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Paul Sandby

RIBA82342
Sandby, Paul (1725-1809)

Sir James Thornhill

RIBA82351
Thornhill, Sir James (1675-1734)

Sir James Thornhill

RIBA82352
Thornhill, Sir James (1675-1734)

Composition of allegorical figures representing the arts and artists copied from, or a preliminary study for, an engraving

RIBA84049
Testa, Pietro (1611-1650)
NOTES: For the related engraving please see RIBA21180.

House and studio of Mela Muter, Paris, showing the artist painting Auguste Perret

RIBA93693
Muter, Mela (1876-1967)
SOURCE: L'Architecture d'Aujourd'hui, 1933 Apr. p. 94 NOTES: Perret designed a villa for Mela Muter in 1928, which may be this one shown here.

Edward Maufe with Vernon Hill carving a stone griffin, Gray's Inn, London

RIBA93732
Hill, Vernon (1887-1972)
NOTES: The hall and library at Grays Inn was rebuilt by Edward Maufe in 1943-1957, following bomb damage. Hill was responsible for the griffin sculptures adorning the building.

Capriccio entitled 'Spring 1821: an East Anglian fantasy inspired by Sir Edward German's Merrie England'

RIBA94854
NOTES: This watercolour fantasy of East Anglia includes numerous landmarks such as the Sell and Willshaw fish shop, Bedford (now demolished) on the left, Newark Castle with its distinctive oriel window, Bury St Edmunds Town Hall, the Market House at Swaffham and various East Anglian inns. In the centre is a portrait of Richardson in Regency costume.

Letter from Augustus Charles Pugin to the publisher Rudolph Ackermann dated 2 August 1826

RIBA97442
Pugin, Augustus Charles (c. 1769-1832)
NOTES: In this letter Pugin is attempting to mediate in a disagreement between Ackermann and John Nash over the publication and promotion of a set of plates of drawings of the Royal Pavilion at Brighton.

Letter from Augustus Charles Pugin to the publisher Rudolph Ackermann dated 2 August 1826

RIBA97443
Pugin, Augustus Charles (c. 1769-1832)
NOTES: In this letter Pugin is attempting to mediate in a disagreement between Ackermann and John Nash over the publication and promotion of a set of plates of drawings of the Royal Pavilion at Brighton.

Letter by Giovanni Battista Piranesi, from Rome, to Robert Mylne, in London, dated 11 Nov 1760, page 1 and address

RIBA98054
NOTES: In the letter Piranesi thanks Robert Mylne for making his engravings known in England; he is very interested in Blackfriars Bridge and asks for an exact copy of the design to be sent to him [and produced an engraving of the bridge in 1766, see RIBA13018]; gives news from Rome and refers to a delay in the publication of his work, "On the Magnificence and Architecture of the Romans"; he has been measuring and drawing the columns and entablatures under restoration at the Campo Vacino monument in Rome [the Temple of Jupiter in the Forum, now called Castor and Pollux]; prompted by the comments of [Jean Antionne] Morand, a French painter, he stresses the need for accuracy and observes that there is a want of accuracy in Desgodetz' work; George Dance [the younger] has been taking casts of parts of the monument; Piranesi has also been measuring and drawing the amphitheatre at Castrense which was being excavated.

Letter by Giovanni Battista Piranesi, from Rome, to Robert Mylne, in London, dated 11 Nov 1760, pages 2-3

RIBA98055
NOTES: In the letter Piranesi thanks Robert Mylne for making his engravings known in England; he is very interested in Blackfriars Bridge and asks for an exact copy of the design to be sent to him [and produced an engraving of the bridge in 1766, see RIBA13018]; gives news from Rome and refers to a delay in the publication of his work, "On the Magnificence and Architecture of the Romans"; he has been measuring and drawing the columns and entablatures under restoration at the Campo Vacino monument in Rome [the Temple of Jupiter in the Forum, now called Castor and Pollux]; prompted by the comments of [Jean Antionne] Morand, a French painter, he stresses the need for accuracy and observes that there is a want of accuracy in Desgodetz' work; George Dance [the younger] has been taking casts of parts of the monument; Piranesi has also been measuring and drawing the amphitheatre at Castrense which was being excavated.

Letter by Giovanni Battista Piranesi, from Rome, to Robert Mylne, in London, dated 11 Nov 1760: accompanied by an incomplete English translation, page 1

RIBA98056
NOTES: In the letter Piranesi thanks Robert Mylne for making his engravings known in England; he is very interested in Blackfriars Bridge and asks for an exact copy of the design to be sent to him [and produced an engraving of the bridge in 1766, see RIBA13018]; gives news from Rome and refers to a delay in the publication of his work, "On the Magnificence and Architecture of the Romans"; he has been measuring and drawing the columns and entablatures under restoration at the Campo Vacino monument in Rome [the Temple of Jupiter in the Forum, now called Castor and Pollux]; prompted by the comments of [Jean Antionne] Morand, a French painter, he stresses the need for accuracy and observes that there is a want of accuracy in Desgodetz' work; George Dance [the younger] has been taking casts of parts of the monument; Piranesi has also been measuring and drawing the amphitheatre at Castrense which was being excavated.
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