This series of large copper engravings
was published c1819 by
the Society of Antiquaries (publishers) in London. They commissioned
Strothard to sketch the famous Bayeux Tapestry housed in Bayeux France, which depicted the Norman invasion of England in 1066 at Hastings, resulting in the victory of William over King Harold, ushering in the conquest (albeit brief) of the Normans over the English crown.
the Society of Antiquaries (publishers) in London. They commissioned
Strothard to sketch the famous Bayeux Tapestry housed in Bayeux France, which depicted the Norman invasion of England in 1066 at Hastings, resulting in the victory of William over King Harold, ushering in the conquest (albeit brief) of the Normans over the English crown.
(Please note that this series
is entirely sold out)
The Bayeux Tapestry (French: Tapisserie de Bayeux, IPA: [tapisʁi də bajø],
Norman : La telle du conquest) is a 0.5-by-68.38-metre (1.6 by 224.3 ft) long
embroidered cloth – not an actual tapestry – which depicts the events leading up
to the Norman conquest of England as well as the events of the invasion itself.
The tapestry is annotated in Latin. It is exhibited in a special museum in
Bayeux, Normandy called Musée de la Tapisserie de Bayeux.
French legend maintained the tapestry was commissioned and created by Queen Matilda, William the Conqueror's wife, and her ladies-in-waiting. Indeed, in France it is occasionally known as "La Tapisserie de la Reine Mathilde" (Tapestry of Queen Matilda). However, scholarly analysis [2] in the 20th century concluded it probably was commissioned by William's half brother, Bishop Odo. The reasons for the Odo commission theory include: 1) three of the bishop's followers mentioned in the Domesday Book appear on the tapestry; 2) it was found in Bayeux Cathedral, built by Odo; and 3) it may have been commissioned at the same time as the cathedral's construction in the 1070s, possibly completed by 1077 in time for display on the cathedral's dedication.
Assuming Odo commissioned the tapestry, it was probably designed and constructed in England by Anglo-Saxon artists given that Odo's main power base was in Kent, the Latin text contains hints of Anglo-Saxon, other embroideries originate from England at this time, and the vegetable dyes can be found in cloth traditionally woven there.[3][4][5] Assuming this was the case, the actual physical work of stitching was most likely undertaken by skilled seamsters. Anglo-Saxon needlework, or Opus Anglicanum, was famous across Europe.
Alternative theories exist. Carola Hicks, in The Bayeux Tapestry: The Life of a Masterpiece (2006), has suggested it was commissioned by Edith of Wessex.[6] Wolfgang Grape, in his The Bayeux Tapestry: Monument to a Norman Triumph (1994), has challenged the consensus that the embroidery is Anglo-Saxon, distinguishing between Anglo-Saxon and other Northern European techniques;[7] however, textile authority Elizabeth Coatsworth refutes this argument.[8] George Beech, in his Was the Bayeux Tapestry Made in France? (1995), suggests the tapestry was executed at the Abbey of St. Florent in the Loire Valley, and says the detailed depiction of the Breton campaign argues for additional sources in France. Andrew Bridgeford in his book 1066: The Hidden History of the Bayeux Tapestry (2005), suggested that the tapestry was actually of English design and encoded with secret messages meant to undermine Norman rule.
French legend maintained the tapestry was commissioned and created by Queen Matilda, William the Conqueror's wife, and her ladies-in-waiting. Indeed, in France it is occasionally known as "La Tapisserie de la Reine Mathilde" (Tapestry of Queen Matilda). However, scholarly analysis [2] in the 20th century concluded it probably was commissioned by William's half brother, Bishop Odo. The reasons for the Odo commission theory include: 1) three of the bishop's followers mentioned in the Domesday Book appear on the tapestry; 2) it was found in Bayeux Cathedral, built by Odo; and 3) it may have been commissioned at the same time as the cathedral's construction in the 1070s, possibly completed by 1077 in time for display on the cathedral's dedication.
Assuming Odo commissioned the tapestry, it was probably designed and constructed in England by Anglo-Saxon artists given that Odo's main power base was in Kent, the Latin text contains hints of Anglo-Saxon, other embroideries originate from England at this time, and the vegetable dyes can be found in cloth traditionally woven there.[3][4][5] Assuming this was the case, the actual physical work of stitching was most likely undertaken by skilled seamsters. Anglo-Saxon needlework, or Opus Anglicanum, was famous across Europe.
