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 South West  London p 4 .


South West  London ( SW postcode) Page 4





View Of The House Of Lords And Commons From Old Palace Yard.
Vue De La Chambre Des Pairs Et Celle Des Communes Prise Pour La Cour Du Palais.
Hand coloured aquatint, both drawn & engraved by Robert Havell & Son. London, Published by Messrs Colnaghi & Co. Cockspur Street.   280 x 375mm. From  Robert Havell's 'Views of the Public Buildings and Bridges in London and its Environs', 1820-1. Numbered 'PL 12' upper right. Paper watermarked 'J. Whatman 1829' but published c 1830  Framed/Glazed scarce in good condition unopened  £285 inc delivery.



The View of the CHARITY CHILDREN in the Strand,
. . . . .  upon the VII of July MDCCXIII = Tabula exhibens puellos in Scholis Eleemosynariis educatos ita uti erant visendi in Vico vulgo dicto THE STRAND, ad diem Septimam JULII, A.D. MDCCXIII : being the day appointed by her late Majesty Queen Anne for a Publick Thanksgiving for the Peace; when both Houses of Parliament made a Solemn procession to the Cathedral of St Paul. By the care & provision of the Trustees of the several Charity-Schools in & about London & Westminster near IV thousand Charity Children Boys & Girls, being new cloathed were placed upon a Machine extended in length 620 feet, which had in breadth eight ranges of feats one above another; During the whole procession which lasted near three Hours, they sung & repeated the Hymns, which were prepared upon the expectation of her Majesty's Royal Presence. The Like View of the Charity Children was presented to his Majesty King George, on the south side of St Pauls, when he made his Publick Entry into the City of London, upon the XX of September, MDCCXIV. / Geo. Vertue delin et Sculpsit 1715but published 1774 . plate mark 37.7 x 64.1 cm + frame etc In a very early frame which may be original   Title in Latin from text in lower portion of image on first plate; title in English from text in lower portion of image on second plate. Text within scroll in lower left corner of first plate: The first hymn sung by the charity children. Lord give the Queen thy saving health ... More Text within scroll in lower right corner of second plate: The second hymn sung by the charity children. Glory to God, who reigns on high ...  This is the left portion of a pair  by G.Vertue delin et sculpsit 1715. . A large prospect of the Strand during the ceremonial procession celebrating the end of Britain's participation in the War of the Spanish Succession, sealed by the Treaty of Utrecht in 1713. Two stands hold 4,000 children, clothed for the occasion, girls on the left and boys on the right. £185 inc delivery less collected




A view of London from Lambeth.
This  aquatint was drawn J Farington. R. A and engraved by J. C. Stadler. Published by J & J Boydell of London and dated June 1st 1795. With centre fold as issued . From A History of the River Thames published by John and Joshia Boydell in 1793 and 1796. The brothers originally intended to include the rivers Thames, Severn, Forth and Clyde 'and intended to illustrate an original History of those Rivers, including all that adorns, dignifies or enriches them and their Vicinities, whether of Art or Nature'. The project was abandoned at the completion of the History of the Thames. Joseph Constantine Stadler was a printmaker of German origins, working in London between 1780 - 1819.Joseph Farington (1747-1821) was a landscape painter and diarist Size approx 54 x 34cm.  plus margins framed, glazed sent to the USA minus glass. Original hand colouring the fold is slightly toned pic done in daylight on the doortep . Very rare. Frame unopened as looks pretty perfect  £395 inc delivery

reserved



A view of the grand walk &c in Vauxhall Gardens taken from the entrance /Vue de la grande allée du jardin de Vauxhall prise de l'èntre

