engraved godfrey (48 risultati)

Hardcover. Condizione: Good. illustrated by a series of finely executed portraits, selected from the most authentic sources and engraved by eminent artists (illustratore). Firmly bound original green cloth boards with some marks and light handling wear, mostly at the top of the spine, foxing mostly on the first few pages including the engraved illustrations at the front. Volume V (five) only from set, covering the seventh period from George II to the accession of George III.,

Single sheet. Antique hand coloured copper engraving. Image Size: 155 x 105 mm. Overall Size: 210 x 165 mm 21 x 16.5 cm.

No Binding. Condizione: Very Good. GROSE, Francis engraved by R, Godfrey (illustratore). Copper plate print published June, 1775. The engraving measures 10.5cm x 15.25cm (not including plate mark) - over all with text 23cm x 33cm. Engraved by R. Godfrey. for Grose's Antiquities of England and Wales from a view drawn by Grose in 1761. Notes: Portchester Castle is a medieval castle built within a former Roman fort at Portchester to the east of Fareham in the English county of Hampshire. It is located at the northern end of Portsmouth Harbour. Probably founded in the late 11th century, Portchester was a baronial castle taken under royal control in 1154. The monarchy controlled the castle for several centuries and it was a favoured hunting lodge of King John. It was besieged and captured by the French in 1216 before permanently returning to English control shortly thereafter. Occupying a commanding position at the head of Portsmouth Harbour, in the medieval period Portchester was an important port. The castle saw the disembarkation for several campaigns to France led by England's kings. In anticipation of a French invasion during the first quarter of the 14th century, Edward II spent £1,100 repairing and reinforcing Portchester Castle. A plot to overthrow Henry V was discovered and the culprits apprehended at Portchester; this event features in Shakespeare's play, Henry V. Later in its history, the castle was used as a prison. The strategic importance of Portchester has been recognised since at least the 3rd century when a Roman fort was established on the site of the later castle. Though it is uncertain exactly when the fort was constructed, it is thought that it was built by Marcus Aurelius Carausius on the instructions of emperor Diocletian between 285 and 290.[5] It was one of several forts built along the British coast in the period to combat raids by pirates. Portchester was probably a base from which the Classis Britannica, the Roman fleet defending Britain, operated.[6] It is the best preserved Roman fort north of the Alps. Although the Roman army retreated from Britain in the early 5th century, it is unlikely that the fort was ever completely abandoned, although its use continued on a much smaller scale. A 10th-century hall and tower were discovered within the fort, suggesting it was a high-status residence during the Saxon period. In 904, Portchester came into the possession of King Edward the Elder and the fort became a burh to help defend the country against Vikings. Today Portchester Castle is a Scheduled Ancient Monument, and a Grade I listed building. The castle has been in the ownership of the Southwick Estate since the 17th century but is managed by English Heritage and open to visitors throughout the year. The Norman church, St. Mary's, which stands in the south-east corner of the grounds, falls within the Anglican Diocese of Portsmouth. [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved by Godfrey (illustratore). Copper plate print published February, 1776. The engraving measures 11.75cm x 16.5cm including plate mark - over all with text 23cm x 33cm. Engraved by Godfrey for Grose's Antiquities of England and Wales from a drawing by Dr. Littleton, Bishop of Carlisle. Note: Stewkley is a village and civil parish in the Aylesbury Vale district of Buckinghamshire, England. The village is about 5 miles (8 km) east of Winslow and about 4 miles (6 km) west of Leighton Buzzard. The civil parish includes the hamlets of North End and Stewkley Dean. The principal manor in Stewkley was once held by the son of Geoffrey Chaucer, who was an occasional visitor to the village. The Church of England parish church of St Michael and All Angels is one of the least-altered of England's 6,000 Norman churches. The toponym Stewkley is derived from the Old English for woodland clearing with tree stumps.