A selection of stock we have recently added to our website.
A selection of stock we have recently added to our website.
A selection of stock we have recently added to our website.
VAT included (see terms) | Exclude VAT
![Design of a Chimney Piece executed in the Great Salon of the Queen’s House. Dessein d’une Cheminée executé dans le Grand Salon du Palais de la Reine. [&] A Chimney Piece designed for one of the Rooms in St. James's Palace. Dessein d'une Cheminée pour une](jpegs/27737.jpg)
Design of a Chimney Piece executed in the Great Salon of the Queen’s House. Dessein d’une Cheminée executé dans le Grand Salon du Palais de la Reine. [&] A Chimney Piece designed for one of the Rooms in St. James's Palace. Dessein d'une Cheminée pour une des Chambres dans la Palais de St. Jacques. Plate IV.
R. Adam Architect 1762. D. Cunego Sculp.
Published as the Act directs 1773.
Engraving. 605 x 460mm (23¾ x 8¼"). Narrow margins.
Two chimney designs, one of which is execued in the great saloon of the Queen's House, and the other proposed for a room in the palace of St James's. In the freeze of the former, the crown and supporters are introduced as part of the ornament, and on the tablet of the latter is a bas-relief of the Aldo-brandini marriage; Volume I, part 5, "Works in Architecture". Robert and his brother James Adam forever changed the face of British architecture by introducing innovative Classical design ideas.
[Ref: 27737] £230.00 (£276.00 incl.VAT)
R. Adam Architect 1762. D. Cunego Sculp.
Published as the Act directs 1773.
Engraving. 605 x 460mm (23¾ x 8¼"). Narrow margins.
Two chimney designs, one of which is execued in the great saloon of the Queen's House, and the other proposed for a room in the palace of St James's. In the freeze of the former, the crown and supporters are introduced as part of the ornament, and on the tablet of the latter is a bas-relief of the Aldo-brandini marriage; Volume I, part 5, "Works in Architecture". Robert and his brother James Adam forever changed the face of British architecture by introducing innovative Classical design ideas.
[Ref: 27737] £230.00 (£276.00 incl.VAT)
Design of a painted Ceiling executed in the Room called the Japanned Room, in the Queen’s House. Plâfond peint, executé dans une Chambre nommée la Japonnaise, dans le Palais de la Reine. Plate VII.
R. Adam Architect 1762. B. Pastorini Sculp.
Published as the Act directs 1775.
Engraving with small margins. Plate 590 x 437mm. 23¼ x 17¼". Creasing.
Ceiling designs for the Japanese room in the Queen's Palace; Volume I, part 5, "Works in Architecture". Robert and his brother James Adam forever changed the face of British architecture by introducing innovative Classical design ideas. From 1754-57, Robert lived in Italy where he had a long productive friendship with Piranesi, which was inspirational for both men. Upon his return, the brothers launched their career by building the Adelphi from the Thames to the Strand in London, which although not a commercial success at the time, included one of London's most cherished buildings, the Adlephi Theatre. Together, the Adam brothers designed and built some of the most famous buildings in England, including such bastions of English architecture as Kenwood House, Keddlestone Manor, and Syon House. To the interiors of their English country houses, the Adams brought wonderful ornamental elements in niches, lunettes, festoons and reliefs. Their classically designed buildings were so numerous in London that they changed the prevailing feel of the city and established their brand of neo-Classicism as the model of elegance and importance. It is asserted that the brothers originated the concept of the uniform facade attached to the typical English row house, an architectural device that distinguishes London buildings. This monumental contribution is evidenced in the Adams' designs for Portland Place and Fitzroy Square, and these were used as architectural models for the whole city. The brothers brought their talents into other areas by designing furniture to complement their beautiful interiors and by creating and publishing a treatise of design entitled 'Works in Architecture'. The work was published in three volumes over an extended span of time, beginning in 1773, with the final volume being published posthumously in 1822.
[Ref: 27735] £260.00 (£312.00 incl.VAT)
R. Adam Architect 1762. B. Pastorini Sculp.
Published as the Act directs 1775.
Engraving with small margins. Plate 590 x 437mm. 23¼ x 17¼". Creasing.
Ceiling designs for the Japanese room in the Queen's Palace; Volume I, part 5, "Works in Architecture". Robert and his brother James Adam forever changed the face of British architecture by introducing innovative Classical design ideas. From 1754-57, Robert lived in Italy where he had a long productive friendship with Piranesi, which was inspirational for both men. Upon his return, the brothers launched their career by building the Adelphi from the Thames to the Strand in London, which although not a commercial success at the time, included one of London's most cherished buildings, the Adlephi Theatre. Together, the Adam brothers designed and built some of the most famous buildings in England, including such bastions of English architecture as Kenwood House, Keddlestone Manor, and Syon House. To the interiors of their English country houses, the Adams brought wonderful ornamental elements in niches, lunettes, festoons and reliefs. Their classically designed buildings were so numerous in London that they changed the prevailing feel of the city and established their brand of neo-Classicism as the model of elegance and importance. It is asserted that the brothers originated the concept of the uniform facade attached to the typical English row house, an architectural device that distinguishes London buildings. This monumental contribution is evidenced in the Adams' designs for Portland Place and Fitzroy Square, and these were used as architectural models for the whole city. The brothers brought their talents into other areas by designing furniture to complement their beautiful interiors and by creating and publishing a treatise of design entitled 'Works in Architecture'. The work was published in three volumes over an extended span of time, beginning in 1773, with the final volume being published posthumously in 1822.
[Ref: 27735] £260.00 (£312.00 incl.VAT)
![[Designs of different pieces of furniture done for this House.]](jpegs/27740.jpg)
[Designs of different pieces of furniture done for this House.] Plate VIII.
R. Adam Architect. B. Pastorini Sculp.
Published as the Act directs 1774.
Engraving with small margins. Plate 444 x 590mm. 17½ x 23¾".
Luton House with designs for the stove-grate, cornices for window-curtain, and brass candelabra designs; Volume I, part 3, "Works in Architecture". Robert and his brother James Adam forever changed the face of British architecture by introducing innovative Classical design ideas. From 1754-57, Robert lived in Italy where he had a long productive friendship with Piranesi, which was inspirational for both men. Upon his return, the brothers launched their career by building the Adelphi from the Thames to the Strand in London, which although not a commercial success at the time, included one of London's most cherished buildings, the Adlephi Theatre. Together, the Adam brothers designed and built some of the most famous buildings in England, including such bastions of English architecture as Kenwood House, Keddlestone Manor, and Syon House. To the interiors of their English country houses, the Adams brought wonderful ornamental elements in niches, lunettes, festoons and reliefs. Their classically designed buildings were so numerous in London that they changed the prevailing feel of the city and established their brand of neo-Classicism as the model of elegance and importance. It is asserted that the brothers originated the concept of the uniform facade attached to the typical English row house, an architectural device that distinguishes London buildings. This monumental contribution is evidenced in the Adams' designs for Portland Place and Fitzroy Square, and these were used as architectural models for the whole city. The brothers brought their talents into other areas by designing furniture to complement their beautiful interiors and by creating and publishing a treatise of design entitled 'Works in Architecture'. The work was published in three volumes over an extended span of time, beginning in 1773, with the final volume being published posthumously in 1822.