Alternative theories exist. Carola Hicks, in The Bayeux Tapestry: The Life of a Masterpiece (2006), has suggested it was commissioned by Edith of Wessex.[6] Wolfgang Grape, in his The Bayeux Tapestry: Monument to a Norman Triumph (1994), has challenged the consensus that the embroidery is Anglo-Saxon, distinguishing between Anglo-Saxon and other Northern European techniques;[7] however, textile authority Elizabeth Coatsworth refutes this argument.[8] George Beech, in his Was the Bayeux Tapestry Made in France? (1995), suggests the tapestry was executed at the Abbey of St. Florent in the Loire Valley, and says the detailed depiction of the Breton campaign argues for additional sources in France. Andrew Bridgeford in his book 1066: The Hidden History of the Bayeux Tapestry (2005), suggested that the tapestry was actually of English design and encoded with secret messages meant to undermine Norman rule.
The tapestry tells the story of the Norman conquest of England. The two
combatants are the Anglo-Saxon English, led by Harold Godwinson, recently
crowned as King of England, and the Normans, led by William the Conqueror.
William was the illegitimate son of Robert the Magnificent, Duke of Normandy,
and Herleva (or Arlette), a tanner's daughter. She was later married off to
another man and bore two sons, one of whom was Bishop Odo. When Duke Robert was
returning from a pilgrimage to Jerusalem, he was killed. William gained his
father's title at a very young age and was a proven warrior at 19. He prevailed
in the Battle of Hastings in October 1066 and captured the crown of England at
38. William knew little peace in his life. He was always doing battle, putting
down rebel vassals or going to war with France. He was married to his distant
cousin Matilda of Flanders.
The tapestry begins with a panel of King Edward the Confessor, who has no son and heir. Edward appears to send Harold Godwinson, the most powerful earl in England to Normandy. The Norman chronicler William of Poitiers [10] said that Edward sent Harold to tell William that he, Edward, who was growing old and had no successor, had decided that William should succeed him as king of England upon his (Edward's) death. Harold is to go to Normandy and give this information to William. Harold gets lost and arrives at the wrong location in Normandy and is taken prisoner by Guy, Count of Ponthieu. Harold convinces the Count he is on a mission to bring a message to William which leads to the sending of two messengers from William to demand his release. The Count Guy of Ponthieu quickly releases him to William. William, perhaps to impress Harold, invites him to come on a campaign against Conan II, Duke of Brittany. On the way, just outside the monastery of Mont St. Michel, two soldiers become mired in quicksand, and Harold saves the two Norman soldiers. William's army chases Conan from Dol de Bretagne to Rennes, and he finally surrenders at Dinan. Harold gives the message to William that he is to succeed Edward upon his death. William gives Harold arms and armour (possibly knighting him) and has Harold take an oath on saintly relics to honor Edward's wish and allow William to take the throne. Harold leaves for home and meets again with the old king Edward, who appears to be remonstrating with Harold. Edward shortly thereafter dies, and Harold violates his oath to William and has himself crowned king. It is notable that in the Bayeux Tapestry, the ceremony is performed by Stigand, whose position as Archbishop of Canterbury was controversial. The Norman sources[11] name Stigand as the man who crowned Harold, in order to discredit Harold; English sources[12] suggest that he was in fact crowned by Aldred, making Harold's position as legitimate king far more secure.
A star with streaming hair then appears: Halley's Comet. The first appearance of the comet would have been on 24 April, nearly four months after Harold's coronation. Comets, in the beliefs of the Middle Ages, warned of impending doom (bad omen). The news of Harold's coronation is taken to Normandy, where William then builds a fleet of ships. The invaders reach England, and land unopposed. William orders his men to find food, and a meal is cooked. A house is burnt, which may indicate some ravaging of the local countryside on the part of the invaders. News is brought to William, possibly about Harold's victory in the Battle of Stamford Bridge, although the Tapestry does not specify this. The Normans build a motte and bailey to defend their position. Messengers are sent between the two armies, and William makes a speech to prepare his army for battle.
