Fine Art (Mb6356), Vestibule of the Chapter House [Bristol Cathedral]

Fine Art (Mb7026), The Catherine Wheel, Castle Green [The Cat and Wheel]

a pencil drawing on paper, showing: the Cat and Wheel inn situated on the corner of Castle Green and Little Peter Street, Bristol; the inn sign reads "CAT / & WHEEL / TAVERN / BY / J REED" - J Reed may have been John Reed a licensee of more than one inn during the 1830s-40s; the paper is watermarked lower-left [Wh]atman / [Turke]y Mill / [183]9; this drawing appears to be a sketch for a print - see Mb2934

Fine Art (Mb7029), The Cat and Wheel, Castle Green

a black and white print on heavy paper, showing: the Cat and Wheel inn situated on the corner of Castle Green and Little Peter Street, Bristol

Fine Art (M1895), Bristol High Cross as it stood in College Green in 1763

Fine Art (Mb7092), Bristol High Cross at Stourhead

Fine Art (Mb7093), Bristol High Cross at Stourhead

Fine Art (K4365), Bristol High Cross, College Green and the Cathedral

Fine Art (K361), Litfield House and Harley Place, Clifton

a colour drawing on paper, showing: a view of Litfield House and, in the distance, Harley Place, Bristol, as seen from one of the smaller paths on Clifton Down; just visible between Litfield House and Harley Place is the opening leading to Camp Road; Litfield House was designed by the Bristol architect Charles Dyer in the mid-1820s; it does not appear on Ashmead's map of 1828, but is probably built by 1830; other than road-widening, this view has changed little

Fine Art (K364), The Cat and Wheel, From Narrow Wine Street

a full colour drawing on paper, showing: the Bristol inn situated on the corner of Castle Green and Little Peter Street, Bristol, a few years before it was rebuilt and taken over by Georges Brewery; the tavern on the other corner is probably the Victory Tavern on Narrow Wine Street

Fine Art (K2814), Harley Cottage, Clifton

a pencil drawing on paper, showing: a view near Christ Church, Clifton; the unidentified artist has drawn the view from Clifton Down Road looking towards the entrance to Canynge Road, known as Somerset Place at the time of this drawing; No. 1 Harley Place is seen to the left and Harley Lodge and Harley Cottage to the right (a view that has changed little); the drawing is inscribed "Harley Cottage &c, Clifton, September 29, 1829"

Fine Art (K4349a), The Mansion House, Clifton

a colour drawing on paper, showing: a view of the conservatory and part of the Mansion House at Clifton Down, Bristol, as seen from near the junction of Clifton Down, Cecil Road and Canynge Road; two female figures, probably a mother and child, look at the house, while a gardener mows the grass under a nearby tree; just beyond the tree are some dwellings and the top of the pre-WWII spire of All Saints Church; this is the third and current Mansion House, and was designed by George and Henry Godwin in 1867 as a family home for the philanthropist and alderman Thomas Proctor; it was given by Proctor to the City of Bristol on 1st May, 1874 for use as the Mayor’s official residence; the original Mansion House in Queen Square was destroyed in the Bristol riots of 1831, and its replacement in Great George Street was closed on economic grounds in 1835

Fine Art (K4421), View from Princes Buildings, Clifton

a colour drawing on paper, showing: a view from Prince's Buildings, Clifton, looking across the Avon Gorge; a ship mast can be seen; on the Somerset side of the Avon, there is a building with a smoking chimney (created by scratching out the pigment - this is Wellington Cottage, not far from the Rownham Ferry, which has yet to have the Bristol to Portishead railway line built right in front of it; this helps date the work to after 1842 and before 1866

Fine Art (K4587), Clifton from the Hill

a black and white print, with lettering, on paper, showing: the view looking down Cornwallis Grove (part of which is now called Hensmans Hill) in Clifton; to the lower-left, are the terraced buildings of the Lower Crescent (now known as Cornwallis Crescent), these were built between 1791 and c1830; Royal York Crescent and the Paragon are seen in the distance

Fine Art (K4588), Clifton from the Hill

a black and white print, with lettering, on paper, showing: the view looking down Cornwallis Grove (part of which is now called Hensmans Hill) in Clifton; to the lower-left, are the terraced buildings of the Lower Crescent (now known as Cornwallis Crescent), these were built between 1791 and c1830; Royal York Crescent and the Paragon are seen in the distance

Fine Art (K4589), Royal Promenade, Victoria Square, Clifton

a black and white print with lettering on paper, showing: a view of the Royal Promenade on the north-west side of Victoria Square, Clifton, probably not long after completion; just to the left of the building is Albert Lodge, (next to the arch which today leads to Boyce's Ave); the Victoria Square gardens are seen in their original layout with a central fountain and, to the left, an ornamental vase (the remains of which can still be seen today); the architect of the Royal Promenade was John Foster of Thomas Foster & Sons, and the building contractor was probably William Bateman Reed (1814-1880)

