Realist Prints and Multiples

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Burgundy Iris Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: 200 Image Size: 30 x 20 inches Size: 36...

Hans Thoma (1839 Bernau - 1924 Karlsruhe), At the pond, 1897. Algraph on strong wove paper, published by Breitkopf und Härtel in Leipzig as ‘Zeitgenössisches Kunstblatt Nr. 148’, 23....

Gérard Edelinck (1640 Antwerp - 1707 Paris), Joan of Austria, 1707. Copperplate engraving, 51.2 cm x 29.8 cm, inscribed below the image: "Jeanne d'Autriche Grande Duchesse de Toscane...

German Aircraft Original vintage Second World War poster Lithograph 51 x 71 cm c.1941-1944 This original vintage poster, published in 1941, depicts a series of German aircraft,...

GATHERING is an original hand drawn stone lithograph by Raphael Soyer, the renowned Russian-born American realist painter, draftsman, and printmaker. Hand proofed and printed in 1977...

David Loggan (1634 - 1692) Sidney Sussex College, Cambridge Engraving 33 x 45 cm An eighteenth-century view of Sidney Sussex, Cambridge, engraved by David Loggan, the noted engrave...

G. Paterson "Dinner Party at a Mandarin's House" Original Engraving After T. Allom C.1840 Original engraving Dimensions 8" wide x 5" high The frame measures 20.5" wide x 18.5" hig...

James Basire & John Carter Floor plan of St Albans Cathedral Engraving 61 x 95 cm This engraving was originally published by the Society of Antiquaries of London, an organisation ...

"Horse Wrangler" is an original lithograph by the artist Lawrence Barrett signed in the lower right hand corner. Four beautifully drawn horses use a moment of commotion to escape a corral. Low hills and an expansive sky serve as a background. Image: 8.75" x 12.25" Framed: 11.9" x 16.5" Lawrence Barrett was an etcher, lithographer, teacher, illustrator, sculptor, writer, and painter. Born in Guthrie, Oklahoma, Barrett was a student at the Broadmoor Academy...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634 - 1692) Trinity College, Oxford (1705) Engraving 32 x 41 cm Loggan's view of Trinity from the second edition of the 'Oxonia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College...

Philip Pearlstein (1924-2022) View Over Soho, Lower Manhattan, 1977 Aquatint in colors on wove paper Edition 7/41 Signed, editioned and titled in pencil lower left Printed by the Orl...

Lake Michigan is famous for its landscape paintings. This limited edition lithograph numbered 459/500 is entitled "Spring Surf on Lake Michigan" and is signed and remarqued by the artist Leo Kuschel.

Maria Sibylla Merian was born in Germany in 1647 and received early artistic training from her stepfather, an established still life painter. She was fascinated by insects and collec...

Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692) The Auditoriums & Public Library, Cambridge Engraving 12 x 16 cm An eighteenth-century view of the auditoriums and ...

Maria Sibylla Merian was born in Germany in 1647 and received early artistic training from her stepfather, an established still life painter. She was fascinated by insects and collec...

Olaf Wieghorst (1899 - 1988) California, New York, New Mexico, Arizona, Texas Artist Image Size: 11 x 8.5 Frame Size: 18.5 x 14.5 Medium: Print "Indian on Horse...

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This artwork titled "Zia" State II, 1979 Is an original colors lithograph on Buff Arches paper by renown Navajo artist Rudolph Carl Gorman, 1932-2005. It is signed, dated and number...

An urban realist painter, Marsh was born in Paris, France and began drawing as early as the age of three. His artistic studies were done at Yale University, the Art Student League in New York and in Paris. Marsh was a member of the National Academy, the Royal Society of Artists, London, the Southern Vermont Artists...

David Loggan (1634 - 1692) Queens' College, Cambridge Engraving 37 x 45 cm An eighteenth-century view of Queens', Cambridge, engraved by David Loggan, the noted engraver, draughtsm...

James Basire & John Carter St Albans Cathedral Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to ...

Riga. 1969, paper, silk screen printing, 62x74 cm Josif Elgurt (1924-2007) Born in 1924 in Kishinev in Romania. In 1947 resumed his art studies in Kishinev. Since 1952 he has lived...

Maria Sibylla Merian was born in Germany in 1647 and received early artistic training from her stepfather, an established still life painter. She was fascinated by insects and collec...

Realized in the manner of Thomas Eakins, this sophisticated figurative print presents a nude male model with his back to the viewer. Showcasing both the technical faculty of the arti...

John Basire & John Carter St Albans Cathedral Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedicated to st...

