Products

• Title : Attacks of Fort Washington by His Majesty's Forces under The Command of General. Sir William Howe KB...Lith for D T Valentines Manual for 1861 by Geo. Hayward 171 Pearl St New York
• Date : 1861 (1776)
  
• Size: 25in x 18 1/2in (585mm x 470mm)
• Condition: (B) Good Condition
• Ref:  93166

Description:

Description:
This original hand coloured lithograph antique map, a reproduction of the famous Revolutionary map of 1776, was bound into David T. Valentine's 1861 edition of Manual of the Common Council of the City of New York

The map is oriented with north to the right. Hachures show relief, and military units are depicted in red and blue. The map was said to have been copied from an original map kindly loaned to the compiler by Mr. A. Suart.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, green, blue, pink
General color appearance: - Authentic
Paper size: - 25in x 18 1/2in (585mm x 470mm)
Plate size: - 25in x 18 1/2in (585mm x 470mm)
Margins: - Min 1/2in (10mm)

Imperfections:
Margins: - Age toning, folds as issued
Plate area: - Folds as issued, old tape mark and some loss to the top middle fold
Verso: - Folds as issued

Background:
On 16 November 1776, the Hessian General Wilhelm von Knyphausen and his army of of 8,000 German mercenaries and British regulars attacked Fort Washington (now the location of Bennet Park at the intersection of Fort Washington Avenue and 183rd Street) making use of information provided by the first American traitor, William Demont, the fort's adjutant. Although the fort's defenders were initially able to provide stiff resistance, they were eventually outflanked, and the the 3,000 man garrison was captured. The Americans were then imprisoned within British prison ships anchored in New York Harbor where a great many died of starvation and disease. John and Margaret Corbin were both casualties of the battle. John was an artilleryman who was killed in the midst of the fight. When he fell, his wife Margaret (Molly), who had accompanied him as a camp follower, took his place at the cannon and continued to clean, load, and fire the gun until she was severely wounded in the left arm. Three years later, Captain Molly, who had lost the use of her arm, became the first woman to receive a military penison from the United States.

Valentine, David Thomas 1801 - 1869
As the Clerk of the Common Council of New York City, Valentine edited and published a series of books on the history and contemporary facts of New York City entitled Manual of the Corporation Of The City of New York. They became know as Valentines Manuals with updates published annually, between 1841 & 1870. Valentine used his manuals to produce some of the rarest and most important maps & views of the city of New York, some of which occasionally appear on the market. His contribution to the historical record of New York city cannot be over stated.

• Title : Petaluma and Napa Creeks California from a Trigonomitrical survey under the direction of A D Bache Superintendant of the Survey of the Coast of the United States....1861
• Size: 33in x 24 1/2in (840mm x 615mm)
• Condition: (A+) Fine Condition
• Date : 1861
• Ref #:  93037

Description:
This large scarce, original lithograph early antique map of Napa River Valley and Petaluma River Valley, California by Alexander Dallas Bache (great-grandson of Benjamin Franklin) in 1861 - dated - was published by the official chart-maker of the United States, the office of The US Coast Survey.

The Office of the Coast Survey, founded in 1807 by President Thomas Jefferson and Secretary of Commerce Albert Gallatin, is the oldest scientific organization in the U.S. Federal Government. Jefferson created the Survey of the Coast, as it was then called, in response to a need for accurate navigational charts of the new nation\\\'s coasts and harbors.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 33in x 24 1/2in (840mm x 615mm)
Plate size: - 33in x 24 1/2in (840mm x 615mm)
Margins: - Min 1/2in (12mm)

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

Background: 
This is an uncommon 1861 U.S. Coast Survey nautical chart or map of the Napa River Valley and Petaluma River Valley, California. Essentially two maps on the same sheet, the left hand side of the sheet features a chart of the Petaluma Creek from Petaluma City as it empties into the San Pablo Bay. The chart on the right features the Napa Creek from Napa City to the Bay. Today this region enjoys international regard as the production center of some of the worlds finest wines.
The southern part of the Napa Creek as it empties into the San Pablo Bay between Mare Island and Vallejo is included in an inset near the bottom border and feature the Mare Island Straits. The straits, which are the mouth of the Napa River, are today popular for recreational boating and water sports.
The map offers excellent inland detail to the level of individual buildings, especially in Petaluma City, Napa City and in Vallejo and the Naval Yard. It also notes towns, roads, and inlets. Nautically this map offers a wealth of practical information for the mariner, including countless depth soundings and notes on tides, soundings and undersea dangers.
The triangulation for this chart was accomplished by G. A. Fairfield and A. F. Rodgers. The topography is the work of A. F. Rodgers and the hydrography was completed by a party under the command of James Alden. The entire work was produced in 1861 under the direction of A. D. Bache, Superintendent of the Survey of the Coast of the United States and one of the most influential American cartographers of the 19th century. Issued in the 1861 edition of the Superintendents Report.

U.S. Coast Survey (Office of Coast Survey)
The Office of Coast Survey is the official chart-maker of the United States. Set up in 1807, it is one of the U.S. governments oldest scientific organizations. In 1878 it was given the name of Coast and Geodetic Survey (C&GS). In 1970 it became part of the National Oceanic and Atmospheric Administration (NOAA).
The agency was established in 1807 when President Thomas Jefferson signed the document entitled An act to provide for surveying the coasts of the United States. While the bills objective was specific—to produce nautical charts—it reflected larger issues of concern to the new nation: national boundaries, commerce, and defence.
The early years were difficult. Ferdinand Rudolph Hassler, who was eventually to become the agencys first superintendent, went to England to collect scientific instruments but was unable to return through the duration of the War of 1812. After his return, he worked on a survey of the New York Harbor in 1817, but Congress stepped in to suspend the work because of tensions between civilian and military control of the agency. After several years under the control of the U.S. Army, the Survey of the Coast was reestablished in 1832, and President Andrew Jackson appointed Hassler as superintendent.
The U.S. Coast Survey was a civilian agency but, from the beginning, members of the Navy and Army were detailed to service with the Survey, and Navy ships were also detailed to its use. In general, army officers worked on topographic surveys on the land and maps based on the surveys, while navy officers worked on hydrographic surveys in coastal waters.
Alexander Dallas Bache, great-grandson of Benjamin Franklin, was the second Coast Survey superintendent. Bache was a physicist, scientist, and surveyor who established the first magnetic observatory and served as the first president of the National Academy of Sciences. Under Bache, Coast Survey quickly applied its resources to the Union cause during the Civil War. In addition to setting up additional lithographic presses to produce the thousands of charts required by the Navy and other vessels, Bache made a critical decision to send Coast Survey parties to work with blockading squadrons and armies in the field, producing hundreds of maps and charts. Bache detailed these activities in his annual reports to Congress.
Coast Survey cartographer Edwin Hergesheimer created the map showing the density of the slave population in the Southern states.
Bache was also one of four members of the governments Blockade Strategy Board, planning strategy to essentially strangle the South, economically and militarily. On April 16, 1861, President Lincoln issued a proclamation declaring the blockade of ports from South Carolina to Texas. Baches Notes on the Coast provided valuable information for Union naval forces.
Maps were of paramount importance in wartime:
It is certain that accurate maps must form the basis of well-conducted military operations, and that the best time to procure them is not when an attack is impending, or when the army waits, but when there is no hindrance to, or pressure upon, the surveyors. That no coast can be effectively attacked, defended, or blockaded without accurate maps and charts, has been fully proved by the events of the last two years, if, indeed, such a proposition required practical proof.
— Alexander Dallas Bache, 1862 report.
Coast Survey attracted some of the best and brightest scientists and naturalists. It commissioned the naturalist Louis Agassiz to conduct the first scientific study of the Florida reef system. James McNeill Whistler, who went on to paint the iconic Whistlers Mother, was a Coast Survey engraver. The naturalist John Muir was a guide and artist on Survey of the 39th Parallel across the Great Basin of Nevada and Utah.
The agencys men and women (women professionals were hired as early as 1845) led scientific and engineering activities through the decades. In 1926, they started production of aeronautical charts. During the height of the Great Depression, Coast and Geodetic Survey organized surveying parties and field offices that employed over 10,000 people, including many out-of-work engineers.
In World War II, C&GS sent over 1,000 civilian members and more than half of its commissioned officers to serve as hydrographers, artillery surveyors, cartographers, army engineers, intelligence officers, and geophysicists in all theaters of the war. Civilians on the home front produced over 100 million maps and charts for the Allied Forces. Eleven members of the C&GS gave their lives during the war.

Alexander Dallas Bache 1806 – 1867 was an American physicist, scientist, and surveyor who erected coastal fortifications and conducted a detailed survey to map the mid-eastern United States coastline. Originally an army engineer, he later became Superintendent of the U.S. Coast Survey, and built it into the foremost scientific institution in the country before the Civil War.
Alexander Bache was born in Philadelphia, the son of Richard Bache, Jr., and Sophia Burrell Dallas Bache. He came from a prominent family as he was the nephew of Vice-President George M. Dallas and naval hero Alexander J. Dallas. He was the grandson of Secretary of the Treasury Alexander Dallas and was the great-grandson of Benjamin Franklin.
Bache was a professor of natural philosophy and chemistry at the University of Pennsylvania from 1828 to 1841 and again from 1842 to 1843. He spent 1836–1838 in Europe on behalf of the trustees of what became Girard College; he was named president of the college after his return. Abroad, he examined European education systems, and on his return he published a valuable report. From 1839 to 1842, he served as the first president of Central High School of Philadelphia, one of the oldest public high schools in the United States.
In 1843, on the death of Professor Ferdinand Rudolph Hassler, Bache was appointed superintendent of the United States Coast Survey. He convinced the United States Congress of the value of this work and, by means of the liberal aid it granted, he completed the mapping of the whole coast by a skillful division of labor and the erection of numerous observing stations. In addition, magnetic and meteorological data were collected. Bache served as head of the Coast Survey for 24 years (until his death).

• Title : Sketch to illustrate Sir George Bowens offical Tour to March 1860
• Size: 17in x 13in (430mm x 330mm)
• Condition: (A+) Fine Condition
• Date : 1861
• Ref #:  82051

Description:

This incredibly rare & important map of the first Governor of Queensland Tour west of Queensland - from Brisbane to Toowoomba and south to Warwick in March 1860 - by John Arrowsmith was engraved in 1861 - dated at the foot of the map - a year after the granting of Statehood of Queensland in 1859 - and was published for The Colonial Office Parliamentary Papers, London. The importance & rarity of this map cannot be overstated. Many of these maps by Arrowsmith were printed and published only for the British Colonial Office Parliamentary Papers and would have numbered only in the 100s.
John Arrowsmith is considered one of the finest cartographers of the 19th century, famous for producing highly accurate and finely engraved maps in atlases, books & in sheet form, of all parts of the know world. Ironically he is less famous for producing many of the maps that accompanied the British Colonial Office Parliamentary Reports between 1817 to 1890, with two-thirds of the maps being produced by Arrowsmith. These maps were published solely for government review and not public sale. A few of these were subsequently published in Arrowsmiths Atlases and vice versa but a great number of them were not, making many of the maps published for the Parliamentary papers rare and rarely seen on the market. Many of them are not called for in Tooley, Clancy or other important reference material.
This is one of those maps, one of 27 we were fortunate to procure earlier this year. I have found very little historical sales data for these maps and so I have priced them based on what I feel is a fair market value for such a rare, scarce map.

Sir George Ferguson Bowen, GCMG 1821 – 1899 was a British author and colonial administrator whose appointments included postings to the Ionian Islands, Queensland, New Zealand, Victoria, Mauritius and Hong Kong.
In 1859, Bowen was appointed the first Governor of Queensland, a colony that had just been separated from New South Wales. Bowen\'s influence in Queensland was greater than that of the governors in other Australian colonies in a large part due to Robert Herbert, who accompanied Bowen from England, and later became colonial secretary and then first Premier of Queensland in 1860–66. Bowen was interested in the exploration of Queensland and in the establishment of a volunteer force, but incurred some unpopularity by refusing to sanction the issue of inconvertible paper money during the financial crisis of 1866. But overall, he was quite popular in Queensland, so that the citizens requested an extension of his five-year term as governor, resulting in his staying for further two years.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Blue, red
General color appearance: - Authentic
Paper size: - 17in x 13in (430mm x 330mm)
Plate size: - 17in x 13in (430mm x 330mm)
Margins: - Min 1/2in (12mm)

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

Background: 
The importance of John Arrowsmiths contribution to early Australian cartography cannot be stressed enough. He was responsible for producing many of the early exploration maps of Australia for the Colonial Offices & Government publications as well as the RGS.
Maps produced after the first settlement and into the 19th century came from varied sources, first published with the First Fleet Journals by Arthur Phillip, John Hunter and Watkin Tench. Numerous European publishing houses produced atlases which included maps of Australia. Many came out in several editions and were updated as new information became available. The Australian Colonies were administered by officials responsible to the British Colonial Office and all events of importance, often illustrated by maps, were published in the British Parliamentary Papers. There a rea prime source of maps from 1830 onwards, although one or two maps may be found in Parliamentary Papers prior to this time, such as one example of a rare map of the Swan River by Captain James Stirling. 
During the 19th century, as the Australian colonies were progressively granted responsible government, Parliamentary Papers for each colony became an important source of maps. These maps sources have been a hidden and untapped resource. Another good source of early maps is published journals of the explorers; the explorers earliest maps often accompanied reports in the 
Journal of the Royal Geographical Society in the UK. Parallel development of Australian scientific institutions along with an interest in exploration was a strong feature of 19th century Australia. The Royal Geographical Society of Australasia was established with branches in NSW, Victoria, South Australia and Queensland. A number of important maps were published as separate sheets, increasingly by Australian printers and engravers such as Carmichael, Sands & Kenny, and Higginbotham, Robinson & Harrison.
Australian atlases were produced and repeat editions of cadastral surveys and maritime chats became increasingly available. Specialist maps were published from official sources, including geological and mineral maps. Towards the end of the century a plethora of thematic maps were published through a verity of media such as advertisements for land sales, tourists maps and street directories. 

