Prints (7)
1683 Daniel King & William Dugdale Antique Print of Old St Pauls Cathedral London - Pre Great Fire
- Title : Ecclesiae Cathedralis Sti Pauli facies Aquilonaris / The North Prospect of ye Cathedral Church of St Paul in London
- Date : 1683
- Condition: (A+) Fine Condition
- Ref # : 16365
- Size : 15 1/2in x 13 1/2in (395mm x 340mm)
Description:
This fine original copper-pate antique print of the old St Pauls Cathedral London, was engraved by Daniel King prior to the Great Fire of London in 1666 and was published by Sir William Dugdale in the 1683 edition of Monasticon Anglicanum: A History of the Abbies and other Monasteries, Hospitals, Frieries, and Cathedral and Collegiate Churches, with their Dependencies, in England and Wales.
General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15 1/2in x 13 1/2in (395mm x 340mm)
Plate size: - 14 1/2in x 9in (370mm x 230mm)
Margins: - Min 1/2in (12mm)
Imperfections:
Margins: - None
Plate area: - Folds as issued, small repair to bottom of page not affecting the image
Verso: - None
Background: Old St Paul's Cathedral was the medieval cathedral of the City of London that, until 1666, stood on the site of the present St Paul's Cathedral. Built in 1087–1314 and dedicated to Saint Paul, the cathedral was the fourth church on the site at Ludgate Hill. Work began during the reign of William the Conqueror after a fire in 1087 that destroyed much of the city. Work took more than 200 years, and construction was delayed by another fire in 1135. The church was consecrated in 1240 and enlarged again in 1256 and the early 14th century. At its completion in the middle of the 14th century, the cathedral was one of the longest churches in the world and had one of the tallest spires and some of the finest stained glass.
The presence of the shrine of Saint Erkenwald made the cathedral a pilgrimage site during the Medieval period. In addition to serving as the seat of the Diocese of London, the building developed a reputation as a hub of the City of London, with the nave aisle, "Paul's walk", known as a centre for business and the London grapevine. After the Reformation, the open-air pulpit in the churchyard, St Paul's Cross, became the stage for radical evangelical preaching and Protestant bookselling.
The cathedral was already severely in decline by the 17th century. Restoration work by Inigo Jones in the 1620s was halted by the English Civil War. Sir Christopher Wren was attempting another restoration in 1666 when the cathedral was destroyed in the Great Fire of London. After demolition of the old structure, the present, domed cathedral was erected on the site, with an English Baroque design by Wren
Sir William Dugdale 1605-1686 was an English antiquary and herald. As a scholar he was influential in the development of medieval history as an academic subject.
1821 Charles Hullmandel & Francis Nicholson Antique Print of Bridge St, Chester
- Title : Bridge Street, Chester....Printed by C Hullmandel....F. N. 1821
- Size: 16 1/2in x 12 1/2in (420mm x 315mm)
- Condition: (A) Good Condition
- Date : 1821
- Ref #: 26350
Description:
This scarce, fine early lithograph of Bridge St in the city of Chester, England by the British artist Francis Nicholson was print by the Charles Joseph Hullmandel in 1821 - dated at the foot of the print.
General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 16 1/2in x 12 1/2in (420mm x 315mm)
Plate size: - 16 1/2in x 12 1/2in (420mm x 315mm)
Margins: - Min 1in (25mm)
Imperfections:
Margins: - Soiling, repair to top & bottom margin, no loss
Plate area: - None
Verso: - Soiling
Background:
Francis Nicholson 1753 – 1844 was a British artist, born in Pickering, North Yorkshire. He worked in watercolour and oil, and is mainly known as a landscape artist.
Nicholson studied with a local artist in Scarborough, before beginning his career in his native Pickering, producing sporting pictures and portraits for a variety of Yorkshire patrons. By the mid-1780s he was also making paintings of country houses, leading him to concentrate on landscapes in watercolour.
From 1789, he contributed views of both Yorkshire and Scotland to exhibitions at the Royal Academy. He also supplied topographical views for the Copper Plate Magazine.
He contributed Views of England in collaboration with the engraver Francis Jukes to The Beauties of England and Wales, Author: Britton, John & Edward Wedlake Brayley - A book published in 18 volumes from 1801 to 1815.