 Canaleti delin.(Canaletto, 1697-1768, artist.) ; Rooher (Rooker)  Robert Sayer , 1725-1794, publisher. This was one of the vue d'optique or perspective views showing the cities of the world, prints that were very popular in the late eighteenth century. These prints were produced for a viewing machine that was used both in private and by peddlers in the streets of Europe. The hand colour, necessitated by the optical show, the tones being more vivid and brilliant than on other, similar views of the period. The intended use of the print necessitated a standard size, £285 inc delivery framed etc The Canaletto version is actually the scarcest copied and simplified later by Rooker in various forms

reserved


  Savoy Hospital in the strand
Plate 12 to volume II: Three views of the Savoy Hospital, at the top, on the left the entrance to the prison and on the right part of the chapel; below a further view of the chapel, showing the five large windows; cobbled lanes outside buildings. 1753 Etching and engraving from the `Vetusa Monumenta  Lettered with title at top, and to the right "Vol II Plate XII", and below image with "An historical account of the Savoy, so called from Peter earl of Savoy, who built a palace there, has been given already in Plate V of this Volume. But that palace being destroyed by the rebels of Kent and Essex, this hospital was erected there by K. Henry VII. In memory of where of the date of its foundation, with the two following Latin verses written in the manner of those times, were placed over the gate towards the street / 1505 / HOSPITIUM HOC INOPI TURBE SAVOIA VOCATUM / SEPTIMUS HENRICUS FUNDAVIT AB IMO SOLO / That inscription remained till the building was burnt down, not long after the great fire of London in 1666, as Newcourt relate, Repertor. Vol I. pag", and below bottom image "The Chapel of the Hospital / This chapel now serveth as a parish church to the tenements near adjoining, and others in the neighbourhood; and is reckoned in the bills of mortality, as one ofthe seven parishes in the city and liberties of Westminster, by the name of St Mary Savoy", and production details: "G. Vertue delin et sculp / Published according to Act of Parliament, nov 29 1753 / Sumptu Societ. Ant. Lond. 1753". Some age toning to paper  but even  £95 inc delivery as needs to post flat Height: 457 millimetres Width: 319 millimetres plus margins



View of the Savoy from the river Thames.

Plate from volume II of Vetusta Monumenta: view from the Thames of the buildings of the Savoy; a few boats next to the stairs to the water. 1736
Etching and engraving  31.5cm x 46.5cm Lettered with title on scroll in sky and on tablet at bottom centre nine lines of description on the history of the Savoy. In lower margin a key from A to G providing information on the different parts of the Savoy, and the line "Drawn with the Plan of the Place by G.V. in 1736, and published at the Expence of the Antiquary Society, London, 1750".   £95 inc delivery as needs to post flat Normally found as the later smaller reprint minus writing at £150 ish !


 

A View of the House of Commons

Antique copper engraving, engraved by Benjamin Cole (fl.1748-75) From William Maitland's "History of London" Published in London, 1756 Image sizes: 37 x 23 cm . This is a copy simplified of the earlier 1749 engraving by by John Pine which included a key to members (NPG D11092). Normally found with its pair 'A View of the House of Peers" Short borders behind the mount and a blemish in ceiling area plus toning £65 inc delivery

Interior of Westminster Abbey, London
by Thomas Bowles III (London c.1712–1767)Vue D'optique first published 1753. Hand-coloured engraving, 28 x 43 cm During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views, which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print, creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views, and were horizontal in format.£250 inc delivery scarce



A View of the Canal, Chinese Building, Rotunda, &c. in Ranelagh Gardens, with the Masquerade'.
Engraving by Charles Grignion( born 1721 - died 1810) after Canaletto, Giovanni Antonio, born 1697 - died 1768 (after, artist) Published by Sayer, Robert, born 1724 - died 1794Size:Image 39.37 cm x 25.62 cm Framed etc Published in 1759 A beautiful view of Ranelagh Gardens in its heyday, with a masquerade in progress. Ranelagh Gardens was one of the largest and most spectacular pleasure gardens of the era. Like its great rival Vauxhall Gardens, it fell into decay in the early nineteenth-century. It was closed in 1805. The site of the rotunda, subject of a famous picture by Canaletto, is now marked by a summer house. During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views, which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print, creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views, and were horizontal in format.£380 inc delivery scarce