[Ref: 27740] £330.00
R. Adam Architect. B. Pastorini Sculp.
Published as the Act directs 1774.
Engraving with small margins. Plate 444 x 590mm. 17½ x 23¾".
Luton House with designs for the stove-grate, cornices for window-curtain, and brass candelabra designs; Volume I, part 3, "Works in Architecture". Robert and his brother James Adam forever changed the face of British architecture by introducing innovative Classical design ideas. From 1754-57, Robert lived in Italy where he had a long productive friendship with Piranesi, which was inspirational for both men. Upon his return, the brothers launched their career by building the Adelphi from the Thames to the Strand in London, which although not a commercial success at the time, included one of London's most cherished buildings, the Adlephi Theatre. Together, the Adam brothers designed and built some of the most famous buildings in England, including such bastions of English architecture as Kenwood House, Keddlestone Manor, and Syon House. To the interiors of their English country houses, the Adams brought wonderful ornamental elements in niches, lunettes, festoons and reliefs. Their classically designed buildings were so numerous in London that they changed the prevailing feel of the city and established their brand of neo-Classicism as the model of elegance and importance. It is asserted that the brothers originated the concept of the uniform facade attached to the typical English row house, an architectural device that distinguishes London buildings. This monumental contribution is evidenced in the Adams' designs for Portland Place and Fitzroy Square, and these were used as architectural models for the whole city. The brothers brought their talents into other areas by designing furniture to complement their beautiful interiors and by creating and publishing a treatise of design entitled 'Works in Architecture'. The work was published in three volumes over an extended span of time, beginning in 1773, with the final volume being published posthumously in 1822.
[Ref: 27740] £330.00
![[Vaulted room]](jpegs/46503.jpg)
[Vaulted room]
Invent et del: par Angelo Quaglio [c.1818]
Lithograph, printed area 280 x 210mm (11 x 8¼"), with large margins
Early lithograph by Angelo Quaglio, member of a large family of Italian artists from near Lake Lugano. Angelo Quaglio supplied the drawings used to illustrate Sulpiz Boisserée's history of Cologne Cathedral, which was part of the successful effort to get the unfinished nave of the church completed. Examples of his work are in the Morgan Library & Museum, New York.
Provenance: Rokeby Park Durham.
[Ref: 46503] £230.00 (£276.00 incl.VAT)
Invent et del: par Angelo Quaglio [c.1818]
Lithograph, printed area 280 x 210mm (11 x 8¼"), with large margins
Early lithograph by Angelo Quaglio, member of a large family of Italian artists from near Lake Lugano. Angelo Quaglio supplied the drawings used to illustrate Sulpiz Boisserée's history of Cologne Cathedral, which was part of the successful effort to get the unfinished nave of the church completed. Examples of his work are in the Morgan Library & Museum, New York.
Provenance: Rokeby Park Durham.
[Ref: 46503] £230.00 (£276.00 incl.VAT)
Architecture.
London Printed for & Sold by J.Boydel in Cheapside, W.Herbert on London Bridge, & F.Bull on Ludgate Hill.
Engraving. 250 x 350mm.
[Ref: 829] £200.00 (£240.00 incl.VAT)
London Printed for & Sold by J.Boydel in Cheapside, W.Herbert on London Bridge, & F.Bull on Ludgate Hill.
Engraving. 250 x 350mm.
[Ref: 829] £200.00 (£240.00 incl.VAT)
Architecture.
Printed for Carrington Bowles, in S.t Pauls Church Yard, London. [n.d., c.1765.]
Engraving, sheet 250 x 350mm (9¾ x 13¾"). 18th century watermark. Trimmed within plate.
Two couples ponder an architect's plan that he gestures to. Men work on the construction. In the middleground the structure is part finished with scaffolding erected to continue.
[Ref: 57085] £280.00 (£336.00 incl.VAT)
Printed for Carrington Bowles, in S.t Pauls Church Yard, London. [n.d., c.1765.]
Engraving, sheet 250 x 350mm (9¾ x 13¾"). 18th century watermark. Trimmed within plate.
Two couples ponder an architect's plan that he gestures to. Men work on the construction. In the middleground the structure is part finished with scaffolding erected to continue.
[Ref: 57085] £280.00 (£336.00 incl.VAT)
Architecture.
[n.d., c.1750.]
Engraving with original hand colour. 235 x 325mm (9¼ x 12¾"). Trimmed to image, laid on card.
An allegorical scene of the building of a neo-classical building, with an architect showing his plans to smartly-dressed people.
[Ref: 46394] £220.00 (£264.00 incl.VAT)
[n.d., c.1750.]
Engraving with original hand colour. 235 x 325mm (9¼ x 12¾"). Trimmed to image, laid on card.
An allegorical scene of the building of a neo-classical building, with an architect showing his plans to smartly-dressed people.
[Ref: 46394] £220.00 (£264.00 incl.VAT)
![[Baroque Salon.]](jpegs/44044.jpg)
[Baroque Salon.] Perspectivischer Auffzug des runden Saals, welcher in der mitte des Königl. Pallasts liget, im Grundriss mit lit. L. bezeichnet, wie solcher nach der Garten seiten anzusehen. 13
P. Decker Archit. inv. et del. C. Remshart Sculps.
Cum Priv. S.C. Maj. J. Wolff exc. Aug. Vind. [Augsburg, n.d., c.1716.]
Fine engraving. 360 x 435mm. (14¼ x 17¼"). Narrow margins. Small loss in title border.
Idealised depiction of a Baroque salon 'for the King's palace', with ceiling frescoes and mosaic floor. Open arches look out over gardens and other buildings.
[Ref: 44044] £180.00 (£216.00 incl.VAT)
P. Decker Archit. inv. et del. C. Remshart Sculps.
Cum Priv. S.C. Maj. J. Wolff exc. Aug. Vind. [Augsburg, n.d., c.1716.]
Fine engraving. 360 x 435mm. (14¼ x 17¼"). Narrow margins. Small loss in title border.
Idealised depiction of a Baroque salon 'for the King's palace', with ceiling frescoes and mosaic floor. Open arches look out over gardens and other buildings.
[Ref: 44044] £180.00 (£216.00 incl.VAT)
Ponti Cospicui Dell Inghilterra.
