of two important historic trade routes, Berlin became the capital of the Margraviate of Brandenburg (1417–1701), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933), and the Third Reich (1933–1945). Berlin in the 1920s was the third-largest municipality in the world. After World War II and its subsequent occupation by the victorious countries, the city was divided; West Berlin became a de facto West German exclave, surrounded by the Berlin Wall (1961–1989) and East German territory. East Berlin was declared capital of East Germany, while Bonn became the West German capital. Following German reunification in 1990, Berlin once again became the capital of all of Germany.
The Thirty Years War between 1618 and 1648 devastated Berlin. One third of its houses were damaged or destroyed, and the city lost half of its population. Frederick William, known as the Great Elector, who had succeeded his father George William as ruler in 1640, initiated a policy of promoting immigration and religious tolerance. With the Edict of Potsdam in 1685, Frederick William offered asylum to the French Huguenots.
By 1700, approximately 30 percent of Berlins residents were French, because of the Huguenot immigration. Many other immigrants came from Bohemia, Poland, and Salzburg.
Since 1618, the Margraviate of Brandenburg had been in personal union with the Duchy of Prussia. In 1701, the dual state formed the Kingdom of Prussia, as Frederick III, Elector of Brandenburg, crowned himself as king Frederick I in Prussia. Berlin became the capital of the new Kingdom, replacing Königsberg. This was a successful attempt to centralise the capital in the very far-flung state, and it was the first time the city began to grow. In 1709, Berlin merged with the four cities of Cölln, Friedrichswerder, Friedrichstadt and Dorotheenstadt under the name Berlin, Haupt- und Residenzstadt Berlin.
In 1740, Frederick II, known as Frederick the Great (1740–1786), came to power. Under the rule of Frederick II, Berlin became a center of the Enlightenment, but also, was briefly occupied during the Seven Years War by the Russian army. Following Frances victory in the War of the Fourth Coalition, Napoleon Bonaparte marched into Berlin in 1806, but granted self-government to the city. In 1815, the city became part of the new Province of Brandenburg.
The Industrial Revolution transformed Berlin during the 19th century; the citys economy and population expanded dramatically, and it became the main railway hub and economic centre of Germany. Additional suburbs soon developed and increased the area and population of Berlin. In 1861, neighbouring suburbs including Wedding, Moabit and several others were incorporated into Berlin. In 1871, Berlin became capital of the newly founded German Empire. In 1881, it became a city district separate from Brandenburg.

Wolff, Jeremais 1663 - 1724
Wolff was an German engraver and publisher. Born in Augsburg, he originally trained as a clock and automat maker, later changing course and opening a small copperplate engraving shop. His success was impressive and became one of the largest European art, print & map publishers in the first half of the 18th century. Wolff employed some of the best engravers of the time and although not an engraver himself, only Wolffs name was recorded on the engravings. Many of his engravers went uncredited for their work. In 1710 Wolff was one of the founder member of the Empire State Academy of Arts in Augsburg.
After his death in 1724, Wolffs publishing business was inherited by his sons and son-in-law, Johann Balthasar Probst (1673–1750) a notable engraver at the time. The firm continued on in Augsburg under the name Jeremias Wolff Erben.
Together with the Nuremberg copperplate engraver Paul Decker , Wolff published a series of engravings showing the war successes of Prince Eugene of Savoy in Italy , southern Germany and the Spanish Netherlands, during the War of the Spanish Succession . The prints are exhibited in the Museum of Military History, in Vienna .

 

$110.00 USD
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1740 Wolff & Corvinus Antique Arch Print of Charlottenburg Palace Stables Berlin

1740 Wolff & Corvinus Antique Arch Print of Charlottenburg Palace Stables Berlin

  • Title : Der von Hr. Obrist von Eosander inventirte und gebaute Königl. Pferdt Stall zu Charlottenburg, dessen Faciata und Grund Riss. - Das gleichfals von Hr. Joh. Friederich v. Eosander Obristen General Quartier Meistern, und ersten Bau Directorn inventierte und gebaute Rath Hauss zu gedachten Charlottenburg
  • Ref #:  93453
  • Size: 19in x 12 1/2in (490mm x 335mm)
  • Date : 1740
  • Condition: (A+) Fine Condition

Description:
This large rare, original copper-plate engraved antique architectural print of the Royal Horse Stables at Charlottenburg Palace, Berlin - plate No. 11 of 16 - by Johann August Corvinus 1683 - 1738, after Andreas Mayers 1716 - 1782, was published in Eigentliche Abbildung des Prächtigen Königl. Lust Schlosses Charlottenburg, eine Meile von Berlin, sambt dem darhinden im Walde gelegenen schönen Lust Garten
(Set of 16 numbered plates, the first with the title, with plans and views of the buildings and gardens at Charlottenburg, the palace of the King of Prussia on the outskirts of Berlin.)
 by Jeremias Wolff Erben in 1740.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 19in x 12 1/2in (490mm x 335mm)
Plate size: - 14 1/2in x 10 1/2in (370mm x 260mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None 

Background:
Berlin straddles the banks of the River Spree, which flows into the River Havel (a tributary of the River Elbe) in the western borough of Spandau. Among the citys main topographical features are the many lakes in the western and southeastern boroughs formed by the Spree, Havel, and Dahme rivers (the largest of which is Lake Müggelsee). Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. About one-third of the citys area is composed of forests, parks, gardens, rivers, canals and lakes. The city lies in the Central German dialect area, the Berlin dialect being a variant of the Lusatian-New Marchian dialects.
First documented in the 13th century and situated at the crossing of two important historic trade routes, Berlin became the capital of the Margraviate of Brandenburg (1417–1701), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933), and the Third Reich (1933–1945). Berlin in the 1920s was the third-largest municipality in the world. After World War II and its subsequent occupation by the victorious countries, the city was divided; West Berlin became a de facto West German exclave, surrounded by the Berlin Wall (1961–1989) and East German territory. East Berlin was declared capital of East Germany, while Bonn became the West German capital. Following German reunification in 1990, Berlin once again became the capital of all of Germany.
The Thirty Years War between 1618 and 1648 devastated Berlin. One third of its houses were damaged or destroyed, and the city lost half of its population. Frederick William, known as the Great Elector, who had succeeded his father George William as ruler in 1640, initiated a policy of promoting immigration and religious tolerance. With the Edict of Potsdam in 1685, Frederick William offered asylum to the French Huguenots.
By 1700, approximately 30 percent of Berlins residents were French, because of the Huguenot immigration. Many other immigrants came from Bohemia, Poland, and Salzburg.
Since 1618, the Margraviate of Brandenburg had been in personal union with the Duchy of Prussia. In 1701, the dual state formed the Kingdom of Prussia, as Frederick III, Elector of Brandenburg, crowned himself as king Frederick I in Prussia. Berlin became the capital of the new Kingdom, replacing Königsberg. This was a successful attempt to centralise the capital in the very far-flung state, and it was the first time the city began to grow. In 1709, Berlin merged with the four cities of Cölln, Friedrichswerder, Friedrichstadt and Dorotheenstadt under the name Berlin, Haupt- und Residenzstadt Berlin.
In 1740, Frederick II, known as Frederick the Great (1740–1786), came to power. Under the rule of Frederick II, Berlin became a center of the Enlightenment, but also, was briefly occupied during the Seven Years War by the Russian army. Following Frances victory in the War of the Fourth Coalition, Napoleon Bonaparte marched into Berlin in 1806, but granted self-government to the city. In 1815, the city became part of the new Province of Brandenburg.
The Industrial Revolution transformed Berlin during the 19th century; the citys economy and population expanded dramatically, and it became the main railway hub and economic centre of Germany. Additional suburbs soon developed and increased the area and population of Berlin. In 1861, neighbouring suburbs including Wedding, Moabit and several others were incorporated into Berlin. In 1871, Berlin became capital of the newly founded German Empire. In 1881, it became a city district separate from Brandenburg.

Wolff, Jeremais 1663 - 1724
Wolff was an German engraver and publisher. Born in Augsburg, he originally trained as a clock and automat maker, later changing course and opening a small copperplate engraving shop. His success was impressive and became one of the largest European art, print & map publishers in the first half of the 18th century. Wolff employed some of the best engravers of the time and although not an engraver himself, only Wolffs name was recorded on the engravings. Many of his engravers went uncredited for their work. In 1710 Wolff was one of the founder member of the Empire State Academy of Arts in Augsburg.
After his death in 1724, Wolffs publishing business was inherited by his sons and son-in-law, Johann Balthasar Probst (1673–1750) a notable engraver at the time. The firm continued on in Augsburg under the name Jeremias Wolff Erben.
Together with the Nuremberg copperplate engraver Paul Decker , Wolff published a series of engravings showing the war successes of Prince Eugene of Savoy in Italy , southern Germany and the Spanish Netherlands, during the War of the Spanish Succession . The prints are exhibited in the Museum of Military History, in Vienna .