Fine Art (K4590), Vyvyan Terrace, Clifton

a hand-coloured print with lettering on paper, showing: Vyvyan Terrace as seen from Clifton Park; Vyvan Terrace was designed by Richard Shackleton Pope in the 1830s and, from about 1835 it was built piecemeal well into the following decade, which dates this view to about 1849 at the earliest

Fine Art (K4591), Caledonia Place, Clifton

a black and white print with lettering on paper, showing: a view looking east along Caledonia Place, built 1840-1843 by Foster and Okely as part of the Mall; there is a handwritten inscription on the back, "Apartments &c here / 7 Guineas per week."; this print can be compared with Ma4649, which shows a similar view

Fine Art (K4592), Gloucester Row, Clifton

a hand-coloured print with lettering on paper, showing: a view looking east along Gloucester Row, Clifton Down, drawn from near to where Sion Row, Sion Place and Observatory Road meet; the spire of Christ Church can be seen in the distance

Fine Art (K4593), West Mall, Clifton, Goucestershire

a black and white print with lettering on paper, showing: a view from The Mall of West Mall, Clifton, designed by Foster and Okely in 1840; to the right are two houses designed by the Bath architect John Eveleigh in 1788

Fine Art (K4596), 9 Vyvyan Terrace, Clifton

a black and white print, with lettering, on an A4 sheet of light-grey paper, showing: a photomechanically reproduced line drawing of the front of 9 Vyvyan Terrace, Clifton, signed 'D. LONG'

Fine Art (K4610), New Hotel and Gloucester Row, Clifton

a black and white print with lettering on paper, showing: a view looking east along Gloucester Row, Clifton Down, near to where Sion Hill, Sion Place and Observatory Road meet; the spire of Christ Church can be seen in the distance; the large building to the right is the Clifton Down Hotel - the 'New' hotel of the title - which in the mid-1860s replaced the Bath Hotel and another building; this print can be compared with K4592, also produced by Newman & Co, showing a similar view before the Clifton Down Hotel was built

Fine Art (K4611), A View Across the Gorge to Clifton

a black and white print on paper, showing: a view of the Clifton in the 1820s; the visible buildings are on the corner of Sion Hill and Gloucester Row; the observatory is to the left, and in the distance is the tower of the parish church of St Andrew; this view would be dominated by the Clifton Suspension Bridge today; this print is initialled "B S"; Bristol Museum & Art Gallery owns several works, all lithogaphs and all Bristol subjects, by this as yet unidentified printmaker - only one is positively dated, 1825

Fine Art (K4612), Clifton Rocks, near Bristol

a black and white print with lettering on paper, showing: a view of the Clifton Rocks; this print is also inscribed "Engd. by J. &. H. S. Storer, from a Drawing by Mrs. C. Rees, for the Port Folio"

Fine Art (K5507b), Burwalls and Clifton Suspension Bridge

a black and white print on paper, showing: an aerial view of Burwalls (part of the University of Bristol at the time of this work) and the Clifton Suspension Bridge as seen from the Somerset side of the River Avon; this print was used as letterhead for the Medical Artist's Association of Great Britain at the t-me of their 42nd Annual Conference held in Bristol 11-13 April, 1991, at the Dept of Medical Illustration, Bristol Royal Infirmary - see also K5507a

Fine Art (K5884), Clifton: the Gorge Seen from the Paragon

a black and white print, with lettering, on stone tinted paper, showing: a view of the Avon Gorge as seen from the back of Windsor Terrace and a path in the garden of The Paragon, which was probably known as Prince's Lane; to the left is part of St Vincent's Parade on Hotwells Road; above, the abutments for the Suspension Bridge are both in place with the one on the Clifton side having a partially completed pier, which dates this print to about 1842; the observatory is seen top-right as well as the Prince's Buildings on Wellington Terrace near Sion Hill; the print is lettered "CLIFTON."; T Sopwith is probably the great north-east surveyor and civil engineer Thomas Sopwith (1803-1879)

Fine Art (M998), The Cat and Wheel, Castle Green

a colour drawing on paper, showing: the Bristol inn situated on the corner of Castle Green and Little Peter Street, Bristol, drawn a few years after its rebuilding in 1900; the licensee's name is clearly visible - W T Beavis - who ran the inn from 1895 until 1902; it was eventually demolished in 1969 (for a new museum on Castle Park, which was never built)

Fine Art (M1486), Design for Castle Green Board Schools

a monochrome "ink photo" print on paper, showing: a front elevation and small inset plan for the Castle Green Board Schools, Bristol; this illustration was published in The Architect, 5 March, 1886, and shows an unrealised design for the Castle Green Board Schools (it may have been a competition entry); the chosen design was by Stuart Colman, and the building completed in late-1886 or early-1887; Castle Green was an area within what is now Castle Park, and the school building was located towards the east near to Lower Castle Street