[citation needed] The Domesday Book of 1086 records it as Stiuclai. [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved by Godfrey (illustratore). Two opper plate prints published March, 1772 and September, 1773. Both pletes measure 11.75 cm x 16.5 cm including plate mark, - over all with text 23cm x 33cm. Engraved by Godfrey for Grose's Antiquities of England and Wales from a drawings by Grose in 1760 and 1761. Note: These are imagined views as the buildings had been removed. The bridge was replaced in 1813 [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved by R. Godfrey (illustratore). Copper plate print published November, 17742. The engraving measures 11cm x 15.5cm (not including plate mark) - over all with text 23cm x 33cm. Engraved by R. Godfrey for Grose's Antiquities of England and Wales from a drawing done by Grose 1760. Very good condition Note: . [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved by Godfrey (illustratore). Copper plate print dated January, 1773. The engraving measures 12 cm x 16.75 cm including plate mark - over all with text 23cm x 33cm. Engraved by Godfrey for Grose's Antiquities of England and Wales from a drawing by Grose in 1769. Notes: Seems Grose was not impressed:.The gate is by travellers, generally noticed as a curiosity, not for the beauty, but extreme singularity of its form.From the whimsical taste of its construction, it was probably erected about the time of Elizabeth, or James the first; a period when architecture seems to have been at its lowest ebb; the buildings of those days being neither Grecian or Gothick, but an unnatural and discordant jumble of both." [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved by R. B. Godfrey (illustratore). Copper plate print dated February, 1772. The engraving measures 11.5 cm x 16.25 cm including plate mark - over all with text 23cm x 33cm. Engraved by R. B. Godfrey for Grose's Antiquities of England and Wales from a drawing by Grose in 1769. [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved by Godfrey (illustratore). Copper plate print datedMarch, 1775. The engraving measures 11.5 cm x 16.5 cm including plate mark - over all with text 23cm x 33cm. Engraved by Godfrey for Grose's Antiquities of England and Wales from a drawing by Grose in 1760. Some foxing, mostly to margines. Notes: The manor house is now run by Serco Leisure Operating Ltd on behalf of Sport England, and is one of three National Sports Centres. Gym membership is open to the public. England Rugby had their training base at Bisham Abbey until 2005, when they moved to the University of Bath. Several football teams have trained at Bisham Abbey, most recently Barcelona and Portsmouth before their 2008 FA Cup victory. For the last few years Non-League Marlow United F.C. use the pitches as their home ground. The facilities are frequently used by elite athletes and community groups for residential training camps such as the Rugby Sevens and England Hockey. There is an International High performance Tennis centre based on site managed by WIN Tennis. Tennis players Tim Henman and Andy Murray also train at Bisham Abbey. [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved by Godfrey (illustratore). Copper plate print published April, 1775. The engraving measures 11.5cm x 16.25cm including plate mark - over all with text 23cm x 33cm. Engraved by Godferey for Grose's Antiquities of England and Wales from a drawing by Grose in 1757. Note: It appears that the church here depicted was torn down and replaced in 1790. [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved by B. Godfrey (illustratore). Copper plate print published 1772. The engraving measures 10.5cm x 15.25cm (not including plate mark) - over all with text 23cm x 33cm. Engraved by B. Godfrey. for Grose's Antiquities of England and Wales from a view drawn by Grose in 1761. Notes: In 1792 the Basingstoke Canal was built through the southern corner of the bailey. Odiham Castle is open to the public. The only visible remains are part of the octagonal keep and outlying earthworks. In September 2007 Hampshire County Council undertook a restoration of the shell keep under guidance from English Heritage. The most southerly corner of the moat survives in the form of a small overgrown pond on the opposite side of the canal from the rest of the castle. Two series of archaeological excavations have been carried out at the castle, one in 1953 reported in a local newspaper, and the other between 1981-1985, carried out by Hampshire County Council Museum Services. [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved by Godfrey (illustratore). Copper plate print published 1772. The engraving measures 11cm x 15cm (not including plate mark) - over all with text 23cm x 33cm. Engraved by Godfrey for Grose's Antiquities of England and Wales from a view drawn by Grose in 1761. Notes: From the Earls