![]() It is the design of these volumes, to display a succession of picturesque scenery on the banks of the Thames. Ingress, the seat of William Harlock, Esq.ĭanish Greenlandmen breaking up, Gravesend. London and Blackfriar's Bridge, from Hungerford.Ĭustom House, burnt 1814. The Duke of Buccleugh's Villa, at Richmond. S.Owen īray, seen from Maidenhead Bridge. Shiplake Lock and Paper-Mill, with Wargrave House. Inglesham Lock, with the Thames and Severn Canal, and Lechlade in the distance. Thames, the most loved of all the Ocean's Sons. 1811 DESCRIPTIONS TO THE PLATES OF THAMES SCENERY.įrom original drawings by Eminent Artists. The Engravings Executed by William Bernard Cookeįrom Original Drawings by Samuel Owen Esq. Graphic Illustrations of Seats, Villas, Public Buildings and Picturesque Scenery Those interested in the artistic quality should look to more original versions than here! ] Where the same drawing (by Owen) is used the engravings are significantly different in quality. They are at reduced resolution and in monochrome since the purpose is study rather than artistic appreciation. [ The copies of the engravings here are very dependent on the quality of the images I can access. The etched shades are now blacker, more highlights are introduced, skies are eventful with massing clouds and flights of birds, and the foliage has become less stylized. Cooke whose style had been romanticized through his work for Turner and his association with Peter de Wint. Of the 84 plates based on Samuel Owen's drawings of the 1811 edition, 38 are retained in ,Īll re-engraved and transformed by W.B. The building and opening of the Waterloo Bridge Īnd the burning of the Custom House in 1814.Īdams (London Illustrated 1604-1851) says: In particular in 1818 he notices the Dudsgrove Double Lock on the Thames & Severn Canal Of course Cooke's concern was with Architecture and Artistic work and Landscape rather than Navigation. Today towing has disappeared because there is no point to it. It had consequences - Jerome's heroes in Three Men in a Boat still in 1889 towed much of the way upstream and then came down with the current. Where comparatively there is almost no drop between locks and at summer levels it is often hard to tell which way the river flows. Most of its drop was distributed along the reaches between weirs and locks.īut the process of conversion had begun whereby that sloping river was changed to the staircase situation we have today. It was originally a more or less rushing stream (3 or 4 miles per hour was usual). We do not appreciate today how different the Thames has become. No longer was the purpose of a weir to send flashes to help boats over shallows - but increasingly to eliminate the shallows entirely. The canals had taught how to make weirs and locks more efficient. The work of Rennie and others in the 1790s was beginning to bear fruit. ![]() Railways had not yet arrived, and the canals were beginning to have an impact for good on the navigation, and works were in hand to remove shallows and reduce the current. ![]() ![]() The golden age of Thames Navigation was starting. His idea of engraving changed particularly through his work for Turner and Peter Dewint.īut the years 1811 to 1818 were also very significant for the Thames. The years 1811 to 1818 were significant for Cooke. Headings in CAPITALS are original, headings in Lowercase are my additions.Īnd the 1818 (Text only) version here. The 1811 words are in blue and the 1818 in red. So my aim has been to include here all the elements, text and prints, of both. I have here included those prints found in the two indexes - finding them elsewhere if not present in my copies. So that it becomes confusing as to which prints were included in which edition. One of the problems is that so many copies have been mutilated by taking prints to frame them. Some of the images have changed and there are additional images in 1818. [ There are at least two different Thames publications by Cooke which here I name as 18 (though there appear to be a range of dates). Thames, Cooke 1811 & 1818 - WHERE THAMES SMOOTH WATERS GLIDE THAMES VIEWS BY COOKE 18
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