Cleveley John (7 results)

Condition: Fine. First edition hard back binding in publisher's original terracotta cloth covers, gilt title and author lettering to the spine. Small folio 12'' x 10''. Contains 288 printed pages of text with monochrome illustrations, engravings and photographs throughout. Fine condition book in Fine condition dust wrapper, not price clipped, unused and unopened new book. Member of the P.B.F.A. ISBN 9781848321878 ROYAL NAVY (RN).…

No Binding. Condition: Very Good. Sheet size 26.!/2" x 31" landscape Plate size 20.1/8" x 27.1/4" landscape Image size 18.3/4" x 26.3/4" landscape Generous border all edges One of a series of views of the six Royal Dock Yards which made up the world's largest industrial complex by the 18th century. From a strategic naval base during the Anglo-Dutch Wars in the 17th century by the 18th the order of business at Chatham on the Medway was largely repairs which are depicted in the vignettes surrounding the map. However that being so, four years after the date of this map the renowned HMS Victory, a 104-gun first rate ship of the line was laid down in 1759 at Chatham and now the world's oldest naval vessel still in commission. …

Condition: Fine. 16 x 27 cm. Full colour copper engraving., laid on board. 'First rate' was the designation used by the Royal Navy for its largest ships of the line, equivalent to the 'super-dreadnought' of more recent times. By the end of the eighteenth century, a 'first-rate' routinely carried 100 guns and more than 850 crew, and had a measurement (burthen) tonnage of some 2,000 tons.…

Original line engraving with a view of the water mill near Lewisham, in the county of Kent, after a composition by John Cleveley the Younger. Printed in London by Bowles & Carver, with the title engraved below in English and in French. The double title and the number ("4.A.") identify the print as an optical view, meant to be seen through a zograscope. The address "Bowles & Carver, no. 69 St Paul's Church Yard" corresponds to the partnership active between 1793 and 1832, later than the engraved date of 1770. Medium: Copper engraving (line engraving), optical view. Artist / after: after John Cleveley the Younger (1747-1786). Date: engraved 1770; printed by Bowles & Carver. Source: Bowles & Carver, Map & Printsellers, no. 69 St Paul's Church Yard, London. Dimensions: 11.0 x 7.5 in (28 x 19 cm). Condition: Good general condition; paper toned and slightly cockled, with a small restored tear in the upper left margin, outside the image. Español Grabado original al buril con la vista del molino de agua próximo a Lewisham, en el condado de Kent, sobre composición de John Cleveley el Joven. Estampado en Londres por Bowles & Carver, con título grabado al pie en inglés y en francés. El doble título y la numeración de plancha («4.A.») identifican el grabado como vista óptica, destinada a verse con zográscopo. La dirección «Bowles & Carver, nº 69 St Paul's Church Yard» corresponde a la sociedad activa entre 1793 y 1832, posterior a la fecha de la plancha, 1770. Técnica: Grabado calcográfico (talla dulce), vista óptica. Autor / dibujante: según John Cleveley el Joven (1747-1786). Fecha: plancha de 1770; estampación de Bowles & Carver. Procedencia: Bowles & Carver, Map & Printsellers, nº 69 St Paul's Church Yard, Londres. Medidas: 28 x 19 cm. Estado de conservación: buen estado general; papel tostado y algo ondulado, con pequeña rotura restaurada en el margen superior izquierdo, fuera de la imagen. Antigüedades y coleccionables > Arte.…

Condition: Very Good. A view of His Majesty's Dock Yard & Garrison at SHEERNESS, in the Isle of SHEEPY, at the Mouth of the River THAMES & MEDWAY. Hand-coloured engraving published 1772 by the English print and map seller Carrington Bowles (1724~1793) after a painting by John Cleveley Juniour (1747~1786)*. Title printed in both English & French*. As the print is hand-coloured, no two are the same. The colour palette and application of paint, alongside the number and position of smaller details such as birds and clouds etc., appear to have been at the colourist's discretion. Printed information: J. Cleveley jun'r pinx't [painted it] - Carrington Bowles excudit [printed/published by] - LONDON. Published as the Act directs 1st Jan'y 1772 - Printed by CARRINGTON BOWLES, No.69 in St. Paul's Church Yard. Frame measure 30 x 45.5 cm (roughly 12 x 18 inches) and so the print measures a little less. Label to rear: Charles E. Luton. Dealer in works of art and antiques. Picture frame manufacturers. 214, Broad St., Birmingham, 15. Original 'Hogarth' style frame a little scratched and chipped. Print age-toned with odd mark here and there. Backing paper brittle in places. Unexamined out of frame. --- Vue du Chantier et de la Forteresse de SHEERNESS, dans L Isle de SHEEPY, a L'embouchiere des Rivieres Tamise et MEDWAY. [Translation: View of the Shipyard and the Fortress of SHEERNESS, in the Isle of SHEEPY, at the mouth of the Rivers Thames and MEDWAY.] --- *John Cleveley the Younger (24 December 1747 - 25 June 1786) was a British artist and marine painter. Ceveley was the son of John Cleveley the Elder (c.1712 - 21 May 1777) . He and his twin brother Robert were both, like their father, marine painters. John and Robert were both brought up and trained in dockyards. He trained under the artist Paul Sandby at Woolwich. He was Joseph Banks' draughtsman on his journey to the Hebrides, Orkney, and Iceland. John was employed to turn drawings made on Captain Cook's second voyage to the South Seas (1772-75) into engravings, and later also got access to some of the art produced on the third voyage, 1776-80 (via drawings and eyewitness accounts made by his brother James, who was a carpenter on the third voyage). --- Isle of Sheppy The Isle of Sheppey is an island off the northern coast of Kent, England, neighbouring the Thames Estuary, centred 42 miles (68 km) from central London. It has an area of 36 square miles (93 km2). The island forms part of the local government district of Swale. Sheppey is derived from Old English Sceapig, meaning "Sheep Island". Today's island was historically known as the "Isles of Sheppey" which were Sheppey itself, the Isle of Harty to the south east and the Isle of Elmley to the south west. Over time the channels between the islands have silted up to make one contiguous island. Sheppey, like much of north Kent, is largely formed from London Clay and is a plentiful source of fossils. The Mount near Minster rises to 250 feet (76 metres) above sea level and is the highest point on the island. The rest of Sheppey is low-lying and the southern part of the island is marshy land criss-crossed by inlets and drains, largely used for grazing. Henry VIII, requiring the River Medway as an anchorage for his navy, ordered that the mouth of the river should be protected by a small fort. Garrison Fort was built in 1545. Sheerness is a commercial port and main town of the Isle of Sheppey and owes much to its origins, as a Royal Naval dockyard town. Samuel Pepys established the Royal Navy Dockyard in the 17th century. Sheerness was the focus of an attack by the Dutch Navy in June 1667, when 72 hostile ships compelled the little "sandspit fort" there to surrender and landed a force which for a short while occupied the town. Samuel Pepys at Gravesend remarked in his diary "we do plainly at this time hear the guns play" and in fear departed to Brampton in Huntingdonshire. Full refund if you are not entirely pleased with your purchase. John Cleveley Juniour (illustrator).…

