Catalogue Part 1.pdf - Grosvenor Prints

carriage. Crinoline was originally a stiff fabric with a
weft of horse-hair and a warp of cotton or linen thread.
The fabric first appeared around 1830, but by 1850 the
word had come to mean a stiffened petticoat or rigid
skirt-shaped structure of steel designed to support the
skirts of a woman’s dress in the required shape. The
crinoline was the subject of much ridicule and satire,
particularly in Punch magazine. Dress reformers did
not like it either — they seized upon the cage aspect of
the crinoline and claimed that it effectively imprisoned
women. Given that the crinoline did eventually have a
maximum diameter of up to 180 centimetres (six feet),
it is easy to imagine difficulties in getting through
doors, in and out of carriages, and the general problems
of moving in such a large structure. The second
problem was the potential impropriety of the crinoline.
Its lightness was a curse as well as a blessing, as a gust
of wind or a knock could set it swinging and reveal the
wearer's legs. Even worse, if a woman tripped or was
knocked over, the crinoline would hold her skirts up.
Ref: 8996
240. Crinoline 1858. Brompton.
[T.H. Guerin.] [London, T. Archer.]
Sepia tinted lithograph with colour added by hand,
sheet 300 x 405mm. 11¾ x 16". Trimmed to image top
and sides. £180
A satire on mid 19th century female fashion. A male
passenger enjoys the view as a female carriage driver's
skirt is blown upwards. Crinoline was originally a stiff
fabric with a weft of horse-hair and a warp of cotton or
linen thread. The fabric first appeared around 1830, but
by 1850 the word had come to mean a stiffened
petticoat or rigid skirt-shaped structure of steel
designed to support the skirts of a woman’s dress in the
required shape. The crinoline was the subject of much
ridicule and satire, particularly in Punch magazine.
Dress reformers did not like it either — they seized
upon the cage aspect of the crinoline and claimed that
it effectively imprisoned women. Given that the
crinoline did eventually have a maximum diameter of
up to 180 centimetres (six feet), it is easy to imagine
difficulties in getting through doors, in and out of
carriages, and the general problems of moving in such
a large structure. The second problem was the potential
impropriety of the crinoline. Its lightness was a curse
as well as a blessing, as a gust of wind or a knock
could set it swinging and reveal the wearer's legs. Even
worse, if a woman tripped or was knocked over, the
crinoline would hold her skirts up.
Ref: 8993
241. [The Thames and the Embankment
looking east, with a view of St. Paul's.]
Rowland Langmaid [signed in pencil lower right.] [n.d.
c.1920.]
Etching. 295 x 230mm. 11½ x 9". £320
A pupil of W L Wyllie, Rowland Langmaid (1897 -
1956) served in the Royal Navy; He exhibited at the
R.A.
'Proof' blindstamp lower left.
Ref: 8629
242. The Tower & Preparation of the Fire
Works, with the Balloon, In the Park
Aug.t. 1st. 1814.
J.H. Clark Del. M. Dubourg Sculpt. Published & Sold
Aug.t 12.th 1814 by EDW.D ORME, Publisher to his
Majesty and H.R.H. the Prince Regent, Bond Street,
/corner of Brook Str./ London
Coloured aquatint, print area 200 x 290mm. £120
On Monday, August 1st 1814, a national jubilee took
place to celebrate the return of peace. In the early part
of the evening James Sadler, the first English
balloonist, ascended in his balloon from the space in
front of Buckingham House, after which a two hour
firework display took place in Green Park.
Ref: 8193
243. St. Bride's Avenue. The
Improvement in Fleet Street, Proposed To
Be Erected By Voluntary Subscription,
1825. The Committee [a list of members'
names follows in three columns below].
The Public are respectfully informed that
the Work is commenced and will be
completed with all convenient speed. Early
Contributions are requested in support of
an Improvement so conducive to the
general Embellishment of the Metropolis.
John B. Papworth, Archt. Thos. Kearnan, Sculpt.
Published by R. Ackermann, 101, Strand, Jany. 28th.
1825.
Engraving, outline proof with open letters, 505 x
330mm. £260
View of St Brides Avenue as seen from fleet street,
with figures and adjacent shop fronts, including the
premises of Pitman and Ashfield to the left.
John Buonarroti Papworth (1775 - 1847), architect and
designer, was a thorough master of drawing
perspective and classic ornament. Many of his
architectural designs were exhibited at the Royal
Academy yearly from 1794 to 1799. For the premises
of Rudolf Ackermann, the publisher of this engraving,
to whose ‘Repository of Arts and Essays’ from 1809 to
1823 he was a frequent contributor of prose and verse
and of drawings, he designed a hall or reception-room,
intended as a lounge for customers. In 1826 he worked
on the extensive building, No. 96 Strand, at the corner