A grand 18th-century architectural engraving of Sir Christopher Wren’s domed masterpiece, St Stephen Walbrook, London—an elegant interior perspective with period figures, crisp linework, and sweeping rococo title cartouche, ideal for English architecture, London history, and Wren collectors.
DESCRIPTION
This refined black-and-white architectural print presents an interior “perspective view” of St Stephen Walbrook—celebrated for its luminous, centrally planned space and commanding dome. The composition leads the eye down the nave toward the altar, using strong linear recession, measured proportions, and carefully articulated ornament to showcase Wren’s classicism. Finely cut parallel lines and cross-hatching model the pilasters, entablatures, and paneling; the dome and coffering are rendered with crisp geometry to emphasize volume and light. Period staffage figures animate the foreground and mid-ground, scale the architecture, and add a sense of lived civic ritual. The plate includes calligraphic lettering and credits in the margin (notably Wren as architect and Marshall as designer/engraver), typical of mid-18th-century London print publishing focused on notable buildings and interiors. St Stephen Walbrook itself was rebuilt after the Great Fire (construction beginning in 1672), and the church is widely celebrated as one of Wren’s finest interiors—making interior-view engravings especially desirable to architecture and London-topography collectors.
ARTIST BIOGRAPHY (BEST-AVAILABLE; PRINTMAKER CONTEXT)
George Marshall (british, active 18th century) is documented on surviving architectural and topographical plates as both delineator and engraver (“delin. et sculp.”), indicating he drew the design and cut the plate himself. Prints bearing his credit belong to the thriving London market for architectural views—issued by major print sellers and publishers and intended for collectors, connoisseurs, and professionals interested in celebrated interiors, new building, and civic landmarks. In this tradition, Marshall’s work emphasizes accurate perspective, legible ornament, and tonal control through systematic line engraving and hatching. The specific subject here—st stephen Walbrook—links the print to the enduring reputation of Sir Christopher Wren (1632–1723), the architect behind many post–Great Fire churches; St Stephen Walbrook’s dome and centralized plan are frequently singled out as a high point of Wren’s ecclesiastical design.
George Marshall (British, fl. 18th c.), perspective interior view of St Stephen Walbrook, London (after Sir Christopher Wren), c.1740s, line engraving on paper, plate-titled with engraved credits, 16 × 20.5 in., unframed; condition consistent with age.
CERTIFICATE OF VALUE & AUTHENTICATION (SUMMARY)
work: perspective interior view of st stephen walbrook, london
attribution: george marshall (british, active 18th century), engraver/designer; after sir christopher wren (architect)
date: c. 1740s (architecture depicts Wren’s late-17th-century church; print production in the 18th-century architectural-view tradition)
medium: line engraving (copperplate), on paper
size: 16 w × 20.5 h in.
marks: plate title and engraved credits; unsigned as a modern hand-signature; unnumbered edition
condition notes: visible age wear expected for antique paper (edge wear/tears/toning if present) impacts value
estimated replacement value
statement: this certificate reflects a good-faith attribution and market estimate based on comparable antique architectural engravings and standard retail/auction differentials; final value depends on verified edition/state, margins, and condition.
PROVENANCE CHAIN (COLLECTOR FORMAT)
current owner: artfind gallery, washington, dc
acquired from: mitch morse gallery (publisher/agent/ dealer)
prior acquisition (per gallery record): mitch morse gallery acquired the work through sourcing in nyc (united states) and europe
chain of custody note: continuous gallery-to-gallery transfer; no additional prior labels or collection stamps noted in provided images.
A grand 18th-century architectural engraving of Sir Christopher Wren’s domed masterpiece, St Stephen Walbrook, London—an elegant interior perspective with period figures, crisp linework, and sweeping rococo title cartouche, ideal for English architecture, London history, and Wren collectors.
DESCRIPTION
This refined black-and-white architectural print presents an interior “perspective view” of St Stephen Walbrook—celebrated for its luminous, centrally planned space and commanding dome. The composition leads the eye down the nave toward the altar, using strong linear recession, measured proportions, and carefully articulated ornament to showcase Wren’s classicism. Finely cut parallel lines and cross-hatching model the pilasters, entablatures, and paneling; the dome and coffering are rendered with crisp geometry to emphasize volume and light. Period staffage figures animate the foreground and mid-ground, scale the architecture, and add a sense of lived civic ritual. The plate includes calligraphic lettering and credits in the margin (notably Wren as architect and Marshall as designer/engraver), typical of mid-18th-century London print publishing focused on notable buildings and interiors. St Stephen Walbrook itself was rebuilt after the Great Fire (construction beginning in 1672), and the church is widely celebrated as one of Wren’s finest interiors—making interior-view engravings especially desirable to architecture and London-topography collectors.
ARTIST BIOGRAPHY (BEST-AVAILABLE; PRINTMAKER CONTEXT)
George Marshall (british, active 18th century) is documented on surviving architectural and topographical plates as both delineator and engraver (“delin. et sculp.”), indicating he drew the design and cut the plate himself. Prints bearing his credit belong to the thriving London market for architectural views—issued by major print sellers and publishers and intended for collectors, connoisseurs, and professionals interested in celebrated interiors, new building, and civic landmarks. In this tradition, Marshall’s work emphasizes accurate perspective, legible ornament, and tonal control through systematic line engraving and hatching. The specific subject here—st stephen Walbrook—links the print to the enduring reputation of Sir Christopher Wren (1632–1723), the architect behind many post–Great Fire churches; St Stephen Walbrook’s dome and centralized plan are frequently singled out as a high point of Wren’s ecclesiastical design.
George Marshall (British, fl. 18th c.), perspective interior view of St Stephen Walbrook, London (after Sir Christopher Wren), c.1740s, line engraving on paper, plate-titled with engraved credits, 16 × 20.5 in., unframed; condition consistent with age.
CERTIFICATE OF VALUE & AUTHENTICATION (SUMMARY)
work: perspective interior view of st stephen walbrook, london
attribution: george marshall (british, active 18th century), engraver/designer; after sir christopher wren (architect)
date: c. 1740s (architecture depicts Wren’s late-17th-century church; print production in the 18th-century architectural-view tradition)
medium: line engraving (copperplate), on paper
size: 16 w × 20.5 h in.
marks: plate title and engraved credits; unsigned as a modern hand-signature; unnumbered edition
condition notes: visible age wear expected for antique paper (edge wear/tears/toning if present) impacts value
estimated replacement value
statement: this certificate reflects a good-faith attribution and market estimate based on comparable antique architectural engravings and standard retail/auction differentials; final value depends on verified edition/state, margins, and condition.
PROVENANCE CHAIN (COLLECTOR FORMAT)
current owner: artfind gallery, washington, dc
acquired from: mitch morse gallery (publisher/agent/ dealer)
prior acquisition (per gallery record): mitch morse gallery acquired the work through sourcing in nyc (united states) and europe
chain of custody note: continuous gallery-to-gallery transfer; no additional prior labels or collection stamps noted in provided images.
