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1856 Cap Richard Delafield Large Antique Print Fortifications of Rastatt Germany

1856 Cap Richard Delafield Large Antique Print Fortifications of Rastatt Germany

Description:
This large original lithograph print a plan of the fortifications around the city of Rastatt in Baden-Württemberg, Germany - during the Crimean War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 26 1/2in x 14in (675mm x 355mm)
Plate size: - 26 1/2in x 14in (675mm x 355mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Age toning along folds, as issued
Verso: - Folds re-enforced with archival tape

Background:
Rastatt is a town with a baroque core, District of Rastatt, Baden-Württemberg, Germany. It is located in the Upper Rhine Plain on the Murg river, 6 km above its junction with the Rhine. Rastatt was an important place of the War of the Spanish Succession (Treaty of Rastatt) and the Revolutions of 1848 in the German states.
Until the end of the 17th century, Rastatt held little influence, but after its destruction by the French in 1689, it was rebuilt on a larger scale by Louis William, margrave of Baden, the imperial general in the Habsburg-Ottoman War known popularly as Türkenlouis.
It then remained the residence of the margraves of Baden-Baden until 1771. It was the location of the First and Second Congress of Rastatt, the former giving rise to the Treaty of Rastatt while the second ended in failure in 1799. In the 1840s, Rastatt was surrounded by fortifications to form the fortress of Rastatt. For about 20 years previous to 1866, it was occupied by the troops of the German Confederation.
The Baden revolution of 1849 began with a mutiny of soldiers at Rastatt in May 1849 under Ludwik Mieroslawski and Gustav Struve, and ended there a few weeks later with the capture of the town by the Prussians. (See The Revolutions of 1848 in the German states and History of Baden.) For some years, Rastatt was one of the strongest fortresses of the German empire, but its fortifications were dismantled in 1890.

Delafield, Richard Major General 1798 - 1873 - Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

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1856 Cap Richard Delafield Large Antique Print Fortifications of Rastatt Germany

1856 Cap Richard Delafield Large Antique Print Fortifications of Rastatt Germany

Description:

This large original lithograph print a plan of the fortifications around the city of Rastatt in Baden-Württemberg, Germany - during the Crimean War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 26 1/2in x 14in (675mm x 355mm)
Plate size: - 26 1/2in x 14in (675mm x 355mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Light age toning along folds, as issued
Verso: - Folds re-enforced with archival tape

Background:
Rastatt is a town with a baroque core, District of Rastatt, Baden-Württemberg, Germany. It is located in the Upper Rhine Plain on the Murg river, 6 km above its junction with the Rhine. Rastatt was an important place of the War of the Spanish Succession (Treaty of Rastatt) and the Revolutions of 1848 in the German states.
Until the end of the 17th century, Rastatt held little influence, but after its destruction by the French in 1689, it was rebuilt on a larger scale by Louis William, margrave of Baden, the imperial general in the Habsburg-Ottoman War known popularly as Türkenlouis.
It then remained the residence of the margraves of Baden-Baden until 1771. It was the location of the First and Second Congress of Rastatt, the former giving rise to the Treaty of Rastatt while the second ended in failure in 1799. In the 1840s, Rastatt was surrounded by fortifications to form the fortress of Rastatt. For about 20 years previous to 1866, it was occupied by the troops of the German Confederation.
The Baden revolution of 1849 began with a mutiny of soldiers at Rastatt in May 1849 under Ludwik Mieroslawski and Gustav Struve, and ended there a few weeks later with the capture of the town by the Prussians. (See The Revolutions of 1848 in the German states and History of Baden.) For some years, Rastatt was one of the strongest fortresses of the German empire, but its fortifications were dismantled in 1890.

Delafield, Richard Major General 1798 - 1873 - Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

$105.00 USD
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1856 Cap Richard Delafield Large Antique Schematics German Fortifications

1856 Cap Richard Delafield Large Antique Schematics German Fortifications

Description:
This large original lithograph print, schematics of parts of the German Forts in such cities as Coblenz, Posen, Mainz, Luxemburg, Landau & others - during the time of the Crimean War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 24 1/2in x 18in (615mm x 475mm)
Plate size: - 24 1/2in x 18in (615mm x 475mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Light age toning along folds, as issued
Verso: - Folds re-enforced with archival tape

Background:
Under the term of the 1815 Peace of Paris, France was obliged to pay for the construction of a line of fortresses to protect the German Confederation against any future aggression by France. All fortresses were located outside Austria and Prussia — the two biggest, bickering powers of the Confederation.
Section C. Defensive System of the Germanic Confederation of the protocol drawn up at Paris on 3 November 1815, declared Mainz, Luxemburg, and Landau to be fortresses belonging to the Confederation of Germany, and stipulated that a fourth should be constructed on the Upper Rhine. In conformity with this act, a portion of the funds, which France was compelled to pay by way of indemnity for the cost of placing her on a peaceable footing, was thus appropriated: £200,000 were set aside for completing the works at Mainz; £800,000 were assigned to Prussia, to be applied upon its fortresses on the Lower Rhine; another £800,000 were reserved for constructing the new federal fortress on the Upper Rhine; and Bavaria was allowed £600,000 towards erecting another strong place on the Rhine, at Germersheim or some other point.
By 1835 the works about Mainz were completed; the twin fortresses of Koblenz and Ehrenbreitstein, and Cologne had been abundantly strengthened on the side of Prussia; and, on the Bavarian side, the fortress of Germersheim was in a state to defend the passage on the Upper Rhine. The western frontier of Germany had, in this way, been provided with a formidable line of defences against possible hostile actions by their neighbours. The eastern side of Germany has been additionally fortified by the erection of a strong citadel at Posen; and the southern was to be still further protected by the formidable works in course of construction at Brixen in the Tyrol.
The fortress of Ulm became a major strategic fortress able to accommodate 100,000 men and their equipment. Since the Kingdom of Württemberg had no engineering corps King William I appointed Moritz Karl Ernst von Prittwitz, a Prussian major, as the supervisor to oversee the building the fortresses. His plans included the provisions for the prospective development of the city Ulm. Major Theodor von Hildebrandt was appointed to oversee the building of fortresses around Neu-Ulm on the Bavarian side of the Danube

Delafield, Richard Major General 1798 - 1873 - Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

$105.00 USD
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1856 Cap Richard Delafield Large Antique Schematics German Fortifications

1856 Cap Richard Delafield Large Antique Schematics German Fortifications

Description:
This large original lithograph print, schematics of parts of the German Forts in such cities as Coblenz, Posen, Mainz, Luxemburg, Landau & others - during the time of the Crimean War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 24 1/2in x 18in (615mm x 475mm)
Plate size: - 24 1/2in x 18in (615mm x 475mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Light age toning along folds, as issued
Verso: - Folds re-enforced with archival tape

Background:
Under the term of the 1815 Peace of Paris, France was obliged to pay for the construction of a line of fortresses to protect the German Confederation against any future aggression by France. All fortresses were located outside Austria and Prussia — the two biggest, bickering powers of the Confederation.
Section C. Defensive System of the Germanic Confederation of the protocol drawn up at Paris on 3 November 1815, declared Mainz, Luxemburg, and Landau to be fortresses belonging to the Confederation of Germany, and stipulated that a fourth should be constructed on the Upper Rhine. In conformity with this act, a portion of the funds, which France was compelled to pay by way of indemnity for the cost of placing her on a peaceable footing, was thus appropriated: £200,000 were set aside for completing the works at Mainz; £800,000 were assigned to Prussia, to be applied upon its fortresses on the Lower Rhine; another £800,000 were reserved for constructing the new federal fortress on the Upper Rhine; and Bavaria was allowed £600,000 towards erecting another strong place on the Rhine, at Germersheim or some other point.
By 1835 the works about Mainz were completed; the twin fortresses of Koblenz and Ehrenbreitstein, and Cologne had been abundantly strengthened on the side of Prussia; and, on the Bavarian side, the fortress of Germersheim was in a state to defend the passage on the Upper Rhine. The western frontier of Germany had, in this way, been provided with a formidable line of defences against possible hostile actions by their neighbours. The eastern side of Germany has been additionally fortified by the erection of a strong citadel at Posen; and the southern was to be still further protected by the formidable works in course of construction at Brixen in the Tyrol.
The fortress of Ulm became a major strategic fortress able to accommodate 100,000 men and their equipment. Since the Kingdom of Württemberg had no engineering corps King William I appointed Moritz Karl Ernst von Prittwitz, a Prussian major, as the supervisor to oversee the building the fortresses. His plans included the provisions for the prospective development of the city Ulm. Major Theodor von Hildebrandt was appointed to oversee the building of fortresses around Neu-Ulm on the Bavarian side of the Danube

Delafield, Richard Major General 1798 - 1873 - Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

$105.00 USD
More Info
1856 Cap Richard Delafield Large Antique Schematics German Fortifications

1856 Cap Richard Delafield Large Antique Schematics German Fortifications

Description:
This large original lithograph print, schematics of parts of the German Forts in such cities as Coblenz, Posen, Mainz, Luxemburg, Landau & others - during the time of the Crimean War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 24 1/2in x 18in (615mm x 475mm)
Plate size: - 24 1/2in x 18in (615mm x 475mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Light age toning along folds, as issued
Verso: - Folds re-enforced with archival tape

Background:
Under the term of the 1815 Peace of Paris, France was obliged to pay for the construction of a line of fortresses to protect the German Confederation against any future aggression by France. All fortresses were located outside Austria and Prussia — the two biggest, bickering powers of the Confederation.
Section C. Defensive System of the Germanic Confederation of the protocol drawn up at Paris on 3 November 1815, declared Mainz, Luxemburg, and Landau to be fortresses belonging to the Confederation of Germany, and stipulated that a fourth should be constructed on the Upper Rhine. In conformity with this act, a portion of the funds, which France was compelled to pay by way of indemnity for the cost of placing her on a peaceable footing, was thus appropriated: £200,000 were set aside for completing the works at Mainz; £800,000 were assigned to Prussia, to be applied upon its fortresses on the Lower Rhine; another £800,000 were reserved for constructing the new federal fortress on the Upper Rhine; and Bavaria was allowed £600,000 towards erecting another strong place on the Rhine, at Germersheim or some other point.
By 1835 the works about Mainz were completed; the twin fortresses of Koblenz and Ehrenbreitstein, and Cologne had been abundantly strengthened on the side of Prussia; and, on the Bavarian side, the fortress of Germersheim was in a state to defend the passage on the Upper Rhine. The western frontier of Germany had, in this way, been provided with a formidable line of defences against possible hostile actions by their neighbours. The eastern side of Germany has been additionally fortified by the erection of a strong citadel at Posen; and the southern was to be still further protected by the formidable works in course of construction at Brixen in the Tyrol.
The fortress of Ulm became a major strategic fortress able to accommodate 100,000 men and their equipment. Since the Kingdom of Württemberg had no engineering corps King William I appointed Moritz Karl Ernst von Prittwitz, a Prussian major, as the supervisor to oversee the building the fortresses. His plans included the provisions for the prospective development of the city Ulm. Major Theodor von Hildebrandt was appointed to oversee the building of fortresses around Neu-Ulm on the Bavarian side of the Danube