Although his market increasingly became London-based, Nicholson continued to live in Yorkshire - at Whitby, Knaresborough and Ripon. He did not move to London until about 1803. In 1804, he became a founder-member of the Society of Painters in Watercolours, and was a regular and prolific contributor to its exhibitions.
He wrote a handbook, The practice of drawing and painting landscape from nature, in water colours, which was published in 1820. It sold out and a second edition followed in 1823.
His c. 1837 self-portrait is in the National Portrait Gallery. & is known as the Father of water colour painting and also as an early pioneer of lithography, and was much admired by Turner.
Nicholson died in London and is buried there in Brompton Cemetery.
Hullmandel, Charles Joseph 1789 – 1850
Hullmandel was born in London, where he maintained a lithographic establishment on Great Marlborough Street from about 1819 until his death.
He was born in Queen Street, Mayfair. His father was a German-speaking musician and composer, Nicolaus Joseph Hüllmandel (1751–1823), a native of Strasbourg who became a pupil of C. P. E. Bach and from 1780 spent ten years as a fashionable music teacher in Paris. In 1787 he married a Mademoiselle du Cazan, who was of a noble French family, and in 1789 sent his wife to England, following her in 1790, as the French Revolution unfolded.
As a young man, Charles Hullmandel studied art and spent several years living and working in continental Europe. He learned printmaking and printed many of his own works. In 1818, he set up a printing press in London after a visit to Munich with Rudolph Ackermann and went on to study chemistry under Michael Faraday for the purpose of improving his printing.
During the first half of the 19th century Hullmandel became one of the most important figures in the development of British lithography, and his name appears on the imprints of thousands of lithographic prints. He developed a method for reproducing gradations in tones and for creating the effect of soft colour washes which enabled the printed reproduction of Romantic landscape paintings of the type made popular in England by J. M. W. Turner. Hullmandel\\\'s essay The Art of Drawing on Stone (1824) was an important handbook of lithography. In 1843 he went into partnership with Joseph Fowell Walton (born 1812, living 1863), a cousin of the landscape artist and lithographer W. L. Walton, the firm then becoming known as Hullmandel & Walton.
1760 Vue D Optic Large Antique Print View of Cheapside, London St Mary le Bow
- Title : Prospectus majoris viae, et Ecclesiae Sanctae Mariae in Londino; 25c Vue D Optique Representatnt; Le Grande Rue, et L Englise St Marie de Londres
- Ref : 43197
- Size: 18in x 13in (460mm x 330mm)
- Date : 1756
- Condition: (A) Very Good Condition
Description:
This hand coloured original antique print, a view of Cheapside and St Marys Le Bow, London was published as part of the Vues d’Optique in 1760.
St Mary-le-Bow is an historic church rebuilt after the Great Fire of 1666 by Sir Christopher Wren in the City of London on the main east–west thoroughfare, Cheapside. According to tradition a true Cockney must be born within earshot of the sound of Bow Bells (which refers to this church's bells rather than St Mary and Holy Trinity, Bow Road, in Bow, an outlying village until the 19th century.
Vues d'Optique or Perspective Views: Perspective views, or "vues d'optique," are a special type of popular print published in Europe during the 18th century. These prints provided a form of entertainment when viewed through a device called an "optical machine" or an "optique." The most characteristic feature of the perspective views is their emphasized linear perspective, done to further intensify the enhanced appearance of depth and illusionistic space in the prints when viewed through an optique. When displayed in the optique, the prints might transport the viewer into a far away place---an unknown city, or perhaps into the midst of a dramatic bit of contemporary history. Another attribute of these prints is their bright, often heavy hand coloring, applied boldly so as to show the tints when viewed through the lens.
A number of perspective prints depicted American scenes at the time of the Revolution for a European audience hungry for news of the events in the British colonies. As documents of American history and European printmaking, these are unusual and appealing eighteenth-century prints. (Ref: M&B; Tooley)
General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original
Colors used: - Blue, yellow, green, red
General color appearance: - Authentic & bright
Paper size: - 18in x 13in (460mm x 330mm)
Plate size: - 16 1/2in x 10in (420mm x 255mm)
Margins: - Min 1in (25mm)
Imperfections:
Margins: - Repair to top margin, no loss
Plate area: - None
Verso: - None
1760 Vue D Optic Large Antique Print View of Old Somerset House, Thames London
- Title : Vue du Palias Royal Somerset du cote de la Thamise
- Ref : 26261
- Size: 16in x 9 1/2in (405mm x 240mm)
- Date : 1756
- Condition: (B) Good Condition
Description:
This hand coloured original antique print, a view of the old Somerset House, prior to the late 18th century refurbishment, on the River Thames, London was published as part of the Vues d’Optique in 1760.
