Architectural (38)

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1656 Daniell King Antique Print of Old St Pauls Cathedral London - Pre 1666

1656 Daniell King Antique Print of Old St Pauls Cathedral London - Pre 1666

  • Title  : Ecclesiae Cathedralis Sti Pauli facies Aquilonaris / The North Prospect of ye Cathedral Church of St Paul in London
  • Date  : 1656
  • Condition: (A+) Fine
  • Ref # :  16365
  • Size   : 15 1/2in x 13 1/2in (395mm x 340mm) 

Description:

This fine original antique print of the Old St Pauls Cathedral in London by Daniel King was published just prior to the Great Fire of London in the 1656 edition of his Cathedral and Conventual Churches of England and Wales.

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

Daniel King: 1616 - 1661 Topographical etcher, born and based in Chester, England. King was the son of a baker, and was apprenticed in Chester in 1630. He was admitted to the Chester Painter's Company in 1639, and continued working there until about 1643. He then moved away from the town, but sporadically re-appears in the Company lists until 1661 when he is recorded as dead. His etchings all belong to the 1650s, and all emerge from his association with the famous 17th century antiquarian Sir William Dugdale. Anthony Wood recorded that he had been robbed by his wife, and died heart-broken near York House in the Strand. Dugdale later fell out with King, calling him 'a most ignorant silly fellow' and 'an arrant knave'. (Ref: M&B; Tooley)

General Description:
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 (10mm)

Imperfections:
Margins: - Small repair to bottom of margin, no loss
Plate area: - Folds as issued
Verso: - None

$425.00 USD
More Info
1760 Robert Adams Large Antique Print Gateway to The Old Admiralty Building, London

1760 Robert Adams Large Antique Print Gateway to The Old Admiralty Building, London

  • Title Plan and elevation of the new screen or gateway, before the front of the Admiralty...Robert Adams
  • Ref #:  40450
  • Size: 27 1/2in x 21in (700mm x 535mm)
  • Date : 1760
  • Condition: (A+) Fine Condition

Description:
This very large original antique print a view & plan of the Gateway to the Admiralty Building, Whitehall, London - designed by the great British architect Robert Adams - was engraved by Fredrick Patton in 1760 - the date is engraved on the plan - and sold by A. Miller in the Strand 1761, Price 2 shillings 6 pence. 

Adam, Robert (1728-1792) An important Scottish architect, born in Kirkaldy, son of the Edinburgh architect William Adam. His three brothers also worked in the architectural profession, and James and William Adam joined Robert Adam in the London-based family practice (the eldest brother, John Adam, like his father, was a Palladian architect and was based in Scotland). Robert Adam studied at Edinburgh University, and then set off on the Grand Tour in 1754, travelling through France and Italy, and returning after 4 years well versed in classical and Italian Renaissance architecture. His own work was mainly Classical, in a lighter style than the Palladians, and some Gothic castles. He became one of the two most important architects of the latter part of the 18th Century - the other being William Chambers.

In London, the Adams Brothers designed the Adelphi scheme (1768-1772), built in Westminster and based on a Thames-side terrace with a parallel row closer to the Strand, with a ladder of side streets between. It was largely demolished in the 1930s. A few remain, in John Adam Street, Robert Street and so forth, among which is the Royal Society of Arts, with an elegant Ionic frontage. The south and east sides of Fitzroy Square are also theirs.

A few of Robert Adam's town houses remain, including 20 Portman Square, 20 St James's Square, and Chandos House in Queen Anne Street. The majority of his work was on large country houses, usually altering existing ones rather than starting from scratch, and partly for this reason, he is particularly known today for his opulent interiors rather than exteriors. Around London we may mention Kenwood House, home of the Iveagh Collection of paintings, Osterley Park, and Syon House (near Kew). An early work of his is the facade for the Admiralty in Whitehall.

Among artists employed by Adam to decorate his interiors are the painter Angelica Kauffman, the sculptor John Flaxman, and the Italian painters Antonio Zucchi and Giovanni Cipriani. (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 27 1/2in x 21in (700mm x 535mm)
Plate size: - 25in x 16in (635mm x 635mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Small repairs to margin edges
Plate area: - Light vertical fold
Verso: - None

$425.00 USD
More Info
1724 Kip Large Antique Folio Print of Rochester Cathedral, Kent, England

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

  • TitleThe 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 finely engraved original large folio antique Cathedral print by Johnnes Kip (1653-1722) and 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:
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
More Info
1724 Kip Large Antique Folio Print of St Marys Church, The Strand, London

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

  • TitleThe 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 finely engraved original large folio antique Cathedral print by Johnnes Kip (1653-1722) and 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 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
More Info
1725 Kip Large Antique Print of the Holy Trinity Cathedral, Chichester, England

1725 Kip Large Antique Print of the Holy Trinity Cathedral, Chichester, England

  • TitleThe 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 finely engraved original large folio antique Cathedral print by Johnnes Kip (1653-1722) and 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 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
More Info
1720 Kip Large Folio Antique Print of Bath Cathedral, Somerset, England

1720 Kip Large Folio Antique Print of Bath Cathedral, Somerset, England

Description: 
This finely engraved original large folio antique Cathedral print by Johnnes Kip (1653-1722) and 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:
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
More Info
1724 Kip Large Antique Print of Chester Cathedral Church, Cheshire, England

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

Description: 
This finely engraved original large folio antique Cathedral print by Johnnes Kip (1653-1722) and 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:
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
More Info
1724 Kip Large Antique Folio Print of St Marys Church The Strand London England

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

  • TitleAdmodum 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 finely engraved original large folio antique Cathedral print by Johnnes Kip (1653-1722) and 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 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
More Info
1724 Kip Large Antique Folio Print of Peterborough Cathedral, England

1724 Kip Large Antique Folio Print of Peterborough Cathedral, England

Description: 
This finely engraved original large folio antique Cathedral print by Johnnes Kip (1653-1722) and 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:
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 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 Johnnes Kip (1653-1722) and 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 Kip Large Antique Folio Print of Gloucester Cathedral, England

1724 Kip Large Antique Folio Print of Gloucester Cathedral, England

  • TitleThe 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 finely engraved original large folio antique Cathedral print by Johnnes Kip (1653-1722) and 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.