Delafield, Richard Major General 1798 - 1873 - Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

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1856 Cpt R Delafield Large Antique Schematics 2nd Lancer Barracks Stables Berlin

1856 Cpt R Delafield Large Antique Schematics 2nd Lancer Barracks Stables Berlin

  • TitleBarrack and stables of the Lancers of the Guard at Berlin...Barrack of the Second Regiment of the Lancers of teh Guard at Berlin
  • Date : 1856
  • Condition: (A) Very Good Condition
  • Ref:  90142
  • Size: 18 1/2in x 16in (470mm x 405mm)

Description:
This large original lithograph print, schematics of the 2nd German Lancer Regiment Barracks & Stables in Berlin - during the time of the Crimean War and just prior to the American Civil War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 18 1/2in x 16in (470mm x 405mm)
Plate size: - 18 1/2in x 16in (470mm x 405mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - Folds re-enforced with archival tape

Background:
A lancer was a type of cavalryman who fought with a lance. Lances were used in mounted warfare by the Assyrians as early as 700 BC and subsequently by Greek, Persian, Gallic, Chinese, and Roman horsemen. The weapon was widely used in Asia and Europe during the Middle Ages and the Renaissance by armoured cavalry, before being adopted by light cavalry, particularly in Eastern Europe. In a modern context, a lancer regiment usually denotes an armoured unit.
The lancer (called ułan in Polish and Uhlan in German) had become a common sight in almost every European, Ottoman, and Indian army during this time, but, with the exception of the Ottoman troops, they increasingly discarded the heavy armour to give greater freedom of movement in combat. The Polish winged lancers were amongst the last to abandon the armour in Europe. There was debate over the value of the lance in mounted combat during the 18th century and most armies had few lancer units by the beginning of the 19th century. However, during the Napoleonic Wars, lancers were to be seen in many of the combatant nations as their value in shock tactics became clear. During the wars, the Poles became a ready source of recruitment for several armies, willingly or unwillingly. Polish lancers served with distinction in the Austrian, Prussian, Russian and French armies, most famously in Napoleons French Imperial Guard as the 1er Regiment de Chevau-Legers-Lanciers de la Garde Impériale.
At the Battle of Waterloo, French lances were nearly three meters (about nine feet, ten inches) long, weighed three kilograms (about six pounds, ten ounces), and had a steel point on a wooden staff, according to historian Alessandro Barbero. He adds that they were terrifyingly efficient. Commander of the French 1st Corps, 4th Division General Durutte, who saw the battle from the high ground in front of Papelotte, would write later, I had never before realized the great superiority of the lance over the sword.
In the Siege of Los Angeles (1846), during the war between Mexico and the United States, a company of Californio lancers temporarily recaptured the town, expelling a company of U.S. Marines.
Although having substantial impact in the charge, lancers could be vulnerable to other cavalry at close quarters, where the lance proved a clumsy and easily deflected weapon when employed against sabres. By the late 19th century, many cavalry regiments in the British and other European armies were composed of troopers with lances, as primary weapons, in the front rank and horsemen with sabres only in the second: the lances for the initial shock and sabres for the subsequent mêlée.

Delafield, Richard Major General 1798 - 1873 - 
Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

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1856 Capt Delafield Large Antique Schematics Forts City of Lyons, France

1856 Capt Delafield Large Antique Schematics Forts City of Lyons, France

This large original lithograph print, schematics of the forts or Belts of Lyon, France - during the time of the Crimean War and just prior to the American Civil War - was engraved by John T Bowen & co. of Philadelphia and was published in the 1856 edition of Captain Richard Delafields Report on the Art of War in Europe in 1854, 1855, and 1856.

In early 1855, Captain Richard Delafield was appointed by the Secretary of War, Jefferson Davis, a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 29in x 20in (735mm x 515mm)
Plate size: - 29in x 20in (735mm x 515mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - Folds re-enforced with archival tape

Background:
The ceintures de Lyon (Belts of Lyon) were a series of fortifications built between 1830 and 1890 around the city of Lyon, France to protect the city from foreign invasion.
The belts comprised two defensive barriers that included forts, lunettes, ramparts, batteries, and other defensive structures. Many of these structures proved to be ineffective in war due to advancement in weapon technology and the evolution of attack strategies at the time. Some of the fortifications of the ceintures de Lyon have been destroyed, though many remain today.
In 1830 the maréchal de camp, Hubert Rohault de Fleury, commenced a project designed by military engineer Baron Haxo. With a budget of 10,000,000 francs (approximately €67,000,000 as of 2015) allocated for Lyon between 1831 and 1839, this first project included the restoration of the fortifications between Croix Rousse and Fourvière; the construction of two forts on the plateau of Caluire (Fort de Montessuy and Fort de Caluire, connected by the Enceinte de Caluire), facing the Dombes; closing access to the Presquîle by the construction of a south-facing building; building two forts – Fort de la Duchère and Fort de Grange Blanche – to protect access routes towards Paris and Auvergne.
The fortification of the city is divided into three sectors: The north was protected by the wall of Croix-Rousse and the structures between the Rhône and the Saône. The command was situated at fort de Montessuy. The west was covered by the hillfort of Fourvière and the associated forts of Vaise at Sainte-Foy. The command was situated at fort Saint-Irénée. The east was defended by the Redoute du Haut-Rhône and Fort de la Vitriolerie on the left bank of the Rhône. The command was situated at Fort Lamothe.
The work required almost 20,000 workers, which were locally sourced in an attempt to avoid insurrection such as the ongoing unrest of the Lyon silk workers (Canuts) over increased capitalism. Work began in 1831 to build seven structures, each structure requiring between 400 and 500 workers. The scope of this project included the construction of Fort de Montessuy and Fort de Caluire to the north; Fort des Brotteaux, Fort Montluc and Fort du Colombier to the east; the Redoute de la Part-Dieu to the west; and Fort Saint-Irénée, to protect the entire area.
In January 1831, an uprising began at a work site in Charpennes, however it was quickly stopped by the army. Other insurrections took place the same year, a series of Canut revolts, which succeeded in rallying soldiers on the side of the Canuts, resulting in the death of captain Viquesnel, aide-de-camp of Fleury, and the temporary withdrawal of the 20,000 soldiers who eventually retook the city in December 1831.
In 1832, three other structures were built to reinforce the defenses to the east: The Redoute de la Tête dor, Fort La Motte, and the Redoute des Hirondelles. A treaty was signed between the city of Lyon and the War Department, which stipulated that the city had to cede the land necessary for the construction of military buildings to the War Department, while the forts themselves would still belong to the city if the military decided to abandon them. It is thanks to this treaty that the forts of Croix Rousse, Fourvière, Loyasse, Vaise, and Saint-Jean would later be returned to the city.
Construction resumed in 1840. First the Fort de la Vitriolerie in 1840, then Fort de Sainte-Foy-lès-Lyon and the Lunette des Charpennes in 1842, Fort de la Duchère in 1844, the Redoute du Petit Sainte-Foy-lès-Lyon in 1852, and finally the Redoute du haut-Rhône in 1854.
A law was voted in on 10 July 1851, which defined the methods of destruction of these buildings or construction on their land. By 1854, 19 structures including 10 forts had been built around Lyon, creating a nearly 14-kilometre (8.7 mi) fortified perimeter.

Delafield, Richard Major General 1798 - 1873
Delafield was a United States Army officer for 52 years. He served as superintendent of the United States Military Academy for 12 years. At the start of the American Civil War, then Colonel Delafield helped equip and send volunteers from New York to the Union Army. He also was in command of defences around New York harbor from 1861 to April 1864. On April 22, 1864, he was promoted to Brigadier General in the Regular Army of the United States and Chief of Engineers. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866, reconfirmed due to a technicality on July 14, 1866. He retired from the US Army on August 8, 1866. He later served on two commissions relating to improvements to Boston Harbor and to lighthouses. He also served as a regent of the Smithsonian Institution.
Delafield served as assistant engineer in the construction of Hampton Roads defences from 1819–1824 and was in charge of fortifications and surveys in the Mississippi River delta area in 1824-1832. While superintendent of repair work on the Cumberland Road east of the Ohio River, he designed and built Dunlaps Creek Bridge in Brownsville, Pennsylvania, the first cast-iron tubular-arch bridge in the United States. Commissioned a major of engineers in July 1838, he was appointed superintendent of the Military Academy after the fire of 1838 and served till 1845. He designed the new buildings and the new cadet uniform that first displayed the castle insignia. He superintended the construction of coast defences for New York Harbor from 1846 to 1855.
In the beginning of 1855, Delafield was appointed by the Secretary of War, Jefferson Davis a head of the board of officers, later called The Delafield Commission, and sent to Europe to study the European military. The board included Captain George B. McClellan and Major Alfred Mordecai. They inspected the state of the military in Great Britain, Germany, the Austrian Empire, France, Belgium, and Russia, and served as military observers during the Crimean War. After his return in April 1856, Delafield submitted a report which was later published as a book by Congress, Report on the Art of War in Europe in 1854, 1855, and 1856. The book was suppressed during the American Civil War due to fears that it would be instructive to Confederate engineers as it contained multiple drawings and descriptions of military fortifications.
Delafield served as superintendent of the Military Academy again in 1856-1861. In January 1861, he was succeeded by Captain Pierre G. T. Beauregard, who was dismissed shortly after Beauregards home state of Louisiana seceded from the Union, and Delafield returned as superintendent serving until March 1, 1861. In the beginning of the Civil War he advised the governor of New York Edwin D. Morgan during the volunteer force creation. Then, in 1861–1864, he was put in charge of New York Harbor defences, including Governors Island and Fort at Sandy Hook. On May 19, 1864, he was commissioned a brigadier-general after replacing Joseph Gilbert Totten, who had died, as the Chief of Engineers, United States Army Corps of Engineers, on April 22, 1864. He stayed in charge of the Bureau of Engineers of the War Department until his retirement on August 8, 1866. On March 8, 1866, President Andrew Johnson nominated Delafield for appointment to the grade of brevet major general in the Regular Army of the United States, to rank from March 13, 1865, and the United States Senate confirmed the appointment on May 4, 1866 and reconfirmed it due to a technicality on July 14, 1866.After retirement Delafield served as a regent of the Smithsonian Institution and a member of the Lighthouse Board. He died in Washington, D.C. on November 5, 1873.