 

$110.00 USD
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1740 Wolff & Corvinus Antique Arch Print of Berlin Mansions by A. von Schlütter

1740 Wolff & Corvinus Antique Arch Print of Berlin Mansions by A. von Schlütter

  • Title : A. Ist ein von H. Andreas von Schlütter Seel. inventirt- und auff gebautes Landt-Hauss. B. Ist ein von dem renomirten Bau-Werck- und Raths Zimmer-Meister Joh. Mich. Kemmeter, in Riegel oder Holtz auff gebautes Land-Hauß oder so genandte Meyerey
  • Ref #:  93445
  • Size: 19in x 12 1/2in (490mm x 335mm)
  • Date : 1740
  • Condition: (A+) Fine Condition

Description:
This large rare, original copper-plate engraved antique architectural print of 18th century Mansions in Berlin designed by Andreas von Schlütter - plate No. 9 of 16 - by Johann August Corvinus 1683 - 1738, after Andreas Mayers 1716 - 1782, was published in Eigentliche Abbildung des Prächtigen Königl. Lust Schlosses Charlottenburg, eine Meile von Berlin, sambt dem darhinden im Walde gelegenen schönen Lust Garten
(Set of 16 numbered plates, the first with the title, with plans and views of the buildings and gardens at Charlottenburg, the palace of the King of Prussia on the outskirts of Berlin.)
 by Jeremias Wolff Erben in 1740.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 19in x 12 1/2in (490mm x 335mm)
Plate size: - 14 1/2in x 10 1/2in (370mm x 260mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None 

Background:
Berlin straddles the banks of the River Spree, which flows into the River Havel (a tributary of the River Elbe) in the western borough of Spandau. Among the citys main topographical features are the many lakes in the western and southeastern boroughs formed by the Spree, Havel, and Dahme rivers (the largest of which is Lake Müggelsee). Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. About one-third of the citys area is composed of forests, parks, gardens, rivers, canals and lakes. The city lies in the Central German dialect area, the Berlin dialect being a variant of the Lusatian-New Marchian dialects.
First documented in the 13th century and situated at the crossing of two important historic trade routes, Berlin became the capital of the Margraviate of Brandenburg (1417–1701), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933), and the Third Reich (1933–1945). Berlin in the 1920s was the third-largest municipality in the world. After World War II and its subsequent occupation by the victorious countries, the city was divided; West Berlin became a de facto West German exclave, surrounded by the Berlin Wall (1961–1989) and East German territory. East Berlin was declared capital of East Germany, while Bonn became the West German capital. Following German reunification in 1990, Berlin once again became the capital of all of Germany.
The Thirty Years War between 1618 and 1648 devastated Berlin. One third of its houses were damaged or destroyed, and the city lost half of its population. Frederick William, known as the Great Elector, who had succeeded his father George William as ruler in 1640, initiated a policy of promoting immigration and religious tolerance. With the Edict of Potsdam in 1685, Frederick William offered asylum to the French Huguenots.
By 1700, approximately 30 percent of Berlins residents were French, because of the Huguenot immigration. Many other immigrants came from Bohemia, Poland, and Salzburg.
Since 1618, the Margraviate of Brandenburg had been in personal union with the Duchy of Prussia. In 1701, the dual state formed the Kingdom of Prussia, as Frederick III, Elector of Brandenburg, crowned himself as king Frederick I in Prussia. Berlin became the capital of the new Kingdom, replacing Königsberg. This was a successful attempt to centralise the capital in the very far-flung state, and it was the first time the city began to grow. In 1709, Berlin merged with the four cities of Cölln, Friedrichswerder, Friedrichstadt and Dorotheenstadt under the name Berlin, Haupt- und Residenzstadt Berlin.
In 1740, Frederick II, known as Frederick the Great (1740–1786), came to power. Under the rule of Frederick II, Berlin became a center of the Enlightenment, but also, was briefly occupied during the Seven Years War by the Russian army. Following Frances victory in the War of the Fourth Coalition, Napoleon Bonaparte marched into Berlin in 1806, but granted self-government to the city. In 1815, the city became part of the new Province of Brandenburg.
The Industrial Revolution transformed Berlin during the 19th century; the citys economy and population expanded dramatically, and it became the main railway hub and economic centre of Germany. Additional suburbs soon developed and increased the area and population of Berlin. In 1861, neighbouring suburbs including Wedding, Moabit and several others were incorporated into Berlin. In 1871, Berlin became capital of the newly founded German Empire. In 1881, it became a city district separate from Brandenburg.

Wolff, Jeremais 1663 - 1724
Wolff was an German engraver and publisher. Born in Augsburg, he originally trained as a clock and automat maker, later changing course and opening a small copperplate engraving shop. His success was impressive and became one of the largest European art, print & map publishers in the first half of the 18th century. Wolff employed some of the best engravers of the time and although not an engraver himself, only Wolffs name was recorded on the engravings. Many of his engravers went uncredited for their work. In 1710 Wolff was one of the founder member of the Empire State Academy of Arts in Augsburg.
After his death in 1724, Wolffs publishing business was inherited by his sons and son-in-law, Johann Balthasar Probst (1673–1750) a notable engraver at the time. The firm continued on in Augsburg under the name Jeremias Wolff Erben.
Together with the Nuremberg copperplate engraver Paul Decker , Wolff published a series of engravings showing the war successes of Prince Eugene of Savoy in Italy , southern Germany and the Spanish Netherlands, during the War of the Spanish Succession . The prints are exhibited in the Museum of Military History, in Vienna .

 

$110.00 USD
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1740 Wolff & Corvinus Antique Arch Print of a Poorhouse near Stralau Gate Berlin

1740 Wolff & Corvinus Antique Arch Print of a Poorhouse near Stralau Gate Berlin

  • Title : Das von dem H. von Grünenberg Seel. inventirte sogenandte Armen- oder Waysen-Hauss zu Berlin, nache bey dem Stralauischen Thor gelegen, ....
  • Ref #:  93455
  • Size: 19in x 12 1/2in (490mm x 335mm)
  • Date : 1740
  • Condition: (A+) Fine Condition

Description:
This large rare, original copper-plate engraved antique architectural print of the Poorhouse near the old Stralau Gate (Stralauer Tor) in Berlin - plate No. 8 of 16 - by Johann August Corvinus 1683 - 1738, after Andreas Mayers 1716 - 1782, was published in Eigentliche Abbildung des Prächtigen Königl. Lust Schlosses Charlottenburg, eine Meile von Berlin, sambt dem darhinden im Walde gelegenen schönen Lust Garten
(Set of 16 numbered plates, the first with the title, with plans and views of the buildings and gardens at Charlottenburg, the palace of the King of Prussia on the outskirts of Berlin.)
 by Jeremias Wolff Erben in 1740.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 19in x 12 1/2in (490mm x 335mm)
Plate size: - 14 1/2in x 10 1/2in (370mm x 260mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

 

Background:
Berlin straddles the banks of the River Spree, which flows into the River Havel (a tributary of the River Elbe) in the western borough of Spandau. Among the citys main topographical features are the many lakes in the western and southeastern boroughs formed by the Spree, Havel, and Dahme rivers (the largest of which is Lake Müggelsee). Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. About one-third of the citys area is composed of forests, parks, gardens, rivers, canals and lakes. The city lies in the Central German dialect area, the Berlin dialect being a variant of the Lusatian-New Marchian dialects.
First documented in the 13th century and situated at the crossing of two important historic trade routes, Berlin became the capital of the Margraviate of Brandenburg (1417–1701), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933), and the Third Reich (1933–1945). Berlin in the 1920s was the third-largest municipality in the world. After World War II and its subsequent occupation by the victorious countries, the city was divided; West Berlin became a de facto West German exclave, surrounded by the Berlin Wall (1961–1989) and East German territory. East Berlin was declared capital of East Germany, while Bonn became the West German capital. Following German reunification in 1990, Berlin once again became the capital of all of Germany.
The Thirty Years War between 1618 and 1648 devastated Berlin. One third of its houses were damaged or destroyed, and the city lost half of its population. Frederick William, known as the Great Elector, who had succeeded his father George William as ruler in 1640, initiated a policy of promoting immigration and religious tolerance. With the Edict of Potsdam in 1685, Frederick William offered asylum to the French Huguenots.
By 1700, approximately 30 percent of Berlins residents were French, because of the Huguenot immigration. Many other immigrants came from Bohemia, Poland, and Salzburg.
Since 1618, the Margraviate of Brandenburg had been in personal union with the Duchy of Prussia. In 1701, the dual state formed the Kingdom of Prussia, as Frederick III, Elector of Brandenburg, crowned himself as king Frederick I in Prussia. Berlin became the capital of the new Kingdom, replacing Königsberg. This was a successful attempt to centralise the capital in the very far-flung state, and it was the first time the city began to grow. In 1709, Berlin merged with the four cities of Cölln, Friedrichswerder, Friedrichstadt and Dorotheenstadt under the name Berlin, Haupt- und Residenzstadt Berlin.
In 1740, Frederick II, known as Frederick the Great (1740–1786), came to power. Under the rule of Frederick II, Berlin became a center of the Enlightenment, but also, was briefly occupied during the Seven Years War by the Russian army. Following Frances victory in the War of the Fourth Coalition, Napoleon Bonaparte marched into Berlin in 1806, but granted self-government to the city. In 1815, the city became part of the new Province of Brandenburg.
The Industrial Revolution transformed Berlin during the 19th century; the citys economy and population expanded dramatically, and it became the main railway hub and economic centre of Germany. Additional suburbs soon developed and increased the area and population of Berlin. In 1861, neighbouring suburbs including Wedding, Moabit and several others were incorporated into Berlin. In 1871, Berlin became capital of the newly founded German Empire. In 1881, it became a city district separate from Brandenburg.