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 a View of Carlisle Church in Cumbria, England

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

Description: 
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
1665 De Rossi & Falda Antique Architectural Print of Spada Palace in Rome Italy

1665 De Rossi & Falda Antique Architectural Print of Spada Palace in Rome Italy

Description: 
This beautifully engraved original antique architectural print, a plan of the Palace of the great 17th century Cardinal Spada located in Rome, Italy was engraved by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699.
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper.

Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna:
One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.

Il Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. ( Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

Giovanni Giacomo de Rossi (1627-1691) was an Italian engraver and printer, active in Rome in the second half of the 17th century.His father, Giuseppe de Rossi (1570-1639), was the founder of the most important and active printing press of the 17th century in Rome. The printing press begun in 1633, by Giuseppe de Rossi, and it passed firstly to Giovanni Giacomo and to his brother Giandomenico (1619-1653), and then later to Lorenzo Filippo (1682-?); in 1738 it became the Calcografia Camerale, from 1870 until 1945 the Regia Calcografica, and today it is known as the Calcografia Nazionale. Here are conserved, amongst many others, the plates of Giambattista Piranesi (1720-1778)

Giovanni Giacomo de Rossi was the most involved of all the various family members who ran the press, and he worked between 1638 and 1691, and was to take the company to the height of its success. The artists that he printed the etchings for included Giovanni Benedetto Castiglione (1609-1665), Pietro Testa (1612-1650) and Giovan Francesco Grimaldi (1606–1680)

Giovanni Battista Falda: Showing artistic gifts at an early age, Giovanni Battista Falda studied art in his native town under the painter, Francisco Ferrari. At the age of fourteen he traveled to Rome where he was soon employed by the publisher, Giacomo de Rossi. Concentrating almost solely upon architectural views, Falda's recorded opus runs to 298 original etchings. Most of these works of art are found in his three greatest sets of etchings, the Nuovo Teatro (1665-1669), The Gardens of Rome (1670), and The Fountains of Rome (1675). (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: -  
Paper size: - 18in x 14in (460mm x 360mm)
Margins: - Min 1/2in (12mm)

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

$125.00 USD
More Info
1665 De Rossi & Falda Antique Architectural Print of Poli Palace &Trevi Fountain

1665 De Rossi & Falda Antique Architectural Print of Poli Palace &Trevi Fountain

  • Title : Pianta Del Palazzo Del Duca Di Cere Alla Fontana Di Trevi
  • Date : 1665
  • Condition: (A+) Fine Condition
  • Ref:  91179
  • Size: 18in x 14in (460mm x 360mm) 

Description: 
This beautifully engraved original antique architectural Print of the Palace of the Dukes of Poli fronting the great Trevi Fountain located in Rome, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper.

Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna:
One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.

Il Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. ( Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

Giovanni Giacomo de Rossi (1627-1691) was an Italian engraver and printer, active in Rome in the second half of the 17th century.His father, Giuseppe de Rossi (1570-1639), was the founder of the most important and active printing press of the 17th century in Rome. The printing press begun in 1633, by Giuseppe de Rossi, and it passed firstly to Giovanni Giacomo and to his brother Giandomenico (1619-1653), and then later to Lorenzo Filippo (1682-?); in 1738 it became the Calcografia Camerale, from 1870 until 1945 the Regia Calcografica, and today it is known as the Calcografia Nazionale. Here are conserved, amongst many others, the plates of Giambattista Piranesi (1720-1778)

Giovanni Giacomo de Rossi was the most involved of all the various family members who ran the press, and he worked between 1638 and 1691, and was to take the company to the height of its success. The artists that he printed the etchings for included Giovanni Benedetto Castiglione (1609-1665), Pietro Testa (1612-1650) and Giovan Francesco Grimaldi (1606–1680)

Giovanni Battista Falda: Showing artistic gifts at an early age, Giovanni Battista Falda studied art in his native town under the painter, Francisco Ferrari. At the age of fourteen he traveled to Rome where he was soon employed by the publisher, Giacomo de Rossi. Concentrating almost solely upon architectural views, Falda's recorded opus runs to 298 original etchings. Most of these works of art are found in his three greatest sets of etchings, the Nuovo Teatro (1665-1669), The Gardens of Rome (1670), and The Fountains of Rome (1675). (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: -  
Paper size: - 18in x 14in (460mm x 360mm)
Margins: - Min 1/2in (12mm)

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

$125.00 USD
More Info
1665 De Rossi & Falda Antique Architectural Print of Monte Pincio Church in Rome

1665 De Rossi & Falda Antique Architectural Print of Monte Pincio Church in Rome

  • Title : Pianta Del Palazzo Del sermo gran Duca Di Toscana nel monte Pincio
  • Date : 1665
  • Condition: (A+) Fine Condition
  • Ref:  91180
  • Size: 18in x 14in (460mm x 360mm) 

Description: 
This finely engraved original antique architectural engraving a plan of the Francescan church at Monte Pincio Rome, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper.

Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna:
One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.

Il Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. ( Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

Giovanni Giacomo de Rossi (1627-1691) was an Italian engraver and printer, active in Rome in the second half of the 17th century.His father, Giuseppe de Rossi (1570-1639), was the founder of the most important and active printing press of the 17th century in Rome. The printing press begun in 1633, by Giuseppe de Rossi, and it passed firstly to Giovanni Giacomo and to his brother Giandomenico (1619-1653), and then later to Lorenzo Filippo (1682-?); in 1738 it became the Calcografia Camerale, from 1870 until 1945 the Regia Calcografica, and today it is known as the Calcografia Nazionale. Here are conserved, amongst many others, the plates of Giambattista Piranesi (1720-1778)

Giovanni Giacomo de Rossi was the most involved of all the various family members who ran the press, and he worked between 1638 and 1691, and was to take the company to the height of its success. The artists that he printed the etchings for included Giovanni Benedetto Castiglione (1609-1665), Pietro Testa (1612-1650) and Giovan Francesco Grimaldi (1606–1680)

Giovanni Battista Falda: Showing artistic gifts at an early age, Giovanni Battista Falda studied art in his native town under the painter, Francisco Ferrari. At the age of fourteen he traveled to Rome where he was soon employed by the publisher, Giacomo de Rossi. Concentrating almost solely upon architectural views, Falda's recorded opus runs to 298 original etchings. Most of these works of art are found in his three greatest sets of etchings, the Nuovo Teatro (1665-1669), The Gardens of Rome (1670), and The Fountains of Rome (1675). (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: -  
Paper size: - 18in x 14in (460mm x 360mm)
Margins: - Min 1/2in (12mm)

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

$125.00 USD
More Info
1665 De Rossi & Falda Antique Architectural Print of Madama Palace Rome, Italy

1665 De Rossi & Falda Antique Architectural Print of Madama Palace Rome, Italy

  • Title : Pianta Del Palazzo Del Ser G Duca Di Toscana in Piazza Madama
  • Date : 1665
  • Condition: (A+) Fine Condition
  • Ref:  91182
  • Size: 18in x 14in (460mm x 360mm) 

Description: 
This finely engraved original antique architectural print of the Madama Palace in Rome, Italy by Giovanni Battista Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper.

Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna:
One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.

Il Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. ( Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

Giovanni Giacomo de Rossi (1627-1691) was an Italian engraver and printer, active in Rome in the second half of the 17th century.His father, Giuseppe de Rossi (1570-1639), was the founder of the most important and active printing press of the 17th century in Rome. The printing press begun in 1633, by Giuseppe de Rossi, and it passed firstly to Giovanni Giacomo and to his brother Giandomenico (1619-1653), and then later to Lorenzo Filippo (1682-?); in 1738 it became the Calcografia Camerale, from 1870 until 1945 the Regia Calcografica, and today it is known as the Calcografia Nazionale. Here are conserved, amongst many others, the plates of Giambattista Piranesi (1720-1778)

Giovanni Giacomo de Rossi was the most involved of all the various family members who ran the press, and he worked between 1638 and 1691, and was to take the company to the height of its success. The artists that he printed the etchings for included Giovanni Benedetto Castiglione (1609-1665), Pietro Testa (1612-1650) and Giovan Francesco Grimaldi (1606–1680)

Giovanni Battista Falda: Showing artistic gifts at an early age, Giovanni Battista Falda studied art in his native town under the painter, Francisco Ferrari. At the age of fourteen he traveled to Rome where he was soon employed by the publisher, Giacomo de Rossi. Concentrating almost solely upon architectural views, Falda's recorded opus runs to 298 original etchings. Most of these works of art are found in his three greatest sets of etchings, the Nuovo Teatro (1665-1669), The Gardens of Rome (1670), and The Fountains of Rome (1675). (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: -  
Paper size: - 18in x 14in (460mm x 360mm)
Margins: - Min 1/2in (12mm)

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

$125.00 USD
More Info
1665 De Rossi & Falda Antique Architectural Print of Sachetti Palace Rome, Italy

1665 De Rossi & Falda Antique Architectural Print of Sachetti Palace Rome, Italy

Description: 
This finely engraved original antique architectural print of the Sachetti Palace in Rome, Italy by Giovanni Battista Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699.
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper.

Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna:
One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.

Il Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. ( Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

Giovanni Giacomo de Rossi (1627-1691) was an Italian engraver and printer, active in Rome in the second half of the 17th century.His father, Giuseppe de Rossi (1570-1639), was the founder of the most important and active printing press of the 17th century in Rome. The printing press begun in 1633, by Giuseppe de Rossi, and it passed firstly to Giovanni Giacomo and to his brother Giandomenico (1619-1653), and then later to Lorenzo Filippo (1682-?); in 1738 it became the Calcografia Camerale, from 1870 until 1945 the Regia Calcografica, and today it is known as the Calcografia Nazionale. Here are conserved, amongst many others, the plates of Giambattista Piranesi (1720-1778)

Giovanni Giacomo de Rossi was the most involved of all the various family members who ran the press, and he worked between 1638 and 1691, and was to take the company to the height of its success. The artists that he printed the etchings for included Giovanni Benedetto Castiglione (1609-1665), Pietro Testa (1612-1650) and Giovan Francesco Grimaldi (1606–1680)