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18th Century Antique Copper-Plate Romanesque Architectural Antique Print

18th Century Antique Copper-Plate Romanesque Architectural Antique Print

Description:
This large original copper-plate engraved antique cross sectional architectural print, of a substantial Roman building was published in the 18th century.
Beautifully engraved original antique print on heavy laid paper with a heavy impression. (Ref: M&B; Tooley)

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 19in x 12in (485mm x 305mm)
Plate size: - 16in x 10 1/2in (410mm x 270mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Light age toning
Plate area: - None
Verso: - None

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1755 Prevost & Schley Antique Print City View of Mbanza Loango West Congo Africa

1755 Prevost & Schley Antique Print City View of Mbanza Loango West Congo Africa

  • Title:Cite De Loango Tiree de Dapper
  • Date: 1755
  • Condition : (A+) Fine Condition
  • Ref: 25755
  • Size: 14in x 10in (355mm x 255mm)

Description:
This fine, original copper-plate engraved antique print, view of the city of Mbanza Loango in the pre-colonial African Kingdom of Loango - now part of the of western part of the Republic of the Congo - by Jakob van Schley in 1755 - after Olfert Dapper - was published in Antoine François Prevosts 15 volumes of Histoire Generale des Voyages written by Prevost & other authors between 1746-1789.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 14in x 10in (355mm x 255mm)
Plate size: - 12 1/2in x 9 1/2in (320mm x 240mm)
Margins: - Min 1/2in (5mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
The Kingdom of Loango was a pre-colonial African state, during approximately the 16th to 19th centuries in what is now the western part of the Republic of the Congo. Situated to the north of the more powerful Kingdom of Kongo, at its height in the 17th century Loango influence extended from Cape St Catherine in the north to almost the mouth of the Congo River.
Loango exported copper to the European market, and was a major producer and exporter of cloth.
The English traveller Andrew Battel, when he was there in about 1610, recorded that the predecessor of the unnamed king ruling at that time was named \"Gembe\" or Gymbe (modernized as Njimbe), possibly the founder of the kingdom. With the death of King Buatu in 1787, the succession of leadership is uncertain.
The kingdom is certain to have come to an end with the Conference of Berlin (1884–1885) at the latest, when European colonial powers divided most of Central Africa between them.
The origins of the kingdom are obscure. The most ancient complex society in the region was at Madingo Kayes, which was already a multi-site settlement in the first century CE. At present archaeological evidence is too scarce to say much more about developments until the late fifteenth or early sixteenth centuries.
Loango is not mentioned in early travelers\' accounts of the region, nor is it mentioned in the titles of King Afonso I of Kongo in 1535, though Kakongo, Vungu, and Ngoyo, its southern neighbors. It is therefore unlikely that there was a major power on the coast of Central Africa north of the Congo River.
The earliest reference to Loango in a documentary source is a mention around 1561 by Sebastião de Souto, a priest in Kongo, that King Diogo I (1545–61) sent missionaries to convert Loango to Christianity. Duarte Lopes, ambassador from Kongo to the Holy See in Rome in 1585, related that \"Loango is a friend of the King of Congo and it is said that he was a vassal in past times\" which is consistent with Loango\'s origins from Kakongo, a vassal of Kongo.
Dutch visitors recorded the first traditional account of the kingdom\'s origin in the 1630s or \'40s. In their account as reported by the geographer Olfert Dapper, the region where Loango would be constructed was populated by a number of small polities including Mayumba, Kilongo, Piri and Wansi, \"each with their own leader\" who \"made war on each other.\" He recorded that the founder of Loango, who boasted hailing from the district in Nzari in the small coastal kingdom of Kakongo, itself a vassal of Kongo, triumphed over all his rivals through the skillful use of alliances to defeat those who opposed him, particularly Wansa, Kilongo and Piri, the latter two of which required two wars to subdue. Once this had been effected, however, a range of more northern regions, including Docke and Sette submitted voluntarily. Having succeeded in the conquest, the new king moved northward and after having founded settlements in a variety of places, eventually built his capital in Buali in the province of Piri (from which the ethnic name \"Muvili\" eventually derived).
The English traveller Andrew Battel wrote when he was there in about 1610, that the predecessor of the unnamed king ruling at that time was named \"Gembe\" or \"Gymbe\" (modernized as \"Njimbe\"). A Dutch description published in 1625 said that a ruler who had died sometime before that date had ruled for 60 years and thus had taken the throne around 1565. The documentary chronology thus makes it very likely that Njimbe was the founder and first ruler mentioned in the traditions, and this supposition is supported by traditions recorded around 1890 by R. E. Dennett which also named Njimbe as the first ruler.
On the basis of later traditions from the nineteenth and twentieth centuries that linked the founding of Loango to that of Kongo, Phyllis Martin posited a much earlier foundation, the late fourteenth or early fifteenth centuries. She then argues that the absence of Loango from early titles of the king of Kongo is evidence that Loango was already independent at that time.
Njimbe had created a rule of succession which was in place around 1600, in which the king gave command over four provinces to members of his family, called the provinces of Kaye, Boke, Selage, and Kabango, and the king was to be chosen from a rotation between them. When the king died the ruler of Kaye took over, as he did indeed in the pre-1624 succession, and if the rule was followed then the ruler of Boke took his place; the other two provincial rulers advanced as well, and the king appointed a new ruler for Kabango.
In 1663, the king ruling then was baptized as Afonso by the Italian Capuchin priest Bernardo Ungaro, but there was considerable opposition to this from within the country, and indeed when he died, a non-Christian took over, but this one was himself overthrown by one of the Christian party in 1665. This civil war was still ongoing in the 1670s. In the aftermath of this civil war, a number of the Christian party fled to neighboring territories, one of whom, known to history as Miguel da Silva, was elected ruler of Ngoyo and was ruling there in 1682.
When Nathaniel Uring, an English merchant came to Loango to trade in 1701, he reported that the king had died and the power of the administration was in the hands of the \"Queen or Chief Governess of that Country,\" named \"Mucundy\" and with whom he had to deal as if with the ruler.[20] This title referred to a woman with a regular role in the administration as overseer of women\'s affairs.
Many years elapsed before we have another snapshot of Loango\'s government; during this time the rules of succession, whether formal or informal seem to have changed. When the French missionaries directed by Abbé Liévin-Bonaventure Proyart came to Loango in 1766, they noted that there was no clear succession to the throne, that anyone born of a person regarded as a princess (only female succession mattered) could aspire to the throne. Moreover, the death of a king was cause for a frequently long interregnum; the king ruling in 1766 had come to power only after an interregnum of seven years, during which time the affairs of the country were managed by a regent called Mani Boman. The Mani Boman was appointed by the king during his lifetime. Usually two were appointed to cover the eventuality of the death of one of the two. They, in turn received the petitions of a number of eligible candidates for the throne.
Eventually, the electors of the kingdom, who were those who held offices appointed by the late king, met to decide on the next king. In theory, as the old constitution maintained, the king named his successor as well and placed him as ruler of Kaye, to succeed him at his death, but as there was so much contention as to who should hold the position, the late king died without naming a Ma-Kaye.
Historian Phyllis Martin contends that the external trade of the country had enriched some members of the nobility ahead of others and had thus put pressure on the older constitution as wealthier upstart princes pressed their case forward. She argues that important members of the council were people who had obtained their positions through contact with external trade, particularly the slave trade, and they had come to share power with the king. She posits that this alteration in relative power allowed the council to dominate the king by forcing longer and longer interregna. In fact, after the death of King Buatu in 1787, no king was elected for over 100 years.However, to some extent royal authority remained in the hands of a person entitled the Nganga Mvumbi (priest of the corpse) who oversaw the body of the dead king awaiting burial. Several of these Nganga Mvumbi succeeded each other in the late eighteenth and through the nineteenth centuries.

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1787 Du Bocage & Barthelemy Antique Views & Plan of The Parthenon, Athens Greece

1787 Du Bocage & Barthelemy Antique Views & Plan of The Parthenon, Athens Greece

  • Title : Plan du Temple de Thesee; Elevation de la Facade du Parthenon; Vue du Parthenon
  • Size: 15in x 10in (380mm x 255mm)
  • Ref #:  16458
  • Date : 1787
  • Condition: (A+) Fine Condition

Description:
This original copper-plate engraved print by Jean Denis Barbie du Bocage was was published in the 1787 edition of Jean-Jacques Barthelemy famous Voyage du jeune Anarcharsis en Grece or Travels of Anacharsis the younger in Greece in 4 volumes.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 10in (380mm x 255mm)
Plate size: - 9 1/2in x 7in (240mm x 180mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - None

Background: 
Jean-Jacques Barthelemy 1716 – 1795 was a French writer and numismatist.
Barthelemy was the author of a number of learned works on antiquarian subjects, but the great work on which his fame rests is Travels of Anacharsis the younger in Greece (French: Voyage du jeune Anarcharsis en Grece, 4 vols., 1787). He had begun it in 1757 and had been working on it for thirty years. The hero, a young Scythian descended from the famous philosopher Anacharsis, is supposed to repair to Greece for instruction in his early youth, and after making the tour of her republics, colonies and islands, to return to his native country and write this book in his old age, after the Macedonian hero had overturned the Persian empire. In the manner of modern travellers, he gives an account of the customs, government, and antiquities of the country he is supposed to have visited. A copious introduction supplies whatever may be wanting in respect to historical details, while various dissertations on the music of the Greeks, on the literature of the Athenians, and on the economy, pursuits, ruling passions, manners, and customs of the surrounding states supply ample information on the subjects of which they treat.
Modern scholarship has superseded most of the details in the Voyage, but the author himself did not imagine his book to be a register of accurately ascertained facts. Rather, he intended to afford to his countrymen, in an interesting form, some knowledge of Greek civilisation. The Charicles, or Illustrations of the Private Life of the Ancient Greeks of Wilhelm Adolf Becker is an attempt in a similar direction

$85.00 USD
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1787 Du Bocage & Barthelemy Antique Print & Plan of a Greek Propylaea or Gateway

1787 Du Bocage & Barthelemy Antique Print & Plan of a Greek Propylaea or Gateway

Description:
This original copper-plate engraved print by Jean Denis Barbie du Bocage was was published in the 1787 edition of Jean-Jacques Barthelemy famous Voyage du jeune Anarcharsis en Grece or Travels of Anacharsis the younger in Greece in 4 volumes.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 10in (380mm x 255mm)
Plate size: - 9 1/2in x 7in (240mm x 180mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - None

Background: 
Jean-Jacques Barthelemy 1716 – 1795 was a French writer and numismatist.
Barthelemy was the author of a number of learned works on antiquarian subjects, but the great work on which his fame rests is Travels of Anacharsis the younger in Greece (French: Voyage du jeune Anarcharsis en Grece, 4 vols., 1787). He had begun it in 1757 and had been working on it for thirty years. The hero, a young Scythian descended from the famous philosopher Anacharsis, is supposed to repair to Greece for instruction in his early youth, and after making the tour of her republics, colonies and islands, to return to his native country and write this book in his old age, after the Macedonian hero had overturned the Persian empire. In the manner of modern travellers, he gives an account of the customs, government, and antiquities of the country he is supposed to have visited. A copious introduction supplies whatever may be wanting in respect to historical details, while various dissertations on the music of the Greeks, on the literature of the Athenians, and on the economy, pursuits, ruling passions, manners, and customs of the surrounding states supply ample information on the subjects of which they treat.
Modern scholarship has superseded most of the details in the Voyage, but the author himself did not imagine his book to be a register of accurately ascertained facts. Rather, he intended to afford to his countrymen, in an interesting form, some knowledge of Greek civilisation. The Charicles, or Illustrations of the Private Life of the Ancient Greeks of Wilhelm Adolf Becker is an attempt in a similar direction

$85.00 USD
More Info
1750 Prevost, after Kircher, Antique Print Bridge over Yellow River, Xensi China

1750 Prevost, after Kircher, Antique Print Bridge over Yellow River, Xensi China

Description:
This fine original copper-plate engraved antique print a view of a single Arch Bridge over the Yellow River in Xensi Province near Chogan was engraved by Jakob van Schley -
after Athanasius Kirchers China Illustrated - was published in Antoine François Prevosts 15 volumes of Histoire Generale des Voyageswritten by Prevost & other authors between 1746-1790.