The Battle of Hastings was fought on 14 October 1066, less than three weeks after the Battle of Stamford Bridge. The English fight on foot behind a shield wall, whilst the Normans are on horses. The first to fall are named as Leofwine Godwinson and Gyrth Godwinson, Harold's brothers. Bishop Odo also appears in battle. The section depicting the death of Harold can be interpreted in different ways, as the name "Harold" appears above a lengthy death scene, making it difficult to identify which character is Harold. It is traditional that Harold is the figure with the arrow in his eye, but he could also be the figure just before with a spear through his chest, the character just after with his legs hacked off, or could indeed have suffered all three fates or none of them. The final remaining scene shows unarmoured English troops fleeing the battlefield.
At least two panels of the tapestry are missing, perhaps even another 6.4 m (7 yards) worth. This missing area would probably include William’s coronation. A reconstruction of the missing panels - which show Duke William accepting the surrender of London and his coronation as King of England - was made by artist Jan Messent.
The identity of Harold II of England in the vignette depicting his death is disputed. Some recent historians disagree with the traditional view that Harold II is the figure struck in the eye with an arrow. The view that it is Harold is supported by the fact that the words Harold Rex (King Harold) appear right above the figure's head. However, the arrow may have been a later addition following a period of repair. Evidence of this can be found in a comparison with engravings of the tapestry in 1729 by Bernard de Montfaucon, in which the arrow is absent. A figure is slain with a sword in the subsequent plate and the phrase above the figure refers to Harold's death (Interfectus est, "he is slain"). This would appear to be more consistent with the labeling used elsewhere in the work. However, needle holes in the linen suggest that, at one time, this second figure was also shown to have had an arrow in his eye. It was common medieval iconography that a perjurer was to die with a weapon through the eye. So, the tapestry might be said to emphasize William's rightful claim to the throne by depicting Harold as an oath breaker. Whether he actually died in this way remains a mystery and is much debated. See M. Foys, "Pulling the Arrow Out" in The Bayeux Tapestry: New Interpretations for a summary of the arguments. Above and below the illustrated story are to be found "the marginalia" i.e. background information for example showing the season of the year, and many symbols and pictures of uncertain significance.
While political propaganda or personal emphasis may have somewhat distorted the historical accuracy of the story, the Bayeux tapestry presents a unique visual document of medieval arms, apparel, and other objects unlike any other artifact surviving from this period. Nevertheless, it has been noted that the warriors are depicted fighting with bare hands, while other sources indicate the general use of gloves in battle and hunt.
Also, the tapestry shows Harold enthroned with Stigand, the Archbishop of Canterbury, beside him, as though he has been crowned by him. Harold may have been crowned by Aldred of York, more likely than by Stigand, whose relationship with the papacy was tenuous. The tapestry ties a connection between Harold and the bishop, whether real or propaganda, making Harold's claim to the throne even weaker.
As the tapestry may have been made under Odo's command, it is possible he altered the story to benefit his half-brother William, perhaps by calling into doubt Harold's oath of loyalty.
A hand-painted full-size replica of the Bayeux Tapestry is located at the University of West Georgia. It is displayed in the third floor atrium of the Humanities building as part of an art gallery. Dr. E.D. Wheeler, former judge and former dean at Oglethorpe University, commissioned the work and donated it to the university in 1997.
Source: Wikipedia
The tapestry begins with a panel of King Edward the Confessor, who has no son and heir. Edward appears to send Harold Godwinson, the most powerful earl in England to Normandy. The Norman chronicler William of Poitiers [10] said that Edward sent Harold to tell William that he, Edward, who was growing old and had no successor, had decided that William should succeed him as king of England upon his (Edward's) death. Harold is to go to Normandy and give this information to William. Harold gets lost and arrives at the wrong location in Normandy and is taken prisoner by Guy, Count of Ponthieu. Harold convinces the Count he is on a mission to bring a message to William which leads to the sending of two messengers from William to demand his release. The Count Guy of Ponthieu quickly releases him to William. William, perhaps to impress Harold, invites him to come on a campaign against Conan II, Duke of Brittany. On the way, just outside the monastery of Mont St. Michel, two soldiers become mired in quicksand, and Harold saves the two Norman soldiers. William's army chases Conan from Dol de Bretagne to Rennes, and he finally surrenders at Dinan. Harold gives the message to William that he is to succeed Edward upon his death. William gives Harold arms and armour (possibly knighting him) and has Harold take an oath on saintly relics to honor Edward's wish and allow William to take the throne. Harold leaves for home and meets again with the old king Edward, who appears to be remonstrating with Harold. Edward shortly thereafter dies, and Harold violates his oath to William and has himself crowned king. It is notable that in the Bayeux Tapestry, the ceremony is performed by Stigand, whose position as Archbishop of Canterbury was controversial. The Norman sources[11] name Stigand as the man who crowned Harold, in order to discredit Harold; English sources[12] suggest that he was in fact crowned by Aldred, making Harold's position as legitimate king far more secure.