South Pier of the Great Arch of London Bridge, surveved by R. Dodd, 1799 Plate iv
Original Antique engraved engineering elevation and description of the proposed bridge works in 1799printed by parliament (Hansard)1800 and then reprinted 1803. Ralph Dodd (c.1756-11 April 1822) was a late 18th century British civil engineer primarily known for his attempt to produce the first tunnel underneath the Thames in 1798. Looks to be for 'Originally presented as The Prospectus for the Intended Prince's Bridge Ralph Dodd's hand written observations can be found at Battersea Library, London. Following numerous months taking tally notes on crossing types at Battersea Bridge, then operating a toll system, Dodd petitioned the Prince Regent in 1806-1811 for an Act allowing the construction of a bridge across the Thames to relieve congestion. Dodd was successful in receiving an Act of Parliament, but exited the project in 1812 after being renamed the Vauxhall Bridge Company. Once again replaced by Rennie who was unsuccessful in this endeavour and also resign from the project.' One of the 21 engravings from The Several Plans and Drawings Referred to in the Third Report from the Select Committee upon the Improvement of the Port of London. Ordered to be printed 28th July 1800.-----Volume of engravings of proposed London Bridges.by TELFORD. Thomas. & DOUGLAS, James., DODD. Ralph., DANCE, George., JESSOP. William.; .£155 inc delivery with original folds and how it survived !?






'Vue du Parc StJames a Londres et du Canal de Buckingham prise de la cour de L'Hotel du même nom',1786
Vue d'optique or perspective view, presenting a laterally reversed image intended for viewing in an optical diagonal machine (zograscope) - a view along old Cornhillone of 47 by Maillet . The second Royal Exchange dominating the landscape - St. Paul's away in the distance. Produced by the Paris engraver and printseller, Joseph Maillet (d.1788).Copper line engraving on paper, withoriginal hand colour. Engraved surface 237 x 384mm (approx. 9-1/4" x 15-1/8"). A few faintfox marksto margin and minor signs of age, but in very good and clean state.Framed in Walnut , wash line mount£325 inc delivery( the third of this set is hown here butis EC3 pub. Paris & London,



Carlton House, South Front.
Aquatint with fine hand colour and large margins. 255 x 310mm. Framed/Glazed By W. Westall A.R.A. del.t. R. Reeve sculp.Pub. April 1.1819, by W.H. Pyne, 36 Upper Charlotte Street, Fitzroy Square. View of the south face of Carlton House, facing St James's Park. It was one of twenty-four views of Carlton House published in William Henry Pyne's 'History of the Royal Residences', showing the opulence of the Prince Regent's home. However when he became king in 1820 he decided that it was inadequate for his needs: it was demolished in 1825 and replaced with Carlton House Terrace, expensive houses sold to raise money for the refurbishment of Buckingham Palace.£125 inc delivery sorry mucky glass





The Houses of Parliament
Etching by George Huardel-Bly c 1900/1910mImage size16+ x 25 cm original unopnened frame/glazed but with condition issues hence not on etchings page ..The pic has been toned from the backboard and could do with a clean and new non wooden backboard so nice anc cheap £25 inc delivery George HUARDEL-BLY b.1872 was from Orleans in France. Travelled widely and settled in Brighton, for a time. Prolific print maker. Mentioned in Guichard. Mr H-B had his own very distinctive signature ( should have been a medic)



Carleton House. Pall Mall, London. / Carlton House
 Rowlandson & Pugin del et Sculpt. J.C. Stadler Aquat. London, Pub. Full page Original Aquatint from .The "Repository of Arts, Literature, Commerce, Manufactures, Fashions and Politics, commonly known as Ackermann's Repository, after Rudolph Ackermann, its publisher .... first appeared in London in 1809 as a monthly publication Dated 1811 at 101 Strand Image 20 x 12 cm Page 54 x 36 cm so Full margins ! £105


The Staircase, Carlton House. Pall Mall, London.
 Rowlandson & Pugin del et Sculpt. J.C. Stadler Aquat. London, Pub. Full page Original Aquatint from .The "Repository of Arts, Literature, Commerce, Manufactures, Fashions and Politics, commonly known as Ackermann's Repository, after Rudolph Ackermann, its publisher .... first appeared in London in 1809 as a monthly publication Dated 1811 at 101 Strand Image 20 x 30 cm Page 54 x 36 cm so Full margins ! £115 also
another cropped copy mounted at £85 ie close cut behind the mount
Third copyfrom the smaller booklet folds as issued smaller margins unmountedslight edhge of page soiling £65