Athanasius Kircher, S.J. sometimes erroneously spelled Kirchner; Latin: Athanasius Kircherus, 1602 – 1680 was a German Jesuit scholar and polymath who published around 40 major works, most notably in the fields of comparative religion, geology, and medicine. Kircher has been compared to fellow Jesuit Roger Boscovich and to Leonardo da Vinci for his enormous range of interests, and has been honored with the title \"Master of a Hundred Arts\". He taught for more than forty years at the Roman College, where he set up a wunderkammer. A resurgence of interest in Kircher has occurred within the scholarly community in recent decades.
Kircher claimed to have deciphered the hieroglyphic writing of the ancient Egyptian language, but most of his assumptions and translations in this field were later found to be nonsensical. He did, however, correctly establish the link between the ancient Egyptian and the Coptic languages, and some commentators regard him as the founder of Egyptology. Kircher was also fascinated with Sinology and wrote an encyclopedia of China, in which he noted the early presence there of Nestorian Christians while also attempting to establish links with Egypt and Christianity.
Kircher had an early interest in China, telling his superior in 1629 that he wished to become a missionary to that country. In 1667 he published a treatise whose full title was China monumentis, qua sacris qua profanis, nec non variis naturae & artis spectaculis, aliarumque rerum memorabilium argumentis illustrata, and which is commonly known simply as China Illustrata, i.e. \"China Illustrated\". It was a work of encyclopedic breadth, combining material of unequal quality, from accurate cartography to mythical elements, such as a study of dragons. The work drew heavily on the reports of Jesuits working in China, in particular Michael Boymand Martino Martini.
China Illustrata emphasized the Christian elements of Chinese history, both real and imagined: the book noted the early presence of Nestorian Christians (with a Latin translation of the Nestorian Stele of Xi\'an provided by Boym and his Chinese collaborator, Andrew Zheng) but also claimed that the Chinese were descended from the sons of Ham, that Confucius was Hermes Trismegistus/Moses and that the Chinese characters were abstracted hieroglyphs.
In Kircher\'s system, ideograms were inferior to hieroglyphs because they referred to specific ideas rather than to mysterious complexes of ideas, while the signs of the Maya and Aztecs were yet lower pictograms which referred only to objects. Umberto Eco comments that this idea reflected and supported the ethnocentric European attitude toward Chinese and native American civilizations;
\"China was presented not as an unknown barbarian to be defeated but as a prodigal son who should return to the home of the common father\"

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14 1/2in x 9 1/2in (370mm x 240mm)
Plate size: - 12in x 8in (305mm x 205mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
One of Antoine Francois Prevosts monumental undertakings was his history of exploration & discovery in 15 volumes titledHistoire Générale des Voyages written between 1746-1759 and was extended to 20 volumes after his death by various authors.
The 20 volumes cover the early explorations & discoveries on 3 continents: Africa (v. 1-5), Asia (v. 5-11), and America (v. 12-15) with material on the finding of the French, English, Dutch, and Portugese.
A number of notable cartographers and engravers contributed to the copper plate maps and views to the 20 volumes including Nicolas Bellin, Jan Schley, Chedel, Franc Aveline, Fessard, and many others.
The African volumes cover primarily coastal countries of West, Southern, and Eastern Africa, plus the Congo, Madagascar, Arabia and the Persian Gulf areas.
The Asian volumes cover China, Korea, Tibet, Japan, Philippines, and countries bordering the Indian Ocean.
Volume 11 includes Australia and Antarctica.
Volumes 12-15 cover voyages and discoveries in America, including the East Indies, South, Central and North America.
Volumes 16-20 include supplement volumes & tables along with continuation of voyages and discoveries in Russia, Northern Europe, America, Asia & Australia.

Jakob van der Schley aka Jakob van Schley (1715 - 1779) was a Dutch draughtsman and engraver. He studied under Bernard Picart (1673-1733) whose style he subsequently copied. His main interests were engraving portraits and producing illustrations for \"La Vie de Marianne\" by Pierre Carlet de Chamblain de Marivaux (1688-1763) published in The Hague between 1735 and 1747.
He also engraved the frontispieces for a 15-volume edition of the complete works of Pierre de Brantôme (1540-1614), \"Oeuvres du seigneur de Brantôme\", published in The Hague in 1740.
He is also responsible for most of the plates in the Hague edition of Prévost\'s Histoire générale des voyages. (Ref: Tooley; M&B)

$75.00 USD
More Info
1750 Prevost, after Kircher, Antique Print Bridge over Yellow River, Xensi China

1750 Prevost, after Kircher, Antique Print Bridge over Yellow River, Xensi China

Description:
This fine original copper-plate engraved antique print a view of a single Arch Bridge over the Yellow River in Xensi Province near Chogan was engraved by Jakob van Schley -
after Athanasius Kirchers China Illustrated - was published in Antoine François Prevosts 15 volumes of Histoire Generale des Voyageswritten by Prevost & other authors between 1746-1790.

Athanasius Kircher, S.J. sometimes erroneously spelled Kirchner; Latin: Athanasius Kircherus, 1602 – 1680 was a German Jesuit scholar and polymath who published around 40 major works, most notably in the fields of comparative religion, geology, and medicine. Kircher has been compared to fellow Jesuit Roger Boscovich and to Leonardo da Vinci for his enormous range of interests, and has been honored with the title \"Master of a Hundred Arts\". He taught for more than forty years at the Roman College, where he set up a wunderkammer. A resurgence of interest in Kircher has occurred within the scholarly community in recent decades.
Kircher claimed to have deciphered the hieroglyphic writing of the ancient Egyptian language, but most of his assumptions and translations in this field were later found to be nonsensical. He did, however, correctly establish the link between the ancient Egyptian and the Coptic languages, and some commentators regard him as the founder of Egyptology. Kircher was also fascinated with Sinology and wrote an encyclopedia of China, in which he noted the early presence there of Nestorian Christians while also attempting to establish links with Egypt and Christianity.
Kircher had an early interest in China, telling his superior in 1629 that he wished to become a missionary to that country. In 1667 he published a treatise whose full title was China monumentis, qua sacris qua profanis, nec non variis naturae & artis spectaculis, aliarumque rerum memorabilium argumentis illustrata, and which is commonly known simply as China Illustrata, i.e. \"China Illustrated\". It was a work of encyclopedic breadth, combining material of unequal quality, from accurate cartography to mythical elements, such as a study of dragons. The work drew heavily on the reports of Jesuits working in China, in particular Michael Boymand Martino Martini.
China Illustrata emphasized the Christian elements of Chinese history, both real and imagined: the book noted the early presence of Nestorian Christians (with a Latin translation of the Nestorian Stele of Xi\'an provided by Boym and his Chinese collaborator, Andrew Zheng) but also claimed that the Chinese were descended from the sons of Ham, that Confucius was Hermes Trismegistus/Moses and that the Chinese characters were abstracted hieroglyphs.
In Kircher\'s system, ideograms were inferior to hieroglyphs because they referred to specific ideas rather than to mysterious complexes of ideas, while the signs of the Maya and Aztecs were yet lower pictograms which referred only to objects. Umberto Eco comments that this idea reflected and supported the ethnocentric European attitude toward Chinese and native American civilizations;
\"China was presented not as an unknown barbarian to be defeated but as a prodigal son who should return to the home of the common father\"

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Early
Colors used: - Yellow, green, pink
General color appearance: - Authentic
Paper size: - 14 1/2in x 9 1/2in (370mm x 240mm)
Plate size: - 12in x 8in (305mm x 205mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
One of Antoine Francois Prevosts monumental undertakings was his history of exploration & discovery in 15 volumes titledHistoire Générale des Voyages written between 1746-1759 and was extended to 20 volumes after his death by various authors.
The 20 volumes cover the early explorations & discoveries on 3 continents: Africa (v. 1-5), Asia (v. 5-11), and America (v. 12-15) with material on the finding of the French, English, Dutch, and Portugese.
A number of notable cartographers and engravers contributed to the copper plate maps and views to the 20 volumes including Nicolas Bellin, Jan Schley, Chedel, Franc Aveline, Fessard, and many others.
The African volumes cover primarily coastal countries of West, Southern, and Eastern Africa, plus the Congo, Madagascar, Arabia and the Persian Gulf areas.
The Asian volumes cover China, Korea, Tibet, Japan, Philippines, and countries bordering the Indian Ocean.
Volume 11 includes Australia and Antarctica.
Volumes 12-15 cover voyages and discoveries in America, including the East Indies, South, Central and North America.
Volumes 16-20 include supplement volumes & tables along with continuation of voyages and discoveries in Russia, Northern Europe, America, Asia & Australia.