Parliamentary Papers British Parliamentary Papers were a funnel for all significant colonial events in the 19th century. They included over one hundred maps with information on topography, exploration and lad survey published between 1817 and 1890., with two-thirds of the maps being produced by John Arrowsmith. Few maps are found after the early 1860s. The maps accompanying papers relevant to gold discovery (1851-55) are a particularly good resource, documenting an important time in the history of Australia. Perhaps the most neglected source of early Australian maps are those included in the Colonial Parliamentary Papers published locally after 1836. The NSW Parliamentary Papers published between 1836 and 1900 contain over 2700 maps on 129 topics, providing a unique record of events considered important by the colonial administration. Land ownership and land use dominate, followed by maps of services relevant to land use, such as railways, roads, water supply and sewerage. Public health issues are recorded in maps as are maps of gold& mineral leases reflected the expanding diversity of the economy. The first map published in the NSW Parliamentary Papers, of the site of the new Government House, was lithographed by W.R. Baker in 1836. The total number of maps over the same period from other colonies was less than 2000 but again each colonies priorities were reflected by in the subjects covered. Tasmania reflected mainly geological and early convict disciplinary maps; South Australia, land administration and pastoral development; Victoria, maps relating to the development; Victoria, maps relating to the colonies infrastructure, especially railway and harbour development; Queensland, railway and mineral leases; Western Australia, a broad range that included two important technological innovations that shortened the time, and therefore the cost, of printing maps. Firstly , John Osborn in 1859, developed the use of a transfer paper method in photolithography which reduced printing time from days to hours. Secondly, Alfred Selwyn in 1860 used a steam-driven power press to print seven colour geological maps.

Royal Geographical Society published its first journal in 1832. This journal was to become the leading scientific medium available for explorers to publish the first news of their discoveries. However, not all explorers were published here. Between 1832 and 1880, 25 maps recorded of inland Australia, illustrating the journeys of 27 explorers. John Arrowsmith compiled 22 of the 25 maps published by the RGS again illustrating the importance of Arrowsmith to the expansion of early colonial cartography in Australia.

• Title : Map of The City & County of New York 1861
• Date : 1861 
  
• Size: 21 3/4in x 16 1/2in (525mm x 420mm)
• Condition: (B) Good Condition
• Ref:  93130

Description:

Description:
This original hand coloured lithograph antique, 2 part map was published by David T. Valentine in the 1861 edition of Manual of the Common Council of the City of New York

General Definitions:
Paper thickness and quality: - Light and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Red, yellow
General color appearance: - Authentic
Paper size: - 21 3/4in x 16 1/2in (525mm x 420mm)
Plate size: - 21 3/4in x 16 1/2in (525mm x 420mm)
Margins: - Min 1/8in (5mm)

Imperfections:
Margins: - Left margin cropped close to border
Plate area: - Folds as issued, old tape mark & light creasing
Verso: - Folds as issued, old tape mark & light creasing

Background:
An scarce map of New York City by D. T. Valentine, divided into two sections. The primary map details Manhattan from 38th street to the Battery, including parts of Brooklyn, Governors Island, Ellis Island, Bedloe Island (Statue of Liberty), Jersey City, and Hoboken.
The lower map focuses on upper Manhattan north of 38th street and includes Roosevelt Island, Wards Island, Randals Island, and parts of Queens. Both maps show the street grid in some detail noting all major streets and some important buildings. A stylized seal of New York City appears in the lower left quadrant.

Valentine, David Thomas 1801 - 1869
As the Clerk of the Common Council of New York City, Valentine edited and published a series of books on the history and contemporary facts of New York City entitled Manual of the Corporation Of The City of New York. They became know as Valentines Manuals with updates published annually, between 1841 & 1870. Valentine used his manuals to produce some of the rarest and most important maps & views of the city of New York, some of which occasionally appear on the market. His contribution to the historical record of New York city cannot be over stated.

• Title : Amerique Septentrionale
• Date : 1861
• Condition: (A+) Fine Condition
• Ref:  60567
• Size: 18in x 13 1/2in (460mm x 345mm)

Description: 
This large fine beautifully hand coloured original antique map of North America  - with an inset view of Niagara Falls - was published by J Migeon in his 1861 edition of Geographer Universal. (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original
Colors used: - Pink, yellow, green, blue
General color appearance: - Authentic
Paper size: - 18in x 13 1/2in (460mm x 345mm)
Plate size: - 18in x 13 1/2in (460mm x 345mm)
Margins: - Min 1in (25mm)

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

• Title : Coast Chart No 21 New York Bay and Harbor New York From a Trigonometrical Survey under the direction of A D Bache Superintendant of the Survey of the Coast of the United States....1861
• Size: 33in x 28 1/2in (840mm x 720mm)
• Condition: (A) Very Good Condition
• Date : 1861
• Ref #:  93024

Description:
This large scarce, original lithograph very important antique map of New York City and surrounding area, by Alexander Dallas Bache (great-grandson of Benjamin Franklin) in 1861 - dated - was published by the official chart-maker of the United States, the office of The US Coast Survey.
An incredibly important map in light of the civil war that was raging at the time of publishing.
The Office of the Coast Survey, founded in 1807 by President Thomas Jefferson and Secretary of Commerce Albert Gallatin, is the oldest scientific organization in the U.S. Federal Government. Jefferson created the Survey of the Coast, as it was then called, in response to a need for accurate navigational charts of the new nation\\\'s coasts and harbors.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 33in x 28 1/2in (840mm x 720mm)
Plate size: - 33in x 28 1/2in (840mm x 720mm)
Margins: - Min 1/2in (12mm)

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

Background: 
A rare 1861 U.S Coast Survey chart of New York City, it\'s harbor, and environs. One of the first 19th century carts to depicts New York City as we know it today, including Manhattan, Queens, Brooklyn, the Bronx and Staten Island. Also includes Jersey City, Newark and Hoboken. This is a mid-point chart in the development of this particular series. In-land details are not as comprehensive as in later charts, most particularly the 1866 series, however remains quite thorough especially with regard to developing towns and communities. In addition to inland details, this chart contains a wealth of practical information for the mariner from oceanic depths, to harbors and navigation tips on important channels. Map also includes tables of light houses and beacons, tides and magnetic declination as well as detailed sailing instructions. The triangulation for this chart was prepared by J. Ferguson and E. Blunt. The topography by H. L. Whiting, S. A. Gilbert, A. M Harrison, F. W. Door, C. Rockwell and J. M E. Chan. The hydrography was accomplished by R. Wainwright and T. A. Craven. The entire production was supervised by A. D. Bache, Superintendent of the Survey of the Coast of the United States and one of the most influential American cartographers of the 19th century.
The Civil War, as commonly known, took place in 1861-1865, although the crises that led to the war preceded the battles by decades. The many roles played by the U.S. Coast Survey in the war can best be considered by looking at four periods: (1) The Coast Survey under Bache before the war (1843-1858) (2) The Coast Survey prepares for war (1858-1861) (3) The Coast Survey in battle (1861-1865) (4) The aftermath of the war and the transition after Bache’s death (1865-1867)....read more

The Office of Coast Survey is the official chart-maker of the United States. Set up in 1807, it is one of the U.S. governments oldest scientific organizations. In 1878 it was given the name of Coast and Geodetic Survey (C&GS). In 1970 it became part of the National Oceanic and Atmospheric Administration (NOAA).
The agency was established in 1807 when President Thomas Jefferson signed the document entitled An act to provide for surveying the coasts of the United States. While the bills objective was specific—to produce nautical charts—it reflected larger issues of concern to the new nation: national boundaries, commerce, and defence.
The early years were difficult. Ferdinand Rudolph Hassler, who was eventually to become the agencys first superintendent, went to England to collect scientific instruments but was unable to return through the duration of the War of 1812. After his return, he worked on a survey of the New York Harbor in 1817, but Congress stepped in to suspend the work because of tensions between civilian and military control of the agency. After several years under the control of the U.S. Army, the Survey of the Coast was reestablished in 1832, and President Andrew Jackson appointed Hassler as superintendent.
The U.S. Coast Survey was a civilian agency but, from the beginning, members of the Navy and Army were detailed to service with the Survey, and Navy ships were also detailed to its use. In general, army officers worked on topographic surveys on the land and maps based on the surveys, while navy officers worked on hydrographic surveys in coastal waters.
Alexander Dallas Bache, great-grandson of Benjamin Franklin, was the second Coast Survey superintendent. Bache was a physicist, scientist, and surveyor who established the first magnetic observatory and served as the first president of the National Academy of Sciences. Under Bache, Coast Survey quickly applied its resources to the Union cause during the Civil War. In addition to setting up additional lithographic presses to produce the thousands of charts required by the Navy and other vessels, Bache made a critical decision to send Coast Survey parties to work with blockading squadrons and armies in the field, producing hundreds of maps and charts. Bache detailed these activities in his annual reports to Congress.
Coast Survey cartographer Edwin Hergesheimer created the map showing the density of the slave population in the Southern states.
Bache was also one of four members of the governments Blockade Strategy Board, planning strategy to essentially strangle the South, economically and militarily. On April 16, 1861, President Lincoln issued a proclamation declaring the blockade of ports from South Carolina to Texas. Baches Notes on the Coast provided valuable information for Union naval forces.
Maps were of paramount importance in wartime:
It is certain that accurate maps must form the basis of well-conducted military operations, and that the best time to procure them is not when an attack is impending, or when the army waits, but when there is no hindrance to, or pressure upon, the surveyors. That no coast can be effectively attacked, defended, or blockaded without accurate maps and charts, has been fully proved by the events of the last two years, if, indeed, such a proposition required practical proof.
— Alexander Dallas Bache, 1862 report.
Coast Survey attracted some of the best and brightest scientists and naturalists. It commissioned the naturalist Louis Agassiz to conduct the first scientific study of the Florida reef system. James McNeill Whistler, who went on to paint the iconic Whistlers Mother, was a Coast Survey engraver. The naturalist John Muir was a guide and artist on Survey of the 39th Parallel across the Great Basin of Nevada and Utah.
The agencys men and women (women professionals were hired as early as 1845) led scientific and engineering activities through the decades. In 1926, they started production of aeronautical charts. During the height of the Great Depression, Coast and Geodetic Survey organized surveying parties and field offices that employed over 10,000 people, including many out-of-work engineers.
In World War II, C&GS sent over 1,000 civilian members and more than half of its commissioned officers to serve as hydrographers, artillery surveyors, cartographers, army engineers, intelligence officers, and geophysicists in all theaters of the war. Civilians on the home front produced over 100 million maps and charts for the Allied Forces. Eleven members of the C&GS gave their lives during the war.

Alexander Dallas Bache 1806 – 1867 was an American physicist, scientist, and surveyor who erected coastal fortifications and conducted a detailed survey to map the mid-eastern United States coastline. Originally an army engineer, he later became Superintendent of the U.S. Coast Survey, and built it into the foremost scientific institution in the country before the Civil War.
Alexander Bache was born in Philadelphia, the son of Richard Bache, Jr., and Sophia Burrell Dallas Bache. He came from a prominent family as he was the nephew of Vice-President George M. Dallas and naval hero Alexander J. Dallas. He was the grandson of Secretary of the Treasury Alexander Dallas and was the great-grandson of Benjamin Franklin.
Bache was a professor of natural philosophy and chemistry at the University of Pennsylvania from 1828 to 1841 and again from 1842 to 1843. He spent 1836–1838 in Europe on behalf of the trustees of what became Girard College; he was named president of the college after his return. Abroad, he examined European education systems, and on his return he published a valuable report. From 1839 to 1842, he served as the first president of Central High School of Philadelphia, one of the oldest public high schools in the United States.
In 1843, on the death of Professor Ferdinand Rudolph Hassler, Bache was appointed superintendent of the United States Coast Survey. He convinced the United States Congress of the value of this work and, by means of the liberal aid it granted, he completed the mapping of the whole coast by a skillful division of labor and the erection of numerous observing stations. In addition, magnetic and meteorological data were collected. Bache served as head of the Coast Survey for 24 years (until his death).