Giovanni Battista Falda: Showing artistic gifts at an early age, Giovanni Battista Falda studied art in his native town under the painter, Francisco Ferrari. At the age of fourteen he traveled to Rome where he was soon employed by the publisher, Giacomo de Rossi. Concentrating almost solely upon architectural views, Falda's recorded opus runs to 298 original etchings. Most of these works of art are found in his three greatest sets of etchings, the Nuovo Teatro (1665-1669), The Gardens of Rome (1670), and The Fountains of Rome (1675). (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: -  
Paper size: - 18in x 14in (460mm x 360mm)
Margins: - Min 1/2in (12mm)

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

$125.00 USD
More Info
1665 De Rossi & Falda Antique Architectural Print Silvestri Palace Milan, Italy

1665 De Rossi & Falda Antique Architectural Print Silvestri Palace Milan, Italy

Description: 
This finely engraved original antique architectural print of the Casa Fontana Silvestri Palace in Milan, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699. These original prints are published on beautiful heavy clean original 17th century laid Italian made paper.

Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna:
One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.

Il Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. ( Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

Giovanni Giacomo de Rossi (1627-1691) was an Italian engraver and printer, active in Rome in the second half of the 17th century.His father, Giuseppe de Rossi (1570-1639), was the founder of the most important and active printing press of the 17th century in Rome. The printing press begun in 1633, by Giuseppe de Rossi, and it passed firstly to Giovanni Giacomo and to his brother Giandomenico (1619-1653), and then later to Lorenzo Filippo (1682-?); in 1738 it became the Calcografia Camerale, from 1870 until 1945 the Regia Calcografica, and today it is known as the Calcografia Nazionale. Here are conserved, amongst many others, the plates of Giambattista Piranesi (1720-1778)

Giovanni Giacomo de Rossi was the most involved of all the various family members who ran the press, and he worked between 1638 and 1691, and was to take the company to the height of its success. The artists that he printed the etchings for included Giovanni Benedetto Castiglione (1609-1665), Pietro Testa (1612-1650) and Giovan Francesco Grimaldi (1606–1680)

Giovanni Battista Falda: Showing artistic gifts at an early age, Giovanni Battista Falda studied art in his native town under the painter, Francisco Ferrari. At the age of fourteen he traveled to Rome where he was soon employed by the publisher, Giacomo de Rossi. Concentrating almost solely upon architectural views, Falda's recorded opus runs to 298 original etchings. Most of these works of art are found in his three greatest sets of etchings, the Nuovo Teatro (1665-1669), The Gardens of Rome (1670), and The Fountains of Rome (1675). (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: -  
Paper size: - 18in x 14in (460mm x 360mm)
Margins: - Min 1/2in (12mm)

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

$125.00 USD
More Info
1665 De Rossi & Falda Antique Architectural Print of Massimi Palace, Rome, Italy

1665 De Rossi & Falda Antique Architectural Print of Massimi Palace, Rome, Italy

  • Title : Pianta Di Tutto il Palazzo Dell Em Sig. Card. Camillo Massimi
  • Date : 1665
  • Condition: (A+) Fine Condition
  • Ref:  91186
  • Size: 18in x 14in (460mm x 360mm) 

Description: 
This finely engraved original antique architectural print of the Massimi Palace in Rome, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699.
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper

Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna:
One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.

Il Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. ( Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

Giovanni Giacomo de Rossi (1627-1691) was an Italian engraver and printer, active in Rome in the second half of the 17th century.His father, Giuseppe de Rossi (1570-1639), was the founder of the most important and active printing press of the 17th century in Rome. The printing press begun in 1633, by Giuseppe de Rossi, and it passed firstly to Giovanni Giacomo and to his brother Giandomenico (1619-1653), and then later to Lorenzo Filippo (1682-?); in 1738 it became the Calcografia Camerale, from 1870 until 1945 the Regia Calcografica, and today it is known as the Calcografia Nazionale. Here are conserved, amongst many others, the plates of Giambattista Piranesi (1720-1778)

Giovanni Giacomo de Rossi was the most involved of all the various family members who ran the press, and he worked between 1638 and 1691, and was to take the company to the height of its success. The artists that he printed the etchings for included Giovanni Benedetto Castiglione (1609-1665), Pietro Testa (1612-1650) and Giovan Francesco Grimaldi (1606–1680)

Giovanni Battista Falda: Showing artistic gifts at an early age, Giovanni Battista Falda studied art in his native town under the painter, Francisco Ferrari. At the age of fourteen he traveled to Rome where he was soon employed by the publisher, Giacomo de Rossi. Concentrating almost solely upon architectural views, Falda's recorded opus runs to 298 original etchings. Most of these works of art are found in his three greatest sets of etchings, the Nuovo Teatro (1665-1669), The Gardens of Rome (1670), and The Fountains of Rome (1675). (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: -  
Paper size: - 18in x 14in (460mm x 360mm)
Margins: - Min 1/2in (12mm)

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

$125.00 USD
More Info
1665 De Rossi & Falda Antique Architectural Print Alfieri Asti Palace Monferrato

1665 De Rossi & Falda Antique Architectural Print Alfieri Asti Palace Monferrato

Description: 
This finely engraved original antique architectural engraving a plan of the Alfieri (Asti) Palace in Monferrato, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699.
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper.

Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna:
One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.

