|Method||Copper engraving with hand colouring|
|Artist||George Bickham After Antonio Canaletto|
|Published||Published 12th. May 1794, by Laurie & Whittle, 53, Fleet Street, London. [c. 1806 impression]|
|Dimensions||Image 220 x 385 mm, Plate 258 x 398 mm, Sheet 334 x 465 mm|
Text below image reads: View of the Monument Erected in Memory of the Dreadful Fire in the Year 1666. It is 202 Feet high / Vue du Monument érigé en Memoire du Funeste Incendie de l'An 1666. A Londres; Cette Colomne est haute de 202 Pieds.
An early 19th century impression this 18th-century view of Fish Street Hill, a bustling London street on the north side of London Bridge, is dominated by the Monument, beyond which the Church of St Magnus the Martyr can be seen. Commissioned from the architect Sir Christopher Wren, the Monument was built in the wake of the Great Fire of London. The huge pillar, a fluted Doric column, is topped by a flaming urn. It stands 202 feet tall and is located about 202 feet from the site of the baker's shop in Pudding Lane, where the fire began. The Monument was unveiled in 1677 as a reminder of the dreadful fire and a symbol of the city's rebirth.
George Bickham the Younger (c.1706 - 1771) was a British printmaker and prolific publisher. He published a variety of material, with his first major publication being a series of engraved song sheets entitled 'The Musical Entertainer'. Although several of the prints that Bickham published appear to have been engraved and etched by him, he signed the works with pseudonyms.
Giovanni Antonio Canal, known colloquially as Canaletto (18th October 1697 - 19th April 1768) was an Italian painter and printmaker. Canaletto is celebrated as the master of Venetian vedute, being one of the most popular artists for British aristocrats on the Grand Tour. Canaletto's major inspiration were the Roman vedute and capricci of Giovanni Paolo Pannini. Although best known for his paintings, Canaletto also produced a number of etchings, including a series of 30 plates of Venice and its surrounds. The interest in Canaletto's work in Britain was great, spurred by the collections of various British nobles, and especially by George III, who amassed a significant number for the Royal Collection. As a result, prints of Canaletto's vedute were in high demand.
Condition: Clean impression. Minor staining to right hand margin, not affecting image. Paper watermarked 1806.