Wolff, Jeremais 1663 - 1724
Wolff was an German engraver and publisher. Born in Augsburg, he originally trained as a clock and automat maker, later changing course and opening a small copperplate engraving shop. His success was impressive and became one of the largest European art, print & map publishers in the first half of the 18th century. Wolff employed some of the best engravers of the time and although not an engraver himself, only Wolffs name was recorded on the engravings. Many of his engravers went uncredited for their work. In 1710 Wolff was one of the founder member of the Empire State Academy of Arts in Augsburg.
After his death in 1724, Wolffs publishing business was inherited by his sons and son-in-law, Johann Balthasar Probst (1673–1750) a notable engraver at the time. The firm continued on in Augsburg under the name Jeremias Wolff Erben.
Together with the Nuremberg copperplate engraver Paul Decker , Wolff published a series of engravings showing the war successes of Prince Eugene of Savoy in Italy , southern Germany and the Spanish Netherlands, during the War of the Spanish Succession . The prints are exhibited in the Museum of Military History, in Vienna .

 

$110.00 USD
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1740 Wolff & Corvinus Antique Arch. Print Jerusalem Church Friedrichstadt.Berlin

1740 Wolff & Corvinus Antique Arch. Print Jerusalem Church Friedrichstadt.Berlin

  • Title : Die von vorgedachten Hr. von Grünenberg invendierte, unter der Direction des Hr. Ioh. Simonetti Hoff Stucator Hoch-Fürstl. Anhaltischen BauMeister aufgebaute so genande Friderich Stättische Kirche sampt dessen Grund u. Faciata.
  • Ref #:  93458
  • Size: 19in x 12 1/2in (490mm x 335mm)
  • Date : 1740
  • Condition: (A+) Fine Condition

Description:
This large rare, original copper-plate engraved antique architectural print of the Parochialkirche (literally the Reformed parochial church) in the Mitte suburb of Berlin - plate No. 7 of 16 - by Johann August Corvinus 1683 - 1738, after Andreas Mayers 1716 - 1782, was published in Eigentliche Abbildung des Prächtigen Königl. Lust Schlosses Charlottenburg, eine Meile von Berlin, sambt dem darhinden im Walde gelegenen schönen Lust Garten
(Set of 16 numbered plates, the first with the title, with plans and views of the buildings and gardens at Charlottenburg, the palace of the King of Prussia on the outskirts of Berlin.)
 by Jeremias Wolff Erben in 1740.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 19in x 12 1/2in (490mm x 335mm)
Plate size: - 14 1/2in x 10 1/2in (370mm x 260mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

 

Background:
Berlin straddles the banks of the River Spree, which flows into the River Havel (a tributary of the River Elbe) in the western borough of Spandau. Among the citys main topographical features are the many lakes in the western and southeastern boroughs formed by the Spree, Havel, and Dahme rivers (the largest of which is Lake Müggelsee). Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. About one-third of the citys area is composed of forests, parks, gardens, rivers, canals and lakes. The city lies in the Central German dialect area, the Berlin dialect being a variant of the Lusatian-New Marchian dialects.
First documented in the 13th century and situated at the crossing of two important historic trade routes, Berlin became the capital of the Margraviate of Brandenburg (1417–1701), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933), and the Third Reich (1933–1945). Berlin in the 1920s was the third-largest municipality in the world. After World War II and its subsequent occupation by the victorious countries, the city was divided; West Berlin became a de facto West German exclave, surrounded by the Berlin Wall (1961–1989) and East German territory. East Berlin was declared capital of East Germany, while Bonn became the West German capital. Following German reunification in 1990, Berlin once again became the capital of all of Germany.
The Thirty Years War between 1618 and 1648 devastated Berlin. One third of its houses were damaged or destroyed, and the city lost half of its population. Frederick William, known as the Great Elector, who had succeeded his father George William as ruler in 1640, initiated a policy of promoting immigration and religious tolerance. With the Edict of Potsdam in 1685, Frederick William offered asylum to the French Huguenots.
By 1700, approximately 30 percent of Berlins residents were French, because of the Huguenot immigration. Many other immigrants came from Bohemia, Poland, and Salzburg.
Since 1618, the Margraviate of Brandenburg had been in personal union with the Duchy of Prussia. In 1701, the dual state formed the Kingdom of Prussia, as Frederick III, Elector of Brandenburg, crowned himself as king Frederick I in Prussia. Berlin became the capital of the new Kingdom, replacing Königsberg. This was a successful attempt to centralise the capital in the very far-flung state, and it was the first time the city began to grow. In 1709, Berlin merged with the four cities of Cölln, Friedrichswerder, Friedrichstadt and Dorotheenstadt under the name Berlin, Haupt- und Residenzstadt Berlin.
In 1740, Frederick II, known as Frederick the Great (1740–1786), came to power. Under the rule of Frederick II, Berlin became a center of the Enlightenment, but also, was briefly occupied during the Seven Years War by the Russian army. Following Frances victory in the War of the Fourth Coalition, Napoleon Bonaparte marched into Berlin in 1806, but granted self-government to the city. In 1815, the city became part of the new Province of Brandenburg.
The Industrial Revolution transformed Berlin during the 19th century; the citys economy and population expanded dramatically, and it became the main railway hub and economic centre of Germany. Additional suburbs soon developed and increased the area and population of Berlin. In 1861, neighbouring suburbs including Wedding, Moabit and several others were incorporated into Berlin. In 1871, Berlin became capital of the newly founded German Empire. In 1881, it became a city district separate from Brandenburg.

Wolff, Jeremais 1663 - 1724
Wolff was an German engraver and publisher. Born in Augsburg, he originally trained as a clock and automat maker, later changing course and opening a small copperplate engraving shop. His success was impressive and became one of the largest European art, print & map publishers in the first half of the 18th century. Wolff employed some of the best engravers of the time and although not an engraver himself, only Wolffs name was recorded on the engravings. Many of his engravers went uncredited for their work. In 1710 Wolff was one of the founder member of the Empire State Academy of Arts in Augsburg.
After his death in 1724, Wolffs publishing business was inherited by his sons and son-in-law, Johann Balthasar Probst (1673–1750) a notable engraver at the time. The firm continued on in Augsburg under the name Jeremias Wolff Erben.
Together with the Nuremberg copperplate engraver Paul Decker , Wolff published a series of engravings showing the war successes of Prince Eugene of Savoy in Italy , southern Germany and the Spanish Netherlands, during the War of the Spanish Succession . The prints are exhibited in the Museum of Military History, in Vienna .

 

$110.00 USD
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1740 Wolff & Corvinus Antique Arch. Print of the Parochialkirche in Mitte Berlin

1740 Wolff & Corvinus Antique Arch. Print of the Parochialkirche in Mitte Berlin

  • Title : Vordere faciata nebst dem halben Grund Riß der vorigen Parochial-Kirche mit verändertem Thurn wie solcher dermahlen sich würklich presentiert. Frontriß, darunter der halbe Grundriß.
  • Ref #:  93459
  • Size: 19in x 12 1/2in (490mm x 335mm)
  • Date : 1740
  • Condition: (A+) Fine Condition

Description:
This large rare, original copper-plate engraved antique architectural print of the Parochialkirche (literally the Reformed parochial church) in the Mitte suburb of Berlin - plate No. 6 of 16 - by Johann August Corvinus 1683 - 1738, after Andreas Mayers 1716 - 1782, was published in Eigentliche Abbildung des Prächtigen Königl. Lust Schlosses Charlottenburg, eine Meile von Berlin, sambt dem darhinden im Walde gelegenen schönen Lust Garten.
(Set of 16 numbered plates, the first with the title, with plans and views of the buildings and gardens at Charlottenburg, the palace of the King of Prussia on the outskirts of Berlin.)
 by Jeremias Wolff Erben in 1740.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 19in x 12 1/2in (490mm x 335mm)
Plate size: - 14 1/2in x 10 1/2in (370mm x 260mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

 

Background:
Berlin straddles the banks of the River Spree, which flows into the River Havel (a tributary of the River Elbe) in the western borough of Spandau. Among the citys main topographical features are the many lakes in the western and southeastern boroughs formed by the Spree, Havel, and Dahme rivers (the largest of which is Lake Müggelsee). Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. About one-third of the citys area is composed of forests, parks, gardens, rivers, canals and lakes. The city lies in the Central German dialect area, the Berlin dialect being a variant of the Lusatian-New Marchian dialects.
First documented in the 13th century and situated at the crossing of two important historic trade routes, Berlin became the capital of the Margraviate of Brandenburg (1417–1701), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933), and the Third Reich (1933–1945). Berlin in the 1920s was the third-largest municipality in the world. After World War II and its subsequent occupation by the victorious countries, the city was divided; West Berlin became a de facto West German exclave, surrounded by the Berlin Wall (1961–1989) and East German territory. East Berlin was declared capital of East Germany, while Bonn became the West German capital. Following German reunification in 1990, Berlin once again became the capital of all of Germany.
The Thirty Years War between 1618 and 1648 devastated Berlin. One third of its houses were damaged or destroyed, and the city lost half of its population. Frederick William, known as the Great Elector, who had succeeded his father George William as ruler in 1640, initiated a policy of promoting immigration and religious tolerance. With the Edict of Potsdam in 1685, Frederick William offered asylum to the French Huguenots.
By 1700, approximately 30 percent of Berlins residents were French, because of the Huguenot immigration. Many other immigrants came from Bohemia, Poland, and Salzburg.
Since 1618, the Margraviate of Brandenburg had been in personal union with the Duchy of Prussia. In 1701, the dual state formed the Kingdom of Prussia, as Frederick III, Elector of Brandenburg, crowned himself as king Frederick I in Prussia. Berlin became the capital of the new Kingdom, replacing Königsberg. This was a successful attempt to centralise the capital in the very far-flung state, and it was the first time the city began to grow. In 1709, Berlin merged with the four cities of Cölln, Friedrichswerder, Friedrichstadt and Dorotheenstadt under the name Berlin, Haupt- und Residenzstadt Berlin.
In 1740, Frederick II, known as Frederick the Great (1740–1786), came to power. Under the rule of Frederick II, Berlin became a center of the Enlightenment, but also, was briefly occupied during the Seven Years War by the Russian army. Following Frances victory in the War of the Fourth Coalition, Napoleon Bonaparte marched into Berlin in 1806, but granted self-government to the city. In 1815, the city became part of the new Province of Brandenburg.
The Industrial Revolution transformed Berlin during the 19th century; the citys economy and population expanded dramatically, and it became the main railway hub and economic centre of Germany. Additional suburbs soon developed and increased the area and population of Berlin. In 1861, neighbouring suburbs including Wedding, Moabit and several others were incorporated into Berlin. In 1871, Berlin became capital of the newly founded German Empire. In 1881, it became a city district separate from Brandenburg.

