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ANTIQUE PRINTS
of
GARDEN ARCHITECTURE and DESIGN

Page 1

PARK LODGE & ENTRANCE. PAPWORTH Plate 13. Vol 1 . No3 Published March 1816. Condition: Good. Evidence of glue staining on the right where the page has been bound 1/2" away from the image . Code GAA R01	A BRIDGE & TEMPLE. Plate 13. Vol XIII. No 69 Published September 1821 Condition: Good. Slight text offsetting in margins. Code GAA R02	A GAMEKEEPERS LODGE. Plate 7. Vol XI. No 62 Published February 1821. Condition: Good. Slight text offsetting in margins Code GAA R07
£35	£35	£30
PLAN OF A COTTAGE ORNEE. Plate 4. Vol 9. No 49 Published January 1813. Condition: Good. Slight text offsetting in margins Code GAA R03	A VILLA. Plate 26. Vol III. No 17 Published May 1817. Condition: Good. Slight text offsetting in margins Code GAA R04	A DAIRY.   Plate 31. No 6 Published June 1816. Condition: Good. Trimmed along right hand side. Code GAA R05
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GARDENER'S COTTAGE.  Plate7. Vol II. No 8 Published August 1816. Condition: Good. Slight text offsetting in margins Code GAA R06	A WOODLAND SEAT. Plate 1. Vol VII. No 37 Published January 1819. Condition: Good. Slight text offsetting in margins Code GAA R08	A VILLA . Plate 1. Vol IV. No19 Published July 1817. Condition: Good. General dustiness. Slight text offsetting on verso. Code GAA R14
£30	£40	£30
A POULTRY HOUSE. Plate 19. Vol XII. No 64 Published April 1822. Condition: Good. General dustiness. Slight text offsetting on verso. Code GAA R15	AN ALCOVE. Plate 7. Vol IX. No 50 Published February 1820. Condition: Good. General dustiness. Slight text offsetting. Code GAA R19	A FOUNTAIN. Plate 20. Vol VIII. No 46 Published October 1819. Condition: Good. General dustiness. Slight text offsetting. Code GAA R33
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A FOUNTAIN. Plate 31. Vol XII. No 66 Published June 1821. Condition: Good. General dustiness. Slight text offsetting. Code GAA R31	A GARDEN FOUNTAIN. Plate 31. Vol X. No 60 Published December 1820. Condition: Good. General dustiness. Slight text offsetting. Code GAA R32	A GARDEN FOUNTAIN. Plate 1. Vol X. No 55 Published July 1820. Condition: Good. General dustiness. Slight text offsetting. Code GAA R34
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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.