of Gainsborough Titchfield passed to the Dukes of Beaufort who lived at Place House until 1741, at which point the estate was sold to the Delme family. They lived there for another forty years until, in 1781, a decision was made to abandon the mansion and deliberately demolish much of it to create a romantic ruin. When this happened local people took stone from the abbey for their homes; evidence can be seen in walls and foundations of older houses in Titchfield village. Much, though, is inside the buildings; in The Bugle Hotel in Titchfield, for example, a big fireplace was salvaged from the ruins. Though a great deal has been destroyed, there are still major remains of the abbey and Place House to be seen. In fact, the pulling down of Place House has revealed more of the abbey than would otherwise be visible. The nave of the church still stands to full height and with it Wriothesley's gatehouse. To the east of the gatehouse ruins, the barest outline of the former church can be seen, including the choir and transepts. Fragments of the cloister buildings survive, including the entrance arches to the chapter house and library in the east range. In the abbey's grounds, the fishponds have been maintained and are used regularly for fishing. In addition, to the west of the abbey, and outside of the wall ringing the English Heritage site, there is a fragment of an outlying abbey building, the use of which is not recorded. Substantial stretches of the late mediaeval tile floors survive to this day. An inscription which used to lie before the entrance to the canons' refectory, was later covered and preserved beneath the steps leading up to Wriothesley's banqueting hall. Two other patches of tiling survive to the north of the gatehouse. Following the expulsion of the canons, these were concealed beneath the spiral staircases installed in Wriothesley's reconstruction, and therefore escaped being torn out with the rest of the tiles along the cloister walk.[21] In winter, the tiles are covered over with sand by English Heritage staff in order to protect them from damage in the cold weather. The abbey has been the setting for concerts, including folk and blues festivals and open-air theatre and is now under the care of English Heritage. It is open to the public. [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved Godfrey (illustratore). Copper plate print with text engraved 1772. 10.4cm x 15.2cm (not including plate mark) - over all with text 23cm x 33cm, engraved by Sparrow for Grose's Antiquities of England and Wales from a view taken Grose circa 1772. Very good condition. Bermondsey Abbey was an English Benedictine monastery. Most widely known as an 11th-century foundation, it had a precursor mentioned in the early eighth century, and was centred on what is now Bermondsey Square, the site of Bermondsey Market, Bermondsey, in the London Borough of Southwark, southeast London, England. Neither the house nor the Abbey still stand. By 1822, The Morning Post reported that all that remained was 'a solitary fragment or two of stone wall, in what is called King John's Court, together with a few old buildings'. Houses on nearby Grange Walk also incorporate some of the Abbey's remains. Within the structure of the late 17th century Grade II-listed houses numbered 5, 6 and 7 is part of one side of the late medieval stone gatehouse. At number 7 is the chamfered south jamb of the gateway with two wrought-iron gate-hooks projecting from the wall and a 'Gatehouse' sign. The remains of the south-western tower of the abbey church can be seen below the glass floor of the Del'Aziz restaurant and bar on Bermondsey Square. In 1904, during construction in Abbey Street, two stone coffins with human remains were found ten feet below the ground with six more burials, without coffins, above them and close by. Parts of the Abbey's foundations were also unearthed. In 1932, the consecration stone of the Abbey was discovered by a workman at a petrol station in Tower Bridge Road where it had been placed in the foundations of a later building. [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved by Godfrey (illustratore). Copper plate print dated January, 1774. The engraving measures 12.5 cm x 16.5 cm including plate mark - over all with text 23cm x 33cm. Engraved by Godfrey for Grose's Antiquities of England and Wales from a drawing by Grose in 1769. Notes: Grose gives no indication of the depridations of the church tower as drawn by him. More recent information states: "The most intriguing thing about the church is that the west tower is ruined, so the church bell is set upon a timber frame on the ground. The ruined walls of the tower are covered in