Jakob van der Schley aka Jakob van Schley (1715 - 1779) was a Dutch draughtsman and engraver. He studied under Bernard Picart (1673-1733) whose style he subsequently copied. His main interests were engraving portraits and producing illustrations for \"La Vie de Marianne\" by Pierre Carlet de Chamblain de Marivaux (1688-1763) published in The Hague between 1735 and 1747.
He also engraved the frontispieces for a 15-volume edition of the complete works of Pierre de Brantôme (1540-1614), \"Oeuvres du seigneur de Brantôme\", published in The Hague in 1740.
He is also responsible for most of the plates in the Hague edition of Prévost\'s Histoire générale des voyages. (Ref: Tooley; M&B)

$75.00 USD
More Info
1787 Du Bocage & Barthelemy Antique Plan & Legend of a Greek Mansion by Vitruvius

1787 Du Bocage & Barthelemy Antique Plan & Legend of a Greek Mansion by Vitruvius

Description:
This original copper-plate engraved print by Jean Denis Barbie du Bocage was was published in the 1787 edition of Jean-Jacques Barthelemy famous Voyage du jeune Anarcharsis en Grece or Travels of Anacharsis the younger in Greece in 4 volumes.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 10in (380mm x 255mm)
Plate size: - 9 1/2in x 7in (240mm x 180mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - None

Background: 
Jean-Jacques Barthelemy 1716 – 1795 was a French writer and numismatist.
Barthelemy was the author of a number of learned works on antiquarian subjects, but the great work on which his fame rests is Travels of Anacharsis the younger in Greece (French: Voyage du jeune Anarcharsis en Grece, 4 vols., 1787). He had begun it in 1757 and had been working on it for thirty years. The hero, a young Scythian descended from the famous philosopher Anacharsis, is supposed to repair to Greece for instruction in his early youth, and after making the tour of her republics, colonies and islands, to return to his native country and write this book in his old age, after the Macedonian hero had overturned the Persian empire. In the manner of modern travellers, he gives an account of the customs, government, and antiquities of the country he is supposed to have visited. A copious introduction supplies whatever may be wanting in respect to historical details, while various dissertations on the music of the Greeks, on the literature of the Athenians, and on the economy, pursuits, ruling passions, manners, and customs of the surrounding states supply ample information on the subjects of which they treat.
Modern scholarship has superseded most of the details in the Voyage, but the author himself did not imagine his book to be a register of accurately ascertained facts. Rather, he intended to afford to his countrymen, in an interesting form, some knowledge of Greek civilisation. The Charicles, or Illustrations of the Private Life of the Ancient Greeks of Wilhelm Adolf Becker is an attempt in a similar direction

$75.00 USD
More Info
1757 Abraham Swan Antique Architect Print of Ornate 18th century Bridges

1757 Abraham Swan Antique Architect Print of Ornate 18th century Bridges

  • Title : Ab. Swan Archt. Published aaccording to Act Nov 14th 1757. In. Addison Sculpt.
  • Date : 1757
  • Condition: (A) Very Good Condition
  • Ref:  70539
  • Size: 15 1/2in x 10in (395mm x 255mm)

Description: 
This fine original antique print of two interior architectural designs by the 18th century architect Abraham Swan was engraved by Thomas Miller in 1757 - the date is engraved at the foot of the print - and was published in Swans  A collection of designs in architecture : containing new plans and elevations of houses, for general use. 1757(Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: -  
Colors used: -  
General color appearance: -  
Paper size: - 15 1/2in x 10in (395mm x 255mm)
Plate size: - 14in x 8in (355mm x 205mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

$75.00 USD
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1757 Abraham Swan Large Antique Print of 18th century Architect Design

1757 Abraham Swan Large Antique Print of 18th century Architect Design

  • Title : Ab. Swan Archt. Published aaccording to Act July 1757. Thomas Miller Sculpt.
  • Date : 1757
  • Condition: (A+) Fine Condition
  • Ref:  70538
  • Size: 15 1/2in x 10in (395mm x 255mm)

Description: 
This fine original antique print of two interior architectural designs by the 18th century architect Abraham Swan was engraved by Thomas Miller in 1757 - the date is engraved at the foot of the print - and was published in Swans  A collection of designs in architecture : containing new plans and elevations of houses, for general use. 1757(Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: -  
Colors used: -  
General color appearance: -  
Paper size: - 15 1/2in x 10in (395mm x 255mm)
Plate size: - 14in x 8in (355mm x 205mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

$75.00 USD
More Info
1665 De Rossi Original Antique Architectural Plan, Print of Santo Spirito Palace Florence

1665 De Rossi Original Antique Architectural Plan, Print of Santo Spirito Palace Florence

Description: 
This finely engraved original antique architectural print of Palace Santo Spirito in the Oltrarno quarter of Florence, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699.
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18in x 14in (460mm x 360mm)
Plate size: - 11 1/2in x 9in (290mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Il Nuovo Teatro: One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.
The Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

$75.00 USD
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1665 De Rossi Original Antique Architectural Plan, Print of Millini Palace, Rome, Italy

1665 De Rossi Original Antique Architectural Plan, Print of Millini Palace, Rome, Italy

Description:
This finely engraved original antique architectural engraving a plan of the Palace owned by the Mellini or Millini family in Rome, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699.
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18in x 14in (460mm x 360mm)
Plate size: - 11 1/2in x 9in (290mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Il Nuovo Teatro: One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.
The Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

$75.00 USD
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1665 De Rossi Original Antique Architectural Plan, Print of Lancellotti Palace, Rome Italy

1665 De Rossi Original Antique Architectural Plan, Print of Lancellotti Palace, Rome Italy

Description:
This finely engraved original 1665 antique architectural plan of the Lancellotti Palace, also known as de Torres, in Rome, Italy by Giovanni Battistaa Falda, was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna published in its between 1665-1699. 
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper inlaid with a Fleur-de-Lis watermark.

Palazzo Torres Massimo Lancellotti(Lancellotti Palace, also known as de Torres) was built for the Spanish family Torres by P.Ligorio in 1560. The palace is irregular and has ten sides with the longest one on Via della Posta Vecchia. The main facades are one the Piazza Navona and Via della Cuccagna. The windows on the noble floor are of the 15th century type, while in the rest of the palace, of the 16th century.
The Palazzo Torres Lancellotti was designed by Francesco da Volterra, and completed by Carlo Maderno. The latter was most probably also responsible for the decorative scheme of the courtyard of which the collection of sculpture forms an integral part. Palazzo Mattei, also a work of Carlo Maderno, reflects similar decorative features in the courtyard and similar ideas.
Interior is characterized by beautiful halls with the carved ceilings. In the end of the 18th century the main hall was used as a theatre; and several decades before the palace housed Chamber printing-office.
The building, an example of late-Renaissance architecture, features an interesting main façade with three orders of eleven travertine windows, decorated by and topped by a cornice. The building is accessed through an imposing portal sided by columns and topped by a balcony, leading to a courtyard that has columns on one side and is decorated with plants, ancient reliefs and stuccoes.
The loggia features some statues that represent the remains of a great collection: it included the statue of Pudicitia, Diana Efesina and the bas-relief of Medea, now hosted in the Vatican Museums. Inside the palace, it is possible to admire the wonderful frescoes by Agostino Tassi and Guercino con landscapes, allegories and views.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18in x 14in (460mm x 360mm)
Plate size: - 11 1/2in x 9in (290mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Il Nuovo Teatro: One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.
The Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

$75.00 USD
More Info
1665 De Rossi Original Antique Architectural Plan, Print of the Giustiniani Palace in Venice, Italy

1665 De Rossi Original Antique Architectural Plan, Print of the Giustiniani Palace in Venice, Italy

  • Title : Pianta Del Palazzo Dell Ecc. Sig. Prencipe Giustiniani
  • Date : 1665
  • Condition: (A+) Fine Condition
  • Ref:  91188
  • Size: 18in x 14in (460mm x 360mm) 

Description:
This finely engraved original 1665 antique architectural print of the Giustiniani Palace in Venice, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699. 
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper inlaid with a Fleur-de-Lis watermark.

Palazzo Giustinian is a palace in Venice, northern Italy, situated in the Dorsoduro district and overlooking the Grand Canal next to Ca' Foscari. It is among the best examples of the late Venetian Gothic and was the final residence of Princess Louise Marie Thérèse of France.
The edifice was built in the late 15th century, perhaps with the participation of Bartolomeo Bon. The palace consisted originally of two separated sectors, one for each branch of the family, which were later harmonized through a central section in the façade; these are known as Ca' Giustinian dei Vescovi(now housing part of the Ca' Foscari University) and Ca' Giustinian dalle Zogie (now privately owned). Behind the façade, they are separated by an alley which, through a sottoportego, or portico-tunnel, connects to the central portal.
The two sub-palaces share numerous decorative features with the annexed Ca' Foscari. They have an L-shaped plan with four floors, the upper ones having mullioned windows. At the piano nobile they form a six-arches arcade with an interwoven motif of multi-lobes circles. The single windows are ogival, or decorated with a three-lobe motif. Ca' Giustinian dei Vescovi has in the rear a court with a Gothic staircase, while Ca' Giustinian delle Zogie has a large garden.
The family sold the palazzo in the 19th century. Since then, personalities such as painter Natale Schiavoni, German composer Richard Wagner (who wrote the second act of Tristan und Isolde here between 1858 and 1859), the last Duchess of Parma, Louise d'Artois, and Hungarian violinist Franz von Vecsey have lived here

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18in x 14in (460mm x 360mm)
Plate size: - 11 1/2in x 9in (290mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Il Nuovo Teatro: One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.
The Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

$75.00 USD
More Info
1665 De Rossi Original Antique Architectural Plan, Print of Palazzo Valentini Rome, Italy

1665 De Rossi Original Antique Architectural Plan, Print of Palazzo Valentini Rome, Italy

  • Title : Pianta Del Palazzo Del Cardinale Alesandrino a SS Apostoli
  • Date : 1665
  • Condition: (A+) Fine Condition
  • Ref:  91183
  • Size: 18in x 14in (460mm x 360mm) 

Description:
This finely engraved original antique architectural engraving a plan of Palazzo Valentini in central Rome, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699.
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper inlaid with a Fleur-de-Lis watermark.