A star with streaming hair then appears: Halley's Comet. The first appearance of the comet would have been on 24 April, nearly four months after Harold's coronation. Comets, in the beliefs of the Middle Ages, warned of impending doom (bad omen). The news of Harold's coronation is taken to Normandy, where William then builds a fleet of ships. The invaders reach England, and land unopposed. William orders his men to find food, and a meal is cooked. A house is burnt, which may indicate some ravaging of the local countryside on the part of the invaders. News is brought to William, possibly about Harold's victory in the Battle of Stamford Bridge, although the Tapestry does not specify this. The Normans build a motte and bailey to defend their position. Messengers are sent between the two armies, and William makes a speech to prepare his army for battle.
The Battle of Hastings was fought on 14 October 1066, less than three weeks after the Battle of Stamford Bridge. The English fight on foot behind a shield wall, whilst the Normans are on horses. The first to fall are named as Leofwine Godwinson and Gyrth Godwinson, Harold's brothers. Bishop Odo also appears in battle. The section depicting the death of Harold can be interpreted in different ways, as the name "Harold" appears above a lengthy death scene, making it difficult to identify which character is Harold. It is traditional that Harold is the figure with the arrow in his eye, but he could also be the figure just before with a spear through his chest, the character just after with his legs hacked off, or could indeed have suffered all three fates or none of them. The final remaining scene shows unarmoured English troops fleeing the battlefield.
At least two panels of the tapestry are missing, perhaps even another 6.4 m (7 yards) worth. This missing area would probably include William’s coronation. A reconstruction of the missing panels - which show Duke William accepting the surrender of London and his coronation as King of England - was made by artist Jan Messent.
The identity of Harold II of England in the vignette depicting his death is disputed. Some recent historians disagree with the traditional view that Harold II is the figure struck in the eye with an arrow. The view that it is Harold is supported by the fact that the words Harold Rex (King Harold) appear right above the figure's head. However, the arrow may have been a later addition following a period of repair. Evidence of this can be found in a comparison with engravings of the tapestry in 1729 by Bernard de Montfaucon, in which the arrow is absent. A figure is slain with a sword in the subsequent plate and the phrase above the figure refers to Harold's death (Interfectus est, "he is slain"). This would appear to be more consistent with the labeling used elsewhere in the work. However, needle holes in the linen suggest that, at one time, this second figure was also shown to have had an arrow in his eye. It was common medieval iconography that a perjurer was to die with a weapon through the eye. So, the tapestry might be said to emphasize William's rightful claim to the throne by depicting Harold as an oath breaker. Whether he actually died in this way remains a mystery and is much debated. See M. Foys, "Pulling the Arrow Out" in The Bayeux Tapestry: New Interpretations for a summary of the arguments. Above and below the illustrated story are to be found "the marginalia" i.e. background information for example showing the season of the year, and many symbols and pictures of uncertain significance.
While political propaganda or personal emphasis may have somewhat distorted the historical accuracy of the story, the Bayeux tapestry presents a unique visual document of medieval arms, apparel, and other objects unlike any other artifact surviving from this period. Nevertheless, it has been noted that the warriors are depicted fighting with bare hands, while other sources indicate the general use of gloves in battle and hunt.
Also, the tapestry shows Harold enthroned with Stigand, the Archbishop of Canterbury, beside him, as though he has been crowned by him. Harold may have been crowned by Aldred of York, more likely than by Stigand, whose relationship with the papacy was tenuous. The tapestry ties a connection between Harold and the bishop, whether real or propaganda, making Harold's claim to the throne even weaker.
As the tapestry may have been made under Odo's command, it is possible he altered the story to benefit his half-brother William, perhaps by calling into doubt Harold's oath of loyalty.
A hand-painted full-size replica of the Bayeux Tapestry is located at the University of West Georgia. It is displayed in the third floor atrium of the Humanities building as part of an art gallery. Dr. E.D. Wheeler, former judge and former dean at Oglethorpe University, commissioned the work and donated it to the university in 1997.
