Resultados de búsqueda: Topographical Views from Donald Heald Rare Books

London: Ackermann & Co, 1840. Hand-coloured lithograph after Charles Bentley. Very good condition apart from some overall light soiling, a skillfully repaired 1" tear in the right margin. A magnificent view from Schomburgk's "Twelve Views in the Interior of Guiana" This stunning print is from a series of views of Guiana by Charles Bentley, executed as illustrations for Robert Schomburgk's magnificent work on the region. Considered one of the greatest explorers of his day, Schomburgk's discoveries uncovered a wealth of new species that remain some of our most fascinating and beautiful plants. His contributions to the exploration of Guiana will forever be remembered. Schomburgk's career began when he undertook a trip to study the terrain and plant life of British Guiana under the direction of the Royal Geographical Society. This famous exploration uncovered many new species of orchids and brought to the English shores the celebrated giant water lilies known as Victoria regia and Elizabetha regia. He… Leer más

Manchester: Thomas Agnew & Sons, 1853. Lithograph by W. Gauci, printed in tints by M. & N. Hanhart, coloured by hand. Very good condition apart from two small skillfully repaired tears. An evocative image of the Lake District, an area renowned as the cradle of the Romantic Movement in Britain. The Lake District, an area of only some 700 square miles, contains all the main English lakes and is found within the northwestern counties of Cumbria and Lancashire. 'The Lakes' (as the area is also known) first came to prominence with the rise of the cult of the Picturesque in the second half of the 18th century, but it was Wordsworth, a native of Cumbria, born in 1770 on the outskirts of the Lake District itself, who really made it a mecca for those in search of the romantic ideal of landscape. He was joined in the area, at one time or another, by Robert Southey, Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats, Lord Byron, Sir Walter Scott, Thomas de Quincey and many others. By the middle of the… Leer más

[London: T. Boys, 1842. Hand-coloured lithograph by Thomas Shotter Boys, printed by Charles Hullmandel. Very good condition apart from some mild surface abrasions along the edges of the top and left margins of the image. A very fine image from Boys' 'London As It Is': a work 'of considerable importance' (Abbey). Abbey writes of the work London As It Is from which this beautiful image comes: apart "from the beauty of its plates, it records London at a period when good pictorial records were few. The London of the 1840's is probably more difficult to reconstruct than at any other period in the nineteenth century" (Abbey Life 239). High production costs and changing fashion caused aquatint to die out, photography was still in an experimental stage, and chromolithography did not appear until 1850. Boys' work was issued with the plates hand-coloured mounted in imitation of watercolours, with no imprint, or as here, with the plates tinted and hand-coloured, including Boys' name at the foot. Boys garnered… Leer más

[London: T. Boys, 1842. Hand-coloured lithograph by Thomas Shotter Boys, printed by Charles Hullmandel, deluxe edition, mounted on card (as issued). Good condition apart from some overall light soiling and minor foxing. A very fine image from Boys' 'London As It Is': a work 'of considerable importance' (Abbey). Abbey writes of the work London As It Is from which this beautiful image comes: apart "from the beauty of its plates, it records London at a period when good pictorial records were few. The London of the 1840's is probably more difficult to reconstruct than at any other period in the nineteenth century" (Abbey Life 239). High production costs and changing fashion caused aquatint to die out, photography was still in an experimental stage, and chromolithography did not appear until 1850. Boys' work was issued with the plates hand-coloured mounted in imitation of watercolours, with no imprint, or as here, with the plates tinted and hand-coloured, including Boys' name at the foot. Boys garnered… Leer más

Ulm, Germany: Lienhart Holle, 1482. Map. Double-page woodcut map with fine original hand-coloring and Latin place names in letterpress type printed. Carved gold leaf frame with Amiran anti-reflective archival glass with UV protection. Scale: c.1:4,000,000. Sheet: 16 1/2 x 22 inches). Frame: (25 1/2 x 32 1/4 inches). This is the earliest obtainable map of India. A magnificent incunable of the subcontinent from the 1482 Ulm edition of Ptolemy's "Geographia," published sixteen years prior to Vasco da Gama's discovery of the sea route to India. This map is from the first atlas to be printed north of the Alps and the first with woodcut maps. Here with fine period coloring, including lapis lazuli blue seas, not the ochre color of later editions. This rare incunable map is one of the earliest to picture India. It is from the 1482 Ulm edition of Ptolemy's Geographia, printed by Lienhart Holle and titled Cosmographia, in which Donnus Nicolaus Germanus adapted Ptolemy's second century cartography and added… Leer más

