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VUE D'OPTIQUE
LONDON A View of the grand Palace of Westminster. At top in mirrored letters La Grande Place de Vestminster
London 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
Bookseller reference : 18808
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VUE D'OPTIQUE
LONDON Prospectus Palatii Regii Somerseti cum Ecclesia S. Mariae Londini: Vista del Palacio Real De Somerset con la Iglesia de Nuestra Señora a Londres
1760. 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
Bookseller reference : 10386
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VUE D'OPTIQUE
LONDONProspectus majoris via et Ecclesia Sancta maria in Londino: La Grande Rüe et l'Eglise Ste Marie de Londres
Paris: 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
Bookseller reference : 10384
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VUE D'OPTIQUE
The Royal Palace of St. James's London next the Park: Le Palais Royale de St. Jacques a Londre du coste du Parc
London: Printed for Bowles & Carver No. 69 St. Pauls Church Yard 1800. Engraving with beautiful hand-colour. In excellent condition with the exception of tape on the verso of sheet. Image size: 9 3/8 x 15 3/4 inches. Vue d'Optique of the Royal Palace in St. James' Park 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. Printed for Bowles & Carver, No. 69 St. Pauls Church Yard unknown
Bookseller reference : 10694
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VUE D'OPTIQUE
Vue du Parc St. James á Londrea
Paris: Chez. Daumont rue St. Martin. Presentement chés Lachaussée rue S. Jacques 1780. Engraving with original colour. Printed on wove paper. This is a later copy of the earlier print of St. James' published by Daumont. In good condition with the exception of some scattered brown marks. Trimmed within the platemark. Image size: 9 1/4 x 14 1/2 inches. Vue d'Optique of St. James' Park 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. Presentement chés Lachaussée rue S. Jacques unknown
Bookseller reference : 10559
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VUE D'OPTIQUE
Vué Interieure de la Bourse Royale à Londres
Paris: Chez Daumont rue St. Martin 1770. Engraving with beautiful early colour. Printed on watermarked laid paper. In excellent condition with the exception of being trimmed within the platemark on the lower margin. Small tear on upper margin. Small puncture mark on left margin. Image size: 10 1/8 x 16 1/8 inches. This is a beautiful perspective view of the courtyard of the Royal Stock Exchange in London published by a Parisian printseller at the close of the eighteenth century. 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
Bookseller reference : 15059
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VUE D'OPTIQUE
A View of the Rotunda House & Gardens & c. at Ranelagh: Vüe de l'Exterieur de la Rotonde Maison & Jardins & c. a Ranelagh
London: Printed for & Sold by Rob. Sayer at the Golden Buck opposite Fetter Lane Fleet Street. & Hen. Overton at the White Horse without Newgate 1751. Engraved by N. Parr after Canaleti. Engraving with original colour. Printed on laid paper. In good condition with the exception of being trimmed within the platemark. Corners are stained. Image size: 9 3/16 x 15 3/16 inches. A beautiful Vue d'Optique of the Rotunda House at Ranelagh.<br/> <br/>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.<br/> <br/>Clayton The English Print 1688-1802 140-141. Printed for & Sold by Rob. Sayer at the Golden Buck, opposite Fetter Lane, Fleet Street. & Hen. Overton at the White Horse witho unknown books
Bookseller reference : 10664
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VUE D'OPTIQUE
LONDON A View of the grand Palace of Westminster. At top in mirrored letters La Grande Place de Vestminster
London 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.<br/> <br/>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.<br/> <br/>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 books
Bookseller reference : 18808
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VUE D'OPTIQUE
LONDON Prospectus Palatii Regii Somerseti cum Ecclesia S. Mariae Londini: Vista del Palacio Real De Somerset con la Iglesia de Nuestra Señora a Londres
1760. 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.<br/> <br/>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.<br/> <br/>Clayton The English Print 1688-1802 140-141. unknown books
Bookseller reference : 10386
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VUE D'OPTIQUE
LONDONProspectus majoris via et Ecclesia Sancta maria in Londino: La Grande Rüe et l'Eglise Ste Marie de Londres
Paris: 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<br/> <br/>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.<br/> <br/>Clayton The English Print 1688-1802 140-141. chez Daumont rue St. Martin unknown books
Bookseller reference : 10384
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VUE D'OPTIQUE
The Royal Palace of St. James's London next the Park: Le Palais Royale de St. Jacques a Londre du coste du Parc
London: Printed for Bowles & Carver No. 69 St. Pauls Church Yard 1800. Engraving with beautiful hand-colour. In excellent condition with the exception of tape on the verso of sheet. Image size: 9 3/8 x 15 3/4 inches. Vue d'Optique of the Royal Palace in St. James' Park in London<br/> <br/>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.<br/> <br/>Clayton The English Print 1688-1802 140-141. Printed for Bowles & Carver, No. 69 St. Pauls Church Yard unknown books
Bookseller reference : 10694
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VUE D'OPTIQUE
Vue du Parc St. James á Londrea
Paris: Chez. Daumont rue St. Martin. Presentement chés Lachaussée rue S. Jacques 1780. Engraving with original colour. Printed on wove paper. This is a later copy of the earlier print of St. James' published by Daumont. In good condition with the exception of some scattered brown marks. Trimmed within the platemark. Image size: 9 1/4 x 14 1/2 inches. Vue d'Optique of St. James' Park in London<br/> <br/>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.<br/> <br/>Clayton The English Print 1688-1802 140-141. Chez. Daumont rue St. Martin. Presentement chés Lachaussée rue S. Jacques unknown books
Bookseller reference : 10559
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Vue d'Optique
Vue perspective de l'arrivée du Vaisseau Dauphin dans le Port de Toulon.
P. Basset.
Bookseller reference : 8569
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Vue d'Optique
Vue perspective de la Place Dauphine de Paris, du côté de la Rue de Harlay;
P. Basset.
Bookseller reference : 8572
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Vue d'optique
Vue perspective du château de Noizy du côté de l'entrée proche Versailes
En feuille Bon Paris Chereau
Bookseller reference : 10509
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VUE D'OPTIQUE
Vué Interieure de la Bourse Royale à Londres
Paris: Chez Daumont rue St. Martin 1770. Engraving with beautiful early colour. Printed on watermarked laid paper. In excellent condition with the exception of being trimmed within the platemark on the lower margin. Small tear on upper margin. Small puncture mark on left margin. Image size: 10 1/8 x 16 1/8 inches. This is a beautiful perspective view of the courtyard of the Royal Stock Exchange in London published by a Parisian printseller at the close of the eighteenth century.<br/> <br/>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.<br/> <br/>Clayton The English Print 1688-1802 140-141. Chez Daumont rue St. Martin unknown books
Bookseller reference : 15059
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Vue d'optique -
Vue d'optique - Vue de la Barriére St.Martin et du bassin du canal de l'Ourcq à la Villette près Paris
1800 Chez Basset ?, Paris circa 1800, 30,5x48,5cm, une feuille.Gravure originale. Vue d'optique rehaussée en couleurs à l'aquarelle, représentant une vue la Barriére St.Martin et du bassin du canal de l'Ourcq à la Villette près Paris
Bookseller reference : 27414
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Vue d'Optique du dix-huitième siècle
L'Hospital des enfans trouvés à Londres
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_042.jpeg
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Vue d'Optique du dix-huitième siècle
L'intérieur de l'abbaye de Westminster
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_099.jpeg
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Vue d'Optique du dix-huitième siècle
L'église de St Pierre à Rome.
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_090.jpeg
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Vue d'Optique du dix-huitième siècle
La mer agitée et naufrage de plusieurs vaisseaux
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_062.jpeg
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Vue d'Optique du dix-huitième siècle
Le Collège de la reine et celui de l'Université à Oxfort
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_081.jpeg
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Vue d'Optique du dix-huitième siècle
Les Thuilleries du côté du Jardin et Le Pont Royal
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_064.jpeg
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Vue d'Optique du dix-huitième siècle
Maison de plaisance du Grand Mogol à quelques milles de Dely [Délhi]
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_060.jpeg
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Vue d'Optique du dix-huitième siècle
Place de l'église de St Marc et la grande place terminée par l'église de St Géminien à Venise;
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_070.jpeg
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Vue d'Optique du dix-huitième siècle
Vue d'Amsterdam prise du vieux rempart
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_098.jpeg
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Vue d'Optique du dix-huitième siècle
Vue d'optique nouvelle représentant l'église et la maison professe des jésuites à Ausbourg, érigée en l'honneur de la Ste Vierge par Rodolphe quatre en 1560.