Somerset House is a large Neoclassical building situated on the south side of the Strand in central London, overlooking the River Thames, just east of Waterloo Bridge. The building, originally the site of a Tudor Palace was designed by Sir William Chambers in 1776, and further extended with Victorian wings to the east and west in 1831 and 1856 respectively. The East Wing forms part of the adjacent Strand campus of King's College London
Vues d'Optique or Perspective Views: Perspective views, or "vues d'optique," are a special type of popular print published in Europe during the 18th century. These prints provided a form of entertainment when viewed through a device called an "optical machine" or an "optique." The most characteristic feature of the perspective views is their emphasized linear perspective, done to further intensify the enhanced appearance of depth and illusionistic space in the prints when viewed through an optique. When displayed in the optique, the prints might transport the viewer into a far away place---an unknown city, or perhaps into the midst of a dramatic bit of contemporary history. Another attribute of these prints is their bright, often heavy hand coloring, applied boldly so as to show the tints when viewed through the lens.
A number of perspective prints depicted American scenes at the time of the Revolution for a European audience hungry for news of the events in the British colonies. As documents of American history and European printmaking, these are unusual and appealing eighteenth-century prints. (Ref: M&B; Tooley)
General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original
Colors used: - Blue, yellow, green, red
General color appearance: - Authentic & bright
Paper size: - 16in x 9 1/2in (405mm x 240mm)
Plate size: - 16in x 9 1/2in (405mm x 240mm)
Margins: - Min 0in (0mm)
Imperfections:
Margins: - Left margin cropped to image edge
Plate area: - Soiling and creasing the bottom left edge
Verso: - Soiling
1756 Maitland Large Antique Print of Bridewell Palace, Prison London, England
- Title : Bridewell
- Ref : 26335
- Size: 15in x 9 1/2in (380mm x 245mm)
- Date : 1756
- Condition: (A+) Fine Condition
Description:
This fine hand coloured original antique print of Bridewell Palace as it was as a prison in the 18th century was engraved by Benjamin Cole and published in the 1756 edition of The History of London from its Foundation to the Present Time...', by William Maitland, Osborne & Shipton and Hodges, London.
Bridewell Palace in London was built as a residence of King Henry VIII and was one of his homes early in his reign for eight years. Given to the City of London Corporation by his son King Edward VI for use as an orphanage and place of correction for wayward women, Bridewell later became the first prison/poorhouse to have an appointed doctor.
It was built on the banks of the Fleet River in the City of London between Fleet Street and the River Thames in an area today known as 'Bridewell Court' off New Bridge Street. By 1556 part of it had become a jail known as Bridewell Prison. It was reinvented with lodgings and was closed in 1855 and the buildings demolished in 1863–1864. (Ref: Tooley; M&B)
General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - off white
Age of map color: - Early
Colors used: - Red, yellow, green
General color appearance: - Authentic
Paper size: - 15in x 9 1/2in (380mm x 245mm)
Plate size: - 13 3/4in x 8 1/4in (350mm x 210mm)
Margins: - Min 1in (25mm)
Imperfections:
Margins: - None
Plate area: - None
Verso: - None
1773 Grose Large Antique Print View of The London Charter House
- Title : Description of The Charter House
- Ref : 26237
- Size: 15in x 9 1/2in (385mm x 235mm)
- Date : 1773
- Condition: (A+) Fine Condition
Description:
This large original antique print of the London Charter House situated in Smithfield London - accompanied with text page - was published by Francis Grose on the 1773 edition of The Antiquities of England and Wales.
The London Charterhouse is a historic complex of buildings in Smithfield, London dating back to the 14th century. It occupies land to the north of Charterhouse Square. The Charterhouse began as (and takes its name from) a Carthusian priory, founded in 1371 and dissolved in 1537.
