A Catalogue of Recent Acquisitions. Summer 2016

A Catalogue of Recent Acquisitions Summer 2016

Sanders of Oxford

Antique Prints & Maps 104 High Street, Oxford. OX1 4BW info@sandersofoxford.com - 01865 242590 - www.sandersofoxford.com

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Sanders of Oxford

Antique Prints & Maps 104 High Street, Oxford. OX1 4BW info@sandersofoxford.com - 01865 242590 - www.sandersofoxford.com

A Catalogue of Recent Acquisitions Summer 2016

We are constantly cataloguing new arrivals which get uploaded onto our website on a weekly basis, however in this catalogue we have complied a collection of over one hundred of our most interesting, unusual and uncommon prints and maps that have come through the door over the last couple of months.

The catalogue covers the broad spectrum of material that we deal in from 18th Century mezzotints and engravings to Japanese Woodblock prints and includes early portraits, caricatures, maps and panoramas.

18th Century mezzotints & engravings Caricatures & Satires Portraits Maps, Panoramas & Topographical Prints Not so United Kingdom Europe Asia & Middle East Antarctica Celestial General Interest. From anatomy to mythology.

Japanese Woodblocks

1 – 10 11 – 17 18 – 38 39 – 79 80 – 86 87 – 91 92 93 94 - 101 102 - 103

18th Century mezzotints & engravings

1. The Elements Richard Houston after Philippe Mercier Mezzotint Published according to Act of Parliament October 1st 1760. London Printed for Robt Sayer opposite Fetter Lane Fleet Street Images 318 x 250 mm, Plates 355 x 253 mm, Sheets 365 x 263 mm A complete set of four fine mezzotints depicting the elements; Water, Fire, Earth, and Air. ‘Water’: A three-quarter length depiction of a young woman, standing, and looking towards the viewer. She wears a gown with ribbons looped over the bodice, and with lace around the shoulders and neck. Her hair is worn up, and adorned with flowers. Between her hands, she holds a shallow basin, which she fills with water from a fountain, with a fish shaped spout, beside her. A classical garden stretches behind her, with another fountain visible. To her right, a third fountain sits at the foot of a tree. A putto supports the basin.

Inscription reads: ‘From Noise where Streaming Fountains rise / And Spout their Gushing Torrents to the Skies / There the blest Nymph obeys her Strephon’s call / And sings responsive to the Waters Fall.’

‘Fire’: Presented in three-quarter length, a young woman sits before a fire, set to the right. Her gaze is fixed on the viewer whilst she stokes the fire with a pair of bellows. She wears a gown with gathered lace flounce sleeves, and a fur tippet around her neck. Upon her head, she wears a cap, which ties beneath her chin. A window in the background presents a view of smoking chimneys and rooftops.

Inscription reads: ‘Here blooming Beauty beams celestial Fire / And warms the youthfull heart with fierce desire. / Happy the Fair whose ev’ry look can charm / And like the Sun with chearfull Influence warm.’

‘Earth’: A young woman, depicted in three-quarter length, stands beside a table, leaning forwards whilst planting a young carnation into a pot with a trowel. She wears a gown with a ribboned bodice, and on her head, a straw hat that rests slightly over her brow. Set within a garden, roses are depicted to the left, and a tree to the right.

Inscription reads: ‘As the sweet Flower from Earth delightfull springs, / And rivals in it’s Pomp the Pride of Kings / So the bright Maid not deck’d with Pride or Birth / An Angel seems and makes a Heaven of Earth.’

‘Air’: Standing in three-quarter length, and leaning slightly to the right, a young woman lifts her right arm as a small bird perches on the index finger of her right hand. She gazes and smiles towards the bird. Her gown, with a low-cut neckline, is embellished with ribbons, and her hair is adorned with a plume. In the background, to the right, the battlements of a castle are depicted with a flying flag.

Inscription reads: ‘Soft blowes the Vernal Zephyr o’er the fields, / And newblown Sweets from Flora’s bosom yields, / Delightfull Breeze that sooths the Lovers Smart, / And cools the Fervor of an anxious Heart.’

Chaloner Smith 134 ii/ii, Lennox Boyd ii/ii Condition: Each sheet is trimmed with small margins, minor areas of discolouration to margins. ‘Earth’ is torn to plate mark in upper left corner, and a small tear to lower margin is present.

[41047] £2,200

2. [A Fruit Piece / A Flower Piece] Richard Earlom after Jan van Huysum Mezzotint with stipple and etching Published by Jonathan Boydell, June 25th, 1778 / Published Sepr 1st 1781 Image 397 x 520 mm, Plate 416 x 554 mm Richard Earlom’s remarkable mezzotints are based upon Jan van Huysum’s ‘A Fruit Piece,’ and ‘A Flower Piece’ which are housed in the Hermitage, St Petersburg.

Earlom’s works show rich bouquets of fruit and flora as they appear in Baroque vases, adorned with reliefs.

Various other motifs flank the flowers in both prints. Ladybirds and flies interact with the buds whilst dew forms on the petals. A butterfly hovers, and a small nest with three bird’s eggs appears in the foreground. In the distance, a classical sculpture stands on a plinth, whilst a wide vase sits atop of a pedestal on the left.

Inscription Content: Flower Piece: Lettered within image of the first plate, ‘Jan Van Huysum fecit 1722’, and below image with ‘J. Van Huysum pinx.t / I Boydell Excudit Publish’d June 25. 1778 / Richd Earlom sculps.t / 1778.’ Lennox Boyd state iii/viii, Le Blanc 56, Wessely 145 Fruit Piece:Lettered within image of the second plate, ‘Jan Van Huysum / fecit 1723’, and below image with ‘J. Van Huysum pinx.t / Rich.d Earlom sculps.t / 1781/ Published Sepr 1st 1781 by John Boydell [coat of arms] Engraver in Cheapside London.’

Lennox-Boyd state iii/v, Le Blanc 55, Wessely 144 Condition: Scratched letter proofs. Excellent impressions. Slight toning to the extremities of the sheet. Light crease across lower left corner of ‘Flower Piece’.

[41004] £4,500 the pair

3. The Inside of the Pantheon in Oxford Road Richard Earlom after Michel Vincent Brandoin Mezzotint with etching London, printed for Robt. Sayer No. 53 in Fleet Street. As the Act directs 30 August 1772.

Image 445 x 554 mm, Sheet 466 x 554 mm An interior view of the Pantheon, London, featuring a group of fashionable men and women conversing in the foreground. Within the richly decorated hall, various other groups of socialites are depicted. The background offers a glimpse into various other open rooms. Elaborate decoration is present throughout, with the walls in the background being decorated with statues set within niches.

The Pantheon had opened in 1772, the same year in which Earlom’s print was produced.

Condition: Trimmed to image and below printed title. Light creasing along upper edge of sheet, and a few areas of rubbing to mezzotint surface. Framed with gilt titled Verre églomisé glass.

[41044] £600

4. [Horses in different attitudes in a riding-house, &c.]

Etching Printed for Carington Bowles, at No. 69 in St. Pauls Church Yard, London [c.1781] Image & Plate 106 x 155 mm An uncommon set of six etchings, depicting various techniques of horse-riding. The label on the first plate, ‘Book 68,’ is recorded as Catalogue number 71, page 171, of the Carington Bowles catalogue of c. 1781: ‘Horses in different attitudes in a riding-house, &c.’ This complete set is one of a number of small drawing books compiled and published by Carington Bowles covering subjects such as landscape, ships, horses, beasts and birds listed in their catalogue as ‘new and curious Small Drawing-Books. 6 Leaves in each. Price 6d. a Book, viz.’

The complete set features the following titles: 1. The most becoming manner of sitting a Horse 2. A Manage horse walking by the Riding house wall in a streight line 3. A Manage Horse trotting by the Riding House wall in a Streight line 4. A Manage horse in a Gentle gallop to the left in the Riding house line 5. A Manage horse Galloping on his haunches to the left in the Riding house line 6. A Manage horse in a lofty gallop to the left on his left haunches in the Riding house line.

Condition: Minor time toning to sheets. Framed in a matching set of antique style frames.

[41003] £800

5. [Classical landscape with a column and obelisk] Francis Vivares after Davide Fossati after Marco Ricci Etching Printed & Sold by F. Vivares. [1743-70] Image 200 x 294 mm, Plate 222 x 295 mm, Sheet 267 x 355 mm A landscape of classical ruins, with a column and obelisk set to the left of the composition, and a statue to the right.

The image is a reversed and reduced copy of plate 1 from Davide Fossati’s series of 24 landscapes, which were based on the work of Marco Ricci. It is unclear how many plates were featured in Vivares’ set of copies.

Condition: Creasing to sheet. Two large tear repairs to left of sheet and one to right, which encroach into image. Another tear repair to upper right corner of sheet. Some foxing and discolouration to margins.

[41008] £100

6. [Classical landscape with an obelisk and arches] Francis Vivares after Davide Fossati after Marco Ricci Etching Printed & Sold by F. Vivares. [1743-70] Image 201 x 294 mm, Plate 225 x 312 mm, Sheet 272 x 356 mm A landscape of classical ruins, with an obelisk and statue to the left, and various arches filling the composition. Two men are depicted in the centre lifting a long ladder.

The image is a reversed and reduced copy of plate 7 from Davide Fossati’s series of 24 landscapes, which were based on the work of Marco Ricci. It is unclear how many plates were featured in Vivares’ set of copies.

Condition: Light creasing to sheet, and discolouration to margins. Hole to upper right of sheet, not affecting image.

[41009] £120

7. Remittuntur ei peccata multa, quoniam dilexit multum after Charles Le Brun Copper engraving A Paris chez P. Gallays, rue St. Jacques à St. Fraçcois de Sales [n.d. c. 1745] Image 250 x 188 mm, Plate 271 x 190 mm, Sheet 317 x 239 mm After Charles Le Brun’s 1656 painting ‘Penitent Magdalene’, this depiction of Mary Magdalene presents the repentant saint within an interior beside a window, the frame of which has been immersed by clouds. Divine light emerges from the clouds to fall upon Mary Magdalene’s face. Dynamically presented leaning to the right, her head raises towards the light. At her feet, an overturned box spills jewellery onto the floor.

Condition: Some foxing and discolouration to sheet.

Light crease to lower right.

[40539] £180

8. The Lamentation over the Dead Christ after Rembrandt Etching [c. 1750] Image 221 x 182 mm, Sheet 232 x 183 mm A reversed copy of Rembrandt’s 1635 oil sketch ‘The Lamentation over the Dead Christ’, which is now held in the National Gallery, London. It has been suggested that Rembrandt’s grisaille was produced for an etching which was never executed.

Rembrandt’s name given below lower left corner of image.

The image shows Christ on the floor having descended from the crucifix, with the Virgin Mary, Mary Magdalene, and various other figures weeping over his body. Carefully constructed to reference other events from the story of Christ’s suffering and death, the two hanging thieves connect with the Crucifixion, whilst the figures climbing down the ladders recall the Deposition. The man in the distance wearing elegant attire and a feathered hat appears to suggest Joseph of Arimathaea, the man whom provided the tomb for Christ’s entombment.

Lubertus van Gerrevink watermark to album page.

Condition: Trimmed to image and tipped to album page. Ink spots across upper right corner, and a few spots of foxing and discolouration .

[40594] £175

9. [Judas Receiving the Silver] Bernard Picart after Samuel van Hoogstraten Etching [c.1724-34] Image 139 x 213 mm, Plate 147 x 215 mm, Sheet 156 x 226 mm Plate ‘K’ from Bernard Picart’s ‘Impostures Innocentes’. The series was a compilation of reproductive plates after artists such as Rapahel, Giulio Romano, Parmigianino, Ludovico Carracci, Guido Reni, Salvador Rosa, Charles Le Brun, and Rembrandt.

Whilst the plates were likely executed towards the end of Picart’s life, it was not until 1734, in Amsterdam, that the series was published.

Taking it’s setting as the interior of a temple, this arched composition places Judas to the left, standing at the head of a table, and collecting silver. Various other men gather around the table, whilst two dogs approach from the right.

At the time of this etchings execution, the drawing upon which it is based was attributed to Rembrandt.

The drawing is now attributed to Samuel van Hoogstraten, and is held at Chatsworth in the collection of the Duke of Devonshire.

Condition: Trimmed close to plate mark, and tipped to album page. Some minor toning to margins.

[40604] £75

10.The Three Crosses George Bickham the Younger after Rembrandt Etching [c.1770] Image and plate 344 x 258 mm, Sheet 347 x 261 mm Based on the central section of the final and fifth state of Rembrandt’s 1653 etching ‘The Three Crosses’. Just as with Rembrandt’s etching in which five states were created, Bickham produced various states based on those of Rembrandt’s. In this particular state, the horse is facing in the opposite direction, the surrounding figures are monumentally darker, and various figures have in fact been completely removed towards the foreground.

The composition places Christ on the cross in the centre, with the two thieves, also being crucified, to the sides. Whilst the cross to the left is visible, that to the right is almost completely concealed by darkness. Whilst in earlier states, the mourning Virgin was clearly defined, here, she is almost indistinguishable, also greatly hidden by the intense darkness to the right of the composition.

Inscription running along bottom of image reads: ‘The two Crosses first thought by Rembrandt, this

by Bickham’. Where the plate has been reworked, the inscription has been hatched over, and is particularly difficult to decipher. Although based on Rembrandt’s ‘The Three Crosses’, Bickham’s execution is incomparable to the source. The figures, in particular, are strangely elongated and disproportionate.

[40595] £200

Caricatures & Satires

11. View of the Hustings in Covent Garden,_ Vide. The Westminster Election, Novr. 1806 James Gillray Etching with hand colouring Publish’d Decr. 13th. 1806 by H. Humphrey, 27 St. James’s Street, J. Budd, Pall Mall, & R. Bagshaw, Brydges Street.

Image 219 x 344 mm Above the design, ‘Publish’d for the History of the Westminster & Middlesex Elections, Novr 1806’, and a folding pl. from the book. A section of the hustings extends across the design, bisected by one of the vertical posts supporting the (invisible) roof. On this are two placards: ‘Loyal Parishes of St Paul’s and St Giles’s’ and ‘State of the Poll - . Paul - Hood - Sheridan’. The base of the design is formed by the heads and raised arms of the mob below. Hood and Sheridan, with their supporters, are on the left of the post, Paull and his supporters on the r. The supporters wear favours (buff and blue on the left) with the names of their candidates. On the extreme left. is a stout man holding a whip. Next, Hood in uniform, with his empty r. sleeve, turns in profile to the left., away from Sheridan, putting his hand to his mouth to cover a smile. Sheridan stares in bewildered an speechless anguish, horrified at the shouts of the mob and at Paull’s words Whitbread, standing behind, puts his left hand reassuringly on his shoulder and offers him a foaming tankard inscribed ‘Whitbread new Loyal Porter’. His is ‘Hood & Sheridan’. On Sheridan’s l. a dog, its collar inscribed ‘Peter Moore’, barks savagely at Paull, who stands hat in hand, r. arm extended towards Sheridan, addressing the crowd: “ - the sunk, the lost, the degraded Treasurer” [Sheridan]. On Paull’s l. is Burdett; next, and on the extreme right., is Bosville. Between and behind Paull and Burdett stands Cobbett, holding an issue of the ‘Political Register’ on which the word ‘Cobbett’ is legible. These three have tickets inscribed ‘Paull’ in their hats. Behind Paull on the left, and watching him with a sly grin, stands the Duke of Northumberland, Sheridan’s enemy, see BMSat 10606. He holds a paper: ‘To the Vestry of St Margaret’; in his hat is ‘No Coalition’ [i.e. between Hood and Sheridan]. Behind these first two rows on the hustings, heads recede until they merge in shadow. Three men behind Sheridan appear to be portraits; two have favours inscribed ‘Sheridan’ (one probably Lord William Russell, Sheridan’s seconder); the third is a fat and grotesque man in uniform wearing a plumed death’s head cap and a gorget. He is Downes, an undertaker, and a major in the St. James’s Volunteers (of which Sheridan was Colonel): there were shouts of ‘no major Downes the undertaker’ (see BMSat 9750). See ‘Pol. Reg.’ x. 810, 836. The rank and file of Sheridan’s supporters look anxious, those of Paull are grinning.

Below the hustings some of the mob hold up their hats to cheer their candidate, others flourish bludgeons or insulting emblems. From l. to r.: shouts are for “Hood [four times], Hood for ever; no Picton”. Then (against Hood): “Two Faces under a Hood; no False Votes.” Against Sheridan: “No Placemen in Parliament; No Harlequin Turncoat; No Stage Tricks!; No Vagabond Representative; Pay your Debts; Mr Treasurer; Where’s my Renters share, dam’ you.” Next is a group with bludgeons inscribed ‘Sherry’ who shout: “Sherry & Liberty”; “Sherry for Ever”; “Sherry.” Next, below Paull, a group which shouts “No Paul”. A pair of shears, a smoothing-iron, and a cabbage speared on a stick, are held up, with the respective shouts: “no Paul Goose”; “no Stitching Representative”; “no Cabbaging Candidate”. On the extreme right. are Paull’s supporters, these wear bonnets rouges (coloured red and blue) with tricolour favours inscribed ‘Paul’. They shout “Paul & Independence”; “Paul for Ever”; “Paul & Plumpers” [see BMSat 10608].

