Disputing a Claim and Great Bourke Street – 1872
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‘Disputing a Claim and Great Bourke Street, Melbourne’
The Illustrated London News
27th January 1872
40 cm x 27 cm
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City of Adelaide – 1886
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‘City of Adelaide – The Capital of South Australia’
The Illustrated London News
29th May 1886
40 cm x 27 cm
Government House Melbourne – 1850
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‘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
Morghen (unframed) – ornaments – 1750
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Copper Engravings
Morghen
1750
47.5 cm x 37 cm (unframed)
Geelong – 1889
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‘Geelong’
A page from The Illustrated London News
5th January 1889
40 cm x 27 cm
A rare 19th Century hand coloured woodblock engraving of a birds eye view of Melbourne and Suburbs – CGW134492-2
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
Suys – “Portique du Pantheon a Rome”
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“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
Robert Plot (unframed collection) – 1696
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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.
Vue D’Optique – Vue du Pont neuf sur la Tamise a Hampton Court
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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
Vue D’Optique – Representant le Parc du Chaleau de Milford Hamillon, traverse par la Thamise aux environs de Londres
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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
Volchamer – Architectural Scene – 1708
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Architectural Scene
Volchamer
Hand coloured engravings
35.5 cm x 47.5 cm (unframed)
1708
Vue D’Optique – View of the Royal Hospital and the Rotunda in Ranelagh Gardens
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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
Vue D’Optique – Le Jardin de Vauxhall
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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
Piranesi (unframed) – 1760
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Piranesi
Copper Engraving
1760
53 cm x 77.5 cm (unframed)
Piranesi Copper Engraving
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Piranesi Copper Engraving
89 cm x 109 cm (framed)
C. 1760
Churchill ‘Botavia’ – 1720
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‘Botavia’
Early 18th Century hand coloured copper engraving.
Published in Churchill’s Voyages 1720 (Rare)
H 40cm W.55cm