• Title : Pinicola Enucleator
• Ref #:  23486
• Size: 21 1/2in x 14in (545mm x 360mm)
• Date : 1862
• Condition: (A+) Fine Condition

Description:
This large original hand coloured antique lithograph of the male & female Pine Grosbeak or Pinicola Enucleator, found from Siberia to the United States, was published in the 1862-73 edition of John Goulds The Birds of Great Britain. Lithography by J Gould, HC Richter & Walter.

The University of Glasgow, which owns a copy of Birds of Great Britain, describes John Gould as the greatest figure in bird illustration after Audubon. Gould was not directly responsible for the illustrations himself, although he supervised their production closely. Auctioneers Sotherans describe the work as Goulds pride and joy.
Gould had already published some of the illustrations in Birds of Europe, but Birds of Great Britain represents a development of an aesthetic style in which illustrations of nests and young are added on a large scale.
Sotherans Co. reports that Gould published the book himself, producing 750 copies, which remain sought after both as complete volumes, and as individual plates, currently varying in price from £450 – £850. The University of Glasgow records that the volumes were issued in London in 25 parts, to make the complete set, between 1863 and 1873, and each set contained 367 coloured lithographs.
Gould undertook an ornithological tour of Scandinavia in 1856, in preparation for the work, taking with him the artist Henry Wolf who drew 57 of the plates from Goulds preparatory sketches. According to The University of Glasgow Goulds skill was in rapidly producing rough sketches from nature (a majority of the sketches were drawn from newly killed specimens) capturing the distinctiveness of each species. Gould then oversaw the process whereby his artists worked his sketches up into the finished drawings, which were made into coloured lithographs by engraver William Hart.
There were problems: the stone engraving of the snowy owl in volume I was dropped and broken at an early stage in the printing. Later issues of this plate show evidence of this damage and consequently the early issue – printed before the accident – are considered more desirable.
The lithographs were hand coloured. In the introduction for the work, Gould states every sky with its varied tints and every feather of each bird were coloured by hand; and when it is considered that nearly two hundred and eighty thousand illustrations in the present work have been so treated, it will most likely cause some astonishment to those who give the subject a thought.
The work has gathered critical acclaim: according to Mullens and Swann, Birds of Great Britain is the most sumptuous and costly of British bird books, whilst Wood describes it as a magnificent work. Isabella Tree writes that it was seen – perhaps partly because its subject was British, as the culmination of [his] ... genius.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, green, blue, pink
General color appearance: - Authentic
Paper size: - 21 1/2in x 14in (545mm x 360mm)
Plate size: - 21 1/2in x 14in (545mm x 360mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Light matt line to border
Plate area: - None
Verso: - None

Background:
One of the great bird artists of all time, John Gould created over 3,000 plates of birds in over 40 volumes.
Around 1830, while working as taxidermist for the Zoological Society of London, he received a shipment of exotic bird skins from the Himalayas. Soon after, he published A Century of Birds from the Himalaya Mountains.
The success of this work, along with the Birds of Europe (1832-37) and a Monograph of the Ramphastidae [Toucans] allowed him to travel to Australia and New Guinea. Among Gould's better known works are the Birds of Australia (1849-69), the Birds of Asia (1850-83), and Birds of Great Britain (1862-73).
Though Gould himself sketched most of his plates, other artists such as his wife Elizabeth, Edward Lear, Joseph Wolf, William Hart and Henry C. Richter finished them. Gould's plates are highly esteemed for their composition, accurate detail, and coloring. (Ref: Methuen)

Please note all items auctioned are genuine, we do not sell reproductions. A Certificate of Authenticity (COA) can be issued on request.

• Title : Paris A Morel & Co. Editeurs...Imp. Lemercier r de Seine 57 Paris
• Date : 1862
• Condition: (A+) Fine Condition
• Ref:  70540
• Size: 16 1/2in x 13 1/2in (460mm x 345mm)

Description: 

This fine large original antique chromolithograph print of interior French decoration from the mid 19th century was published in the 1862 edition of Manuel de Peintures by A Morel & Co. Editeurs , Paris with the Chromolithograph by the famous French firm of Lemercier, Paris

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original 
Colors used: - Red, Green 
General color appearance: - Authentic
Paper size: - 16 1/2in x 13 1/2in (460mm x 345mm)
Margins: - Min 1in (25mm)

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

• Title : Paris A Morel & Co. Editeurs...Imp. Petit et Bisiaux Lemercier r de Seine 57 Paris
• Date : 1862
• Condition: (A+) Fine Condition
• Ref:  70549
• Size: 16 1/2in x 13 1/2in (460mm x 345mm)

Description: 

This fine large original antique chromolithograph print of interior French decoration from the mid 19th century was published in the 1862 edition of Manuel de Peintures by A Morel & Co. Editeurs , Paris with the Chromolithograph by the famous French firm of Lemercier, Paris

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original 
Colors used: - Red, Green 
General color appearance: - Authentic
Paper size: - 16 1/2in x 13 1/2in (460mm x 345mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Light spotting in bottom margin
Plate area: - None
Verso: - None

• Title : Paris A Morel & Co. Editeurs...Imp. Lemercier r de Seine 57 Paris
• Date : 1862
• Condition: (A+) Fine Condition
• Ref:  70548
• Size: 16 1/2in x 13 1/2in (460mm x 345mm)

Description: 

This fine large original antique chromolithograph print of interior French decoration from the mid 19th century was published in the 1862 edition of Manuel de Peintures by A Morel & Co. Editeurs , Paris with the Chromolithograph by the famous French firm of Lemercier, Paris

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original 
Colors used: - Red, Green 
General color appearance: - Authentic
Paper size: - 16 1/2in x 13 1/2in (460mm x 345mm)
Margins: - Min 1in (25mm)

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

• Title : Wyld's Military Map Of The United States, The Northern States, And The Southern Confederate States: With The Forts, Harbours, Arsenals And Military Positions. James Wyld, 457 Strand; Charing Cross East And 2, Royal Exchange London. ......London, Published By James Wyld, Geographer To The Queen
• Date : 1865
  
• Size: 34 1/2in x 24in (875mm x 610mm)
• Condition: (A+) Fine Condition
• Ref:  35660

Description:
A very rare map of the United States first  issued in 1861, during the Secession Crises that preceded the outbreak of the American Civil War, with this rare edition issued in January 1865 - dated at the foot of the map, only 4 months before the end of the war..
There are a few 1861 editions of this map for sale, currently on the market, but I have been unable to find an 1865 edition, either currently on the market or sold in the past.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, green, blue, pink
General color appearance: - Authentic
Paper size: - 34 1/2in x 24in (875mm x 610mm)
Plate size: - 34 1/2in x 24in (875mm x 610mm)
Margins: - Min 1/2in (12mm)

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

Background:
Wyld was particularly masterful at capturing political events throughout the world as they happened and leveraging his impressive publishing operation to quickly produce and distribute pertinent to the invested public. In this case, the map distinguishes between the 'Northern States' (orange border) and the 'Southern Confederate States' (blue border). Wyld here erroneously conflates slaveholding states with Confederate secessionist states - in particular, Missouri, Kentucky, Delaware, and Maryland, which allowed slavery but remained loyal to the Union. Arsenals, forts, and military posts highlighted and keyed, underscoring that 'war' was very much in the air. The map is also noteworthy for recognizes the apocryphal territory 'Chippewa', roughly corresponding to modern-day North Dakota.
This map is scarce to the market. Known institutions holdings at the Boston Public Library, the Library of Congress, Bibliothèque nationale de France, the David Rumsey Collection, among others. (Ref: M&B; Tooley; Clancy)  (Ref: Tooley, Koeman, Burden)

Please note all items auctioned are genuine, we do not sell reproductions. A Certificate of Authenticity (COA) can be issued on request.

• Title : ...(Panoramic view of the St Lawrence River from Niagara Falls to Quebec City)....Drawn by Alfred R Waud Boston US
• Size: 144in x 7 1/2in (365cm x 190mm)
• Condition: (A+) Fine Condition
• Date : 1866
• Ref #:  91279

Description:
This is an extraordinary piece of antique early marketing promotion drawn by one of Americas famous Civil War illustrators Alfred Waud.
This very long (12ft) folding lithograph map, a panoramic birds eye view of the St Lawrence River from Niagara Falls to the city of Quebec was drawn by Alfred Waud and published in c1866.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 144in x 7 1/2in (365cm x 190mm)
Plate size: - 144in x 7 1/2in (365cm x 190mm)
Margins: - N/A

Imperfections:
Margins: - Light age toning
Plate area: - Folds as issued, light age toning
Verso: - Light age toning

Background: 
This is a rare piece and lucky to have survived intact and in such good condition. The map begins at Niagara falls to lake Ontario noting all towns and settlements, including Native Americans, carrying on Prescott, many other smaller towns. Illustrations of Native Americans, trappers, ships, wrecks and much more ending up in the city of Quebec adorn the map

Waud, Alfred 1828 - 1891
Waud was an American artist and illustrator, born in London, England. He is most notable for the sketches he made as an artist correspondent during the American Civil War.
The period during the American Civil War was a time when all images in a publication had to be hand drawn and engraved by skilled artists. Photography existed but there was no way to transfer a photograph to a printing plate since this was well before the advent of the halftone process for printing photographs. Photographic equipment was too cumbersome and exposure times were too slow to be used on the battlefield. An artist such as Waud would do detailed sketches in the field, which were then rushed by courier back to the main office of the newspaper they were working for. There a staff of engravers would use the sketches to create engravings on blocks of boxwood. Since the blocks were about 4 inches across they would have to be composited together to make one large illustration. The wood engraving was then copied via the electrotype process which produced a metal printing plate for publication.
In 1860, Alfred Waud became an illustrator or special artist (a full-time paid staff artist) for the New York Illustrated News. In April 1861, the newspaper assigned Waud to cover the Army of the Potomac, Virginias main Union army. He first illustrated General Winfield Scott in Washington, D.C., and then entered the field to render the First Battle of Bull Run in July. Waud followed a Union expedition to Cape Hatteras, North Carolina the next month and witnessed the Battle of Hatteras Inlet Batteries. That autumn, he sketched army activity in the Tidewater region of Virginia. Waud joined Harpers Weekly toward the end of 1861, continuing to cover the war. In 1864 Alfreds brother, William Waud (who up to that time had been working with Frank Leslies Illustrated Newspaper), joined Alfred on the staff of Harpers and they worked together during the Petersburg Campaign.
Alfred Waud attended every battle of the Army of the Potomac between the First Battle of Bull Run in 1861 and the Siege of Petersburg in 1865. Alfred was one of only two artists present at the Battle of Gettysburg. His depiction of Picketts Charge is thought to be the only visual account by an eyewitness.
Waud continued to be a prolific illustrator, doing numerous illustrations for Harpers Weekly and other prominent publications, achieving his greatest fame in his post-War work.
Waud died in 1891 in Marietta, Georgia, while touring battlefields of the South.

• Title : Contemplated East River Bridge
  
• Size: 11in x 7 1/2in (280mm x 190mm)
• Condition: (A+) Fine Condition
• Date : 1869
• Ref #:  93310

Description:
This original antique lithograph print, a view of the proposed Brooklyn Bridge in 1869 by George Hayward was published in the 1869 edition of D T Valentines Manual of the Corporation of the City of New York or Valentines Manual.

The Brooklyn Bridge started construction in 1869 and was completed fourteen years later in 1883. It was originally called the New York and Brooklyn Bridge and the East River Bridge, but it was later dubbed the Brooklyn Bridge. However, it was not named as such until the city government passed a law to that effect in 1915. Over the years, the Brooklyn Bridge has undergone several reconfigurations; it formerly carried horse-drawn vehicles and elevated railway lines, but now carries vehicular, pedestrian, and bicycle traffic. Commercial vehicles are banned from the bridge.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 11in x 7 1/2in (280mm x 190mm)
Plate size: - 11in x 7 1/2in (280mm x 190mm)
Margins: - Min 1/2in (12mm)

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

Background:

Manual of the Corporation of the City of New York or Valentines Manuals, published for nearly 30 years, contained hundreds of rare beautifully hand coloured contemporary and historical lithograph maps and views of New York City.

Valentine, David Thomas 1801 - 1869
As the Clerk of the Common Council of New York City, Valentine edited and published a series of books on the history and contemporary facts of New York City entitled Manual of the Corporation Of The City of New York. They became know as Valentines Manuals with updates published annually, between 1841 & 1870. Valentine used his manuals to produce some of the rarest and most important maps & views of the city of New York, some of which occasionally appear on the market. His contribution to the historical record of New York city cannot be over stated.

• Title : Plan of Cincinnati and Vicinity....1869 by S. Augustus Mitchell
• Ref #:  35044
• Size: 15in x 12in (380mm x 300mm)
• Date : 1870
• Condition: (A+) Fine Condition

Description: 
This beautifully hand coloured original antique city plan map was published by Samuel Augustus Mitchell in the 1870 edition of his large New General Atlas - dated at the foot of the map. 