(Description and comment from M.Dorothy George, ‘Catalogue of Political and Personal Satires in the British Museum’, VIII, 1947)

BM Satires 10619 Condition: A few light spots of discolouration to margins, but otherwise, a good, clean impression.

[41006] £700

12. Two Three-Pounders Going Full Speed to a Shilling Ordinary on a Sunday Copper engraving London Publish’d Augt. 4; 1794, by J. Smith No.35 Cheapside Image 215 x 176 mm, Sheet 238 x 192 mm A satirical engraving of two large, overweight and overdressed men walking in the summers heat with the sun beating down. One holds his coat over his arm the other his wig and hat, both mopping their brows. The city of London spreads out behind them with Westminster Abbey to the right foreground.

Inscription below title reads ‘From London to Dulwich on a Sun-shiny Day , See two unweildy Gluttons a posting away / Three Pounds each they’ll devour, besides Beer, Cheese & Bread; None but Fools, sure, will feed them for twelvepence a Head.’

BM Satires undescribed Condition: Trimmed within the plate to left and bottom.

[41107] £250

13. The Female Orators.

Martin Rennoldson after John Collet Copper engraving and etching Printed for Jno. Smith No. 35 Cheapside, & Robt.

Sayer No. 53 Fleet Street, as the Act directs Novr.

20, 1768.

Image 234 x 353 mm, Plate 255 x 365 mm, Sheet 287 x 416 mm Set within a street, two market women are depicted in an altercation. The woman to the left, with her fists resting on her hips, angrily leans towards the woman she is arguing with. To the right, the other woman smiles sarcastically, whilst extending her hands and arms, as if applauding. A man behind her taps her shoulder, and with a grin on his face, points towards a bill on the wall behind, which reads ‘Theatre Royal Covent Garden Epicoene or the Silent Woman’. Several other figures watch over the argument. A fiddler, standing to the right, looks over in disappointment, whilst the man leaning over the rail in the centre looks somewhat amused. To the left, a gentleman emerges from his sedan, covering his ears with his hands whilst hurrying away from the dispute. A young boy takes advantage of the situation, helping himself to one of the women’s unattended baskets, whilst a dog sniffs at another basket filled with fish.

Inscription reads: ‘Engraved from an Original Picture Painted by Mr. John Collet.’

BM Satires undescribed Condition: A few areas of faint discolouration to margins, with verso heavily discoloured, likely from previous acidic mount.

[41037] £175

14. [A Posting Inn] Thomas Rowlandson Etching and aquatint 1787 Image 131 x 206 mm, Sheet 158 x 231 mm In Rowlandson’s rural scene, a stage coach is depicted waiting outside of a posting inn. Several figures are illustrated sitting on top of the coach, whilst a man attends to the coach horses. Slightly to the right, a sign, featuring a horse, hangs from a large post. A post-chaise speeds past the inn, with the driver holding his whip above his head. To the right, a far more relaxed man drives by in his small horsedrawn cart. In the background, trees and a small building are loosely and faintly outlined.

The print was published without a title, although it is described in Grego as ‘A posting inn’, in 1787, and is one of at least six rural scenes etched by Rowlandson in 1787, and published by J Harris of 38 Dean Street.

Grego p.391 Condition: Trimmed to printed boarder and areas of creasing to sheet. Foxing to sheet, particularly affecting upper left of image, and left and lower margins.

[41038] £120

15. Epoch I. The New Fellow.

Luis Etching Published by Jas. Wyatt & son, High Street, Oxford.

Feb 1841 Image 125 x 188 mm, Plate 153 x 202 mm, Sheet 235 x 292 mm.

A rare, unrecorded and complete series of eight caricatures illustrating a new arrival at Eton College.

The set of prints belongs to a larger series, of which there are 8 sets of prints illustrating various scenes and events at Eton.

Plate 1: The Arrival Plate 2: First interview with my Dame Plate 3: Introduction to my Dame’s fellows Plate 4: Bed-time Plate 5: Examination Plate 6: Dinner Plate 7: Order for Books Plate 8: I havn’t been here a fortnight Condition: Overall time toning to sheets, with tears to edges, not affecting image. Small amount of foxing to some sheets, but particularly notable to margins of plate 5.

[40731] £350

16. Epoch II. The Fourth Form.

Luis Etching Published by Jas. Wyatt & son, High Street, Oxford.

Feb 1841 Image 125 x 188 mm, Plate 154 x 200 mm, Sheet 252 x 320 mm.

A rare, unrecorded and complete series of eight caricatures illustrating students at Eton College. The set of prints belongs to a larger series, of which there are 8 sets of prints illustrating various scenes and events at Eton.

Plate 1: 6 o’clock Lesson Plate 2: Long Morning Plate 3. My Tutor’s pupil room Plate 4: Fagging or “Laying things” Plate 5: 11 o’clock school Plate 6: The Construe Plate 7: Booking for the fourth form Plate 8: Lock up, Absence in my Dame’s Condition: Some time toning and foxing to sheets.

Tearing to edges of sheets, but not affecting image.

[40739] £350

Portraits

17. Epoch III. The Remove.

Luis Etching Published by Jas. Wyatt & son, High Street, Oxford.

Feb 1841 Image 125 x 180 mm, Plate 150 x 200 mm, Sheet 252 x 325 mm.

A rare, unrecorded and complete series of four caricatures illustrating students at Eton College. The set of prints belongs to a larger series, of which there are 8 sets of prints illustrating various scenes and events at Eton.

Plate 1: Map Morning Plate 2: Towing up to Surley Plate 3: 3 o’clock school Plate 4: Poet’s Walk Condition: Some time toning and foxing to sheets.

Tearing to edges of sheets, but not affecting image.

[40747] £175

18. llustrissimi et Excellentissimi Coniuges D: Thomas Howard et D: Alatheia Talbot Arundelliae et Surriae Comite Lucas Vorsterman after Antony van Dyck Copper engraving [Antwerp, c.1640-50] Image 281 x 427 mm, Sheet 304 x 430 mm Portrait of Thomas Howard, 2nd Earl of Arundel, alongside his wife, Alathea, Countess of Arundel and Surrey. The Earl is seated to the right behind a globe, holding a baton in his left hand, and wearing the Order of the Garter around his neck. With his right hand, he points towards Madagascar on the globe. To the left is the Countess, also seated, wearing an ermine robe, tiara, and jewels. In her right hand, she holds a pair of callipers, and in her left hand another form of measuring instrument.

Thomas Howard, 2nd Earl of Arundel (1585 - 1646), although a British politician and a prominent courtier during the reigns of King James I and King Charles I, is primarily known as a Grand Tourist, a collector, and a great patron of the arts. On his death, his collection consisted of some 700 paintings, alongside vast collections of sculpture, books, prints, drawings, and antique jewellery. Whilst many of the drawings from his collection are now held at the Royal Library at Windsor Castle, or at Chatsworth, his collection of antique sculptures, those of which now take the name the Arundel Marbles, were left to the University of Oxford. Today, the marbles are held at the Ashmolean Museum, Oxford.

Hollstein 133.I (Vorsterman), O’Donoghue 29, New Hollstein (Dutch & Flemish) 370 (Van Dyck), Hind III.197.3 Condition: Excellent impression. Trimmed within plate mark, previously tipped to album page.

[40538] £300

19. Thomas Howardus Lucas Vorsterman I after Anthony van Dyck Copper engraving [n.d. c.1630-77] Image 226 x 196 mm, Shet 258 x 200 mm Bust portrait of Thomas Howard, 2nd Earl of Arundel, turned slightly to the right, but with his gaze directed towards the viewer. He wears a buttoned shirt beneath a robe, and around his neck, he wears a medallion.

The portrait was featured in van Dyck’s ‘Icones Principum Virorum’, first published in Antwerp between 1635 and 1636. Featured in the series were 100 etched or engraved portraits, many of which were of artists. Several of the plates within the series were etched by van Dyck, and various other printmakers contributed to the publication, including Lucas Vosterman I, Pieter de Jode II, Paulus Pontius, and Willem Hondius.

Hollstein 133.III (Vorsterman), O’Donoghue 11, New Hollstein (Dutch & Flemish) 109.III (Van Dyck) Condition: Trimmed within plate mark. Thinning of paper, and small hole, in centre of inscription area.

[41058] £80

20. His Royal Highness George Prince of Wales. &c.

John Smith after Sir Godfrey Kneller Mezzotint Sold by I. Smith a ye Lyon & Crown in Russell Street Covent Garden [1717] Image 299 x 246 mm, Plate 345 x 248 mm, Sheet 371 x 263 mm Bust portrait of King George II, when Prince of Wales, set within an oval. He wears a wig, Robes of State, and a garter collar.

O’Donoghue 12, Chaloner Smith 103 Condition: Tipped to album page. Trimmed close to plate along left and upper edges. Very light rubbing to mezzotint surface to left of oval, and small damage to surface outside lower right of oval. Some discolouration to lower margin.

[41060] £225

21. Georgius Mag Britanniae Rex. Fidei Defensor &c &c George Vertue after Sir Godfrey Kneller Copper engraving [1718] Image and sheet 333 x 194 mm Bust portrait of George I as king, shown wearing a wig, mantle, and a garter collar with George. The portrait is set within a decorated oval, and surmounts an inscribed pedestal. Resting upon the pedestal is a decorated helmet, sceptre, sword, and orb.

Condition: Trimmed within plate, and tipped to album page. Some creasing across, and some light discolouration from glue on verso.

[41063] £60

22. Gasto Franciæ Dux Aureliacus Copper engraving [c.1660] Image 397 x 292 mm, Plate 400 296 mm, Sheet 452 x 335 mm Three-quarter length portrait of Gaston, Duke of Orléans, standing, and turned slightly to the left, whilst looking towards the viewer. He wears military attire, with a sash, and lace collar. In his right hand, he holds a baton, and he rests his left arm of a plumed helmet, which sits upon a table. Surrounding the portrait are various images relating to the sitter.

The portrait was featured in ‘Les Portraits des Hommes Illustres Francois qui sont Peints dans la Galerie du Palais Cardinal de Richelieu’ (1660).

Gaston, Duke of Orléans (1608 - 1660) was the third son of King Henry IV of France and Marie de Medici.

Condition: Some creasing to margins, slightly encroaching into image, and a few spots of light discolouration. Large tear repair in upper left corner of sheet. A couple of spots of foxing to image.

[41065] £180

23. Oliver Cromwell Etching [n.d. c.1800] Image 74 x 49 mm, Sheet 137 x 101 mm A small, full-length portrait of Oliver Cromwell, standing, and turned slightly to the right. He wears full military attire, and holds a stick in his right hand.

Inscription below image reads: ‘His Highness Oliver Lord Protector of the Comon Wealth of England Scotland and Ireland’.

Oliver Cromwell (1599-1658) was a country gentleman who became a soldier, statesman and finally Lord Protector of Great Britain. As MP for Huntingdon and then Cambridge, he was an outspoken critic of Charles I. His military skills and God-fearing tenacity were decisive factors in the Parliamentarian victory in the civil wars, and he was prominent among those who first treated with, and then executed the King in 1649. He achieved military success in Ireland in 1649 - but carried out brutal massacres. He led the New Model Army to victory against the Scots and Charles II in 1651. Emerged as a head of state when the ‘Rump’ Parliament was dissolved in 1653, and created Lord Protector. He refused the crown in 1657, dying in 1658.

O’Donoghue 91 Condition: Discolouration and red marks to sheet, and laid to album page.

[41062] £30

24. The Marquess of Lansdown.

Francesco Bartolozzi after Thomas Gainsborough Stipple Publis’d as the Act directs F.Bartolozzi 1787.

Image 205 x 172 mm, Plate 277 x 223 mm, Sheet 377 x 283 mm A half length portrait of Lansdown wearing uniform with Garter star, sash, waistcoat, neckerchief in an oval William Petty, 2nd Earl of Shelburne and 1st Marquess of Lansdowne (1737 - 1805) Prime minister.

O’Donoghue 1, Horne 44, Layard 68, Calabi & De Vesme 856 II [40414] £200

25. D. Fredericus de Marselaer Adriaen Lommelin after Anthony Van Dyck Copper engraving [n.d. c.1630-77] Image 233 x 190 mm, Sheet 266 x 190 mm Half-length portrait of Frederick de Marselaer, turned to the right, but looking towards the viewer.

He wears a large cloak, lace trimmed cuffs, and a ruff. In his right hand, he holds a scroll, and tucked beneath his left arm is a sword. His coat of arms are featured in the upper right corner of the image.

The portrait was featured in van Dyck’s ‘Icones Principum Virorum’, first published in Antwerp between 1635 and 1636. Featured in the series were 100 etched or engraved portraits, many of which were of artists. Several of the plates within the series were etched by van Dyck, and various other printmakers contributed to the publication, including Lucas Vosterman I, Pieter de Jode II, Paulus Pontius, and Willem Hondius.

Hollstein 2, Van Someren 3507 Condition: Trimmed within plate .

[41061] £55

26. Casparus Barlæus, Medicinæ Doctor, Nupper Coll, Theologici Subregens, et Logicæ in Academia Lugdunobat. Professor. Ætat.XLI. Anno.

M.DC. XXV. Willem Jacobsz. Delff after D. Bailly Copper engraving c. 1625 Image 233 x 157 mm, Sheet 242 x 165 mm.

Portrait of Caspar Barlaeus (1584 - 1648) with title engraved in oval surrounding image, set within an decorative boarder including a scull, orrery and book.

Born Caspar (Kaspar) van Baerle in Antwerp, he was a theologian, poet , polymath and Renaissance humanist. Caspar studied theology and philosophy at the University of Leiden, followed by one and half years preaching in the village of Nieuwe-Tonge, before returning to Leiden in 1612 as an under-regent of a college. From 1617 he was professor in philosophy at the university. Because of his remonstrant sympathies, he was forced out of this job in 1619.

He went on to study and graduated in medicines (in Caen), but never practiced professionally. From 1631, he was professor of philosophy and rhetoric at the Amsterdam Athenaeum (Athenaeum Illustre), which is commonly regarded as the predecessor of the University of Amsterdam.

Muller II 1853 222,Franken 1872 4, Hollstein 4.II, van Someren 1888 M.222 Condition: Trimmed with thread margins.

[40727] £120

27. [Francis Bacon] William Marshall Copper engraving [c.1640] Image 190 x 141 mm, Plate 145 x 146 mm Portrait of Francis Bacon, shown nearly in whole length, seated before a table whilst writing in a book. He wears elaborate robes, lined with fur, a large ruff, and a hat. In the background, to the right, books sit upon a shelf, and a coat of arms is present just below. A tied back curtain is shown in the background to the left. In the upper centre, a laurel wreath is inscribed with ‘‘Tertius A’ Platone Philosophiæ Princeps’.

The portrait was featured as a frontispiece to both Bacon’s ‘Of the Advancement of Learning’ (1640) and his ‘The Historie of the reign of King Henry the Seventh’ (1641).

Marshall’s depiction of Bacon is an adaptation of Simon van de Passe’s engraving (Hind 6).

Francis Bacon, Viscount St Alban (1561-1626), was a lawyer, philosopher, essayist and scientist, and one of the great intellectual figures of Jacobean England. He was appointed Lord Chancellor in 1618, but was impeached for bribery three years later and confessed to ‘corruption’ and ‘neglect’. He spent the rest of his life in retirement, to devote himself to scientific research, which has led him to be regarded as the father of experimental science in this country. He published Essays (1597), the Advancement of Learning (1605), the Novum Organum (1620) and many other works.

Hind 5 Ex. Col. Hon. Christopher Lennox-Boyd Condition: Tipped to album page. Small stain to margin in upper right corner, and a small amount of creasing to margins.

[41056] £100

28. Vera Effigies Richardi Brownlowe Armigeri Capitalis Protonotary in Curia de Banco.

Thomas Cross Copper engraving [1662] Image 158 x 117 mm, Sheet 182 x 124 mm Three-quarter length seated portrait of Richard Brownlow, aged 86. He wears a skullcap, ruff, and a gown, holds a scroll in his right hand, and gloves in his left.

The portrait was featured as the frontispiece to Richard Brownlow’s and John Goldesburg’s ‘Reports’.

Richard Brownlow (1553 - 1683) was the chief prothonotary of the British court of common pleas.

O’Donoghue 2, Hind 11 Condition: Trimmed within plate mark, and printers crease to upper centre of image.

[41053] £60

29. Thomas Lediard after Thomas Lediard Copper engraving 1735 Image 314 x196 mm, Sheet 328 x 197 mm Frontispiece to Thomas Lediard’s ‘The Naval History of England’.

Central to the frontispiece is a portrait of Lediard set within an ornate oval frame and before a pedestal.

Surrounding the portrait are various other frames containing images of naval subjects and allegorical figures, such as history, astronomy, arithmetic, navigation, mercantility, geometry and cosmography.

Towards the bottom of the illustration is a woman reclining in front of the pedestal. Around her head is band inscribed with ‘Ars Nautica’, and in her left hand she holds the staff of Mercury. Looking up towards the portrait of Lediard, the woman leans upon a bound volume of ‘The Naval History of England’, whilst drawing a map of the South East corner of America, titled ‘Georgia’ with her right hand.

O’Donoghue 2 Condition: Trimmed within plate mark and to image.