Source: Wikipedia
Jan
28
Interior Design Show Toronto 2012 and a Surprise Visit from 1stDibs!
On January 26th, I attended my first
lecture at IDS12 'Conversations in Design: Trailblazing and Trendspotting.' I
was eager to hear Michael Bruno, founder of 1stDibs.com speak about his amazing
journey developing this site- which is now the world's leading online source for
20th century design and antiques. As a 1stDibs dealer, I am familiar with
the operation of the site but I was curious about how it had evolved and
developed.
Dec
21
We are in Good Company!
Please read this informative article by
Arthur Smith, Head of The Royal Ontario Museum's library and archives in
Toronto. Our stock at www.Leggeprints.com/seguy also includes a rare collection
of E.A Seguy original pochoirs for your viewing.
Nov
2
The Legge Prints Erotica Collection
2012 will mark the twentieth anniversary of
Legge Prints’ foray into erotic art, the creation of our portfolio of erotic
prints as well as our first acquisitions of artistic portrayals of the human
form.
Our own interest in erotica was sparked in 1992 by the referral of one client by another, who is an avid collector of Madonna memorabilia and in particular the collection of photos taken of her by photographer Steven Meisel that make up her now legendary book SEX.
Our own interest in erotica was sparked in 1992 by the referral of one client by another, who is an avid collector of Madonna memorabilia and in particular the collection of photos taken of her by photographer Steven Meisel that make up her now legendary book SEX.
Oct
26
Three Eras of Fashion Prints at LeggePrints.com
1940’s
Engravings from New York’s Andre Fashion House...
A reflection of the war years; an era when women went to work in numbers never before seen and fashion that reflected military and utilitarian influences
1920’s
Art Deco Fashion Sketches from Paris –
The House of Premet...
Engravings from New York’s Andre Fashion House...
A reflection of the war years; an era when women went to work in numbers never before seen and fashion that reflected military and utilitarian influences
1920’s
Art Deco Fashion Sketches from Paris –
The House of Premet...
Sep
9
Starting an Antique Print Collection
How to start an Antique PRINT
collection
1. BEGIN COLLECTING! Perhaps the best advice we can offer is to begin to assemble a collection of what you LOVE and what interests you most, whether it be maps, botanicals, architecture or erotica
2. ESTABLISH a time period or era that you wish your collection to focus on; Victorian, Art Deco and Art Nouveau prints are especially collectible and affordable.
1. BEGIN COLLECTING! Perhaps the best advice we can offer is to begin to assemble a collection of what you LOVE and what interests you most, whether it be maps, botanicals, architecture or erotica
2. ESTABLISH a time period or era that you wish your collection to focus on; Victorian, Art Deco and Art Nouveau prints are especially collectible and affordable.
Aug
19
Interesting New Clients
It’s been an unusually busy summer here at
Legge Prints and we continue to hear from new clients. One of the most
interesting parts of our job here is working with designers in faraway places,
and perhaps the most interesting this summer has been an interior designer based
in Jersey in the Channel Islands.
Her work focuses on stately homes in Jersey and throughout the British Isles.
Her work focuses on stately homes in Jersey and throughout the British Isles.
Aug
8
THE JEWELLERY BOXES
WE DESIGNED A FRAME USING MIRRORS FOR THESE
EXCEPTIONAL PIECES. MOUNTING THE IMAGES ON TOP OF A MIRROR ALLOWS THE LIGHT TO
REFLECT BACK THROUGH THE VELLUM AND CREATE A GLOWING BACK-LIGHTING THAT ENHANCES
THE ILLUSION OF DIAMONDS AND GEMS. WE HAVE ALSO LINED THE SHADOW BOX WITH
MIRRORS TO ACHIEVE AN INTERSECTION OF LIGHT AT THE CORNERS. WE ARE THRILLED WITH
THE RESULT! THESE CUSTOM DESIGNED BOXES BY LEGGEPRINTS.COM ARE DESIGNED TO SIT
ON A TABLE AND TO BE DISPLAYED AS A COLLECTION.
Jul
19
Useful Hints for Starting & Building an Art Collection
We often collaborate with Arch + Company Fine
Arts;
below are Antonio's 15 tips for starting and fleshing out your art collection
1. You absolutely do not need a vast disposable income to begin or continue collecting art. If you don't believe me, try googling my heroes Herb and Dorothy Vogel!