Wolff, Jeremais 1663 - 1724
Wolff was an German engraver and publisher. Born in Augsburg, he originally trained as a clock and automat maker, later changing course and opening a small copperplate engraving shop. His success was impressive and became one of the largest European art, print & map publishers in the first half of the 18th century. Wolff employed some of the best engravers of the time and although not an engraver himself, only Wolffs name was recorded on the engravings. Many of his engravers went uncredited for their work. In 1710 Wolff was one of the founder member of the Empire State Academy of Arts in Augsburg.
After his death in 1724, Wolffs publishing business was inherited by his sons and son-in-law, Johann Balthasar Probst (1673–1750) a notable engraver at the time. The firm continued on in Augsburg under the name Jeremias Wolff Erben.
Together with the Nuremberg copperplate engraver Paul Decker , Wolff published a series of engravings showing the war successes of Prince Eugene of Savoy in Italy , southern Germany and the Spanish Netherlands, during the War of the Spanish Succession . The prints are exhibited in the Museum of Military History, in Vienna .

 

$110.00 USD
More Info
1740 Wolff & Corvinus Antique Architectural Print Parochialkirche, Mitte, Berlin

1740 Wolff & Corvinus Antique Architectural Print Parochialkirche, Mitte, Berlin

  • Title : Die Von dem Vortreslich beruhmten Konigl. Preusichen Architect Land u. Ober Bau Directorn etc. Hr. Martin von Grunenberg Seel. inventirte, u. hier Grund u. Seiten Faciata Vorstellende so genandte Parochial Kirche in Berlin in der Closter Strassen
  • Ref #:  93451
  • Size: 19in x 12 1/2in (490mm x 335mm)
  • Date : 1740
  • Condition: (A+) Fine Condition

Description:
This large rare, original copper-plate engraved antique architectural print of the Parochialkirche (literally the Reformed parochial church) in the Mitte suburb of Berlin - plate No. 5 of 16 - by Johann August Corvinus 1683 - 1738, after Andreas Mayers 1716 - 1782, was published in Eigentliche Abbildung des Prächtigen Königl. Lust Schlosses Charlottenburg, eine Meile von Berlin, sambt dem darhinden im Walde gelegenen schönen Lust Garten
(Set of 16 numbered plates, the first with the title, with plans and views of the buildings and gardens at Charlottenburg, the palace of the King of Prussia on the outskirts of Berlin.)
 by Jeremias Wolff Erben in 1740.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 19in x 12 1/2in (490mm x 335mm)
Plate size: - 14 1/2in x 10 1/2in (370mm x 260mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

 

Background:
Berlin straddles the banks of the River Spree, which flows into the River Havel (a tributary of the River Elbe) in the western borough of Spandau. Among the citys main topographical features are the many lakes in the western and southeastern boroughs formed by the Spree, Havel, and Dahme rivers (the largest of which is Lake Müggelsee). Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. About one-third of the citys area is composed of forests, parks, gardens, rivers, canals and lakes. The city lies in the Central German dialect area, the Berlin dialect being a variant of the Lusatian-New Marchian dialects.
First documented in the 13th century and situated at the crossing of two important historic trade routes, Berlin became the capital of the Margraviate of Brandenburg (1417–1701), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933), and the Third Reich (1933–1945). Berlin in the 1920s was the third-largest municipality in the world. After World War II and its subsequent occupation by the victorious countries, the city was divided; West Berlin became a de facto West German exclave, surrounded by the Berlin Wall (1961–1989) and East German territory. East Berlin was declared capital of East Germany, while Bonn became the West German capital. Following German reunification in 1990, Berlin once again became the capital of all of Germany.
The Thirty Years War between 1618 and 1648 devastated Berlin. One third of its houses were damaged or destroyed, and the city lost half of its population. Frederick William, known as the Great Elector, who had succeeded his father George William as ruler in 1640, initiated a policy of promoting immigration and religious tolerance. With the Edict of Potsdam in 1685, Frederick William offered asylum to the French Huguenots.
By 1700, approximately 30 percent of Berlins residents were French, because of the Huguenot immigration. Many other immigrants came from Bohemia, Poland, and Salzburg.
Since 1618, the Margraviate of Brandenburg had been in personal union with the Duchy of Prussia. In 1701, the dual state formed the Kingdom of Prussia, as Frederick III, Elector of Brandenburg, crowned himself as king Frederick I in Prussia. Berlin became the capital of the new Kingdom, replacing Königsberg. This was a successful attempt to centralise the capital in the very far-flung state, and it was the first time the city began to grow. In 1709, Berlin merged with the four cities of Cölln, Friedrichswerder, Friedrichstadt and Dorotheenstadt under the name Berlin, Haupt- und Residenzstadt Berlin.
In 1740, Frederick II, known as Frederick the Great (1740–1786), came to power. Under the rule of Frederick II, Berlin became a center of the Enlightenment, but also, was briefly occupied during the Seven Years War by the Russian army. Following Frances victory in the War of the Fourth Coalition, Napoleon Bonaparte marched into Berlin in 1806, but granted self-government to the city. In 1815, the city became part of the new Province of Brandenburg.
The Industrial Revolution transformed Berlin during the 19th century; the citys economy and population expanded dramatically, and it became the main railway hub and economic centre of Germany. Additional suburbs soon developed and increased the area and population of Berlin. In 1861, neighbouring suburbs including Wedding, Moabit and several others were incorporated into Berlin. In 1871, Berlin became capital of the newly founded German Empire. In 1881, it became a city district separate from Brandenburg.

Wolff, Jeremais 1663 - 1724
Wolff was an German engraver and publisher. Born in Augsburg, he originally trained as a clock and automat maker, later changing course and opening a small copperplate engraving shop. His success was impressive and became one of the largest European art, print & map publishers in the first half of the 18th century. Wolff employed some of the best engravers of the time and although not an engraver himself, only Wolffs name was recorded on the engravings. Many of his engravers went uncredited for their work. In 1710 Wolff was one of the founder member of the Empire State Academy of Arts in Augsburg.
After his death in 1724, Wolffs publishing business was inherited by his sons and son-in-law, Johann Balthasar Probst (1673–1750) a notable engraver at the time. The firm continued on in Augsburg under the name Jeremias Wolff Erben.
Together with the Nuremberg copperplate engraver Paul Decker , Wolff published a series of engravings showing the war successes of Prince Eugene of Savoy in Italy , southern Germany and the Spanish Netherlands, during the War of the Spanish Succession . The prints are exhibited in the Museum of Military History, in Vienna .

 

$110.00 USD
More Info
1740 Wolff & Corvinus Antique Architectural Print of Berlin Gate, Leipziger Tor

1740 Wolff & Corvinus Antique Architectural Print of Berlin Gate, Leipziger Tor

  • Title : Das von dem Herrn Baumeister Nering Seel. ausgefuhrte so genandte Leipziger Statt Thor in Berlin
  • Ref #:  93452
  • Size: 19in x 12 1/2in (490mm x 335mm)
  • Date : 1740
  • Condition: (A+) Fine Condition

Description:
This large fine, original copper-plate engraved antique architectural print of buildings & gardens in 17th & 18th century Berlin - plate No. 3 of 16 - by Johann August Corvinus 1683 - 1738, after Andreas Mayers 1716 - 1782, was published in Eigentliche Abbildung des Prächtigen Königl. Lust Schlosses Charlottenburg, eine Meile von Berlin, sambt dem darhinden im Walde gelegenen schönen Lust Garten
(Set of 16 numbered plates, the first with the title, with plans and views of the buildings and gardens at Charlottenburg, the palace of the King of Prussia on the outskirts of Berlin.)
 by Jeremias Wolff Erben in 1740.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 19in x 12 1/2in (490mm x 335mm)
Plate size: - 14 1/2in x 10 1/2in (370mm x 260mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

 