Small hole in lower right corner of sheet, and some surface damage along right edge. Vertical crease to right of sheet.

[40780] £120

30. William Shakespear.

Richard Earlom after Cornelius Johnson Mezzotint [c.1770] Image 133 x 113 mm, Plate 148 x 113 mm, Sheet 158 x 119 mm Bust portrait of William Shakespeare, turned slightly to the left, but looking towards the viewer. He wears a wide lace collar, but little else of his clothing can be distinguished. In the upper left corner of the image, the date 1610 is given, and Shakespeare’s age of 40 at this date.

Inscription reads: ‘From an Original Picture by Cornelius Jansen in the Collection of C. Jennens Esqr.’

The portrait was originally intended to be an illustration to Charles Jennens’ 1770 edition of ‘King Lear’.

Chaloner Smith 39, Wessely 51 Condition: Trimmed close to plate mark, and some overall time toning to sheet. Some rubbing to image.

[40783] £90

31. [Robert May] Richard Gaywood Etching [Nathaniel Brooke, 1660] Image 113 x 85 mm, Sheet 147 x 89 mm Half-length portrait of Robert May, with his shoulders turned slightly to the right, whilst looking towards the viewer. He wears a simple cloak, and a broad white collar, from which two tassels hang.

The portrait was featured as a frontispiece to May’s ‘The Accomplisht Cook, or The Art and Mystery of Cookery’.

Inscription reads: ‘What wouldst thou view but in one face / all hospitalitie, the race / of those that for the Gusto stand / whose tables a whole Ark comand / of Natures plentie, wouldst thou see / this light, peruse Maijs booke, tis hee’ Robert May (1588 - c.1664) was an English professional chef. He received his training in France, and worked in England. He wrote ‘The Accomplisht Cook’, published in 1660, which was the first major English cookbook.

O’Donoghue 1 Condition: Trimmed within plate, with publication line missing. Water stain along upper edge of sheet.

Tipped to album page.

[41054] £65

32. Ios Caius Medicus Magdalena or Willem van de Passe Copper engraving [Arnhem, Crispijn van de Passe, 1620] Image 130 x 106 mm, Sheet 147 x 106 mm Half-length portrait of John Caius, depicted in profile to the left. He wears a fur-lined cloak, and a full beard.

The portrait was featured as an illustration to Henry Holland’s ‘Heroologia Anglica’.

Dr John Caius (1510 - 1573) was Physician to Edward VI, Mary, and Elizabeth, and the co-founder of Gonville and Caius College, Cambridge.

O’Donogue 1, Hollstein 171ad (Crispijn van de Passe), Hind 51 Condition: Trimmed within plate mark, slightly encroaching into inscription space. Tipped to album page.

[41052] £45

33. Gioacchino Conti Gizziello Alexander van Haecken after Charles Lucy Mezzotint 1736 Image and plate 355 x 254 mm, Sheet 358 x 259 mm Half-length portrait of Gioacchini Conti, turned slightly to the left, and looking towards the viewer.

The portrait is set within an ornate oval, inscribed with the sitter’s name and the artists’ names, which sits upon a pedestal. Resting on top of the pedestal is an open music book, with a couple of loose music sheets below.

Gioacchino Conti, known as Gizziello (1714 - 1761) was an Italian soprano castrato opera singer. Born in Arpino, and possibly the son of the composer Nicola Conti, Conti went on to study in Naples under Domenico Gizzi, after whom he was nicknamed. Conti made his debut in Rome at a young age in around 1730. He went on to have a successful career, which led him across Europe, and to London.

Condition: Trimmed close to plate mark, repaired tear along lower edge of plate, ever so slightly encroaching into image. Small part of upper left corner replaced, and another small area added to loss at centre left of sheet.

[41064] £250

34. Effigies R.P. Lanceloti Andrewes Episcopi Wintoniensis John Payne Copper engraving Are to be Sold by R. Badger dwelling in Stationers Hall. 1641.

Image 184 x 155 mm, Sheet 239 x 161 mm Half-length portrait of Lancelot Andrewes, Bishop of Winchester, set within an oval inscribed with his name. Andrewes wears a cap, a ruff, and robes, and between his hands, he holds a book, with his finger resting between the pages. A coat of arms is present in the lower margin, set between the sixteen lines of verse.

The portrait was featured as a frontispiece to Andrewes’ ‘XCVI Sermons’. Three editions were published, with three states of the portrait existing; 1632, 1635, and 1641.

Lancelot Andrewes, Bishop of Winchester (1555 - 1626) was one of the leading divines involved with the Authorized Version of the Bible, also known as the King James Bible, which was inaugurated in 1604 at the Hampton Court Conference.

O’Donoghue 1 iii/iii, Hind 2 iii/iii Condition: Trimmed within plate.

[41055] £50

35. Vera Effigies Richardi Baxteri...

Robert White Copper engraving 1670 Image 162 x 112 mm, Sheet 174 x 121 mm Half-length portrait of Richard Baxter, turned slightly to the right, but looking towards the viewer. He wears a skullcap, bands, and a gown, and in his right hand, holds a book. In the background is a curtain, window, vaulting, and a pillar, upon which is pinned an inscription: ‘Thy benignity is better then life Ps.63 v7’ The portrait was featured as a frontispiece to Baxter’s ‘Life of faith’ (1670).

Richard Baxter (1615 - 1691) was a nonconformist cleric, and a chaplain in the Parliamentarian army during the Civil War. O’Donoghue 3 Condition: Tipped to album page. Few spots of discolouration to margins.

[41066] £60

36. Nicholas Ridley Bishop of London.

William Marshall Copper engraving [London, 1642] Image 128 x 107 mm, Plate 132 x 112 mm, Sheet 143 x 119 mm Bust portrait of Nicholas Ridley, turned to the left, and looking towards the viewer. He wears simple clerical attire, and has a full beard.

Inscription reads: ‘He died a constant Martyr for the Truth, and was burnt at Oxford the 16th of Octob: 1555’.

The portrait was featured as an illustration to Thomas Fuller’s ‘Holy State’ (1642).

Nicholas Ridley, Bishop of London (1550/3 - 1555) was a Protestant reformer. In 1541, Ridley was made Canon of Canterbury, and of Westminster in 1545. He was elected Bishop of London in April 1550, and became the only bishop to be called ‘Bishop of London and Westminster’. During the Marian Persecutions, Ridely was burned at the stake in Oxford for his teachings and support of Lady Jane Grey.

O’Donoghue 2, Hind 119 Ex. Col. Hon. Christopher Lennox-Boyd Condition: Trimmed close to plate mark, and some light creasing to sheet.

[41051] £50

37. The Pourtracture of the Reverend and worthy Minister of God, William Ames D. D. William Marshall Copper engraving Printed for John Rothwell at the Sunn in Paules Church yard [1633 or 1642] Image 128 x 106 mm, Plate 151 x 111 mm, Sheet 158 x 116 mm Half-length portrait of William Ames, depicted wearing a skullcap, ruff, and a cloak. In his left hand, he holds a small book, likely a prayer book. The portrait was featured as the frontispiece to both his ‘Fresh suit against cermonies’ (1633) and his ‘Marrow of sacred divinity’ (1642).

William Ames (1576 - 1633) was an English Protestant divine, philosopher, and controversialist. Ames became a professor at the University of Franeker in the Netherlands.

O’Donoghue 1, Hind 2 Condition: Some creasing along right edge of sheet, and some time toning to sheet.

[41050] £40

38 Miss Kemble.

John Jones after Sir Joshua Reynolds Mezzotint London Published according to Act March 23, 1784, by John Jones, No. 63 Great Portland Street Image 333 x 276 mm, Plate 376 x 277 mm, Sheet 383 x 283 mm A rare half length portrait after of Frances Kemble, after Sir Joshua Reynolds (Mannings 1027). Kemble is seated looking downwards, and slightly to the left. Her hair is piled on her head, and she wears a ribbon around her neck, a white shoulder wrap and a black dress. A mountainous landscape is present behind. The engraved inscription space, which is lightly ground, shows two putti holding a scroll, inscribed with the sitter’s name, surrounded by clouds.

Frances Anne “Fanny” Kemble (27 November 1809 – 15 January 1893) was a British actress from a theatre family. She was a well-known and popular writer, whose published works included plays, poetry, eleven volumes of memoirs, travel writing and works about the theatre.

Chaloner Smith 42, Hamilton 112 (a) ii/iii, O’Donoghue 3, Russell ii/ii Lennox-Boyd ii/iv Condition: Trimmed close to plate mark. Scratch to mezzotint surface towards lower centre, but otherwise, a very good impression.

[41046] £450

Maps, Panoramas & Topographical Prints Not so United Kingdom London

39. The City & Port of London from the Borough of Southwark showing the River & the Principal Buildings between the Temple & the Tower Bridge A.D. 1919 Emery Walker after Edmund Hort New Photogravure with hand colouring Edmund Hort New, at 17 Worcester Place, Oxford: A.D. 1919 Image 345 x 1115 mm, Plate 385 x 1145 mm printed on two sheets An uncommon large-scale panorama of London, from Temple to Tower Bridge, with a key to all the principal buildings depicted. For this view, Hort New revisited Wenceslaus Hollar’s famous panorama of London, updated it and embellished it with Arts & Crafts motifs. At the centre, a large garlanded roundel features a Medieval depiction of St Paul, guardian of the city. Below, the city is a hive of activity. Steamships and vessels of all kinds sail the river Thames. Factories and cranes line the banks.

The bridges and roads of the city are populated by omnibuses, carriages, and trains, while the skyline above the city is host to numerous hot air balloons.

Condition: Printed on two sheets and joined. Minor buckling to sheet from old central join. Minor time toning to sheet. Light staining to centre join. Light foxing to margins, not affecting image.

[40869] £1,200

40. [London] Bacon, George Washington Chromolithpgraph [c.1919] 455 x 589 mm Sheets 84 and 85 from Bacon’s ‘New Large-scale Atlas of London and the Suburbs’.

Sheet 84 covers West London, from Willesden to Kentish Town, and from Putney Heath to Balham and Clapham. Sheet 85 covers East London, from Holloway and Highbury to Leyton and Straford, and from Brixton to Lewisham.

[41048] £150

41. Railway Map [London Underground] Beck, Harry C. Chromolithograph No. 1, 1936. London Transport 55 Broadway, Westminster, S.W.1 Victoria 6800.

152 x 225 mm An early Beck map of the London Underground in the ‘New Deco Style’ with map of ‘Interchange Stations Central Area’ on verso. The 1936 map was the first major update to Beck’s famous 1933 issue. Major changes involve the full inclusion of the Cockfosters Line, which had been under construction previous to this, the removal of the west end of the District Line between Ealing Common and Hillingdon, and the addition of the words ‘London’ and ‘Transport’ to the Underground logo.

Condition: Excellent, near mint condition. Pressed vertical folds as issued. Mounted in double-sided mount.

[40866] £575

42. Underground Lines Beck, Harry C. Chromolithograph No. 1. 1945. Johnson, Riddle & Co. Ltd. SE20. London Transport, 55 Broadway SW1 ABBey 1234 142 x 220 mm Second World War period map of the London Underground in the ‘New Deco Style’ with map of ‘Connections with Main Line Termini’ on verso.

The 1945 map is a continuation of changes made to Beck’s original design in 1943, requested by the London Transport Board to reduce the number of diagonals in the design. The map is thus much more rectilinear, centred on a cross made by the horizontal Central Line and Vertical Northern Line. Remaining diagonals were reset to 45° like Beck’s original map, discarding the 60° diagonals of the 1941 map. One geographic casualty of the rectilinear plan was Richmond station, as the new layout forced the movement of the station from its riverside location. The 1945 map also features a note advising the closure of Aldwych Station and the suspension of passenger services between Earls Court and Willesden Junction and between Addison Road and Latimer Road.

Condition: Excellent, near mint condition. Pressed vertical folds as issued. Mounted in double-sided mount.

[40867] £200

43. Diagram of Lines [London Underground] Beck, Harry C. Chromolithograph January 1951. Printed in Great Britain. Johnson Riddle & Co. Ltd. London. SE20. London Transport, 55 Broadway SW1 Abbey 1234 142 x 220 mm Map of the London Underground in the ‘New Deco Style’ with map of ‘Central Area Interchange Stations’ on verso. The 1951 map remained virtually unchanged until the opening of the Victoria Line in the late 1960s, as by this time, all planned pre-war extensions to the Underground had been completed.

By this time, duplications of station names at interchanges had been removed and all station names were printed in black ink. Both of these changes, implemented in the late 1940s, were intended to make the map easier to read. Another innovation of the late 1940s was the addition of white coupling lines to link interchange circles, as retained here.

Condition: Excellent, near mint condition. Pressed vertical folds as issued. Mounted in double-sided mount.

[40868] £150

44. Fleet Street displayed Sayer, John Pearson Chromolithograph The Third Map of the Survey of London by J.P. Sayer [1946] 190 x 255 mm One of a series of 17 pictographic maps of London, this example being a map of Fleet Street, the third part of the Survey of London described and illustrated by J.P.Sayer. Further maps continuing the survey were issued each month by Strand Magazine.

The map takes the form of a double ribbon, and like Sayer’s other works, features numerous caricatures and notes of historic local interest. The verso features depictions of local crests and coats of arms, a view of Temple Bar, and a text panel of ‘General and Rare Memorials.’

Condition: Central vertical fold as issued. Binders holes to centre fold. Mounted in a double-sided mount. Stamp of ‘St Bernards Hospital’ on verso.

[40853] £75

45. A Map of Blackfriars and New Bridge Street Sayer, John Pearson Chromolithograph The Eighth Part of the Survey of London, a further Map of which will appear each month. [1947] 255 x 190 mm One of a series of 17 pictographic maps of London, this example being a map of Blackfriars and New Bridge Street, the eighth part of the Survey of London described and illustrated by J.P.Sayer. Further maps continuing the survey were issued each month

by Strand Magazine. The map is bordered by vignettes of the area, and like Sayer’s other works, features numerous caricatures and notes of historic local interest. The verso features two eighteenth century views of the Fleet and Blackfriars Bridge, as well as a view of the New Bridge in 1947.

Condition: Central vertical fold as issued. Binders holes to centre fold. Mounted in a double-sided mount.

[40856] £75

46. A Map of Kensington Gardens and Hyde Park Sayer, John Pearson Chromolithograph

By J.P.Sayer. Strand Magazine, Tower House, Southampton St, London, WC2 [1947] 190 x 255 mm One of a series of 17 pictographic maps of London, this example being a birds-eye view of Kensington Gardens, part of the Survey of London described and illustrated by J.P.Sayer. Further maps continuing the survey were issued each month by Strand Magazine.

Like Sayer’s other works, the map features numerous caricatures and notes of historic local interest.

The verso features a map of Hyde Park, and a view of the tree-lined boulevard leading to Kensington Palace.

Condition: Central vertical fold as issued. Binders holes to centre fold. Mounted in a double-sided mount.

[40864] £75

47. A Map of the Ancient Borough of Southwark Sayer, John Pearson Chromolithograph Drawn by J.P.Sayer for the Strand Magazine, Tower House, Southampton Street, WC2. [1947] 190 x 255 mm One of a series of 17 pictographic maps of London, this example being a map of Southwark, part of the Survey of London described and illustrated by J.P.Sayer. Further maps continuing the survey were issued each month by Strand Magazine. Like Sayer’s other works, the map features numerous caricatures and notes of historic local interest. The verso features a view of Southwark and the Thames in 1640, as well as notes about the borough.

Condition: Central vertical fold as issued. Binders holes to centre fold. Mounted in a double-sided mount.

[40859] £75

48. A Map of the Strand from Trafalgar Square to Aldwych Sayer, John Pearson Chromolithograph being the Ninth Section of the Survey of London Drawn and described by J.P.Sayer 1947 190 x 255 mm One of a series of 17 pictographic maps of London, this example being a map of the Strand from Trafalgar Square to Aldwych, the ninth part of the Survey of London described and illustrated by J.P.Sayer.

Further maps continuing the survey were issued each month by Strand Magazine. Like Sayer’s other works, the map features numerous caricatures and notes of historic local interest. The verso features a continuation of the Strand, and three vignettes representing the South Side of the Strand in 1742, Savoy Palace in 1650, and the Riverside in 1630.

Condition: Central vertical fold as issued. Binders holes to centre fold. Mounted in a double-sided mount.

[40858] £75

49. The Map of the Strand, from Wellington Street to Temple Bar Sayer, John Pearson Chromolithograph A Great New Survey of London 1946, Part the First.

The Whole devised and drawn by J.P. Sayer 190 x 255 mm One of a series of 17 pictographic maps of London, this example being a map of the Strand, the first part of the Survey of London described and illustrated by J.P.Sayer. Further maps continuing the survey were issued each month by Strand Magazine. The map is bordered with vignettes of the area as well as prospects of the North and South sides of the Strand, and like Sayer’s other works, features numerous caricatures and notes of historic local interest. The verso features a decorative cartouche with illustrations of famous individuals including Coleridge, Dickens, Nell Gwynn, Newton, and Samuel Johnson.

Condition: Central vertical fold as issued. Binders holes to centre fold. Mounted in a double-sided mount.