Carlton House. Pall Mall, London.
Rowlandson & Pugin del et Sculpt. J.C. Stadler Aquat. London, Pub. July 1st July, 1809 at R. Ackermann's Repository of Arts 101 Strand. for the Repository of Arts Vol/Plate: 6/19. In addition to the impression in Select Views(Papworth) City of Westminster Library have three versions of this print, one of the outline etching only; one with outline etching and aquatint, uncoloured; and one with the outline etching and aquatint coloured Coloured aquatint. full borders /full page £125 Image 32 x 13 cm Page 54 x 36 cm Page 54 x 36 cm so Full margins !


Second copyfrom the smaller booklet folds as issued smaller margins unmounted £65
   

"Buckingham House" on May 1, 1819 now Buckingham Palce
 by W.Westall delt., T.Sutherland sculpt. W. Westall delt. A T. Sutherland sculpt. from PYNE, W.H. From The history of the royal residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore. By W.H. Pyne. Illustrated by one hundred highly finished and coloured engravings, fac-similes of original drawings by the most eminent artists. London: printed for A. Dry, 1819. £105 in an odd paper window mount with close borders as seen in pic


Upper section is a view of Lower Regent Street
with a vignette of Carlton House underneath. by Pugin, Augustus Charles (1762-1832) delt., Sutherland, Thomas (fl.1785-1838) sculpt published by .Colnaghi & Co.t. from PYNE, W.H. From The history of the royal residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore. By W.H. Pyne. Illustrated by one hundred highly finished and coloured engravings, fac-similes of original drawings by the most eminent artists. London: printed for A. Dry, 1819. £75 in an odd paper window mount with close borders as seen in pic and some foxing/age toning


Cockspur Street
from Malton's ambitious series of aquatints and engravings "A Picturesque Tour Through London," issued between 1792-1801 T. Malton delint. & fecit. Publish'd (date) and Sold by T. Malton, No. 8, Carlisle Street, Soho. f Plate 20, page 32 Cockspur Street. Jan 18th 1797. 215 x 305mm. by Thomas MALTON, (1748-1804) London: Published by T. Malton, September 2nd 1799. Hand-coloured aquatint. Image size (including text): 10 1/8 x 12 1/8 inches. Sheet size: 11 1/2 x 14 5/8 inches.from Malton's ambitious series of aquatints and engravings "A Picturesque Tour Through London," issued between 1792-1801. The son of the architectural draughtsman Thomas Malton, Thomas Malton the younger was an early exponent of the art of aquatint, which he used to make multiple copies of the topographical views for which he was famous. He was chiefly known for his stunning views of London, which were prized for their architectural accuracy and regarded as valuable topographical records. Like his brother James, Malton worked as a draughtsman in the office of the celebrated Irish architect James Gandon in London. He regularly exhibited at the Royal Academy, beginning in 1773, and was awarded a prestigious pecuniary prize by the Society of Arts in 1774. From 1783 to 1789, he taught an evening drawing class from his home in London's Conduit Street, where he instructed a young Thomas Girtin and J. M. W. Turner, the latter of whom he greatly influenced. £85 water mark to the sky would remove also on also on Malton page


A Prospect of Chelsea Bridge Water-Works.
Sold by A.Benoist at Mr.Masons next door to the Golden Ball in the Hay Market, over against the Opera House - According to Act of Parliament. [, c.1760].
Engraving with original hand colour. 220 x 385mm.. Thisis cut to image edge with the title pasted to the back ,water marks and surface soiling that could be removed but still mega rare £45 shown large to show defects


Chapel Royal St James's Palace
formerly belonging to a House of Female Lepers founded by the Citizens of London
missing