ivy, making an unforgettably romantic picture. Apparently, the tower fell on a fateful day in 1821, killing an unfortunate cow wandering beneath." [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved by Godfrey (illustratore). Copper plate print dated March 1774. The engraving measures 11.5 cm x 16.5 cm including plate mark - over all with text 23cm x 33cm. Engraved by Godfrey for Grose's Antiquities of England and Wales from a drawing by Grose (undated) Notes: St George's Chapel is regarded as one of the most beautiful ecclesiastical buildings in England and is characterised by large windows and tall, slender pillars giving the impression of grace and elegance. The chapel features remarkable examples of medieval woodwork and ironwork. The magnificent Sovereign's Stall, used by The Queen today, dates from the late eighteenth century. St George's Chapel was the setting for the marriage of Prince Harry and Ms Meghan Markle on Saturday 19 May 2018 [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved by Godfrey (illustratore). Copper plate print published December, 1774. The engraving measures 12cm x 16.25cm including plate mark - over all with text 23cm x 33cm. Engraved by Godferey for Grose's Antiquities of England and Wales from a drawing by Grose in 1774. Note: Beaumont Palace, built outside the north gate of Oxford, was intended by Henry I about 1130 to serve as a royal palace conveniently close to the royal hunting-lodge at Woodstock (now part of the park of Blenheim Palace). Its former presence is recorded in Beaumont Street, Oxford. Set into a pillar on the north side of the street, near Walton Street, is a stone with the inscription: "Near to this site stood the King's Houses later known as Beaumont Palace. King Richard I was born here in 1157 and King John in 1167". The "King's House" was the range of the palace that contained the king's lodgings. Henry passed Easter 1133 in the nova aula, his "new hall" at Beaumont in great pomp, celebrating the birth of his grandson, the future Henry II. Edward I was the last king to sojourn in Beaumont officially as a palace, and in 1275 he granted it to an Italian lawyer, Francesco Accorsi, who had undertaken diplomatic missions for him.[2] When Edward II was put to flight at the battle of Bannockburn in 1314, he is said to have invoked the Virgin Mary and vowed to found a monastery for the Carmelites (the White Friars) if he might escape safely. In fulfilment of his vow he remanded Beaumont Palace to the Carmelites in 1318. In 1318, the Palace was the scene for the beginnings of the John Deydras affair, in which a royal pretender, arguing that he was the rightful king of England, claimed the Palace for his own. John Deydras was ultimately executed for sedition. When the White Friars were disbanded at the Reformation, most of the structure was dismantled and the building stone reused in Christ Church and St John's College. The engraving here shows the remains of Beaumont Palace, the last of which were destroyed in the laying out of Beaumont Street in 1829. [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved by Godfrey (illustratore). Copper plate print published April, 1775. The engraving measures 11.5cm x 16.25cm including plate mark - over all with text 23cm x 33cm. Engraved by Godferey for Grose's Antiquities of England and Wales from a drawing by Grose in 1757. Note: The site consisted of a guest house; a nunnery; an outer court containing a range of buildings; lodging for a priest; St Thomas's chapel, which appears to have been used as a church by the Abbey's servants; and the Abbey church, which contained cloisters along with associated buildings. The precincts were entered from the Wolvercote-Wytham road, which ran through the outer court. Here there was a two-storey main gatehouse with a large gate for carts and a second smaller one beside it for foot traffic. The site consisted of a guest house; a nunnery; an outer court containing a range of buildings; lodging for a priest; St Thomas's chapel, which appears to have been used as a church by the Abbey's servants; and the Abbey church, which contained cloisters along with associated buildings. The precincts were entered from the Wolvercote-Wytham road, which ran through the outer court. Here there was a two-storey main gatehouse with a large gate for carts and a second smaller one beside it for foot traffic. George Price Boyce, the Victorian watercolour painter associated with the Pre-Raphaelite art movement, visited and painted the nunnery in 1862. During the 19th and 20th centuries, the ruined abbey was used for collecting livestock during the annual rounding up of animals on Port Meadow. George Price Boyce, the Victorian watercolour painter associated with the Pre-Raphaelite art movement, visited and painted the nunnery in 1862.