[40849] £75

50. The Map of Whitehall, Past and Present Sayer, John Pearson Chromolithograph Devised and Drawn by Jn. Sayer for the Strand Magazine, Tower House, Southampton St. WC2. 1948 190 x 255 mm One of a series of 17 pictographic maps of London, this example being a map of Whitehall, part of the Survey of London described and illustrated by J.P.Sayer. Further maps continuing the survey were issued each month by Strand Magazine. Like Sayer’s other works, the map features numerous caricatures and notes of historic local interest. The verso features a plan of Whitehall palace, and a vignette of the Banqueting House.

Condition: Central vertical fold as issued. Binders holes to centre fold. Mounted in a double-sided mount.

[40850] £75

51. A Map Showing the Royal Exchange and the streets in its Neighbourhood Sayer, John Pearson Chromolithograph being the Fifth Part of the Survey of London by J.P.Sayer. [1946] 190 x 255 mm One of a series of 17 pictographic maps of London, this example being a map of the area surrounding the Royal Exchange, the fifth part of the Survey of London described and illustrated by J.P.Sayer.

Further maps continuing the survey were issued each month by Strand Magazine. The map is bordered by portraits of famous individuals, and like Sayer’s other works, features numerous caricatures and notes of historic local interest. The verso features portraits of Sir Thomas Gresham and Dick Whittington, as well as a ‘Medley of Scenes in the City during Three Centuries.’

Condition: Central vertical fold as issued. Binders holes to centre fold. Mounted in a double-sided mount.

[40855] £75

52. A Prospect of St. James’ Park Sayer, John Pearson Chromolithograph Being the Seventh Part of the Survey of London, described and illustrated by J.P.Sayer, 1947 190 x 255 mm One of a series of 17 pictographic maps of London, this example being a birds-eye view of St James’ Park, the seventh part of the Survey of London described and illustrated by J.P.Sayer. Further maps continuing the survey were issued each month by Strand Magazine. Like Sayer’s other works, the map features numerous caricatures and notes of historic local interest. The verso features a depiction of Charles II, carrying a spaniel, and walking in the Park, as well as a text panel outlining some of the Park’s ‘Curiosities.’

Condition: Central vertical fold as issued. Binders holes to centre fold. Mounted in a double-sided mount.

[40863] £75

53. A Prospect of the Tower of London, An° Dni. 1947 Sayer, John Pearson Chromolithograph J.P.Sayer. Strand Magazine, Tower House, Southampton Street, London, WC2. [1947] 190 x 255 mm One of a series of 17 pictographic maps of London, this example being a birds-eye view of the Tower of London, part of the Survey of London described and illustrated by J.P.Sayer. Further maps continuing the survey were issued each month by Strand Magazine.

The map is bordered with portraits and vignettes, and like Sayer’s other works, features numerous caricatures and notes of historic local interest. The verso features a view of the Tower based upon a representation in a manuscript by Charles Duke of Orleons, as well as notes on the Tower’s history.

Condition: Central vertical fold as issued. Binders holes to centre fold. Mounted in a double-sided mount.

[40862] £75

54. Tombleson’s Panoramic Map of the Thames and Medway.

Steel engraved map with hand colour London Published by J. Reynolds, 174 Strand, c.

1840 1245 x 285 mm One of the finest maps of the entire River Thames with aerial views of the towns and cities along its route.

From ‘Tombleson’s Thames.’

Condition: Horizontal folds as issued, light staining and creases to folds.

[41007] £1,250

55. London van der Aa, Pieter Copper engraved 1707 124 x 150 mm A plan of London, with a numbered key featured below.

First published in 1707, Beverell’s Les Delices de la Grande Bretagne et de L’Irlande was an eight volume series depicting a variety of views from across the United Kingdom, including those of royal palaces, stately homes, cathedrals, and naval towns.

Two volumes were dedicated solely to Oxford and Cambridge, consisting of plates of the colleges that were copied and reduced directly from David Loggan’s Oxonia Illustrata of 1675. In total, Les Delices de la Grande Bretagne et de L’Irlande comprised of 241 engraved plates and maps after David Loggan, Johannes Kip, John Selzer, and others. Despite the publication ultimately being a collection of reduced copies of other engravers’ work, Les Delices de la Grande Bretagne et de L’Irlande is a fine example of early eighteenth-century printmaking.

[40961] £250

56. Newcastle House in Lincolns Inn Fields Sutton Nicholls Copper engraving Published according to Act of Parliament 1754 for Stowes Survey Image 435 x 331 mm, Plate 451 x 338 mm, Sheet 477 x 414 mm Illustration of the front of Newcastle House in Lincoln’s Inn Fields, London. The first version of the house, built between 1641 and 1642, was one of the two largest houses in the area, but burned down in 1684. A new house was swiftly constructed. Although the same house stands today, much alteration has occurred since its construction.

An earlier state of this plate had first been published in John Bowles’ ‘London Described’.

This particular impression was featured in John Strype’s 1754 reprinting of John Stow’s ‘Survey of London’.

Adams (London) 93 Condition: Horizontal centre fold as issued. Some time toning and foxing to margins.

[41043] £200

Oxford & Oxfordshire

57. A Generall Mapp of The County of Oxford.

With its Hundreds.

Blome, Richard Copper engraved with hand colour c. 1673 325 x 280 mm From the first edition of the “Britannia”, Blome’s larger series of county maps, decorated with cartouches around the title and dedication, based on Speed’s map.

Condition: Central horizontal fold as issued. Minor creasing to surface of sheet.

[40943] £275

58. Oxfordshire Drayton, Michael and Hole, William Copper engraved c.1612 253 x 316 mm A fascinating map of Oxfordshire, Buckinghamshire and Berkshire illustrated with the wedding of two figures who represent Thames and Isis at the junction of the two rivers.

Michael Drayton (1563-1631) was an English poet who composed the Poly-Olbion. This was illustrated with one of the most unusual series of county maps ever published. The Poly-Olbion was a series of poems, or songs, extolling the beauties of the English and Welsh countryside, and was first published in 1612.

Condition: Vertical centre fold as issued.

[40693] £680

59. Oxonium Comitatus vulgo Oxfordshire Jansson, Jan Copper engraved with hand colour [Amsterdam, c.1650] 378 x 485 mm A large and decorative map of Oxfordshire, from the fourth volume of Jansson’s Atlas Novus. The county hundreds are outlined in hand-colour, and pricipal cities and towns are picked out in red. In the bottom left corner, two scholars and a cherub examine a set of cartographic tools that rest against the title cartouche. The map is further ornamented with a ribboned array of the crests of the colleges of the University of Oxford, held up by a host of cherubs.

Condition: Central vertical fold as issued. Minor time-toning to sheet. Full margins. Blank on verso.

[41029] £800

60. A New Improved Map of Oxfordshire from the Best Survey and Intelligences Divided into its Hundreds Kitchin, Thomas Copper engraved with hand colour London. Printed for R. Wilkinson 58 Cornhill. Laurie & Whittle 53 Fleet Street, and Bowles & Carver 69 St. Pauls Church Yard. [c.1759] 705 x 520 mm A map of Oxfordshire from the Large English Atlas.

The owner of a distinctive style, Kitchin’s maps often display a title cartouche, a vignette of the area, and a wealth of historical description which acts to fill the blank spaces. In the case of this map, the cartouches include a dedication to Charles Spenser, Duke of Marlborough, and a decorative border for the title featuring various cartographic, scientific, and artistic tools, as well as a vignette of three scholars.

Condition: Minor repaired tears to margins, not affecting printed area. Minor surface scuffing and marking.

[40945] £700

61. A New Map of the County of Oxford, From an Actual Survey on which are Delineated the Course of the Rivers and Roads, the Parks, Gentlemans Seats, Heaths, Woods, Forests, Commons &c. &c. By Richard Davis of Lewknor, Topographer to His Majesty.

Davis, Richard Copper engraved London, Published by J.Cary for R.Davis, of Lewknor Oxfordshire. Aug.st 1 1797.

Each sheet 640 x 460 mm Surveyed by Richard Davis and engraved by John Cary on 16 sheets on a scale of 2 inches to 1 mile, plus a single-sheet map of the whole county engraved by Cary on a scale of 3/4 inch to 1 mile to serve as a key to the large-scale map. Bound in marbled folio. A fine example of the most important map of Oxfordshire.

Signed by Davis and numbered 38.

Jefferys’ fine 32 panel folding map of Oxfordshire of 1767 was succeeded in 1797 by the first map of the County on a scale of 2 inches to 1 mile, engraved by Cary from a survey by Richard Davis, a land surveyor from Lewknor in Oxfordshire. Davis’s name had first appeared some years earlier in 1792 when he advertised in Jackson’s Oxford Journal offering services to survey or plan estates or assist in the selling or letting of houses. In the following years he was especially active in Oxfordshire and the city of Oxford where the University proved a rewarding source of commissions.

In 1790 Davis advertised his intention to publish in 1792 a survey of Oxfordshire on a scale of 1 inches to 1 mile, this scale being specifically chosen to complement the 18-sheet map of Berkshire by John Rocque who had held the post of Topographer to His Majesty, a post to which Davis himself was appointed in1786. Subscriptions came slowly however, and it was not until 1797 that the Oxfordshire survey was finally published on 16 sheets at £3 10s 6d including full wash colour and a key map. All subscribers’ copies were numbered on the title sheet and individually signed by Davis himself; the highest recorded serial number of 159 suggesting a total printing of less than 200 copies, this particular impression is numbered 38. Of particular interest is the plan of the University and City of Oxford, similar in scale and ichnographical detail to the plan of the city by Isaac Taylor in 1751 but with some updating, notably the intersection of the Oxford Canal, which opened in 1790.

The cartographical detail is immense, well worthy of an estate surveyor of Davis’s reputation, and takes full advantage of the larger scale. In the villages and rural areas almost every house and farm is shown with its land, and even in the towns there is great effort made to make them ichnographically correct. The road system is extensive; from major roads with their distances from Oxford and London, and between the major towns, down to minor roads and bridle paths. Further detail includes hills and woods, heaths, parks and commons, and mills, churches and farms, whilst gentlemen’s seats and large houses are shown in profusion.

The boundaries of the city of Oxford extend from Folly Bridge to St.Giles and from Botley to St.Clements - with the emptiness of Cowley Common separating the village of Cowley from the City.

John Cary, the engraver, was fast establishing a reputation as one of the foremost map-makers of his day, skilled in engraving, globe-making and publishing. He was described by the carto-bibliographer Sir George Frodham, as the most representative, able and prolific English cartographer. Davis continued as a land surveyor until his death in 1814, but the present survey, for which he received 50 guineas from the Society of Arts, was his only contribution to English county cartography.

Condition: Excellent condition throughout. Binding worn at edges and slightly split to bottom of spine.

[30220] £4,500

62. Oxfordshire Moll, Hermann Copper engraved with hand colour [c.1724] 250 x 183 mm A decorative county map featuring vignettes in the borders ‘Blenheim House’, ‘The Bridge of Blenheim’, ‘Roman Pavement at Woodstock’, and ‘Rollrich Stones’.

Condition: Small mark to lower right corner of plate, not affecting image.

[40680] £275

63. Oxfordshire described with ye Citie and the Armes of the Colledges yt famous university A° 1605.

Speed, John Copper engraved with hand colour 1627 385 x 520 mm John’s Speed’s iconic map of Oxfordshire with the crests of Oxford colleges in its decorative borders.

At centre, two academics stand either side of a globe. An inset plan of the city of Oxford occupies the upper right corner.

Condition: Central vertical fold as issued. Tear repair to central fold with minor losses to globe and ‘South’ cartouche. Minor creasing and light scuffing to sheet. Small margins on all sides.

[40847] £2,000

64. Map of the County of Oxford, from an Actual Survey made in the Years 1831 & 1832, by C. & J. Greenwood.

Walker, J & C after Greenwood, C & J Steel engraved with hand colour Published by the Proprietors Greenwood & Co. 3, Burleigh St. Strand. London. Corrected to the present period and Published April 1st. 1834.

578 x 705 mm A large map of Oxfordshire, the hundreds outlined and washed in hand colour, and with vignette by Walker of Oxford Cathedral in the bottom left corner, from the Greenwood’s Atlas of the Counties of England.

Condition: Central vertical fold as issued. Minor time-toning and offsetting to sheet.

[40946] £400

65. Oxford Lee, Kerry Chromolithograph Published by Pictorial Maps Ltd, for the Travel Association of Great Britain and N. Ireland, 1948 460 x 582 mm A decorative map depicting the centre of Oxford, 26 College emblems surround the edges with the founders and founding date.

Condition: Laid to board. Tape residue across corners, but not affecting printed area, and covered by mount.

[40402] £385

66. Oxforde Merian, Matthaus after Hollar, Wenceslaus Etching Frankfurt, c.1650 235 x 315 mm A rare and detailed aerial city plan of Oxford with a prospect of Oxford from the east in the upper left corner, and numbered legend of landmarks in the lower left and centre. This map is after Wenceslaus Hollar’s 1643 plan that was issued to mark the arrival of the Royal Court in Oxford during the English Civil War. It is believed that this plan was published in Matthaus Merian’s Theatrum Europaeum begun in 1633 and completed in 1738.

After Pennington 1055, Shirley BL G.Mer 1a. & 23a no. 90.

Condition: Vertical centre fold as issued. Lights staining to centre fold and margins.

[41106] £750

67. Vue du Theatre de Sheldon à Oxford, du côté du Midi / Vue du Theatre de Sheldon à Oxford du cote du Nord Pieter Van der Aa after David Loggan Copper engraving 1707 Image 120 x 157 mm A pair of views, representing the north and south facades of the Sheldonian Theatre, Oxford, from James Beverell’s Les Delices de la Grande Bretagne et de L’Irlande.

First published in 1707, Beverell’s Les Delices de la Grande Bretagne et de L’Irlande was an eight volume series depicting a variety of views from across the United Kingdom, including those of royal palaces, stately homes, cathedrals, and naval towns. Two volumes were dedicated solely to Oxford and Cambridge, consisting of plates of the colleges that were copied and reduced directly from David Loggan’s Oxonia Illustrata of 1675.

[40956] £180

68. View of the High Street, Oxford from Queen’s College Albumen photograph c. 1890 Image 190 x 240 mm A fantastic image of Oxford High Street with University College on the left taken from the unusual perspective of Queens College roof. A lone horse and card feature in the middle of the cobbled road with the distinctive silhouette of University College cast across the street.

[40952] £130

69. The High Street Oxford Charles O. Murray Etching with hand colouring Entered according to Act of Congress in the year 1896, by the Fine Art Society (Lim.) in the Office of the Librarian of Congress at Washington.

Image 386 x 561 mm, Plate 438 x 590 mm Signed by artist in pencil. Printseller’s Association blindstamp.

A famous view of Oxford High Street with the entrance to Queens College on the right and University College to the left, All Souls, Brasenose and the spires of the University and All Saints Church feature on the bend of The High. The inscription space features a small vignette of the spires of Magdalen Tower.

Condition: Minor abrasions and creasing to sheet.

Minor time-toning to sheet.

[40947] £650

70. High Street Oxford William Gauci after William Alfred Delamotte Lithograph with hand colouring 1841 Image 255 x 355 mm 320 x 430 mm.

From Original Views of Oxford, its Colleges, Chapels and Gardens from drawings expressly for this work by William There have been many prints executed of the High, which was described by a nineteenth century writer as ‘perhaps without a rival in Europe, its outline being varied by objects of academical and ecclesiastical interest and grandeur. Every turn of this long, wide and noble avenue of buildings presents new effects, each of which is highly picturesque’. Delamotte’s view typifies this description, with the many fine buildings setting off the long curve of the High to perfection.

[40876] £300

71. [High Street] William Monk Etching c. 1908 Image 235 x 335 mm, Plate 248 x 355, Sheet 320 x 500 mm Signed to plate. Note in pencil in artist’s hand ‘Working Proof. W.M.’ A view of Oxford High Street, with the fronts of University College, Queens College, the University Church of St Mary the Virgin, Brasenose College, and the spire of All Saints’ Church, now part of Lincoln College.

Condition: Good, clean impression with full margins. Printer’s crease to left margin not affecting image.

[40939] £450

72. Queen’s College from the High Street Thomas Malton Aquatint and etching [c.1803] Image 223 x 304 mm, Sheet 264 x 336 mm An uncommon view of Queens College from Malton’s Views of Oxford was one of the most important works of aquatint. The book, however, was never completed as Malton died in 1804, just after he published six of the engravings for the fourth part of the series. Six plates had already been engraved in etched state in preparation for the next part and these unfinished plates appeared together with the 24 aquatints when the entire work was reprinted in 1810.

Condition: Slightly light impression, with some foxing to sheet, and discolouration to margins. Crease to centre of sheet, approximately 5 cm in length.

[41011] £250

73. University College from the High Street Thomas Malton Aquatint and etching [c.1803] Image 213 x 303 mm, Sheet 260 x 337 mm An uncommon view of University College from Malton’s Views of Oxford was one of the most important works of aquatint. The book, however, was never completed as Malton died in 1804, just after he published six of the engravings for the fourth part of the series. Six plates had already been engraved in etched state in preparation for the next part and these unfinished plates appeared together with the 24 aquatints when the entire work was reprinted in 1810.

Condition: Some light discolouration to margins, but otherwise, a good, clean impression. Tear along upper edge of sheet.0 [41010] £300

74. Joe Pullen’s Elm, Hedington Hill, Oxford William Alfred Delamotte Lithograph Wm. De la Motte delt. 1821. Lithog. Printed & Published by Rowney & Forster.