PYNE, WILLIAM HENRY. 1769-1843.
William Henry Pyne was an English writer, illustrator and painter. He initially trained at a drawing academy in his native London and first exhibited at the Royal Academy in 1790, and thereafter for six years, chiefly rural subjects. He specialized in picturesque scenes including groups of people rendered in pen, ink and watercolor. A founder of the Old Water-Colour Society in 1804, resigned five years later when it refused to increase the membership beyond 24 artists. Works include 600 illustrations for Microcosm of London (1803-06) and The Costumes of Great Britain (1808). He attracted the patronage of the successful publisher Rudolf Ackermann and engraved and wrote for many of his projects. Pyne wrote the publication The History Of The Royal Residences (1816-19), which brought together eminent watercolorists, draftsmen and aquatint engravers. This series shows the rooms at Windsor Castle, St. James's Palace, Kensington Palace, Hampton Court, Buckingham House (later Buckingham Palace), and Frogmore

'The History of the Royal Residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore'. Published in London: by A. Dry, 1819. one of 100 hand-colored aquatint plates by T. Sutherland, D. Havell, R. Reeve, W.J. Bennett, and others after C. Wild, J. Stephanoff, W. Westall, and R. Cattermole. Oblong folio (380 x 435 mm) plus margins. Charles Wild (1781-1835), James Stephanoff (1787-1874), Richard Cattermole (1795-1858), William Westall (1781-1850), George Samuel (1785-1823) et al. (after) Thomas Sutherland (b. 1785), William James Bennett (1787-1844), Richard Reeve (b. 1780), Daniel Havell (1785-1826), J. Bailey, et al. (engravers). They are on fine, woven paper and at least one print bears a J Whatman 1816 watermark.





The Saloon Buckingham House ( looks to be the throne room )

from 'The History of the Royal Residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore'. Published in London: by A. Dry, 1819. one of 100 hand-colored aquatint plates by T. Sutherland, D. Havell, R. Reeve, W.J. Bennett, and others after C. Wild, J. Stephanoff, W. Westall, and R. Cattermole. Oblong folio (380 x 435 mm) plus margins. Charles Wild (1781-1835), James Stephanoff (1787-1874), Richard Cattermole (1795-1858), William Westall (1781-1850), George Samuel (1785-1823) et al. (after) Thomas Sutherland (b. 1785), William James Bennett (1787-1844), Richard Reeve (b. 1780), Daniel Havell (1785-1826), J. Bailey, et al. (engravers). They are on fine, woven paper and at least one print bears a J Whatman 1816 watermark. Picture slightly bleached in Photoshop to show detail . . colour actually nice and bright some heightened with gum arabic etcFull page no defects £95 inc



Old bed Chamber St James's. . . In which was born the son of James II

from 'The History of the Royal Residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore'. Published in London: by A. Dry, 1819. one of 100 hand-colored aquatint plates by T. Sutherland, D. Havell, R. Reeve, W.J. Bennett, and others after C. Wild, J. Stephanoff, W. Westall, and R. Cattermole. Oblong folio (380 x 435 mm) plus margins. Charles Wild (1781-1835), James Stephanoff (1787-1874), Richard Cattermole (1795-1858), William Westall (1781-1850), George Samuel (1785-1823) et al. (after) Thomas Sutherland (b. 1785), William James Bennett (1787-1844), Richard Reeve (b. 1780), Daniel Havell (1785-1826), J. Bailey, et al. (engravers). They are on fine, woven paper and at least one print bears a J Whatman 1816 watermark. Picture slightly bleached in Photoshop to show detail . . colour actually nice and bright some heightened with gum arabic etc Full page no defects £95 inc



Guard Chamber St James's

from 'The History of the Royal Residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore'. Published in London: by A. Dry, 1819. one of 100 hand-colored aquatint plates by T. Sutherland, D. Havell, R. Reeve, W.J. Bennett, and others after C. Wild, J. Stephanoff, W. Westall, and R. Cattermole. Oblong folio (380 x 435 mm) plus margins. Charles Wild (1781-1835), James Stephanoff (1787-1874), Richard Cattermole (1795-1858), William Westall (1781-1850), George Samuel (1785-1823) et al. (after) Thomas Sutherland (b. 1785), William James Bennett (1787-1844), Richard Reeve (b. 1780), Daniel Havell (1785-1826), J. Bailey, et al. (engravers). They are on fine, woven paper and at least one print bears a J Whatman 1816 watermark. Picture slightly bleached in Photoshop to show detail . . colour actually nice and bright some heightened with gum arabic etc Full page x 3 slight page ripple to border on one / £95 inc SW London