Soft cover. Paris: Bance ainé, c.1790. Aquatint with fine hand colour. 495 x 660mm. A few small tears repaired. A view of the 'Resolution' and 'Discovery', the ships of Captain James Cook's Third Voyage, at anchor, not in Queen Charlotte's Sound as stated in the title but in Matavi Bay, Tahiti. Underneath is an extract from Cook's journal in French. This aquatint is one of four etched by Benedikt Piringer (1780-1826) after a set of scenes of the Third Voyage published by Thomas Martyn in 1787-8. According to the original prospectus, were ''executed by the late celebrated Mr John Clevely, from accurate Drawings made by his Brother Mr James Clevely of the Resolution Ship of War''. The English titles of the set are: 'View of Huahine one of the Society Islands'; 'View of Morea one of the Friendly Islands'; 'View of Charlotte Sound in New Zealand'; and 'View of Owhyhee one of the Sandwich Islands', which shows the Death of Captain Cook. James Cleveley (not 'Clevely' as in the prospectus) was the Resolution's ship's carpenter but, despite being from a family of artists, none of the third voyage journals mention his as a draughtsman, and no original sketch of his exists. It has been suggested that his brother, John Cleveley the Younger (1747-86), who was the intermediary draughtsman (redrawing the original sketches for engraving) for the Official Account of the Second Voyage, used his friendship with Sir Joseph Banks to study John Webber's artwork and use them as the basis of his prints. Using his brother's participation in the voyage he could capitalise on the public interest with 'authentic' scenes. …

Vue de l'ile Huaheim dans la Mer du Sud; "Vue de l'ile Marea une des Iles des Ami dans la Mer du Sud"; 3) "Vue du Detroit Charlotte dans la Nouvelle Zeland dan la Mer du Sud." (actually Matavi Bay, Tahiti]; "Mort du Capitaine Cook."Set of 4 hand-coloured aquatints measuring approx 465 by 600mm. Paris, chez Bance, c. A rare French set of four prints depicting scenes in the Pacific from Captain Cook's third and final voyage, including a depiction of Cook's death at the hands of Hawaiians. These are early and beautiful images of the South Seas, exemplary of the European fascination with Pacific exploration during the eighteenth century. Joppien and Smith call them "the kind of prints that anyone who travelled with Cook, whether officer, midshipman or able seaman, might want to possess to remind him and his family of the days when he travelled with Cook." According to the publisher's prospectus, these views were produced "on the spot" by James Cleveley, a carpenter aboard the Resolution, and "redrawn and inimitably painted in water-colours by his brother.John Cleveley, and from which the plates were engraved, in the best manner by Mr. Jukes." However, in the absence of any surviving drawings by James Cleveley, Joppien and Smith discount this claim, believing that the kinship between the two was, as far as these images are concerned, coincidental, being simply used to promote the prints, while no actual graphic link existed. John Cleveley was a talented maritime painter, and these images, engraved by F. Jukes are lovely representations of early contact between Europeans and Pacific islanders. Each print shows the Resolution and the Discovery at anchor in the Sandwich (Hawaiian) or Society islands. This French set, issued just a year later, all include lengthy captions describing each scene and placing it in relation to Cook's third voyage. The set includes: 1) "Vue de l'ile Huaheim dans la Mer du Sud." [A View of Huaheine.] Groups of English sailors are shown in rowboats or building temporary dwellings on the shore, as natives row out to meet the Resolution and Discovery. 2) "Vue de l'ile Marea une des Iles des Ami dans la Mer du Sud." [A View of Moorea.] Polynesians and English sailors are shown in the same small boats and working together on shore in this active scene. 3) "Vue du Detroit Charlotte dans la Nouvelle Zeland dan la Mer du Sud." [View of Charlotte Sound in New Zealand] on those prints issued with captions, this scene actually shows Matavi Bay, Tahiti. 4) "Mort du Capitaine Cook." [A View of Owijhee] This print depicts the death of Captain Cook. English sailors in rowboats fire at natives on the shore. Cook attempts to have his men cease fire, as a Hawaiian chieftain is about to stab him in the back. An important and rare collection of Pacific views. Joppien & Smith III, pp.216-221. …