These county, state, city & country maps are some of the most ornate and beautifully coloured maps published in the US in the 19th century. For over 50 years, Mitchell his son's and their successors were the most prominent cartographical publishers of maps and atlases in the United States. 

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original
Colors used: - Green, pink, yellow  
General color appearance: - Authentic  
Paper size: - 15in x 12in (380mm x 300mm)
Plate size: - 15in x 12in (380mm x 300mm)
Margins: - Min 1/2in (10mm)

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

• Title : County Map of the State of Illinois....1869 by S. Augustus Mitchell
• Ref #:  35045
• Size: 15in x 12in (380mm x 300mm)
• Date : 1870
• Condition: (A+) Fine Condition

Description: 
This beautifully hand coloured original antique map was published by Samuel Augustus Mitchell in the 1870 edition of his large New General Atlas - dated at the foot of the map. 

These county, state, city & country maps are some of the most ornate and beautifully coloured maps published in the US in the 19th century. For over 50 years, Mitchell his son's and their successors were the most prominent cartographical publishers of maps and atlases in the United States. 

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original
Colors used: - Green, pink, yellow  
General color appearance: - Authentic  
Paper size: - 15in x 12in (380mm x 300mm)
Plate size: - 15in x 12in (380mm x 300mm)
Margins: - Min 1/2in (10mm)

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

• Title : Designed and Engraved For New York and Environs. The New York Manual 1869
• Size: 16in x 12in (405mm x 275mm)
• Condition: (A+) Fine Condition
• Date : 1869
• Ref #:  93208

Description:
This original antique lithograph print of New York City by Joseph Shannon & WC Rogers in 1869 (dated) and was published in the 1869 edition of D T Valentines Manual of the Corporation of the City of New York or Valentines Manual.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 16in x 12in (405mm x 275mm)
Plate size: - 16in x 12in (405mm x 275mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Bottom right margin extended, not affecting the image
Plate area: - Folds as issued
Verso: - Folds as issued.

Background:
Rare view of the island of Manhattan, New York City by W. C. Rogers. The view depicts the entire island of Manhattan with Hoboken as well as parts of Brooklyn and Queens. Important buildings, especially churches are depicted with considerable accuracy. The harbor itself is full of sailing ships.

William C. Rogers 1860 - 1873 (active) a New York based lithographer best known for his engravings issued in conjuction with Joseph Shannons (Valentines) Manual of the Corporation for the City of New York.

Valentine, David Thomas 1801 - 1869
As the Clerk of the Common Council of New York City, Valentine edited and published a series of books on the history and contemporary facts of New York City entitled Manual of the Corporation Of The City of New York. They became know as Valentines Manuals with updates published annually, between 1841 & 1870. Valentine used his manuals to produce some of the rarest and most important maps & views of the city of New York, some of which occasionally appear on the market. His contribution to the historical record of New York city cannot be over stated.

• Title : Christo Sacrum.....Fridr Dvci Saxon....Albertus Durer....MDXXIIII
• Size: 13 1/2in x 9 1/2in (345mm x 240mm)
• Condition: (A+) Fine Condition
• Date : 1870
• Ref #:  22401

Description:
This fine, original antique wood-cut print of the protector of Martin Luther, Frederick the Wise of Saxony, by the famous German engraver Albrecht Dürer in 1496 was faithfully re-engraved and published by Charles Amand-Durand in 1870.
These beautiful re-engravings of classic and historical wood-cuts were painstakingly re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

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 9 1/2in (350mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

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

Background: 
Albrecht Dürer 1471 – 1528 was a painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe when he was still in his twenties due to his high-quality woodcut prints. He was in communication with the major Italian artists of his time, including Raphael, Giovanni Bellini and Leonardo da Vinci, and from 1512 he was patronized by emperor Maximilian I. Dürer is commemorated by both the Lutheran and Episcopal Churches.
Dürer\'s vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts, such as the Apocalypse series (1498), are more Gothic than the rest of his work. His well-known engravings include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours also mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium.
Dürer\'s introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective, and ideal proportions.

The Portrait of Frederick III of Saxony is a tempera on canvas painting by German Renaissance artist Albrecht Dürer, executed in 1496. It is housed in the Gemäldegalerie of Berlin, Germany.
The painting was one of the first commissions received from Frederick III, Elector of Saxony, together with the Seven Sorrows Polyptych and the central panel of the Dresden Altarpiece. Dürer knew the elector during the latter\'s short stay in Nuremberg in April 1496.
The German artist portrayed the Elector again in a burin etching in 1524.
Dürer portrayed Fredericks bust from three-quarters, looking right, above a dark green background. Elements such as the parapet on which his arms lie, or the hands holding a roll, were typical of Flemish art of the period.
Frederick\'s impervious personality, as well as his status, are emphasized by the large beret and by his determined glance.

Frederick III 1463 – 1525, also known as Frederick the Wise (German Friedrich der Weise) was Elector of Saxony from 1486 to 1525, who is mostly remembered for the worldly protection of his subject Martin Luther.

• Title : Ludovico Gonzaga III and his Wife
• Date : 1870
• Condition: (A+) Fine Condition
• Ref:  22042
• Size: 13 1/2in x 9 1/2in (345mm x 240mm)

Description:
This fine, original antique Heliograph of Ludovico Gonzaga III and his Wife, Barbara of Brandenburg, by the Italian engraver Andrea Mantegna in the 15th century was re-engraved and published by Charles Amand-Durand in 1870.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 13 1/2in x 9 1/2in (345mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

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

Background: 
Andrea Mantegna 1431 – 1506 was an Italian painter, a student of Roman archeology, and son-in-law of Jacopo Bellini. Like other artists of the time, Mantegna experimented with perspective, e.g. by lowering the horizon in order to create a sense of greater monumentality. His flinty, metallic landscapes and somewhat stony figures give evidence of a fundamentally sculptural approach to painting. He also led a workshop that was the leading producer of prints in Venice before 1500.
Mantegna was no less eminent as an engraver, though his history in that respect is somewhat obscure, partly because he never signed or dated any of his plates, but for a single disputed instance of 1472. The account which has come down to us from Vasari (as usual keen to assert that everything flows from Florence) is that Mantegna began engraving in Rome, prompted by the engravings produced by the Florentine Baccio Baldini after Sandro Botticelli. This is now considered most unlikely as it would consign all the numerous and elaborate engravings made by Mantegna to the last sixteen or seventeen years of his life, which seems a scanty space for them, and besides the earlier engravings indicate an earlier period of his artistic style. He may have begun engraving while still in Padua, under the tuition of a distinguished goldsmith, Niccolò. He and his workshop engraved about thirty plates, according to the usual reckoning; large, full of figures, and highly studied. It is now considered either that he only engraved seven himself, or none. Another artist from the workshop who made several plates is usually identified as Giovanni Antonio da Brescia (aka Zoan Andrea).
Among the principal examples are: Battle of the Sea Monsters, Virgin and Child, a Bacchanal Festival, Hercules and Antaeus, Marine Gods, Judith with the Head of Holophernes, the Deposition from the Cross, the Entombment, the Resurrection, the Man of Sorrows, the Virgin in a Grotto, and several scenes from the Triumph of Julius Caesar after his paintings. Several of his engravings are supposed to be executed on some metal less hard than copper. The technique of himself and his followers is characterized by the strongly marked forms of the design, and by the parallel hatch marks to produce shadows. The closer the parallel marks, the darker the blacks were. The prints are frequently to be found in two states, or editions. In the first state the prints have been taken off with the roller, or even by handpressing, and they are weak in tint; in the second state the printing press has been used, and the ink is stronger.
Neither Mantegna or his workshop are now believed to have produced the so-called Mantegna Tarocchi cards.

Ludovico III Gonzaga of Mantua, also spelled Lodovico 1412 – 1478 was the ruler of the Italian city of Mantua from 1444 to his death in 1478.
Ludovico was the son of Gianfrancesco I Gonzaga and Paola Malatesta.
Ludovico followed the path of his father, Gianfrancesco, fighting as a condottiero from as early as 1432, when Gianfrancesco was vice-commander of Francesco Bussone\'s army. In 1433, he married Barbara of Brandenburg, niece of emperor Sigismund.
Starting from 1436 (perhaps without the approval of his father) he entered the service of the Visconti of the Duchy of Milan. The result was that Gianfrancesco exiled Ludovico from Mantua, together with his wife, naming Carlo Gonzaga as heir. However, in 1438 Gianfrancesco himself was hired by the Visconti, and reconciled with Ludovico in 1441. Ludovico succeeded to the marquisate of Mantua in 1444, although part of the family fiefs went to his brothers Carlo, Gianlucido and Alessandro. At the time, the Mantuan state was reduced in size and in poor conditions after years of war and large expenses.
From 1445 to 1450 Ludovico served as condottiero for Milan, Florence, Venice and Naples, switching his allegiance in order to grant the higher level of peace for his lands. In 1448 he took part in the battle of Caravaggio, and was forced to flee. In 1449 he entered the service of Venice in the league formed with Florence against Milan. In 1450 he received permission to lead an army for King Alfonso of Naples in Lombardy, with the intent of gaining some possessions for himself. However, Francesco Sforza, the new duke of Milan, enticed him with the promise of Lonato, Peschiera and Asola, formerly Mantuan territories but then part of Venice. Venice responded by sacking Castiglione delle Stiviere (1452) and hiring Ludovico\'s brother, Carlo.
On 14 June 1453 Ludovico routed the troops of Carlo at Goito, but Venetian troops under Niccolò Piccinino thwarted any attempt to regain Asola. The Peace of Lodi (1454) obliged Ludovico to give back all his conquests, and to renounce definitively his claim to the three cities. However, he obtained his brother\'s land after Carlos childless death in 1456.
The moment of highest prestige for Mantua was the Council, held in the city from 27 May 1459 to 19 January 1460, summoned by Pope Pius II to launch a crusade against the Ottoman Turks, who had conquered Constantinople some years earlier. However, the pope was not satisfied with the host city, writing: The place was marshy and unhealthy, and the heat burnt up everything; the wine was unpalatable and the food unpleasant. However, the council ended on a note of great personal prestige for Ludovico with the elevation of his son Francesco to the purple.
From 1466 Ludovico was more or less constantly at the service of the Sforza of Milan. He died in Goito in 1478, during a plague. He was buried in Mantua cathedral

• Title : Erumnos hic lazar iages ad ianva divitis/Dives epvlo elamis
• Date : 1870
• Condition: (A+) Fine Condition
• Ref:  22444
• Size: 13 1/2in x 9 1/2in (345mm x 240mm)

Description:
This fine, original antique Heliograph two panels of the parable of The Rich Man and Lazarus or Dives and Lazarus or Lazarus and Dives by the German engraver Heinrich Aldegrever or Aldegraf in the early 16th century was re-engraved and published by Charles Amand-Durand in 1870.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 13 1/2in x 9 1/2in (345mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

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

Background: 
Heinrich Aldegrever or Aldegraf (1502–1561) was a German painter and engraver. He was one of the Little Masters, the group of German artists making small old master prints in the generation after Dürer.
Painter, printmaker and goldsmith active in a Westphalia milieu. Born in Paderborn. His real name was Trippenmecker, which in Westphalian dialect means a clog-maker. It is not known where Aldegrever was taught. He probably worked in a workshop of one of the Soest goldsmiths. His early works show a strong Westphalian influence. Aldegrever made a journey to the Netherlands, where he became acquainted with works of Joos van Cleve, Barendt van Orley, Lucas van Leyden and Jacob Cornelisz.
Around 1525 he moved to Soest, where a year later he painted the wings and predella of the Mary altar for the church of St. Peter. His signature and symbolic clog show that he was still using his fathers name.
His first engravings appeared in 1527. They were signed with a monogram AG, resembling closely that of Albrecht Dürer. In 1531, influenced by surrounding religious fervour, he became a Lutheran. Because of lack of church commissions he devoted most of his time to portrait painting and printmaking. Aldegrevers some 290 engravings and woodcuts, chiefly from his own designs, are delicate and minute, though somewhat hard in style, and entitle him to a place in the front rank of the so-called Little Masters: Barthel Beham, his brother Hans Sebald Beham, and Georg Pencz, with whom he is often compared. Like them, he was also a skilled ornament designer. From the close resemblance of his style to that of Albrecht Dürer he has also sometimes been called the Albert of Westphalia.
About a third of his prints were ornamental engravings; they were used as models by artists and craftsmen well into the seventeenth century.
Aldegrever, who actively supported the Reformation, executed portraits of Martin Luther and Philip Melanchthon. Although he chose the Lutheran Church, he had friends among the Anabaptists. He was commissioned by the bishop of Münster in 1535–36 to engrave portraits of Anabaptist leaders Jan van Leyden and Bernhard Knipperdolling, although they were already imprisoned, and only caricatures of them circulated. In the cycle Power of Death, done under visible influence of Hans Holbein, he criticizes the vices of the Catholic Church.
Aldegrever was interested also in folk subjects. In 1538 and 1551 two series of prints depicting marriage dances were made. An important part of his oeuvre are prints on mythological subjects, the Deeds of Hercules being one of the best examples.
Only two paintings are firmly attributed to him: the wings and predella of the Marienaltar (c. 1525-6) in the Wiesenkirche in Soest, and a portrait of Graf Phillip von Waldeck (1837) in Schloss Aroldsen

The parable of the rich man and Lazarus(also called the Dives and Lazarus or Lazarus and Dives) is a well-known parable of Jesus appearing in the Gospel of Luke.
The Gospel of Luke (Luke 16:19–31) tells of the relationship, during life and after death, between an unnamed rich man and a poor beggar named Lazarus. The traditional name Dives is not actually a name, but instead a word for rich man, dives in the text of the Latin Bible, the Vulgate. The rich man was also given the names Neuēs (i.e. Nineveh) and Fineas (i.e. Phineas) in the 3rd and 4th centuries.
Along with the parables of the Ten Virgins, Prodigal Son, and Good Samaritan, it was one of the most frequently illustrated parables in medieval art, perhaps because of its vivid account of an afterlife.