[11] During the 19th and 20th centuries, the ruined abbey was used for collecting livestock during the annual rounding up of animals on Port Meadow. [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved by R. Godfrey (illustratore). Copper plate print published 1773. The engraving measures 10.5cm x 15.5cm (not including plate mark) - over all with text 23cm x 33cm. Engraved by R. Godfrey. for Grose's Antiquities of England and Wales from a view drawn by Grose in 1761. Notes: Hurst Castle is an artillery fort established by Henry VIII on the Hurst Spit in Hampshire, England, between 1541 and 1544. It formed part of the king's Device Forts coastal protection programme against invasion from France and the Holy Roman Empire, and defended the western entrance to the Solent waterway. The early castle had a central keep and three bastions, and in 1547 was equipped with 26 guns. It was expensive to operate due to its size, but it formed one of the most powerful forts along the coast. During the English Civil War of the 1640s, Hurst was held by Parliament and was used briefly to detain King Charles I before his execution in 1649. It continued in use during the 18th century but fell into disrepair, the spit being frequented by smugglers. Repairs were made during the Revolutionary and Napoleonic Wars with France, and the castle was modernised to enable it to hold 24-pounder (10.8 kg) guns. Fresh fears of invasion followed in the 1850s, leading to heavier, 32-pounder (14.5 kg) armament being installed and new gun batteries being laid out on both sides of the castle. Technological developments rapidly made these defences obsolete, however, and a fresh phase of work between 1861 and 1874 created sixty-one gun positions in two long, granite-faced batteries alongside the older castle. These held very heavy weapons, including massive 12.5 inch, 38 ton (317 mm, 39,000 kg) rifled muzzle-loading guns. As the century progressed, these too became outdated and lighter, quick-firing guns were installed at the castle to replace them. The castle formed part of a network of defences around the entrance to the Solent during the First World War, and was re-armed again during the Second World War. The military decommissioned the fort in 1956 and it passed into the control of the Ministry of Works. In the 21st century, it is run jointly by English Heritage and the Friends of Hurst Castle as a tourist attraction, receiving around 40,000 visitors during 2015. Coastal erosion has become a growing problem despite government intervention to protecting the spit. Four lighthouses have been built at Hurst from the 18th century onwards, one of which, a high lighthouse first opened in 1867, remains in active service. [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved by Godfrey (illustratore). Copper plate print published June, 1775. The engraving measures 10.5cm x 15.5cm (not including plate mark) - over all with text 23cm x 33cm. Engraved by Godfrey for Grose's Antiquities of England and Wales from a drawing by Grose in 1772. some toning to eges, print clean and suitable for framing. Note: The earliest mention of Cartmel in historical records occurs almost 500 years before the foundations of Cartmel Priory were laid, when in around 680 AD the monks of Lindisfarne took ownership of the land. This Christian era remained until 1189 when William Marshal, 1st Earl of Pembroke, founded Cartmel Priory. The Priory was saved at the time of the Dissolution of the Monasteries in the early 1530s, owing to William Marshall being granted an altar in one of the Priory's chapels. The villagers protested that the Priory was in fact their parish church, and so it remains. [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved by R. Godfrey (illustratore). Copper plate print published November, 1772. The engraving measures 15.5cm x 15.5cm (not including plate mark) - over all with text 23cm x 33cm. Engraved by R. Godfrey for Grose's Antiquities of England and Wales from a drawing done by Grose 1761. Very good condition Note: At the start of the 20th century Camber Castle and the surrounding farmland remained in private ownership and open to visitors. In the 1931 there was a proposal to turn the keep into a golf clubhouse but the project was not taken forward and the facility was built at the nearby Castle Farm instead. A research team from the Victoria County History project visited the castle in 1935, resulting in the first - albeit cursory - historical analysis and survey of the fortification being published two years later. By the 1940s, the castle structures were mostly covered with rubble and debris, interwoven with pathways created by the movement of visitors over the years. During the Second World War, the castle was used by the British Army, possibly as an early warning site fitted with anti-aircraft searchlights. In an area just to the north of the castle, the Starfish and Naval decoy sites were created to distract incoming German bombers from the town of Rye itself.