Gallery of the Staircase Carlton House

from 'The History of the Royal Residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore'. Published in London: by A. Dry, 1819. one of 100 hand-colored aquatint plates by T. Sutherland, D. Havell, R. Reeve, W.J. Bennett, and others after C. Wild, J. Stephanoff, W. Westall, and R. Cattermole. Oblong folio (380 x 435 mm) plus margins. Charles Wild (1781-1835), James Stephanoff (1787-1874), Richard Cattermole (1795-1858), William Westall (1781-1850), George Samuel (1785-1823) et al. (after) Thomas Sutherland (b. 1785), William James Bennett (1787-1844), Richard Reeve (b. 1780), Daniel Havell (1785-1826), J. Bailey, et al. (engravers). They are on fine, woven paper and at least one print bears a J Whatman 1816 watermark. Picture slightly bleached in Photoshop to show detail . . colour actually nice and bright some heightened with gum arabic etc Full page no defects £95 inc x 2 SW London


The German Chapel St James's palace

from 'The History of the Royal Residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore'. Published in London: by A. Dry, 1819. one of 100 hand-colored aquatint plates by T. Sutherland, D. Havell, R. Reeve, W.J. Bennett, and others after C. Wild, J. Stephanoff, W. Westall, and R. Cattermole. Oblong folio (380 x 435 mm) plus margins. Charles Wild (1781-1835), James Stephanoff (1787-1874), Richard Cattermole (1795-1858), William Westall (1781-1850), George Samuel (1785-1823) et al. (after) Thomas Sutherland (b. 1785), William James Bennett (1787-1844), Richard Reeve (b. 1780), Daniel Havell (1785-1826), J. Bailey, et al. (engravers). They are on fine, woven paper and at least one print bears a J Whatman 1816 watermark. Picture slightly bleached in Photoshop to show detail . . colour actually nice and bright some heightened with gum arabic etc Full page no defects £95 inc x 2



The Queen's Bed Chamber Kensington palace

from 'The History of the Royal Residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore'. Published in London: by A. Dry, 1819. one of 100 hand-colored aquatint plates by T. Sutherland, D. Havell, R. Reeve, W.J. Bennett, and others after C. Wild, J. Stephanoff, W. Westall, and R. Cattermole. Oblong folio (380 x 435 mm) plus margins. Charles Wild (1781-1835), James Stephanoff (1787-1874), Richard Cattermole (1795-1858), William Westall (1781-1850), George Samuel (1785-1823) et al. (after) Thomas Sutherland (b. 1785), William James Bennett (1787-1844), Richard Reeve (b. 1780), Daniel Havell (1785-1826), J. Bailey, et al. (engravers). They are on fine, woven paper and at least one print bears a J Whatman 1816 watermark. Picture slightly bleached in Photoshop to show detail . . colour actually nice and bright some heightened with gum arabic etc Full page no defects £95 inc


The Golden Drawing Room Carlton House

from 'The History of the Royal Residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore'. Published in London: by A. Dry, 1819. one of 100 hand-colored aquatint plates by T. Sutherland, D. Havell, R. Reeve, W.J. Bennett, and others after C. Wild, J. Stephanoff, W. Westall, and R. Cattermole. Oblong folio (380 x 435 mm) plus margins. Charles Wild (1781-1835), James Stephanoff (1787-1874), Richard Cattermole (1795-1858), William Westall (1781-1850), George Samuel (1785-1823) et al. (after) Thomas Sutherland (b. 1785), William James Bennett (1787-1844), Richard Reeve (b. 1780), Daniel Havell (1785-1826), J. Bailey, et al. (engravers). They are on fine, woven paper and at least one print bears a J Whatman 1816 watermark. Picture slightly bleached in Photoshop to show detail . . colour actually nice and bright some heightened with gum arabic etc Full page no defects £95 inc



