Ackermann R Udolph (4 results)

Plate number 50 from Ackermann s "Microcosm of London". A lovely aquatint. The architectural details were drawn by Pugin, and Rowlandson drew the figures. (both are credited on the sheet). The aquatinting was done by J.C. Sadler. Glazed and framed in a black and gilt frame. Total size: 405 x 345 mm (16 x 13½ inches). Very nice clean impression of this plate, with good colouring. The frame is sound, but with a little rubbing to the edges. Can be removed from the glazed frame and sent as a print in mount if desired. Ackermann produced this work between 1807 and 1810. One of the greatest of the colour plate books. "The plates by Rowlandson and Pugin present an unrivalled picture of London in early 19th century, of historic value, as many of the buildings no longer exist" (Tooley).

Plate number 9 from Ackermann s "Microcosm of London". A lovely aquatint. First edition. Plate is 24cm x 29 cm. Mount size is 32.5cm by 38cm (12¾ by 15 inches). The architectural details were drawn by Pugin, and Rowlandson drew the figures (both are credited on the sheet). The aquatinting was done by J. Bluck. Very nice clean impression of this plate, with good colouring. A very small closed foxing spot to the bottom edge of the plate. Ackermann produced this work between 1807 and 1810. One of the greatest of the colour plate books. "The plates by Rowlandson and Pugin present an unrivaled picture of London in early 19th century, of historic value, as many of the buildings no longer exist." (Tooley) . Planche numéro 9 du "Microcosme de Londres" d'Ackermann. Une belle aquatinte. Première édition. La plaque mesure 24 cm x 29 cm. La taille du montage est de 32,5 cm sur 38 cm (12¾ sur 15 pouces). Les détails architecturaux ont été dessinés par Pugin, et Rowlandson a dessiné les personnages (les deux sont crédités sur la feuille). L'aquatinte a été réalisée par J. Bluck. Très belle impression propre de cette planche, avec une bonne mise en couleur. Une très petite rousseur fermée sur le bord inférieur de la planche. Ackermann a réalisé cette uvre entre 1807 et 1810. L'un des plus grands livres de planches en couleurs. "Les planches de Rowlandson et de Pugin présentent une image inégalée de Londres au début du XIXe siècle, d'une valeur historique, car de nombreux bâtiments n'existent plus." (Tooley).

Hardcover. Condition: Good. 1st Edition. 4to. pp. xviii, [2]plate list, 330, [6]index; 2 p.l., 275, [4]index. complete with list of subscribers & half-titles wanting. 1 engraved plan, 1 engraved portrait, 1 hand-coloured line engraving, & 80 hand-coloured aquatint plates (incl. frontis. & title) by J.Bluck, J.Hamble, T.Sutherland, & others after A.Pugin, F.Mackenzie, H.Villiers, T.Uwins, &c. contemporary calf, rebacked with gilt spines mounted, all edges gilt (spine ends & joints rubbed, plates offset, scattered foxing - generally light & occasional light embrowning). First Edition, First Issue. Tooley 2. Abbey, Scenery, 213. Prideaux p. 331.

2 volumes. First edition and First Issue, originally issued in 16 monthly parts. A copy with pleasing provenance. Illustrated with 81 magnificent hand-coloured aquatint plates of views of Westminster Abbey and an egraved portrait of William Vincent and a floor plan of the Abbey. Large 4to, handsomely bound in fine red morocco, the spines with wide gilt decorated and gilt ruled raised bands creating the compartments, two compartments gilt lettered and ruled, the covers with triple gilt fillet rules at the borders, turnovers tooled in blind, all edges gilt., armorial bookplates of George Dunn of Wooley Hall and Arthur John Dorman. xviii, 330, [6]; 275, [4] pp. A very handsome and pleasing set, the plates clean and bright and in an excellent state, the bindings strong and firm, some inevitable offsetting from plates to text as usual, the text leaves with some very occasional light spotting as normal. FIRST EDITION OF THIS TRULY GRAND WORK BRILLIANTLY BOUND AND A WONDERFUL SET WITH 81 HAND-COLOURED SCENES OF WESTMINSTER ABBEY, ONE OF THE GREAT ACKERMANN PLATE BOOKS. The fine subtly hued images include both interior and exterior views of the Abbey. They include not only the architectural features but also the stained glass windows, mosaic pavement, the chapels, monuments, effigies and transepts. The artist included F. Mackenzie, A. Pugin, J. Bluck, T. Uwins, G. Shepherd, J. Hamble, T. Sutherland and others. The set is the very scarce first issue of the edition, with the first plate of volume two, "Aymer de Valance", marked "F. Mackenzie delt." as called for. The half-titles and subscriber's list are retained within the fine red morocco bindings. This is one of Ackermann's major colour plate books. George Dunn was educated at Beaumont College, Windsor, and at Stonyhurst, and was afterwards called to the Bar.[He] inherited large estates both in Northumberland and Berkshire, together with sufficient revenues, and was able to indulge the tastes of a scholar and collector of early printed books, mediaeval bindings, manuscripts, old silver, and old clocks, as well as those of a sportsman and keen angler, an astronomer and a student of forestry. Of none of these things was he content to have a superficial knowledge. Indeed, it may be said that he handled nothing without mastering it completely . "Mr. George Dunn," The Times (11 March 1912), p. 11. Sir Arthur John Dorman, 1st Baronet, KBE was an important British industrialist. In 1875, he went into partnership with Albert de Lande Long to acquire the West Marsh Ironworks in Middlesbrough. During the 1880s they mastered the new steelmaking technologies being introduced at that time including the use of Open hearth furnaces. Together they built a large industrial concern, Dorman Long, which by 1914 employed 20,000 people and during the World War I was a major supplier of shells.[.