This is being sold unframed. Reception in Miami. Born to Lithuanian Jewish parents, Levine grew up in the South End of Boston, where he observed a street life composed of European immigrants and a prevalence of poverty and societal ills, subjects which would inform his work. He first studied drawing with Harold K. Zimmerman from 1924-1931. At Harvard University from 1929 to 1933, Levine and classmate Hyman Bloom studied with Denman Ross. As an adolescent, Levine was already, by his own account, "a formidable draftsman". In 1932 Ross included Levine's drawings in an exhibition at the Fogg Art Museum at Harvard, and three years later bequeathed twenty drawings by Levine to the museum's collection. Levine's early work was most influenced by Bloom, Chaim Soutine, Georges Rouault, and Oskar Kokoschka. Along with Bloom and Karl Zerbe, he became associated with the style known as Boston Expressionism. In 1935, shortly after its formation, Levine joined the WPA’s Federal Art Project, where he was employed intermittently until 1939. In 1937, while with the WPA, Levine painted The Feast of Pure Reason...

Felix Buhot (1847-1898), L’Hiver a Paris ou La Neige a Paris, 1879, etching, aquatint, drypoint, roulette. [signed and dated in the plate Felix Buhot Par...

Max Clarenbach (1880 Neuss - Cologne 1952), Evening. Etching, 18 x 41 cm (platemark), 33.5 x 57 cm (frame), inscribed "Abend" in pencil at lower left, signed and dated "M. Clarenbach. 28.III.[19]09". Framed and mounted under glass. - Somewhat browned and slightly foxed. About the artwork The horizontally elongated etching depicts the panoramic view of a small town as seen from the other side of the river. There are gabled houses on the left and a mighty church spire on the right. The bourgeois houses and the large religious building indicate the urban character. These buildings are rendered in dark tones to emphasise the lighter row of houses in the centre of the picture, closer to the water. The chiaroscuro contrast creates two parallel planes that open up a space for the imagination of what the city could be. The imagination is stimulated by the almost entirely dark, barely recognisable buildings, while the arm of the river leading into the city further stimulates the imagination. However, as the silhouette of the city as a whole is reflected in the water, the parallel planes are perceived as a band of houses that stretches across the entire horizontality of the etching and seems to continue beyond the borders of the picture. The reflection has almost the same intensity as the houses themselves, so that the band of buildings merges with their reflection to form the dominant formal unit of the picture. Only the parallel horizontal hatching creates the convincing impression of seeing water, demonstrating Max Clarenbach's mastery of the etching needle. The water is completely motionless, the reflection unclouded by the slightest movement of the waves, creating a symmetry within the formal unity of the cityscape and its reflection that goes beyond the motif of a mere cityscape. A pictorial order is established that integrates everything in the picture and has a metaphysical character as a structure of order that transcends the individual things. This pictorial order is not only relevant in the pictorial world, but the picture itself reveals the order of the reality it depicts. Revealing the metaphysical order of reality in the structures of its visibility is what drives Clarenbach as an artist and motivates him to return to the same circle of motifs. The symmetry described is at the same time inherent an asymmetry that is a reflection on art: While the real cityscape is cut off at the top of the picture, two chimneys and above all the church tower are not visible, the reflection illustrates reality in its entirety. The reflection occupies a much larger space in the picture than reality itself. Since antiquity, art has been understood primarily as a reflection of reality, but here Clarenbach makes it clear that art is not a mere appearance, which can at best be a reflection of reality, but that art has the potential to reveal reality itself. The revealed structure of order is by no means purely formalistic; it appears at the same time as the mood of the landscape. The picture is filled with an almost sacred silence. Nothing in the picture evokes a sound, and there is complete stillness. There are no people in Clarenbach's landscape paintings to bring action into the picture. Not even we ourselves are assigned a viewing position in the picture, so that we do not become thematic subjects of action. Clarenbach also refrains from depicting technical achievements. The absence of man and technology creates an atmosphere of timelessness. Even if the specific date proves that Clarenbach is depicting something that happened before his eyes, without the date we would not be able to say which decade, or even which century, we are in. The motionless stillness, then, does not result in time being frozen in the picture, but rather in a timeless eternity that is nevertheless, as the title "Abend" (evening), added by Clarenbach himself, makes clear, a phenomenon of transition. The landscape of the stalls is about to be completely plunged into darkness, the buildings behind it only faintly discernible. The slightly darkened state of the sheet is in keeping with this transitional quality, which also lends the scene a sepia quality that underlines its timelessness. And yet the depiction is tied to a very specific time. Clarenbach dates the picture to the evening of 28 March 1909, which does not refer to the making of the etching, but to the capture of the landscape's essence in the landscape itself. If the real landscape is thus in a state of transition, and therefore something ephemeral, art reveals its true nature in that reality, subject to the flow of phenomena, is transferred to an eternal moment, subject to a supra-temporal structure of order - revealed by art. Despite this supratemporality, the picture also shows the harbingers of night as the coming darkening of the world, which gives the picture a deeply melancholy quality, enhanced by the browning of the leaf. It is the philosophical content and the lyrical-melancholic effect of the graphic that give it its enchanting power. Once we are immersed in the image, it literally takes a jerk to disengage from it. This etching, so characteristic of Max Clarenbach's art, is - not least because of its dimensions - a major work in his graphic oeuvre. About the artist Born into poverty and orphaned at an early age, the artistically gifted young Max Clarenbach was discovered by Andreas Achenbach and admitted to the Düsseldorf Art Academy at the age of 13. "Completely penniless, I worked for an uncle in a cardboard factory in the evenings to pay for my studies.” - Max Clarenbach At the academy he studied under Arthur Kampf, among others, and in 1897 was accepted into Eugen Dücker...