Fine Art (Mb18), The Cock and Bottle Public House, Castle Green

a black and white print on paper, showing: a view of Cock and Bottle Lane with the half-timbered inn of the title to the left; it is believed Alexander Selkirk - the inspriration or Robinson Crusoe - lived at the inn, and met up nearby with Daniel Defoe; the print is inscribed on the plate, "The Cock and Bottle Public-House, with part of Messrs / Ames and Gadd's Warehouses, Castle Green, Bristol" and also "Nor leave his Bottle till the Cock doth crow" (the inn's slogan); Ames, Gadd & Co are described as Dry Salters in the 1824 Bristol trade directory; the artist, David Huston, lived at 3 Castle Green, and is variously described as a teacher of drawing, a painter of miniatures and a portrait painter

Fine Art (Mb365), At Clifton

a pencil sketch on paper, showing: two figures on a path amongst trees and tallish buildings in the distance; this an unidentified view by an unidentified artist is inscribed "At Clifton"

Fine Art (K4602), Blaise Hamlet Cottages - Sweet Briar or Oak Cottage

Fine Art (Ma5247), 'South and East Africa / Union-Castle Line'

a colour poster

Fine Art (Ma3941), Bristol Cathedral, and the High Cross

a monochrome photograph, contained within a grangerised version of 'Past and Present'

Fine Art (Ma3942), Bristol Cathedral, and St Augustine's Gate, from College Green

a monochrome photograph, contained within a grangerised version of 'Past and Present'

Fine Art (Mb1004), Chimneypiece in the Law Library, Small Street

Two-stage stone chimney-piece in situ projecting out from wall and reaching to ceiling. Engaged faceted columns at all four corners. Rectangular opening with rounded top corners and shallow-pointed top with surround of simple mouldings and rosette bosses; frieze of relief lozenges. Upper stage divided into three sections each containing a plain shield below a cusped arch; side of both lower and upper stages divided into two with carved roundel above cusped arch in all four sections. Hob grate, fender, fire-irons. Room has ribbed plasterwork ceiling and plastered walls. Table scattered with papers, oil lamp, Windsor chairs.

Fine Art (Mb1009), Chimneypiece in Ashley Manor House

single-stage stone chimney-piece with double frieze below broken pediment; lower frieze with leaf scrolls between three grooved corbels; upper frieze with three projecting cartouches separating two panels each with a central shield between two mermaids. In centre of pediment an armorial shield with three crossed wheatsheaves and a chevron, between two winged angel heads. Dated on two outer cartouches: 16 59 Square opening with shallow-pointed top and simple moulded surround. Hob grate, fender and fire-irons. Fern-pattern wallpaper; bell-pull.

Fine Art (Mb1010), Chimneypiece in Ashley Manor House

Single-stage stone chimney-piece. Rectangular opening with shallow-pointed top and simple moulded surround below blank frieze with three corbels, the outer two with carved flower; upper frieze with three projecting curly-haired mask-heads and two leaf-scroll panels. Victorian tiled insert fire with wire fireguard.; fire irons. Large-panelled walls.

Fine Art (Mb1012), Chimneypiece in Redland Manor House

Two-stage stone chimney-piecein situ, reaching to ceiling. Lower stage with double frieze supported on herms; overmantel divided into three sections by terms, each section containing a shield of arms; initials and date in centre of lower frieze: FG 1658; later ?18th century infill surround to grate with scrolled ornament. Section of plasterwork ceiling visible; walls papered. Clothes press on left; hearth rug over striped ?carpet.

Fine Art (Mb1005), Chimneypiece in Wilts and Dorset Bank, Corn Street

stone chimney-piece with low overmantel divided into three tri-cusped sections by two turreted pillars, the two outer ones containing mythical beast, the central one a shield and foliage. ?18th or 19th century.

Fine Art (Mb985), Chimneypiece at Red Maids' School

Two-stage stone chimney-piece, bottom and top parts flanked by pairs of columns, Ionic capitals at bottom, Corinthian at top supporting friezes with foliate scroll ornament on bottom section and swagged cutwork on top; in centre of upper stage the Royal Arms between two panels of strapwork; below lower frieze, a central cartouche between the Bristol Arms on left and unidentified Arms on right; rectangular opening with rosette-and-boss surround. Inscribed below Royal Arms: John Whitson.1628. Stonework appears to have been darkened. Opening filled-in with glazed small rectangular tiles around small open grate. Room has dado and wallpaper border.

Fine Art (Mb986), Chimneypiece at Red Maids' School

single-storey stone chimney-piece with geometric-patterned frieze - strapwork of linked alternate lozenges and circles with fruit clusters in spaces around; shallow-pointed opening surrounded by spaced small rosettes. Striped wallpaper and portrait of Whitson hung over fireplace.