The Piazza, Covent Garden,
Antique engraved print by Edward
Rooker / Eduard Rooker 1712-1774
from the original in the British Museum by Thomas and Paul Sandby, made
after a fire destroyed the south-eastern corner of the square in
1769.The sixth of Edward Rookers 'Six Views of London', based on a
drawing by Paul Sandby. Edward Rooker was an architectural engraver and
worked on plates for famous works such as Sir W. Chamber's 'Civil
Architecture', James Stuart's 'Antiquities of Athens' and Robert Adam's
'Ruins of the Palace of Diocletian'.Published by Edward Rooker, Queens
Court, Queens Street, Lilns Inn Fields,1768.CONDITION; Old colour, cut
to plate mark, laid to later paper toned c 1820 crease to
left side x 2
easily restored and with a careful mount and frame still a
stunning rare pic shown on a white backing£125 inc
delivery
Covent Garden, to the north of the Strand, took its name from the
former convent garden developed in the 1630s by Francis Russell, 4th
Earl of Bedford, who had employed the architect Inigo Jones (1573-1652)
to create an elegant square surrounded by arcades. This boldly composed
view is seen through the arcade in the north-east corner. The arcade,
rather than the square itself, was commonly referred to as the Piazza.
The eighteenth-century residents of Covent Garden were - like those of
neighbouring Charing Cross, Leicester Fields and Soho - tradesmen and
artists rather than aristocrats. The entertainment industry was centred
there on Covent Garden and Drury Lane theatres, and on the informal
world of coffee houses, taverns, turkish baths and brothels.
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West View of the Interior of
Furnival's Inn
Copper engraving with repaired tear to base left but seriously rare
from Robert Wilkinson's ambitious part-work "Londina Illustrata,
Graphic and Historic Memorials" (London : 1808-1825) Drawn by
Robert Blemmell Schnebbelie (1792-1849)
Engraver Banks Published
Robert Wilkinson, 125 Fenchurch Street,
London, 27 September 1820 below image:
[left] Schnebbelie del. [right] Banks sculp. / West VIEW OF THE
INTERIOR OF FURNIVALS INN. / London Published 27.th September 1820 by
Robert Wilkinson N.o 125 Fenchurch Street. £75 inc delivery
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Furnival's Inn Antiently the mansion
of the Lord Furnival
Copper engraving seriously rare
from Robert Wilkinson's ambitious part-work "Londina Illustrata,
Graphic and Historic Memorials" (London : 1808-1825) Drawn by
Robert Blemmell Schnebbelie (1792-1849) Engraver
Banks Published
Robert Wilkinson,
125 Fenchurch Street, London, 27 September
1820 below image: [left] Schnebbelie
del. [right] Banks sculp.
/ West VIEW OF THE INTERIOR OF FURNIVALS INN. / London Published 27.th
September 1820 by Robert Wilkinson N.o 125 Fenchurch Street. £80
inc
delivery Tinted mount bent but preserves the engraving
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| Rudolph
Ackermann
(1764-1834) pioneered
lithography and produced some of the best early colour printing in
Britain, publishing numerous fine illustrated volumes, and
magazines .
He was born on April 20, 1764
in Stolberg.
Apprenticed to his
father a coach-builder, he moved first to Dresden, then to Paris
and eventually to London whilst still working at coach-building. In
1795 he married and set up a print shop at 96 The Strand, moving
the following year to 101 The Strand. He had already taken over a
drawing school originally established at this address by William
Shipley, the founder of the Society of Arts, and maintained it
until 1806.
The first major colour plate
book he
published was The Microcosm
of London; (or London in Miniature) which appeared in monthly parts
between 1808 and 1810. Printed on hot-pressed handmade paper, books
were illustrated using coloured aquatints. The architectural
backgrounds were drawn by Augustus Pugin and the figures were drawn
by Thomas Rowlandson. Ackermann originally planned to issue the
book in twenty-four numbers at 7/6d a number, but he soon found
himself obliged to raise the price to 10/6d, and the number of
parts to twenty-six. Successful production techniques and methods
of marketing by subscription prompted him to follow the same plan
with his next publications. For the reproduction of the drawings by
Pugin and Rowlandson, five different engravers were used to produce
the plates: fifty-four by J. Bluck, twenty-nine by J.C. Stadler,
ten by T. Sutherland, ten by J. Hill and one by Harraden. From 1790
. . 1830 the principle process in book illustration was aquatint
engraving. Once the drawing and the engraving had been made, the
colour process began. The engravings might be printed in two
colours, perhaps brown for the foreground and blue for the sky and
distance, the remaining colour would be applied by hand. Ackermann
employed colourists and engravers at his 'Repository of Arts' but
like most publishers he would also have used pieceworkers. Bundles
of sheets to be coloured would be distributed to workers who would
do the work in their own homes. Often the work was done by
children, but sometimes whole families would work together at home
by candlelight.Handcolouring can save money when printing large
plates although people like Ackermann stressed the high cost of
hand finishing. He used poorly paid French refugees and later hand
coloured plate producers used children and stencils.
These should also be
included upon
the appropriate subject
page as time allows
16. The Roman Catholic Chapel, Lincoln's Inn
Fields
. . ..Interior. Former Sardinian Embassy Chapel rebuilt after
destruction in Gordon Riots, 1780. /WC2
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 price inc postage
£95 x 5
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37. Foundling Hospital, The Chapel /WC
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 8
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71. Society for the
Encouragement of Arts..@
the Adelphi /WC
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 . .. close cut small margins, good colour edge
tear repaired £80
|
14. The Hall and Stair Case,
British Museum /WC
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
|
47. King's Mews, Charing Cross
/WC
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
|
63. The Post Office
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 washhh lined
mount etc price inc postage £105
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**
Oxford
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