Il Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. ( Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

Giovanni Giacomo de Rossi (1627-1691) was an Italian engraver and printer, active in Rome in the second half of the 17th century.His father, Giuseppe de Rossi (1570-1639), was the founder of the most important and active printing press of the 17th century in Rome. The printing press begun in 1633, by Giuseppe de Rossi, and it passed firstly to Giovanni Giacomo and to his brother Giandomenico (1619-1653), and then later to Lorenzo Filippo (1682-?); in 1738 it became the Calcografia Camerale, from 1870 until 1945 the Regia Calcografica, and today it is known as the Calcografia Nazionale. Here are conserved, amongst many others, the plates of Giambattista Piranesi (1720-1778)

Giovanni Giacomo de Rossi was the most involved of all the various family members who ran the press, and he worked between 1638 and 1691, and was to take the company to the height of its success. The artists that he printed the etchings for included Giovanni Benedetto Castiglione (1609-1665), Pietro Testa (1612-1650) and Giovan Francesco Grimaldi (1606–1680)

Giovanni Battista Falda: Showing artistic gifts at an early age, Giovanni Battista Falda studied art in his native town under the painter, Francisco Ferrari. At the age of fourteen he traveled to Rome where he was soon employed by the publisher, Giacomo de Rossi. Concentrating almost solely upon architectural views, Falda's recorded opus runs to 298 original etchings. Most of these works of art are found in his three greatest sets of etchings, the Nuovo Teatro (1665-1669), The Gardens of Rome (1670), and The Fountains of Rome (1675). (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: -  
Paper size: - 18in x 14in (460mm x 360mm)
Margins: - Min 1/2in (12mm)

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

$125.00 USD
More Info
1665 De Rossi & Falda Antique Architectural Print Falconieri Palace, Rome, Italy

1665 De Rossi & Falda Antique Architectural Print Falconieri Palace, Rome, Italy

Description: 
This finely engraved original antique architectural engraving a plan of the Falconieri Palace Rome, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699.
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper

Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna:
One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.

Il Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. ( Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

Giovanni Giacomo de Rossi (1627-1691) was an Italian engraver and printer, active in Rome in the second half of the 17th century.His father, Giuseppe de Rossi (1570-1639), was the founder of the most important and active printing press of the 17th century in Rome. The printing press begun in 1633, by Giuseppe de Rossi, and it passed firstly to Giovanni Giacomo and to his brother Giandomenico (1619-1653), and then later to Lorenzo Filippo (1682-?); in 1738 it became the Calcografia Camerale, from 1870 until 1945 the Regia Calcografica, and today it is known as the Calcografia Nazionale. Here are conserved, amongst many others, the plates of Giambattista Piranesi (1720-1778)

Giovanni Giacomo de Rossi was the most involved of all the various family members who ran the press, and he worked between 1638 and 1691, and was to take the company to the height of its success. The artists that he printed the etchings for included Giovanni Benedetto Castiglione (1609-1665), Pietro Testa (1612-1650) and Giovan Francesco Grimaldi (1606–1680)

Giovanni Battista Falda: Showing artistic gifts at an early age, Giovanni Battista Falda studied art in his native town under the painter, Francisco Ferrari. At the age of fourteen he traveled to Rome where he was soon employed by the publisher, Giacomo de Rossi. Concentrating almost solely upon architectural views, Falda's recorded opus runs to 298 original etchings. Most of these works of art are found in his three greatest sets of etchings, the Nuovo Teatro (1665-1669), The Gardens of Rome (1670), and The Fountains of Rome (1675). (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: -  
Paper size: - 18in x 14in (460mm x 360mm)
Margins: - Min 1/2in (12mm)

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

$125.00 USD
More Info
1665 De Rossi & Falda Antique Architectural Print Barberini Palace, Rome Italy

1665 De Rossi & Falda Antique Architectural Print Barberini Palace, Rome Italy

Description: 
This finely engraved original antique architectural engraving a plan of Barberini Palace Rome, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699.
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper inlaid with a Fleur-de-Lis watermark

Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna:
One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.

Il Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. ( Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

Giovanni Giacomo de Rossi (1627-1691) was an Italian engraver and printer, active in Rome in the second half of the 17th century.His father, Giuseppe de Rossi (1570-1639), was the founder of the most important and active printing press of the 17th century in Rome. The printing press begun in 1633, by Giuseppe de Rossi, and it passed firstly to Giovanni Giacomo and to his brother Giandomenico (1619-1653), and then later to Lorenzo Filippo (1682-?); in 1738 it became the Calcografia Camerale, from 1870 until 1945 the Regia Calcografica, and today it is known as the Calcografia Nazionale. Here are conserved, amongst many others, the plates of Giambattista Piranesi (1720-1778)

Giovanni Giacomo de Rossi was the most involved of all the various family members who ran the press, and he worked between 1638 and 1691, and was to take the company to the height of its success. The artists that he printed the etchings for included Giovanni Benedetto Castiglione (1609-1665), Pietro Testa (1612-1650) and Giovan Francesco Grimaldi (1606–1680)

Giovanni Battista Falda: Showing artistic gifts at an early age, Giovanni Battista Falda studied art in his native town under the painter, Francisco Ferrari. At the age of fourteen he traveled to Rome where he was soon employed by the publisher, Giacomo de Rossi. Concentrating almost solely upon architectural views, Falda's recorded opus runs to 298 original etchings. Most of these works of art are found in his three greatest sets of etchings, the Nuovo Teatro (1665-1669), The Gardens of Rome (1670), and The Fountains of Rome (1675). (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: -  
Paper size: - 18in x 14in (460mm x 360mm)
Margins: - Min 1/2in (12mm)

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

$125.00 USD
More Info
1665 De Rossi & Falda Antique Architectural Print Alesandrino Palace Rome, Italy

1665 De Rossi & Falda Antique Architectural Print Alesandrino Palace Rome, Italy

  • Title : Pianta Del Palazzo Del Cardinale Alesandrino a SS Apostoli
  • Date : 1665
  • Condition: (A+) Fine Condition
  • Ref:  91183
  • Size: 18in x 14in (460mm x 360mm) 

Description: 
This finely engraved original antique architectural engraving a plan of the Alesandrino Palace in Rome, Italy by Giovanni Battista Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper inlaid with a Fleur-de-Lis watermark

Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna:
One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.