• Title : The Organ player and his Wife
• Size: 13 1/2in x 9 1/2in (345mm x 240mm)
• Condition: (A+) Fine Condition
• Date : 1870
• Ref #:  22404

Description:
This fine, original antique wood-cut print of The Organ player and wife by Israhel van Meckenem in late 15th century was faithfully re-engraved and published by Charles Amand-Durand in 1870.
These beautiful re-engravings of classic and historical wood-cuts were painstakingly re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

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 9 1/2in (350mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

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

Background: 
This husband-and-wife duo performs an intimate domestic concert, jointly playing a diminutive pipe organ with four stops. The wife operates the two bellows in time to the music, giving voice to the notes, while her husband creates the melody on the keyboard. He is clad in a housecoat and comfortable slippers and she wears a cozy fur-trimmed dress. Shown at the same scale and working in tandem, they symbolize a harmonious marriage. The little dog listening attentively is both an emblem of loyalty and a realistic detail of their well-to-do home.

Israhel van Meckenem (c.1445 – 10 November 1503), also known as Israhel van Meckenem the Younger, was a German printmaker and goldsmith, perhaps of a Dutch family origin.
He was the most prolific engraver of the fifteenth century and an important figure in the early history of old master prints. He was active from 1465 until his death.
He probably trained with Master E. S. in South Germany, and may well have been with him at his death c. 1467, since he acquired and reworked forty-one of the master\'s plates. Another two hundred of van Meckenem\'s own prints also were copies of ones by Master E. S. In total, he produced over six hundred plates, most of which were copies of other prints; they represent about 20% of print production by all Northern European artists in the period of his working life. His career lasted long enough for him to copy Dürer prints.
He copied prints by the Housebook Master, including some now otherwise lost, Martin Schongauer, and many other German engravers. His famous and very fine late series on the Life of the Virgin appears to have been based on drawings by Hans Holbein the Elder or his workshop, and he may have entered into a regular commercial relationship with Holbein.
His early works were fairly crude, but in the 1480s he developed an effective personal style and made increasingly large and finished works. His own compositions are often very lively, and take a great interest in the secular life of his day. One famous print, supposed to illustrate the story of St John the Baptist and Salome, pushes the specific incidents of the story far in the background to allow space for a scene of court dancers, dressed in the height of contemporary fashion, which takes up most of the plate.
He was sophisticated in self-presentation, signing later prints with his name and town, and producing the first self-portrait print of himself and his wife, which was also the first portrait print of an identifiable person. Some plates seem to have been reworked more than once by his workshop, or produced in more than one version, and many impressions have survived, so his ability to distribute and sell his prints was evidently equally well developed. He was apparently the first to issue engraved (as opposed to woodcut) indulgences, apparently bootlegged version[s] ... never subject to papal review; one print promises 20,000 years reduction of time in Purgatory per set of prayers, increased in a second state to 45,000 years.
In the Heures de Charles d\'Angoulême, an important manuscript showing the links between printmaking and illumination in the late 15th century, Robinet Testard incorporated sixteen of van Meckenem\'s prints, gluing them directly on to the vellum then overpainting.

• Title : Holy Family with St. Anne, St. Paul and Lute-Playing Angel
• Size: 13 1/2in x 9 1/2in (345mm x 240mm)
• Condition: (A+) Fine Condition
• Date : 1870
• Ref #:  22408

Description:
This fine, original antique wood-cut print of Holy Family with St Paul by Jacapo de Barbari in the early 16th century was faithfully re-engraved and published by Charles Amand-Durand in 1870.
These beautiful re-engravings of classic and historical wood-cuts were painstakingly re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

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 9 1/2in (350mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

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

Background: 
Jacopo de Barbari sometimes known or referred to as de Barbari, de Barberi, de Barbari, Barbaro, Barberino, Barbarigo or Barberigo (1460/70 – 1516), was an Italian painter and print-maker with a highly individual style. He moved from Venice to Germany in 1500, thus becoming the first Italian Renaissance artist of stature to work in Northern Europe. His few surviving paintings (about twelve) include the first known example of trompe l oeil since antiquity. His twenty-nine engravings and three very large woodcuts were also highly influential.
His earliest documented work is his huge (1.345 x 2.818 metres, from six blocks) and impressive woodcut aerial view Map of Venice, for which a privilege was granted to its publisher in 1500, recording that the work had taken three years. This clearly drew on the work of many surveyors, but was a spectacular feat nonetheless, and caused a considerable stir from the first. It was later updated by others to reflect major new building projects in a second state of the print.
Apart from the Map of Venice, he produced two other woodcuts, both of men and satyrs, which were the largest and most impressive figurative woodcuts yet produced, and which established the Italian tradition of fine, large, woodcuts for the following decades. These may have also been produced before 1500; they are clearly strongly influenced by Mantegna.
By the time the Map of Venice was published de\' Barbari had already left for Germany, where he met Dürer, who he may have already known from Dürer\'s first Italian trip (a passage in a letter of Dürer\'s is ambiguous). They discussed human proportion, not obviously one of de\' Barbari\'s strengths, but Dürer was evidently fascinated by what he had to say, though he recorded that de\' Barberi had not told him everything he knew:
...I find no one who has written anything about how to make canon of human proportions except for a man named Jacob, born in Venice and a charming painter. He showed me a man and a woman which he had made according to measure, so that I would now rather see what he meant than behold a new kingdom... Jacobus did not want to show his principles to me clearly, that I saw well. (From an unpublished draft of the Introduction to Dürer\'s own book on human proportions)
Twenty years later Dürer tried unsuccessfully to get the Archduchess Margaret, Habsburg Regent of the Netherlands, to give him a manuscript book she had on the subject by de Barbari, by then dead; the book has not survived.
His style is related to his possible master, Alvise Vivarini and to Giovanni Bellini, but has a languorous quality all its own. Apart from Dürer, the influence of Mantegna\'s technique also appears in what are probably the earlier engravings, done around the turn of the century, with parallel hatching. His engravings are mostly small, showing just a few figures. Truculent satyrs feature in several prints; there are a number of mythological subjects, including two Sacrifices to Priapus.
The earlier prints show figures with small heads and somewhat shapeless bodies, with sloping shoulders and thick torsos supported by slender legs — also seen in his paintings. Probably from a middle period come several nudes, the most famous being Apollo and Diana, St Sebastian and the Three Bound Captives. In these his ability to organise the whole composition has greatly improved.
In a final group, the style becomes more Italianate, and the compositions more complex. These have an enigmatic, haunting atmosphere, and a very refined technique. Levenson has proposed that they date from his period in the Netherlands and were influenced by the young Lucas van Leyden.

• Title : Petrus Arretinus Acerrimus Virtutum Ac Vitiorum Demostrator
• Size: 13 1/2in x 9 1/2in (345mm x 240mm)
• Condition: (A+) Fine Condition
• Date : 1870
• Ref #:  22442

Description:
This fine, original antique wood-cut print of the Italian playwright and poet Pietro Aretino by Marcantonio Raimondi in the early 16th century was faithfully re-engraved and published by Charles Amand-Durand in 1870.
These beautiful re-engravings of classic and historical wood-cuts were painstakingly re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

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 9 1/2in (350mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

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

Background: 
Marcantonio Raimondi, often called simply Marcantonio 1470-1482 was an Italian engraver, known for being the first important print-maker whose body of work consists largely of prints copying paintings. He is therefore a key figure in the rise of the reproductive print. He also systematized a technique of engraving that became dominant in Italy and elsewhere. His collaboration with Raphael greatly helped his career, and he continued to exploit Raphael\'s works after the painter\'s death in 1520, playing a large part in spreading High Renaissance styles across Europe. Much of the biographical information we have comes from his life, the only one of a printmaker, in Vasaris Lives of the Artists.
About this time he began to make copies of Dürers woodcut series, the Life of the Virgin. This was extremely common practice, although normally engravers copied other expensive engravings rather than the cheaper woodcuts. However Dürers woodcuts had raised the standard of the medium considerably, and since Marcantonio continued to copy a large number of both Dürers engravings and woodcuts, he must have found it profitable.
His early copies included Dürers famous AD monogram, and Dürer made a complaint to the Venetian Government, which won him some legal protection for his monogram, but not his compositions, in Venetian territory - an important case in the slowly evolving history of intellectual property law.
Marcantonio appears to have spent some of the last half of the decade in Venice, but no dates are known.
The Massacre of the Innocents, designed by Raphael to be engraved.
He is attributed with around 300 engravings. After years of great success, his career ran into trouble in the mid-1520s; he was imprisoned for a time in Rome over his role in the series of erotic prints I Modi, and then, according to Vasari, lost all his money in the Sack of Rome in 1527, after which none of his work can be securely dated.

Pietro Aretino 1492 – 1556 was an Italian author, playwright, poet, satirist and blackmailer, who wielded influence on contemporary art and politics and developed modern literary pornography.

• Title : The Flight into Egypt
• Size: 13 1/2in x 9 1/2in (345mm x 240mm)
• Condition: (A+) Fine Condition
• Date : 1870
• Ref #:  22406

Description:
This fine, original antique wood-cut print an illustrating of the Flight out of Israel into Egypt by The Holy Family by Martin Schongauer - signed M†S - in 15th century was faithfully re-engraved and published by Charles Amand-Durand in 1870.
These beautiful re-engravings of classic and historical wood-cuts were painstakingly re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

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 9 1/2in (350mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

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

Background: 
Martin Schongauer 1445 - 1491 was one of the most prolific early engravers from the Rhine Valley. He signed all his prints with his initials, making him the first printmaker whose authorship was absolutely clear. While a handful of the artist’s paintings survive, Schongauer’s engravings inspired generations of artists, including Albrecht Dürer. This iconic image shows the Holy Family resting while fleeing the Massacre of the Innocents and their home in Israel for Egypt. The work reflects some traditional accounts of the story, in which angels lowered date palms for easy harvesting, so Mary, Joseph, and the Christ Child would not starve.
Schongauer was the most important printmaker north of the Alps before Albrecht Dürer.
The main work of Schongauer\'s life was the production of a large number of beautiful engravings, which were largely sold, not only in Germany, but also in Italy and even in England and Spain. Vasari says that Michelangelo copied one of his engravings, in the Trial of Saint Anthony. His style shows no trace of Italian influence, but a very clear and organised Gothic.
His subjects are mainly religious, but include comic scenes of ordinary life such as the Peasant family going to market or the Two apprentices fighting. One hundred and sixteen engravings are generally recognised as by his hand, and since several are only known from a single impression, there were probably others that are now lost. Many of his pupils\' plates as well as his own are signed, M†S, as are many copies probably by artists with no connection to him.
Among the most renowned of Schongauer\'s engravings are the series of the Passion and the Death and Coronation of the Virgin, and the series of the Wise and Foolish Virgins. All are remarkable for their miniature-like treatment, their brilliant touch, and their chromatic force. Some, such as the Death of the Virgin and the Adoration of the Magi are richly-filled compositions of many figures, treated with much largeness of style in spite of their minute scale.
He established the system of depicting volume by means of cross-hatching (lines in two directions) which was further developed by Dürer, and was the first engraver to curve parallel lines, probably by rotating the plate against a steady burin. He also developed a burin technique producing deeper lines on the plate, which meant that more impressions could be taken before the plate became worn.
According to Arthur Mayger Hind, Schongauer was one of the first German engravers to rise above the Gothic limitations both of setting and type and that he actualises an idea of beauty which in its nearer approach to more absolute ideals appeals to a far more universal appreciation than earlier engravers such as Master E. S.
The British Museum and other major print rooms possess fine collections of Schongauer\'s prints.