[n.d., c.1720.]
Engraving. Plate: 70 x 370mm (2¾ x 14½"). large margins on 3 sides. Trimmed on left edge. Creases.
A collection of vignettes showing various bridges in England, including Knaresborough, Stratford, Windsor and Wetherby.
[Ref: 46040] £95.00 (£114.00 incl.VAT)
[n.d., c.1720.]
Engraving. Plate: 70 x 370mm (2¾ x 14½"). large margins on 3 sides. Trimmed on left edge. Creases.
A collection of vignettes showing various bridges in England, including Knaresborough, Stratford, Windsor and Wetherby.
[Ref: 46040] £95.00 (£114.00 incl.VAT)
![[Carlton House.]](jpegs/27734.jpg)
[Carlton House.] Plate III.
J.s Adam architect, 1767. D. Cunego Sculp Romae.
Published as the Act directs 1775.
Engraving with small margins. Plate 466 x 602mm. 18¼ x 23¾".
Carlton House, London., designs of the trophies for the pediments, panels over the doors, pateras and trophies over the columns and pilasters; Volume I, part 5, "Works in Architecture". Robert and his brother James Adam forever changed the face of British architecture by introducing innovative Classical design ideas. From 1754-57, Robert lived in Italy where he had a long productive friendship with Piranesi, which was inspirational for both men. Upon his return, the brothers launched their career by building the Adelphi from the Thames to the Strand in London, which although not a commercial success at the time, included one of London's most cherished buildings, the Adlephi Theatre. Together, the Adam brothers designed and built some of the most famous buildings in England, including such bastions of English architecture as Kenwood House, Keddlestone Manor, and Syon House. To the interiors of their English country houses, the Adams brought wonderful ornamental elements in niches, lunettes, festoons and reliefs. Their classically designed buildings were so numerous in London that they changed the prevailing feel of the city and established their brand of neo-Classicism as the model of elegance and importance. It is asserted that the brothers originated the concept of the uniform facade attached to the typical English row house, an architectural device that distinguishes London buildings. This monumental contribution is evidenced in the Adams' designs for Portland Place and Fitzroy Square, and these were used as architectural models for the whole city. The brothers brought their talents into other areas by designing furniture to complement their beautiful interiors and by creating and publishing a treatise of design entitled 'Works in Architecture'. The work was published in three volumes over an extended span of time, beginning in 1773, with the final volume being published posthumously in 1822.
[Ref: 27734] £280.00 (£336.00 incl.VAT)
J.s Adam architect, 1767. D. Cunego Sculp Romae.
Published as the Act directs 1775.
Engraving with small margins. Plate 466 x 602mm. 18¼ x 23¾".
Carlton House, London., designs of the trophies for the pediments, panels over the doors, pateras and trophies over the columns and pilasters; Volume I, part 5, "Works in Architecture". Robert and his brother James Adam forever changed the face of British architecture by introducing innovative Classical design ideas. From 1754-57, Robert lived in Italy where he had a long productive friendship with Piranesi, which was inspirational for both men. Upon his return, the brothers launched their career by building the Adelphi from the Thames to the Strand in London, which although not a commercial success at the time, included one of London's most cherished buildings, the Adlephi Theatre. Together, the Adam brothers designed and built some of the most famous buildings in England, including such bastions of English architecture as Kenwood House, Keddlestone Manor, and Syon House. To the interiors of their English country houses, the Adams brought wonderful ornamental elements in niches, lunettes, festoons and reliefs. Their classically designed buildings were so numerous in London that they changed the prevailing feel of the city and established their brand of neo-Classicism as the model of elegance and importance. It is asserted that the brothers originated the concept of the uniform facade attached to the typical English row house, an architectural device that distinguishes London buildings. This monumental contribution is evidenced in the Adams' designs for Portland Place and Fitzroy Square, and these were used as architectural models for the whole city. The brothers brought their talents into other areas by designing furniture to complement their beautiful interiors and by creating and publishing a treatise of design entitled 'Works in Architecture'. The work was published in three volumes over an extended span of time, beginning in 1773, with the final volume being published posthumously in 1822.
[Ref: 27734] £280.00 (£336.00 incl.VAT)
Chapel and Church Architecture With Designs for Parsonages.
By Rev. George Bowler, Roxbury, Mass.
Boston John P.Jewett and Company. Cleveland, Ohio. Jewett, Proctor & Worthington. New York Sheldon, Blakeman & Company. 1856.
Folio, original half morocco gilt, spine very distressed; pp. 15, chromolithographic frontis., 32 tinted lithograph plates, 15 lithographic plans & diagrams, total 47 plates, with 18pp. explanatory text.
Elevations and floorplans for non-conformist churches in the Gothic revival style.
[Ref: 751] £850.00
By Rev. George Bowler, Roxbury, Mass.
Boston John P.Jewett and Company. Cleveland, Ohio. Jewett, Proctor & Worthington. New York Sheldon, Blakeman & Company. 1856.
Folio, original half morocco gilt, spine very distressed; pp. 15, chromolithographic frontis., 32 tinted lithograph plates, 15 lithographic plans & diagrams, total 47 plates, with 18pp. explanatory text.
Elevations and floorplans for non-conformist churches in the Gothic revival style.
[Ref: 751] £850.00
Koniglicher Lust Bronnen.
P. Decker invent. et del. Johan Balthasar Probst Sculpsit.
Jeremias Wolff excudit Aug. Vind. [n.d., c.1711.]
Engraving. Watermarked paper. Platemark: 380 x 420mm (15 x 16¼"), with large margins. Creases.
A plate from 'Fürstlicher Baumeister, oder architectura civilis', (The Princely Architect or: Civil Architecture) published by Jeremias Wolff, 1711. In its essence this book contains the architect Paul Decker's ideal prospect, or rather prescription, for the perfect nobleman's palace.
[Ref: 40067] £260.00 (£312.00 incl.VAT)
P. Decker invent. et del. Johan Balthasar Probst Sculpsit.
Jeremias Wolff excudit Aug. Vind. [n.d., c.1711.]
Engraving. Watermarked paper. Platemark: 380 x 420mm (15 x 16¼"), with large margins. Creases.
A plate from 'Fürstlicher Baumeister, oder architectura civilis', (The Princely Architect or: Civil Architecture) published by Jeremias Wolff, 1711. In its essence this book contains the architect Paul Decker's ideal prospect, or rather prescription, for the perfect nobleman's palace.
[Ref: 40067] £260.00 (£312.00 incl.VAT)
![[Ornamental design]](jpegs/32233.jpg)
[Ornamental design]
J.C. delafosse inv. f.
[n.d., c.1770]
Etching with large margins, platemark 330 x 115mm (13 x 4½").