Palazzo Valentini is a palazzo in central Rome, Italy, not far from Piazza Venezia that was the residence of Carlo Michele Bonelli, Cardinal Alessandrino and his hiers in the 17th century.
The palazzo was first built by cardinal Michele Bonelli, nephew of pope Pius V, who, in 1585, acquired a pre-existing palazzo from Giacomo Boncompagni at the extremity of what was then piazza dei Santi Apostoli. Today the palazzo is separated from that piazza by via Quattro Novembre, opened later to connect the new via Nazionale with piazza Venezia. The cardinal was also the owner of a large part of the area which extended, behind the palazzo, above the ruins of the imperial foraof Trajan and Augustus, known by the name "Pantano" due to being subject to impaludamenti or flooding. Over the same years the district on the ruins of the imperial fora was subjected to a general development of the land and to a systematic urbanisation, with the creation of the "quartiere Alessandrino" in the cardinal's honour (he was nicknamed "cardinale alessandrino" after his origins in a village in the province of Alessandria). The quarter was destroyed in the 1920s and 1930s to open via dei Fori Imperiali.
The trapezoidal plan of the palazzo was designed by Domenico Paganelli. Thanks to substantial funds ploughed into the project by the cardinal, the palazzo was quickly completed within 3 years after building started. In the 17th century the building was then subject to a series of major renovations and expansions, carried out on behalf of cardinals Carlo Bonelli and Michele Ferdinando Bonelli. The palazzo was partially demolished and rebuilt by Francesco Peparelli for its new owner, cardinal Renato Imperiali, who organised the important family library (the "Imperiali") of around 24,000 volumes.
At the start of the 18th century, the palazzo was leased to several prominent personalities, including marchese Francesco Maria Ruspoli from 1705 to 1713, who made it the site for a private theatre and hosted illustrious musicians of the time such as Handel, Alessandro Scarlatti and Arcangelo Corelli. The entire building was then acquired in 1752 by cardinal Giuseppe Spinelli, who realised a new decorative scheme for the first floor and systematised the library (meant by him for public use, and frequented by Johann Joachim Winckelmann) on the ground floor.
In 1827 the Prussian banker and consul general Vincenzo Valentini acquired the palazzo, in which he settled and to which he gave his name. The palazzo was later expanded and rebuilt at great expense, and its new owner used it to house his own collection of paintings as well as increasing the palazzo's own substantial library and archaeological collection. Completion of the works at the back of the palazzo, overlooking the column of Trajan, was entrusted to the architects Filippo Navone and Giovanni Battista Benedetti. Between 1861 and 1865 Vincenzo's son Gioacchino Valentini commissioned two further expansions on the left side, along via di Sant'Eufemia, designed by the architect Luigi Gabet. The provincial deputation of Rome acquired the palazzo as their base in 1873, commissioning the architect Gabet to complete the right side on via de’ Fornari, at the top of vicolo di San Bernardo.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18in x 14in (460mm x 360mm)
Plate size: - 11 1/2in x 9in (290mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Il Nuovo Teatro: One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.
The Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

$75.00 USD
More Info
1665 De Rossi Original Antique Architectural Plan, Print of Barberini Palace, Rome Italy

1665 De Rossi Original Antique Architectural Plan, Print of Barberini Palace, Rome Italy

Description:
This finely engraved original antique architectural engraving a plan of Barberini Palace Rome, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699.
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper inlaid with a Fleur-de-Lis watermark.

The Palazzo Barberini is a 17th-century palace in Rome, facing the Piazza Barberini in Rione Trevi. It houses the Galleria Nazionale d'Arte Antica.
The sloping site had formerly been occupied by a garden-vineyard of the Sforza family, in which a palazzetto had been built in 1549. The sloping site passed from one cardinal to another during the sixteenth century, with no project fully getting off the ground.
When Cardinal Alessandro Sforza met financial hardships, the still semi-urban site was purchased in 1625 by Maffeo Barberini, of the Barberini family, who became Pope Urban VIII.
Three great architects worked to create the Palazzo, each contributing his own style and character to the building. Carlo Maderno, then at work extending the nave of St Peter's, was commissioned to enclose the Villa Sforza within a vast Renaissance block along the lines of Palazzo Farnese; however, the design quickly evolved into a precedent-setting combination of an urban seat of princely power combined with a garden front that had the nature of a suburban villa with a semi-enclosed garden.
Maderno began in 1627, assisted by his nephew Francesco Borromini. When Maderno died in 1629, Borromini was passed over and the commission was awarded to Bernini, a young prodigy then better known as a sculptor. Borromini stayed on regardless and the two architects worked together, albeit briefly, on this project and at the Palazzo Spada. Works were completed by Bernini in 1633.
After the Wars of Castro and the death of Urban VIII, the palace was confiscated by Pamphili Pope Innocent X and was only returned to the Barberini in 1653.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18in x 14in (460mm x 360mm)
Plate size: - 11 1/2in x 9in (290mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Il Nuovo Teatro: One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.
The Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

$75.00 USD
More Info
1665 De Rossi Original Antique Architectural Plan, Print of Falconieri Palace, Rome, Italy

1665 De Rossi Original Antique Architectural Plan, Print of Falconieri Palace, Rome, Italy

Description: 
This finely engraved original antique architectural engraving a plan of the Falconieri Palace Rome, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699.
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper.

Palazzo Falconieri is a palace in Rome, Italy formed in the seventeenth century as a result of remodelling by the Baroque architect Francesco Borromini. It is the home of the Hungarian Academy Rome(which is the Rome office of the Balassi Institute), since its foundation in 1927. It is located between Via Giulia and Lugotevere, with entrances to both; it is near Plazzo Farnese and a few houses down and across Via Giulia from the church of Santa Caterina a Magnanapoli in the Rione of Regola. From 1814, it was occupied by cardinal Joseph Fesch, Napoleon's uncle.
In 1638, Orazio Falconieri purchased a palace on the Via Giulia which had a small courtyard facing the River Tiber. He bought an adjacent property in 1645 and in 1646 and appointed the architect Francesco Borromini to remodel and refurbish the two. Some of Borromini’s work was lost in the nineteenth century development of Lungotevere, the embankment and road between the Tiber and the buildings which overlook it, but parts remain.
The surviving parts of Borromini’s work include the façade to the Via Giulia, the Belvedere overlooking the Tiber and the decorative work in several rooms. On the façade, the number of bays was increased from seven to eleven and at either end, tall inverted fluted pilasters were placed terminating in falcons heads, a reference to the family name, that each look back at the façade. Overlooking the Tiber, Borromini added a Belvedere, a three bay loggia with Serliana openings, that stands above the surrounding buildings. On the interior, some of the rooms are ornamented with stucco work designed by Borromini, with the frequent use of heraldic devices and symbolic motifs

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18in x 14in (460mm x 360mm)
Plate size: - 11 1/2in x 9in (290mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Il Nuovo Teatro: One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.
The Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

$75.00 USD
More Info
1665 De Rossi Original Antique Architectural Plan, Print of Alfieri, Asti Palace Monferrato, Italy

1665 De Rossi Original Antique Architectural Plan, Print of Alfieri, Asti Palace Monferrato, Italy

Description:
This finely engraved original antique architectural engraving a plan of the Alfieri (Asti) Palace in Monferrato, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699. 
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper.

Palazzo Alfieri (Asti)An ancient noble home from the 13th century. In 1738, the owner, Antonio Amedeo Alfieri, decided to alter the size and restore the property, an assignment which he entrusted to his illustrious cousin, Benedetto Alfieri, who had become, in the meantime, the royal architect. Benedetto began to work on the building, transforming it into a grandiose and complex palace with a trapezoid courtyard, a garden, and an imposing façade. Eleven years later, in this very palace, the great poet Vittorio Alfieri was born, who spent part of this life here until he decided to leave the sleepy province in search of more meaningful experiences.
The palace was acquired in 1901 by Conte Ottolenghi, who then donated it to the city, which turned it into a Museo in order to give the Museo Alfieriano a seat. Today, the Centro Nazionale di Studi Alfieriani (National Center of Alfierian Studies), the Biblioteca Astense (Asti Library), and the Istituto per la Storia della Resistenza (Institute for the History of the Resistance) all have their seats here.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18in x 14in (460mm x 360mm)
Plate size: - 11 1/2in x 9in (290mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Il Nuovo Teatro: One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.
The Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

$75.00 USD
More Info
1665 De Rossi Original Antique Architectural Plan, Print of Silvestri Palace Milan, Italy

1665 De Rossi Original Antique Architectural Plan, Print of Silvestri Palace Milan, Italy

Description:
This finely engraved original antique architectural print of the Casa Fontana Silvestri Palace in Milan, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699.
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper.

Casa Fontana-Silvestri is one of the few Renaissance buildings surviving in Milan, Italy. The main structure dates back to the 12th century, but its current form is due to a thorough modification that were made at the end of the 14th century, in a style that mixes Renaissance and Gothic elements.
The facade was originally decorated with frescos that scholars credit to Bramante or Bramantino; most of these painting have disappeared, with just a few remnants now visible under the cornice. It has also been suggested that Bramante may have designed the cotto decorations, also on the facade.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18in x 14in (460mm x 360mm)
Plate size: - 11 1/2in x 9in (290mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Il Nuovo Teatro: One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.
The Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

$75.00 USD
More Info
1665 De Rossi Original Antique Architectural Plan, Print of Sachetti Palace Rome, Italy

1665 De Rossi Original Antique Architectural Plan, Print of Sachetti Palace Rome, Italy

Description:
This finely engraved original 1665 antique architectural print of the Sachetti Palace in Rome, Italy by Giovanni Battista Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699.
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper.

Sacchetti palace is located in Via Giulia in Rome. 
Its construction was carried out by Antonio da Sangallo , who wanted to make his own home, obtaining in 1542 the land and a pre-existing unfinished house owned by the Vatican Chapter III , his principal, if not exclusive, client, to whom he dedicated The coat of arms still existing but rubbed on the main facade. At the building, the architect, who used to call the "perfect palace", spent the last years of his life especially for design until 1545 ; When he died in 1546, he went to his son Horace, and the construction was completed by Nanni of Baccio Bigio .Acquired by the Ricci di Montepulciano, who took large sums for extensions and decorative works, he later passed to the Cevoli or Ceuli family, from which he took the adjoining Alley of Cefalo; In 1608 it was bought by Cardinal Ottavio Acquaviva d'Aragona Archbishop of Napleswho before 1612, the year of his death, built the chapel frescoed by Agostino Ciampelli . In 1648 Acquaviva sold the palace to the Sacchettimarquis from Florence , who owned it in full until 2015 when part of it was sold to other owners.
The palace houses some of the most significant cycles of Mannerism , with works byFrancesco Salviati , to which the splendid frescoes of the Audience Hall (1553-1555) Pietro da Cortona andJacopino del Conte are to be found . Palazzo Sacchetti is used for the film The Great Beauty : "Viola, the rich and depressed friend, lives alone with her psychopathic son at Palazzo Sacchetti , in via Giulia, where she organizes a lunch where no one will be present

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18in x 14in (460mm x 360mm)
Plate size: - 11 1/2in x 9in (290mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Il Nuovo Teatro: One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.
The Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

$75.00 USD
More Info
1665 De Rossi Original Antique Architectural Plan, Print of Palazzo Madama Rome, Italy

1665 De Rossi Original Antique Architectural Plan, Print of Palazzo Madama Rome, Italy

  • Title : Pianta Del Palazzo Del Ser G Duca Di Toscana in Piazza Madama
  • Date : 1665
  • Condition: (A+) Fine Condition
  • Ref:  91182
  • Size: 18in x 14in (460mm x 360mm) 

Description:
This finely engraved original antique architectural print of the Madama Palace in Rome, Italy by Giovanni Battista Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper.

