Search Results: Titles starting with V from Daniel Crouch Rare Books Ltd

[1757].. View: 290 by 790mm (11.5 by 31 inches); Plan: 535 by 735mm (21 by 29 inches). . Manuscript plan of the bay of Rio de Janeiro in pen and ink with wash, signed "Breteuil fecit" [together with] a pen and ink prospect of Rio de Janeiro, both dissected and mounted on canvas. Plan: 535 by 735mm (21 by 29 inches); View: 290 by 790mm (11.5 by 31 inches). A detailed map of Rio de Janeiro made in 1757 by the Comte (later Baron) de Breteuil, together with a prospect of the city, sacked by a French corsair in 1711. Louis Charles Auguste le Tonnelier, baron de Breteuil, baron de Preuilly (1730-1807) was a French aristocrat, diplomat and statesman. He was the last Prime Minister of France to serve under the Bourbon monarchy, appointed by Louis XVI only 100 hours before the storming of the Bastille. Breteuil was born in 1730 at the château of Azay-le-Ferron into a well-connected aristocratic family. He was educated in Paris before joining the army, where he served under Thomas Arthur, comte de Lally,… Read More

Venice,: ex aenis formis Bolognini Zalterii,, 1566.. 437 by 736mm. (17.25 by 29 inches).. Forlani state 4, Zaltieri state 3, separately issued. 2 sheets joined. Engraved view (355 by 735mm) above 23-line engraved key (horizontal separation between view and text repaired, old folds, close-cropped, left and right-hand margins with minor repairs). Magnificent, large-scale, bird's-eye view of Venice, first published in 1565, this is the third issue to bear Zaltieri's imprint and features the printed impressions of a horizontal row of rivets where the printers had attempted to join the engraved plates of the view and the key. Shown from the same perspective as Jacopo de' Barbari's monumental woodcut map of c1500, Venice is seen rising like Venus fully formed from the lagoon, witnessed by an array of satellite islands and watercraft, the Venetian mainland compressed to a thin band at the horizon and to the left. Each canal, bridge and building is meticulously depicted and named in the comprehensive key… Read More

London,: Pubd. by T. Clay, Ludgate Hill,, March 13, 1815.. Image: 385 by 594mm (15.25 by 23.5 inches). Sheet: 525 by 755mm (20.75 by 29.75 inches).. Aquatint with original hand colour. A view of Waterloo Bridge, with the sun setting behind it, after an original by the British landscape painter Henry Haseler, one of only three views of London that the artist produced. The Adelphi of the title are the Adelphi Buildings, a block of terraced houses designed by the Adams brothers. They named the buildings in an act of self-promotion (from adelphoi, meaning brothers) and through royal favour were allowed to develop the shore from the Strand to the river by Act of Parliament in 1771, fuelling derisive commentary from a contemporary satirist: "The Princess, fond of raw-boned faces, May give you all our posts and places; Take all to gratify your pride But dip your oatmeal in the Clyde" (Graham). Daniel Havell (1785-1822) was an English topographical engraver, whose works fuelled the booming demand for… Read More

London: Publish'd by Laurie & Whittle, 53 Fleet Street,, 1803.. 300 by 430mm. (11.75 by 17 inches).. Engraved print with aquatint. A view of Blackfriars Bridge and St Paul's Cathedral in the background. This was the third bridge to be built to cross the Thames, designed by Robert Mylne. The bridge was financed in a curious way - a large portion of the funding came from men who had refused posts in the Corporation of London. The posts required an oath of loyalty to the Anglican church, and if the recipient refused the office, or even a nomination for an office, he was fined, so it became a way of indirectly taxing non-conformists. By the time this print was made, the toll for crossing the bridge had been dropped. The shot manufactory tower shown was the cutting edge of military technology. Invented by William Watt in 1782, it was used to create bullets: lead was dropped through a sieve at the top of the tower, formed perfect spheres as it fell, and was caught in a vat of water to cool it. Watts built… Read More

London,: Published by Dean Wolstenholme, 22 Chads Row, Gray's Inn Road,, 1840.. Image: 403 by 594mm (15.75 by 23.5 inches). Sheet: 610 by 875mm (24 by 34.5 inches).. Engraving with aquatint. A print of the Barclay and Perkins brewery in Southwark. The brewery was bought by the Barclay banking family in 1781, and an American nephew placed in charge alongside the existing manager, Perkins. The brewery was successful, although the print shows it in its second incarnation, as it burnt down in 1832. It was a model of industrial innovation, and was viewed as a tourist attraction by visitors to London. One visitor, however, received a chilly welcome: the brewery workers famously chased out Marshal Jacob van Haynau, who had brutally repressed rebellions against Austria in Italy and Hungary and supposedly ordered Hungarian women sympathetic to the rebels to be whipped. When the Italian freedom fighter Giuseppe Garibaldi came to London in 1864, he visited the brewery to give his thanks. Dean Wolstenholme… Read More

