Engraved Wallis (33 results)

Single print. Original antique uncoloured steel engraving from Westmorland, Cumberland, Durham and Northumberland Illustrated, by Thomas Rose. c 19 x 13 cm. Buyers from outside the UK will have £2 refunded from the standard shipping charge.

Single print. Original antique uncoloured steel engraving from Westmorland, Cumberland, Durham and Northumberland Illustrated, by Thomas Rose. c 19 x 13 cm. Buyers from outside the UK will have £2 refunded from the standard shipping charge.

Single print. Original antique uncoloured steel engraving from Westmorland, Cumberland, Durham and Northumberland Illustrated, by Thomas Rose. c 19 x 13 cm. Buyers from outside the UK will have £2 refunded from the standard shipping charge.

Single print. Original antique uncoloured steel engraving from Westmorland, Cumberland, Durham and Northumberland Illustrated, by Thomas Rose. c 19 x 13 cm. Buyers from outside the UK will have £2 refunded from the standard shipping charge.

Image. Steel line engraving on paper. Later hand colour. In a Hogarth frame, glazed, with a bevelled ivory mount having triple hand rulings with wash infill. Mount window 200 x 160 mm; frame overall 320 x 285 mm. Looks to be in good condition but not examined out of the frame. 32 x 28.5 cm.

Single print. London. This bridge, designed by John Rennie, opened on the site in 1819 and was originally known as Queen Street Bridge. It was replaced by a new bridge in 1921. Original antique steel line engraving on paper with later hand colouring. Jones & Co., 1827. Originally produced for Shepherd's series "Metropolitan Improvements; or London in the Nineteenth Century" (London: 1827-1830). 21 x 13.5 cm.

Single print. London. A view down Charles II Street towards the Haymarket and the theatre. Original antique steel line engraving on paper with later hand colouring. Jones & Co., 1827. Supplied in an ivory bevel cut mount. From Shepherd's series "Metropolitan Improvements; or London in the Nineteenth Century" (London: 1827-1830). 26.5 x 22.5 cm.

Single print. London. Looking south down Regent Street from what is now Oxford Circus with the old Harmonic Institution (built by John Nash in 1819) prominent on the corner of Little Argyle Street, and the shops of Hodge & Lowman, linen-drapers, just to the north. It was a major concert venue until it burnt down in 1830. Original antique steel line engraving on paper with later hand colouring. Jones & Co., 1828. Supplied in an ivory bevel cut mount. Originally produced for Shepherd's part-work series "Metropolitan Improvements; or London in the Nineteenth Century" (London: 1827-1830). 28 x 23.5 cm.

Single print. London. The magnificent town-house commissioned by the Grand Old Duke of York in 1825, originally known as York House, later as Stafford House, and for the last hundred years as Lancaster House. The populace relaxes on the grass outside. Original antique steel line engraving on paper with later hand colouring. Jones & Co., 1828. Supplied in an ivory bevel cut mount. From Shepherd's series "Metropolitan Improvements; or London in the Nineteenth Century" (London: 1827-1830). 27.5 x 23 cm.

Single print. London. Piccadilly Circus down Lower Regent Street to Pall Mall. Original antique steel line engraving on paper with later hand colouring. Jones & Co., 1828. Supplied in an ivory bevel cut mount. Originally produced for Shepherd's part-work series "London and its Environs in the Nineteenth Century" (London: 1829-1832). 27 x 23.5 cm.

Single print. London. Regent Street running north from the corner of Great Marlborough Street with the premises of George Frederick Urling & Co., Lacemen to the King, and Patentees of the New British Thread Lace, on the corner at no.224 (with the Royal Arms over the door), and a view of fashionable London beyond leading to the spire of All Souls, Langham Place, in the distance. Original antique steel line engraving on paper with later hand colouring. Jones & Co., 1827. Supplied in an ivory bevel cut mount. Originally produced for Shepherd's part-work series "Metropolitan Improvements; or London in the Nineteenth Century" (London: 1827-1830). 26.5 x 23 cm.

Single print. London. The Piccadilly Circus end of Regent Street, looking north towards the corner of Vigo Street, with the graceful arcades of the Quadrant. Original antique steel line engraving on paper with later hand colouring. Jones & Co., 1828. Supplied in an ivory bevel cut mount. Originally produced for Shepherd's part-work series "Metropolitan Improvements; or London in the Nineteenth Century" (London: 1827-1830). 26 x 22 cm.

Single print. London. The original Waterloo Bridge designed by John Rennie and described by Canova as "the noblest bridge in the world". Original antique steel line engraving on paper with later hand colouring. Jones & Co., 1827. Supplied in an ivory bevel cut mount with silver ruling. Very nice condition. Originally produced for Shepherd's series "Metropolitan Improvements; or London in the Nineteenth Century" (London : 1827-1830). 24.5 x 22 cm.

