Here is a great Antique Etching/Engraving of Notre Dame Cathedral by the well known Swedish engraver Axel H Haig for your buying consideration. Would make a great gift for a special occasion, or keep it for yourself!
This Antique Etching/ Engraving was done by Axel H Haig of Sweden in 1900. The Engraving was published by Robert Dunthorne of London. The engraving has not been examined out of the frame.
Beautiful rendering of Notre Dame Cathedral from across the river with a stone bridge in the foreground. There are horse drawn carts and many folks on the bridge and below it.
We see some minor foxing or brown spotting going on within the engraving. Some brown spotting in the sky to the right of the cathedral, see pics. Interestingly, does not to be on the print when look at thru a loupe, so smoke or film on the inside of the glass? No watermarks, tears, or repairs that we observe.
Beautiful wood frame here. The wood frame has a silver finish to it. Some finish loss. Newer backing paper on the piece and the hanging wire is in place.
Nice antique white matting around the engraving. The glass over the engraving is intact, no cracking or blistering.
The Frame Axel Haig Etching of Notre Dame Cathedral is 29.5" tall, by 38-5/8" across, by 1-1/8" wide. The Engraving showing thru the frame is 23" tall by 31.75" across. Let us know if you have any questions or need additional pictures. Don’t be shy to make an offer, we are always open to reasonable suggestions.
Some brief information about the engraver, Axel Haig, from our friends at Wikipedia;
From Wikipedia, the free encyclopedia
Haig's illustration for the Summer Smoking Room at Cardiff Castle
Axel Herman Haig (Swedish: Axel Herman Hägg, 10 November 1835 – 1921) was a Swedish-born artist and illustrator. His paintings, illustrations and etchings, undertaken for himself and on behalf of many of the foremost architects of the Victorian period made him "the Piranesi of the Gothic Revival."
Haig was born on the island of Gotland in the Baltic Sea. His father was a landowner and timber merchant. Haig was apprenticed as a shipbuilder at the government dockyard at Karlskrona and in 1856 went to Glasgow for a further period of training at a firm of Clydeside shipbuilders. But his interests had turned to architecture and in 1859, he undertook a new apprenticeship as a draughtsman in the offices of the Ecclesiastical Commissioners. After seven years there, he launched himself as an architectural artist. The middle years of the nineteenth century saw an explosion in the practice of architectural competitions. The wealth generated by the empire and The Industrial Revolution created the necessary conditions for a vast expansion in civic construction. Commissions for government offices, town halls, churches for private benefactors, railway termini were all put out to tender and competing architects required draughtsmen to illustrate their plans. In 1866 Haig met William Burges when Burges retained him to illustrate his designs for the Royal Courts of Justice in The Strand. Haig produced a series of watercolour illustrations that were "an immediate sensation." The competition's winner, George Edmund Street is said to have remarked, "I wouldn't mind being beaten by drawings like those."
Haig and Burges continued in partnership until the latter's death in 1881. In that time they jointly produced some of the most spectacular medieval visions of the Victorian Gothic Revival. Cardiff Castle, Knightshayes Court, the Church of Christ the Consoler at Skelton-on-Ure, St Mary's Church, Park House, the Speech Room, Harrow School, Castell Coch, Trinity College, Hartford, Connecticut and the designs for the re-decoration of Saint Paul's Cathedral: as Burges designed his most important commissions, so Haig drew them. "In Haig, Burges, the architect of a medieval dreamland, had found an artist worthy of his dreams."
Haig developed a second career as an etcher and his drawings and lithographs of European castles, palaces, landscapes and cathedrals became hugely popular in late-Victorian England. In a review of his work published by RIBA in the year of his death, Maurice Adams wrote that "his architectural draughtsmanship ranks without a doubt amongst the foremost of his time and his graphic capability remains unique."
Haig also designed All Saints Church in Grayswood, Surrey. It was built between 1901 and 1902 in a style described variously as Surrey Vernacular or "13th-century [Gothic] with Arts and Crafts elements". It is a Grade II listed building.
Church designed by Haig in his adopted village of Grayswood
^ Jump up to:a b c d e f g h i Mordaunt Crook et al. 1984, p 13
Jump up^ Axel Haig and the Victorian Vision of the Middle Ages page 16
Jump up^ Axel Haig and the Victorian Vision of the Middle Ages page 17
Jump up^ RIBA Journal Volume XXVIII (1921)
Jump up^ Nairn & Pevsner 1971, p. 262.
Jump up^ Historic England. "Church of All Saints, Grayswood Road, Grayswood (Grade II) (1243910)". National Heritage List for England. Retrieved 2 June 2014.
Make sure that this item meets your needs and requirements before deciding to acquire it. The item can be returned, there is a 10% restocking fee to do so. So, please carefully review all the attached pictures, ask all the questions you have, come see in person or send a friend to see the item on your behalf, prior to deciding to acquire it.
The pictures provided both complement and supplement the listing description, so please look at them very closely as well. With old items, there is no way one can capture all the little imperfections in words, so the two media are meant to be the full description.
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