[66] Trenches were dug in the north bastion, and military training may have been conducted around the outskirts of the castle. In the post-war years, archaeological interest in the castle grew. From 1951 onwards the Ministry of Works carried out a long-running research project into the Device Forts, the section on Camber being written by the historian Martin Biddle and finally published in 1982. Biddle carried out an exploratory archaeological survey of the site in 1962 and the following year the ruins were closed to allow more extensive archaeological excavation by the Ministry. ] These were initially carried out by Biddle and Alan Cook, with support from local school children and from young offenders from the Borstal institution in Dover. The state took Camber Castle into guardianship in 1967, and the next year the government began a slow process of restoring the castle with the intention of eventually reopening it to the public, their efforts largely focusing on protecting the internal brick walls and wall-cores. Further excavations followed in the 1970s and early 1980s. In 1977, the Department of National Heritage bought the castle from its owners. The government agency English Heritage took control of the castle in 1984 and a scheme to reopen the property to visitors was put forward in 1993. This included a final assessment of the archaeological work of the previous decades, and the castle finally opened to the public again in 1994. As of 2015, the castle is open to visitors through guided tours organised by the Rye Harbour Nature Reserve. The site is protected under UK law as a Grade I listed building. [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved Godfrey (illustratore). Copper plate print with text engraved 1787. 10.5cm x 15cm (not including plate mark) - over all with text 23cm x 33cm. Engraved by J. Newton for Grose's Antiquities of England and Wales from a view taken Grose 1786. Very good condition. [Note: From Gose's text .The ruinous state of this building , makes it unlikely that it will stand through the ensuing winter." [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

Single sheet. Antique hand coloured copper engraving. Nick in top edge now closed. Image Size: 155 x 105 mm. Overall Size: 210 x 155 mm. 21 x 15.5 cm.

No Binding. Condizione: Very Good. Engraved By Rothwell (illustratore). PORTRAIT & BIOGRAPHY. Fine copper engraved portrait with a valuable 500 word biography of the eminent personage. Each plate is 8.5 x 5 ins, 22 x 12 cms. and will be mounted (matted) and ready to frame. The portrait is in an oval with biography underneath.Sir Godfrey Kneller, 1st Baronet (8 August, 1646 - 19 October, 1723) was the leading portrait painter in England during the late 17th and early 18th centuries, and was court painter to British monarchs from Charles II to George I.

No Binding. Condizione: Very Good. John Godfrey (illustratore). A fine original antique engraved view . Mounted (matted) and ready to frame . . Very good condition, . A splendid opportunity to acquire an antique original view - decorative, attractive and scarce . A splendid scene -- fine view of York Minster from the West end, with St Michael le Belfry. Engraved by John Godfrey from a photograph by William Monkhouse of York.

No Binding. Condizione: As Described. No Jacket. Drawn by R. W. Billings; Engraved by J. Godfrey (illustratore). A print of an engraving of the 'Kirkwall Cathedral, NW View', drawn by R W Billings, engraved by J Godfrey An antique print, guaranteed to be over 150 years oldThis plate was taken from a volume of The Baronial and Ecclesiastical Antiquities of Scotland, in four volumes, by Robert William Billings, published by Edinburgh & London: William Blackwood and Sons, 1845-1852. This particular print published in 1848 Some marking and foxing, mainly around upper margin and upper edge of image, but reasonably clean for age. Mounted and matted with white and antique-white acid-free card, measuring 12" x 10" (305cm x 254cm) with a window size of a little under 10" x 8" and comes in a cellophane bag. This would make for a lovely gift and may appeal to those interested in Britain, Scotland, architecture, cathedrals, antique prints and the work of Billings and/or Godfrey. n.