"Approximately 85 per cent of art sold in Canada at auction sells for less than $5,000," So says Raphaela Dunlap, the Canadian arts specialist with Joyner Waddington's Fine Art Auction House in Toronto.
below are Antonio's 15 tips for starting and fleshing out your art collection
1. You absolutely do not need a vast disposable income to begin or continue collecting art. If you don't believe me, try googling my heroes Herb and Dorothy Vogel!
"Approximately 85 per cent of art sold in Canada at auction sells for less than $5,000," So says Raphaela Dunlap, the Canadian arts specialist with Joyner Waddington's Fine Art Auction House in Toronto.
Jun
21
E.A. SEGUY POCHOIRS: 'FLOREAL DESSINS & COLORIS NOUVEAUX'
E.A. SEGUY WAS A RENOUND GRAPHIC ARTIST IN
THE EARLY YEARS OF THE 20TH CENTURY. WITH A BOLD NEW STYLE USING CONTRASTING
COLOURS AND JUXTIPOSING PATERN ON TOP OF PATTERN, SEGUY WAS ABLE TO DEVELOP A
SIGNATURE WHICH EVEN TODAY IS READILY RECOGNISABLE.
THE DESIGNS WERE CREATED BY USING THE POCHOIR PROCESS, EXACTLY THE SAME METHOD USED BY CHABOT, SEGUY'S CONTEMPORARY. HIS MOCKING OF NATURE AND THE DECONSTRUCTING OF IMAGERY WAS PLACING SEGUY ON THE SAME COURSE AS PICASSO AND HIS CUBIST STYLE OF ART.
THE DESIGNS WERE CREATED BY USING THE POCHOIR PROCESS, EXACTLY THE SAME METHOD USED BY CHABOT, SEGUY'S CONTEMPORARY. HIS MOCKING OF NATURE AND THE DECONSTRUCTING OF IMAGERY WAS PLACING SEGUY ON THE SAME COURSE AS PICASSO AND HIS CUBIST STYLE OF ART.
May
20
Charlet Textile Designs, circa 1922
GASTON CHARLET WAS A FABRIC DESIGNER IN PARIS
DURING THE EARLY ART DECO ERA. THIS IS A STUDY OF SOME OF THE MORE IMPORTANT
PIECES OF CHARLETS' WORK.
EACH PIECE WAS METICULOUSLY DRAFTED IN A TYPICAL DECO STYLE . IDENTIFIED WITH SUPERB DRAPERY, OPULENCE AND TOTAL EXCESS WHICH WAS THE HALLMARK OF THIS THEATRICAL PERIOD, CHARLET TOOK A STEP FURTHER AND PRODUCED THE PRINTS IN BRIGHT, SOMETIMES VIVID COLOURS USING A POCHOIR PROCESS.
EACH PIECE WAS METICULOUSLY DRAFTED IN A TYPICAL DECO STYLE . IDENTIFIED WITH SUPERB DRAPERY, OPULENCE AND TOTAL EXCESS WHICH WAS THE HALLMARK OF THIS THEATRICAL PERIOD, CHARLET TOOK A STEP FURTHER AND PRODUCED THE PRINTS IN BRIGHT, SOMETIMES VIVID COLOURS USING A POCHOIR PROCESS.
Mar
1
Pinetum Britannicum
Sotheby's Auction Description
THIS MAJESTIC SERIES OF PRINTS COMES FROM A THREE PART EDITION TITLED 'PINETUM BRITANNICUM' BY W. RICHARDSON, PRINTED IN 1884, LONDON. THIS SERIES ILLUSTRATES A COLLECTION OF PINES, MANY OF WHICH WERE TRANSPLANTED TO THE ISLE OF WIGHT BY HRH QUEEN VICTORIA ONTO HER OSBOURNE ESTATE. SO IMPORTANT WAS THIS VICTORIAN MASTERPIECE OF HAND COLOURED LITHOGRAPHY THAT THE GOOD QUEEN HERSELF BECAME ITS' FIRST SUBSCRIBER.
THIS MAJESTIC SERIES OF PRINTS COMES FROM A THREE PART EDITION TITLED 'PINETUM BRITANNICUM' BY W. RICHARDSON, PRINTED IN 1884, LONDON. THIS SERIES ILLUSTRATES A COLLECTION OF PINES, MANY OF WHICH WERE TRANSPLANTED TO THE ISLE OF WIGHT BY HRH QUEEN VICTORIA ONTO HER OSBOURNE ESTATE. SO IMPORTANT WAS THIS VICTORIAN MASTERPIECE OF HAND COLOURED LITHOGRAPHY THAT THE GOOD QUEEN HERSELF BECAME ITS' FIRST SUBSCRIBER.