Single print. London. This bridge, designed by John Rennie, opened on the site in 1819 and was originally known as Queen Street Bridge. It was replaced by a new bridge in 1921. Original antique steel line engraving on paper with later hand colouring. Jones & Co., 1827. Supplied in an ivory bevel cut mount with silver ruling. Very nice condition. Originally produced for Shepherd's series "Metropolitan Improvements; or London in the Nineteenth Century" (London : 1827-1830). 24.5 x 22 cm.

Single sheet. A stylish antique print - a view of the headland. Steel line engraving on paper. In very good and clean state. Later coloured by hand. Image 18 x 12 cm.

No Binding. A view of the town from high ground with Duff House, by William Adam, over the River Deveron which separates Banff and Macduff. This unpredictable river was finally tamed by the seven arched bridge completed in 1799 by John Smeaton. A steel engraving with later hand colouring. In very good and clean state. A guaranteed genuine antique print. Image 18 x 12 cm.

Single sheet. A panniered mule and several people are making their way up a winding road towards the castle on a day where a watery sun is dropping to the horizon. A steel engraving with later hand colouring. In very good and clean state. A guaranteed genuine antique print. Image 19 x 12 cm.

Single print. London. An antique steel line engraving on paper. Later coloured by hand. A small mark near title. See image. Image 17 x 11 cm.

No Binding. Condition: Very Good. No Jacket. Drawn by Thomas Hosmer Shepherd. Engraved by William Wallis (illustrator). 165 x 115 mm. Framed: 28 x 23 cm. Covered by the passe- partout (mat): "Jones & Co. Temple of the Muses. Finsbury Square. London 1829" The Banqueting House, on Whitehall in the City of Westminster, central London, is the grandest and best-known survivor of the architectural genre of banqueting houses, constructed for elaborate entertaining. It is the only large surviving component of the Palace of Whitehall, the residence of English monarchs from 1530 to 1698. The building is important in the history of English architecture as the first structure to be completed in the classical style of Palladian architecture which was to transform English architecture. Begun in 1619 and designed by Inigo Jones in a style influenced by Andrea Palladio, the Banqueting House was completed in 1622 at a cost of £15,618. In the 1630s, paintings by Peter Paul Rubens were added to the interior ceiling. The building was controversially re-faced in Portland stone in the 19th century, though the details of the original façade were faithfully preserved. Today, the Banqueting House is a national monument, open to the public and preserved as a Grade I listed building. It is cared for by an independent charity, Historic Royal Palaces, which receives no funding from the British Government or the Crown. The Palace of Whitehall was the creation of Henry VIII, expanding an earlier mansion that had belonged to Cardinal Thomas Wolsey, known as York Place. The expansion was possible largely through the theft of white Normandy marble from an educational college Wolsey had planned for his home town of Ipswich, intended as a feeder to what would become Christ Church, Oxford. The King was determined that his new palace should be the "biggest palace in Christendom", a place befitting his newly created status as the Supreme Head of the Church of England. All evidence of the disgraced Wolsey was eliminated and the building rechristened the Palace of Whitehall. During Henry's reign, the palace had no designated banqueting house, the King preferring to banquet in a temporary structure purpose-built in the gardens. The Keeper of the Banqueting House was a position enhanced by Mary I by designating it in relation to a building of the same name at a different palace, Nonsuch Palace, near the south edge of Greater London, which no longer exists. A more permanent Banqueting house was built at Whitehall in 1581. James I began building a new banqueting house in 1607, which was destined to only have a short life. The replacement Banqueting House was commissioned from the fashionable architect Inigo Jones. Jones had spent time in Italy studying the architecture evolving from the Renaissance and that of Andrea Palladio, and returned to England with what were, at the time, revolutionary ideas: to replace the eclectic style of the Jacobean English Renaissance with a more pure, classical design, which made no attempt to harmonise with the Tudor palace of which it was to be part. The design of the Banqueting House is classical in concept. It introduced a refined Italianate Renaissance style that was unparalleled in the free and picturesque Jacobean architecture of England, where Renaissance motifs were still filtered through the engravings of Flemish Mannerist designers. The roof is essentially flat and the roofline is defined by a balustrade. On the street façade, the engaged columns, of the Corinthian and Ionic orders, the former above the latter, stand atop a high, rusticated basement and divide the seven bays of windows. The building is on three floors: The ground floor, a warren of cellars and store rooms, is low; its small windows indicating by their size the lowly status and usage of the floor, above which is the double-height banqueting hall, which falsely appears from the outside as a first-floor piano nobile with a secondary floor above. The lower windows of the hall are surmounted by alternating triangular and segmental pediments, while the upper windows are unadorned. . .

