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Quoting Title and Code number

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Antique Prints
of
Garden Architecture and Design

Cottage Ornee Plate 19. Vol I . No 4 Published April 1816. Condition: Good. General dustiness. Code GAA R54	A Small Garden. Plate 31. Vol XII . No 72 Published December 1821. Condition: Good. - Glue Stains along the right edge. Code GAA R13	Cottage Ornee Plate 25. Vol II . No 11 Published November 1816. Condition: Good. General dustiness. Slight text offsetting. Code GAA R55
£25	£20	£30
A Laundry. Plate 25. Vol XIII . No 71 Published November 1821. Condition: Good. General dustiness. Slight text offsetting. Code GAA R56	A Cottage Ornee. Plate 6. Vol IV . No 20 Published August 1817. Condition: Good. General dustiness. Slight text offsetting. Code GAA R57	Gothic Cottage. Plate 7. Vol I . No 10 Published February 1816. Condition: Good. General dustiness. Code GAA R58
£25	£30	£35
A Cottage Plate 19. Vol III . No 16 Published April 1817. Condition: Good. General dustiness. Code GAA R59	An Ice House. Plate 32. Vol III . No 18 Published June 1817. Condition: Good. General dustiness. Code GAA R60	Fishing Lodge. Plate 1. Vol III . No 13 Published January 1817. Condition: Good. General dustiness. Slight text offsetting. Code GAA R61
£35	£30	£30
A Bailiffs Cottage. Plate 24. Vol IV . No 23 Published November 1817. Condition: Good. General dustiness. Slight text offsetting. Code GAA R62	A Villa. Plate 13. Vol III . No 15 Published March 1817. Condition: Good. General dustiness. Code GAA R63	A Cottage. Plate 7. Vol III . No 14 Published February 1817. Condition: Good. General dustiness. Code GAA R64
£30	£30	£30
A Gothic Cottage. Plate 18. Vol IV . No 22 Published December 1817. Condition: Good. General dustiness. Code GAA R65	A Domestic Chapel. Plate 31. Vol IV . No 24 Published December 1817. Condition: Good. General dustiness. Slight text offsetting. Code GAA R66	A Vicarage House. Plate 19. Vol II . No 10 Published October 1816. Condition: Good. General dustiness. Slight text offsetting. Code GAA R67
£30	£30	£30
Garden Railing. Plate 1. Vol XIII . No 67 Published July 1821 Condition: Good. General dustiness. Code GAA R71	Park Entrances. Plate 26. Vol VIII . No 47 Published November 1819 Condition: Good. General dustiness. Code GAA R72	Coppice Wood Fences , Gates, and Hurdles. Plate 33. Vol VIII . No 48 Published December 1819 Condition: Good. General dustiness. Code GAA R73
£25	£25	£25
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Information

PAPWORTH, JOHN
Rural Residences Consisting of a Series of Designs for Cottages, Decorated Cottages, Small Villas, and Other Ornamental Buildings.

Rudolph Ackermann (1764-1834) pioneered lithography and produced some of the best early colour printing in Britain, publishing numerous fine illustrated volumes, and magazines .
He was born on April 20, 1764 in Stolberg. Apprenticed to his father a coach-builder, he moved first to Dresden, then to Paris and eventually to London whilst still working at coach-building. In 1795 he married and set up a print shop at 96 The Strand, moving the following year to 101 The Strand. He had already taken over a drawing school originally established at this address by William Shipley, the founder of the Society of Arts, and maintained it until 1806.
The first major colour plate book he published was The Microcosm of London; (or London in Miniature) which appeared in monthly parts between 1808 and 1810. Printed on hot-pressed handmade paper, books were illustrated using coloured aquatints. The architectural backgrounds were drawn by Augustus Pugin and the figures were drawn by Thomas Rowlandson. Ackermann originally planned to issue the book in twenty-four numbers at 7/6d a number, but he soon found himself obliged to raise the price to 10/6d, and the number of parts to twenty-six. Successful production techniques and methods of marketing by subscription prompted him to follow the same plan with his next publications. For the reproduction of the drawings by Pugin and Rowlandson, five different engravers were used to produce the plates: fifty-four by J. Bluck, twenty-nine by J.C. Stadler, ten by T. Sutherland, ten by J. Hill and one by Harraden. From 1790-1830 the principle process in book illustration was aquatint engraving. Once the drawing and the engraving had been made, the colour process began. The engravings might be printed in two colours, perhaps brown for the foreground and blue for the sky and distance, the remaining colour would be applied by hand. Ackermann employed colourists and engravers at his 'Repository of Arts' but like most publishers he would also have used pieceworkers. Bundles of sheets to be coloured would be distributed to workers who would do the work in their own homes. Often the work was done by children, but sometimes whole families would work together at home by candlelight.Handcolouring can save money when printing large plates although people like Ackermann stressed the high cost of hand finishing. He used poorly paid French refugees and later hand coloured plate producers used children and stencils.