Image 306 x 245 mm, Sheet 335 x 264 mm Inscribed below image: “I have the honor to be well known to Mr. Josiah Pullen, of our Hall above mentioned, (Magdalen Hall in Oxford) and attribute the florid old age I now enjoy to my constant morning walks up Hedington Hill in his cheerful company.”

A view of Pullen’s elm, with scholars, ladies, and farmhand’s gathered around the scene. A flock of sheep rest under the tree. Pullen’s elm was on Pullen’s Lane. The land runs between the top of Headington Hill and Jack Straw’s House. The Elm and lane were named for Rev. Joshia Pullen (16311714) who was the Vice-President of Magdalen Hall and vicar of St. Peter in the East, where he is buried.

He used to walk daily to the top of Headington Hill and at the turning point in the walk where he used to stop and admire the view of the city he planted an elm tree. This tree grew to a great size, but was destroyed by fire on 13 October 1903. A tablet on the wall of Davenport House on the east side of the land records the event.

Condition: Trimmed close to image and inscription.

Minor surface creasing to sheet.

[40938] £250

75. Theatre of Anatomy. (Cambridge) Joseph Constentine Stadler after Augustus Pugin Aquatint with original hand colouring London, Pub. Novr. 1, 1815 at 101 Strand for R. Ackermann’s History of Cambridge.

Image 251 x 199 mm, Plate 300 x 248 mm, Sheet 340 x 273 mm From Rudolph Ackermann’s ‘A History of the University of Cambridge, its Colleges, Halls and Public Buildings’.

View within the anatomy theatre at the University of Cambridge, with a human skeleton hanging in the middle of the room. To the left, two visitors enter the theatre, gazing up towards the skeleton. A dissecting table sits within the centre of the room, upon which three jars are visible. In the jar to the left are conjoined twins. Towards the back of the room, jars filled with human anatomical specimens line the shelves.

Condition: Light acid mark from previous mount around image, but covered by new mount. The image, however, is in good condition.

[40679] £150

76. The City of Bristol Johannes Kip after H. Blundell Copper engraving [Joseph Smith, London, 1724] Image 508 x 887 mm, Plate 550 x 898 mm An impressive large-scale prospect of the city of Bristol. Bristol Bridge is featured centrally, and various houses and churches are depicted along either side of the River Avon. The churches are numbered, with a key engraved below the image.

Although originally engraved in 1717, as is reflected by the date inscribed in the lower right corner, the prospect was not published until 1724, when it was featured in the fourth volume of Joseph Smith’s ‘Britannia Illustrata’.

Condition: Vertical and horizontal folds as issued.

Some light discolouration to left of sky, and to left margin. Framed in a modern gilt frame.

[41030] £2,500

77. Birds eye View of Brighton, From the New Church, at the entrance of the Town. Including the Marine Palace of Her Majesty Victoria the First.

John Bruce Aquatint and etching with original hand colouring Drawn Engraved & Published by Jno. Bruce, Brighton, Novr. 1839.

Image 230 x 401 mm, Sheet 294 x 418 mm An aerial view of Brighton, taken from St. Peter’s Church, looking towards the Royal Pavilion, with the sea beyond. Valley Gardens are featured in the centre, with several horse drawn carriages illustrated travelling by.

Condition: Some time toning and foxing to edges of sheet, [41042] £275

78. A New Map of North Wales divided into its Six Counties or Shires, and the Parliamentary Divisions / A New Map of South Wales divided into its Six Counties or Shires, and the Parliamentary Divisions Dix, Thomas Copper engraved with hand colour W. Darton & Son, 58. Holborn Hill. [1822] Each 540 x 688 mm Large-scale maps of North Wales and South Wales.

Both maps feature a ‘Note’ on the area, an ‘Explanation’ key, and a key to market towns, and market days.

The maps were published in Thomas Dix and William Darton’s ‘A Complete Atlas of the English Counties’, 1822. Dix died before the atlas was completed, so Darton finished the work, and published it under both their names.

The map of North Wales features an inset view of Snowdon in the lower left corner, based on a drawing by Philippe Jacques de Loutherbourg. In the lower left corner of the South Wales map, an engraving titled ‘West View of the Town and Bay of Swansea, Glamorganshire’ is featured.

Condition: Vertical and horizontal folds as issued. A few tear repairs along folds.

[41049] £400

79. Hibernia Regnum Vulgo Ireland Blaeu, Willem Janszoon Copper engraved with hand colour 1635 381 x 494 mm From Blaeu’s ‘Theatrum Orbis Terrarum’.

Latin text on verso.

A decorative map of Ireland, heavily based on an earlier map of Ireland produced by John Speed. The finely engraved map features provincial and county boundaries, rivers, lakes, and settlements. In the upper left corner, an elaborate cartouche is featured with the crest of Britain, and just below, the title is inscribed in a decorative cartouche, surmounted by the Irish crest.

Condition: Vertical centre fold as issued. Crease across lower left corner of sheet, slightly encroaching into printed area. Some time toning and foxing to sheet.

[41041] £700

Europe

80. Iadera, Sicum et Ænona, Vulgo Zara, Sibenico et Nona cum Insulis adjacentibus in Parte Dalmatiæ Boreali Jansson, Jan Copper engraved with hand colour c.1650 422 x 532 mm A large and decorative map of the northern Adriatic or Dalmatian Coast of modern-day Croatia, centred on the city of Zara (Zadar) and stretching from Sibenico (Sibenik) in the south to part of the island of Pago (Pag) in the north. The map is highly detailed, with islands and regions outlined in hand colour, cities and towns picked out in red, and interesting cartographic features such as lakes, canals, and fortifications labelled. Mountain ranges and heavily forested areas are also illustrated. The Adriatic, labelled here as the gulf of Venice, is criss-crossed with rhumb lines originating from the port of Dragove on the Island of Dugi Otok, and from a fleur-de-lis compass west of Sibenik. The sea is further embellished with sailing ships and a sea monster, and two large figural baroque carouches at the bottom of the map enclose the scale is Italian and Germanic miles, as well as the title of the map.

This map derives from the fifth volume of Jansson’s Atlas Novus, which was published separately under the name Atlas Maritimus. At the time of publication, it was the best, and in some cases the only, example of Dutch maritime knowledge of each region, and formed the basis for the naval charts of numerous other map makers.

Condition: Vertical fold as issued. Brown ink-stain to bottom left corner of sheet, not affecting plate.

[40838] £500

81. View of Rome, taken from the Janiculan Hill.

Frederick Smith after Giuseppe Vasi Etching Published by David Bogue, 86 Fleet Street. [c.183640] Image 141 x 388 mm, Sheet 199 x 408 mm Inscription reads: ‘Reduced from Vasi’s Large Print With Recent Additions and Improvements.’ Vasi’s view of Rome was published in Rome in 1765. The large-scale prospect was printed over 10 sheets, and was over two and half meters in length.

The prospect features a numbered key (1 - 63), and notes important structures such as the Villa Borghesi (5), Trajan’s Column (26), the Coliseum (31), St. Peters (36), the Vatican Palace (37) and the Pantheon (43).

Condition: Trimmed within plate mark. Tear in upper left corner, not affecting printed area. Three spots of ink in lower right corner of sheet, and overall foxing. Tipped to album page.

[41045] £95

82. Amphitheatrum Tauri Statilii / L’Amphitheatre de Statilus Taurus amis d’Auguste a Rome Johannes Blaeu Copper engraving se vend A Amsterdam Par Pierre Mortier Avec Privil.

[1704-5] Image 378 x 493 mm, Plate 383 x 499 mm An architectural study of the Amphitheatre of Statilius Taurus, originally erected on the Campus Martius in Rome. Built in 29 BC, the amphitheatre was completely destroyed in 64 AD during the Great Fire of Rome. In this depiction, a section of the amphitheatre is removed, allowing for a view of the interior, and construction details of the façade.

A coat of arms is featured in the upper right corner of the plate, and in the lower right corner, the title is inscribed in Latin and French, along with publication details, upon a plinth.

Inscription in upper left corner: ‘Nob: Amplißimo / Prudentißimoqs / Nicolao Corver, / Consuli / ac / Senatori / Reip. Amstelædamensis, / Novum hanc veteris Amphitehatri / Tauri Statilii Tabulam / D. D. D. / J. Blaeu.’

This engraving was originally published in Johannes Blaeu’s ‘Theatrum civitatum et admirandorum Italiae’ in 1663. The two volume publication featured 119 engraved plates illustrating Italian views, plans, monuments, and sculptures, with the second volume being dedicated to Ancient Rome. In a preliminary edition, a third volume relating to Naples and Sicily was issued.

Condition: Vertical centre fold as issued, and some light creasing to margins. A red line is present in the upper left corner of the plate, encroaching into inscription.

[41039] £350

83. Amphitheatrum Vespasiani, nunc vulgo Il Coliseo.

Johannes Blaeu Copper engraving Se vend A Amsterdam Chez Pierre Mortier Avec Privil. [1704-5] Image 438 x 538 mm, Plate 442 x 540 mm, Sheet 522 x 658 mm An architectural illustration of Vespasian’s Amphitheatre, known today as the Coliseum. Rather than depicting the structure in partial ruins, Blaeu’s study presents the monument in its original form. To the right, a section is removed, allowing for a view of the interior, and of the façades construction details.

A few architectural elements are lettered (A-F), with a key in the lower margin detailing the various parts.

A coat of arms, surrounded by an elaborate cartouche, is featured in the upper right corner, of the plate followed by an inscription: ‘Nobilißimo Prudentißimo / D. Cornello Bicker / Domino in Zwieten, / Consuli Reip. Amstelædamensis / Tabulam hanc D. D. D. / Io: Blaeu.’

This engraving was originally published in Johannes Blaeu’s ‘Theatrum civitatum et admirandorum Italiae’ in 1663. Blaeu’s publication proved to be extremely popular, and was therefore reissued several times by various publishers in Amsterdam until 1726. This particular impression belongs to Pierre Mortier’s edition. Between 1704 and 1705, Mortier reissued the plates in a four volume edition.

Condition: Vertical centre fold as issued. Large crease across lower left corner of sheet, not affecting printed area. Discolouration and creasing present elsewhere in the margins, and a 3cm tear repair to right margin, also not affecting printed area.

[41040] £400

84. Alpes Bernoises, vues du Faulhorn Joseph Lemercier after Armand Cuvillier Lithograph and tint stone Ad. Cuvillier lith. Briquet & fils a Geneve. Imp. Lemercier. Paris. [c.1840] Image 88 x 285 mm, Sheet 122 x 359 mm A panoramic view of the Bernese Alps, Switzerland, viewed from the Faulhorn. Around the border of the image, the peaks of the range, and the features of the valley are labelled, most prominent amongst them the glacier and village of Grindelwald, and the famous peaks of the Eiger, Monsch, and Jungfrau. The view was most likely published in a collection of lithographs of Swiss views, which were very popular as tourist souvenirs in the 1830s to 1860s.

Condition: Insect damage to bottom left corner of sheet, not affecting image. Foxing to sheet. Adhesive spots on verso from tipping to album page.

[41101] ÂŁ130

85. Vue de la Chaine du Mont Blanc, prise a la Flegere (Chamounix) Joseph Lemercier after Armand Cuvillier Lithograph and tint stone Briquet & fils a Geneve. Imp. Lemercier. Paris. [c.1840] Image 87 x 277 mm, Sheet 122 x 357 mm A panoramic view of the chain of Mont Blanc, Switzerland, taken from Chamounix. The view centres on the glacier of Bois, and the valley of Chamounix.

Around the border of the image, the peaks of the range, and the features of the valley are labelled. The view was most likely published in a collection of lithographs of Swiss views, which were very popular as tourist souvenirs in the 1830s to 1860s.

Condition: Foxing to sheet. Adhesive spots on verso from tipping to album page.

[41100] ÂŁ160

86. Disegno delle Tre Principali Colonne Antiche Che si Vedono in Roma Cioe Traiana Antonina e Liberiana o di S. Maria Maggiore Matteo Gregorio de Rossi Copper engraving Nuovamente date in luce dalle Stampe di Matteo Gregorio Rossi Romano in Piazza Navona all’Insegna della Stampa di Rame l’Anno 1689, con licen. Superior e Privil. Apost.

Image & Sheet 680 x 440 mm A large comparative architectural plate depicting the three principal antique columns of Rome: Trajan’s Column, the Antonine Column, and the Marian Column outside the Basilica of Santa Maria Maggiore. The columns are scaled against one another, with the smaller Marian column at centre. The two imperial triumphal columns are shown in half architectural cutaway, with the right side of each providing a view of the internal structure, with a particular focus on the spiral staircase common to the design of each. On the left and right edges of the plate are detail plans for the columns, providing the diameter and composition of the columns, the footprint of their bases, and a speculative design of the imperial sculptures that originally adorned the top of each. Detail of the remaining sculptural work is meticulously recorded, particularly with regard to the sculptures of Saints Peter and Paul that now replace the original sculptures of the emperors, and the spiral bands of reliefs, of the Dacian and Marcomannic Wars, that adorn each column. The dedicatory inscriptions from the triumphal columns bases are also reproduced, at the bottom of the plate above a short description in Italian of each. At centre, the Marian column is depicted with its fountain and statue of the Virgin and Child, as well as a depiction of the inscription on its pedestal. The column itself is described by Rossi as having come from the ruins of Vespasian’s Templum Pacis, though probably came from the nearby Basilica of Maxentius.

The Column of Trajan was built to commemorate the Dacian Wars of the Roman Emperor Trajan, and was completed in AD 113. The column stands in an open courtyard in Trajan’s Forum, between the Basilica Ulpia and the Temple of the Deified Trajan, and was originally flanked by a pair of libraries, one Greek, one Latin. Its ornately carved spiral frieze features scenes from the Dacian Wars, and Dacian arms and military trophies are depicted on the base, with a dedicatory inscription from the Senate and People of Rome. When Trajan died in AD 117, his ashes were entombed within the base, along with those of his wife Plotina. The statue of Trajan that once stood atop the column was lost in the Medieval period, and was replaced by a statue of St Peter during the restoration carried out by Pope Sixtus V in AD 1587. The column, along with those dedicated to Antoninus Pius and Marcus Aurelius, was a source of inspiration for Piranesi, later becoming the subject of a separately published pamphlet with 21 detailed views and schematics of the structure.

The Antonine Column, more commonly referred to as the Column of Marcus Aurelius to avoid confusion with the Column of Antoninus Pius, was erected at the end of the 2nd century AD to celebrate Roman victory over the Marcomanni, Quadi, and Sarmatians. The column was modelled after the Column of Trajan, featuring a continuous band of relief carving depicting various scenes of military conquest and expressions of imperial power. The column was restored at the end of the sixteenth century by Pope Sixtus V, who added his own dedicatory inscription to the column’s pedestal. A bronze statue of St Paul was also added to the top of the column at this time, to match a similar statue of St Peter that had been erected on the Column of Trajan.

Condition: Trimmed to plate. Sheet laid to japan paper. Pressed central horizontal crease.

[40784] £400

Asia & Middle East

87. l’Empire de la Chine pour servir a l’Histoire Generale des Voyages / Yt Keizerryk van China, om te dienen tot de Historische Beschryving der Reizen, door N. Bellin, Ingenieur des Franssen Zeevaards, 1748’ van der Schley, Jakob after Bellin, Jacques Nicholas Copper engraved with hand colour [A la Haye, Chez Pierre de Hondt, MDCCXLIX. Avec Privilege de Sa Majeste Imperiale, & de Nos Seigneurs les Etats de Hollande & de West-Frise.

1749] 290 x 395 mm A map of China, and parts of the adjoining territories of Tonquin, Pegu, Tartary, Mongolia, and Korea, as well as the islands of Formosa (Taiwan) and Haynan.

Originally engraved for Bellin’s Le Petit Atlas Maritime Recueil De Cartes et Plans Des Quatre Parties Du Monde, this edition was reprinted for the Dutch edition of the Description de la Chine, part of Prévost’s monumental ‘l’Histoire Géneral des Voyages.

The map has been heavily subtitled, with Dutch captions appearing below the original French notations in the scale, Advertisement, Note cartouche, territories, kingdoms, seas, and notable cartographic features. Chinese provinces, as well as neighbouring provinces, have been outlined in hand colour, and the map is further embellished with three decorative cartouches. The baroque cartouche surrounding the title of the map is particularly elaborate.

Condition: Horizontal and vertical folds as issued. Trimmed to plate on right margin, as issued.

Crowned shield with fleur-de-lis watermark.

[40835] £500

88. Le Grand Throne Imperial / De Groote Keizerlyke Throon Jakob van der Schley Copper engraving [A la Haye, Chez Pierre de Hondt, MDCCXLIX. Avec Privilege de Sa Majeste Imperiale, & de Nos Seigneurs les Etats de Hollande & de West-Frise.

1749] Image 174 x 257 mm, Plate 198 x 273 mm, Sheet 266 x 394 mm An illustration of the Forbidden City from the Dutch edition of the Description de la Chine, part of Prévost’s monumental ‘l’Histoire Géneral des Voyages.’