London,: Published by W. Anderson, Paddington Green,, Dec. 5, 1811.. Image: 432 by 816mm (17 by 32.25 inches). Sheet: 495 by 845mm (19.5 by 33.25 inches).. Engraving and aquatint with original hand colour. The Strand Bridge was the original name of the first Waterloo Bridge before it was renamed in honour of the Duke of Wellington's great victory. The Strand Bridge Company was formed by a group of investors who wanted to build a new toll bridge to take advantage of the growing number of people needing to cross the Thames. It was designed by John Rennie, the Scottish architect. It was renamed by Act of Parliament in 1816 in honour of the great victory won by the Duke of Wellington over Napoleon Bonaparte, and opened by the Prince Regent on the second anniversary of the battle. The Italian sculptor Antonio Canova described it as "the noblest bridge in the world, worth a visit from the remotest corners of the earth". The print is dedicated to Henry Swann, a Tory politician and the chairman of the… Read More

[London,: Francis Jukes, Howland Street,, 1795].. Image: 413 by 575mm (16.25 by 22.75 inches). Sheet: 475 by 630mm (18.75 by 24.75 inches).. Engraving with aquatint with original body colour. A view of the Thames at Millbank. At the time, Millbank was a peaceful residential area, with a distillery which is visible to the left. Horses have been brought down to the river to be watered, whilst rural scenes are depicted to along the river bank. John Laporte (1761-1839) was an English landscape painter. Francis Jukes (1745-1812) was a prolific engraver and publisher, chiefly known for his topographical and shipping prints, the majority in aquatint. BM 1877,0609.1815; Yale B1977.14.17585.

London,, 1775.. Image: 400 by 545mm (15.75 by 21.5 inches). Sheet: 473 by 610mm (18.5 by 24 inches).. Etched and engraved print with hand-colour. A view of the newly built gateway over the front of the Admiralty Office in Whitehall. The Admiralty Office was originally Wallingford House, bought by George Villiers, Duke of Buckingham and favourite of James I, while he was Lord High Admiral in 1622. Christopher Wren recommended the building as the Admiralty Office in 1695. It was rebuilt by the Master Carpenter, Thomas Ripley. The work was finished in 1726 and the screen wall facing Whitehall was designed in 1760 by Robert Adam. Domenico Cunego (1727-1803), an Italian artist, trained initially as a painter before specialising in prints. BM G,4.107; GAC 5600.

New York,: Endicott & Co, Entered according to Act of Congress in the year 1855 by J.B. Bachelder in the Clerks Office of the District Court of New Hampshire,, 1855.. Tinted lithograph, sheet 760 by 1000 mm, image 585 by 793 mm. A fine example of Bachelder's large-scale bird's eye view of Manchester, New Hampshire. Manchester, as seen here in 1855, was a model company town designed by the Amoskeag Manufacturing Company, whose first mills opened there in 1838. Amoskeag wanted to create a utopian factory-city, built in a unified architectural style, where the company owned and controlled almost all of the city's industry and housing while providing churches, schools and other amenities to its workers. The city was intended to become the Manchester of America, though the focus here was on textiles rather than steel. At its peak in the late nineteenth century, Amoskeag was the largest cotton textile producer in the world and had built the largest mill in existence. Bachelder's view shows Manchester… Read More

London,: Published as the Act directs by John Swertner No. 10 Nevils Court Fetter Lane,, 1789.. Image: 250 by 730mm (9.75 by 28.75 inches). Sheet: 490 by 800mm (19.25 by 31.5 inches).. Etching with aquatint, printed in blue. Title, artist-engraver, and imprint in margin beneath the image. Accompanied by a key-block with 140 references. The key-block carries the imprint: 'Published as the Act directs by I. Swertner Augt. 1st 1789.' Jan Swertner, born in Harlem in the Netherlands in 1746, was a Moravian minister. In the handbill described below he refers to himself as 'one not professionally an artist'. The prospect, nevertheless, is highly professional and, in the selection of viewpoint, novel. Rejecting the picturesque composition beloved of contemporary British artists, in which "the Cities themselves, by being so far removed from the back Ground become Objects of secondary Notice", he chose "after much Trial and Search" the lantern of St Mary Islington from which to make his drawings. From here the… Read More

