Life lived large and not so large. Aquatints by Joseph Constantine Stadler (1755-1828) of British people and places. 1800-1815 ish.

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The Procession at Freemasons’ Hall, Great Queen Street, on the occasion of the Annual Dinner for young girls assisted by the Order. Published in London on October 1, 1808 in R. Ackermann’s Repository of the Arts/Microcosm of London. After Pugin and Rowlandson. British. Aquatint. Joseph Constantine Stadler, engraver (1755-1828). Collections of the Yale Center for British Art. CC0 License 1.0. via https://commons.wikimedia.org/wiki/File:Joseph_Constantine_Stadler_-_Freemasons_Hall,_Great_Queen_Street_-_B1975.6.65_-_Yale_Center_for_British_Art.jpg The exact title was found here https://fineartamerica.com/featured/the-procession-at-freemasons-hall-joseph-constantine-stadler.html
Hafod House. Taken from “Tour to Hafod”, a fine collection of plates depicting the mansion and its surrounding landscape engraved by Stadler after drawings by Smith. 1810. British. Hand-colored aquatint engraving. Joseph Constantine Stadler, engraver (1755-1828). Published by White and Company. Image © 2024 Donald A. Heald Rare Books.  Fair use license. via https://www.donaldheald.com/pages/books/13579/joseph-constantine-stadler-after-john-warwick-smith/hafod-house

Great Fall of the Fynach. 1809. British. Colored aquatint. Joseph Constantine Stadler, engraver (1755-1828) after J. Smith. Yale Center for British Art, Paul Mellon Collection. Artwork itself in the public domain due to age. via https://collections.britishart.yale.edu/catalog/tms:42060
Kitchen of Trinity College. Published in London September 1, 1815 in R. Ackermann’s History of Cambridge. 1815. British. Colored aquatint. Joseph Constantine Stadler (1855-1828) engraver after William Henry Pyne, 1769–1843. Yale Center for British Art; Gift of Herman W. Liebert. Artwork itself in the public domain due to age. via https://collections.britishart.yale.edu/catalog/tms:52922
Wobourn Sheepshearing, dedicated by permysion to his grace the Duke of Bedford. 1811. British.
Hand-colored aquatint with stipple and etching on chine colle. M. N. Bate and Joseph Constantine Stadler after George Garrard. Yale Center for British Art, Paul Mellon Collection. Artwork itself in the public domain due to age. via https://collections.britishart.yale.edu/catalog/tms:23509
Hospital, Middlesex. Published in London November 1 1808 in R. Ackermann’s Repository of the Arts. British. Colored aquatint. Joseph Constantine Stadler, engraver, after Augustus Charles Pugin and Thomas Rowlandson. Yale Center for British Art, Gift of Chauncey Brewster Tinker. Artwork itself in the public domain due to age via. https://collections.britishart.yale.edu/catalog/tms:22847
Lloyd’s Subscription Room. Published in London January 1, 1800 in R. Ackermann’s Repository of the Arts. British. Colored aquatint. Joseph Constantine Stadler, engraver, after Augustus Charles Pugin and Thomas Rowlandson. Yale Center for British Art, Gift of Chauncey Brewster Tinker. Artwork itself in the public domain due to age via https://collections.britishart.yale.edu/catalog/tms:22845
To the King’s Most Excellent Majesty under the patronage of his Royal Highness the Prince of Wales, this view of the Pavilion and Steyne at Brighton with the promenade is humbly Dedicated by his Majesty’s most Dutiful Servant, Charles Richards. 1806. British. Colored aquatint. James Mitan and Joseph Constantine Stadler, engraver after Charles Cracklow (Craig and Cracklow). Yale Center for British Art, Paul Mellon Collection. Artwork itself in the public domain due to age via https://collections.britishart.yale.edu/catalog/tms:30859

Published by sarahbguestperry

On a voyage to see how much mileage I can get from the creative ability and eye for images that my family thought was useless. On line art curator, fiction writer and now blogger. Historian's daughter. Follow me . . .even I have no idea where I'm going next.

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