Beschreibung:

NASH, John (1752-1835). The Royal Pavilion at Brighton. [London: 1826].
NASH, John (1752-1835). The Royal Pavilion at Brighton. [London: 1826]. 2 o (514 x 402 mm). Engraved title and lithographed list of plates. Additional lithographed leaf in French explaining the absence of certain plates (not noted in Abbey). 53 plates comprising: 31 aquatint plates on 28 leaves after A. Pugin and others, printed in color and finished by hand, including one large folding plate, all mounted on tinted card with gold and double ink-ruled frame. 29 (of 31) duplicate uncoloured etched plates on 26 leaves, printed in outline. (Some very light offsetting of etched plates to verso of mounts, not affecting plates. Lacking the line duplicates of "The Steine Front as originally designed" and the "Music Gallery"). 20th-century half morocco, spine gilt, by Sangorski and Sutcliffe. Provenance: Hans Furstenberg (ink stamp on lithographed title; sold Sotheby's New York, 2 June 1995, lot 304). FIRST ISSUE OF THIS LAVISH RECORD OF THE BRIGHTON PAVILION. John "Nash's most memorable commission for the prince [regent] was for the rebuilding of the Royal Pavilion at Brighton (1815-23) in what he called an 'Eastern' style, chosen by the prince to match the recently erected stable block (now the Dome) by William Porden Drawing on the Mughal architecture illustrated by Thomas and William Daniell and on an abortive scheme for the pavilion drawn up by Humphry Repton in 1808, Nash transformed the exterior of the existing low, sprawling building into a sensational extravaganza of Indian-inspired domes and turrets with two new reception rooms (the music room and the banqueting room) decorated with unparalleled lavishness by Frederick Crace and Robert Jones a new gallery or corridor, and a new suite of royal apartments. Nash's exterior masks some ingenious and innovative cast-iron construction, notably in the domes, the staircases, and the internal supports. But it was in his assured handling of an exotic and little-known style in the exterior of the building that he showed his creative flair its most exuberant form, and in so doing he captured for posterity the hedonistic spirit of the age." ( DNB ). The illustrations commemorating his achievment were largely the work of his protegé Augustus Pugin, with additional views by C. Moore, John Willis C. Fielding. Abbey Scenery 62; Tooley 338.