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This is a 1902 photogravure reproduction by Walker & Cockerell, created after Wenceslaus Hollar’s original etched bird’s-eye view of London (Pennington 1002). Published by the London Topographical Society, this print preserves Hollar’s highly detailed depiction of the city as it appeared in the mid-seventeenth century. Though clearly designed as part of a larger composition, no additional sheets are known to have survived, leaving this as a tantalizing fragment of what might have been a monumental plan of London.
Pennington notes that the dating of the original etching has been debated, with discussion in London Topographical Record (1903) suggesting a period between 1655 and 1665. Rhys Jenkins, writing in that volume, pointed out that the water-tower in front of Arundel House, constructed by Sir Edward Ford as part of his water-pumping system, was built in 1655 and is depicted on the map. He also suggests that it was dismantled before 1665, which provides a likely timeframe for the etching’s execution. The unfinished nature of the upper and left edges strongly suggests that this was intended as part of a much larger multi-sheet plan, but no companion sheets have ever surfaced.
This incomplete project represents one of the most fascinating "what might have been" moments in the history of London cartography. If completed, it would likely have been the most expansive and detailed bird’s-eye views of the city from the seventeenth century. Given Hollar’s unparalleled skill, this would have provided an extraordinary visual record of London in the years immediately preceding the Great Fire of 1666, offering an invaluable resource for understanding the city’s pre-fire topography. Instead, what remains is a fragment of a grand vision.
The 1902 view is well represented in the expected institutions but is rare in commerce.
Wenceslaus Hollar, born on July 23, 1607, in Prague, was a prolific and accomplished Bohemian graphic artist of the 17th century.
Known to German speakers as Wenzel Hollar and to Czech speakers as Václav Hollar, he is celebrated for his masterful engravings and etchings. The turmoil of the Thirty Years' War, particularly the Sack of Prague, devastated Hollar's family, leading him to abandon his initial path towards a legal career and instead pursue the arts. His earliest surviving works date back to 1625 and 1626, showcasing the influence of Albrecht Dürer. In 1627, Hollar apprenticed under the esteemed engraver Matthäus Merian in Frankfurt, marking the beginning of his illustrious career.
During the early 1630s, Hollar resided in Strasbourg, Mainz, and Koblenz, capturing the essence of the Middle Rhine Valley through his depictions of towns, castles, and landscapes. In 1633, he moved to Cologne, where his talent began to attract significant attention. It was here, in 1636, that he caught the eye of Thomas Howard, the 21st Earl of Arundel, a renowned nobleman and art collector. Hollar joined Arundel on diplomatic missions to Vienna and Prague, and in 1637, he accompanied the Earl to England.
Upon settling in England, Hollar became part of Arundel's household, though he did not work exclusively for the Earl. He continued to create independently and for various authors and publishers. Following Arundel's death in 1646, Hollar commemorated him with a print designed by Cornelius Schut. Hollar's remarkable "View of Greenwich," published by Peter Stent, exemplified his early work in England and set a precedent for his meticulous and expansive cityscapes.
The English Civil War significantly impacted Hollar's career, although he remained productive. He withstood the siege of Basing House alongside royalist artists like Inigo Jones and William Faithorne. Despite the adversity, Hollar's output was prolific during this period, with numerous plates dated 1643 and 1644. Following his capture and subsequent escape during the siege of Basing House in 1645, Hollar relocated to Antwerp, where he reconnected with Arundel and produced some of his most acclaimed works, including cityscapes, seascapes, and intricate studies of nature.
In 1652, Hollar returned to London, continuing his work with notable publishers and illustrating various significant texts, including Ogilby's Virgil and Homer, Stapylton's Juvenal, and Dugdale's Warwickshire, St Paul's, and Monasticon.
Following the Great Fire of London in 1666, Hollar produced his famous "Views of London," capturing the city's devastation and subsequent rebuilding. In 1668, King Charles II commissioned him to document Tangier's town and forts. His return voyage included a notable naval engagement, which Hollar later etched for Ogilby's Africa. Hollar continued to produce well-regarded works until his death on March 25, 1677, in London, where he was buried at St Margaret's Church, Westminster.
Hollar's legacy endures through an extensive body of work, including some 400 drawings and 3000 etchings. His plates, numbering around 2740, encompass a vast array of subjects, from topographical views and portraits to intricate depictions of nature and architecture.
Collections of Hollar's work are held in prestigious institutions such as the British Museum, Windsor Castle, the National Gallery in Prague, and the Virginia Museum of Fine Arts. His contributions to graphic art are celebrated in catalogues by George Vertue, Gustav Parthey, and Richard Pennington, with a comprehensive catalogue published in the New Hollstein German series. Hollar's work remains accessible through digital collections, notably at the University of Toronto and the Folger Shakespeare Library.
The Wenceslaus Hollar Secondary School of Art in Prague honors his name, ensuring that his artistic legacy continues to inspire future generations.
The London Topographical Society, originally founded as the Topographical Society of London in 1880, is dedicated to publishing materials that illuminate the history and topography of the City and County of London from ancient times to the present. Since its establishment in 1880, the society has periodically released the London Topographical Record, a journal that serves as a key resource for those studying London's historical landscape and development.
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