No Binding. Condizione: As Described. No Jacket. Drawn by R. W. Billings; Engraved by J. Godfrey (illustratore). A print of an engraving of the 'Entrance to Cawdor Castle', drawn by R W Billings, engraved by J Godfrey An antique print, guaranteed to be over 150 years oldThis plate was taken from a volume of The Baronial and Ecclesiastical Antiquities of Scotland, in four volumes, by Robert William Billings, published by Edinburgh & London: William Blackwood and Sons, 1845-1852. A little marking around margins and some scuffing but quite clean for age. Mounted and matted with white and antique-white acid-free card, measuring 10" x 12" (254cm x 305cm) with a window size of a little under 8" x 10" and comes in a cellophane bag. This would make for a lovely gift and may appeal to those interested in Britain, Scotland, architecture, castles, antique prints and the work of Billings and/or Godfrey. n.

No Binding. Condizione: As Described. No Jacket. Drawn by R. W. Billings; Engraved by J. Godfrey (illustratore). A print of an engraving of the 'Street Architecture at Elgin', drawn by R W Billings, engraved by J Godfrey An antique print, guaranteed to be over 150 years old This plate was taken from a volume of The Baronial and Ecclesiastical Antiquities of Scotland, in four volumes, by Robert William Billings, published by Edinburgh & London: William Blackwood and Sons, 1845-1852. A little light marking and some foxing, mainly around margins, but reasonably clean for age. Mounted and matted with white and antique-white acid-free card, measuring 12" x 10" (305cm x 254cm) with a window size of a little under 10" x 8" and comes in a cellophane bag. This would make for a lovely gift and may appeal to those interested in Britain, Scotland, architecture, antique prints and the work of Billings and/or Godfrey. n.

No Binding. Condizione: Very Good. GROSE, Francis engraved by R. Godfrey (illustratore). Two copper plate prints dated March 1772 and April, 1776 respectively. The Castle engraving measures 11.5 cm x 16.5 cm including plate mark - over all with text 23cm x 33cm. Engraved by Godfrey from a drawing by Grose in 1769. The Plan and View measures 23 cm x 17cm and is taken from a drawing probably from the reign of Elizabeth Tudor. Both from Grose's Antiquities of England and Wales. Notes:The castle rapidly deteriorated after the slighting and the remaining walls and bastions were taken down in 1785, leaving only the gatehouse and the earth motte., The gatehouse remained in use as the county gaol into the 19th century. This came to an end when a new county prison was built in the grounds of the castle's former bailey. The castle gatehouse was then destroyed to make way for a new county court building. Today,the only remaining parts of the medieval castle left today is the 10 metre (33 feet) high motte, which rests on the highest point in the city, and some fragments of the surrounding earthworks. Both the motte and earthworks are Scheduled Ancient Monuments. The site of the castle bailey and the 19th century prison is now occupied by the Cambridgeshire County Council's headquarters at Shire Hall, built in 1932. [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. GROSE, Francis engraved Godfrey (illustratore). Two copper plate prints with text engraved 1776. 10.4cm x 15.2cm(not including plate mark) and 10cm x 14.5cm (not including plate mark) - over all with text 23cm x 33cm, engraved by Record for Grose's Antiquities of England and Wales from a views drawn by Grose. Very good condition. [For all of our prints by Francis Grose enter PRBGROSE in Key words] [QP].

No Binding. Condizione: Very Good. A splendid antique engraved portrait, plate size 7 x 4 ins, 18 x 10 cms. This is an excellent opportunity to purchase an antique portrait of this eminent personage. Crusader- illustrious chief during the crusades. After the fall of Jerusalem was elected King of the city but declined. Hero of Tasgo's poems.