The plate depicts the walls, courtyards, and terraces of the Forbidden City, with numerous groups of figures. The Forbidden City was the administrative, ceremonial, and political centre of Chinese imperial life for almost five centuries. Built during the fifteenth century under the Ming Dynasty, the Forbidden City remained the residence of the Chinese Imperial family until the abdication of the last emperor in 1912. Situated in the centre of Beijing, the Forbidden City was declared a UNESCO World Heritage Site in 1987.

Condition: Vertical folds as issued. Binders crease and holes to right margin. Clean, crisp impression.

[40788] £85

89. Observatoire de Peking, tire du Pere le Comte / Beschouwplaats der Starren, te Peking, uit le Comte.

Jakob van der Schley Copper engraving [A la Haye, Chez Pierre de Hondt, MDCCXLIX. Avec Privilege de Sa Majeste Imperiale, & de Nos Seigneurs les Etats de Hollande & de West-Frise.

1749] Image 188 x 136 mm, Plate 210 x 180 mm, Sheet 271 x 217 mm An illustration of a Chinese observatory in Peking (Beijing), from the Dutch edition of the Description de la Chine, part of Prévost’s monumental ‘l’Histoire Géneral des Voyages.’ The plate depicts a low terraced building, upon the roof of which are various monumental astronomical tools. These are labelled and described in a lettered key at the top of the plate in French and Dutch. Among the instruments are a zodiacal sphere, a celestial globe, a sextant, a quadrant, an equinoctial sphere, and an azimuth marker.

The subtitle to the plate attributes the illustration to the description of Louis-Daniel le Comte (16551728), a Jesuit missionary who travelled to China in the 1687 mission led by the Jesuit mathematician and astronomer Jean de Fontaney. le Comte produced a memoir of his journey, which was published in Paris in 1696. le Comte had a particular interest in the celestial knowledge of the Chinese, as well as their various religious and philosophical practices, and his memoirs were a major source for the debate in the Roman Catholic church over whether or not Confucianism was compatible with Christian belief.

Condition: Vertical folds as issued. Binders crease and holes to right margin. Clean, crisp impression.

[40807] £120

90. Pagodes ou Statues du Temple / TempelBeelden Jakob van der Schley Copper engraving [A la Haye, Chez Pierre de Hondt, MDCCXLIX. Avec Privilege de Sa Majeste Imperiale, & de Nos Seigneurs les Etats de Hollande & de West-Frise.

1749] Image 175 x 257 mm, Plate 200 x 276 mm, Sheet 272 x 381 mm An illustration of Chinese temple statues from the Dutch edition of the Description de la Chine, part of Prévost’s monumental ‘l’Histoire Géneral des Voyages.’ The plate depicts numerous temple idols of various types, within a lamp-lit temple. Along the wall of the temple, a row of larger than lifesize statues are arranged in a line upon a podium. While most of these are human form, the innermost statue is a horned demon, wearing only a loincloth. The two colossal statues in the centre and left of the scene are numbered, with a corresponding description in French and Dutch below. The first, a seated figure with head-dress, ornate robes, sceptre, and wispy beard, is listed as a depiction of a Imperial defender, crushing a small animal underfoot. The second figure, in conical hat and ornate embroidered robe, is a depiction of the goddess of the city of LinTsin. A number of worshippers in the scene provide a convenient scale to illustrate the monumental size of the statues.

Condition: Vertical folds as issued. Binders crease and holes to left margin. Clean, crisp impression.

[40795] £60

91. Ierusalem ciuitas sancta, olim metropolis regni Iudaici, hodie uero colonia Turcæ Münster, Sebastian Woodcut [Basel, 1550] 150 x 370 mm A birds-eye view of the city of Jerusalem from Volume 5 of the first Latin edition of Sebastian Münster’s Cosmographia. The most famous of Jerusalem’s buildings are depicted and labelled, including Mount Zion, the Citadel of David, the Garden of Gethsemane, the Golden Gate, the Temple of Solomon, and the Dome of the Rock. At the time of publication, the city was part of the Turkish empire, and thus, many of its most prominent towers, domes, and buildings, are surmounted by the Islamic crescent. The initials of the artist, Jacob Clauser, are engraved on the walls of the city, near the House of Pilate. Clauser, like Munster, had never visited Jerusalem, so this view of the city is putative rather than an accurate record of how it appeared at the time, and obviously draws much inspiration from the depictions of the destruction of ancient Jerusalem in the Nuremberg Chronicle. Below the image is an explanation in Latin of the city, as well as the nearby city of Jericho, and a depiction of one of the region’s plants, either Balsam or a Rose of Jericho. The verso features a Hebrew hymn in praise of the city, as well as a description and half-page illustration of the city of Acre, also known as Ptolemais.

Condition: Central vertical fold as issued. Minor time toning to edges of sheet. Minor creasing to central fold.

[40846] £450

92. Antarctica, Compiled and Drawn in the Cartographic Division of the National Geographic Society for the National Geographic Magazine Darley, James M. Chromolithograph Copyright 1957 by the National Geographic Society, Washington, D.C. Lithographed by A.Hoen & Co., Baltimore, Md. 705 x 875 mm A large and very detailed map of Antarctica, produced by the American National Geographic Society for the September 1957 edition of National Geographic magazine (Vol. CXII, No. 3). The map was created under the auspices of James Darley, Chief Cartographer of the Society from 1940 to 1963, drawing upon all available knowledge from the various national exploratory projects then at work in Antarctica. As well as including the most thorough and detailed cartography of the Antarctic coast available at the time, the map also provides the locations of various research bases, belonging to teams from the United States of America, the USSR, Great Britain, France, Australia, New Zealand, Norway, Argentina, Chile, and Japan. Depth soundings, ocean currents, and ice shelves are labelled in detail in the oceans surrounding the continent, and explanatory notes in red list significant milestones in the history of Antarctica’s exploration. The map is further augmented by three inset boxed maps in the bottom left corner, illustrating the size of Antarctica relative to the USA, the distances relative to Antarctica of the surrounding continents, and a close-up map of the glaciers of the Queen Maud Range.

Condition: Vertical and horizontal folds as issued.

Minor creasing and time-toning to edges of sheet.

[40841] £75

93. PlanisphĂŚrium CĹ“leste Homann, Johann Baptist after Eimmart, Georg Christoph Copper engraved with original hand colour Opera G.C. Eimmarti. prostat in Officina Homanniana [Nuremberg, 1720] 482 x 574 mm A large and highly decorative celestial map in twin hemispheres, based in part on the famous constellation maps of Johannes Hevelius. The twin hemispheres show the constellations in their various pictorial forms, with the principle stars of each depicted, and corresponding to a scale of magnitude which runs vertically down a ribbon at the centre of the map. Surrounding the hemispheres are six smaller circles depicting various astronomical plans. At centre are the plans of the planets following Ptolemy and Copernicus, with the corrected heliocentric orbits proposed by Tycho Brahe at top left. The remaining three circles depict the illumination of the moon and planets by the sun as visible from Earth, the orbit and axial movement of the earth in a solar year, and the orbit of the moon and its impact on the tides. The map is further ornamented with ribbonned titles, and a background of a cloudy sky.

Condition: Original hand colour. Central vertical fold as issued. Minor discolouration and staining to central fold.

[41103] ÂŁ1,800

General Interest;

from anatomy to mythology.

94. Hare Shooting after George Morland Etching and aquatint G. Morland pinxt. London [c.1800] Image 293 x 356 mm Condition: Creasing to sheet, and some light foxing to margins. Small hole repair along right edge of plate mark.

[41005] £450

95. Edinburgh.

John Walker after F. Nicholson Copper engraving Published May 1st 1798 by J. Walker No. 16 Rosomans Street, London.

Image 110 x 168 mm, Sheet 206 x 258 mm Plate 151 from the fourth volume of ‘The Copperplate Magazine’.

An early representation of golf being played at Burntsfield Links Golf Club, the fourth oldest club in the world, with a view towards Edinburgh and the castle behind.

Condition: Tear to left margin outside of plate mark.

Foxing to margins, and some time toning to edges of sheet.

[40379] £120

96. Les Free-Massons I. F. After Louis Fabritius Dubourg Copper engraving c. 1735 Image 322 x 405 mm, Sheet 331 x 421 mm.

A scarce illustrated list of the Lodges of the Free Masons, with a portrait of Sir Richard Steele at top centre; bust, looking to the right, wearing cap. The portrait is surrounded by a large wall decorated with separate sheets for each of the 129 lodges, shown in six rows, each with small illustrated tavern sign, name, and number. In front of the wall a ceremony of the Free Masons is taking place; illustration to Picart’s ‘Cérémonies et coutumesn religieuses de tous les peuples du monde’ (1735).

The illustration is based on information supplied by the Masonic Lodge member ,John Pine, a student of Bernard Picart, who was the leading illustrator to Picart’s ‘Cérémonies…’. The inclusion of a portrait of Sir Richard Steele has been the subject of much speculative research ever since the print was published. No proof, however, has been found as to whether or not Steele was in fact a member of a Masonic Lodge. The only direct links that can be made between Freemasonry and Steele appear to be a couple of references made in articles he wrote for the Tatler newspaper, which he had co-founded. For example, from 1709: “You see these accost each other with effeminate airs, they have their signs and tokens like Freemasons”. This may well have been the first ever mention of the Freemasons in the British press.

[40728] £425

97. Corporis Humani Ossa, Posteriori Facie Proposita Jan Wandelaar after Andreas Vesalius Copper engraving I. Wandelaar fecit. [Leiden, 1725] Image 339 x 208 mm, Plate 355 x 216 mm An anatomical diagram of the human skeleton, engraved by Jan Wandelaar after the famous series of 16th century woodcuts by Vesalius for a 1725 edition of Vesalius’ De Humani Corporis Fabrica. The skeleton is depicted from behind, stooped, with head bowed, and its fingers steepled before its skull. The various bones of the skeleton are marked in latin and greek characters. In the background, the plate’s title is worked into the scene as an inscription on a halfburied classical urn topped with a pinecone, a common funerary motif.

Condition: Minor time-toning and foxing to sheet.

Framed in an antique style frame.

[41001] £375

98. Humani Corporis Ossium Simul Compactorum Anterior Facies Jan Wandelaar after Andreas Vesalius Copper engraving I. Wandelaar fecit. [Leiden, 1725] Image 343 x 206 mm, Plate 352 x 221 mm An anatomical diagram of the human skeleton, engraved by Jan Wandelaar after the famous series of 16th century woodcuts by Vesalius for a 1725 edition of Vesalius’ De Humani Corporis Fabrica.

The skeleton is depicted frontally, contrapposto, and leaning its left arm on the handle of a shovel or oar.

The various bones of the skeleton are marked in latin and greek characters.

Condition: Minor time-toning and foxing to sheet.

Framed in an antique style frame.

[41000] £375

99. Prima XII. Capitis Figura Jan Wandelaar after Andreas Vesalius Copper engraving I. Wandelaar fecit. [Leiden, 1725] Image 108 x 125 mm, Plate 118 x 135 mm A comparative anatomical diagram of a human and a canine skull, engraved by Jan Wandelaar after the famous series of 16th century woodcuts by Vesalius for a 1725 edition of Vesalius’ De Humani Corporis Fabrica. The various sections of the skulls are marked in latin and greek characters.

Condition: Minor time-toning to sheet. Framed in an antique style frame.

[41002] £150

100. Astronomy Homewood & Son after John William Norie Steel engraving [1877] Image 199 x 108 mm, Sheet 219 x 131 mm Plate 7 from John William Norie’s ‘A Complete Epitome of Practical Navigation’. From the chapter dedicated to astronomy, this plate contains seven diagrams, those of which are titled; ‘Phases of the Moon’, ‘Eclipses of the Sun and Moon’, ‘The Sphere’, ‘Parallax’, ‘Refraction’, and ‘Dip of the Horizon’.

Originally published in 1805, with numerous subsequent editions being issued, Norie’s ‘A Complete Epitome of Practical Navigation’ became a standard work on navigation. The thorough guide on nautical navigation included chapters on surveying, astronomy, the winds, and the tides. Numerous diagrams and tables were included throughout.

Condition: Small amount of foxing to sheet.

[40518] £30

101. Zalma, Eikon Babylonica, vel Imago, Quatuor Monarchias Totius Orbis Repraesentans, Danielis 2.V31 Wolfgang Kilian Copper engraving Wolfgangus Kilianus, Eiconographus et civis Augustanus 1623 Image 462 x 366 mm, Plate 470 x 374 mm, Sheet 545 x 403 mm A large and heavily annotated depiction of the giant figure from the Dream of Nebuchadnezzar in the biblical Book of Daniel. One of Kilian’s rarest and most esoteric compositions, it was separately published by the artist in 1623. The present example, having a central fold, was likely bound into an illustrated bible, most probably to accompany the Book of Daniel or Revelations.

The giant, clad in ornamental armour in the Dutch classical style, stands on a sea shore beside a rocky cliff.

He carries a sceptre and rests his left hand against his hip, where a large, eagle-pommelled falchion hangs from his belt. On his head, he wears an open faced helmet with an elaborate plumed crest. The figure’s entire body is covered in text, outlining the history and individuals of the Four Ages of man: Gold, Silver, Bronze, and Iron. Behind the figure, four islands have risen from the turbulent sea. Each houses a different allegorical beast, representing each of the ages in decline. The winged lion represents Babylon and Assyria, and the age of Gold, where Saturn and Jupiter reign supreme. The tusked bear is the Empire of the Medes, the age of Silver and the coming of Mars and Sol. The third kingdom, that of bronze, is depicted as a winged, fourheaded leopard, a creature which represents the fractious kingdoms of the successors of Alexander the Great.

Finally, the Age of Iron and the Empire of Rome is depicted as the Beast of Revelations, a dog like creature crowned with horns numbering 10 and 7.

The figure is the central part of a recurring dream that afflicts the Babylonian king Nebuchadnezzar. The king, troubled and unable to interpret the dream, describes it to his various soothsayers, mystics, and magicians, but each in turn is unable to elucidate its meaning. Their fraudulence is punished by Nebuchadnezzar with death. The Hebrew captive, Daniel, is finally able to provide the king with an answer, explaining that the figure’s constituent parts, of gold, silver, bronze, and iron, represent the great empires that will rise and fall before the coming of the Messiah. The figures helmet, its ‘head of gold’ contains the names of the great tyrants of the Old Testament. Nebuchadnezzar’s own name is emblazoned across the figure’s moustache, while the names of Daniel and Ezekiel, the ‘eyes’ of the Lord, are written across his eyebrows. The second age is written across the figure’s pectorals, and includes the names of the most famous Persian kings, including Cambyses, Darius, and Xerxes. At the figure’s abdomen, the empires of the world fragment. Below Alexander, the line of kings and tyrants is divided geographically, into the Empires of the Ptolemies in Egypt, the Seleucids in Babylon, and the Antiochids in Asia Minor. The final kingdom is ushered in with the conquests of Julius Caesar, and the dominance of Rome. The emperors themselves are listed on the figure’s kilt. Each age is also annotated with its date of commencement, measured from the year of creation (’Anno Mundi’), and its duration.

Unlike most interpretations of the Dream of Nebuchadnezzar, Kilian’s depiction does not end with the rift of the Roman empire into East and West, but instead presents the division as ongoing. Each leg, made of mingled clay and iron, includes a list of monarchs of East and West, drawing particular attention to the conflict between Christianity and Islam as personified by the Holy Roman Emperor Ferdinand II and the Ottoman Sultan Mustapha. The world itself is divided into nations on the figures toes. On the right foot are Germania, Hispania, Anglia, Italia, and Gallia. On the left are the lands of the Ottoman empire, Graecia, Syria, Asia, Aegyptus, and Aphrica. To the right of the scene, the fatal boulder teeters on the cliff-side, ready to sweep away the Kingdoms of men, and become the mountain that will hold the Kingdom of Heaven.

Condition: Central horizontal fold. Repaired cut to centre fold, with minor loss. Minor creasing to centre fold. Otherwise a strong and crisp impression with full margins.

[41102] £2,750

Japanese Woodblocks

102. Misty Evening: Shrine at Shinobazu Pond Kasamatsu Shiro (1898 - 1991) Woodblock (nishiki-e) 1932 (Shôwa 7), spring Vertical ôban; 36.2 x 24.1 cm Publisher: Watanabe Shôzaburô Kasamatsu Shiro (1898 - 1991) became a pupil of Kaburaki Kiyokata in 1911, and was far younger at this stage than his fellow Tokoyites Shinsui and Hasui. Having studied painting in the traditional manner of ‘Nihonga’, Shiro turned to landscape painting.

It was through his landscape work that he attracted the attention of Watanabe Shôzaburô, a prominent publisher and driving force of ‘shin-hanga’. In 1919, Shiro received his first print commission from Watanabe. From this point onwards, the two worked together regularly. Shiro’s townscapes and landscapes became particularly popular with Westerners.

Condition: Crease to lower left of sheet, but otherwise, in good condition.

[41012] £800

103. Spring Night (Haru no yoi) Takahashi Hiroaki (Shôtei) (1871 - 1945) Woodblock (nishiki-e) c.1936 (Shôwa 11) Ôtanzaku; 36.8 x 16.2 cm Artist’s seal: Shôtei Publisher: Watanabe Shôzaburô Takahashi Hiroaki, also known as Shôtei (1871 - 1945), was a Japanese woodblock artist associated with the ‘shin-hanga’ movement. Following his art education, Shôtei went on to found the Japan Youth Painting Society in 1889 with Terazaki Kogyo.