Manchester: Thomas Agnew & Sons, 1853. Lithograph by W. Gauci, printed in tints by M. & N. Hanhart, coloured by hand. Very good condition apart from some overall light soiling and minor foxing. An evocative image of the Lake District, an area renowned as the cradle of the Romantic Movement in Britain. The Lake District, an area of only some 700 square miles, contains all the main English lakes and is found within the northwestern counties of Cumbria and Lancashire. 'The Lakes' (as the area is also known) first came to prominence with the rise of the cult of the Picturesque in the second half of the 18th century, but it was Wordsworth, a native of Cumbria, born in 1770 on the outskirts of the Lake District itself, who really made it a mecca for those in search of the romantic ideal of landscape. He was joined in the area, at one time or another, by Robert Southey, Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats, Lord Byron, Sir Walter Scott, Thomas de Quincey and many others. By the middle… Leer más

London: Published as the Act directs by Thos. Daniell, Howland Street, Fitzroy Square, 1809. Aquatint by Thomas Daniell after James Wales, coloured by hand, on 'Whatman' wove paper. Do Tali' the remarkable two storied cave complex from Plans of Hindoo Excavations in the Mountain of Ellora. This plate was engraved by Thomas Daniell after a drawing by James Wales in 1803 and is from the part of Oriental Scenery known as "Hindoo Excavations in the Mountain of Ellora near Aurangabad". The huge complex of cave temples was actually begun by Buddhists in the 6th century, eventually including Hindo and Jain temples as well. The Daniells' Oriental Scenery is considered one of the finest illustrated works on India. Thomas Daniell and his nephew William spent nine years in India making studies, sketches and drawings of the scenery, architecture, and antiquities that graced the countryside. They then devoted a further thirteen years to publishing their remarkably accurate aquatints. In Britain, the impact was… Leer más

London: Edward Orme, 1803. Aquatint, coloured by hand, engraved 'under the direction of Edwd. Orme', marked 'proof' in lower right corner (small expert repairs to margins). A very fine proof impression of this rare view of the harbour, town and castle at Dover. John Thomas Serres, elder son of the marine painter Dominic Serres "was born in December 1759, and followed his father's profession. He was for some time drawing-master to a marine school at Chelsea. In 1780 he began to exhibit at the Royal Academy, sending two water-colour views and a painting of Sir George Rodney engaging the Spanish squadron. In 1790 he went to Italy, visiting Paris, Lyons, Marseilles, Genoa, Pisa, Florence, and Rome, where he passed five months, and then proceeded to Naples.... In 1793 he succeeded his father as marine-painter to the king, and was also appointed marine draughtsman to the admiralty. In the latter capacity he was frequently employed in making sketches of the harbours on the enemy's coast, and had a vessel… Leer más

London: Published by T. McLean, 1857. Hand-coloured lithograph. A stunning night view of the gardens at Eaton Hall, Cheshire, from the "The Gardens of England." Published in 1857, The Gardens of England is a series of 24 plates with accompanying text depicting the diverse luxuriant gardens of various distinguished English mansions. The mid-nineteenth century was a period during which the traditional aesthetics of garden design underwent a significant change in England, as innovative ideas and concepts were being continually introduced and explored. Brooke's publication embodies the eclectic nature of Victorian garden design and constitutes an important visual survey of the varied styles that were popular among the wealthy and fashionable. Designed under the guidance of the Duke of Westminster, the picturesque garden of Eaton Hall, with its geometric parteres, medieval statues of knights and maidens, and Gothic arches, combined elements of the English formal garden with features of the medieval… Leer más

Wolverhampton & London: R.Paddy and F.Jukes, 1793. Aquatint, printed in colours and finished by hand, by Francis Jukes, with engraved title and explanatory text beneath image in English and French on wove paper. A very fine pastoral scene and an excellent example of the picturesque, beautifully printed in colours and finished by hand The text beneath the image reads: "Dudley Castle is said to have been built by one Dodo, or Dudo, a Saxon, about the year 700; so that its present appellation of Dudley is a corruption of his name. This Castle stands on the summit of a Rockey [sic.] Hill, whose sides are beautifully wooded. It commands a most extensive prospect over five Counties, and into Part of Wales. It belongs to Lord Ward, whose Father was by King George the 3d.... created Viscount Dudley and Ward of Dudley." The still-standing ruin was built in the 12th century. It is one of several aquatint views by Francis Jukes of medieval architecture in advanced decay greatly enjoyed by the new Romantic… Leer más