Decorative design by Jean Charles Delafosse (1734-89), who produced over 500 hundred such designs, many in the 'Nouvelle Iconologie Historique' (c.1767-8).
[Ref: 32233] £90.00 (£108.00 incl.VAT)
J.C. delafosse inv. f.
[n.d., c.1770]
Etching with large margins, platemark 330 x 115mm (13 x 4½").
Decorative design by Jean Charles Delafosse (1734-89), who produced over 500 hundred such designs, many in the 'Nouvelle Iconologie Historique' (c.1767-8).
[Ref: 32233] £90.00 (£108.00 incl.VAT)
![[View of a Folly]](jpegs/33397.jpg)
[View of a Folly] Prospect Eines Lust-Gartten [...]
J.B.F. vo. E: inventor et delin:
Cum Privil: Sacr: Caesar Majest. [Leipzig, 1725]
Engraving with very large margins, platemark 300 x 430mm (11¾ x 17"). Text in French and German; slight foxing to margins.
'View of a folly which I invented and for which I gave the design to Mr. *** in Vienna'. Plate from the 'Entwurf einer historischen Architektur' ('Outline of Historical Architecture', first published 1721) by Austrian architect Johann Bernard Fischer von Erlach, the first comparative architecture of all periods and nations.
[Ref: 33397] £280.00 (£336.00 incl.VAT)
J.B.F. vo. E: inventor et delin:
Cum Privil: Sacr: Caesar Majest. [Leipzig, 1725]
Engraving with very large margins, platemark 300 x 430mm (11¾ x 17"). Text in French and German; slight foxing to margins.
'View of a folly which I invented and for which I gave the design to Mr. *** in Vienna'. Plate from the 'Entwurf einer historischen Architektur' ('Outline of Historical Architecture', first published 1721) by Austrian architect Johann Bernard Fischer von Erlach, the first comparative architecture of all periods and nations.
[Ref: 33397] £280.00 (£336.00 incl.VAT)
![[View of a Folly with a pond; with two free-standing statues pulling nets made from copper wire]](jpegs/33396.jpg)
[View of a Folly with a pond; with two free-standing statues pulling nets made from copper wire] Prospect eines Garten-gebaüdes [...]
J.B. Fischers v. Erlach delin. et inven.
C:P:S:C:M [Leipzig, 1725]
Engraving with very large margins, platemark 300 x 430mm (11¾ x 17"). Text in French and German; slight foxing to margins.
Unidentified (possibly imagined) folly overlooking grounds, with a fountain in the form of a sea monster, on top of a wire net 'pulled' by two statues. Plate from the 'Entwurf einer historischen Architektur' ('Outline of Historical Architecture', first published 1721) by Austrian architect Johann Bernard Fischer von Erlach, the first comparative architecture of all periods and nations.
[Ref: 33396] £280.00 (£336.00 incl.VAT)
J.B. Fischers v. Erlach delin. et inven.
C:P:S:C:M [Leipzig, 1725]
Engraving with very large margins, platemark 300 x 430mm (11¾ x 17"). Text in French and German; slight foxing to margins.
Unidentified (possibly imagined) folly overlooking grounds, with a fountain in the form of a sea monster, on top of a wire net 'pulled' by two statues. Plate from the 'Entwurf einer historischen Architektur' ('Outline of Historical Architecture', first published 1721) by Austrian architect Johann Bernard Fischer von Erlach, the first comparative architecture of all periods and nations.
[Ref: 33396] £280.00 (£336.00 incl.VAT)
Design to elucidate the Style of the Gothic Architecture. [French translation below.]
Robt. Mitchell Archt.
[London] Publish'd May 1, 1801.
Etching and aquatint in sepia, watermarked wove paper, 305 x 480mm. 12 x 19". A fine impression, with full margins. Slight crease down middle.
A church or chapel illustrating the gothic style of architecture. Numbered 'Plate 18' upper left. From architect Robert Mitchell's (1782 - 1809; fl.) folio 'Plans, and views in perspective, with descriptions of buildings erected in England and Scotland; and ... an essay to elucidate the Grecian, Roman and Gothic Architecture.'
See BL 56.i.12.
[Ref: 23499] £140.00 (£168.00 incl.VAT)
Robt. Mitchell Archt.
[London] Publish'd May 1, 1801.
Etching and aquatint in sepia, watermarked wove paper, 305 x 480mm. 12 x 19". A fine impression, with full margins. Slight crease down middle.
A church or chapel illustrating the gothic style of architecture. Numbered 'Plate 18' upper left. From architect Robert Mitchell's (1782 - 1809; fl.) folio 'Plans, and views in perspective, with descriptions of buildings erected in England and Scotland; and ... an essay to elucidate the Grecian, Roman and Gothic Architecture.'
See BL 56.i.12.
[Ref: 23499] £140.00 (£168.00 incl.VAT)
![[The Duke of Montague's arms] Designed and Engraved for the African Travels.](jpegs/65798.jpg)
[The Duke of Montague's arms] Designed and Engraved for the African Travels.
Published as the Act directs, April 10, 1790, by William Lane Leadenhall Street.
Engraving. Sheet 165 x 105mm (6½ x 4¼"). Trimmed into plate.
The armorial of George Montagu, First Duke of Montagu, with a griffon and dragon supporting a shield, engraved as part of the dedication to the English edition of François Laillant's 'Travels from the Cape of Good-Hope, into the interior parts of Africa'.
[Ref: 65798] £60.00 (£72.00 incl.VAT)
Published as the Act directs, April 10, 1790, by William Lane Leadenhall Street.
Engraving. Sheet 165 x 105mm (6½ x 4¼"). Trimmed into plate.
The armorial of George Montagu, First Duke of Montagu, with a griffon and dragon supporting a shield, engraved as part of the dedication to the English edition of François Laillant's 'Travels from the Cape of Good-Hope, into the interior parts of Africa'.
[Ref: 65798] £60.00 (£72.00 incl.VAT)
![[Barometer]](jpegs/32237.jpg)
[Barometer]
J. Fr. Forty Del. Chereau Exc. A.P.D.R. Colinet Sculp.
[n.d. c. 1767-8]
Engraving with very large margins, platemark 265 x 195mm (10½ x 7¾"). Printer's crease.
An elaborate barometer, from a series of decorative and ornamental designs.
[Ref: 32237] £160.00 (£192.00 incl.VAT)
J. Fr. Forty Del. Chereau Exc. A.P.D.R. Colinet Sculp.
[n.d. c. 1767-8]
Engraving with very large margins, platemark 265 x 195mm (10½ x 7¾"). Printer's crease.
An elaborate barometer, from a series of decorative and ornamental designs.