Already a successful artist, Shôtei was approached

by Watanabe Shôzaburô in 1907 to contribute to the ‘shin-hanga’ movement. Shôtei’s work proved to be popular with Westerners, and he went on to produce work specifically for a number of Western collectors.

Condition: Good, clean impression.

[41013] £600

Biographies.

Artists, Printmakers, Mapmakers & Publishers George Washington Bacon (1830 - 1922) was a prolific London based book and map publisher active in the mid to late 19th century. Bacon’s firm G.W. Bacon and Co. produced a wide variety of maps and guides. His firm purchased the plates created by Edward Weller for the Weekly Dispatch Atlas then modified and updated them for several of their own important atlases, including The New Ordnance Atlas of the British Isles. In 1893, Bacon & Co. acquired the map publishing business of J. Wyld. Then, around the turn of the century, Bacon & Co. itself was folded into the Scottish publishing house of W.& A.K. Johnston Bacon was born in New York and emigrated to England c. 1862. He was initially a London agent for the American atlas publisher Joseph Hitchins Colton. By 1871 he had become a British subject and was living in Battersea with his wife and two daughters. He was described on the Census of 1871 as being a map publisher, employing three men, five boys, and one young lady. Bacon died 21 Jan 1922.

Refrences: Worms, Laurence and Ashley Baynton -Williams, British Map Engravers. London, Rare Book Society, 2011.

David Bailly (1584 - 1657) was an etcher and painter. David was the son of fencing-master Pieter Bailly.

Francesco Bartolozzi (1727-1815) was an Italian engraver. The son of a goldsmith, Bartolozzi studied painting in Florence, trained as an engraver in Venice and began his career in Rome. In 1763 Richard Dalton, art dealer and librarian to George III, met him and invited him to London, promising him a post as engraver to the king. Bartolozzi moved to London the following year, and remained for thirty-five years. He executed numerous engravings for the King. He also made many engravings of paintings by Italian masters and by his friend, the painter Giovanni Cipriani. In 1768 Bartolozzi was the only engraver to become a founder member of the Royal Academy of Arts. He moved to Lisbon in 1802 as director of the National Academy.

Henry Charles Beck (1902 - 1974), known as Harry Beck, was an English technical draughtsman best known for creating the present London Underground Tube map in 1931. Beck created the map whilst working as an engineering draughtsman at the London Underground Signals Office. Initially sceptical, London Underground introduced the new design to the public in 1933. An immediate success, the Underground has used topological maps to illustrate the network ever since.

Andrew Bell (1726-1809) was a Scottish engraver, printer, and publisher, best known for the numerous copper-engravings he produced for the Encyclopædia Britannica, a work he co-founded with Colin Macfarquhar. Bell was an eccentric, emphasising his small stature by riding the largest horses available to him, as well as obscuring his abnormally large nose with a false one made of papier-mâché. By the 4th edition of the Encyclopædia, Bell had produced over 500 plates on all subjects, including a series of three for the entry on ‘midwifery’ that so shocked King George III that he ordered them destroyed.

Jacques Nicolas Bellin (1703-1772) was a French hydrographer, geographer, and member of the French intellectual group the Philosophes. Bellin was born in Paris. He was hydrographer of France’s hydrographic office, member of the Académie de Marine and of the Royal Society of London. Over a 50 year career, he produced a large number of maps of particular interest to the Ministère de la Marine. His maps of Canada and of French territories in North America (New France, Acadia, Louisiana) are particularly valuable. He died at Versailles.

George Bickham the Younger (c.1706 - 1771) was a British printmaker and prolific publisher. He published a variety of material, with his first major publication being a series of engraved song sheets entitled ‘The Musical Entertainer’.

Although several of the prints that Bickham published appear to have been engraved and etched by him, he signed the works with pseudonyms.

The Blaeu family were one of the most famous publishers of maps, globes and atlases during the seventeenth-century.

Cartographers, globe makers and booksellers, the Blaeu business flourished in Amsterdam for over 40 years, until a fire destroyed their premises in 1672. They lost all of their plates, prints and stock, which effectively ruined the firm.

Willem Blaeu founded the business in 1596. It initially functioned as a globe and instrument makers, but soon expanded into maps, topography and sea charts. The Atlas Novus was Willems great work; a major work which intended to include the most up-to-date maps of the entire world. He issued the first two volumes in 1635, but died in 1638 before

the atlas was completed. The running of the business was passed on to his sons Johannes and Cornelius, in addition to the role of the official cartographer of the East India Company. After the death of Cornelis in 1644, Johannes continued the business alone and established his own reputation as a great mapmaker. Johannes completed his father’s grand project in 1655 with the sixth and final volume of the Atlas Novus. He also produced the Tooneel der Steden van der Vereenighde Nederlanden in 1649-1653, as well as a similar set of Italian town plans which were published in 1663.

Richard Blome was one of the most active map-publishers of his day, working between about 1667 and 1705. His principal publications were the ‘Geographical Description of the World’, and two county atlases, the ‘Britannia’, published in 1673, and ‘Speed’s Maps Epitomiz’d’, published in 1681. Blome first began engraving maps for his Geographical Description Of The Four Parts Of The World in 1667. The completed volume was in small folio, and contained 24 maps (plus one duplicated), engraved by Francis Lamb, Thomas Burnford, and Wenceslas Hollar Blome has been heavily criticised as a plagiarist, but he lacked the capital to be innovative (as indeed did virtually all his contemporaries), and his output filled an important gap in the market. The ‘Geographical Description’ was the first new, and uniformly assembled, folio world atlas to be published in London since 1627, while the next folio world atlases appeared in the decade 1710-1720 John Boydell (1719 - 1804) was an English engraver, and one of the most influential printsellers of the Georgian period. At the age of twenty one, Boydell was apprenticed to the engraver William Henry Toms, and enrolled himself in the St. Martin’s Lane Academy in order to study drawing. Given the funds raised by the sales of Boydell’s Collection of One Hundred Views in England and Wales, 1755, he turned to the importation of foreign prints. Despite great success in this market his legacy is largely defined by The Shakespeare Gallery; a project that he initiated in 1786.

In addition to the gallery, which was located in Pall Mall, Boydell released folios which illustrated the works of the Bard of Avon and were comprised of engravings after artists such as Henry Fuseli, Richard Westall, John Opie and Sir Joshua Reynolds. He is credited with changing the course of English painting by creating a market for historical and literary works. In honour of this, and his longstanding dedication to civil duties, Boydell became the Mayor of London in 1790.

The British printer and publisher Carington Bowles (1724-1793) was the son of the printer John Bowles, to whom he was apprenticed in 1741. In 1752 until around 1762, they became a partnership known as John Bowles & Son, at the Black Horse, Cornhill, London. Carington left the partnership in order to take over the business of his uncle, Thomas Bowles II in St Paul’s Churchyard. When Carington died in 1793 the business passed to his son Henry Carington Bowles.

Michel Vincent Brandoin, also known as Charles Brandoin (1733 - 1807) was a Swiss painter, watercolourist, draughtsman, and caricaturist. Between 1768 and 1772, Brandoin was active in England. On several of is his British prints, he signs his name as Charles rather than Michel Vincent.

Wessley 100 ii/ii, Chaloner Smith 45, BM Satires 5091, Lennox-Boyd ii/ii.

John Bruce (1815 - 1830 fl.) was a British printmaker and publisher.

John Collet, or Collett, (c.1725-1780) was an English satirical artist. Born in London, he was a pupil of George Lambert, and studied at the St. Martin’s Lane Academy. He exhibited with the Free Society of Artists between 1761 and 1783. His paintings often depicted Hogarthian scenes of debauchery, low life and social weakness. His work was popularised by Carington Bowles, Smith & Sayer, Boydell, and other well-known publishers.

Armand Cuvillier (fl. 1840s) was a French printmaker, known primarily for his lithographs of Switzerland.

James M. Darley was an American cartographer and explorer who served as Chief Cartographer of the National Geographic Society from 1940 to 1963. He is particularly remembered for the issuing of numerous maps of Antarctica by the Society during his tenure. This achievement was recognised by the Advisory Committee on Antarctic Names, who named the Darley Hills, a range of hills overlooking Antarctica’s Ross Ice Shelf, in his honour.

Alfred Delamotte. Executed in Lithography by William Gauci, with Historical and Descrpitive notices by Charles Ollier. London: Thomas Boy. 1843 William Alfred Delamotte (1775 - 1863) was a British draughtsman on wood and water colourist. He entered the Royal Academy Schools in 1794 and trained under Benjamin West. Delamotte moved to Oxford where he did numerous works depicting the city. In 1803, Delamotte became the drawing at the newly established Royal Military Academy at Sandhurst where he remained for 40 years. Delamotte was also known for publishing his own prints.

Willem Jacobsz. Delff (1580 - 1638) was a Dutch engraver who specialised in portraits. His father was the portait painter Jacob Willemsz. (c.1540-1601), and two of his brothers were also painters. He made his first plate in 1617 after a painting by his fellow Delft resident Michiel van Mierevelt. He became van Mierevelt’s official engraver, succeeding Jan Muller and Jacob Matham. He then married van Mierevelt’s daughter in 1618. Their son Jacob became a painter and inherited his grandfather’s studio in 1641. More than half of Delff’s plates are after paintings by van Mierevelt. His style of portrait engraving, using a standard size and oval shape, was highly influential in England and elsewhere.

Michael Drayton (1563-1631) was an English poet who composed the Poly-Olbion. This was illustrated with one of the most unusual series of county maps ever published. The Poly-Olbion was a series of poems, or songs, extolling the beauties of the English and Welsh countryside, and was first published in 1612.

Richard Earlom (1743 - 1822) was a British painter, draughstman and printmaker. He was born in London, and was apprenticed to Giovanni Battista Cipriani after he was discovered making sketches of the Lord Mayor’s coach. This natural faculty for art manifested throughout Earlom’s career, and he is believed to have taught himself the technique of mezzotint. In 1765, Earlom went to work for Johnathan Boydell, who commissioned the artist to produce a large series of works from Sir Robert Walpole’s collection at Houghton Hall. This pair of mezzotints constituted part of this series. His works after van Huysum, as well as the still-life painter Jan van Os, are widely recognised as his most striking.

Georg Christoph Eimmart (22nd August 1638 - 5th January 1705) was a German draughtsman, cartographer, and engraver. Many of his works focussed on antiquarian subjects, and included a series of etchings of classical ruins, sculpture, vases, and figures, though he is probably best remembered as the author of the 1701 Iconographia nova contemplationum de Sole, a mathematical and astronomical work on the sun, for which he engraved a number of celestial maps, charts, and diagrams.

Davide Fossati (1708 - 1795) was an Italian painter and etcher, and worked as a fresco painter in Venetian private palaces. In 1723, Foassati moved to Vienna, and upon his return to Italy in 1730, continued his work as a fresco painter.

Thomas Gainsborough FRSA (christened 14 May 1727, died 2 August 1788) was an English portrait and landscape painter, draughtsman, and printmaker. He surpassed his rival Sir Joshua Reynolds to become the dominant British portraitist of the second half of the 18th century. He preferred landscapes to portraits, and is credited as the originator of the 18th-century British landscape school. Gainsborough was a founding member of the Royal Academy.

Pierre Gallays (1677 - 1749) was a French publisher and printseller. He specialised in popular and semi-popular material, and often in large-scale works.

William Gauci was a lithographer and publisher (1826 - 1854; fl.) He worked in London and was the son of Maxim Gauci also a printmaker.

Richard Gaywood was a British printmaker and publisher active between 1644 and 1680. Trained by Wenceslaus Hollar, Gaywood was one of the most prolific etchers of his day. During the 1650s he took over from Hollar as the principal supplier of portrait etchings to the London trade. A friend of Francis Barlow, Gaywood produced a large number of etchings of birds and animals after him. They also worked together on a large etching after Titian’s Venus and the Organist, which was dedicated to John Evelyn. Although Gaywood published plates himself, much of what he produced was made for the publisher Peter Stent.

James Gillray (c.1756-1815), was a British caricaturist and printmaker famous for his etched political and social satires. Born in Chelsea, Gillray studied letter-engraving, and was later admitted to the Royal Academy where he was influenced by the work of Hogarth. His caricature L’Assemblée Nationale (1804) gained huge notoriety when the Prince of Wales paid a large sum of money to have it suppressed and its plate destroyed. Gillray lived with his publisher and print-seller Miss (often called Mrs) Humphrey during the entire period of his fame. Twopenny Whist, a depiction of four individuals playing cards, is widely believed to feature Miss Humphrey as an ageing lady with eyeglasses and a bonnet. One of Gillray’s later prints, Very Slippy-Weather, shows Miss Humphrey’s shop in St. James’s Street in the background. In the shop window a number of Gillray’s previously published prints, such as Tiddy-Doll the Great French Gingerbread Maker [...] a satire on Napoleon’s king-making proclivities, are shown in the shop window. His last work Interior of a Barber’s Shop in Assize Time, from a design by Bunbury, was published in 1811. While he was engaged on it he became mad, although he had occasional intervals of sanity. Gillray died on 1 June 1815, and was

buried in St James’s churchyard, Piccadilly.

The brothers Christopher (1786-1855) and John (fl.1821-1840) Greenwood were British cartographers, best known for their large scale maps of England and Wales, published during the 1820s. Their original intention had been the production of a series of one-inch-to-the-mile scale maps of each of English counties, but the set was never completed, mostly due to competition from the newly established Ordnance Survey. This cartographic groundwork was not wasted however, as in the period between 1817 and 1830, they worked on a series of large scale folding maps, and in 1834, produced a folio-size Atlas of the Counties of England, the surveys of which are amongst the earliest large-scale steel engraved maps.

William Hole, who also engraved maps for Camden’s Britannia, was commissioned to provide the maps to illustrate these songs. Drayton states that each map is “lively delineating ... every mountaine, forrest, river and valley; expressing in their sundry pastures; their loves, delights and naturall situations”. Thus, it was clearly the intention to produce allegorical maps showing the natural topographical features of the county. As such very few towns or cities are shown on the maps. Each feature is accompanied by an allegorical figure - hills are shown with shepherds, rivers with water nymphs, islands with goddesses, towns with female figures wearing mural crowns, or crowns alone are used to denote London and royal palaces.

Wenceslaus Hollar (1607-1677) left his native Prague in 1627. He spent several years travelling and working in Germany before his patron, the Earl of Arundel brought him to London in 1636. During the civil wars, Hollar fought on the Royalist side, after which he spent the years 1644-52 in Antwerp. Hollar’s views of London form an important record of the city before the Great Fire of 1666. He was prolific and engraved a wide range of subjects, producing nearly 2,800 prints, numerous watercolours and many drawings.

Johann Baptist Homann (20th March 1664 - 1st July 1724) was a German engraver and cartographer, and the Imperial Geographer to the Holy Roman Emperor Charles VI. In 1702 he opened a publishing house in Nuremberg, and his maps often make reference to his membership of the Prussian Royal Academy of Sciences and his imperial patronage.

Upon his death, his maps passed to the Homann Heirs company and reprinted many times before the company closed in 1848.

Edmund Hort New, known as E.H. New, was born in Evesham in 1871. He was the son of an important lawyer. He attended the Birmingham Municipal School of Art. He began painting landscape and later he devoted himself to illustration. Early in his career he worked with Ruskin and other associated Arts and Crafts artists. He later went on to work for William Morris’s Kelmscott Press. The influence of these experiences is evident in his prints - the decorative boarders, armourials, etc. Over a period of years New did a series of prints of the Oxford Colleges based on the David Loggan’s 1675 aerial perspectives. New took Loggan’s format and enriched his prints with many fine details of and about the colleges and they are valued today by many collectors because of the high level of detail and the fact that they represent the colleges in their present state. These prints were made through a relatively new process at the time - photo engraving. Like photogravures the print is made by transferring a photo to a copper plate and then printing it. With the E.H. New prints, a contact print of New’s pen and ink drawing was made and the large negative attached to a plate which was then exposed in an acid bath, the acid only biting where the negative was clear; thus, creating and engraved plate of New’s drawing. The prints were available separately at shops in Oxford such as Ryman’s in the early part of the 20th century.

Dublin-born Richard Houston (c.1721-1775) was apprenticed to John Brooks as a draughtsman and mezzotint-engraver and studied drawing at the Dublin Society Schools. He moved with Brooks to London in 1746 and established himself as an independent printmaker and publisher Johannes Janssonius (1588 - 1664) was a famed cartographer and print publisher. More commonly known as Jan Jansson, he was born in Arnhem where his father, Jan Janszoon the Elder, was a bookseller and publisher. In 1612 he married the daughter of the cartographer and publisher Jodocus Hondius, and then set up in business in Amsterdam as a book publisher. In 1616 he published his first maps of France and Italy and from then onwards, produced a very large number of maps which went some way to rival those of the Blaeu family, who held a virtual monopoly over the industry. From about 1630 to 1638 he was in partnership with his brother-in-law, Henricus Hondius, issuing further editions of the Mercator/Hondius atlases to which his name was added. On the death of Hondius he took over the business, expanding the atlas still further, until eventually he published an eleven volume Atlas Major on a scale similar to Johannes Blaeu’s magnum opus. After Jansson’s death, his heirs published a number of maps in the Atlas Contractus of 1666, and, later still, many of the plates of his British maps were acquired by Pieter Schenk and Gerard Valck, who published them again in 1683 as separate maps.