Background:
Berlin straddles the banks of the River Spree, which flows into the River Havel (a tributary of the River Elbe) in the western borough of Spandau. Among the citys main topographical features are the many lakes in the western and southeastern boroughs formed by the Spree, Havel, and Dahme rivers (the largest of which is Lake Müggelsee). Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. About one-third of the citys area is composed of forests, parks, gardens, rivers, canals and lakes. The city lies in the Central German dialect area, the Berlin dialect being a variant of the Lusatian-New Marchian dialects.
First documented in the 13th century and situated at the crossing of two important historic trade routes, Berlin became the capital of the Margraviate of Brandenburg (1417–1701), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933), and the Third Reich (1933–1945). Berlin in the 1920s was the third-largest municipality in the world. After World War II and its subsequent occupation by the victorious countries, the city was divided; West Berlin became a de facto West German exclave, surrounded by the Berlin Wall (1961–1989) and East German territory. East Berlin was declared capital of East Germany, while Bonn became the West German capital. Following German reunification in 1990, Berlin once again became the capital of all of Germany.
The Thirty Years War between 1618 and 1648 devastated Berlin. One third of its houses were damaged or destroyed, and the city lost half of its population. Frederick William, known as the Great Elector, who had succeeded his father George William as ruler in 1640, initiated a policy of promoting immigration and religious tolerance. With the Edict of Potsdam in 1685, Frederick William offered asylum to the French Huguenots.
By 1700, approximately 30 percent of Berlins residents were French, because of the Huguenot immigration. Many other immigrants came from Bohemia, Poland, and Salzburg.
Since 1618, the Margraviate of Brandenburg had been in personal union with the Duchy of Prussia. In 1701, the dual state formed the Kingdom of Prussia, as Frederick III, Elector of Brandenburg, crowned himself as king Frederick I in Prussia. Berlin became the capital of the new Kingdom, replacing Königsberg. This was a successful attempt to centralise the capital in the very far-flung state, and it was the first time the city began to grow. In 1709, Berlin merged with the four cities of Cölln, Friedrichswerder, Friedrichstadt and Dorotheenstadt under the name Berlin, Haupt- und Residenzstadt Berlin.
In 1740, Frederick II, known as Frederick the Great (1740–1786), came to power. Under the rule of Frederick II, Berlin became a center of the Enlightenment, but also, was briefly occupied during the Seven Years War by the Russian army. Following Frances victory in the War of the Fourth Coalition, Napoleon Bonaparte marched into Berlin in 1806, but granted self-government to the city. In 1815, the city became part of the new Province of Brandenburg.
The Industrial Revolution transformed Berlin during the 19th century; the citys economy and population expanded dramatically, and it became the main railway hub and economic centre of Germany. Additional suburbs soon developed and increased the area and population of Berlin. In 1861, neighbouring suburbs including Wedding, Moabit and several others were incorporated into Berlin. In 1871, Berlin became capital of the newly founded German Empire. In 1881, it became a city district separate from Brandenburg.

Wolff, Jeremais 1663 - 1724
Wolff was an German engraver and publisher. Born in Augsburg, he originally trained as a clock and automat maker, later changing course and opening a small copperplate engraving shop. His success was impressive and became one of the largest European art, print & map publishers in the first half of the 18th century. Wolff employed some of the best engravers of the time and although not an engraver himself, only Wolffs name was recorded on the engravings. Many of his engravers went uncredited for their work. In 1710 Wolff was one of the founder member of the Empire State Academy of Arts in Augsburg.
After his death in 1724, Wolffs publishing business was inherited by his sons and son-in-law, Johann Balthasar Probst (1673–1750) a notable engraver at the time. The firm continued on in Augsburg under the name Jeremias Wolff Erben.
Together with the Nuremberg copperplate engraver Paul Decker , Wolff published a series of engravings showing the war successes of Prince Eugene of Savoy in Italy , southern Germany and the Spanish Netherlands, during the War of the Spanish Succession . The prints are exhibited in the Museum of Military History, in Vienna .

 

$110.00 USD
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1740 Wolff & Corvinus Antique Architectural Print Buildings, Gardens Berlin - No. 14

1740 Wolff & Corvinus Antique Architectural Print Buildings, Gardens Berlin - No. 14

  • Title : Das von Title Hr. Geheimbten Rath von Krossecks Seel. inventirt - und aussgebaute
  • Ref #:  93448
  • Size: 19in x 12 1/2in (490mm x 335mm)
  • Date : 1740
  • Condition: (A+) Fine Condition

Description:
This large fine, original copper-plate engraved antique architectural print of buildings & gardens in the Charlottenburg suburb of Berlin & Charlottenburg Palace, - plate No. 14 of 16 - by Johann August Corvinus 1683 - 1738, after Andreas Mayers 1716 - 1782, was published in Eigentliche Abbildung des Prächtigen Königl. Lust Schlosses Charlottenburg, eine Meile von Berlin, sambt dem darhinden im Walde gelegenen schönen Lust Garten
(Set of 16 numbered plates, the first with the title, with plans and views of the buildings and gardens at Charlottenburg, the palace of the King of Prussia on the outskirts of Berlin.)
 by Jeremias Wolff Erben in 1740.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 19in x 12 1/2in (490mm x 335mm)
Plate size: - 14 1/2in x 10 1/2in (370mm x 260mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background:

Charlottenburg is an affluent locality of Berlin within the borough of Charlottenburg-Wilmersdorf. Established as a town in 1705 and named after late Sophia Charlotte of Hanover, Queen consort of Prussia, it is best known for Charlottenburg Palace, the largest surviving royal palace in Berlin, and the adjacent museums.
Charlottenburg is located in Berlins inner city, west of the Großer Tiergarten park. Its historic core, the former village green of Alt Lietzow, is situated on the southern shore of the Spree River running through the Berlin glacial valley. The Straße des 17. Juni road, former Charlottenburger Chaussee, which runs eastwards from Charlottenburg Gate through the Tiergarten park to Brandenburg Gate, connects Charlottenburg with the historic centre of Berlin-Mitte.
In the north and west, the Berlin Ringbahn and the Bundesautobahn 100 (Stadtring) mark the border with the Charlottenburg-Nord and Westend suburbs. Adjacent in the south is the territory of Wilmersdorf. Charlottenburg also borders on the district of Halensee in the southwest, as well as on Moabit, Hansaviertel and Tiergarten (all part of the Mitte borough) in the east and on Schöneberg in the southeast.
In 1695, Sophia Charlotte of Hanover received Lietzow from her husband, Elector Frederick III of Brandenburg, in exchange for her estates in Caputh and Langerwisch near Potsdam. Frederick had a summer residence built there for Sophie Charlotte by the architect Johann Arnold Nering between 1695 and 1699. After he had crowned himself Frederick I, King in Prussia, the Lützenburg castle was extended into a stately building with a cour dhonneur. The Swedish master builder Johann Friedrich Eosander supervised this work. Sophie Charlotte died in February 1705; shortly afterwards the settlement facing the palace was called Charlottenburg - the palace itself became Schloss Charlottenburg - and chartered as a town on April 5, 1705. The king served as the towns mayor until the historic village of Lietzow was incorporated into Charlottenburg in 1720.
Fredericks successor as king, Frederick William I of Prussia, rarely stayed at the palace, which depressed the small town of Charlottenburg. Frederick William even tried to revoke the towns privileges. With the coronation of his successor Frederick II in 1740 the towns significance increased, as regular celebrations again took place at the palace. Between 1740 and 1747 Georg Wenzeslaus von Knobelsdorff built the eastern New Wing as Fredericks residence. Later, Frederick II preferred the palace of Sanssouci, which he had partly designed himself.
When Frederick II died in 1786, his nephew Frederick William II succeeded him, and Charlottenburg became the favourite royal residence, and remained so for his son and successor Frederick William III (reigned 1797-1840). After the defeat of the Prussian army at Jena in 1806, the French occupied Berlin. Napoleon took over the palace, while his troops made a camp nearby. Charlottenburg became part of the new Prussian Province of Brandenburg in 1815 after the Napoleonic Wars.
In the late 18th century, Charlottenburgs development did not depend only on the crown. The town became a recreational area for the expanding city of Berlin. Its first true inn opened in the 1770s, in the street then called Berliner Straße (now Otto-Suhr-Allee), and many other inns and beer gardens were to follow, popular for weekend parties especially. Berliners seeking leisure and entertainment came by boat, by carriage and later by horse-drawn trams, above all to a large amusement park at the shore of the Spree river called Flora, that went into bankruptcy in 1904.
From the 1860s on the wealthy Bourgeoisie of Berlin discovered Charlottenburg as a residential area, among the first were Gerson von Bleichröder and Ernst Werner von Siemens, who had a villa built in the Berliner Straße in 1862. At the same time industrial companies like Siemens & Halske and Schering erected large factories in the north-east, at the border with the Moabit district of Berlin. In 1877 Charlottenburg received town privileges and until World War I saw an enormous increase of population with 100,000 inhabitants as of 1893 and a population of 306,000 in 1920, being the second largest city within the Province of Brandenburg, after Berlin. In the course of industrialization in the 19th century, much of Charlottenburg was incorporated in a network of streets laid out in the Hobrecht-Plan in an area that came to be known architecturally as the Wilhelmine Ring.