[1926].. Image: 395 by 296mm (15.5 by 11.5 inches). Sheet: 545 by 400mm (21.5 by 15.75 inches).. Pen and ink with wash and white gouache on illustration board, signed by the artist at lower left. A bird's-eye view of St James's Park, showing the proposed site of a new bridge over the lake. The bridge was designed by Sir Edwin Lutyens in 1926: the original drawings are held in the RIBA Library. The design was commissioned by the solicitor H.L. Farrer, of Farrer and Co. Farrer and his brothers had employed Lutyens to rebuild their offices and homes. Unfortunately, the bridge was vetoed by the Fine Art Commission, which upset Lutyens very much. He admitted, "I am very low about it" (Ridley). The current bridge, known as the Blue Bridge, was installed in 1957. The illustration was probably produced for the Graphic, a paper to which Morrell often contributed. Jane Ridley, The architect and his wife: a life of Sir Edwin Lutyens, (London: Chatto and Windus, 2002), p.349.

London,: Published by Laurie & Whittle, 55 Fleet Street,, 1799.. Image: 271 by 397mm (10.75 by 15.75 inches). Sheet: 317 by 428mm (12.5 by 16.75 inches).. Engraving with original hand colour, crease to upper part of print, trimmed to side neat lines. Trinity House was founded as a pilotage authority and maritime charity. In 1793 their London headquarters was in need of repair, and a new site was selected in Tower Hill. A new headquarters, designed by Samuel Wyatt, was completed by 1796. The trust continues to act as the General Lighthouse Authority for England and Wales to this day. The print is dedicated to William Pitt the Younger, who at the time was Master of Trinity House, and had laid the foundation stone of the new building. BL Maps K.Top.25.8.; BM 1880,1113.3451.

London,: Pub. By J & J Boydell, Shakspeare Gallery, Pall-Mall, and N. 90, Cheapside,, 1795.. Image: 305 by 520mm. (12 by 20.5 inches). Sheet: 470 by 685mm (18.5 by 27 inches).. Hand-coloured copper engraving with aquatint. A view from St Mary Lambeth's tower looking across the Thames to Westminster Abbey, and up the river to the City of London. Westminster Bridge is in the centre, and Lambeth Palace, seat of the Archbishop of Canterbury, to the right. From the second volume of Farington's 'History of the River Thames', (London: J. & J. Boydell, 1794). The work, issued with plates either printed in sepia or coloured, contained two double-page spreads of London, this view from the west and a companion view from the Royal Observatory in the east. Joseph Farington wrote in his diary, on 17 August 1794: "Went to the top of Lambeth steeple to look at the view of London" (Farington). On 18 August he writes: "Went this morning to Lambeth & from the top of the Steeple began the view of London." Smirke dined… Read More

London,: Published as the Act directs for William Daniell No.9 Cleveland Street Fitzroy Square,, Aug. 15, 1802.. Image: 388 by 770mm (15.25 by 30.25 inches). Sheet: 490 by 824mm (19.25 by 32.5 inches).. Aquatint. A further view of George Dance the Younger's suggestions for the Port of London, suggesting a determination to keep the scheme alive. Dance's daring plans aroused much public interest, and a painter named R.C. Andrews displayed the design as a painted panorama for view in Sadler's Wells Theatre. Daniell produced both prints and a painting (now in the Guildhall Art Gallery), in which the Thames was transformed into a straighter river with uniform buildings lining the bank to the sides of the bridges. Unfortunately for Dance, his plans were never adopted: estimates of the cost ran to £1,250,000, a spectacular sum. The dedication on this print is to the entire select committee, rather than specifically to Lord Hawkesbury, but it seems to have done him no good. BL Maps K.Top.21.31.2 PORT.11 TAB.

London,: Publish'd as the Act directs by John Swertner No.10 Nevils Court Fetter Lane, 1789.. 485 by 800mm (19 by 31.5 inches).. Engraved print with aquatint. John Swertner, born in Harlem in the Netherlands in 1746, was a Moravian minister. In the handbill described below he refers to himself as 'one not professionally an artist'. The prospect, nevertheless, is highly professional and, in the selection of viewpoint, novel. Rejecting the picturesque composition beloved of contemporary British artists, in which "the Cities themselves, by being so far removed from the back Ground become Objects of secondary Notice", he chose "after much Trial and Search" the lantern of St Mary Islington from which to make his drawings. From here the townscape was free of picturesque foreground detail; and in place of tree stumps and gesturing staffage Swertner provides us with a view of a North London suburb at a time of change and development. The foreground detail is not described in the key. Across the immediate… Read More