[Ref: 32237] £160.00 (£192.00 incl.VAT)
Templum Introspicientibus Modernum. OO.
Henr. Hondius Sculpsit.
[n.d. c.1740.]
Copper engraving. Plate 191 x 287mm. 7½ x 11¼".
From "Les cinq rangs de l'architecture, a savoir, Tuscane, dorique, ionique, corinthiaque et composée avec l'instruction fondamentale." This book was an important Dutch contribution to the theory of perspective.
[Ref: 16107] £160.00 (£192.00 incl.VAT)
Henr. Hondius Sculpsit.
[n.d. c.1740.]
Copper engraving. Plate 191 x 287mm. 7½ x 11¼".
From "Les cinq rangs de l'architecture, a savoir, Tuscane, dorique, ionique, corinthiaque et composée avec l'instruction fondamentale." This book was an important Dutch contribution to the theory of perspective.
[Ref: 16107] £160.00 (£192.00 incl.VAT)
Templum intro-spicientibus modernum. NN.
I. de vriese inv.
[n.d. c.1740.]
Copper engraving. Plate 192 x 281mm. 7½ x 11".
From "Les cinq rangs de l'architecture, a savoir, Tuscane, dorique, ionique, corinthiaque et composée avec l'instruction fondamentale." This book was an important Dutch contribution to the theory of perspective.
[Ref: 16108] £160.00 (£192.00 incl.VAT)
I. de vriese inv.
[n.d. c.1740.]
Copper engraving. Plate 192 x 281mm. 7½ x 11".
From "Les cinq rangs de l'architecture, a savoir, Tuscane, dorique, ionique, corinthiaque et composée avec l'instruction fondamentale." This book was an important Dutch contribution to the theory of perspective.
[Ref: 16108] £160.00 (£192.00 incl.VAT)
Forum Modernis Aedificiis. LL.
P. de vriese inv.
[n.d. c.1740.]
Copper engraving. Plate 185 x 285mm. 7¼ x 11¼".
From "Les cinq rangs de l'architecture, a savoir, Tuscane, dorique, ionique, corinthiaque et composée avec l'instruction fondamentale." This book was an important Dutch contribution to the theory of perspective.
[Ref: 16105] £160.00 (£192.00 incl.VAT)
P. de vriese inv.
[n.d. c.1740.]
Copper engraving. Plate 185 x 285mm. 7¼ x 11¼".
From "Les cinq rangs de l'architecture, a savoir, Tuscane, dorique, ionique, corinthiaque et composée avec l'instruction fondamentale." This book was an important Dutch contribution to the theory of perspective.
[Ref: 16105] £160.00 (£192.00 incl.VAT)
Cubiculum Introspicientibus Modernum. MM.
[Paul Vrededman de Vries.]
[n.d. c.1740.]
Copper engraving. Plate 185 x 285mm. 7¼ x 11¼".
From "Les cinq rangs de l'architecture, a savoir, Tuscane, dorique, ionique, corinthiaque et composée avec l'instruction fondamentale." This book was an important Dutch contribution to the theory of perspective.
[Ref: 16106] £160.00 (£192.00 incl.VAT)
[Paul Vrededman de Vries.]
[n.d. c.1740.]
Copper engraving. Plate 185 x 285mm. 7¼ x 11¼".
From "Les cinq rangs de l'architecture, a savoir, Tuscane, dorique, ionique, corinthiaque et composée avec l'instruction fondamentale." This book was an important Dutch contribution to the theory of perspective.
[Ref: 16106] £160.00 (£192.00 incl.VAT)
![[Fresco with Figure and a Phoenix.]](jpegs/42041.jpg)
[Fresco with Figure and a Phoenix.]
[n.d., c.1750.]
Etching. Sheet: 200 x 320mm (8 x 12½").
An etching of a fresco above an arch in which a negro figure holds a dish in which a pheonix rests in flames, behind a large sun shines brightly and below a figure of the wind blows at the figure's feet.
[Ref: 42041] £75.00 (£90.00 incl.VAT)
[n.d., c.1750.]
Etching. Sheet: 200 x 320mm (8 x 12½").
An etching of a fresco above an arch in which a negro figure holds a dish in which a pheonix rests in flames, behind a large sun shines brightly and below a figure of the wind blows at the figure's feet.
[Ref: 42041] £75.00 (£90.00 incl.VAT)
Designs for Free Churches, Manses and Schools James Raeburn Architect, Edin.
Drawn and presented by Rob.t R. Raeburn. Fr. Schenck Lith. Edin.r [1845]
Lithograph, printed area approx. 250 x 390mm (9¾ x 15¼"). Creases.
Architectural designs promoting the work of Scottish architect James Raeburn (1787-1851) and drawn here by his son Robert Reid Raeburn (1819-88), also an architect. James was principal clerk at the Scottish Office of Works until its abolition in 1839, whereupon he retired to set up his own practice. The Dictionary of Scottish Architects suggests that James' 3 Warriston Place address at the time these designs were published indicates that his practice had not flourished, and this sheet of designs (including churches for Montreal and Banff in Canada) was presumably made in an attempt to generate more business. It also publically indicated the Raeburns' support of the Free Church of Scotland following the Disruption of 1843. Following James' death in 1851, Robert Reid continued his father's practice, living in Edinburgh for the remainder of his career.
[Ref: 43412] £260.00 (£312.00 incl.VAT)
Drawn and presented by Rob.t R. Raeburn. Fr. Schenck Lith. Edin.r [1845]
Lithograph, printed area approx. 250 x 390mm (9¾ x 15¼"). Creases.
Architectural designs promoting the work of Scottish architect James Raeburn (1787-1851) and drawn here by his son Robert Reid Raeburn (1819-88), also an architect. James was principal clerk at the Scottish Office of Works until its abolition in 1839, whereupon he retired to set up his own practice. The Dictionary of Scottish Architects suggests that James' 3 Warriston Place address at the time these designs were published indicates that his practice had not flourished, and this sheet of designs (including churches for Montreal and Banff in Canada) was presumably made in an attempt to generate more business. It also publically indicated the Raeburns' support of the Free Church of Scotland following the Disruption of 1843. Following James' death in 1851, Robert Reid continued his father's practice, living in Edinburgh for the remainder of his career.
[Ref: 43412] £260.00 (£312.00 incl.VAT)
![[Fresco in the Sistine Chapel] Pio Septimo Pont. Opt. Max.](jpegs/22906.jpg)
[Fresco in the Sistine Chapel] Pio Septimo Pont. Opt. Max. Hieremias [lettered on plaque in centre]. Michael Angelus Bonarotius pinxit in Sixtino Vaticano Sacello [in design, to upper corners].
Aloys. Agricola del. Dom. Cunego sculp Romae.