Feb
21
A Rare Find: Copper Engravings of the Bayeux Tapestrry, circa 1819
This series of large copper engravings was
published c1819 by
the Society of Antiquaries (publishers) in London. They commissioned
Strothard to sketch the famous Bayeux Tapestry housed in Bayeux France, which depicted the Norman invasion of England in 1066 at Hastings, resulting in the victory of William over King Harold, ushering in the conquest (albeit brief) of the Normans over the English crown.
the Society of Antiquaries (publishers) in London. They commissioned
Strothard to sketch the famous Bayeux Tapestry housed in Bayeux France, which depicted the Norman invasion of England in 1066 at Hastings, resulting in the victory of William over King Harold, ushering in the conquest (albeit brief) of the Normans over the English crown.
Jan
27
Vitruvius Britannicus
Rooth House, Surrey (SOLD)
Colen Campbell's major published work, Vitruvius Britannicus, or the British Architect... appeared in three volumes between 1715 and 1725. (Further volumes using the successful title were assembled by Woolfe and Gandon, and published in 1767 and 1771.) Vitruvius Britannicus was the first architectural work to originate in England since John Shute's Elizabethan First Groundes.
Colen Campbell's major published work, Vitruvius Britannicus, or the British Architect... appeared in three volumes between 1715 and 1725. (Further volumes using the successful title were assembled by Woolfe and Gandon, and published in 1767 and 1771.) Vitruvius Britannicus was the first architectural work to originate in England since John Shute's Elizabethan First Groundes.
Jan
21
Colen Campbell
Wittham, Somerset
(SOLD)
Colen Campbell (15 June 1676 – 13 September 1729) was a pioneering Scottish architect who spent most of his career in England, and is credited as a founder of the Georgian style. A descendent of the Campbells of Cawdor Castle, he, is believed to be the Colinus Campbell who graduated from the University of Edinburgh in July 1695, he initially trained as a lawyer, being admitted to the Bar and to the Faculty of Graduates on the 29th July 1702.
Colen Campbell (15 June 1676 – 13 September 1729) was a pioneering Scottish architect who spent most of his career in England, and is credited as a founder of the Georgian style. A descendent of the Campbells of Cawdor Castle, he, is believed to be the Colinus Campbell who graduated from the University of Edinburgh in July 1695, he initially trained as a lawyer, being admitted to the Bar and to the Faculty of Graduates on the 29th July 1702.
Jan
10
FRAMING MADE EASY: TOP 10 TIPS
1. ALWAYS FRAME FOR THE PIECE, NOT YOUR DECOR
! YES, THEY MUST BE ABLE TO
MERGE, BUT ART GAINS INDEPENDANCE OF SITUE BY HAVING A FRAME ON IT.
2. MAKE AN APPOINTMENT WITH YOUR FRAMER. GIVE YOURSELF A GOOD HOUR
TO CHOOSE THE PERFECT FRAME.
3. ASK THE FRAMERS' ADVICE ! MOST PEOPLE DON'T KNOW WHERE TO START
THE FRAMING PROCESS. SAVE TIME AND ASK.
4. SPEND THE EXTRA ON ULTRA-VIOLET CONTROL GLASS. YOUR ART WILL LAST
MUCH LONGER AND YOU CAN HANG IT ALMOST ANYWHERE.
5.
MERGE, BUT ART GAINS INDEPENDANCE OF SITUE BY HAVING A FRAME ON IT.
2. MAKE AN APPOINTMENT WITH YOUR FRAMER. GIVE YOURSELF A GOOD HOUR
TO CHOOSE THE PERFECT FRAME.
3. ASK THE FRAMERS' ADVICE ! MOST PEOPLE DON'T KNOW WHERE TO START
THE FRAMING PROCESS. SAVE TIME AND ASK.
4. SPEND THE EXTRA ON ULTRA-VIOLET CONTROL GLASS. YOUR ART WILL LAST
MUCH LONGER AND YOU CAN HANG IT ALMOST ANYWHERE.
5.
Subscribe
RSS Feed
Loading
No comments:
Post a Comment