The Circular Room Carlton House

from 'The History of the Royal Residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore'. Published in London: by A. Dry, 1819. one of 100 hand-colored aquatint plates by T. Sutherland, D. Havell, R. Reeve, W.J. Bennett, and others after C. Wild, J. Stephanoff, W. Westall, and R. Cattermole. Oblong folio (380 x 435 mm) plus margins. Charles Wild (1781-1835), James Stephanoff (1787-1874), Richard Cattermole (1795-1858), William Westall (1781-1850), George Samuel (1785-1823) et al. (after) Thomas Sutherland (b. 1785), William James Bennett (1787-1844), Richard Reeve (b. 1780), Daniel Havell (1785-1826), J. Bailey, et al. (engravers). They are on fine, woven paper and at least one print bears a J Whatman 1816 watermark. Picture slightly bleached in Photoshop to show detail . . colour actually nice and bright some heightened with gum arabic etc Full page no defects £95 inc crease bottom right corner out of plate area


99. Military College, Chelsea /SW from ACKERMANN'S MICROCOSM OF LONDON (1808) 104 Handcoloured aquatints in three volumes, issued in parts between 1808 and 1810. Published by Rudolph Ackermann, this series is of interest in setting a new standard for the figures "staffage" in topographical prints. This was achieved by an exceptional partnership between Augustus Pugin, who made the architectural drawing, and Thomas Rowlandson, who added the figures, frequently caricatures. The majority of the plates were aquatinted by J. Bluck and Joseph Stadler . .full page good margins, good colour mounted etc £115 x 2

76. Drawing Room, St. James's /SW
from ACKERMANN'S MICROCOSM OF LONDON (1808) 104 Handcoloured aquatints in three volumes, issued in parts between 1808 and 1810. Published by Rudolph Ackermann, this series is of interest in setting a new standard for the figures "staffage" in topographical prints. This was achieved by an exceptional partnership between Augustus Pugin, who made the architectural drawing, and Thomas Rowlandson, who added the figures, frequently caricatures. The majority of the plates were aquatinted by J. Bluck and Joseph Stadler . . good colour £85 slightly smaller margins small edge tear


48. Lambeth Palace ./SW from ACKERMANN'S MICROCOSM OF LONDON (1808) 104 Handcoloured aquatints in three volumes, issued in parts between 1808 and 1810. Published by Rudolph Ackermann, this series is of interest in setting a new standard for the figures "staffage" in topographical prints. This was achieved by an exceptional partnership between Augustus Pugin, who made the architectural drawing, and Thomas Rowlandson, who added the figures, frequently caricatures. The majority of the plates were aquatinted by J. Bluck and Joseph Stadler . .. good margins, good colour £95 x 3 1 @ single ;foxing mark to border , 1 @ single ;foxing mark to edge of image


98. Chelsea Hospital ./SW from ACKERMANN'S MICROCOSM OF LONDON (1808) 104 Handcoloured aquatints in three volumes, issued in parts between 1808 and 1810. Published by Rudolph Ackermann, this series is of interest in setting a new standard for the figures "staffage" in topographical prints. This was achieved by an exceptional partnership between Augustus Pugin, who made the architectural drawing, and Thomas Rowlandson, who added the figures, frequently caricatures. The majority of the plates were aquatinted by J. Bluck and Joseph Stadler . . good margins, good colour £90 slight edge tear almost to image smaller borders x 2





95. Whitehall /SW

from ACKERMANN'S MICROCOSM OF LONDON (1808) 104 Handcoloured aquatints in three volumes, issued in parts between 1808 and 1810. Published by Rudolph Ackermann, this series is of interest in setting a new standard for the figures "staffage" in topographical prints. This was achieved by an exceptional partnership between Augustus Pugin, who made the architectural drawing, and Thomas Rowlandson, who added the figures, frequently caricatures. The majority of the plates were aquatinted by J. Bluck and Joseph Stadler . . .. good margins, good colour £95