• Title : Heliogravure et imp. A. Durand_Paris
• Size: 13 1/2in x 9 1/2in (345mm x 240mm)
• Condition: (A+) Fine Condition
• Date : 1870
• Ref #:  22443

Description:
This fine, original antique Heliograph of St. George Liberating the Princess by Lucas Van Leyden (1494 - 1533) in 1508 was re-engraved and published by Charles Amand-Durand in 1870.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 13 1/2in x 9 1/2in (345mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

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

Background: 
Lucas van Leyden (1494 – 1533), also named either Lucas Hugensz or Lucas Jacobsz, was a Dutch engraver and painter. He was among the first Dutch exponents of genre painting and is generally regarded as a very accomplished engraver.
Lucas was the son of Huygh Jacobsz. and was mainly active in Leiden.
Carel van Mander characterizes Lucas as a tireless artist, who as a child annoyed his mother by working long hours after nightfall, which she forbid not only for the cost of candlelight, but also because she felt that too much study was bad for his sensibilities. According to Van Mander, as a boy he only consorted with other young artists, such as painters, glass-etchers and goldsmiths, and was paid by the Heer van Lochorst (Johan van Lockhorst of Leiden, who died in 1510) a golden florin for each of his years at age 12 for a watercolor of St. Hubert.
From 1513 to 1517, Lucas created a series of woodcuts called The Power of Women which consisted of two large and small sets of prints. The series is one of a number of representations of the Power of Women theme, which was extremely popular in Renaissance art and literature. Artworks in the genre depict the traditional roles of men and women in inverse, with women dominating over men in various situations. The subjects illustrated often consist of legendary historical women who were considered to be virtuous heroines as well as women who were considered cunning, seductive, and manipulative of men. The purpose of the Power of Women theme was to demonstrate that even the strongest and wisest of men were not resistant to the sexuality of women.

The legend of Saint George and the Dragon describes the saint taming and slaying a dragon that demanded human sacrifices; the saint thereby rescues the princess chosen as the next offering.

• Title : Heliogravure et imp A. Durand...Paris
• Date : 1870
• Condition: (A+) Fine Condition
• Ref:  22445
• Size: 14in x 9 1/2in (350mm x 240mm) 

Description:
This fine, original antique Heliograph of The Annunciation, the Virgin Mary visited by the Angel Gabriel by Lucas Van Leyden (1494 - 1533) in 1508 was re-engraved and published by Charles Amand-Durand in 1870.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 13 1/2in x 9 1/2in (345mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

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

Lucas van Leyden (1494 – 1533), also named either Lucas Hugensz or Lucas Jacobsz, was a Dutch engraver and painter. He was among the first Dutch exponents of genre painting and is generally regarded as a very accomplished engraver.
Lucas was the son of Huygh Jacobsz. and was mainly active in Leiden.
Carel van Mander characterizes Lucas as a tireless artist, who as a child annoyed his mother by working long hours after nightfall, which she forbid not only for the cost of candlelight, but also because she felt that too much study was bad for his sensibilities. According to Van Mander, as a boy he only consorted with other young artists, such as painters, glass-etchers and goldsmiths, and was paid by the Heer van Lochorst (Johan van Lockhorst of Leiden, who died in 1510) a golden florin for each of his years at age 12 for a watercolor of St. Hubert.
From 1513 to 1517, Lucas created a series of woodcuts called The Power of Women which consisted of two large and small sets of prints. The series is one of a number of representations of the Power of Women theme, which was extremely popular in Renaissance art and literature. Artworks in the genre depict the traditional roles of men and women in inverse, with women dominating over men in various situations. The subjects illustrated often consist of legendary historical women who were considered to be virtuous heroines as well as women who were considered cunning, seductive, and manipulative of men. The purpose of the Power of Women theme was to demonstrate that even the strongest and wisest of men were not resistant to the sexuality of women.

The Annunciation (from Latin annuntiatio), also referred to as The Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady, or the Annunciation of the Lord, is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Yeshua, meaning YHWH is salvation.
According to Luke 1:26, the Annunciation occurred in the sixth month of Elizabeth\'s pregnancy with John the Baptist. Many Christians observe this event with the Feast of the Annunciation on 25 March, an approximation of the northern vernal equinox nine full months before Christmas, the ceremonial birthday of Jesus. The Annunciation is a key topic in Christian art in general, as well as in Marian art in the Catholic Church, particularly during the Middle Ages and Renaissance. A work of art depicting the Annunciation is sometimes itself called an Annunciation.

• Title : Mary II depicted as Diana
• Date : 1878
• Condition: (A+) Fine Condition
• Ref:  22399
• Size: 14in x 9 1/2in (350mm x 240mm) 

Description: 
This fine, original antique print of A Young Princess Mary II by the master etcher Augustin Mongin - signature engraved at the base of the print - after Sir Peter Lely was engraved and published in the 1878 edition of The Portfolio.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by in the mid to late 19th century. Such is the quality of his re-strikes these prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background.

General Description: 
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Margins: - Min 1in (25mm)

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

Background:
Augustin Mongin:
A nineteenth century French painter and etcher, Augustin Mongin studied art in Paris under Gaucherel. He first exhibited at the Paris Salon in 1874 and during the following years received medals in 1876, 1885, 1887 and 1889. Augustin Mongin was elected to the Societe des Artistes Francais in 1887 and, in 1900, was awarded both the Chevalier de la Legion d'honneur and the medaille d'honneur. In his etchings, Augustin Mongin was best known for his for works after the art of old masters such as Karel du Jardin, Reynolds and Peter Lely. He was also commissioned by publishers in both France and England for etchings after contemporary artists, such as H. G. Glindoni.

Princess Mary is depicted as Diana, the goddess of hunting; in this guise she carries a bow, wears a crescent moon and is followed by a greyhound. Her rich silk gown recalls the dresses worn by the Windsor Beauties series in the Royal Collection painted by Lely. The landscape background reminds us of the work of Titian, whom the artist admired.

• Title : The United States of North America Pacific States
• Ref #:  80560
• Size: 15in x 11in (380mm x 280mm)
• Date : 1870
• Condition: (A+) Fine Condition

Description:
This fine original antique lithograph map of the Western United States of America including Washington, Oregon, California, Arizona, Nevada, Idaho, Montana, Utah & part of Wyoming  was engraved by Edward Weller andpublished by Blackie & Son of Glasgow in the1870 edition of the Geographical Atlas. (Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - Original
Colours used: - Yellow, pink, green
General colour appearance: - Authentic
Paper size: - 15in x 11in (380mm x 280mm)
Margins: - min 1/2in (12mm)

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

• Title : New Zealand
• Ref:   80571
• Size:  22in x 15in (560mm x 380mm)
• Date : 1870
• Condition: (A+) Fine Condition

Description: 

This fine large, original antique map of New Zealand with an inset map of Auckland and its environs by John Bartholomew was published by Blackie & Son of Glasgow & London in the 1870 edition of the Geographical Atlas. (Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - Original
Colours used: - Yellow, pink, green
General colour appearance: - Authentic
Paper size: - 22in x 15in (560mm x 380mm)
Margins: - min 1/2in (12mm)

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

• Title : The United States of North America
• Ref #:  80558
• Size: 22in x 15in (560mm x 380mm)
• Date : 1870
• Condition: (A+) Fine Condition

Description:
This fine large original antique lithograph map of The United States of America was engraved by Edward Weller and published by Blackie & Son of Glasgow & London in the 1870 edition of the Geographical Atlas. (Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - Original
Colours used: - Yellow, pink, green
General colour appearance: - Authentic
Paper size: - 22in x 15in (560mm x 380mm)
Margins: - min 1/4in (8mm)

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

• Title : Primo Mobile XXXXVIIII
• Date : 1870
• Condition: (A+) Fine Condition
• Ref:  22400
• Size: 13 1/2in x 9 1/2in (345mm x 240mm)

Description:
This fine, original antique Heliograph of card #49 of the Mantegna Tarocchi or Tarot Cards by the German engraver Johann Ladenspelder in the mid 16th century was re-engraved and published by Charles Amand-Durand in 1870.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 13 1/2in x 9 1/2in (345mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

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

Background: 
Johann (Hans) Ladenspelder 1512 - 1574 (aka Hans of Essen) was a german printmaker and engraver. He is particularly known for engraving a copy of a complete set (E series) of Mantegna Tarocchi cards, one of the earliest complete sets still extant.

• Title : The Embrace
• Date : 1870
• Condition: (A+) Fine Condition
• Ref:  22403-1
• Size: 13 1/2in x 9 1/2in (345mm x 240mm) 

Description:
This fine, original antique Heliograph of The Embrace by Master M Z or Mattaus Zaisinger in 1503 was re-engraved and published by Charles Amand-Durand in 1870.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 13 1/2in x 9 1/2in (345mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

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

Matthaus Zaisinger (aka Master M.Z.), German (1498 - 1555) was a German Goldsmith & Engraver who published twenty-two engravings with the signature initials MZ. Six are dated (1500, 1501, 1503). There are no later dated prints and it is believed that most of his work is concentrated around c1500. The prints are equally divided between religious and secular subjects, often a state of disquiet inhabits his figures, accompanied by eccentric use of perspective and abrupt changes in scale, as seen for example in The Embrace and Solomons Idolatry. Most of his works have landscape backgrounds executed with a delicate, atmospheric touch that suggests a precursor of Albrecht Altdorfer and other painters of the Danube school.

<b>The Embrace</b> contains all of the elements of an adulterous tryst with the stag horns on the chandelier being a common symbol of cuckoldry, but the woman seems an unenthusiastic participant.

• Title : Bart Murillo seipsum depin gens. pro filorum votis acprecibus explendis
• Date : 1870
• Condition: (A+) Fine Condition
• Ref:  22446
• Size: 13 1/2in x 9 1/2in (350mm x 240mm)

Description: 
This fine, original antique Heliograph self portrait of the Spanish artist Bartolome Esteban Murillo by the German engraver Heinrich Aldegrever or Aldegraf in the early 16th century was re-engraved and published by Charles Oliver Murray in 1870.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued in the mid to late 19th century. Such is the quality of his re-strikes that many of these prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background.

The Latin inscription on the cartouche at the centre of the ledge explains that the self-portrait was made at the request of Murillo's children: 'Bart (olo) mé Murillo portraying himself to fulfil the wishes and prayers of his children - or sons'. Despite the unlined appearance of the face the painting is probably relatively late in date, of the early 1670s, when Murillo's children would have been of an age to take pride in their father's achievements. The composition is based on a formula that had been developed for portrait engravings used on the frontispiece of books. The sitter is shown in an oval frame and on the ledge below are the instruments of his profession, a palette and brushes on the right and a drawing and pencil on the left. 

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: -  General color appearance: - 
Paper size: - 13 1/2in x 9 1/2in (350mm x 240mm)
Margins: - Min 1/2in (12mm)

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

Background:
Bartolomé Esteban Murillo (born late December 1617, died April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times.

Charles Oliver Murray (1842–1923) was a Scottish engraver. Born in Roxburghshire in 1842, Murray trained at the Trustees Academy in Edinburgh and moved to London by 1872. He was elected a Fellow of the Society of Painter-Etchers on 7 May 1881. He published widely in The Art Journal from the 1880s onwards and frequently exhibited at the Royal Academy. Murray died in London in 1923.(Ref: M&B; Tooley)

• Title : County Map of the States of Iowa and Missouri....1870 by S. Augustus Mitchell
• Ref #:  35047
• Size: 15in x 12in (380mm x 300mm)
• Date : 1870
• Condition: (A+) Fine Condition

Description: 
This beautifully hand coloured original antique map was published by Samuel Augustus Mitchell in the 1870 edition of his large New General Atlas - dated at the foot of the map. 

These county, state, city & country maps are some of the most ornate and beautifully coloured maps published in the US in the 19th century. For over 50 years, Mitchell his son's and their successors were the most prominent cartographical publishers of maps and atlases in the United States. 

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original
Colors used: - Green, pink, yellow  
General color appearance: - Authentic  
Paper size: - 15in x 12in (380mm x 300mm)
Plate size: - 15in x 12in (380mm x 300mm)
Margins: - Min 1/2in (10mm)

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

• Title : County Map of Georgia and Alabama....1870 by S. Augustus Mitchell
• Ref #:  35038
• Size: 15in x 12in (380mm x 300mm)
• Date : 1870
• Condition: (A+) Fine Condition

Description: 
This beautifully hand coloured original antique map was published by Samuel Augustus Mitchell in the 1870 edition of his large New General Atlas - dated at the foot of the map. 

These county, state, city & country maps are some of the most ornate and beautifully coloured maps published in the US in the 19th century. For over 50 years, Mitchell his son's and their successors were the most prominent cartographical publishers of maps and atlases in the United States. 

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original
Colors used: - Green, pink, yellow  
General color appearance: - Authentic  
Paper size: - 15in x 12in (380mm x 300mm)
Plate size: - 15in x 12in (380mm x 300mm)
Margins: - Min 1/2in (10mm)

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

• Title : County Map of Florida, Mobile....1870 by S. Augustus Mitchell
• Ref #:  35051
• Size: 15in x 12in (380mm x 300mm)
• Date : 1870
• Condition: (A+) Fine Condition

Description: 
This beautifully hand coloured original antique map was published by Samuel Augustus Mitchell in the 1870 edition of his large New General Atlas - dated at the foot of the map. 

These county, state, city & country maps are some of the most ornate and beautifully coloured maps published in the US in the 19th century. For over 50 years, Mitchell his son's and their successors were the most prominent cartographical publishers of maps and atlases in the United States. 

