Architectural (51)

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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.

$425.00 USD
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1868 Ernst Gladbach Large Original Antique Print of Houses in Zurich Switzerland

1868 Ernst Gladbach Large Original Antique Print of Houses in Zurich Switzerland

Description:
This large original copper plate engraved antique print, details of houses of the Hongg & Rapperswil districts in the Swiss city of Zurich by Ernst Gladbach, was published in the 1868 edition of Der Schweizer Holzstyl in seinen cantonalen und constructiven Verschiedenheiten vergleichend dargestellt mit Holzbauten Deutschlands . Darmstadt: Carl Koehler\'s Verlag.
(Translation of title: The comparisons in construction & details between wooden houses in Switzerland and Germany)

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, blue, green, brown
General color appearance: - Authentic
Paper size: - 27in x 19in (685mm x 485mm)
Plate size: - 18 1/2in x 13 1/2in (470mm x 345mm)
Margins: - Min 2in (50mm)

Imperfections:
Margins: - Small repair to left margin, no loss
Plate area: - Central vertical fold
Verso: - None

Gladbach, Ernst Georg 1812 - 1896 
Born in Darmstadt, Germany the son of a jurist, Gladbach early on became involved in architecture and construction issues in particular through his uncle Georg Moller Moller [1784-1852] was an influential court builder in the Grand Duchy of Hesse. At the age of 14 Gladbach began an apprenticeship in his uncle’s office. He soon worked on major projects such as the theatre of Mainz [1829-1833] and supported his uncle in teaching young architects. Aside from this, he became involved with the book series Denkmaler der deutschen Baukunst (Moller 1815-1851). In the large-format illustrated volumes Moller presented detailed architectural surveys of medieval buildings. In the books and in his work as an architect and teacher he focused on construction issues in particular. Between 1833-1844 he published his own textbook on construction, under the title Beiträge zu der Lehre von den Construktionen, that assembled surveys of exemplary buildings. For Gladbach’s further work, the exposure to construction issues in his uncle’s office was formative. In addition, Gladbach received drawing lessons from his cousin Fritz Hessemer who also worked in Moller’s office. The lessons resulted in the publication of some of Gladbach’s artistic drawings by a publisher in Darmstadt. After studying at the universities in Giessen and Heidelberg, Gladbach further improved his drawing skills on a three-year study trip that took him to different German cities and then to Italy from 1837 to 1839. Back in Germany Gladbach worked as a master builder for the Hesse state civil service, dealing with timber construction mainly in a practical way. In his spare time he did some building surveys that he published together with some of Moller’s surveys as a third volume to the series Denkmäler der deutschen Baukunst. In 1857 Gladbach was appointed professor for structural theory and construction materials at the newly founded Swiss Polytechnic School in Zurich and kept this position until 1890. Being professor at the Polytechnic School, he shifted once more the main focus of his work: Gladbach stopped being professionally active as an architect. Instead, teaching became the centre of his life. In addition to his teaching load at the Polytechnic School he gave private drawing lessons. The long semester breaks allowed him to carry out study trips in the Swiss mountains where he conducted his extensive studies on historical timber constructions. In summary, Gladbach explored construction issues from different views before publishing his well-known books on Swiss timber construction: from the view of a designing architect, of a teacher wanting to make constructions issues comprehensible, of an artist who likes to draw and, last but not least, as an architect doing precise building surveys for his uncle’s publication series. This multi-perspective view decisively influenced Gladbach’s method of analysing and documenting historical Swiss timber structures.

$425.00 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

$275.00 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

$275.00 USD
More Info
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

$275.00 USD
More Info
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

$275.00 USD
More Info
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

$275.00 USD
More Info
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

$275.00 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

$275.00 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

$275.00 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

$275.00 USD
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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

$275.00 USD
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18th Century Antique Copper-Plate Romanesque Architectural Antique Print

18th Century Antique Copper-Plate Romanesque Architectural Antique Print

Description:
This large original copper-plate engraved antique cross sectional architectural print, of a substantial Roman building was published in the 18th century.
Beautifully engraved original antique print on heavy laid paper with a heavy impression. (Ref: M&B; Tooley)

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 12in (485mm x 305mm)
Plate size: - 16in x 10 1/2in (410mm x 270mm)
Margins: - Min 1in (25mm)