Venit Romae apud Montagnani - Mirabili ad Forum Pasquini [Rome, n.d., c.1800].
Engraving, 400 x 530mm (15¾ x 20¾").
Jeremiah, meaning "Yahweh exalts", or called the "Weeping prophet", was one of the main prophets of the Hebrew Bible. His writings are put together in the Book of Jeremiah. Dedication to Pope Pius VII to lower margin. From a series of plates reproducing the famous frescos by Italian Renaissance painter Michelangelo (1475 - 1564) in the Sistine Chapel, Vatican City, Rome. By Domenico Cunego (Italian, 1727 - 1803).
[Ref: 22906] £420.00
Aloys. Agricola del. Dom. Cunego sculp Romae.
Venit Romae apud Montagnani - Mirabili ad Forum Pasquini [Rome, n.d., c.1800].
Engraving, 400 x 530mm (15¾ x 20¾").
Jeremiah, meaning "Yahweh exalts", or called the "Weeping prophet", was one of the main prophets of the Hebrew Bible. His writings are put together in the Book of Jeremiah. Dedication to Pope Pius VII to lower margin. From a series of plates reproducing the famous frescos by Italian Renaissance painter Michelangelo (1475 - 1564) in the Sistine Chapel, Vatican City, Rome. By Domenico Cunego (Italian, 1727 - 1803).
[Ref: 22906] £420.00
Aedificavit Dominus Deus costam, quam tulerat de Adam in mulierem. Gen. C.II.V.22. 4.
Michelang. Buonarota. P. Ant. Capellan sc. 1772.
Romae in Aedibus Vaticanis nella Cappella Sistina.
Engraving, very large margins. Plate 240 x 291mm (9½ x 11½"). Water stain to upper left and lower right corners; crease.
The Creation of Eve. After the fresco by Michelangelo on the ceiling of the Sistine Chapel. From "Schola Italica Picturae sive Selectae Quaedam Summorum e Schola Italica Pictorum Tabulae Aere Incisae Cura et Impensis Gavini Hamilton Pictoris", a series of forty plates.
[Ref: 31014] £130.00 (£156.00 incl.VAT)
Michelang. Buonarota. P. Ant. Capellan sc. 1772.
Romae in Aedibus Vaticanis nella Cappella Sistina.
Engraving, very large margins. Plate 240 x 291mm (9½ x 11½"). Water stain to upper left and lower right corners; crease.
The Creation of Eve. After the fresco by Michelangelo on the ceiling of the Sistine Chapel. From "Schola Italica Picturae sive Selectae Quaedam Summorum e Schola Italica Pictorum Tabulae Aere Incisae Cura et Impensis Gavini Hamilton Pictoris", a series of forty plates.
[Ref: 31014] £130.00 (£156.00 incl.VAT)
Tulit igitur mulier de fructu illius, et comedit. Gen. Cap. III. 3.
Michelangelo Buonarota pinxit. Antonio Capellan sculpsit 1771.
Romae in Aedibus Vaticanis nella Cappella Sistina.
Engraving, very large margins. Plate 253 x 465mm (10 x 18¼"). Slight crease in margin bottom right.
The temptation and expulsion from Eden, after the fresco by Michelangelo on the ceiling of the Sistine Chapel. From "Schola Italica Picturae sive Selectae Quaedam Summorum e Schola Italica Pictorum Tabulae Aere Incisae Cura et Impensis Gavini Hamilton Pictoris", a series of forty plates.
[Ref: 31016] £160.00 (£192.00 incl.VAT)
Michelangelo Buonarota pinxit. Antonio Capellan sculpsit 1771.
Romae in Aedibus Vaticanis nella Cappella Sistina.
Engraving, very large margins. Plate 253 x 465mm (10 x 18¼"). Slight crease in margin bottom right.
The temptation and expulsion from Eden, after the fresco by Michelangelo on the ceiling of the Sistine Chapel. From "Schola Italica Picturae sive Selectae Quaedam Summorum e Schola Italica Pictorum Tabulae Aere Incisae Cura et Impensis Gavini Hamilton Pictoris", a series of forty plates.
[Ref: 31016] £160.00 (£192.00 incl.VAT)
![[God creates the Day and the Night.]](jpegs/22895.jpg)
[God creates the Day and the Night.] Divisit Lucem a Tenebris...
Michael Angelus Bonarotius pinxit in Sixtino Vaticano Sacello. Aloys Agricola del. Dom. Cunego sculp. Romae.
Venit Romae apud Montagnani - Mirabili ad Forum Pasquini [Rome, n.d., c.1800].
Engraving, laid on original album sheet, 210 x 235mm. 8¼ x 9¼". Some marginal creasing else a fine impression with full margins.
Latin biblical quotation from the Book of Genesis to lower margin. Numbered 'No.1' upper left; from a series of plates reproducing the famous frescos by Italian Renaissance painter Michelangelo (1475 - 1564) in the Sistine Chapel, Vatican City, Rome. By Domenico Cunego (Italian, 1727 - 1803).
[Ref: 22895] £120.00 (£144.00 incl.VAT)
Michael Angelus Bonarotius pinxit in Sixtino Vaticano Sacello. Aloys Agricola del. Dom. Cunego sculp. Romae.
Venit Romae apud Montagnani - Mirabili ad Forum Pasquini [Rome, n.d., c.1800].
Engraving, laid on original album sheet, 210 x 235mm. 8¼ x 9¼". Some marginal creasing else a fine impression with full margins.
Latin biblical quotation from the Book of Genesis to lower margin. Numbered 'No.1' upper left; from a series of plates reproducing the famous frescos by Italian Renaissance painter Michelangelo (1475 - 1564) in the Sistine Chapel, Vatican City, Rome. By Domenico Cunego (Italian, 1727 - 1803).
[Ref: 22895] £120.00 (£144.00 incl.VAT)
![[The Last Judgement (detail)]](jpegs/22938.jpg)
[The Last Judgement (detail)]
[C.M. Metz Del.t & Sculp.t; after Michelangelo]
[1803]
Stipple, platemark 500 x 350mm (19½ x 13½"). Glued to album sheet in corners.
The second group of the blessed ascending in the middle register. One figure uses a rosary to help raise two more. Plate from Conrad Martin Metz's series of fifteen engravings reproducing Michelangelo's fresco 'The Last Judgement' in the Sistine Chapel (completed 1541). After moving to London by 1781, the German-born Metz (1749-1827) studied under Francesco Bartolozzi and exhibited at the Royal Academy before moving to Rome in 1801.
P. De Vecchi, 'Michelangelo's Last Judgement' in 'The Sistine Chapel: Michelangelo Rediscovered' (1980).
[Ref: 22938] £280.00 (£336.00 incl.VAT)
[C.M. Metz Del.t & Sculp.t; after Michelangelo]
[1803]
Stipple, platemark 500 x 350mm (19½ x 13½"). Glued to album sheet in corners.