Il Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. ( Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

Giovanni Giacomo de Rossi (1627-1691) was an Italian engraver and printer, active in Rome in the second half of the 17th century.His father, Giuseppe de Rossi (1570-1639), was the founder of the most important and active printing press of the 17th century in Rome. The printing press begun in 1633, by Giuseppe de Rossi, and it passed firstly to Giovanni Giacomo and to his brother Giandomenico (1619-1653), and then later to Lorenzo Filippo (1682-?); in 1738 it became the Calcografia Camerale, from 1870 until 1945 the Regia Calcografica, and today it is known as the Calcografia Nazionale. Here are conserved, amongst many others, the plates of Giambattista Piranesi (1720-1778)

Giovanni Giacomo de Rossi was the most involved of all the various family members who ran the press, and he worked between 1638 and 1691, and was to take the company to the height of its success. The artists that he printed the etchings for included Giovanni Benedetto Castiglione (1609-1665), Pietro Testa (1612-1650) and Giovan Francesco Grimaldi (1606–1680)

Giovanni Battista Falda: Showing artistic gifts at an early age, Giovanni Battista Falda studied art in his native town under the painter, Francisco Ferrari. At the age of fourteen he traveled to Rome where he was soon employed by the publisher, Giacomo de Rossi. Concentrating almost solely upon architectural views, Falda's recorded opus runs to 298 original etchings. Most of these works of art are found in his three greatest sets of etchings, the Nuovo Teatro (1665-1669), The Gardens of Rome (1670), and The Fountains of Rome (1675). (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: -  
Paper size: - 18in x 14in (460mm x 360mm)
Margins: - Min 1/2in (12mm)

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

$125.00 USD
More Info
1665 De Rossi, Falda Antique Architectural Print Giustiniani Palace Venice Italy

1665 De Rossi, Falda Antique Architectural Print Giustiniani Palace Venice Italy

  • Title : Pianta Del Palazzo Dell Ecc. Sig. Prencipe Giustiniani
  • Date : 1665
  • Condition: (A+) Fine Condition
  • Ref:  91188
  • Size: 18in x 14in (460mm x 360mm) 

Description: 
This finely engraved original antique architectural engraving a plan of the Giustiniani Palace in Venice, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699.
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper inlaid with a Fleur-de-Lis watermark.

Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna:
One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.

Il Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. ( Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

Giovanni Giacomo de Rossi (1627-1691) was an Italian engraver and printer, active in Rome in the second half of the 17th century.His father, Giuseppe de Rossi (1570-1639), was the founder of the most important and active printing press of the 17th century in Rome. The printing press begun in 1633, by Giuseppe de Rossi, and it passed firstly to Giovanni Giacomo and to his brother Giandomenico (1619-1653), and then later to Lorenzo Filippo (1682-?); in 1738 it became the Calcografia Camerale, from 1870 until 1945 the Regia Calcografica, and today it is known as the Calcografia Nazionale. Here are conserved, amongst many others, the plates of Giambattista Piranesi (1720-1778)

Giovanni Giacomo de Rossi was the most involved of all the various family members who ran the press, and he worked between 1638 and 1691, and was to take the company to the height of its success. The artists that he printed the etchings for included Giovanni Benedetto Castiglione (1609-1665), Pietro Testa (1612-1650) and Giovan Francesco Grimaldi (1606–1680)

Giovanni Battista Falda: Showing artistic gifts at an early age, Giovanni Battista Falda studied art in his native town under the painter, Francisco Ferrari. At the age of fourteen he traveled to Rome where he was soon employed by the publisher, Giacomo de Rossi. Concentrating almost solely upon architectural views, Falda's recorded opus runs to 298 original etchings. Most of these works of art are found in his three greatest sets of etchings, the Nuovo Teatro (1665-1669), The Gardens of Rome (1670), and The Fountains of Rome (1675). (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: -  
Paper size: - 18in x 14in (460mm x 360mm)
Margins: - Min 1/2in (12mm)

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

$125.00 USD
More Info
1650 De Rossi & Falda Antique Architectural Print of Lancello Palace Rome, Italy

1650 De Rossi & Falda Antique Architectural Print of Lancello Palace Rome, Italy

Description: 
This finely engraved original antique architectural engraving a plan of the Lancello Palace in Rome, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699.
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper inlaid with a Fleur-de-Lis watermark.

Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna:
One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.