Palazzo Madama in Rome is the seat of the Senate of the Italian Republic. It was built atop the ruins of the ancient baths of Nero, next to Piazza Navona. The terrain had been acquired in the Middle Ages by the monks of the Abbey of Farfa, who later ceded it to France.
The new building was begun at the end of the 15th century and completed in 1505, for the Medici family. It housed two Medici cardinals and cousins, Giovanni and Giulio, who both later became popes as Leo X and Clement VII, respectively. Catherine de' Medici, Clement VII's niece, also lived here before she was married to Henry, son of King Francis I of France in 1533. Cardinal Francesco Maria Del Monte, patron of the artist Caravaggio, lived there until his death in 1627.
The palace takes its name from Madama Margherita of Austria, illegitimate daughter of Emperor Charles V, who married another illegitimate son, Alessandro de' Medici and, after his death, Ottavio Farnese. Thus part of the art collection of the Florentine Medici family was inherited by the Farnese family.
The current façade was built in the mid-1650s by both Cigoliand Paolo Maruccelli. The latter added the ornate cornice and whimsical decorative urns on the roof.
After the extinction of the Medici in 1743, the palace was handed over to the House of Lorraine and, later, to Pope Benedict XIV, who made it the seat of the Papal Government. In 1849, Pius IX moved here the Ministries of Finances and of the Public Debt, as well as the Papal Post Offices. In 1871, after the conquest of Rome by the newly formed Kingdom of Italy, the palazzo became the seat of the Senato del Regno.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18in x 14in (460mm x 360mm)
Plate size: - 11 1/2in x 9in (290mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Il Nuovo Teatro: One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.
The Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

$75.00 USD
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1665 De Rossi Original Antique Architectural Plan, Print of Villa Medici Monte Pincio Italy Rome

1665 De Rossi Original Antique Architectural Plan, Print of Villa Medici Monte Pincio Italy Rome

  • Title : Pianta Del Palazzo Del sermo gran Duca Di Toscana nel monte Pincio
  • Date : 1665
  • Condition: (A+) Fine Condition
  • Ref:  91180
  • Size: 18in x 14in (460mm x 360mm) 

Description:
This finely engraved original 1655 antique architectural engraving a plan part of the Villa Medici on the Pincian Hill founded by Ferdinando I de' Medici, Grand Duke of Tuscany in Rome, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699. 
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper.

The Villa Medici is a mannerist villa and an architectural complex with a garden contiguous with the larger Borghese gardens, on the Pincian Hill next to Trinità dei Monti in Rome, Italy. The Villa Medici, founded by Ferdinando I de' Medici, Grand Duke of Tuscany and now property of the French State has housed the French Academy in Rome since 1803. In ancient times, the site of the Villa Medici was part of the gardens of Lucullus, which passed into the hands of the Imperial family with Messalina, who was murdered in the villa.
In 1564, when the nephews of Cardinal Giovanni Ricci of Montepulciano acquired the property, it had long been abandoned to viticulture. The sole dwelling was the Casina of Cardinale Marcello Crescenzi, who had maintained a vineyard here and had begun improvements to the villa under the direction of the Florentine Nanni Lippi, who had died however, before work had proceeded far. The new proprietors commissioned Annibale Lippi, the late architect's son, to continue work. Interventions by Michelangelo are a tradition.
In 1576, the property was acquired by Cardinal Ferdinando de' Medici, who finished the structure to designs by Bartolomeo Ammanati. The Villa Medici became at once the first among Medici properties in Rome, intended to give concrete expression to the ascendancy of the Medici among Italian princes and assert their permanent presence in Rome. Under the Cardinal's insistence, Ammanati incorporated into the design Roman bas-reliefs and statues that were coming to sight with almost every spadeful of earth, with the result that the facades of the Villa Medici, as it now was, became a virtual open-air museum. A series of grand gardens recalled the botanical gardens created at Pisa and at Florence by the Cardinal's father Cosimo I de' Medici, sheltered in plantations of pines, cypresses and oaks. Ferdinando de' Medici had a studiolo, a retreat for study and contemplation, built to the north east of the garden above the Aurelian wall. Now these rooms look onto Borghese gardens but would then have had views over the Roman countryside. These two rooms were only uncovered in 1985 by the restorer Geraldine Albers: the concealing whitewash had protected and conserved the superb fresco decoration carried out by Jacopo Zucchi 1576 and 1577.
Among the striking assemblage of Roman sculptures in the villa were some one hundred seventy pieces bought from two Roman collections that had come together through marriage, the Capranica and the della Valle collections. An engraving detailing the arrangement of statues prior to 1562 was documented by Galassi Alghisi. Three works that arrived at the Villa Medici under Cardinal Fernando, ranked with the most famous in the city: the Niobe Group and the Wrestlers, both discovered in 1583 and immediately purchased by Cardinal Ferdinando, and the Arrotino. When the Cardinal succeeded as Grand Duke of Tuscany in 1587, his elder brother having died, he satisfied himself with plaster copies of his Niobe Group, in full knowledge of the prestige that accrued to the Medici by keeping such a magnificent collection in the European city whose significance far surpassed that of their own capital. The Medici lions were completed in 1598, and the Medici Vase entered the collection at the Villa, followed by the Venus de' Medici by the 1630s; the Medici sculptures were not removed to Florence until the eighteenth century. Then the antiquities from the Villa Medici formed the nucleus of the collection of antiquities in the Uffizi, and Florence began to figure on the European Grand Tour.
The fountain in the front of the Villa Medici is formed from a red granite vase from ancient Rome. It was designed by Annibale Lippi in 1589. The view from the Villa looking over the fountain towards St Peter's in the distance has been much painted, but the trees in the foreground have now obscured the view. 
Like the Villa Borghese that adjoins them, the villa's gardens were far more accessible than the formal palaces such as Palazzo Farnese in the heart of the city. For a century and a half the Villa Medici was one of the most elegant and worldly settings in Rome, the seat of the Grand Dukes' embassy to the Holy See. When the male line of the Medici died out in 1737, the villa passed to the house of Lorraine and, briefly in Napoleonic times, to the Kingdom of Etruria. In this manner Napoleon Bonaparte came into possession of the Villa Medici, which he transferred to the French Academy at Rome.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18in x 14in (460mm x 360mm)
Plate size: - 11 1/2in x 9in (290mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Il Nuovo Teatro: One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.
The Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

$75.00 USD
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1665 De Rossi Original Antique Architectural Plan, Print of Poli Palace, Trevi Rome, Italy

1665 De Rossi Original Antique Architectural Plan, Print of Poli Palace, Trevi Rome, Italy

  • Title : Pianta Del Palazzo Del Duca Di Cere Alla Fontana Di Trevi
  • Date : 1665
  • Condition: (A+) Fine Condition
  • Ref:  91179
  • Size: 18in x 14in (460mm x 360mm) 

Description:
This finely engraved original 1665 antique architectural plan of the Palace of the Dukes of Poli fronting the great Trevi Fountain located in Rome, Italy by Giovanni Battistaa Falda, was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma modernapublished between 1665-1699. 
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper.

The Palazzo Poli is a palace in Rome, Italy, forming the backdrop to the famous Trevi Fountain. Luigi Vanvitelli gave it a monumental facade as a setting for the fountain. It was there that Princess Zinaida Volkonskaya threw her lavish parties in the 1830s. The central portion of the palace was demolished to provide room for the large fountain in 1730.[1] The Palazzo Poli houses an important collection of copper engraving plates from the 16th century to the present.[2] The Palazzo also houses the Istituto Nazionale per la Grafica.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18in x 14in (460mm x 360mm)
Plate size: - 11 1/2in x 9in (290mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Il Nuovo Teatro: One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.
The Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

$75.00 USD
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1665 De Rossi Original Antique Architectural Plan, Print of Galleria Spada, Rome Italy

1665 De Rossi Original Antique Architectural Plan, Print of Galleria Spada, Rome Italy

Description:
This finely engraved original 1655 antique architectural engraving a plan of the Galleria Spada Museum in Rome, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699. 
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper.

Galleria Spada is a museum in Rome (Italy), which is housed in the Palazzo Spada of the same name, located in the Piazza Capo di Ferro. The palazzo is also famous for its façade and for the forced perspective gallery by Francesco Borromini. The gallery exhibits paintings from the 16th and 17th century.
It was originally built in 1540 for Cardinal Girolamo Capodiferro. Bartolomeo Baronino, of Casale Monferrato, was the architect, while Giulio Mazzoni and a team provided lavish stuccowork inside and out. The palazzo was purchased by Cardinal Spada in 1632. He commissioned the Baroque architect Francesco Borromini to modify it for him, and it was Borromini who created the masterpiece of forced perspective optical illusion in the arcaded courtyard, in which diminishing rows of columns and a rising floor create the visual illusion of a gallery 37 meters long (it is 8 meters) with a lifesize sculpture at the end of the vista, in daylight beyond: the sculpture is 60 cm high. Borromini was aided in his perspective trick by a mathematician. The building was purchased in November 1926 by the Italian State to house the gallery and the State Council. The Galleria was opened in 1927 in the Palazzo Spada. It closed during the 1940s, but reopened in 1951 thanks to the efforts of the Conservator of the Galleries of Rome, Anchille Bertini Calosso and the Director, Frederico Zeri. Zeri was committed to locating the remaining artwork that had been scattered during the war, as he intended to recreate the original layout of the 16th-17th version of the gallery, including the placement of the pictures, the furniture and the sculptures. Most of the exhibited artwork comes predominantly from the private collection of Bernardino Spada, supplemented by smaller collections such as that of Virgilio Spada

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18in x 14in (460mm x 360mm)
Plate size: - 11 1/2in x 9in (290mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Il Nuovo Teatro: One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.
The Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)

$75.00 USD
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1750 Prevost Antique Print of Slave Fort Tantumquery, Otuam, Ghana, West Africa

1750 Prevost Antique Print of Slave Fort Tantumquery, Otuam, Ghana, West Africa

  • Title: Vue Sud Du Fort De Tantumquerri par Smith
  • Date: 1750
  • Condition : (A+) Fine Condition
  • Ref: 21942
  • Size: 14in x 10in (355mm x 255mm)

Description:
This fine original copper-plate engraved antique print was engraved by Jakob van Schley and was published in Antoine François Prevosts 15 volumes of Histoire Generale des Voyages written by Prevost & other authors between 1746-1790.