The second group of the blessed ascending in the middle register. One figure uses a rosary to help raise two more. Plate from Conrad Martin Metz's series of fifteen engravings reproducing Michelangelo's fresco 'The Last Judgement' in the Sistine Chapel (completed 1541). After moving to London by 1781, the German-born Metz (1749-1827) studied under Francesco Bartolozzi and exhibited at the Royal Academy before moving to Rome in 1801.
P. De Vecchi, 'Michelangelo's Last Judgement' in 'The Sistine Chapel: Michelangelo Rediscovered' (1980).
[Ref: 22938] £280.00 (£336.00 incl.VAT)
![['The Sounding of the Last Trump' (detail from 'The Last Judgement')]](jpegs/22939.jpg)
['The Sounding of the Last Trump' (detail from 'The Last Judgement')]
[C.M. Metz Del.t & Sculp.t; after Michelangelo]
[1803]
Stipple, platemark 500 x 350mm (19½ x 13½"). Glued to album sheet in corners.
The central group of seven angels with seven trumpets in the middle register sounding the call to judgement to awaken the dead below, as described in the Book of Revelation. Plate from Conrad Martin Metz's series of fifteen engravings reproducing Michelangelo's fresco 'The Last Judgement' in the Sistine Chapel (completed 1541). After moving to London by 1781, the German-born Metz (1749-1827) studied under Francesco Bartolozzi and exhibited at the Royal Academy before moving to Rome in 1801.
P. De Vecchi, 'Michelangelo's Last Judgement' in 'The Sistine Chapel: Michelangelo Rediscovered' (1980).
[Ref: 22939] £280.00 (£336.00 incl.VAT)
[C.M. Metz Del.t & Sculp.t; after Michelangelo]
[1803]
Stipple, platemark 500 x 350mm (19½ x 13½"). Glued to album sheet in corners.
The central group of seven angels with seven trumpets in the middle register sounding the call to judgement to awaken the dead below, as described in the Book of Revelation. Plate from Conrad Martin Metz's series of fifteen engravings reproducing Michelangelo's fresco 'The Last Judgement' in the Sistine Chapel (completed 1541). After moving to London by 1781, the German-born Metz (1749-1827) studied under Francesco Bartolozzi and exhibited at the Royal Academy before moving to Rome in 1801.
P. De Vecchi, 'Michelangelo's Last Judgement' in 'The Sistine Chapel: Michelangelo Rediscovered' (1980).
[Ref: 22939] £280.00 (£336.00 incl.VAT)
![['Resurrection of the Body' (detail from 'The Last Judgement')]](jpegs/22940.jpg)
['Resurrection of the Body' (detail from 'The Last Judgement')]
[C.M. Metz Del.t & Sculp.t; after Michelangelo]
[1803]
Stipple, platemark 475 x 830mm (18½ x 32½"). Glued to album sheet in corners.
The group of the dead in the process of resurrection at the left of the bottom register. It was an essential part of Christian doctrine that at the end of the world the spirits of the dead would be reunited with their flesh in heaven, and here bodies can be seen in various stages of recomposition, some still as skeletons and others fully restored. from Conrad Martin Metz's series of fifteen engravings reproducing Michelangelo's fresco 'The Last Judgement' in the Sistine Chapel (completed 1541). After moving to London by 1781, the German-born Metz (1749-1827) studied under Francesco Bartolozzi and exhibited at the Royal Academy before moving to Rome in 1801. Spectacular image.
P. De Vecchi, 'Michelangelo's Last Judgement' in 'The Sistine Chapel: Michelangelo Rediscovered' (1980).
[Ref: 22940] £450.00
[C.M. Metz Del.t & Sculp.t; after Michelangelo]
[1803]
Stipple, platemark 475 x 830mm (18½ x 32½"). Glued to album sheet in corners.
The group of the dead in the process of resurrection at the left of the bottom register. It was an essential part of Christian doctrine that at the end of the world the spirits of the dead would be reunited with their flesh in heaven, and here bodies can be seen in various stages of recomposition, some still as skeletons and others fully restored. from Conrad Martin Metz's series of fifteen engravings reproducing Michelangelo's fresco 'The Last Judgement' in the Sistine Chapel (completed 1541). After moving to London by 1781, the German-born Metz (1749-1827) studied under Francesco Bartolozzi and exhibited at the Royal Academy before moving to Rome in 1801. Spectacular image.
P. De Vecchi, 'Michelangelo's Last Judgement' in 'The Sistine Chapel: Michelangelo Rediscovered' (1980).
[Ref: 22940] £450.00
![[The Last Judgement (detail)]](jpegs/22941.jpg)
[The Last Judgement (detail)] Discedite a me Maledicti in ignim Aeternum. Opus Michaelis Angeli Bonarroti in Sacello Sixtino ad Vaticanum.
C.M. Metz Del.t & Sculp.t 1803.
Stipple, platemark 500 x 350mm (19½ x 13½"). Glued to album sheet in corners.
The demons crouching at the gates of Hell at the centre of the bottom register, from Conrad Martin Metz's series of fifteen engravings reproducing Michelangelo's fresco 'The Last Judgement' in the Sistine Chapel (completed 1541). After moving to London by 1781, the German-born Metz (1749-1827) studied under Francesco Bartolozzi and exhibited at the Royal Academy before moving to Rome in 1801.
P. De Vecchi, 'Michelangelo's Last Judgement' in 'The Sistine Chapel: Michelangelo Rediscovered' (1980).
[Ref: 22941] £280.00 (£336.00 incl.VAT)
C.M. Metz Del.t & Sculp.t 1803.
Stipple, platemark 500 x 350mm (19½ x 13½"). Glued to album sheet in corners.
The demons crouching at the gates of Hell at the centre of the bottom register, from Conrad Martin Metz's series of fifteen engravings reproducing Michelangelo's fresco 'The Last Judgement' in the Sistine Chapel (completed 1541). After moving to London by 1781, the German-born Metz (1749-1827) studied under Francesco Bartolozzi and exhibited at the Royal Academy before moving to Rome in 1801.
P. De Vecchi, 'Michelangelo's Last Judgement' in 'The Sistine Chapel: Michelangelo Rediscovered' (1980).
[Ref: 22941] £280.00 (£336.00 incl.VAT)
![[Sistine Chapel - The Last Judgement]](jpegs/26024.jpg)
[Sistine Chapel - The Last Judgement]
Leonardus Gaultier fecit.
[n.d., c.1600-35]
Etching, 313 x 233mm (12¼ x 9¼"). Glued to backing sheet at top corners.