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original
Colors used: - Green, pink, yellow  
General color appearance: - Authentic  
Paper size: - 15in x 12in (380mm x 300mm)
Plate size: - 15in x 12in (380mm x 300mm)
Margins: - Min 1/2in (10mm)

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

• Title : County Map of Virginia and West Virginia....1870 by S. Augustus Mitchell
• Ref #:  35036
• Size: 15in x 12in (380mm x 300mm)
• Date : 1870
• Condition: (A+) Fine Condition

Description: 
This beautifully hand coloured original antique map was published by Samuel Augustus Mitchell in the 1870 edition of his large New General Atlas - dated at the foot of the map. 

These county, state, city & country maps are some of the most ornate and beautifully coloured maps published in the US in the 19th century. For over 50 years, Mitchell his son's and their successors were the most prominent cartographical publishers of maps and atlases in the United States. 

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original
Colors used: - Green, pink, yellow  
General color appearance: - Authentic  
Paper size: - 15in x 12in (380mm x 300mm)
Plate size: - 15in x 12in (380mm x 300mm)
Margins: - Min 1/2in (10mm)

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

• Title : County Map of New Jersey; County Map of Maryland and Delaware....1870 by S. Augustus Mitchell
• Ref #:  35033
• Size: 15in x 12in (380mm x 300mm)
• Date : 1870
• Condition: (A+) Fine Condition

Description: 
This beautifully hand coloured original antique map was published by Samuel Augustus Mitchell in the 1870 edition of his large New General Atlas - dated at the foot of the map. 

These county, state, city & country maps are some of the most ornate and beautifully coloured maps published in the US in the 19th century. For over 50 years, Mitchell his son's and their successors were the most prominent cartographical publishers of maps and atlases in the United States. 

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original
Colors used: - Green, pink, yellow  
General color appearance: - Authentic  
Paper size: - 15in x 12in (380mm x 300mm)
Plate size: - 15in x 12in (380mm x 300mm)
Margins: - Min 1/2in (10mm)

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

• Title : Thomas Elders Expedition durch Inner-Australien vom Beltana im Osten bis Perth im Westen, Ausgefuhrt Durch E. Giles Mai - Nov 1875
• Size: 27in x 11in (285mm x 280mm)
• Condition: (A+) Fine Condition
• Date : 1876
• Ref #:  82054

Description:
This early folding original antique lithograph map of Western & South Australia - from Perth to Lake Torrens South Australia covering the 3rd & 4th expedition of the explorer Ernest Giles in 1875 by Augustus Heinrich Petermann was engraved in 1877 - dated - and was published by Justus Perthes, Gotha Germany.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Blue, red, yellow
General color appearance: - Authentic
Paper size: - 27in x 11in (285mm x 280mm)
Plate size: - 27in x 11in (285mm x 280mm)
Margins: - Min 1/2in (12mm)

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

Background: 
William Ernest Powell Giles 1835 – 1897 best known as Ernest Giles, was an Australian explorer who led five major expeditions in central Australia.
Giles did not attempt an organised expedition until 1872, when with two other men he left Chambers Pillar, South Australia (now in the Northern Territory), on 22 August and traversed much previously untrodden country to the north-west and west. Finding their way barred by Lake Amadeus and that their horses were getting very weak, a return was made to the Finke River and then to Charlotte Waters and Adelaide, where Giles arrived in January 1873. Giles looked upon his expedition as a failure, but he had done well considering the size and equipment of his party.
Giles friend Baron von Mueller raised a subscription so that a new expedition could be made. The services of William Tietkens as first assistant were obtained, and with two other men a start was made on 4 August 1873. The journey began considerably south from the previous expedition and from the Alberga River a generally western course was traversed. A month later in the Musgrave Ranges a fine running river was found and named the Ferdinand and by 3 October 1873 the party was approaching longitude 128 East. The country was extremely dry and though tested in various directions it was a constant struggle to get enough water to keep the horses going. Early in November, having passed longitude 126, a partial return was made and on 20 December 1873 the neighbourhood of Mount Scott was reached. A turn to the north and then west was made and the farthest westerly point was reached on 23 April 1874. Giles and one of the men, Alfred Gibson, had been scouting ahead when the latter\'s horse died. Giles gave him his own horse with instructions to follow their tracks back and obtain assistance. Giles made his way back to their depot on foot in eight days, almost completely exhausted, to find that Gibson had not reached the camp. A search was made for him for several days without success. The stores were almost finished, nothing further could be done, and on 21 May 1874 the return journey began. Giles named the desert Gibson Desert after his companion. On 24 June 1874 they were on a good track to the Finke River and on 13 July 1874 Charlotte Waters was reached. Giles had again failed to cross the continent, but in the circumstances all had been done that was possible.
Giles was the first European to see the rock formations of The Olgas, now known by their Aboriginal name of Kata Tjuta, and Lake Amadeus. He had wanted to name these Mt Mueller and Lake Ferdinand respectively, to honour his benefactor Baron Ferdinand von Mueller, however Mueller prevailed on him to instead honour the King Amadeus of Spain and Queen Olga of Württemberg. Giles supposedly discovered Uluru (formerly Ayers Rock), but was beaten to the claim by a competing explorer, William Gosse.
Early in 1875 Giles prepared his diaries for publication under the title Geographic Travels in Central Australia, and on 13 March 1875, with the generous help of Sir Thomas Elder, he began his third expedition. Proceeding considerably to the north from Fowler\'s Bay the country was found to be very dry. Retracing his steps Giles turned east, and eventually going round the north side of Lake Torrens reached Elder\'s station at Beltana. There the preparations for his fourth journey were made, and with Tietkens again his lieutenant, and with what Giles had always wanted, a caravan of camels, a start was made on 6 May. Port Augusta was reached on 23 May and, after taking a northerly course to clear the lakes, a generally westerly course was followed. Some water was carried, and the party was saved the continual excursions in search of water for horses that had caused so much difficulty during previous expeditions. Towards the end of September over 323 miles (520 km) had been covered in 17 days without finding water, when on 25 September the native Tommy found an abundant supply in a small hollow between sand dunes at Queen Victoria Spring, and the party was saved. After a rest of nine days the journey was resumed on 6 October the course being still west. Ten days later the expedition was attacked by a large body of aborigines and Giles was compelled to fire on them. On 4 November they met a white stockman at Tootra out-camp, east of Bindi Bindi. Their course was west to Walebing Station, then south-west and on 11 November they arrived at New Norcia where they were welcomed by Bishop Salvado. On 17 November 1875 the party arrived at Guildford and Perth the next day, where they received an enthusiastic reception.
Giles stayed for two months at Perth. Tietkens and Jess Young, another member of the expedition, went back to Adelaide by sea, and on 13 January 1876 Giles began the return journey taking a course generally about 400 miles north of the last journey. He arrived at Adelaide in September 1876 after a good journey during which the camels were found to be invaluable.

• Title : Die Neuesten Entdeckungsreisen im Inner-Australien von Warburton, Giles, Forrest, April 1873 - Sept 1874
• Size: 27in x 11in (285mm x 280mm)
• Condition: (A+) Fine Condition
• Date : 1876
• Ref #:  82055

Description:
This early folding original antique lithograph map of Western & South Australia and Alexandria land (Northern Territory) with the tracks of 3 explorers - in 1873 & 1874 - Peter Egerton-Warburton, Ernest Giles & Alexander Forrest by Augustus Heinrich Petermann was engraved in 1876 - dated - and was published by Justus Perthes, Gotha Germany.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Blue, red, yellow
General color appearance: - Authentic
Paper size: - 27in x 11in (285mm x 280mm)
Plate size: - 27in x 11in (285mm x 280mm)
Margins: - Min 1/2in (12mm)

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

Background: 
Colonel Peter Egerton-Warburton CMG (1813–1889), was a British military officer, Commissioner of Police for South Australia, and an Australian explorer. In 1872 he sealed his legacy through a particularly epic expedition from Adelaide crossing the arid centre of Australia to the coast of Western Australia via Alice Springs.

William Ernest Powell Giles (1835 – 1897) best known as Ernest Giles, was an Australian explorer who led five major expeditions in central Australia.

Alexander Forrest CMG (1849 – 1901) was an explorer and surveyor of Western Australia, and later also a member of parliament.

• Title : Sketch Map of New South Wales showing the Localities of the Principal Minerals 1876
• Ref #:  27011
• Condition: (A+) Fine Condition
  
• Size: 18in x 15 1/2in (455mm x 400mm)
• Date : 1876

Description:
This original, incredibly scarce & important, antique lithograph map of New South Wales, illustrating the location of the Principle Minerals of that state, was drawn by John Tayler, engraved by G W Sharp and published by Thomas Richards in 1876 - dated, Sydney

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, green, blue, pink
General color appearance: - Authentic
Paper size: - 18in x 15 1/2in (455mm x 400mm)
Plate size: - 18in x 15 1/2in (455mm x 400mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Folds as issued
Plate area: - Folds as issued
Verso: - Folds as issued

Background:
The map shows New South Wales' new (and current) boundaries, with the state's 'Pastoral Districts' delineated; railways from Ports Hunter and Jackson are shown, along with their proposed extensions inland. Roads and telegraph lines are also indicated. Relief is shown by hachure. An inset map in the lower left shows the state's location on the Australian continent. These features are shared by the authors' other maps of New South Wales, the 1871 Map of New South Wales and the 1878 Sketch map of New South Wales showing the principal agricultural districts. Specific to this map, areas printed in color show the regions understood to be rich in minerals: Kerosene shale, coal, tin, iron, silver, copper, gold and 'diamonds and other gems.' The data on the map reflects the experience of some twenty years of prospecting in New South Wales, but predate the first systematic geological survey of the state, which would not be completed until 1880. The map specifies that the gold fields are 'proclaimed' gold fields, that is to say, permissible for prospectors. No prospector's claim was valid unless it fell within the limits of a 'proclaimed' field, which was officially recognized by the state and administered by a commissioner. The earlier 1873 edition of this map distinguishes between 'proclaimed' and 'unproclaimed' fields; in the present edition, the 'unproclaimed' fields have disappeared entirely. By 1876, control of gold mining in the state had passed from the Department of Lands to a new administration, the Department of Mines; in conjunction with this, mining had become less of a prospector-driven, 'gold rush' affair and more the province of mining companies employing more sophisticated processes, capable of extracting wealth from existing claims in which lower-capitalized operations were ineffective.

John Tayler 1861 - 1875 was an Australian cartographer and draftsman, employed by the NSW Surveyor Generals Office. His 1871 Map of New South Wales appears to have provided the basis for the bulk of the maps of the state produced prior to the Geological survey of 1880.

Richards, Thomas (1831 - 1898)
Thomas Richards, government printer, was born on 21 December 1831 in Pitt Street, Sydney, son of James Richards, builder, and his wife Mary, née OBrien. He was baptized a Catholic. His parents died in his infancy and he was reared by his aunt, the daughter of a sergeant-major in the First Fleet, and educated at Ebenezer on the Hawkesbury River. Having answered an advertisement for an intelligent youth, on 1 January 1845 he was engaged as an apprentice in the Government Printing Office, where he advanced as clerk, proof-reader, compositor, pressman, overseer and, in 1854, superintendent. In June 1859 he became government printer and inspector of stamps at a salary of £500, which had been reduced from his predecessors £850, but was raised to £600 in 1863; he had a staff of seventy. As he lacked London experience his appointment was unpopular. From 1 July 1879 he was also registrar of copyright.
During Richardss innovative administration, with increasing volume of work, the office expanded its functions and techniques. In 1863 he introduced photo-lithography and, after he had observed plant in Victoria in 1864, he added stereo-typing and electro-typing. In 1868 following the establishment of extra branches a new fast process of photo-lithography was invented by John Sharkey whose experiments were encouraged and assisted by Richards. The Sydney Morning Herald praised the gems of photo-lithographic art the Printing Office displayed at the 1870 Intercolonial Exhibition at Sydney. Later Richards initiated helio-type or photo-mechanical printing, introduced a perforating machine and invented a method of drying stamps with heat from gas. He devised an arithmotype bars system for numbering debentures which was adopted in all the colonies and England; he alleged the Bank of England took the patent without acknowledgment.
Frequently working long hours, Richards was criticized by some politicians for his administration and his publication of documents of allegedly limited public interest. He defended himself adequately before the 1870 select committee on the Government Printing Office, resisting suggestions of reductions in salaries and praising his men for the finest examples of the modern technique of photo-lithography seen in the colonies; and he admitted ambitions to produce an Australian geography and natural history, a year-book and dictionary of names for New South Wales. Looking back in 1891 he wrote, I had opposed to me a truculent minister, a truculent under-secretary and a truculent newspaper proprietor … I beat them but came out of the fray wounded in mind body and estate. He also had trouble with trade unions in difficult industrial times for heads of government departments and in 1875 antagonized the Trades and Labor Council by threatening to close the Office against all union men.
In 1877 Richards represented the government on an English committee to celebrate the quatercentenary of Caxtons introduction of printing. With twelve months leave he also studied advanced methods and bought new machinery. At the 1878 Paris Universal Exhibition he won a silver and two bronze medals and at the 1880 Melbourne International Exhibition he won five high diplomas for printing, bookbinding and photography. The 1883 Amsterdam Exhibition awarded him a gold and a silver medal, and the Printing Office was commended at other important exhibitions from 1862 to 1886. In 1882 Richards compiled, edited and printed the highly regarded New South Wales in 1881, which was translated into French; next year the office produced An Epitome of the Official History of New South Wales.
On 23 April 1861 Richards had joined the Volunteer Rifles as a second lieutenant. A good shot and member of the New South Wales Rifle Association, in 1885 he became lieutenant-colonel of the first regiment, Volunteer Infantry; he resigned next year. In November 1886, because of rapidly failing eyesight, Richards retired as government printer on a pension of £480; he left a staff of 400 and an office with sixty-one new departments. On 31 August 1898 he died at Manly and was buried in the Anglican cemetery there. On 29 January 1865, with Anglican rites, he had married Zara Bell, by whom he had three daughters and two sons who survived him.