London,: C. Hullmandel,, [1829].. Image: 303 by 466mm (12 by 18.25 inches). Sheet: 350 by 500mm (13.75 by 19.75 inches).. Lithograph. In the early nineteenth century the Port of London came under pressure, and new docks were needed. Parliament selected a site in the Docklands in 1825, and construction began in 1827. The new docks were designed by Thomas Telford, a prominent contemporary civil engineer known as 'The Colossus of Roads', after overseeing several highway-building projects. It was his only major project in London, carving out two basins from the Thames accessed through a lock. The docks were made so that ships could unload directly from the water into the warehouses, reducing the quayside traffic. The new docks were named after St Katharine's Hospital, founded by Matilda of Boulogne in 1147, which was demolished along with the slums that had grown up around it to make way for the new development. The area was particularly popular with foreign craftsmen, as it was exempt from the London… Read More

London,: Publish'd by the Proprietor, N.R. Black, at the Engraver's, No. 15 Villiers Street, Strand,, May 2, 1802.. Image: 508 by 904mm (20 by 35.5 inches). Sheet: 600 by 958mm (23.5 by 37.75 inches).. Etching and aquatint printed in colours. A striking view of London from Blackfriars Bridge. The bridge was one of the busiest in London, as shown by the numerous vehicles going across: an omnibus, private carriages, and wagons full of barrels and hay. The Blackfriars Bridge shown here was designed by Robert Mylne and built between 1760 and 1769. It was originally named after the Prime Minister, William Pitt the Elder, as voted for by the citizens of London. The Pitt Bridge was demolished in 1860. Joseph Constantine Stadler (fl.1780-1822) was a German-born engraver active in London, and worked with some of the most famous artists of the day, engraving plates for Joseph Farington, Rudolph Ackermann and Thomas Rowlandson. BL George III Topographical Collection; BM 1880,1113.1201.

London,: Publish'd by Whittle & Laurie, 53 Fleet Street,, Aug. 20, 1816.. Image: 260 by 417mm (10.25 by 16.5 inches). Sheet: 300 by 450mm (11.75 by 17.75 inches).. Engraved print with original colour. The emphasis on 'iron' in the title of the print reflects the fact that the Vauxhall Bridge started life as a stone structure, designed by John Rennie. The Vauxhall Bridge Company aimed to create a new bridge between Battersea and Westminster, potentially opening up the area around Vauxhall to greater development. The scheme was headed by Ralph Dodd, an engineer and inventor who tried to build the first tunnel underneath the Thames. His involvement was cited as a reason for the initial rejection of the bridge by Parliament in 1806, and it was given the green light only after the Company promised to reimburse the owners of Battersea Bridge for any lost revenue. The project began and the foundation stone had been laid before the funding ran out, and the bridge was redesigned in cheaper iron. It was… Read More

[London],: Hullmandel & Walton,, [c.1843].. 375 by 535mm. (14.75 by 21 inches).. Pair of lithograph views, original hand-colour, laid down. A pair of views of Charlotte Amalie on the Island of St Thomas in the Virgin Islands, after Lieutenant Walford Thomas Bellairs R.N. Walford Thomas Bellairs (1794-1850) joined the Navy in 1809 and was made Lieutenant in 1819. From 1842 he served as Admiralty Agent in charge of mail on board a 'contract Mail steam-vessel'. It is during this time that Bellairs began sketching, and painting. The National Maritime Museum hold two examples of his West India drawings, whilst the Library of Australia a watercolour of Panama. A large collection of his sketches of the Far East were sold in 1982. His work was evidently held in high enough regard, as in around 1843 his watercolour views of St. Thomas in the West Indies were drawn on stone by W.L. Walton, lithographed and hand-coloured by Charles Hullmandel - the present work - and published as separate prints. Reps 4090.

[London,: G. Nicol and T. Cadell,, 1785].. 285 by 229mm. (11.25 by 9 inches).. Engraved map. A map of the coast of Japan. Captain James Cook made three major voyages to the Pacific. The first voyage, with HMS Endeavour, from 1768–1771, was ostensibly made to observe the Transit of Venus, but also to search for the mythical Great Southern Continent supposed to lie somewhere between New Holland and South America. Cook became the first European to set foot on New Zealand, and named the land New South Wales. During the second voyage, with HMS Resolution and Adventure, from 1772–1775, Cook made the first crossing of the Antarctic Circle. In his third and final voyage, with HMS Resolution and Discovery, from 1776–1780, Cook became the first European to discover Hawaii and showed that there was no navigable northern passage from the Atlantic to the Pacific. He died during a skirmish with natives in Hawaii. During the third voyage, the Resolution and Adventure sailed along the coast of Japan on their… Read More