Etching of Michelangelo's 'Last Judgement' in the Sistine Chapel, with a portrait of Michelangelo in a medallion. The first engraving from Michelangelo's fresco was by the Italian Martino Rota (1569), which served as the prototype for several subsequent engravings, including this one.
see 'The Apocalypse and the Shape of Things to Come' (British Museum catalogue) nos. 97-8; for an earlier engraving of the fresco see ref. 25977
[Ref: 26024] £350.00
Leonardus Gaultier fecit.
[n.d., c.1600-35]
Etching, 313 x 233mm (12¼ x 9¼"). Glued to backing sheet at top corners.
Etching of Michelangelo's 'Last Judgement' in the Sistine Chapel, with a portrait of Michelangelo in a medallion. The first engraving from Michelangelo's fresco was by the Italian Martino Rota (1569), which served as the prototype for several subsequent engravings, including this one.
see 'The Apocalypse and the Shape of Things to Come' (British Museum catalogue) nos. 97-8; for an earlier engraving of the fresco see ref. 25977
[Ref: 26024] £350.00
![[Noah and his Sons.]](jpegs/22893.jpg)
[Noah and his Sons.] Evigilans Autem Noe ex Vino...
Michael Angelus Bonarotius pinxit in Sixtino Vaticano Sacello. Ang. Deangelis dis. Heir. Carattoni inc.
Venit Romae apud Montagnani - Mirabili ad Forum Pasquini [Rome, n.d., c.1800].
Engraving, 210 x 240mm. 8¼ x 9½". Some minor marginal creasing else a fine impression with full margins.
Latin biblical quotation from the Book of Genesis to lower margin. From a series of plates reproducing the famous frescos by Italian Renaissance painter Michelangelo (1475 - 1564) in the Sistine Chapel, Vatican City, Rome.
See V&A DYCE.1584.
[Ref: 22893] £120.00 (£144.00 incl.VAT)
Michael Angelus Bonarotius pinxit in Sixtino Vaticano Sacello. Ang. Deangelis dis. Heir. Carattoni inc.
Venit Romae apud Montagnani - Mirabili ad Forum Pasquini [Rome, n.d., c.1800].
Engraving, 210 x 240mm. 8¼ x 9½". Some minor marginal creasing else a fine impression with full margins.
Latin biblical quotation from the Book of Genesis to lower margin. From a series of plates reproducing the famous frescos by Italian Renaissance painter Michelangelo (1475 - 1564) in the Sistine Chapel, Vatican City, Rome.
See V&A DYCE.1584.
[Ref: 22893] £120.00 (£144.00 incl.VAT)
Nativitas Sancti Johannis Baptiste. 28.
Ludovius Caracci pinxit. Domenicus Cunego sculpsit Romae 1769.
Londini ex Tabula apud Comitem de Ossory asservata.
Engraving, very large margins. Plate 285 x 394mm (11¼ x 15½"). Water stain to upper left and lower right corners; creases and nicks to upper right corner.
The birth of St John the Baptist who is held in his mother's arms at centre. After the fresco by Michelangelo on the ceiling of the Sistine Chapel. From "Schola Italica Picturae sive Selectae Quaedam Summorum e Schola Italica Pictorum Tabulae Aere Incisae Cura et Impensis Gavini Hamilton Pictoris", a series of forty plates.
[Ref: 31015] £130.00 (£156.00 incl.VAT)
Ludovius Caracci pinxit. Domenicus Cunego sculpsit Romae 1769.
Londini ex Tabula apud Comitem de Ossory asservata.
Engraving, very large margins. Plate 285 x 394mm (11¼ x 15½"). Water stain to upper left and lower right corners; creases and nicks to upper right corner.
The birth of St John the Baptist who is held in his mother's arms at centre. After the fresco by Michelangelo on the ceiling of the Sistine Chapel. From "Schola Italica Picturae sive Selectae Quaedam Summorum e Schola Italica Pictorum Tabulae Aere Incisae Cura et Impensis Gavini Hamilton Pictoris", a series of forty plates.
[Ref: 31015] £130.00 (£156.00 incl.VAT)
Temple of Diana.
R.Brown Pinx.t. T.L Busby. Sculp.
Leigh & Son 421 Strand. [n.d. c.1830]
Very rare aquatint, with hand colour. Sheet 285 x 225mm (11¼ x 8¾" Glued to album sheet.
A view of a rotunda decorated with the goddess Diana and stag heads, situated in a wooded landscape. Richard Brown (c. 1770-1845) was a British architect, designer, draughtsman and engraver. Thomas Lord Busby (fl. 1804-1837) was a painter, etcher and humorous illustrator. Samuel Leigh was a bookseller and publisher in 19th century London working with his son James Mathews Leigh (1808 –60).
[Ref: 61119] £240.00 (£288.00 incl.VAT)
R.Brown Pinx.t. T.L Busby. Sculp.
Leigh & Son 421 Strand. [n.d. c.1830]
Very rare aquatint, with hand colour. Sheet 285 x 225mm (11¼ x 8¾" Glued to album sheet.
A view of a rotunda decorated with the goddess Diana and stag heads, situated in a wooded landscape. Richard Brown (c. 1770-1845) was a British architect, designer, draughtsman and engraver. Thomas Lord Busby (fl. 1804-1837) was a painter, etcher and humorous illustrator. Samuel Leigh was a bookseller and publisher in 19th century London working with his son James Mathews Leigh (1808 –60).
[Ref: 61119] £240.00 (£288.00 incl.VAT)
A Catalogue of the Churches of the City of London; Royal Palaces; Hospitals; and Publick Edifices; Built by S.r Christopher Wren K.t Surveyor General of the Royal Works, during Fifty Years: Viz.t from 1668, to 1718. A List Of the exect Sums of Money laid out for Rebuilding each Church, with References to their Names & Numbers in the Rounds.
H. Hulsbergh Sculp.
[n.d., c.1720.]
Engraving. Sheet 425 x 280mm (16¾ x 11"). Trimmed into image, loss as central fold. Repairs, messy.
A pyramid with roundels listing Wren's works, cross-referenced to tromp-l'oeil scrolls listing the cost (if known). It was the first plate (of 15) in a book with the same title.
See RA Collection 03/2812 for the complete book.
[Ref: 59823] £130.00 (£156.00 incl.VAT)
H. Hulsbergh Sculp.
[n.d., c.1720.]
Engraving. Sheet 425 x 280mm (16¾ x 11"). Trimmed into image, loss as central fold. Repairs, messy.
A pyramid with roundels listing Wren's works, cross-referenced to tromp-l'oeil scrolls listing the cost (if known). It was the first plate (of 15) in a book with the same title.
See RA Collection 03/2812 for the complete book.
[Ref: 59823] £130.00 (£156.00 incl.VAT)