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Lot Essay
Blackfriars Bridge, the third bridge to span the Thames in London, was designed by Robert Mylne and was built between 1760 and 1769 at a cost of £230,000. Constructed with nine semi-elliptical arches, it reflected the influence of Piranesi, with whom Mylne had spent much time when in Rome, and the design provoked lively debate; Dr. Samuel Johnson did not approve of the style. The original intention was to call it 'William Pitt Bridge', after the Prime Minister, but the Prime Minister's popularity had declined by the time it was built and the public insisted on calling it Blackfriars. The Toll Gates were very unpopular and were torn down by the Gordon Rioters in 1780 (see lot 9) before it was finally freed from tolls in 1785. The present day bridge was built between 1860 and 1869. These two works show the marked contrast between the shipping scenes east and west of London Bridge. In the former, passengers and goods are ferried across the Thames and a ceremonial barge dominates the foreground, while in the latter, he Pool of London, is crowded with the sails and vessels of merchant shipping.
The Pool of London was the capital's major port until the beginning of the 19th century when the arrival of the docks in East London gradually relieved the Pool of its busy traffic. The Venerable Bede in the 7th century recorded that the Pool provided London's reason for existence; and when King Charles I threatened to remove his Court from London, the City replied that they did not mind so long as he did not remove the Pool. Luny painted at least two other versions of this picturesque maze of masts and shipping before the legal quays on the north bank between Old London Bridge and the Tower of London, now in the Museum of London and at the Yale Center for British Art, New Haven.
Thomas Luny, born in Cornwall in 1759, was a member of the Thames group of painters around Deptford. By 1773, Luny was a pupil of the maritime painter, Francis Holman (fl. 1760-90), and he first exhibited in 1777 at the Society of Artists and thereafter frequently exhibited at the Royal Academy. Stylistically, Luny's work continued in the 17th century marine tradition established by the van de Velde family. His successful pratice in London, enabled him in 1807 to leave the city for Teignmouth where he built a substantial house.
The Pool of London was the capital's major port until the beginning of the 19th century when the arrival of the docks in East London gradually relieved the Pool of its busy traffic. The Venerable Bede in the 7th century recorded that the Pool provided London's reason for existence; and when King Charles I threatened to remove his Court from London, the City replied that they did not mind so long as he did not remove the Pool. Luny painted at least two other versions of this picturesque maze of masts and shipping before the legal quays on the north bank between Old London Bridge and the Tower of London, now in the Museum of London and at the Yale Center for British Art, New Haven.
Thomas Luny, born in Cornwall in 1759, was a member of the Thames group of painters around Deptford. By 1773, Luny was a pupil of the maritime painter, Francis Holman (fl. 1760-90), and he first exhibited in 1777 at the Society of Artists and thereafter frequently exhibited at the Royal Academy. Stylistically, Luny's work continued in the 17th century marine tradition established by the van de Velde family. His successful pratice in London, enabled him in 1807 to leave the city for Teignmouth where he built a substantial house.