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Records: 11 to 20 of 24
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  LONDON 
 London Views 

SIMON, Thomas. [The Great Seal of Richard Cromwell, with a prospect of London]
The Great Seal the Lord Protector Richard. London: George Vertue, 1753. 210 x 150mm. Trimmed within plate and mounted in Victorian album paper.
An engraving showing the Great Seal of England, used by Richard Cromwell (son and briefly successor of Oliver Cromwell) at the end of the Commonwealth, within an invented rococo border. It shows Cromwell on horseback before pre-Fire London. The maker of this seal (and others for Charles I, the two Lord Protectors and Charles II) was Thomas Simon (c.1623-65), chief engraver of the Royal Mint. This engraving by Vertue was published in 'The Medals, Coins, Great Seals and other Works of Thomas Simon'.
[Ref: 17420]    £375.00 ($484 • €426 rates)


Anonymous. [A scarce German miniature prospect of London]
129. London, zunächst an der Themse. (Perspective). German, c.1760, Sheet 180 x 220mm.
A bird's-eye view of London looking west, with St Paul's Cathedral, The Monument, and part of the Tower of London. London Bridge is shown cleared of buildings (finished 1762) and the City of London's second bridge, Blackfriars Bridge (opened 1769), is in the distance.
[Ref: 18796]    £160.00 ($207 • €182 rates)


ROBERTSON, George. [A fine pair of Georgian prospects of London in ovals]
A North View of the Cities of London and Westminster, with Part of Highgate, taken from Hampstead Heath, near the Spaniards. [&] A South View of the Cities of London and Westminster, taken from Denmark Hall near Camberwell. London: John Boydell, 1779 & 1780. Pair of coloured engravings. Each c.605 x 480mm. Trimmed to platemarks, a few small repairs.
A beautiful pair of oval views of London, engraved by Daniel Lerpiniere after Robertson. The rustic scenes in the foreground emphasise how rural Hampstead and Camberwell were at the time: now both have been caught up in London's urban sprawl.
[Ref: 16909]    £4,000.00 ($5,164 • €4,544 rates)


DAYES, Edward. [A Georgian view of Queen Square]
To the Ladies and Gentlemen Inhabitants This View of Queen Square Is with the greatest respect inscribed by their obedient & obliged Servants Rob.t Pollard. London: Robert Pollard, 1789. Aquatint with line etching, printed in blue and brown and hand finished. Sheet 450 x 550mm.
A view of Queen Square, Bloomsbury, looking north through undeveloped fields to Hampstead. On the left is St George's Church and Cosmo Place, on the corner of which is the house that is know 'The Queen's Larder'. The buildings on the east of the square have now been replaced, and now house two hospitals, the National Hospital for Neurology and Neurosurgery and the Royal London Hospital for Integrated Medicine. The garden in the centre is just lawn, with trees not yet planted. In the foreground pedestrians are being hassled by a flower-seller and a begging urchin. Edward Dayes (1763-1804) was one of the leading topographical artists of the late eighteenth century. This was one of a series of four views of the great London squares, the others being Bloomsbury Square, Grosvenor Square and Hanover Square. This aquatint was engraved by Robert Pollard with aquatint added by Robert Dodd.
[Ref: 17010]    £1,200.00 ($1,549 • €1,363 rates)


DAYES, Edward. [A Georgian view of Hanover Square]
To the Right Honorable Francis Godolphin Marquis of Caermarthen, Baron Osborne &c. &c. This View of Hanover Square, from a Drawing in his Possession, Is with great respect inscribed by His Lordship's obedient & obliged Servants, Rob.t Pollard & Fra.s Jukes. London: Robert Pollard & Francis Jukes, 1789. Coloured aquatint with line etching. Sheet 440 x 570mm.
A view of Hanover Square, looking south towards the St George's Church, with a mixture of pedestrians, riders and coaches braving the cobbblestones. Of particular interest is the 'high-flyer', a phæton carriage with the cab above the four horses pulling it. Behind railings the centre of the square is a simple lawn. Edward Dayes (1763-1804) was one of the leading topographical artists of the late eighteenth century. This was one of a series of four views of the great London squares, the others being Bloomsbury Square, Grosvenor Square and Queen Square. This aquatint was engraved and published by Robert Pollard and Francis Jukes. The original drawing mentioned in the title is now in the British Museum.
[Ref: 15523]    £1,200.00 ($1,549 • €1,363 rates)