1811. Hand-coloured aquatint, printed on wove paper. Very good condition apart from some overall light soiling, minor foxing, and two small brown stains in the top left and bottom margins respectively. Trimmed to platemark on three sides. A picturesque view of the majestic facade Linlithgow Palace of one of Scotland's Royal castles. This doubly mis-titled aquatint view actually shows the east facade of Linlithgow Palace, the ruins of which stand about fifteen miles from Edinburgh. Linlithgow was the birthplace of James V and Mary Queen of Scots. The palace was vacant of royalty after James VI left to become James I of Great Britain. In 1746, the Duke of Cumberland left the building in ruins. Not much is known about the London-based landscape painter and engraver J. R. Hamble other than that he occasionally exhibited at the Royal Academy between 1803 and 1824 and contributed several aquatints to John Heaviside Clark's A Practical Essay in Painting Landscapes... (1807) and R. Ackermann's The History… Leer más

London: R. Ackermann, 1817. Aquatint, printed in colours and finished by hand, by J.C. Stadler. A fine view of East India House after an artist whose work "shows great truth and accuracy" (DNB) An important record of one of the vanished landmarks of London: East India House, in Leadenhall Street in the City of London, was demolished in the 1860s, and the new Lloyd's building now stands on the site. Thomas Hosmer Shepherd was probably the son of the topographical watercolour artist George Shepherd (fl. 1800-1830) and therefore the brother of George Sidney Shepherd (d.1858), who also executed numerous first class topographical works. T.H. Shepherd "painted exclusively views of streets and old buildings in London and other cities, which he executed with great truth and accuracy. He drew the whole of the illustrations for the following topographical works: Metropolitan Improvements, or London in the Nineteenth Century, 1827; London and its Environs in the Nineteenth Century, 1829; Modern Athens… Leer más

London: Thomas Jefferys, 1762. Engraving, by Peter Mazell. A fine and rare image of Guadaloupe in the West Indies, taken during the English occupation of the island from 1759 to 1763. Fort Royal is situated on the west coast of Basse-Terre (the more rugged of the two islands that make up the bulk of Guadaloupe) and is near the present-day town of Deshaies. The British attempted, unsuccessfully, to capture the French colony of Guadaloupe in 1666, 1691 and 1703, before finally succeeding in 1759. The island was returned to the French in 1763, but captured again, briefly, in April 1794.

London: Robert Sayer and John Bowles & Son, [no date]. Hand-coloured engraving, printed on laid paper backed with a 20th-century archival sheet. Very good condition apart from some light soiling and a 5/8" tear along the bottom edge of a larger skillfully repaired tear that runs through the right side of the image and spans the height of the sheet. A very fine image of Kensington Palace and its expansive grounds. Erected in 1661 for the Earl of Nottingham, Kensington Palace became the royal residence of William III in 1689. Over the years, it underwent various renovations by architects such as Nicholas Hawksmoor and Sir Christopher Wren. The palace was surrounded by an extensive park, the vast grounds of which are pictured here, that was expanded and laid out by the celebrated garden designers Henry Wise and Charles Bridgeman. Visible on the far left side of this beautiful print is one of the formal tree-lined avenues that were characteristic of the park. John Tinney was both an engraver and "a… Leer más

Edinburgh: published by Daniel McIntosh, sold in London by Boydell & Co., and Colnaghi & Co, 1814. Aquatint, printed in brown ink, coloured by hand, by John Clark. A lively view of Georgian Edinburgh. A fine view of a windy day on one of the most fashionable streets of the period: in the foreground a stagecoach is leaving, laden with passengers and apparently pursued by a late-comer who gestures in an attempt to attract the attention of anyone on the coach. More serenely, the coach is flanked by fashionable Edinburgh going about its daily business. This view may be seen as a precursor to John Clark's own Views in Scotland published in London between 1824 and 1825 with a total of 35 plates. A 19th century gazetteer notes that 'Edinburgh presents, from almost every point of view whence it can be viewed such scenic and architectural groupings as are perhaps unrivalled in any existing city in the world. It possesses attractions peculiarly its own, and fixes the gaze and challenges the admiration of a… Leer más