Il Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. ( Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

Giovanni Giacomo de Rossi (1627-1691) was an Italian engraver and printer, active in Rome in the second half of the 17th century.His father, Giuseppe de Rossi (1570-1639), was the founder of the most important and active printing press of the 17th century in Rome. The printing press begun in 1633, by Giuseppe de Rossi, and it passed firstly to Giovanni Giacomo and to his brother Giandomenico (1619-1653), and then later to Lorenzo Filippo (1682-?); in 1738 it became the Calcografia Camerale, from 1870 until 1945 the Regia Calcografica, and today it is known as the Calcografia Nazionale. Here are conserved, amongst many others, the plates of Giambattista Piranesi (1720-1778)

Giovanni Giacomo de Rossi was the most involved of all the various family members who ran the press, and he worked between 1638 and 1691, and was to take the company to the height of its success. The artists that he printed the etchings for included Giovanni Benedetto Castiglione (1609-1665), Pietro Testa (1612-1650) and Giovan Francesco Grimaldi (1606–1680)

Giovanni Battista Falda: Showing artistic gifts at an early age, Giovanni Battista Falda studied art in his native town under the painter, Francisco Ferrari. At the age of fourteen he traveled to Rome where he was soon employed by the publisher, Giacomo de Rossi. Concentrating almost solely upon architectural views, Falda's recorded opus runs to 298 original etchings. Most of these works of art are found in his three greatest sets of etchings, the Nuovo Teatro (1665-1669), The Gardens of Rome (1670), and The Fountains of Rome (1675). (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: -  
Paper size: - 18in x 14in (460mm x 360mm)
Margins: - Min 1/2in (12mm)

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

$125.00 USD
More Info
1665 De Rossi & Falda Antique Architectural Print of Mellini Palace, Rome, Italy

1665 De Rossi & Falda Antique Architectural Print of Mellini Palace, Rome, Italy

Description: 
This finely engraved original antique architectural engraving a plan of the Mellini Palace in Rome, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699.
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper inlaid with a Fleur-de-Lis watermark.

Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna:
One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.

Il Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. ( Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

Giovanni Giacomo de Rossi (1627-1691) was an Italian engraver and printer, active in Rome in the second half of the 17th century.His father, Giuseppe de Rossi (1570-1639), was the founder of the most important and active printing press of the 17th century in Rome. The printing press begun in 1633, by Giuseppe de Rossi, and it passed firstly to Giovanni Giacomo and to his brother Giandomenico (1619-1653), and then later to Lorenzo Filippo (1682-?); in 1738 it became the Calcografia Camerale, from 1870 until 1945 the Regia Calcografica, and today it is known as the Calcografia Nazionale. Here are conserved, amongst many others, the plates of Giambattista Piranesi (1720-1778)

Giovanni Giacomo de Rossi was the most involved of all the various family members who ran the press, and he worked between 1638 and 1691, and was to take the company to the height of its success. The artists that he printed the etchings for included Giovanni Benedetto Castiglione (1609-1665), Pietro Testa (1612-1650) and Giovan Francesco Grimaldi (1606–1680)

Giovanni Battista Falda: Showing artistic gifts at an early age, Giovanni Battista Falda studied art in his native town under the painter, Francisco Ferrari. At the age of fourteen he traveled to Rome where he was soon employed by the publisher, Giacomo de Rossi. Concentrating almost solely upon architectural views, Falda's recorded opus runs to 298 original etchings. Most of these works of art are found in his three greatest sets of etchings, the Nuovo Teatro (1665-1669), The Gardens of Rome (1670), and The Fountains of Rome (1675). (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: -  
Paper size: - 18in x 14in (460mm x 360mm)
Margins: - Min 1/2in (12mm)

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

$125.00 USD
More Info
1665 De Rossi & Falda Antique Architectural Print Santo Spirito Palace, Florence

1665 De Rossi & Falda Antique Architectural Print Santo Spirito Palace, Florence

Description: 
This finely engraved original antique architectural engraving a plan of the Santo Spirito Palace in Florence, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper inlaid with a Fleur-de-Lis watermark

Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna:
One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.

Il Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. ( Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

Giovanni Giacomo de Rossi (1627-1691) was an Italian engraver and printer, active in Rome in the second half of the 17th century.His father, Giuseppe de Rossi (1570-1639), was the founder of the most important and active printing press of the 17th century in Rome. The printing press begun in 1633, by Giuseppe de Rossi, and it passed firstly to Giovanni Giacomo and to his brother Giandomenico (1619-1653), and then later to Lorenzo Filippo (1682-?); in 1738 it became the Calcografia Camerale, from 1870 until 1945 the Regia Calcografica, and today it is known as the Calcografia Nazionale. Here are conserved, amongst many others, the plates of Giambattista Piranesi (1720-1778)

Giovanni Giacomo de Rossi was the most involved of all the various family members who ran the press, and he worked between 1638 and 1691, and was to take the company to the height of its success. The artists that he printed the etchings for included Giovanni Benedetto Castiglione (1609-1665), Pietro Testa (1612-1650) and Giovan Francesco Grimaldi (1606–1680)

Giovanni Battista Falda: Showing artistic gifts at an early age, Giovanni Battista Falda studied art in his native town under the painter, Francisco Ferrari. At the age of fourteen he traveled to Rome where he was soon employed by the publisher, Giacomo de Rossi. Concentrating almost solely upon architectural views, Falda's recorded opus runs to 298 original etchings. Most of these works of art are found in his three greatest sets of etchings, the Nuovo Teatro (1665-1669), The Gardens of Rome (1670), and The Fountains of Rome (1675). (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: -  
Paper size: - 18in x 14in (460mm x 360mm)
Margins: - Min 1/2in (12mm)

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

$125.00 USD
More Info
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

$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. 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:  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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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
More Info
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
More Info
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
More Info
1750 Large Antique Print of a Roman God or Emperor heavy Laid 18th century Paper