5. Dining Hall, Asylum . .. . .@ Lambeth./SW

from ACKERMANN'S MICROCOSM OF LONDON (1808) 104 Handcoloured aquatints in three volumes, issued in parts between 1808 and 1810. Published by Rudolph Ackermann, this series is of interest in setting a new standard for the figures "staffage" in topographical prints. This was achieved by an exceptional partnership between Augustus Pugin, who made the architectural drawing, and Thomas Rowlandson, who added the figures, frequently caricatures. The majority of the plates were aquatinted by J. Bluck and Joseph Stadler . .. good margins, good colour £95 x 4
c


83. Tattersall's Horse Repository Vol 3/SW from ACKERMANN'S MICROCOSM OF LONDON (1808) 104 Handcoloured aquatints in three volumes, issued in parts between 1808 and 1810. Published by Rudolph Ackermann, this series is of interest in setting a new standard for the figures "staffage" in topographical prints. This was achieved by an exceptional partnership between Augustus Pugin, who made the architectural drawing, and Thomas Rowlandson, who added the figures, frequently caricatures. The majority of the plates were aquatinted by J. Bluck and Joseph Stadler . . this one is by Sutherland . This series of prints is Series 99 as catalogued in London Illustrated 1604-1851 by Bernard Adams..full page good margins, good colour mounted etc £95


93. Westminster Abbey /SW

from ACKERMANN'S MICROCOSM OF LONDON (1808) 104 Handcoloured aquatints in three volumes, issued in parts between 1808 and 1810. Published by Rudolph Ackermann, this series is of interest in setting a new standard for the figures "staffage" in topographical prints. This was achieved by an exceptional partnership between Augustus Pugin, who made the architectural drawing, and Thomas Rowlandson, who added the figures, frequently caricatures. The majority of the plates were aquatinted by J. Bluck and Joseph Stadler . .. good margins, good colour £95 x 2


94. Westminster Hall /SW

from ACKERMANN'S MICROCOSM OF LONDON (1808) 104 Handcoloured aquatints in three volumes, issued in parts between 1808 and 1810. Published by Rudolph Ackermann, this series is of interest in setting a new standard for the figures "staffage" in topographical prints. This was achieved by an exceptional partnership between Augustus Pugin, who made the architectural drawing, and Thomas Rowlandson, who added the figures, frequently caricatures. The majority of the plates were aquatinted by J. Bluck and Joseph Stadler . .. good margins, good colour £95 loss of left corner x 2


56. Mounting Guard, St. James's Park Vol 2 /SW
from ACKERMANN'S MICROCOSM OF LONDON (1808) 104 Handcoloured aquatints in three volumes, issued in parts between 1808 and 1810. Published by Rudolph Ackermann, this series is of interest in setting a new standard for the figures "staffage" in topographical prints. This was achieved by an exceptional partnership between Augustus Pugin, who made the architectural drawing, and Thomas Rowlandson, who added the figures, frequently caricatures. The majority of the plates were aquatinted by J. Bluck and Joseph Stadler . .. good margins, good colour some age toning mounted etc £95


79. St. Martins, in the Fields /SW
from ACKERMANN'S MICROCOSM OF LONDON (1808) 104 Handcoloured aquatints in three volumes, issued in parts between 1808 and 1810. Published by Rudolph Ackermann, this series is of interest in setting a new standard for the figures "staffage" in topographical prints. This was achieved by an exceptional partnership between Augustus Pugin, who made the architectural drawing, and Thomas Rowlandson, who added the figures, frequently caricatures. The majority of the plates were aquatinted by J. Bluck and Joseph Stadler . .. perfect no defects framed with washlined mount etc price inc postage £125


78. St. Margarets, Westminster /SW

from ACKERMANN'S MICROCOSM OF LONDON (1808) 104 Handcoloured aquatints in three volumes, issued in parts between 1808 and 1810. Published by Rudolph Ackermann, this series is of interest in setting a new standard for the figures "staffage" in topographical prints. This was achieved by an exceptional partnership between Augustus Pugin, who made the architectural drawing, and Thomas Rowlandson, who added the figures, frequently caricatures. The majority of the plates were aquatinted by J. Bluck and Joseph Stadler . .. good margins, good colour some age toning mounted etc £95 x 2



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