Substantial fragments remain from this monastic period, but the site was largely rebuilt after 1545 as a large courtyard house. Thus, today it "conveys a vivid impression of the type of large rambling 16th century mansion that once existed all round London". The Charterhouse was further altered and extended after 1611, when it became an almshouseand school, endowed by Thomas Sutton. The almshouse (a home for gentlemen pensioners) still occupies the site today under the name the Charterhouse.
Francis Grose (1731 –1791) was an English antiquary, draughtsman, and lexicographer. He was born at his father's house in Broad Street, St-Peter-le-Poer, London.
Grose had early on shown a keen interest in drawing, having attempted sketches of medieval buildings as far back as 1749, and having taken formal instruction at a drawing school in the mid-1750s. He was not a particularly gifted draughtsman but he mixed in the London artistic milieu and began to exhibit, first at the Society of Artists in 1767–8 and then at the Royal Academy. His interest was in the field of medieval remains, which were beginning to exercise an increasing grip on the public imagination.
In 1772, he published the first part of The Antiquities of England and Wales, a work which he unashamedly aimed at the popular market. Essentially, it targeted those who wanted to know about antiquities but had neither time nor means to visit them in person, and contained small panoramas of medieval ruins, together with an informative text on a separate page. Sometimes the text was taken from books already published, or from information supplied by other antiquaries (both acknowledged); sometimes Grose collated material himself from which he could work up an article. From 1772 onwards, he also toured the country to visit and draw sites for inclusion in The Antiquities. The fourth and last volume came out in June 1776, and Grose almost immediately began work on a supplement.
General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 9 1/2in (385mm x 235mm)
Margins: - Min 1/2in (12mm)
Imperfections:
Margins: - None
Plate area: - None
Verso: - None
1760 Vue D Optic Antique Print View of Hampton Court Palace, Richmond London
- Title : Vue du Palias Royal de Hampton Court a 15 Milles de Londres
- Date : 1760
- Condition: (A) Very Good Condition
- Ref: 92704
- Size: 19in x 12 3/4in (480mm x 325mm)
Description:
This hand coloured original antique print, a view of Hampton Court Palace was published as part of the Vues d’Optique in 1760.
Hampton Court Palace: is a royal palace in the London Borough of Richmond upon Thames, Greater London, in the historic county of Middlesex, and within the postal town East Molesey, Surrey. It has not been inhabited by the British Royal Family since the 18th century. The palace is 11.7 miles (18.8 kilometres) south west of Charing Cross and upstream of central London on the River Thames. It was originally built in 1514 for Cardinal Thomas Wolsey, a favourite of King Henry VIII. In 1529, as Wolsey fell from favour, the King seized the palace for himself and later enlarged it. Along with St. James's Palace, it is one of only two surviving palaces out of the many owned by King Henry VIII.
In the following century, King William III's massive rebuilding and expansion project was intended to rival Versailles. Work ceased in 1694, leaving the palace in two distinct contrasting architectural styles, domestic Tudor and Baroque. While the palace's styles are an accident of fate, a unity exists due to the use of pink bricks and a symmetrical, if vague, balancing of successive low wings.
Vues d' Optique or Perspective Views: Perspective views, or "vues d'optique," are a special type of popular print published in Europe during the 18th century. These prints provided a form of entertainment when viewed through a device called an "optical machine" or an "optique." The most characteristic feature of the perspective views is their emphasized linear perspective, done to further intensify the enhanced appearance of depth and illusionistic space in the prints when viewed through an optique. When displayed in the optique, the prints might transport the viewer into a far away place---an unknown city, or perhaps into the midst of a dramatic bit of contemporary history. Another attribute of these prints is their bright, often heavy hand coloring, applied boldly so as to show the tints when viewed through the lens.
A number of perspective prints depicted American scenes at the time of the Revolution for a European audience hungry for news of the events in the British colonies. As documents of American history and European printmaking, these are unusual and appealing eighteenth-century prints.
General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - Original
Colors used: - Blue, yellow, green, red
General color appearance: - Authentic & bright
Paper size: - 19in x 12 3/4in (480mm x 325mm)
Plate size: - 14 1/2in x 9 1/2in (370mm x 240mm)
Margins: - Min 2in (50mm)
Imperfections:
Margins: - Light soiling
Plate area: - Small smudge & toning to sky
Verso: - Small repair, no loss