1750 Large Antique Print of a Roman God or Emperor heavy Laid 18th century Paper

Description: 
This large fine copper-plate engraved original antique print of a Roman God or Emperor - on heavy laid 18th century rag paper - was published in the mid 18th century. (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 19in x 12in (485mm x 305mm)
Paper size: - 16in x 10 1/2in (410mm x 270mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Light soiling and spotting to margins
Plate area: - None
Verso: - None

$99.00 USD
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1757 Abraham Swan Large Antique Print of 18th century Architect Design

1757 Abraham Swan Large Antique Print of 18th century Architect Design

  • Title : Ab. Swan Archt. Published aaccording to Act July 1757. Thomas Miller Sculpt.
  • Date : 1757
  • Condition: (A+) Fine Condition
  • Ref:  70538
  • Size: 15 1/2in x 10in (395mm x 255mm)

Description: 
This fine original antique print of two interior architectural designs by the 18th century architect Abraham Swan was engraved by Thomas Miller in 1757 - the date is engraved at the foot of the print - and was published in Swans  A collection of designs in architecture : containing new plans and elevations of houses, for general use. 1757(Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: -  
Colors used: -  
General color appearance: -  
Paper size: - 15 1/2in x 10in (395mm x 255mm)
Plate size: - 14in x 8in (355mm x 205mm)
Margins: - Min 1/2in (12mm)

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

$75.00 USD
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1757 Abraham Swan Antique Architect Print of Ornate 18th century Bridges

1757 Abraham Swan Antique Architect Print of Ornate 18th century Bridges

  • Title : Ab. Swan Archt. Published aaccording to Act Nov 14th 1757. In. Addison Sculpt.
  • Date : 1757
  • Condition: (A) Very Good Condition
  • Ref:  70539
  • Size: 15 1/2in x 10in (395mm x 255mm)

Description: 
This fine original antique print of two interior architectural designs by the 18th century architect Abraham Swan was engraved by Thomas Miller in 1757 - the date is engraved at the foot of the print - and was published in Swans  A collection of designs in architecture : containing new plans and elevations of houses, for general use. 1757(Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: -  
Colors used: -  
General color appearance: -  
Paper size: - 15 1/2in x 10in (395mm x 255mm)
Plate size: - 14in x 8in (355mm x 205mm)
Margins: - Min 1/2in (12mm)

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

$75.00 USD
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1756 Maitland Large Antique Print of Bethlehem or Bedlam Hospital, London

1756 Maitland Large Antique Print of Bethlehem or Bedlam Hospital, London

Description: 
This large hand coloured original antique hand coloured antique print of Bethlehem Hospital, London was engarved by William Toms and published in 1756 edition of William Maitland's The History and Survey of London From Its Foundation to the Present Time.

Background: London’s Bethlem Royal Hospital, long called Bedlam, is one of the oldest mental institutions in the world. It was founded by Christians in 1247 to shelter and care for homeless people, but gradually began to focus on those considered ‘mad’. Patients did not often stay longer than 12 months. Ex-patients were called ‘Bedlamites’ and were licensed to beg on main routes between towns. Bedlam came under the control of the City of London in 1547. It was the only public mental institution in England until well into the 1800s. 

Despite its large reputation, Bedlam remained small for centuries - there were no more than 24 patients in 1620. Its location near the walls of London (on land now occupied by Liverpool Street Station) and status as a public institution ensured a stream of visitors eager to view ‘madness’. In 1676 Bedlam moved to a new and larger building at Moorfields with a baroque facade by natural philosopher Robert Hooke that was designed to impress visitors. Commentators have noted visitors and artists often projected onto Bedlam their hopes and fears about ‘madness’. 

Bedlam’s high profile saw it repeatedly criticised and mired in scandal. Some of its most outspoken patients were confined because their political enemies wanted to silence or discredit them. Government inquiries into the abuse of Bedlam patients inspired reforms in the 1700s and 1800s. ‘Bedlam’ came to describe any out-of-control situation. 

The hospital moved again in 1815 to improve patient conditions. It was further away from the city centre, so patients had more space for indoor and outdoor activities. This was central to moral treatment. In 1930 it moved to its current home, a large campus in the London suburbs housing patients in small, separate, home-like buildings rather than a single fortress-like structure. Bethlem Royal Hospital is now a research and treatment centre, and its small museum holds a renowned collection of art made by people diagnosed with mental illness.

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - Original
Colors used: - Red, yellow, black, gold 
General color appearance: -  Authentic
Paper size: - 16 1/4in x 10in (410mm x 250mm)
Plate size: - 15in x 8 1/2in (385mm x 210mm)
Margins: - Min 1/2in (12mm)

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

$75.00 USD
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1765 Isaac Tirion Antique Print of an Alms House in Amsterdam, Holland

1765 Isaac Tirion Antique Print of an Alms House in Amsterdam, Holland

  • Title : Het Oude-Zyds-Huiszitten-Aalmoesseniers-Huis, van agteren.
  • Date : 1765
  • Condition: (A+) Fine Condition
  • Ref:  Het1
  • Size: 9in x 6in (230mm x 150mm)

Description: 
This beautifully hand coloured original antique print of an Alms House in Amsterdam was published by Isaac Tirion in the 1765 edition ofTopografie van Nederland. (Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - off white
Age of map color: - Early
Colors used: - Green, pink, yellow
General color appearance: - Authentic
Paper size: - 9in x 6in (230mm x 150mm)
Plate size: - 8 1/2in x 5 1/2in (215mm x 140mm)
Margins: - Min 1/4in (5mm)

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

$75.00 USD
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