John Jones ( c. 1745 - 1797) was a British engraver in mezzotint and stipple, and a publisher.

Wolfgang Kilian (1581-1662) was a German artist and printmaker, and a member of the Augsburg-based Kilian family of engravers. He was the son of Bartholomaus Kilian the Elder, brother to Lucas Kilian, and father of Bartholomaus Kilian the Younger and Philipp Kilian.

Johannes ‘Jan’ Kip (1653 - 1722) was a Dutch draughtsman, engraver, and print dealer who was active in England, after producing works for the court of William of Orange in Amsterdam. Following the Glorious Revolution of 1688, Kip accompanied the Court to England and settled in Westminster, where he conducted a thriving print selling business from his house in St. John’s Street. He also worked for various London publishers producing engravings, largely for book illustrations. His most important works were the execution of the illustrations for Britannia Illustrata, 1708; The Ancient and Present State of Gloucestershire, 1712, and Le Nouveau Theatre de la Grande Bretagne, 1715.

The set of five volumes that comprised the ‘Britannia Illustrata’ is celebrated for its survey of the country house during the Augustinian age, as recorded in the series of plates engraved by Kip himself. This ‘flourishing period of restoration, expansion and reconstruction of the seats of the English nobility was the immediate outcome of a great increase in mercantile prosperity.’ Other engravers contributed to produce some outstanding plates that show the royal palaces, naval towns, cathedrals, the colleges of Oxford and Cambridge and large panoramic views of London, Westminster and Cambridge.

Thomas Kitchin was an engraver and publisher. He worked from the sign of the Star, Holborn, between the years of 1738 to 1776. Kitchin was a prolific producer of maps, plans and charts, and was appointed as the Royal Hydrographer for George III. His output included sheet maps; series of maps for the Universal Magazine and the London Magazine, and atlases. He worked with Thomas Jefferys, and often collaborated with Emanuel Bowen.

Sir Godfrey Kneller, 1st Baronet (1646 – 1723) was the leading portrait painter in England during the late 17th and early 18th centuries, and was court painter to British monarchs from Charles II to George I. His major works include The Chinese Convert (1687); a series of four portraits of Isaac Newton painted at various junctures of the latter’s life; a series of ten reigning European monarchs, including King Louis XIV of France; over 40 “Kit-cat portraits” of members of the Kit-Cat Club; and ten “beauties” of the court of William III, to match a similar series of ten beauties of the court of Charles II painted by his predecessor as court painter, Sir Peter Lely.

David Loggan (1635–1692) was born in Danzig in 1635 and came to England around 1653. By 1665 he was living in Nuffield near Oxford and in 1669 was appointed engraver to the University. In 1675 he married and became a naturalised citizen. His Oxonia Illustrata was intended as a companion work to Historia Antiquitates Universitatis Oxoniensis by Anthony Woods, with whom Loggan had become acquainted some years earlier.

Charles Le Brun (1619 - 1690) was a French painter and art theorist, and a particularly dominant figure in 17th-century art in France. Between 1642 and 45, Le Brun spent time in Italy with Nicolas Poussin, whom he was greatly influenced by. Le Brun later began working for Louis XIV, from whom he received numerous commissions, most famously the decoration of Versailles. In 1662, Louis XIV named Le Brun Premier peintre, and is said to have declared him ‘the greatest French artist of all time’. Le Brun also played a prominent role in the reorganisation of the Académie de Peinture et de Sculpture, of which he became director.

Kerry Ernst Lee (b.1903) was a British artist, born in Hackney, best known for a series of chromolithograph advertising posters issued by British railways, designed and used to help promote British tourism after the second world war.

He attended Reading Schools of Arts and Science, the Slade, and the Sorbonne in Paris. Many of Kerry Lee’s maps depict the artist sitting sketching in the corner, with his dog beside him.

Thomas Lediard (1685 - 1743) was an English writer and surveyor.

Joseph Rose Lemercier (1803-1887) was the founder of the large and very prolific Parisian printer and publisher Lemercier & Cie. Thomas Malton (1748 - 1804) was an English printmaker and draughtsman. He came from an artistic family for both his father, and his brother James were accomplished architects and architectural draughtsmen. Malton gave drawing lessons from his London flat in Conduit Street between 1783 and 1789. He is known to have taught Thomas Girtin and Joseph Mallord William Turner amongst other pupils.

Frederick de Marselaer (1534 - 1670) was a mayor of Brussels, and wrote a treatise on diplomacy.

Adriaen Lommelin (1637 - 1673) was an engraver from the Netherlands.

William Marshall (1617 - 1649) was a British engraver. One of the most prolific engravers of the Caroline era, Marshall produced some 250 prints during his career. Around half of his prints are portraits, and a large proportion of the rest are titlepages.

Philippe Mercier (c.1689-1760) was a French painter and engraver, who lived and worked principally in London. The son of a Huguenot tapestry worker, Mercier was born in Berlin, where he studied painting at the Akademie der Wissenschaften, and later under Antoine Pesne. He travelled to Italy and France before settling in London in 1716. Painter to Frederick Prince of Wales (1729-36), Mercier mainly specialised in portraits, but in later years he made fancy pictures in the manner of Watteau for engraving. His wife Dorothy ran a print shop in London.

Herman Moll (c.1654-1732) was born in Germany and came to England in the 1670s. He worked as an independant cartographer and geographer, and traded as a map publisher and seller for two years, and then worked for other publishers. Moll established his own business and eventually dominated the early eighteenth century map trade. He produced many maps and atlases of England, Wales, Scotland and Ireland. His county maps were all boldly engraved in a heavy style.

William Monk (1863 -1937) was a painter and etcher of architectural subjects. Born at Chester. Studied at the Antwerp Academy. Exhibited at the R.A., R.E., I.S., and with the Society of Graver Printers in Colour. Electer A.R.E. 1894, R.E. 1899. Executed subjects in Venice and New York. Lived in London and died on 8th April 1937 aged 73.

George Morland (1763-1804) was a British painter of landscapes and sentimental rustic scenes. Son of the painter, Henry Robert Morland, to whom he was apprenticed in 1777, George Morland was precocious, gifted and dissolute, spending much of his later career facing a debtor’s prison, despite the popularity of his work.

Pieter Mortier (1661–1711) was an 18th-century mapmaker and engraver from the Northern Netherlands. Mortier was born in Leiden. According to Houbraken, David van der Plas worked with him on etchings for Bybelsche Tafereelen (Bible stories), published in Amsterdam in 1700. He was the father of Cornelis Mortier (1699-1783), who in partnership with Johannes Covens I (1697-1774) began the map publishing company Covens & Mortier (1721-1866). He travelled to Paris in 1681-1685 and won the privilege in 1690 of publishing maps and atlases by French publishers in Amsterdam. He used this privilege to win a similar set of privileges for printing an “illustrated print bible” in 1700. He died in Amsterdam.

The Blaeu family were one of the most famous publishers of maps, globes and atlases during the seventeenth-century.

Cartographers, globe makers and booksellers, the Blaeu business flourished in Amsterdam for over 40 years, until a fire destroyed their premises in 1672. They lost all of their plates, prints and stock, which effectively ruined the firm.

Sebastian Münster (20th January 1488 - 26th May 1552) was a German cartographer, cosmographer, and theologian.

A gifted scholar of Hebraic, Münster originally joined the Franciscans, but left the order in favour of the Lutheran Church. He was appointed to the University of Basel in 1529, and published a number of works in Latin, Greek, and Hebrew. His most celebrated works are his Latin edition of Ptolemy’s Geographia in 1540, and the Cosmographia in 1544. The Cosmographia was the earliest German description of the world, an ambitious work of 6 volumes published in numerous editions in German, Latin, French, Italian, and Czech.

Charles Oliver Murray, R.E. (1842-1923) Etcher of landscapes, figures and architectural subjects. Born at Denholm in Roxburghshire, he studied at the Edinburgh School of Design, and at the Royal Scottish Academy Schools where he received the Keith Prize. Murray exhibited at the principal London galleries from 1872, mainly the Royal Academy and the Royal Society for Painter-Etchers and Engravers. He received awards at international exhibitions in London in 1884, in Munich in 1893 and a gold medal in Paris in 1900. Murray lived in South Croydon.

Sutton Nicholls (1668-1729) was a British engraver, printseller, draughtsman and globemaker. Although best known for his panoramic views of the cities of London and Westminster, Sutton also produced prospects of gentlemen’s seats, such as this example. A majority of his work was commissioned by publishers.

John Payne was a British engraver active between 1620 and 1642. Vertue wrote that Payne was ‘the first Native that distinguishd himself by his Excellent burin being a forward Ingenious Young Man both in Graving & designing’. It is thought that he was trained by Simon de Passe. John Sturt claimed that although King Charles I had requested to meet

him, Payne was too ‘careless of his affairs’ to attend. He is best-known for the print Sovereign of the Seas, and his book of plants Flora. William Faithorne was one of his pupils.

Martin Rennoldson (1764 - 1793 fl.) was a British engraver and printer. He produced several illustrations for topographical works such as William Thornton’s ‘The new, complete, and universal history, description, and survey of the cities of London and Westminster’, 1784.

Sir Joshua Reynolds (1723-1792) led the eighteenth-century art world as first President of the Royal Academy and Britain’s leading portrait painter. In his attempt to raise the status of portraiture, he created the Grand Manner which borrowed from classical antiquity and the Old Masters to fill his portraits with moral and heroic symbolism. An incredible socialite, social climber and self-promoter, Reynolds used his contacts to advance himself. Appointed President of the newly established Royal Academy in 1768, his annual lectures - or ‘Discourses on Art’ - had a lasting impact on the contemporary theory of art and practice.

Marco Ricci (1676 - 1730) was an Italian Baroque painter and etcher, having received his first art tuition from his uncle, Sebastiano Ricci. Ricci went on to spend a significant period of his career working in Venice.

Matteo Gregorio de Rossi (1638-1702) was an Italian engraver and publisher. A member of the large and prolific de Rossi family of publishers, Matteo was the son of Giovanni Battista, brother to the director of the family printworks, Giovanni Giacomo. The sheer volume of work produced by the Rossi family between the mid seventeenth century to the late eighteenth century often makes the identification of works by individual members difficult. This is compounded in the case of Matteo and his father by the fact that they established a rival de Rossi printworks at the nearby Piazza Navona, specialising particularly in maps and plans of Rome, both ancient and contemporary, as well as views of Roman monuments with a particular focus on architectural detail.

John Pearson Sayer (fl. 1930 - 1950) was an English artist and graphic designer. He provided the illustrations for the Motorist’s Rhyme Book; a booklet produced by British Petroleum, which contorted popular nursery rhymes in order to sell its products. Sayer is best remembered for the posters that he designed for the Great Western Railway Company, and the uniquely pictographic style of his that emerged from these commissions. Works of Sayer’s include posters of Oxford, Leamington Spa, Somerset, Cornwall, and the Cambrian Coast.

Frederick Smith (1805 - 1879) was a British engraver.

John Smith (1652 - 1743) early British mezzotinter. He was born at Daventry, Northamptonshire, about 1652. He was articled to a painter named Tillet in London, and studied mezzotint engraving under Isaac Beckett and Jan van der Vaardt. He became the favourite engraver of Sir Godfrey Kneller, whose paintings he extensively reproduced, and in whose house he is said to have lived for some time. He produced some 500 plates, 300 of which are portraits. On giving up business he retired to Northamptonshire, where he died on 17 January 1742 at the age of ninety. He was buried in the churchyard of St Peter’s, Northampton, where there was a tablet to his memory and that of his wife Sarah, who died in 1717.

John Speed (1552-1629) is the most famous of all English cartographers primarily as a result of The Theatre of the Empire of Great Britaine, the first atlas of the British Isles. The maps from this atlas are the best known and most sought-after of all county maps. The maps were derived mainly from the earlier prototypes of Christopher Saxton and Robert Norden but with notable improvements including parish “Hundreds” and county boundaries, town plans and embellishments such as the coats of arms of local Earls, Dukes, and the Royal Household. The maps are famed for their borders consisting of local inhabitants in national costume and panoramic vignette views of major cities and towns. An added feature is that regular atlas copies have English text printed on the reverse, giving a charming description of life in the early seventeenth century of the region. The overall effect produced very decorative, attractive and informative maps.

Speed was born in 1552 at Farndon, Cheshire. Like his father before him he was a tailor by trade, but around 1582 he moved to London. During his spare time Speed pursued his interests of history and cartography and in 1595 his first map of Canaan was published in the “Biblical Times”. This raised his profile and he soon came to the attention of poet and dramatist Sir Fulke Greville a prominent figure in the court of Queen Elizabeth. Greville as Treasurer of the Royal Navy gave Speed an appointment in the Customs Service giving him a steady income and time to pursue cartography.

Through his work he became a member of such learned societies as the Society of Antiquaries and associated with the likes of William Camden Robert Cotton and William Lambarde. He died in 1629 at the age of seventy-seven.

Pieter van der Aa (1659 – 1733) was a Dutch publisher, best known for preparing maps and atlases. Despite producing his own work, van der Aa is also known for his production of pirated editions of illustrated publications and foreign bestsellers. Beginning his career as a Latin trade publisher in Lieden in 1683, van der Aa’s ambition was to one day become the most famous printer in the city. In 1715, van der Aa was appointed the head printer for Leiden and its university.

Anthony van Dyck (1599-1641) was a Flemish painter. A pupil of Rubens, Van Dyck worked in Italy from 1621-26, and then from 1632 onwards he predominantly painted in England, where he was knighted by Charles I. Giuseppe Vasi (1710 - 1782) was an Italian printmaker, and the major topographical etcher prior to the generation of Piranesi, who was his follower.

George Vertue (1684-1756) was an antiquary and engraver. He was born in the parish of St. Martin-in-the-Fields, London. Vertue was apprenticed to a silver engraver and later to the Flemish engraver Michael Vandergucht. His early work includes plates after Kneller, whose academy he attended from 1711. Vertue had a deep interest in antiquarian research, and much of his work was devoted to this subject. He also served as the official engraver to the Society of Antiquaries (1717-56). From 1713 onwards, Vertue dedicated his research to the details of the history of British art, which resulted in an extensive collection of notebooks now in the British Library. The contents of which were the basis of Horace Walpole’s 1762 ‘Anecdotes of Painting’. There are approximately five hundred portraits attributed to Vertue, and an equivalent number of published plates which were devoted to antiquarian subjects.

Ex. Col.: Earl de Grey.

Andreas Vesalius (31st December 1514 - 15th October 1564) was a Dutch surgeon, and medical author, often hailed as the father of modern anatomical study. His most influential work was the De Humani Corporis Fabrica, published in Basel in 1543. The most important and influential part of this text were the many anatomical plates, included to illustrate the authors focus on the primacy and importance of dissection in understanding the workings of the human body.

These plates, engraved by Pietro da Cortona and Titian’s protégé van Calcar, found immediate currency in medical circles across Europe, quickly inspiring various forgeries, piracies, and reprintings, but also establishing a precedent for anatomical drawing that continued long into the eighteenth century, when the elaborate poses and landscaped backgrounds of Vesalius’ subjects gradually fell out of fashion.

François Vivares (1709-1782) was a French landscape-engraver and publisher. He moved to London in 1727 and his earliest dated print is 1738. Vivares had a very high reputation in France, where he was regarded as one of the greatest landscape engravers, and key teacher of the British school of line-engraving.

Lucas Vorsterman (Zaltbommel, 1595–Antwerp, 1675) was a Baroque engraver. He worked with the artists Peter Paul Rubens and Anthony van Dyck, as well as for patrons such as Thomas Howard, 2nd Earl of Arundel and Charles I of England. Around 1617 or 1618 Vorsterman joined Rubens’s workshop and became Rubens’s primary engraver for several years. Rubens was a demanding employer of engravers, with a very specific idea of the style he wanted: “As he dismissed engraver after engraver, he drove the best one, Lucas Vorsterman, into a nervous breakdown”. In 1624, Vosterman moved to England. He was back in Antwerp around 1630, where he worked closely with Van Dyck, including some of the engraved artists’ portraits in the Iconography project.

Jan Wandelaar (1690 - 1759) was a Dutch draughtsman and etcher who was mainly active in Amsterdam. He was believed to have been a pupil of Johannes Jacobsz Folkema, Gilliam van der Gouwen, and Gerard de Lairesse. Wandelaar produced engravings after Jacob Houbraken, as well for Carl Linnaeus’ Hortus Cliffortianus. Following his work engraving anatomical plates for a number of early eighteenth century editions of Vesalius’ De Humani Corporis Fabrica, he assisted the German anatomist Bernhard Siegfried Albinus with the illustrations for his Tabulae sceleti et musculorum corporis humani.

Robert White (1645-1703) was a draughtsman and engraver. Born in London and was apprenticed to David Loggan, whose position as the leading line engraver for the print trade he later inherited. His output was huge, and in fact has never been fully documented. White’s principal activity was as a portrait engraver. He usually engraved these from his own drawings, made from life in black lead on vellum. The majority of his portraits were made on commission from publishers who used them as frontispieces for books. As well as frontispieces, he engraved book-plates, almanacs and architectural views. His son, George White, was also an engraver.

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