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

$125.00 USD
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1755 Prevost & Schley Antique Print City View of Mbanza Loango West Congo Africa

1755 Prevost & Schley Antique Print City View of Mbanza Loango West Congo Africa

  • Title:Cite De Loango Tiree de Dapper
  • Date: 1755
  • Condition : (A+) Fine Condition
  • Ref: 25755
  • Size: 14in x 10in (355mm x 255mm)

Description:
This fine, original copper-plate engraved antique print, view of the city of Mbanza Loango in the pre-colonial African Kingdom of Loango - now part of the of western part of the Republic of the Congo - by Jakob van Schley in 1755 - after Olfert Dapper - was published in Antoine François Prevosts 15 volumes of Histoire Generale des Voyages written by Prevost & other authors between 1746-1789.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 14in x 10in (355mm x 255mm)
Plate size: - 12 1/2in x 9 1/2in (320mm x 240mm)
Margins: - Min 1/2in (5mm)

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

Background: 
The Kingdom of Loango was a pre-colonial African state, during approximately the 16th to 19th centuries in what is now the western part of the Republic of the Congo. Situated to the north of the more powerful Kingdom of Kongo, at its height in the 17th century Loango influence extended from Cape St Catherine in the north to almost the mouth of the Congo River.
Loango exported copper to the European market, and was a major producer and exporter of cloth.
The English traveller Andrew Battel, when he was there in about 1610, recorded that the predecessor of the unnamed king ruling at that time was named \"Gembe\" or Gymbe (modernized as Njimbe), possibly the founder of the kingdom. With the death of King Buatu in 1787, the succession of leadership is uncertain.
The kingdom is certain to have come to an end with the Conference of Berlin (1884–1885) at the latest, when European colonial powers divided most of Central Africa between them.
The origins of the kingdom are obscure. The most ancient complex society in the region was at Madingo Kayes, which was already a multi-site settlement in the first century CE. At present archaeological evidence is too scarce to say much more about developments until the late fifteenth or early sixteenth centuries.
Loango is not mentioned in early travelers\' accounts of the region, nor is it mentioned in the titles of King Afonso I of Kongo in 1535, though Kakongo, Vungu, and Ngoyo, its southern neighbors. It is therefore unlikely that there was a major power on the coast of Central Africa north of the Congo River.
The earliest reference to Loango in a documentary source is a mention around 1561 by Sebastião de Souto, a priest in Kongo, that King Diogo I (1545–61) sent missionaries to convert Loango to Christianity. Duarte Lopes, ambassador from Kongo to the Holy See in Rome in 1585, related that \"Loango is a friend of the King of Congo and it is said that he was a vassal in past times\" which is consistent with Loango\'s origins from Kakongo, a vassal of Kongo.
Dutch visitors recorded the first traditional account of the kingdom\'s origin in the 1630s or \'40s. In their account as reported by the geographer Olfert Dapper, the region where Loango would be constructed was populated by a number of small polities including Mayumba, Kilongo, Piri and Wansi, \"each with their own leader\" who \"made war on each other.\" He recorded that the founder of Loango, who boasted hailing from the district in Nzari in the small coastal kingdom of Kakongo, itself a vassal of Kongo, triumphed over all his rivals through the skillful use of alliances to defeat those who opposed him, particularly Wansa, Kilongo and Piri, the latter two of which required two wars to subdue. Once this had been effected, however, a range of more northern regions, including Docke and Sette submitted voluntarily. Having succeeded in the conquest, the new king moved northward and after having founded settlements in a variety of places, eventually built his capital in Buali in the province of Piri (from which the ethnic name \"Muvili\" eventually derived).
