[A Perspective View of the Thames and the] Thames [Tunnel]. History of the Thames Tunnel
Paper Peepshow
ca. 1850 (published)
ca. 1850 (published)
| Artist/Maker | |
| Place of origin |
Although the front-face of this paper peepshow shows Queen Victoria’s visit to the Thames Tunnel in 1843, its content is an ordinary view of the Thames River and the Thames Tunnel. Through the top peep-hole, boats on the Thames can be observed, while the view through the two other holes shows pedestrians walking in the tunnel.
The Thames Tunnel was one of the most popular subjects for British paper peepshows, which were produced throughout the period of its construction and beyond. The Tunnel’s construction started in 1825, and after various flood accidents and a long period of suspension of work between 1828 and 1835, the Tunnel finally opened to the public on 25 March 1843. It was received with great excitement both during and immediately after its construction, which explains why it remained a popular topic for the paper peepshow for so long. The sensation of being under the Thames, and yet completely safe and dry stimulated much interest. It was therefore not unusual to find this dual representation.
Bondy Azulay, together with T. C. Brandon, was one of the two main makers and sellers of Thames Tunnel paper peepshows after its completion. This work is typical of Azulay’s production in many ways. He used a book format, which might have contributed to the term ‘tunnel book’ now used for the paper peepshow (most often in the United States). The signature bright blue front-face could be a reference to azure, a pun on Azulay’s name.
This work gives evidence of Azulay and Brandon’s collaboration, as the front-face is taken from the upper part of Brandon’s double print of Queen Victoria’s visit to the Tunnel on 26 July 1843. Although the work is not of the highest quality, the Azulay chose to name it ‘perspective view.’ Perspective view was not the name commonly adopted for the paper peepshow during this period, and more commonly referred to the finer quality engravings used with the zograscope, (see references), in eighteenth-century affluent households. Azulay intended to add some lustre to his product by adopting this name. Apart from some minor differences, this work is almost identical to Gestetner 245, (see references).
The Thames Tunnel was one of the most popular subjects for British paper peepshows, which were produced throughout the period of its construction and beyond. The Tunnel’s construction started in 1825, and after various flood accidents and a long period of suspension of work between 1828 and 1835, the Tunnel finally opened to the public on 25 March 1843. It was received with great excitement both during and immediately after its construction, which explains why it remained a popular topic for the paper peepshow for so long. The sensation of being under the Thames, and yet completely safe and dry stimulated much interest. It was therefore not unusual to find this dual representation.
Bondy Azulay, together with T. C. Brandon, was one of the two main makers and sellers of Thames Tunnel paper peepshows after its completion. This work is typical of Azulay’s production in many ways. He used a book format, which might have contributed to the term ‘tunnel book’ now used for the paper peepshow (most often in the United States). The signature bright blue front-face could be a reference to azure, a pun on Azulay’s name.
This work gives evidence of Azulay and Brandon’s collaboration, as the front-face is taken from the upper part of Brandon’s double print of Queen Victoria’s visit to the Tunnel on 26 July 1843. Although the work is not of the highest quality, the Azulay chose to name it ‘perspective view.’ Perspective view was not the name commonly adopted for the paper peepshow during this period, and more commonly referred to the finer quality engravings used with the zograscope, (see references), in eighteenth-century affluent households. Azulay intended to add some lustre to his product by adopting this name. Apart from some minor differences, this work is almost identical to Gestetner 245, (see references).
Object details
| Categories | |
| Object type | |
| Title | [A Perspective View of the Thames and the] Thames [Tunnel]. History of the Thames Tunnel (published title) |
| Materials and techniques | |
| Brief description | [A Perspective View of the Thames and the] Thames [Tunnel]. History of the Thames Tunnel, Azulay, Bondy, ca. 1850 |
| Physical description | Accordion-style two-level paper peepshow of the Thames Tunnel and the River Thames. 3 cut-out panels. 3 peep-holes. Hand-coloured steel engraving and hand-coloured line engraving. Bound inside paper boards with cloth spine. Expands to approximately 47 cm. Front cover: marbled paper background. In the centre a label that carries the title, partly worn. On the inside is a text entitled ‘A Full Account of the Thames Tunnel,’ which contains detailed information on the history of the Tunnel’s construction, and mentions Queen Victoria’s visit on 26 July 1843, and brief description of the view inside the archways as well as shopping and entertainment opportunities there. The publisher’s name at the end. Front-face: On the blue background, view of the Queen Victoria and Prince Albert’s visit to the Tunnel on 26 July 1843. The image shows Victoria and Albert about to disembark from a ceremonial barge at Wapping, and the crowds on the quay. Entrance building for the Tunnel and the Irving & Brown Coal Wharf in the background. At the top of the print is the title ‘Thames Tunnel Wapping Entrance,’ and the line ‘1200 feet long, 76 feet below high-water mark was 8 years building and cost £440,000. Opened March 25, 1843.’ The title ‘A Perspective View of the Thames Tunnel’ pasted on at the bottom. Three peep-holes (circular), one in the middle at the top, and two on either side at the bottom. Panels 1 – 2: pedestrians in the archways of the Tunnel at the bottom, and boats on the Thames at the top. Back panel: pedestrians in the archways of the Tunnel at the bottom, and boats on the Thames at and riverside buildings at the top. The back panel is pasted onto the inside of the back cover. |
| Dimensions |
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| Marks and inscriptions | |
| Credit line | Accepted under the Cultural Gifts Scheme by HM Government from the collections of Jacqueline and Jonathan Gestetner and allocated to the Victoria and Albert Museum, 2016. |
| Object history | Part of the Jacqueline and Jonathan Gestetner Collection, collected over 30 years and given to the V&A Museum through the government's Cultural Gift Scheme, 2016. |
| Summary | Although the front-face of this paper peepshow shows Queen Victoria’s visit to the Thames Tunnel in 1843, its content is an ordinary view of the Thames River and the Thames Tunnel. Through the top peep-hole, boats on the Thames can be observed, while the view through the two other holes shows pedestrians walking in the tunnel. The Thames Tunnel was one of the most popular subjects for British paper peepshows, which were produced throughout the period of its construction and beyond. The Tunnel’s construction started in 1825, and after various flood accidents and a long period of suspension of work between 1828 and 1835, the Tunnel finally opened to the public on 25 March 1843. It was received with great excitement both during and immediately after its construction, which explains why it remained a popular topic for the paper peepshow for so long. The sensation of being under the Thames, and yet completely safe and dry stimulated much interest. It was therefore not unusual to find this dual representation. Bondy Azulay, together with T. C. Brandon, was one of the two main makers and sellers of Thames Tunnel paper peepshows after its completion. This work is typical of Azulay’s production in many ways. He used a book format, which might have contributed to the term ‘tunnel book’ now used for the paper peepshow (most often in the United States). The signature bright blue front-face could be a reference to azure, a pun on Azulay’s name. This work gives evidence of Azulay and Brandon’s collaboration, as the front-face is taken from the upper part of Brandon’s double print of Queen Victoria’s visit to the Tunnel on 26 July 1843. Although the work is not of the highest quality, the Azulay chose to name it ‘perspective view.’ Perspective view was not the name commonly adopted for the paper peepshow during this period, and more commonly referred to the finer quality engravings used with the zograscope, (see references), in eighteenth-century affluent households. Azulay intended to add some lustre to his product by adopting this name. Apart from some minor differences, this work is almost identical to Gestetner 245, (see references). |
| Bibliographic references |
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| Other number | 38041016059214 - NAL barcode |
| Collection | |
| Library number | Gestetner 249 |
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| Record created | October 24, 2018 |
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