lithrs queen (4 risultati)

Single print. Large finely coloured lithographic view of the 13th century church. The tower dates from 1490. "Perhaps the best of all the Somerset towers." 19.5 x 34 cm.

Single print. Original good size antique lithograph probably produced in 1854 to mark the consecration of this church in that year. Engraved area 265 x 190 mm plus title. Two short closed tears in the margins and creases, one of which is just visible at the top left of the printed area but in a mount would scarcely be noticeable. 32.5 x 25.5 cm.

Condizione: Good. Handcolored lithograph. 38 x 45 cm. sheet size, with the full text beneath the image. Fold mark and repaired tear; mounted on a support sheet.N.M.Condy del; T.G.Dutton Lith. Day & Haghe Lithrs.to the Queen. [Published in London by Ackemann & Co. and George Foster, in Plymouth by Edmund Fry.Hand-colored print after an original painting by the artist Nicholas Matthew Condy, The Acorn is shown in the center foreground, with the Gabriel in the background. The Gabriel is being pursued by the Acorn, and damage from cannon fire is clearly visible on the sails. Inscribed title: 'H.M. Brig Acorn 16 Guns in Chase of the Piratical Slaver Gabriel. To Captain Adams and the Officers of the Brig this Print is respectfully dedicated by their obedient servant Edmund Fry.' This action took place in 1841. The British West Africa Squadron was established in 1808. Its primary role being to suppress any activity by British slavers. It was also assigned for other activities. The squadron was to be ready for combat at sea, to blockade ports between Cape Verde and Benguela if necessary, to seize foreign slavers, and to protect legitimate traders.The British West Africa Squadron was established in 1808. Its primary role being to suppress any activity by British slavers. It was also assigned for other activities.The squadron was to be ready for combat at sea, to blockade ports between Cape Verde and Benguela if necessary, to seize foreign slavers, and to protect legitimate traders.The Journal du Havre publishes the following report on the capture of the Gabriel, communicated by Captain Blay, of the Jeune Pauline, just arrived at Havre from Rio Janeiro:- ' The following was published inEdinburgh Oct/Nov, 1841. The English brig Acorn having, in lat. 5.N perceived at great distance a vessel pillaging another, made chase, and instantly the Gabriel hoisted all her sail, and endeavoured to escape.At three in the afternoon the Acorn fired, and the Gabriel returned the fire, at the same time hoisting Portuguese colors. The chase continued for 12 hours, during the whole of which time firing was kept up byboth vessels, but eventually the Gabriel was dismasted, and captured. She was sent to St Helena, but her crew, consisting of fifty- eight men, Spaniards and others, were put on board an English vessel at Rio. Thecaptain jumped overboard during the chase, with all hispapers.The merchandise found on board the Gabrielwas valued at 8000 pounds. The Acorn had not time to ascertain to what country the vessel which was beingpillaged by the Gabriel belonged, but she carriedEnglish colors. Captain Blay also reports that the English merchants resident at Rio have presentedCaptain Lecosannet, of the Roland, with a handsomegold chronometer and snuff box, and given to each ofhis crew a hundred francs, in testimony of the senseentertained of their humanity in saving the crew andpassengers of the India.

Three-stone lithograph, 13 7/8" x 33 3/4" plus margins. CONDITION: A few small nicks in sky, a few small thin areas in sky at upper left reinforced on verso with 7" x 1.5" strip of Japanese paper, light toning, minor stains, moderate cockling in margins. An early, important and very rare depiction of the Port Elizabeth, South Africa. Roughly equidistant from Cape Town and Durban, Port Elizabeth was founded in 1820. As a seaport it grew rapidly, to the extent that in 1861, the year before Bowler drew this image, the town was granted autonomous status. After this plate was printed, the arrival of the railways brought even greater growth, so that Bowler's finely-observed drawing captures the town at an important juncture in its history. The view is taken from the Southwest, from inland looking across the Bakensrivier towards the town with the harbour beyond. The crowded harbor indicates the importance of the sea in the development of the town, with the lighthouse prominent on the skyline. The principal features of the town and harbour facilities are identified by labels below the image. Among these are, at far left, the Military Hospital, built by the British in 1799, while the impressive three-story structure, surmounted by a cupola, is the Town Hall and Commissariat. Thomas Bowler (18121869) Bowler joined the staff of Thomas Maclear, newly appointed as Her Majesty's Astronomer at the Cape of Good Hope, and travelled to South Africa in 1834. After leaving Maclear's appointment, he advertised his services as a drawing master and landscape painter. At this juncture he had received no formal training but was entirely entirely self taught. As his career flourished, he returned briefly to London in 18541855, to study under landscape artist and lithographer James Duffield Harding. For thirty-five years, from 1834 to 1868, Bowler travelled widely through southern Africa. As he travelled he documented the sights and scenes before him, leaving behind him a substantial body of work: upwards of five hundred original drawings and paintings survive, as well as some seventy large-format prints from his artwork and a large number of smaller illustrations used in the magazines and books of the day. His final foray was to Mauritius, where he painted a series of views, intended for publication as Twenty Views of Mauritius. He travelled to London in 1868 to oversee publication but died there shortly after arrival. In all, Bowler is one of the most important European pictorial eye-witnesses of southern Africa for the mid-19th century, capturing the early flowering of the region's towns, expanding settlement, the development of the railways and important historical events, including the wars with the local population. Seeking to increase his income, Bowler frequently endeavoured to see his artwork into print, but his attempts at raising subscription income were invariably unsuccessful. and his prints circulated in only limited numbers. This plate was lithographed in London by Thomas Pickens, and printed there by the great printing house "[John Bellenie] Day & Son," although the publication line bears the imprint of the firm, "Richards, Impey & Co.," the partnership formed in Port Elizabeth by James Richard and William Impey, newspaper proprietors and letterpress printers. This large format print was published separately, and should be distinguished from the smaller prints that appeared in Bowler's Pictorial album of Cape Town, with views of Simon's Town, Port Elizabeth, and Graham's Town, published by Jan Carel Juta in Cape Town in 1866. Despite its London origin, the view is surprisingly rare, with no impressions found in COPAC, OCLC or the British Museum's online catalog. The only institutional location traced thus far is a colored example in the London National Maritime Museum. OCLC records only five copies of the later Pictorial Album outside South Africa, with two in America and two in the United Kingdom. Offered in partnership with Boston Rare Maps of Southampton, Massachusetts.