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Channel View PublicationsBiblio.com

Managing Coastal Tourism Resorts: A Global Perspective Aspects of Tourism

VUE D'OPTIQUEBiblio.com

LONDONProspectus majoris via et Ecclesia Sancta maria in Londino: La Grande Rüe et l'Eglise Ste Marie de Londres

176010384Paris: chez Daumont rue St. Martin 1760. Engraving with original colour. Printed on watermarked laid paper. In excellent condition with the exception of some surface soiling in the upper section of the image. Image size: 8 7/8 x 15 13/16 inches. A wonderful "vue d'optique" of St. Mary's Church in London During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton The English Print 1688-1802 140-141. chez Daumont rue St. Martin unknown

Donald Heald Rare Books · États-Unis200,00 $US≈ 169,22 €

VUE D'OPTIQUEBiblio.com

LONDON Prospectus Palatii Regii Somerseti cum Ecclesia S. Mariae Londini: Vista del Palacio Real De Somerset con la Iglesia de Nuestra Señora a Londres

1760103861760. Engraving with original colour. Printed on laid paper. In good condition with the exception of some creases within the image. Sides have been remargined with laid paper and bottom edge is trimmed within the platemark. Surface soiling within image. Image size: 11 x 16 1/4 inches. A wonderful "vue d'optique" of Somerset House on the Strand in London. During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton The English Print 1688-1802 140-141. unknown

Donald Heald Rare Books · États-Unis200,00 $US≈ 169,22 €

VUE D'OPTIQUEBiblio.com

LONDON A View of the grand Palace of Westminster. At top in mirrored letters La Grande Place de Vestminster

176618808London and Paris: a Londres ches Wichnyther A Paris chez J. Chereau rue St. Jacques au dessus de la Fontaine St. Severin aux 2 Colonnes No. 257 1766. Engraving with original colour. Printed on laid paper. In good condition with mild soiling and creasing. A beautiful Vue d'Optique with strong early colour depicting the old Palace of Westminster where the Lords and Commons met. An interesting late 18th century view of Westminster prior to the great fire of 1834 which brought into being the present Houses of Parliament. Westminster had been a royal residence until Henry VIII left it after a fire to reside at Whitehall. After that the Houses of Parliament met there. During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton The English Print 1688-1802 140-141. a Londres ches Wichnyther (?) A Paris chez J. Chereau rue St. Jacques au dessus de la Fontaine St. Severin aux 2 Colonnes No. 25 unknown

Donald Heald Rare Books · États-Unis200,00 $US≈ 169,22 €

Lilford Hall, Corner View with Classical DetailingBiblio.com

Lilford Hall A Corner of the Front. A beautiful large black & white 1894 photographic collotype image 25 x 36 cms approx. by Charles Latham. Printed by Sinsel & Co. Leipzig. An original print from 1894 not a modern reprint or copy sheet size 34 x 47 cms

1894519140B.T. Batsford London 1894. 1st Edition. Unframed Photograph Print. Very Good Condition. Lilford Hall begun 1495 and enlarged in 1635; Jacobean exterior with Georgian interiors by Henry Flitcroft; now privately owned. Charles Latham was one of the most influential architectural photographers of the late Victorian and Edwardian periods renowned for his evocative images of country houses and formal gardens across Britain and Italy. His work helped define the visual language of architectural publishing and preservation. His first major commission was for J. Alfred Gotch's Architecture of the Renaissance in England 1894 from which this photograph is taken where his collotype plates captured the texture and grandeur of Elizabethan and Jacobean houses with remarkable clarity. Latham later helped shape the visual identity of Country Life magazine which we always have in stock photographing both historic estates and newly built homes. His images became central to the magazine's appeal combining editorial elegance with technical innovation in print reproduction. Each of Charles Latham's architectural photographs captures a singular moment of craftsmanship patronage or domestic ambition from heraldic chimney-pieces to formal garden fronts. Whether collegiate civic or aristocratic these buildings speak to the stylistic confidence of their age. Many remain inhabited studied or preserved today making each image not just a historical record but a quietly resonant portrait of continuity. Published in 1894 this fine Victorian-period image has been carefully removed from Gotch's monumental work. Printed in Leipzig Germany by Sinsel & Co. on thick cream-coloured paper this image reflects the firm's hallmark clarity and tonal depth featuring the building's name in sepia ink below a ruled border with Latham's beautifully composed black-and-white photograph taking centre place. POSTED ROLLED. Size: 34 x 47 cms. Category: Architecture; English Country House Photographs; J. Alfred Gotch's Architecture; Charles Latham Photographs. This item may require more postage than the rates shown for delivery outside the UK. If extra postage is required we will contact you before processing your order and you will be given the details and option to decline the extra cost. B.T. Batsford unknown

Cosmo Books · Royaume-Uni37,70 £GB≈ 43,05 €

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