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_041.jpeg
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Vue d'Optique du dix-huitième siècle
Vue d'optique nouvelle représentant la descente d'œnée aux Enfers avec le palais de Pluton dans l'éloignement
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_054.jpeg
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Vue d'Optique du dix-huitième siècle
Vue d'optique nouvelle représentant le Château du Bourgmestre Waker aux environs d'Amsterdam, Ville Capitalle de Hollande.
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_037.jpeg
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Vue d'Optique du dix-huitième siècle
Vue d'optique représentant la place du marché de Francfort sur le Mein en Allemagne
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_087.jpeg
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Vue d'Optique du dix-huitième siècle
Vue d'optique représentant la ville et le pont de Londres.
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_084.jpeg
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Vue d'Optique du dix-huitième siècle
Vue d'optique représentant Rome dans sa splendeur ancienne
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_071.jpeg
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Vue d'Optique du dix-huitième siècle
Vue d'un des château[x] d'Archangel en Russie
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_017.jpeg
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Vue d'Optique du dix-huitième siècle
Vue d'une maison de Plaisance de la reine d'Hongrie à 7. lieues de Vienne
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_015.jpeg
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Vue d'Optique du dix-huitième siècle
Vue d'une maison de plaisance de la reine d'Hongrie à six lieues de Vienne
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_012.jpeg
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Vue d'Optique du dix-huitième siècle
Vue de Fontainebleau du côté de la cour des fontaines.
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_085.jpeg
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Vue d'Optique du dix-huitième siècle
Vue de l'embarquement de l'Infante d'Espagne, épouse de l'archiduc Léopoldau port de Cartagène le 25 juin 1765, l'escadre commandée par M. le Marquis de La Victoire.
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_0104.jpeg
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Vue d'Optique du dix-huitième siècle
Vue de l'entrée du château de Marly
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_057.jpeg
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Vue d'Optique du dix-huitième siècle
Vue de l'Escurial (Nouvelle Castille).
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_078.jpeg
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Vue d'Optique du dix-huitième siècle
Vue de l'Hôtel Royal des gardes du Corps à pied vis à vis la Salle Blanche à manger à Londres
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_094.jpeg
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Vue d'Optique du dix-huitième siècle
Vue de l'Hôtel Royal des gardes du Corps à pied vis à vis la Salle Blanche à manger à Londres
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_046.jpeg
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Vue d'Optique du dix-huitième siècle
Vue de l'intérieur du palais du Prince Eugène
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_061.jpeg
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Vue d'Optique du dix-huitième siècle
Vue de la cathédrale de Séville
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_014.jpeg
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Vue d'Optique du dix-huitième siècle
Vue de la Place de Grosvenor à Londres
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_045.jpeg
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Vue d'Optique du dix-huitième siècle
Vue de la ville et du port de Tunis dans la Barbarie sur la mer Méditerranée
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_068.jpeg
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Vue d'Optique du dix-huitième siècle
Vue de Loudun en Touraine
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_044.jpeg
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Vue d'Optique du dix-huitième siècle
Vue des Jeux tournois dans le superbe manège de Son A. S. Mr le Duc de Bavière
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_063.jpeg
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Vue d'Optique du dix-huitième siècle
Vue du cabinet d'histoire naturelle au jardin des Plantes.
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_029.jpeg
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Vue d'Optique du dix-huitième siècle
Vue du canal de Delft à La Haye, villes de Hollande.
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_043.jpeg
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Vue d'Optique du dix-huitième siècle
Vue du colonne deTrajan à Rome &c.
Vue d'Optique du dix-huitième siècle
Bookseller reference : vue_opt_095.jpeg
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