113e Vue Perspective de la Chancellerie Royale de Grenade.
XVIIIth century optical view in original watercolors. Original copper plate engraving on laid paper with watermark heightened with watercolor at that time. Published by Lachaussée, Daumont & Basset in Paris circa 1770, depicting a view of the Royal Chancellery of Granada (Spain).
During the 18th Century, several renowned establishments in Paris, London (England), Augsburg (Germany) and Bassano (Italy) were specialized in the creation of these optical views. They could be viewed alone or through a zograscope, a wooden foot surmounted by a lens which enlarged the image and accentuated the perspective effect. They could also be placed in optical boxes, the spectator then looked inside the box through the lens. This distraction was greatly appreciated in the 18th Century in the salons of the bourgeoisie and the nobility as in the countryside thanks to the hawkers.
These etchings are nowadays exhibited in museums around the world and extremely appreciated by collectors and decorators for their historical interest and their high decorative value.
Museums & Archives
The Biblioteca de Andalucía (Granada) owns a copy of this optical view in its collections. For more details on this print please consult the site : 113e vue perspective de la chancellerie royale de grenade.
Stain in the left margin
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The Royal Chancellery of Granada (La Real Chancillería de Granada or Real Audiencia y Chancillería de Granada) was a court established by Isabel I of Castile in 1505 when she moved the Royal Audience and Chancellery of Ciudad Real to Granada - it had originally been set up in Ciudad Real in 1494. It was abolished in 1834 with the rise of liberalism in Spain.
The Galerie Napoléon is pleased to propose to you this strong water etching printed 252 years ago (around 1770).
As for all the antique prints in our catalogue, this optical view 113e Vue Perspective de la Chancellerie Royale de Grenade. datant de 1770 is dispatched worldwide within 24H in a Secured packaging, accompanied by its certificate of authenticity guaranteeing the name of the artists (draughtsman, engraver, editor), the impression process used (Strong water) and its date (1770).
In order to guarantee a perfect conservation in time, this strong water etching is dispatched, ready to be framed, under museum quality color passepartout (manufactured without acid in the pulp for a neutral pH) on a cream mountboard made from carton bois (also acid free & neutral pH), in a luxurious portfolio.
At the apogee of the mode for optical views, between 1750 and 1790, four European cities specialized in their edition: Paris (France), London (England), Augsburg (Germany) and Bassano (Italy).
Optical views are prized in very different social circles : pleasant recreation in aristocratic salons, the views are admired in beautiful and richly decorated optical boxes which are real works of art. The show was transformed into a real scientific experiment. But the optical views also entertained the people who were in a hurry when a hawker set up a box on a market and began to narrate the extraordinary events that had taken place in a more or less distant and inaccessible country.
There are three categories in the production of optical views.
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