No Binding. Condition: Very Good. AN ORIGINAL EARLY 19th CENTURY COPPER ENGRAVED MAP WITH EARLY HAND COLOURING, MEASURES APPROX 5.5 X 4 INCHES WITH MARGINS, BLANK REVERSE TO MAP. MINOR WEAR TO LEFT MARGIN EDGE WITH A MINOR MARK TO BOTTOM MARGIN. OVERALL IN VERY GOOD CONDITION. EXTRA POSTAGE COSTS MAY APPLY TO OVERSEAS ORDERS. ALL ITEMS POSTED IN STURDY BOX.

No Binding. Condition: Very Good. AN ORIGINAL EARLY 19th CENTURY COPPER ENGRAVED MAP WITH EARLY HAND COLOURING, MEASURES APPROX 5.5 X 4 INCHES WITH MARGINS, BLANK REVERSE TO MAP. MINOR WEAR TO LEFT MARGIN EDGE, OVERALL IN VERY GOOD CONDITION. EXTRA POSTAGE COSTS MAY APPLY TO OVERSEAS ORDERS. ALL ITEMS POSTED IN STURDY BOX.

Very clean condition on thick paper. Image is 9.5 x 14.5 cm. Sheet is 26 cm x 16 cm. Would frame beautifully. The original pressed steel engraving , not a later issue. Such fine detail is hard to replicate. Paperback. No dj.

Very clean condition on thick paper. Image is 9.5 x 15 cm. Sheet is 24 cm x 16.5 cm. Would frame beautifully. The original pressed steel engraving , not a later issue. Such fine detail is hard to replicate. Paperback. No dj.

FULL DECORATIVE LEATHER. Condition: Good +. T.Allom.W.H.Bartlet, H McCulloch & Engraved Under the Direction of Robert Wallis. (illustrator). SPLENDID FULL LEATHER DECORATIVE BINDING. ALL EDGES GOLD GILT. 5 RAISED RIBS ON SPINE. QUITE SOLID BINDING & VERY CLEAN, NO MARKINGS. WEAR TO EDGES AMND CORNERS. SMALL TEARS AT SPINE EXTREMITIES. VOL 2 HAS A WEAK FRONT HINGE. ALL ILLUSTRATIONS HAVE TISSUE GUARDS. A VERY HNDSOME & CLEAN SET. DIRECT INQUIRIES ALWAYS WELCOMED. SCANS ON REQUEST, THANKS.

Landscape engraving measuring 5'' x 7ĵ''. Just a little dustiness to the margins and in Very Good original condition. Member of the P.B.F.A. PRINTS.

Broschiert. Condition: Gut. 12,8 x 21,6 cm Papier altersbedingt leicht fleckig und geknickt, verso zwei kleine Papierklebebandreste, sonst GUTES EXEMPLAR---"Darstellung: 12,8 x 21,6 cm; Blatt: 18 x 27 cm. Darstellung: Schöner Blick auf den Ort und die Burg Hohnstein, rechts vorn auf dem Weg trägt ein Mann ein Holzbündel huckepack." Für Ihre Zufriedenheit versenden wir mit DHL und ausschließlich mit Trackingcode für eine sichere Sendungsverfolgung! Weitere Angebote unter antiquariat-kastanienhof , 1 Seiten. nein.

schöner alter Stich, im Papprahmen (ca. A4 Größe) mit 2 kleinen Klebebändern montiert, Maße Blatt 19,2 x 12,3 cm gut erhalten, Papprahmen im unteren Bereich schwach fleckig de 1 S. 490 g.

Softcover. Condition: Gut. n/a. 7,5x11,0 cm Original-Stahlstich leicht altersfleckig,sonst sehr GUTES EXEMPLAR.--- Für Ihre Zufriedenheit versenden wir mit DHL und ausschließlich mit Trackingcode für eine sichere Sendungsverfolgung! Weitere Angebote unter antiquariat-kastanienhof , 1 Seiten. nein.

30 Fine plates 11½'' x 9'' bound together in hard back binding, all page edges gilt. Consisting of: Paris From Montmarte, Fall of the Rhone, Notre Dame Paris, Paris on the Seine, and other French country and Paris scenes. Foxing to reverse of each plate with light foxing to the surfaces, front board detached. Member of the P.B.F.A. FRANCE [Literature & History).

, in 2 parts (Vol I, II), frontispiece includes title page information, iv, unpaginated, 115 engraved tissue-guarded plates with titles (including frontispiece), inscription to upper blank, binder's label to lower pastedown, owner's loose inserts (hand-made red silk ribbon bookmark set with metal studs, manuscript invitation) First Edition , slight scuffing to covers, chipping to board edges, missing the title page, in good condition , half bound calf with marbled boards, gilt decorative rules to covers, gilt decoration and titles on label to spine, marbled edges, marbled endpapers quarto, 28 x 23 cms Hardback ISBN: