Showing 33–48 of 100 results
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Leckhampton ‘ The Seat of the Reverend Thomas Norwood’
First half of 18th Century English hand coloured copper engraving of grand English estates.
1720
54 cm x 76 cm
Stock CGW134453-22
The “Mudie’s” of Melbourne (Samuel Mullen’s Circulating Library, Collins Street East)
Sketch by our special artist Mr Melton Prior
The Illustrated London News
19th January 1889
40 cm x 27 cm
Stock CGW134453-21
‘Sketches at Melbourne Australia, by our special artist Mr Melton Prior’
1. Taking Tickets for the Saddle Paddock on the Melbourne Racecourse
2. Government House, Melbourne
3. The Grand Stand and Melbourne Racecourse on Cup Day
The Illustrated London News
7th June 1890
40 cm x 27 cm
Stock CGW134453-20
‘Disputing a Claim and Great Bourke Street, Melbourne’
The Illustrated London News
27th January 1872
40 cm x 27 cm
Stock CGW134453-13
‘City of Adelaide – The Capital of South Australia’
The Illustrated London News
29th May 1886
40 cm x 27 cm
Stock CGW134453-3
‘Government House Melbourne’
‘Sketch by our special artist, Mr Melton Prior’
A page from The Illustrated London News
5th January 1889
40 cm x 27 cm
Stock CGW134463-2.1-10
Copper Engravings
Morghen
1750
47.5 cm x 37 cm (unframed)
Stock CGW134453-8
‘Geelong’
A page from The Illustrated London News
5th January 1889
40 cm x 27 cm
Having fantastic original colours, slightly foxing and housed in a birds eye maple frame.
A supplement to ‘The Illustrated Australian News’ July 1873.
Engraved by C.E. Winston and E. Lee.
65 cm x 100 cm
Stock CGW134468-2.1
“Portique du Pantheon
a Rome
Fragment du Chapiteau
Grandeur de l’execution”
Tieleman Frans Suys, a belgian architect who completed his architectural eduction in Paris. He played an important role as an architect and urban planner in 19th-century Belgium.
52 cm x 74.5 cm (unframed)
C. 1800
Stock CGW134469-13.1-3
Copper engravings completed by a Dutch engraver Michael Burghers for Robert Plots’ book ‘The Natural History of Staffordshire’.
Plot (1640-1696) was an Oxford scholar and the first curator of the Ashmolean Museum, Oxford.
He was influential in moving the traditional method of county studies to a new direction with his emphasis on natural history.
His most influential books were,’The Natural History of Oxfordshire, being an essay towards the Natural History of England’ published in 1677 and ‘The Natural History of Staffordshire’ published in 1686.
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Vue D’Optique
Vue du Pont neuf sur la Tamise a Hampton Court
Published according to act of Parliament in 1761
The term “vue d’optique” or “perspective view” is used for describing a very special genre of hand coloured copper engravings. Originating in England it became widely produced in Europe during the second half of the 18th Century.
“Perspective views” are usually views of cities around the world. These were shown in “peep boxes”, a special viewer that contained a magnifying lense which gave the viewer the impression of three dimensional perception. Well-to-do people bought such viewing machines for their families and began collecting the vue d’optique engravings showing them at home like a slide show would be shown.
Perspective view prints were usually colored quite boldly before they were sold. Black and white samples are the exception and rather rare. They also have more or less the same format and size because they had to fit the peep boxes. The title of a view was not always, but quite frequently printed in several languages and often repeated above the view in inverted writing which was corrected by the lens for the viewer.
33 cm x 50 cm
Stock CGW134469-16.3
Vue D’Optique
Representant le Parc du Chaleau de Milford Hamillon, traverse par la Thamise aux environs de Londres
The term “vue d’optique” or “perspective view” is used for describing a very special genre of hand coloured copper engravings. Originating in England it became widely produced in Europe during the second half of the 18th Century.
“Perspective views” are usually views of cities around the world. These were shown in “peep boxes”, a special viewer that contained a magnifying lense which gave the viewer the impression of three dimensional perception. Well-to-do people bought such viewing machines for their families and began collecting the vue d’optique engravings showing them at home like a slide show would be shown.
Perspective view prints were usually colored quite boldly before they were sold. Black and white samples are the exception and rather rare. They also have more or less the same format and size because they had to fit the peep boxes. The title of a view was not always, but quite frequently printed in several languages and often repeated above the view in inverted writing which was corrected by the lens for the viewer.
32 cm x 44 cm
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Architectural Scene
Volchamer
Hand coloured engravings
35.5 cm x 47.5 cm (unframed)
1708
Stock CGW134469-16.2
Vue D’Optique
View of the Royal Hospital and the Rotunda in Ranelagh Gardens
Published according to Act of Parliament
20th August 1761
The term “vue d’optique” or “perspective view” is used for describing a very special genre of hand coloured copper engravings. Originating in England it became widely produced in Europe during the second half of the 18th Century.
“Perspective views” are usually views of cities around the world. These were shown in “peep boxes”, a special viewer that contained a magnifying lense which gave the viewer the impression of three dimensional perception. Well-to-do people bought such viewing machines for their families and began collecting the vue d’optique engravings showing them at home like a slide show would be shown.
Perspective view prints were usually colored quite boldly before they were sold. Black and white samples are the exception and rather rare. They also have more or less the same format and size because they had to fit the peep boxes. The title of a view was not always, but quite frequently printed in several languages and often repeated above the view in inverted writing which was corrected by the lens for the viewer.
26 cm x 40 cm
Stock CGW134469-16.1
Vue D’Optique No. 76
Le Jardin de Vauxhall
The term “vue d’optique” or “perspective view” is used for describing a very special genre of hand coloured copper engravings. Originating in England it became widely produced in Europe during the second half of the 18th Century.
“Perspective views” are usually views of cities around the world. These were shown in “peep boxes”, a special viewer that contained a magnifying lense which gave the viewer the impression of three dimensional perception. Well-to-do people bought such viewing machines for their families and began collecting the vue d’optique engravings showing them at home like a slide show would be shown.
Perspective view prints were usually colored quite boldly before they were sold. Black and white samples are the exception and rather rare. They also have more or less the same format and size because they had to fit the peep boxes. The title of a view was not always, but quite frequently printed in several languages and often repeated above the view in inverted writing which was corrected by the lens for the viewer.
30 cm x 44.5 cm