The English traveller Andrew Battel wrote when he was there in about 1610, that the predecessor of the unnamed king ruling at that time was named \"Gembe\" or \"Gymbe\" (modernized as \"Njimbe\"). A Dutch description published in 1625 said that a ruler who had died sometime before that date had ruled for 60 years and thus had taken the throne around 1565. The documentary chronology thus makes it very likely that Njimbe was the founder and first ruler mentioned in the traditions, and this supposition is supported by traditions recorded around 1890 by R. E. Dennett which also named Njimbe as the first ruler.
On the basis of later traditions from the nineteenth and twentieth centuries that linked the founding of Loango to that of Kongo, Phyllis Martin posited a much earlier foundation, the late fourteenth or early fifteenth centuries. She then argues that the absence of Loango from early titles of the king of Kongo is evidence that Loango was already independent at that time.
Njimbe had created a rule of succession which was in place around 1600, in which the king gave command over four provinces to members of his family, called the provinces of Kaye, Boke, Selage, and Kabango, and the king was to be chosen from a rotation between them. When the king died the ruler of Kaye took over, as he did indeed in the pre-1624 succession, and if the rule was followed then the ruler of Boke took his place; the other two provincial rulers advanced as well, and the king appointed a new ruler for Kabango.
In 1663, the king ruling then was baptized as Afonso by the Italian Capuchin priest Bernardo Ungaro, but there was considerable opposition to this from within the country, and indeed when he died, a non-Christian took over, but this one was himself overthrown by one of the Christian party in 1665. This civil war was still ongoing in the 1670s. In the aftermath of this civil war, a number of the Christian party fled to neighboring territories, one of whom, known to history as Miguel da Silva, was elected ruler of Ngoyo and was ruling there in 1682.
When Nathaniel Uring, an English merchant came to Loango to trade in 1701, he reported that the king had died and the power of the administration was in the hands of the \"Queen or Chief Governess of that Country,\" named \"Mucundy\" and with whom he had to deal as if with the ruler.[20] This title referred to a woman with a regular role in the administration as overseer of women\'s affairs.
Many years elapsed before we have another snapshot of Loango\'s government; during this time the rules of succession, whether formal or informal seem to have changed. When the French missionaries directed by Abbé Liévin-Bonaventure Proyart came to Loango in 1766, they noted that there was no clear succession to the throne, that anyone born of a person regarded as a princess (only female succession mattered) could aspire to the throne. Moreover, the death of a king was cause for a frequently long interregnum; the king ruling in 1766 had come to power only after an interregnum of seven years, during which time the affairs of the country were managed by a regent called Mani Boman. The Mani Boman was appointed by the king during his lifetime. Usually two were appointed to cover the eventuality of the death of one of the two. They, in turn received the petitions of a number of eligible candidates for the throne.
Eventually, the electors of the kingdom, who were those who held offices appointed by the late king, met to decide on the next king. In theory, as the old constitution maintained, the king named his successor as well and placed him as ruler of Kaye, to succeed him at his death, but as there was so much contention as to who should hold the position, the late king died without naming a Ma-Kaye.
Historian Phyllis Martin contends that the external trade of the country had enriched some members of the nobility ahead of others and had thus put pressure on the older constitution as wealthier upstart princes pressed their case forward. She argues that important members of the council were people who had obtained their positions through contact with external trade, particularly the slave trade, and they had come to share power with the king. She posits that this alteration in relative power allowed the council to dominate the king by forcing longer and longer interregna. In fact, after the death of King Buatu in 1787, no king was elected for over 100 years.However, to some extent royal authority remained in the hands of a person entitled the Nganga Mvumbi (priest of the corpse) who oversaw the body of the dead king awaiting burial. Several of these Nganga Mvumbi succeeded each other in the late eighteenth and through the nineteenth centuries.