Fort Tantumquery is a military structure designed to facilitate the slave trade in West Africa during the 18th & 19th centuries. It was built by the Royal African Company in the 1720s,at Otuam in the Mfantsiman Municipal District, Central Region, Ghana, in what was known at the time as the Gold Coast.
The fort was surveyed in 1727 by William Smith, who had been appointed to review their castles in Africa following disturbing reports that they were unprofitable

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 10in (365mm x 250mm)
Plate size: - 12in x 8in (305mm x 205mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Top centerfold re-joined, no loss
Verso: - None

Background: 
One of Antoine Francois Prevosts monumental undertakings was his history of exploration & discovery in 15 volumes titledHistoire Générale des Voyages written between 1746-1759 and was extended to 20 volumes after his death by various authors.
The 20 volumes cover the early explorations & discoveries on 3 continents: Africa (v. 1-5), Asia (v. 5-11), and America (v. 12-15) with material on the finding of the French, English, Dutch, and Portugese.
A number of notable cartographers and engravers contributed to the copper plate maps and views to the 20 volumes including Nicolas Bellin, Jan Schley, Chedel, Franc Aveline, Fessard, and many others.
The African volumes cover primarily coastal countries of West, Southern, and Eastern Africa, plus the Congo, Madagascar, Arabia and the Persian Gulf areas.
The Asian volumes cover China, Korea, Tibet, Japan, Philippines, and countries bordering the Indian Ocean.
Volume 11 includes Australia and Antarctica.
Volumes 12-15 cover voyages and discoveries in America, including the East Indies, South, Central and North America.
Volumes 16-20 include supplement volumes & tables along with continuation of voyages and discoveries in Russia, Northern Europe, America, Asia & Australia.

Jakob van der Schley aka Jakob van Schley (1715 - 1779) was a Dutch draughtsman and engraver. He studied under Bernard Picart (1673-1733) whose style he subsequently copied. His main interests were engraving portraits and producing illustrations for \"La Vie de Marianne\" by Pierre Carlet de Chamblain de Marivaux (1688-1763) published in The Hague between 1735 and 1747.
He also engraved the frontispieces for a 15-volume edition of the complete works of Pierre de Brantôme (1540-1614), \"Oeuvres du seigneur de Brantôme\", published in The Hague in 1740.
He is also responsible for most of the plates in the Hague edition of Prévost\'s Histoire générale des voyages. (Ref: Tooley; M&B)

$65.00 USD
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1787 Du Bocage & Barthelemy Antique Print Temple of Poseidon w Plato & Disciples

1787 Du Bocage & Barthelemy Antique Print Temple of Poseidon w Plato & Disciples

Description:
This original copper-plate engraved print by Jean Denis Barbie du Bocage was was published in the 1787 edition of Jean-Jacques Barthelemy famous Voyage du jeune Anarcharsis en Grece or Travels of Anacharsis the younger in Greece in 4 volumes.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 10in (380mm x 255mm)
Plate size: - 8 1/2in x 7in (230mm x 180mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - None

Background: 
Jean-Jacques Barthelemy 1716 – 1795 was a French writer and numismatist.
Barthelemy was the author of a number of learned works on antiquarian subjects, but the great work on which his fame rests is Travels of Anacharsis the younger in Greece (French: Voyage du jeune Anarcharsis en Grece, 4 vols., 1787). He had begun it in 1757 and had been working on it for thirty years. The hero, a young Scythian descended from the famous philosopher Anacharsis, is supposed to repair to Greece for instruction in his early youth, and after making the tour of her republics, colonies and islands, to return to his native country and write this book in his old age, after the Macedonian hero had overturned the Persian empire. In the manner of modern travellers, he gives an account of the customs, government, and antiquities of the country he is supposed to have visited. A copious introduction supplies whatever may be wanting in respect to historical details, while various dissertations on the music of the Greeks, on the literature of the Athenians, and on the economy, pursuits, ruling passions, manners, and customs of the surrounding states supply ample information on the subjects of which they treat.
Modern scholarship has superseded most of the details in the Voyage, but the author himself did not imagine his book to be a register of accurately ascertained facts. Rather, he intended to afford to his countrymen, in an interesting form, some knowledge of Greek civilisation. The Charicles, or Illustrations of the Private Life of the Ancient Greeks of Wilhelm Adolf Becker is an attempt in a similar direction

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1787 Du Bocage & Barthelemy Antique Plan of a Greek Gymnasium School or Palestra

1787 Du Bocage & Barthelemy Antique Plan of a Greek Gymnasium School or Palestra

Description:
This original copper-plate engraved print by Jean Denis Barbie du Bocage was was published in the 1787 edition of Jean-Jacques Barthelemy famous Voyage du jeune Anarcharsis en Grece or Travels of Anacharsis the younger in Greece in 4 volumes.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 10in (380mm x 255mm)
Plate size: - 8 1/2in x 7in (230mm x 180mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - None

Background: 
Jean-Jacques Barthelemy 1716 – 1795 was a French writer and numismatist.
Barthelemy was the author of a number of learned works on antiquarian subjects, but the great work on which his fame rests is Travels of Anacharsis the younger in Greece (French: Voyage du jeune Anarcharsis en Grece, 4 vols., 1787). He had begun it in 1757 and had been working on it for thirty years. The hero, a young Scythian descended from the famous philosopher Anacharsis, is supposed to repair to Greece for instruction in his early youth, and after making the tour of her republics, colonies and islands, to return to his native country and write this book in his old age, after the Macedonian hero had overturned the Persian empire. In the manner of modern travellers, he gives an account of the customs, government, and antiquities of the country he is supposed to have visited. A copious introduction supplies whatever may be wanting in respect to historical details, while various dissertations on the music of the Greeks, on the literature of the Athenians, and on the economy, pursuits, ruling passions, manners, and customs of the surrounding states supply ample information on the subjects of which they treat.
Modern scholarship has superseded most of the details in the Voyage, but the author himself did not imagine his book to be a register of accurately ascertained facts. Rather, he intended to afford to his countrymen, in an interesting form, some knowledge of Greek civilisation. The Charicles, or Illustrations of the Private Life of the Ancient Greeks of Wilhelm Adolf Becker is an attempt in a similar direction

$65.00 USD
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1787 Du Bocage & Barthelemy Antique Plan of a Greek Open Air Theatre

1787 Du Bocage & Barthelemy Antique Plan of a Greek Open Air Theatre

Description:
This original copper-plate engraved print by Jean Denis Barbie du Bocage was was published in the 1787 edition of Jean-Jacques Barthelemy famous Voyage du jeune Anarcharsis en Grece or Travels of Anacharsis the younger in Greece in 4 volumes.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 10in (380mm x 255mm)
Plate size: - 8 1/2in x 7in (230mm x 180mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - None

Background: 
Jean-Jacques Barthelemy 1716 – 1795 was a French writer and numismatist.
Barthelemy was the author of a number of learned works on antiquarian subjects, but the great work on which his fame rests is Travels of Anacharsis the younger in Greece (French: Voyage du jeune Anarcharsis en Grece, 4 vols., 1787). He had begun it in 1757 and had been working on it for thirty years. The hero, a young Scythian descended from the famous philosopher Anacharsis, is supposed to repair to Greece for instruction in his early youth, and after making the tour of her republics, colonies and islands, to return to his native country and write this book in his old age, after the Macedonian hero had overturned the Persian empire. In the manner of modern travellers, he gives an account of the customs, government, and antiquities of the country he is supposed to have visited. A copious introduction supplies whatever may be wanting in respect to historical details, while various dissertations on the music of the Greeks, on the literature of the Athenians, and on the economy, pursuits, ruling passions, manners, and customs of the surrounding states supply ample information on the subjects of which they treat.
Modern scholarship has superseded most of the details in the Voyage, but the author himself did not imagine his book to be a register of accurately ascertained facts. Rather, he intended to afford to his countrymen, in an interesting form, some knowledge of Greek civilisation. The Charicles, or Illustrations of the Private Life of the Ancient Greeks of Wilhelm Adolf Becker is an attempt in a similar direction

$65.00 USD
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1765 Isaac Tirion Antique Print of an Alms House in Amsterdam, Holland

1765 Isaac Tirion Antique Print of an Alms House in Amsterdam, Holland

  • Title : Het Oude-Zyds-Huiszitten-Aalmoesseniers-Huis, van agteren.
  • Date : 1765
  • Condition: (A+) Fine Condition
  • Ref:  Het1
  • Size: 9in x 6in (230mm x 150mm)

Description: 
This beautifully hand coloured original antique print of an Alms House in Amsterdam was published by Isaac Tirion in the 1765 edition ofTopografie van Nederland. (Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - off white
Age of map color: - Early
Colors used: - Green, pink, yellow
General color appearance: - Authentic
Paper size: - 9in x 6in (230mm x 150mm)
Plate size: - 8 1/2in x 5 1/2in (215mm x 140mm)
Margins: - Min 1/4in (5mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

$65.00 USD
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1756 Maitland Large Antique Print of Bethlehem or Bedlam Hospital, London

1756 Maitland Large Antique Print of Bethlehem or Bedlam Hospital, London

Description: 
This large hand coloured original antique hand coloured antique print of Bethlehem Hospital, London was engarved by William Toms and published in 1756 edition of William Maitland's The History and Survey of London From Its Foundation to the Present Time.

Background: London’s Bethlem Royal Hospital, long called Bedlam, is one of the oldest mental institutions in the world. It was founded by Christians in 1247 to shelter and care for homeless people, but gradually began to focus on those considered ‘mad’. Patients did not often stay longer than 12 months. Ex-patients were called ‘Bedlamites’ and were licensed to beg on main routes between towns. Bedlam came under the control of the City of London in 1547. It was the only public mental institution in England until well into the 1800s. 

Despite its large reputation, Bedlam remained small for centuries - there were no more than 24 patients in 1620. Its location near the walls of London (on land now occupied by Liverpool Street Station) and status as a public institution ensured a stream of visitors eager to view ‘madness’. In 1676 Bedlam moved to a new and larger building at Moorfields with a baroque facade by natural philosopher Robert Hooke that was designed to impress visitors. Commentators have noted visitors and artists often projected onto Bedlam their hopes and fears about ‘madness’. 

Bedlam’s high profile saw it repeatedly criticised and mired in scandal. Some of its most outspoken patients were confined because their political enemies wanted to silence or discredit them. Government inquiries into the abuse of Bedlam patients inspired reforms in the 1700s and 1800s. ‘Bedlam’ came to describe any out-of-control situation. 

The hospital moved again in 1815 to improve patient conditions. It was further away from the city centre, so patients had more space for indoor and outdoor activities. This was central to moral treatment. In 1930 it moved to its current home, a large campus in the London suburbs housing patients in small, separate, home-like buildings rather than a single fortress-like structure. Bethlem Royal Hospital is now a research and treatment centre, and its small museum holds a renowned collection of art made by people diagnosed with mental illness.

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - Original
Colors used: - Red, yellow, black, gold 
General color appearance: -  Authentic
Paper size: - 16 1/4in x 10in (410mm x 250mm)
Plate size: - 15in x 8 1/2in (385mm x 210mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Light age toning
Plate area: - None
Verso: - None

$65.00 USD
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