London: Published by R. Ackermann's Repository of Arts, 1824. Hand-coloured aquatint. Very good condition apart from some overall light soiling, minor foxing, and mild matburn in the margins. A skillfully repaired 3/4" tear in the top left corner. Trimmed to within platemark on all sides. A scenic view of Scotland's capital, from a set of four prints of Edinburgh. The ancient city of Edinburgh on the east coast of Scotland has a long and eventful history that dates back to the Bronze Age. Perched on top of an elevated volcanic rock, its impressive castle is the city's focal point and was built by King Malcolm III Canmore in the eleventh century. By the late sixteenth century, Edinburgh was a thriving city and was established as the capital Scotland and the chief site of the royal court. Although no longer the royal seat when James VI of Scotland ascended to the English throne in 1603, effectively uniting the crowns of Scotland and England, it retained its own Parliament for many years. The city… Leer más

London: Published by R. Ackermann's Repository of Arts, 1824. Hand-coloured aquatint. Very good condition apart from a skillfully repaired 3/4" tear in the right margin, a few tiny pinholes at the corners of the sheet, and some light soiling in the margins. Trimmed to within platemark on all sides. A scenic view of Scotland's capital as seen from the city's main thoroughfare, from a set of four prints of Edinburgh. The ancient city of Edinburgh on the east coast of Scotland has a long and eventful history that dates back to the Bronze Age. Perched on top of an elevated volcanic rock, its impressive castle is the city's focal point and was built by King Malcolm III Canmore in the eleventh century. By the late sixteenth century, Edinburgh was a thriving city and was established as the capital Scotland and the chief site of the royal court. Although no longer the royal seat when James VI of Scotland ascended to the English throne in 1603, effectively uniting the crowns of Scotland and England, it… Leer más

London: F.J.Sarjent, 1810. Aquatint, printed in colours with hand-colouring, by Sarjent. (Two small expertly repaired tears to blank margins). A beautiful and rare large format view of Edinburgh. Francis Sarjent drew, engraved and published this rare view of Scotland's capital city. This panoramic image is balanced and enlivened by the figures in the foreground of an old sailor (telescope under one arm), who stands talking to two young boys whilst the sailor's greyhound looks on. Various landmark buildings are identified beneath the image: The Bank, The New Prison, Prince Street, The Register Office and the Monument to the memory of Lord Nelson. Sarjent is also credited with having painted the images for a number of the plates in W.Richards & J.Sillett's 'The History of King's Lynn' (London & King's Lynn: 1812). A 19th-century gazetteer notes that 'Edinburgh presents, from almost every point of view whence it can be viewed such scenic and architectural groupings as are perhaps unrivalled in any… Leer más

London: Published by R. Ackermann's Repository of Arts, 1824. Hand-coloured aquatint. Very good condition apart from some minor foxing at the top of the image, a bit of light soiling and mild matburn in the margins. Trimmed to within platemark on all sides. A scenic view of Scotland's capital as seen from one of the city's main hills, from a set of four prints of Edinburgh. The ancient city of Edinburgh on the east coast of Scotland has a long and eventful history that dates back to the Bronze Age. Perched on top of an elevated volcanic rock, its impressive castle is the city's focal point and was built by King Malcolm III Canmore in the eleventh century. By the late sixteenth century, Edinburgh was a thriving city and was established as the capital Scotland and the chief site of the royal court. Although no longer the royal seat when James VI of Scotland ascended to the English throne in 1603, effectively uniting the crowns of Scotland and England, it retained its own Parliament for many years. The… Leer más

London: Published by R. Ackermann's Repository of Arts, 1824. Hand-coloured aquatint. Very good condition apart from some light soiling and a skillfully repaired 5/8" tear in the top margin. Top margin trimmed to within platemark. A scenic view of Scotland's capital, from a set of four prints of Edinburgh. The ancient city of Edinburgh on the east coast of Scotland has a long and eventful history that dates back to the Bronze Age. Perched on top of an elevated volcanic rock, its impressive castle is the city's focal point and was built by King Malcolm III Canmore in the eleventh century. By the late sixteenth century, Edinburgh was a thriving city and was established as the capital Scotland and the chief site of the royal court. Although no longer the royal seat when James VI of Scotland ascended to the English throne in 1603, effectively uniting the crowns of Scotland and England, it retained its own Parliament for many years. The city continued to prosper during the Enlightenment, although its… Leer más