$125.00 USD
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1755 Prevost & Schley Antique Print British & Dutch Forts in Accra, Ghana West Africa

1755 Prevost & Schley Antique Print British & Dutch Forts in Accra, Ghana West Africa

  • Title: Vue Nord Des Forts Anglois et Hollandois D Akara tiree de Smith 1727
  • Date: 1755
  • Condition : (A+) Fine Condition
  • Ref: 21933
  • Size: 14in x 10in (355mm x 255mm)

Description:
This fine, original copper-plate engraved antique print view of the British & Dutch forts located in the city of Accra, Ghana West Africa by Jakob van Schley in 1755, was published in Antoine François Prevosts 15 volumes of Histoire Generale des Voyages written by Prevost & other authors between 1746-1789.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Early
Colors used: - Green, yellow, blue, red
General color appearance: - authentic
Paper size: - 14in x 10in (355mm x 255mm)
Plate size: - 12in x 8 1/2in (305mm x 215mm)
Margins: - Min 1/2in (5mm)

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

Background: 
Accra is the capital and most populous city of the Greater Accra Region and the Republic of Ghana.
The main Ga group known as the Tumgwa We led by Ayi Kushie arrived by sea. When the Guan (Lartehs) on the coast saw them on their canoes at sea, they looked like ants. Hence, the Lartehs refer to them as Nkran (ants). Nkran was later corrupted by the Danes to Akra, then to present-day Accra. Nkran in the Ga language is Gaga, thus they also started calling themselves Ga. Due to their sheer numbers, the indigenous Lartehs thus relocated to the Akuapem ridge. The Ga are also part of the main Guan group that started the initial migration from the Nubia Empire.
Initially, Accra was not the most prominent trading centre; the trade hubs of the time were the ports at Ada and Prampram, along with the inland centres of Dodowa and Akuse. The Dutch built the nearby outposts of Ussher Fort while the British and the Swedes built James Fort and Christiansborg castles, respectively. By the 17th century, Portugal, France and Denmark, had constructed forts in the city.
Britain gradually acquired the interests of all other countries beginning in 1851, when Denmark sold Christiansborg (which they had acquired from the Swedes) and their other forts to the British. The Netherlands was the last to sell out, in 1871. In 1873, after decades of tension between the British and Ashantis of the peninsula country Ashantiland, the British attacked and virtually destroyed the Ashantiland and Ashanti Region capital of Kumasi. The British then captured Accra in 1874, and in 1877, at the end of the second Anglo-Asante War, Accra replaced Cape Coast as the capital of the British Gold Coast. This decision was made because Accra had a drier climate relative to Cape Coast. Until this time, the settlement of Accra was confined between Ussher Fort to the east and the Korle Lagoon to the west.
As the newly established Gold Coast\'s administrative functions were moved to Accra (1877), an influx of British colonial administrator and settlers grew around the Christiansborg (modern Osu, Ministries, Ridge, Labone, and Cantonments) began, and the city began to expand to accommodate the new residents. Victoriaborg was formed in the late 19th century as an exclusively European residential neighbourhood, located to the east of the city limits of the time. The boundaries of Accra were further stretched in 1908. This expansion entailed the creation of a native-only neighbourhood, intended to accommodate members of the native population as a means of relieving congestion problems in the overcrowded city centre. Adabraka was thus established to the north of the city

$125.00 USD
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1750 Prevost & Schley Antique Print of Slave Fort Tantumquery, Otuam, Ghana, West Africa

1750 Prevost & Schley Antique Print of Slave Fort Tantumquery, Otuam, Ghana, West Africa

  • Title: Vue Sud Du Fort De Tantumquerri par Smith
  • Date: 1750
  • Condition : (A+) Fine Condition
  • Ref: 25768
  • Size: 14in x 10in (355mm x 255mm)

Description:
This fine original copper-plate engraved antique print was engraved by Jakob van Schley and was published in Antoine François Prevosts 15 volumes of Histoire Generale des Voyages written by Prevost & other authors between 1746-1790.

Fort Tantumquery is a military structure designed to facilitate the slave trade in West Africa during the 18th & 19th centuries. It was built by the Royal African Company in the 1720s,at Otuam in the Mfantsiman Municipal District, Central Region, Ghana, in what was known at the time as the Gold Coast.
The fort was surveyed in 1727 by William Smith, who had been appointed to review their castles in Africa following disturbing reports that they were unprofitable

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Early
Colors used: - Yellow, green, red
General color appearance: - Authentic
Paper size: - 14in x 10in (365mm x 250mm)
Plate size: - 12in x 8in (305mm x 205mm)
Margins: - Min 1/2in (12mm)

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

Background: 
One of Antoine Francois Prevosts monumental undertakings was his history of exploration & discovery in 15 volumes titledHistoire Générale des Voyages written between 1746-1759 and was extended to 20 volumes after his death by various authors.
The 20 volumes cover the early explorations & discoveries on 3 continents: Africa (v. 1-5), Asia (v. 5-11), and America (v. 12-15) with material on the finding of the French, English, Dutch, and Portugese.
A number of notable cartographers and engravers contributed to the copper plate maps and views to the 20 volumes including Nicolas Bellin, Jan Schley, Chedel, Franc Aveline, Fessard, and many others.
The African volumes cover primarily coastal countries of West, Southern, and Eastern Africa, plus the Congo, Madagascar, Arabia and the Persian Gulf areas.
The Asian volumes cover China, Korea, Tibet, Japan, Philippines, and countries bordering the Indian Ocean.
Volume 11 includes Australia and Antarctica.
Volumes 12-15 cover voyages and discoveries in America, including the East Indies, South, Central and North America.
Volumes 16-20 include supplement volumes & tables along with continuation of voyages and discoveries in Russia, Northern Europe, America, Asia & Australia.