Wolff, Jeremais 1663 - 1724
Wolff was an German engraver and publisher. Born in Augsburg, he originally trained as a clock and automat maker, later changing course and opening a small copperplate engraving shop. His success was impressive and became one of the largest European art, print & map publishers in the first half of the 18th century. Wolff employed some of the best engravers of the time and although not an engraver himself, only Wolffs name was recorded on the engravings. Many of his engravers went uncredited for their work. In 1710 Wolff was one of the founder member of the Empire State Academy of Arts in Augsburg.
After his death in 1724, Wolffs publishing business was inherited by his sons and son-in-law, Johann Balthasar Probst (1673–1750) a notable engraver at the time. The firm continued on in Augsburg under the name Jeremias Wolff Erben.
Together with the Nuremberg copperplate engraver Paul Decker , Wolff published a series of engravings showing the war successes of Prince Eugene of Savoy in Italy , southern Germany and the Spanish Netherlands, during the War of the Spanish Succession . The prints are exhibited in the Museum of Military History, in Vienna .

$110.00 USD
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1740 Wolff & Corvinus Antique Architectural Print Charlottenburg Palace, Gardens

1740 Wolff & Corvinus Antique Architectural Print Charlottenburg Palace, Gardens

  • Title : Haupt Hof Grund Riss dess Marstalls...Jeremais Wolff exc Aug. Vind
  • Ref #:  93446
  • Size: 19in x 12 1/2in (490mm x 335mm)
  • Date : 1740
  • Condition: (A+) Fine Condition

Description:
This large fine, original copper-plate engraved antique architectural print of buildings in the Charlottenburg suburb of Berlin & Charlottenburg Palace, - plate No. 4 of 16 - by Johann August Corvinus 1683 - 1738, after Andreas Mayers 1716 - 1782, was published in Eigentliche Abbildung des Prächtigen Königl. Lust Schlosses Charlottenburg, eine Meile von Berlin, sambt dem darhinden im Walde gelegenen schönen Lust Garten
(Set of 16 numbered plates, the first with the title, with plans and views of the buildings and gardens at Charlottenburg, the palace of the King of Prussia on the outskirts of Berlin.)
 by Jeremias Wolff Erben in 1740.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 19in x 12 1/2in (490mm x 335mm)
Plate size: - 15 1/2in x 10in (385mm x 255mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background:
Charlottenburg is an affluent locality of Berlin within the borough of Charlottenburg-Wilmersdorf. Established as a town in 1705 and named after late Sophia Charlotte of Hanover, Queen consort of Prussia, it is best known for Charlottenburg Palace, the largest surviving royal palace in Berlin, and the adjacent museums.
Charlottenburg is located in Berlins inner city, west of the Großer Tiergarten park. Its historic core, the former village green of Alt Lietzow, is situated on the southern shore of the Spree River running through the Berlin glacial valley. The Straße des 17. Juni road, former Charlottenburger Chaussee, which runs eastwards from Charlottenburg Gate through the Tiergarten park to Brandenburg Gate, connects Charlottenburg with the historic centre of Berlin-Mitte.
In the north and west, the Berlin Ringbahn and the Bundesautobahn 100 (Stadtring) mark the border with the Charlottenburg-Nord and Westend suburbs. Adjacent in the south is the territory of Wilmersdorf. Charlottenburg also borders on the district of Halensee in the southwest, as well as on Moabit, Hansaviertel and Tiergarten (all part of the Mitte borough) in the east and on Schöneberg in the southeast.
In 1695, Sophia Charlotte of Hanover received Lietzow from her husband, Elector Frederick III of Brandenburg, in exchange for her estates in Caputh and Langerwisch near Potsdam. Frederick had a summer residence built there for Sophie Charlotte by the architect Johann Arnold Nering between 1695 and 1699. After he had crowned himself Frederick I, King in Prussia, the Lützenburg castle was extended into a stately building with a cour dhonneur. The Swedish master builder Johann Friedrich Eosander supervised this work. Sophie Charlotte died in February 1705; shortly afterwards the settlement facing the palace was called Charlottenburg - the palace itself became Schloss Charlottenburg - and chartered as a town on April 5, 1705. The king served as the towns mayor until the historic village of Lietzow was incorporated into Charlottenburg in 1720.
Fredericks successor as king, Frederick William I of Prussia, rarely stayed at the palace, which depressed the small town of Charlottenburg. Frederick William even tried to revoke the towns privileges. With the coronation of his successor Frederick II in 1740 the towns significance increased, as regular celebrations again took place at the palace. Between 1740 and 1747 Georg Wenzeslaus von Knobelsdorff built the eastern New Wing as Fredericks residence. Later, Frederick II preferred the palace of Sanssouci, which he had partly designed himself.
When Frederick II died in 1786, his nephew Frederick William II succeeded him, and Charlottenburg became the favourite royal residence, and remained so for his son and successor Frederick William III (reigned 1797-1840). After the defeat of the Prussian army at Jena in 1806, the French occupied Berlin. Napoleon took over the palace, while his troops made a camp nearby. Charlottenburg became part of the new Prussian Province of Brandenburg in 1815 after the Napoleonic Wars.
In the late 18th century, Charlottenburgs development did not depend only on the crown. The town became a recreational area for the expanding city of Berlin. Its first true inn opened in the 1770s, in the street then called Berliner Straße (now Otto-Suhr-Allee), and many other inns and beer gardens were to follow, popular for weekend parties especially. Berliners seeking leisure and entertainment came by boat, by carriage and later by horse-drawn trams, above all to a large amusement park at the shore of the Spree river called Flora, that went into bankruptcy in 1904.
From the 1860s on the wealthy Bourgeoisie of Berlin discovered Charlottenburg as a residential area, among the first were Gerson von Bleichröder and Ernst Werner von Siemens, who had a villa built in the Berliner Straße in 1862. At the same time industrial companies like Siemens & Halske and Schering erected large factories in the north-east, at the border with the Moabit district of Berlin. In 1877 Charlottenburg received town privileges and until World War I saw an enormous increase of population with 100,000 inhabitants as of 1893 and a population of 306,000 in 1920, being the second largest city within the Province of Brandenburg, after Berlin. In the course of industrialization in the 19th century, much of Charlottenburg was incorporated in a network of streets laid out in the Hobrecht-Plan in an area that came to be known architecturally as the Wilhelmine Ring.

Wolff, Jeremais 1663 - 1724
Wolff was an German engraver and publisher. Born in Augsburg, he originally trained as a clock and automat maker, later changing course and opening a small copperplate engraving shop. His success was impressive and became one of the largest European art, print & map publishers in the first half of the 18th century. Wolff employed some of the best engravers of the time and although not an engraver himself, only Wolffs name was recorded on the engravings. Many of his engravers went uncredited for their work. In 1710 Wolff was one of the founder member of the Empire State Academy of Arts in Augsburg.
After his death in 1724, Wolffs publishing business was inherited by his sons and son-in-law, Johann Balthasar Probst (1673–1750) a notable engraver at the time. The firm continued on in Augsburg under the name Jeremias Wolff Erben.
Together with the Nuremberg copperplate engraver Paul Decker , Wolff published a series of engravings showing the war successes of Prince Eugene of Savoy in Italy , southern Germany and the Spanish Netherlands, during the War of the Spanish Succession . The prints are exhibited in the Museum of Military History, in Vienna .

$110.00 USD
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1856 Cap Richard Delafield Large Antique Schematics German Fortifications

1856 Cap Richard Delafield Large Antique Schematics German Fortifications

Description:
This large original lithograph print, schematics of parts of the German Forts in such cities as Coblenz, Posen, Mainz, Luxemburg, Landau & others - during the time of the Crimean War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 24 1/2in x 18in (615mm x 475mm)
Plate size: - 24 1/2in x 18in (615mm x 475mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - Folds re-enforced with archival tape

Background:
Under the term of the 1815 Peace of Paris, France was obliged to pay for the construction of a line of fortresses to protect the German Confederation against any future aggression by France. All fortresses were located outside Austria and Prussia — the two biggest, bickering powers of the Confederation.
Section C. Defensive System of the Germanic Confederation of the protocol drawn up at Paris on 3 November 1815, declared Mainz, Luxemburg, and Landau to be fortresses belonging to the Confederation of Germany, and stipulated that a fourth should be constructed on the Upper Rhine. In conformity with this act, a portion of the funds, which France was compelled to pay by way of indemnity for the cost of placing her on a peaceable footing, was thus appropriated: £200,000 were set aside for completing the works at Mainz; £800,000 were assigned to Prussia, to be applied upon its fortresses on the Lower Rhine; another £800,000 were reserved for constructing the new federal fortress on the Upper Rhine; and Bavaria was allowed £600,000 towards erecting another strong place on the Rhine, at Germersheim or some other point.
By 1835 the works about Mainz were completed; the twin fortresses of Koblenz and Ehrenbreitstein, and Cologne had been abundantly strengthened on the side of Prussia; and, on the Bavarian side, the fortress of Germersheim was in a state to defend the passage on the Upper Rhine. The western frontier of Germany had, in this way, been provided with a formidable line of defences against possible hostile actions by their neighbours. The eastern side of Germany has been additionally fortified by the erection of a strong citadel at Posen; and the southern was to be still further protected by the formidable works in course of construction at Brixen in the Tyrol.
The fortress of Ulm became a major strategic fortress able to accommodate 100,000 men and their equipment. Since the Kingdom of Württemberg had no engineering corps King William I appointed Moritz Karl Ernst von Prittwitz, a Prussian major, as the supervisor to oversee the building the fortresses. His plans included the provisions for the prospective development of the city Ulm. Major Theodor von Hildebrandt was appointed to oversee the building of fortresses around Neu-Ulm on the Bavarian side of the Danube.