This artwork titled "Kity Harding" (c. 1950) is an original etching by noted Czech/American artist Max Pollak (1886 - 1970) It is hand signed and titled in pencil by the artist. The ...

WILLIAM WEGMAN (b. 1943) 'La Fille du Régiment', 2007 SIGNED Vintage Oversized Artist's Photography Poster Commissioned for the Metropolitan Opera's 2007-2008 season, renowned arti...

Dame Laura Knight "The Circus Dressing Room" 1925 Etching Ed. 20 Signed Lower Right Image Size: approx. 14 x 10 inches Framed Size: approx. 23.5 x 17.75 inches An English impressio...

DAVID ROBERTS RA 1796 - 1864 Bazaar of The Coppersmiths, Cairo First Edition lithograph Full plate: 230 Presented in a acid free mount We pride ourselves in the hand colouring of our antique David Roberts lithographs...

To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. D Havell (1785 - 1822) after William Westall (1781 - 1850) The Library of St John's College, Cambridge (1815) Hand-coloured aquatint 24 x 29.5 cm Published by Rudolph Ackermann...

Lithograph on paper. Hand signed, titled and numbered by the artist. Edition of 350. Artwork is in excellent condition. Certificate of Authenticity is included. All reasonable offers will be considered. About the artist: As a self taught artist, Jake's style has developed over many years, evolving since childhood. Early in life he nurtured a bond with nature and wildlife that eventually became the basis for his artistic endeavors. Jake captures the landscape with striking compositions emphasizing light and color. Among the artist\'s favorite subjects are serene lakes, forests, and mountains of North America. Jake has enjoyed a popular following throughout the past 23 years that he has been showing, and his art continues to attract collectors throughout Canada and beyond. His art has found homes in his native province of Ontario, as well as internationally. He is honored to have collectors as far away as Japan, Dubai, Europe, as well as a growing clientele in Western Canada.

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David Loggan (1634 - 1692) Clare College, Cambridge Engraving 36 x 42 cm An eighteenth-century view of Clare College, Cambridge, engraved by David Loggan, the noted engraver, draugh...

After David Loggan (1634 - 1692) Christ's College, Cambridge Engraving 40 x 46 cm An eighteenth-century view of Clare College, Cambridge, engraved by David Loggan, the noted engrave...

David Loggan (1634-1692) Prospectus Cantabrigiae Orientalis & Occidentalis Engraving 32 x 46 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. ...

This is a hand-printed contact photograph using the 170-year-old cyanotype process and very big negatives the same size as the final print. These iconic Monterey pines can be found a...

Forest Road, paper, etching, 21.5x28.5 cm Piotr Petrovich Belousov (1912-1989) was a Soviet, Russian painter, graphic artist, art teacher, professor of the Leningrad Institute of Pa...