DAYES, Edward. [A Georgian view of Grosvenor Square]
To the Right Honorable Earl Grosvenor &c. This View of Grosvenor Square Is with the greatest respect inscribed by His Lordship's obedient & obliged Servant Rob.t Pollard. London: Robert Pollard, 1789. Coloured aquatint with line etching. Sheet 420 x 525mm. Vertical crease at centre,margins restored.
A view of Grosvenor Square, one of the great residential squares of London, enlivened by a group of street musicians. To the left a six-horse coach waits outside the Earl's own house. At the time of publication the American ambassador had already taken up residence in the square: John Adams, the first U.S. ambassador and second president, lived at No. 9 between 1786 and 1797. Edward Dayes (1763-1804) was one of the leading topographical artists of the late eighteenth century. This was one of a series of four views of the great London squares, the others being Bloomsbury Square, Hanover Square and Queen Square. This aquatint was engraved and published by Robert Pollard and Francis Jukes. The original drawing mentioned in the title is now in the British Museum.
[Ref: 15524]    £1,200.00 ($1,549 • €1,363 rates)


DAYES, Edward. [A Georgian view of Bloomsbury Square]
To his Grace Francis, Duke of Bedford, Marquis of Tavistock &c. &c. This View of Bloomsbury Square, Is with the greatest respect inscribed by His Grace's obedient & obliged Servants, Rob.t Pollard & Fra.s Jukes. London: Robert Pollard & Francis Jukes, 1789. Coloured aquatint with line etching. Sheet 440 x 575mm. Two slight printer's creases.
A view of Bloomsbury Square, looking north towards Bedford House, with a mixture of pedestrians, coaches and carts. Of particular interest is the milkmaid, driving two cows around the square. Edward Dayes (1763-1804) was one of the leading topographical artists of the late eighteenth century. This was one of a series of four views of the great London squares, the others being Hanover Square, Grosvenor Square and Queen Square. According to the note bottom left 'The outline sketched by R. Thew, with an instrument', before being etched and and published by Robert Pollard and Francis Jukes.
[Ref: 18035]    £1,200.00 ($1,549 • €1,363 rates)


Anonymous. [A scarce 18th century German prospect of London]
Londen, die vornehmste u. Residenz Stadt der Könige in Engelland. Löbau? c.1790.
An unusual prospect of London, apparently an amalgam of two views from before and after the Great Fire of 1666. The City churches, including Wren's St Paul's Cathedral, are taken from the famous Kip prospect of 1720, as well as the key; however, as this view omits the South Bank, Southwark comes from a much earlier view and still includes Shakespeare's Globe Theatre, which was closed by the Puritans in 1642 and pulled down three years later. For some reason the publishers chose to put a medallion portrait of German king Conrad III (1093-1152) above the prospect.
[Ref: 18483]    £1,500.00 ($1,937 • €1,704 rates)


WESTALL, William. [View of London from Greenwich]
London from Greenwich Park London: Engelman, Graf, Coindet & Co, August 1826. 280 x 360mm.
A view from Greenwich Park, showing London in the background with the dome of St Paul's Catherdral amongst other church spires.
[Ref: 18819]    £280.00 ($361 • €318 rates)


MORRIS, Richard. [A section of Morris's spectacular panorama of Regent's Park]
Cumberland Villas - Chester Terrace - Cambridge Terrace. London: R. Ackermann, 1831. Aquatint with original colour, on two sheets conjoined, total 105 x 830mm. Lateral printed borders made up with manuscript.
A section of Morris's thirteen-sheet 'route panorama' (i.e. a continous view taken from multiple viewpoints) recording the perimeter of Regent's Park before the general public were allowed admittance. It shows the opulent residences designed by John Nash and Decimus Burton and built 1825-6. Little is known about Richard Morris other than his professions of plantsman and surveyor. He published: 'The Botanist's Manual', 1824; 'Essays in Landscape Gardening', 1825; and 'Flora Conspicua' in 1826. ABBEY: Life 524.
[Ref: 18381]    £1,600.00 ($2,066 • €1,818 rates)


Records: 11 to 20 of 24
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