Delafield, Richard Major General 1798 - 1873
Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

$105.00 USD
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1856 Capt Delafield Large Antique Schematics of the 2nd Lancers Barracks, Berlin

1856 Capt Delafield Large Antique Schematics of the 2nd Lancers Barracks, Berlin

  • TitleBarrack of the Lancers of the Guard at Berlin...Barrack of the Second Regiment of the Lancers of the Guard at Berlin
  • Date : 1856
  • Condition: (A+) Fine Condition
  • Ref:  90143
  • Size: 20 1/2in x 16in (510mm x 410mm)

Description:
This large original lithograph print, schematics of the 2nd German Lancer Regiment Barracks in Berlin - during the time of the Crimean War and just prior to the American Civil War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 20 1/2in x 16in (510mm x 410mm)
Plate size: - 20 1/2in x 16in (510mm x 410mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - Folds re-enforced with archival tape

Background:
A lancer was a type of cavalryman who fought with a lance. Lances were used in mounted warfare by the Assyrians as early as 700 BC and subsequently by Greek, Persian, Gallic, Chinese, and Roman horsemen. The weapon was widely used in Asia and Europe during the Middle Ages and the Renaissance by armoured cavalry, before being adopted by light cavalry, particularly in Eastern Europe. In a modern context, a lancer regiment usually denotes an armoured unit.
The lancer (called ułan in Polish and Uhlan in German) had become a common sight in almost every European, Ottoman, and Indian army during this time, but, with the exception of the Ottoman troops, they increasingly discarded the heavy armour to give greater freedom of movement in combat. The Polish winged lancers were amongst the last to abandon the armour in Europe. There was debate over the value of the lance in mounted combat during the 18th century and most armies had few lancer units by the beginning of the 19th century. However, during the Napoleonic Wars, lancers were to be seen in many of the combatant nations as their value in shock tactics became clear. During the wars, the Poles became a ready source of recruitment for several armies, willingly or unwillingly. Polish lancers served with distinction in the Austrian, Prussian, Russian and French armies, most famously in Napoleons French Imperial Guard as the 1er Regiment de Chevau-Legers-Lanciers de la Garde Impériale.
At the Battle of Waterloo, French lances were nearly three meters (about nine feet, ten inches) long, weighed three kilograms (about six pounds, ten ounces), and had a steel point on a wooden staff, according to historian Alessandro Barbero. He adds that they were terrifyingly efficient. Commander of the French 1st Corps, 4th Division General Durutte, who saw the battle from the high ground in front of Papelotte, would write later, I had never before realized the great superiority of the lance over the sword.
In the Siege of Los Angeles (1846), during the war between Mexico and the United States, a company of Californio lancers temporarily recaptured the town, expelling a company of U.S. Marines.
Although having substantial impact in the charge, lancers could be vulnerable to other cavalry at close quarters, where the lance proved a clumsy and easily deflected weapon when employed against sabres. By the late 19th century, many cavalry regiments in the British and other European armies were composed of troopers with lances, as primary weapons, in the front rank and horsemen with sabres only in the second: the lances for the initial shock and sabres for the subsequent mêlée.

Delafield, Richard Major General 1798 - 1873
Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

 

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1856 Capt Delafield Large Antique Schematics of the 2nd Lancers Barracks, Berlin

1856 Capt Delafield Large Antique Schematics of the 2nd Lancers Barracks, Berlin

  • TitleBarrack of the Lancers of the Guard at Berlin...Barrack of the Second Regiment of the Lancers of the Guard at Berlin
  • Date : 1856
  • Condition: (A+) Fine Condition
  • Ref:  90152
  • Size: 21in x 17in (530mm x 430mm)

Description:
This large original lithograph print, schematics of the 2nd German Lancer Regiment Barracks in Berlin - during the time of the Crimean War and just prior to the American Civil War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 21in x 17in (530mm x 430mm)
Plate size: - 21in x 17in (530mm x 430mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - Folds re-enforced with archival tape

Background:
A lancer was a type of cavalryman who fought with a lance. Lances were used in mounted warfare by the Assyrians as early as 700 BC and subsequently by Greek, Persian, Gallic, Chinese, and Roman horsemen. The weapon was widely used in Asia and Europe during the Middle Ages and the Renaissance by armoured cavalry, before being adopted by light cavalry, particularly in Eastern Europe. In a modern context, a lancer regiment usually denotes an armoured unit.
The lancer (called ułan in Polish and Uhlan in German) had become a common sight in almost every European, Ottoman, and Indian army during this time, but, with the exception of the Ottoman troops, they increasingly discarded the heavy armour to give greater freedom of movement in combat. The Polish winged lancers were amongst the last to abandon the armour in Europe. There was debate over the value of the lance in mounted combat during the 18th century and most armies had few lancer units by the beginning of the 19th century. However, during the Napoleonic Wars, lancers were to be seen in many of the combatant nations as their value in shock tactics became clear. During the wars, the Poles became a ready source of recruitment for several armies, willingly or unwillingly. Polish lancers served with distinction in the Austrian, Prussian, Russian and French armies, most famously in Napoleons French Imperial Guard as the 1er Regiment de Chevau-Legers-Lanciers de la Garde Impériale.
At the Battle of Waterloo, French lances were nearly three meters (about nine feet, ten inches) long, weighed three kilograms (about six pounds, ten ounces), and had a steel point on a wooden staff, according to historian Alessandro Barbero. He adds that they were terrifyingly efficient. Commander of the French 1st Corps, 4th Division General Durutte, who saw the battle from the high ground in front of Papelotte, would write later, I had never before realized the great superiority of the lance over the sword.
In the Siege of Los Angeles (1846), during the war between Mexico and the United States, a company of Californio lancers temporarily recaptured the town, expelling a company of U.S. Marines.
Although having substantial impact in the charge, lancers could be vulnerable to other cavalry at close quarters, where the lance proved a clumsy and easily deflected weapon when employed against sabres. By the late 19th century, many cavalry regiments in the British and other European armies were composed of troopers with lances, as primary weapons, in the front rank and horsemen with sabres only in the second: the lances for the initial shock and sabres for the subsequent mêlée.

Delafield, Richard Major General 1798 - 1873
Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

 

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1856 Capt Delafield Large Antique Schematics French Infantry Barracks & Quarters

1856 Capt Delafield Large Antique Schematics French Infantry Barracks & Quarters

  • TitleTheory and Practice of the French Engineers....Quaters for Infantry..Plan of the Bob Proof Building for lodging 5 Companies presenting together an effective force of about 500 men.
  • Date : 1856
  • Condition: (A+) Fine Condition
  • Ref:  90126
  • Size: 26in x 20in (660mm x 500mm)

Description:
This large original lithograph print, schematics of barracks and quarters for infantry in France - during the time of the Crimean War and just prior to the American Civil War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 26in x 20in (660mm x 500mm)
Plate size: - 26in x 20in (660mm x 500mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - Folds re-enforced with archival tape

Background:
The arrival of explosive shells in the 19th century led to yet another stage in the evolution of fortification. Star forts did not fare well against the effects of high explosive and the intricate arrangements of bastions, flanking batteries and the carefully constructed lines of fire for the defending cannon could be rapidly disrupted by explosive shells.
Worse, the large open ditches surrounding forts of this type were an integral part of the defensive scheme, as was the covered way at the edge of the counter scarp. The ditch was extremely vulnerable to bombardment with explosive shells.
In response, military engineers evolved the polygonal style of fortification. The ditch became deep and vertically sided, cut directly into the native rock or soil, laid out as a series of straight lines creating the central fortified area that gives this style of fortification its name.
Wide enough to be an impassable barrier for attacking troops, but narrow enough to be a difficult target for enemy shellfire, the ditch was swept by fire from defensive blockhouses set in the ditch as well as firing positions cut into the outer face of the ditch itself.
The profile of the fort became very low indeed, surrounded outside the ditch covered by caponiers by a gently sloping open area so as to eliminate possible cover for enemy forces, while the fort itself provided a minimal target for enemy fire. The entrypoint became a sunken gatehouse in the inner face of the ditch, reached by a curving ramp that gave access to the gate via a rolling bridge that could be withdrawn into the gatehouse.
Much of the fort moved underground. Deep passages and tunnels now connected the blockhouses and firing points in the ditch to the fort proper, with magazines and machine rooms deep under the surface. The guns, however, were often mounted in open emplacements and protected only by a parapet; both in order to keep a lower profile and also because experience with guns in closed casemates had seen them put out of action by rubble as their own casemates were collapsed around them.
Gone were citadels surrounding towns: forts were to be moved to the outside of the cities some 12 km to keep the enemy at a distance so their artillery could not bombard the city center. From now on a ring of forts were to be built at a spacing that would allow them to effectively cover the intervals between them.
The new forts abandoned the principle of the bastion, which had also been made obsolete by advances in arms. The outline was a much simplified polygon, surrounded by a ditch. These forts, built in masonry and shaped stone, were designed to shelter their garrison against bombardment. One organizing feature of the new system involved the construction of two defensive curtains: an outer line of forts, backed by an inner ring or line at critical points of terrain or junctions (see, for example, Séré de Rivières system in France).
Traditional fortification however continued to be applied by European armies engaged in warfare in colonies established in Africa against lightly armed attackers from amongst the indigenous population. A relatively small number of defenders in a fort impervious to primitive weaponry could hold out against high odds, the only constraint being the supply of ammunition.