This artwork titled "Bell Inn, Waltham St Lawrence" is a chromolithograph by noted British artist Cecil Charles Windsor Aldin, 1870-1935. It is hand signed at the lower left corner by the artist. With the blindstamp of the Fine Art Trade Gulid, published and printed by Eyre and Spottiswoode ltd, London. The image size is 15 x 13 inches, sheet size is 17.5 x 14.25 inches. it is in excellent condition. About the artist: Cecil Charles Windsor Aldin RBA (28 April 1870 - 6 January 1935) was a British artist and illustrator best known for his paintings and sketches of animals, sports, and rural life. Born in Slough, he was educated at Eastbourne College and Solihull Grammar School. He studied anatomy at South Kensington and animal painting under William Frank Calderon. He lived at The Abbots, Sulhamstead Abbots from 1913 to 1914 and was church warden of St Mary's church. Early influences included Randolph Caldecott and John Leech. His drawings first made their way into print in The Building News of 12 September 1890, and began to appear throughout many popular journals and magazines; his work was published in The Graphic in 1891. His illustrations include two of the original 1894 magazine publications of stories from Rudyard Kipling's The Second Jungle Book, the 1910 edition of Charles Dickens' The Pickwick Papers and The Bunch Book (1932, about Bunch, a Sealyham Terrier) by James Douglas. He also published a short series of fully illustrated books in 1923, Old Manor Houses and Old Inns. His village scenes and rural buildings were executed in chalk, pencil and wash sketching was used for country scenes. Aldin was an enthusiastic sportsman and a Master of Fox Hounds and many of his pictures illustrated hunting. An early work on a tiger in a zoo was studied from life, but found to be a copyright of the ideas in a photograph by Gambier Bolton. A popular book by Aldin was Sleeping Partners, a sequence of pastel drawings of his dogs on a couch. It included his Irish Wolfhound Micky and his favorite model, Cracker, a Bull Terrier with a dark patch over one eye. He also did some work for Cadburys advertising. Born 28 April 1870. He was educated at Eastbourne College then Solihull Grammar School. Cecil Aldin's father was a keen amateur artist so Cecil started drawing at a very young age. He studied art at the studio of Albert Moore and then the National Art Training School which later became The Royal College of Art. After this he spent a summer with the fine animal painter and teacher, Frank Calderon. In 1892 he bombarded the illustrated periodicals with his illustrations and thereby started a long association with The Illustrated London News. He was commissioned by The Pall Mall Budget in 1894 to illustrate "The Jungle Book" by Rudyard Kipling. At the invitation of the fine genre painter, Walter Dendy Sadler...

Jean-Baptiste VALADIE Flowers of Utopia Original etching and aquatint Handsigned in pencil Limited /50 copies On vellum 50 x 66 cm (c. 20 x 26 in) Excellent condition

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the ...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634-1692) All Souls College...

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To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the ...

This is an exclusive handprinted limited edition cyanotype. "Caribbean Sandy Shore" is a cyanotype of a shoreline on a Caribbean beach. It is a beautiful image for tropical decor and...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Iris on Silver Year: 1981 Medium: Screenprint, signed and numbered in pencil Edition: 200 Image Size: 22.5 in. diameter Si...

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To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634 - 1692) Wadham College, Oxford (1675) Engraving 32 x 41 cm Loggan's view of Wadham from the 'Oxonia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634 - 1692) Trinity College, Cambridge (1690) Engraving 80 x 50 cm Loggan's marvellous and large view of Trinity from the 'Cantabrigia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells...

Teatro Degollado Guadalajara III - Contemporary, 21st Century, C Print, Limited Edition, Photography, Red, Interiors, Art 38 x 47 cm (15 x 18.5 in.) Edition of 100 Signed and numbered and accompanied by Certificate of Authenticity In mint condition, in the original packaging as acquired from the publisher PLEASE NOTE: Edition numbers could vary from the one shown in the images. The pictures are only for illustrative reasons, the work is offered unframed. Candida Höfer is known for her images of empty interiors of libraries, museums, palaces and theatres, focusing on the cultural spaces free from human presence. Part of the artist’s latest exhibition at Sean Kelly Gallery, Candida Höfer in Mexico, Teatro Degollado Guadalajara III expands her signature attention to Mexican Baroque...

James Priddey (1916-1980) FRSA RBSA Durham Cathedral Lithograph 37 x 36cm A Birmingham-based artist, educated at the Birmingham College of Art and a ...

This is an original 19th century hand-colored lithograph entitled "Tombs of the Memlooks, Cairo" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, publis...

Louis Orr, 'New York' (from the portfolio 'Ports of America', published by Yale University Press, 1928), etching, 1925, edition not stated. Signed and titled in pencil. Signed in the...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. David Loggan (1634-1692) Wadham College Oxford Engraving 1675 34x42cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (c. 1708). The contemporary artist Andrew Ingamells...

"Not True, Good Accounts Make Good Friends" Satirical French Illustration Comical illustration by Gaston Hoffmann (French, 1883-1977) titled "Ce n'est pas vrai, les bons comptes fon...

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To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634 - 1692) The Church of St Mary the Virgin, Cambridge (1690) Engraving 38 x 47 cm Loggan's view of Great St Mary's from the 'Cantabrigia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College...

To see our other original vintage posters, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the poster you want. Anon. Join the Regular Army...