Jakob van der Schley aka Jakob van Schley (1715 - 1779) was a Dutch draughtsman and engraver. He studied under Bernard Picart (1673-1733) whose style he subsequently copied. His main interests were engraving portraits and producing illustrations for \"La Vie de Marianne\" by Pierre Carlet de Chamblain de Marivaux (1688-1763) published in The Hague between 1735 and 1747.
He also engraved the frontispieces for a 15-volume edition of the complete works of Pierre de Brantôme (1540-1614), \"Oeuvres du seigneur de Brantôme\", published in The Hague in 1740.
He is also responsible for most of the plates in the Hague edition of Prévost\'s Histoire générale des voyages. (Ref: Tooley; M&B)

$125.00 USD
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1725 Campbell Antique Architectural Print of Greenhouse at Wanstead Manor Essex

1725 Campbell Antique Architectural Print of Greenhouse at Wanstead Manor Essex

  • Title : The Greenhouse at Wanstead in Essex the Seat of Sir Richard Child Bart
  • Ref #:  70547
  • Size: 17in x 10 1/2in (430mm x 270mm)
  • Date : 1725
  • Condition: (A+) Fine Condition

Description:
This large original antique architectural print of the Greenhouse of the Great Manor House at Wanstead in Essex the home of Sir Richard Child by Colen Campbell and was published in the 1725 edition of Vitruvius Britannicus or The British Architect.

Background: In 1715 Sir Richard Child commissioned the Scottish architect Colen Campbell to design a grand mansion in the then emerging Palladian style, to replace the former house, and to rival contemporary mansions such as Blenheim Palace. When completed it covered an area of 260 ft (79 m). by 70 ft (21 m), the facade having a portico with six Corinthian columns, the earliest in England.
The grounds were landscaped and planted with formal avenues of trees by George London, one of the leading garden designers of his day. Child was created 1st Viscount Castlemaine 3 years later in 1718, the house being completed in 1722. Child had married in 1703 Dorothy Glynne, whose mother was of the Tylney family of Tylney Hall in Rotherwick, Hampshire.
On the death of Ann Tylney, her cousin, in 1730, Dorothy and her husband Viscount Castlemain inherited the Tylney estates. Castlemain was created 1st Earl Tylney the following year (1731) and in 1734 obtained an Act of Parliament to change the name of his family, including his heirs, from the patronymic to Tylney, probably to meet a condition of his wife's inheritance.
On the death of the Earl in 1750 he was succeeded by his 38-year-old son John Tylney, 2nd Earl Tylney, who continued the plantings, but in the then fashionable natural and non-formal style. The 2nd. Earl had no male issue and his estates passed on his death in 1784 to his elder sister Emma's sonSir James Long, 7th Baronet, who being then in possession of the vast estates of the Longs, the Childs and the Tylneys, assumed the surname Tylney-Long for himself and his descendants, again probably in accordance with a requirement of the inheritance.
On the death of the 7th Baronet in 1794 the combined estate passed to his one-year-old infant son Sir James Tylney-Long, 8th Baronet, who died in 1805 aged just 11. The estate then passed to his young sister, eldest of three, Catherine Tylney-Long, who thereby became the richest heiress in England.Like many other settlements, Wanstead first emerged into the light of history in the eleventh century, with the Domesday Survey, compiled on the orders of William I in 1086.

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.

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: -  
Colors used: -  
General color appearance: -  
Paper size: - 17in x 10 1/2in (430mm x 270mm)
Plate size: - 15in x 10in (380mm x 255mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Uniform age toning
Plate area: - Uniform age toning
Verso: - Uniform age toning

$125.00 USD
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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

$125.00 USD
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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

$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:  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

$125.00 USD
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