Delafield, Richard Major General 1798 - 1873 - Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

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1856 Capt Delafield Large Antique Schematics Internal Calvary Barracks, Quarters

1856 Capt Delafield Large Antique Schematics Internal Calvary Barracks, Quarters

Description:
This large original lithograph print, schematics of the internals of cavalry barracks and quarters - during the time of the Crimean War and just prior to the American Civil War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 26in x 20in (660mm x 500mm)
Plate size: - 26in x 20in (660mm x 500mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - Folds re-enforced with archival tape

Background:
The arrival of explosive shells in the 19th century led to yet another stage in the evolution of fortification. Star forts did not fare well against the effects of high explosive and the intricate arrangements of bastions, flanking batteries and the carefully constructed lines of fire for the defending cannon could be rapidly disrupted by explosive shells.
Worse, the large open ditches surrounding forts of this type were an integral part of the defensive scheme, as was the covered way at the edge of the counter scarp. The ditch was extremely vulnerable to bombardment with explosive shells.
In response, military engineers evolved the polygonal style of fortification. The ditch became deep and vertically sided, cut directly into the native rock or soil, laid out as a series of straight lines creating the central fortified area that gives this style of fortification its name.
Wide enough to be an impassable barrier for attacking troops, but narrow enough to be a difficult target for enemy shellfire, the ditch was swept by fire from defensive blockhouses set in the ditch as well as firing positions cut into the outer face of the ditch itself.
The profile of the fort became very low indeed, surrounded outside the ditch covered by caponiers by a gently sloping open area so as to eliminate possible cover for enemy forces, while the fort itself provided a minimal target for enemy fire. The entrypoint became a sunken gatehouse in the inner face of the ditch, reached by a curving ramp that gave access to the gate via a rolling bridge that could be withdrawn into the gatehouse.
Much of the fort moved underground. Deep passages and tunnels now connected the blockhouses and firing points in the ditch to the fort proper, with magazines and machine rooms deep under the surface. The guns, however, were often mounted in open emplacements and protected only by a parapet; both in order to keep a lower profile and also because experience with guns in closed casemates had seen them put out of action by rubble as their own casemates were collapsed around them.
Gone were citadels surrounding towns: forts were to be moved to the outside of the cities some 12 km to keep the enemy at a distance so their artillery could not bombard the city center. From now on a ring of forts were to be built at a spacing that would allow them to effectively cover the intervals between them.
The new forts abandoned the principle of the bastion, which had also been made obsolete by advances in arms. The outline was a much simplified polygon, surrounded by a ditch. These forts, built in masonry and shaped stone, were designed to shelter their garrison against bombardment. One organizing feature of the new system involved the construction of two defensive curtains: an outer line of forts, backed by an inner ring or line at critical points of terrain or junctions (see, for example, Séré de Rivières system in France).
Traditional fortification however continued to be applied by European armies engaged in warfare in colonies established in Africa against lightly armed attackers from amongst the indigenous population. A relatively small number of defenders in a fort impervious to primitive weaponry could hold out against high odds, the only constraint being the supply of ammunition.

Delafield, Richard Major General 1798 - 1873 - Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

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1856 Capt Delafield Large Antique Schematics of Calvary Barracks Rifles, Pistols

1856 Capt Delafield Large Antique Schematics of Calvary Barracks Rifles, Pistols

  • TitleCavalry Barracks - Furniture of the Company Quarters...
  • Date : 1856
  • Condition: (A+) Fine Condition
  • Ref:  90133
  • Size: 26in x 20in (660mm x 500mm)

Description:
This large original lithograph print, schematics of the internals of cavalry barracks and quarters (guns, boots, pistols etc) - during the time of the Crimean War and just prior to the American Civil War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 26in x 20in (660mm x 500mm)
Plate size: - 26in x 20in (660mm x 500mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - Folds re-enforced with archival tape

Background:
The arrival of explosive shells in the 19th century led to yet another stage in the evolution of fortification. Star forts did not fare well against the effects of high explosive and the intricate arrangements of bastions, flanking batteries and the carefully constructed lines of fire for the defending cannon could be rapidly disrupted by explosive shells.
Worse, the large open ditches surrounding forts of this type were an integral part of the defensive scheme, as was the covered way at the edge of the counter scarp. The ditch was extremely vulnerable to bombardment with explosive shells.
In response, military engineers evolved the polygonal style of fortification. The ditch became deep and vertically sided, cut directly into the native rock or soil, laid out as a series of straight lines creating the central fortified area that gives this style of fortification its name.
Wide enough to be an impassable barrier for attacking troops, but narrow enough to be a difficult target for enemy shellfire, the ditch was swept by fire from defensive blockhouses set in the ditch as well as firing positions cut into the outer face of the ditch itself.
The profile of the fort became very low indeed, surrounded outside the ditch covered by caponiers by a gently sloping open area so as to eliminate possible cover for enemy forces, while the fort itself provided a minimal target for enemy fire. The entrypoint became a sunken gatehouse in the inner face of the ditch, reached by a curving ramp that gave access to the gate via a rolling bridge that could be withdrawn into the gatehouse.
Much of the fort moved underground. Deep passages and tunnels now connected the blockhouses and firing points in the ditch to the fort proper, with magazines and machine rooms deep under the surface. The guns, however, were often mounted in open emplacements and protected only by a parapet; both in order to keep a lower profile and also because experience with guns in closed casemates had seen them put out of action by rubble as their own casemates were collapsed around them.
Gone were citadels surrounding towns: forts were to be moved to the outside of the cities some 12 km to keep the enemy at a distance so their artillery could not bombard the city center. From now on a ring of forts were to be built at a spacing that would allow them to effectively cover the intervals between them.
The new forts abandoned the principle of the bastion, which had also been made obsolete by advances in arms. The outline was a much simplified polygon, surrounded by a ditch. These forts, built in masonry and shaped stone, were designed to shelter their garrison against bombardment. One organizing feature of the new system involved the construction of two defensive curtains: an outer line of forts, backed by an inner ring or line at critical points of terrain or junctions (see, for example, Séré de Rivières system in France).
Traditional fortification however continued to be applied by European armies engaged in warfare in colonies established in Africa against lightly armed attackers from amongst the indigenous population. A relatively small number of defenders in a fort impervious to primitive weaponry could hold out against high odds, the only constraint being the supply of ammunition.

Delafield, Richard Major General 1798 - 1873 - Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

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1856 Capt Delafield Large Antique Schematics of French Calvary Barracks, Stables

1856 Capt Delafield Large Antique Schematics of French Calvary Barracks, Stables

Description:
This large original lithograph print, internal schematics of the French Cavalry Barracks & Stables - during the time of the Crimean War and just prior to the American Civil War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 26in x 20in (660mm x 500mm)
Plate size: - 26in x 20in (660mm x 500mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Light age toning along folds as issued
Verso: - Folds re-enforced with archival tape

Background:
The arrival of explosive shells in the 19th century led to yet another stage in the evolution of fortification. Star forts did not fare well against the effects of high explosive and the intricate arrangements of bastions, flanking batteries and the carefully constructed lines of fire for the defending cannon could be rapidly disrupted by explosive shells.
Worse, the large open ditches surrounding forts of this type were an integral part of the defensive scheme, as was the covered way at the edge of the counter scarp. The ditch was extremely vulnerable to bombardment with explosive shells.
In response, military engineers evolved the polygonal style of fortification. The ditch became deep and vertically sided, cut directly into the native rock or soil, laid out as a series of straight lines creating the central fortified area that gives this style of fortification its name.
Wide enough to be an impassable barrier for attacking troops, but narrow enough to be a difficult target for enemy shellfire, the ditch was swept by fire from defensive blockhouses set in the ditch as well as firing positions cut into the outer face of the ditch itself.
The profile of the fort became very low indeed, surrounded outside the ditch covered by caponiers by a gently sloping open area so as to eliminate possible cover for enemy forces, while the fort itself provided a minimal target for enemy fire. The entrypoint became a sunken gatehouse in the inner face of the ditch, reached by a curving ramp that gave access to the gate via a rolling bridge that could be withdrawn into the gatehouse.
Much of the fort moved underground. Deep passages and tunnels now connected the blockhouses and firing points in the ditch to the fort proper, with magazines and machine rooms deep under the surface. The guns, however, were often mounted in open emplacements and protected only by a parapet; both in order to keep a lower profile and also because experience with guns in closed casemates had seen them put out of action by rubble as their own casemates were collapsed around them.
Gone were citadels surrounding towns: forts were to be moved to the outside of the cities some 12 km to keep the enemy at a distance so their artillery could not bombard the city center. From now on a ring of forts were to be built at a spacing that would allow them to effectively cover the intervals between them.
The new forts abandoned the principle of the bastion, which had also been made obsolete by advances in arms. The outline was a much simplified polygon, surrounded by a ditch. These forts, built in masonry and shaped stone, were designed to shelter their garrison against bombardment. One organizing feature of the new system involved the construction of two defensive curtains: an outer line of forts, backed by an inner ring or line at critical points of terrain or junctions (see, for example, Séré de Rivières system in France).
Traditional fortification however continued to be applied by European armies engaged in warfare in colonies established in Africa against lightly armed attackers from amongst the indigenous population. A relatively small number of defenders in a fort impervious to primitive weaponry could hold out against high odds, the only constraint being the supply of ammunition.

Delafield, Richard Major General 1798 - 1873 - Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

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