Please note all items auctioned are genuine, we do not sell reproductions. A Certificate of Authenticity (COA) can be issued on request.

• Title : Wales by Edward Weller FRGS
• Size: 34 1/2in x 24 1/2in (880m x 620mm)
• Condition: (A) Very Good Condition
• Date : 1878
• Ref #:  70570

Description:
This very large original hand coloured steel plate engraved antique map of Wales by Edward Weller was published by Cassell, Petter & Galpin.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, green, blue, pink
General color appearance: - Authentic
Paper size: - 34 1/2in x 24 1/2in (880m x 620mm)
Plate size: - 34 1/2in x 24 1/2in (880m x 620mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Light soiling
Plate area: - 13in repair to bottom left sheet, no loss
Verso: - Repair as noted

Background: 
Cassell & Co is a British book publishing house, founded in 1848 by John Cassell (1817–1865), which became in the 1890s an international publishing group company.
John Cassell (1817–1865), who was in turn a carpenter, temperance preacher, tea and coffee merchant, finally turned to publishing. His first publication was on 1 July 1848, a weekly newspaper called The Standard of Freedomadvocating religious, political, and commercial freedom. The Working Man\\\\\\\'s Friend became another popular publication. In 1849 Cassell was dividing his time between his publishing and his grocery business. In 1851 his expanding interests led to his renting part of La Belle Sauvage, a London inn which had been a playhouse in Elizabethan times. The former inn was demolished in 1873 to make way for a railway viaduct, with the company building new premises behind. La Belle Sauvage was destroyed in 1941 by WWII bombing as well as many archives.
Thomas Dixon Galpin who came from Dorchester in Dorset and George William Petter who was born in Barnstaplein Devon were partners in a printing firm and on John Cassell\\\\\\\'s bankruptcy in June 1855 acquired the publishing company and Cassell\\\\\\\'s debts. Between 1855 and 1858 the printing firm operated as Petter and Galpin and their work was published by W. Kent & Co.
John Cassell was relegated to being a junior partner after becoming insolvent in 1858, the firm being known as Cassell, Petter & Galpin. With the arrival of a new partner, Robert Turner, in 1878, it became Cassell, Petter, Galpin & Company. Galpin was the astute business manager. George Lock, the founder of Ward Lock, another publishing house, was Galpin\\\\\\\'s first cousin. Petter resigned in 1883 as a result of disagreement over publishing fiction, and in 1888 the company name was changed to Cassell & Co, Ltd, following Galpin\\\\\\\'s retirement and Petters death.

Weller, Edward 1819 – 1884
Weller was a British engraver and cartographer who was one of the first to produce maps using lithography. He was a London-based working from offices in Red Lion Square and later, Bloomsbury.

• Title : A Young Gentleman
• Date : 1878
• Condition: (A+) Fine Condition
• Ref:  22407
• Size: 14in x 9 1/2in (350mm x 240mm) 

Description: 
This fine, original antique print of a young gentleman - possibly William III -  by the master etcher Leon Richeton - signature engraved at the base of the print - was published in the 1878 edition of The Portfolio.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by in the mid to late 19th century. Such is the quality of his re-strikes these prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background.

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Margins: - Min 1in (25mm)

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

Background:
Leon Richeton (1854 - 1934) was an etcher, etched landscapes, and copied works by other artists, such as Sir Thomas Lawrence and Gainsborough. He published etchings in The Portfolio, and etched illustrations for Alfred Egmont Hake's Paris Originals..., London, 1878.
Thomas Gainsborough FRSA (1727 – 1788) was an English portrait and landscape painter, draughtsman, and printmaker. He surpassed his rival Sir Joshua Reynolds to become the dominant British portraitist of the second half of the 18th century. He painted quickly, and the works of his maturity are characterised by a light palette and easy strokes. He preferred landscapes to portraits, and is credited (with Richard Wilson) as the originator of the 18th-century British landscape school. Gainsborough was a founding member of the Royal Academy.

• Title : Portrait of a Boy
• Date : 1878
• Condition: (A+) Fine Condition
• Ref:  22405
• Size: 14in x 9 1/2in (350mm x 240mm) 

Description: 
This fine, original antique print the Portrait of a Boy by Rembrandt Harmenszoon Van Rijn in the mid 17th century was re-engraved by Leon Richeton and published in the 1878 edition of The Portfolio. 
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by in the mid to late 19th century. Such is the quality of his re-strikes these prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background.

General Description: 
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Margins: - Min 1in (25mm)

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

Rembrandt Harmenszoon Van Rijn (1606-1669)  was a Dutch draughtsman, painter, and printmaker. An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art and the most important in Dutch art history. Unlike most Dutch masters of the 17th century, Rembrandt's works depict a wide range of style and subject matter, from portraits and self-portraits to landscapes, genre scenes, allegorical and hCharles Amand Durandistorical scenes, biblical and mythological themes as well as animal studies. His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age, when Dutch art (especially Dutch painting), although in many ways antithetical to the Baroque style that dominated Europe, was extremely prolific and innovative, and gave rise to important new genres. Like many artists of the Dutch Golden Age, such as Jan Vermeer of Delft, Rembrandt was also an avid art collector and dealer.

Leon Richeton (1854 - 1934) was an etcher, etched landscapes, and copied works by other artists, such as Sir Thomas Lawrence, Gainsborough & Rembrandt and others. He published etchings in The Portfolio, and etched illustrations for Alfred Egmont Hake's Paris Originals..., London, 1878.

• Title : Neue Aufnahmen in Nord-Australien Nach. Ringwood & Mc Minn...Gotha: Justus Perthes 1878
• 10 1/2in x 8 1/2in (265mm x 215mm)
• Condition: (A+) Fine Condition
• Date : 1878
• Ref #:  82058

Description:
This scarce original antique lithograph map of north-west Northern Territory, Australia showing Palmerston at Port Darwin, place names and exploration routes, including that of William McMinn in 1876, by Augustus Heinrich Petermann was engraved in 1878 - dated - and was published by Justus Perthes, Gotha Germany.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, blue
General color appearance: - Authentic
Paper size: - 10 1/2in x 8 1/2in (265mm x 215mm)
Plate size: - 10 1/2in x 8 1/2in (265mm x 215mm)
Margins: - Min 1/2in (12mm)

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

Background: 
William McMinn (1844 – 14 February 1884) was an Australian surveyor and architect, based in Adelaide.
He was born in Newry, County Down, Ireland, a son of Joseph McMinn and his wife Martha McMinn (née Hamill), who with their large family emigrated to Adelaide on the Albatross, arriving in September 1850.
After completing school, he was apprenticed to the architect James Macgeorge, but first practiced as a surveyor. He was involved in Boyle Travers Finniss\'s ill-fated 1865 expedition to Northern Australia surveying the area around the Adelaide River. Following the desertion of a majority of the party to Singapore, McMinn and 5 others purchased a 23-foot open boat which they named the Forlorn Hope and sailed it 2,000 miles (3,200 km) to Champion Bay, Geraldton, Western Australia. He was later involved in the 1872 surveying of the Overland Telegraph from Port Augusta to Darwin.
McMinn began practising as an architect in 1867, briefly in partnership with Daniel Garlick, and later with some others, but usually independently. He designed many grand private residences, but also designed or assisted in the design of many of Adelaide\'s grand public buildings. Whilst in partnership with Edward John Woods, he designed the original Venetian Gothic building of the University of Adelaide, considered his greatest work.

• Title : Delaware River..Issued in June 1881 CP Paterson; Delaware Bay and River..under the direction of FR Hassler and AD Bache...April 1878 CP Patterson; Delaware Entrance aids to navigation to 1887
• Size: 42in x 29in (1.07m x 735mm) each sheet 
• Condition: (B) Good Condition
• Date : 178-88
• Ref #:  93111

Description:
Original scarce very large (78in x 36in when joined) antique three sheet map, on very heavy paper, of the Delaware River and Harbour. The map follows the river bordering the States of New Jersey, Delaware & Pennsylvania, from the river mouth to Philadelphia PA, by AD Bache and FR Hassler and was first issued by the US Coast Survey in 1848. These 3 sheets were issued, updated in 1887, 1881 & 1887 respectively.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 42in x 29in (1.07m x 735mm) each sheet (approx)
Plate size: - 42in x 29in (1.07m x 735mm) each sheet (approx)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Soiling and creasing
Plate area: - Soiling and vertical creasing
Verso: - Soiling and vertical creasing

Background: 
While these maps appear together occasionally on the market, and can be found bound into early US Coast Survey volumes, the thin paper and browned folds invariably leaves it in problematic condition. The present example is a separately issued example on very heavy paper. Many of the coast survey maps were issued in very limited numbers on heavy paper for presentation purposes or use at sea, making any example of these three maps together rare.

U.S. Coast Survey (Office of Coast Survey)
The Office of Coast Survey is the official chart-maker of the United States. Set up in 1807, it is one of the U.S. governments oldest scientific organizations. In 1878 it was given the name of Coast and Geodetic Survey (C&GS). In 1970 it became part of the National Oceanic and Atmospheric Administration (NOAA).
The agency was established in 1807 when President Thomas Jefferson signed the document entitled An act to provide for surveying the coasts of the United States. While the bills objective was specific—to produce nautical charts—it reflected larger issues of concern to the new nation: national boundaries, commerce, and defence.
The early years were difficult. Ferdinand Rudolph Hassler, who was eventually to become the agencys first superintendent, went to England to collect scientific instruments but was unable to return through the duration of the War of 1812. After his return, he worked on a survey of the New York Harbor in 1817, but Congress stepped in to suspend the work because of tensions between civilian and military control of the agency. After several years under the control of the U.S. Army, the Survey of the Coast was reestablished in 1832, and President Andrew Jackson appointed Hassler as superintendent.
The U.S. Coast Survey was a civilian agency but, from the beginning, members of the Navy and Army were detailed to service with the Survey, and Navy ships were also detailed to its use. In general, army officers worked on topographic surveys on the land and maps based on the surveys, while navy officers worked on hydrographic surveys in coastal waters.
Alexander Dallas Bache, great-grandson of Benjamin Franklin, was the second Coast Survey superintendent. Bache was a physicist, scientist, and surveyor who established the first magnetic observatory and served as the first president of the National Academy of Sciences. Under Bache, Coast Survey quickly applied its resources to the Union cause during the Civil War. In addition to setting up additional lithographic presses to produce the thousands of charts required by the Navy and other vessels, Bache made a critical decision to send Coast Survey parties to work with blockading squadrons and armies in the field, producing hundreds of maps and charts. Bache detailed these activities in his annual reports to Congress.
Coast Survey cartographer Edwin Hergesheimer created the map showing the density of the slave population in the Southern states.
Bache was also one of four members of the governments Blockade Strategy Board, planning strategy to essentially strangle the South, economically and militarily. On April 16, 1861, President Lincoln issued a proclamation declaring the blockade of ports from South Carolina to Texas. Baches Notes on the Coast provided valuable information for Union naval forces.
Maps were of paramount importance in wartime:
It is certain that accurate maps must form the basis of well-conducted military operations, and that the best time to procure them is not when an attack is impending, or when the army waits, but when there is no hindrance to, or pressure upon, the surveyors. That no coast can be effectively attacked, defended, or blockaded without accurate maps and charts, has been fully proved by the events of the last two years, if, indeed, such a proposition required practical proof.
— Alexander Dallas Bache, 1862 report.
Coast Survey attracted some of the best and brightest scientists and naturalists. It commissioned the naturalist Louis Agassiz to conduct the first scientific study of the Florida reef system. James McNeill Whistler, who went on to paint the iconic Whistlers Mother, was a Coast Survey engraver. The naturalist John Muir was a guide and artist on Survey of the 39th Parallel across the Great Basin of Nevada and Utah.
The agencys men and women (women professionals were hired as early as 1845) led scientific and engineering activities through the decades. In 1926, they started production of aeronautical charts. During the height of the Great Depression, Coast and Geodetic Survey organized surveying parties and field offices that employed over 10,000 people, including many out-of-work engineers.
In World War II, C&GS sent over 1,000 civilian members and more than half of its commissioned officers to serve as hydrographers, artillery surveyors, cartographers, army engineers, intelligence officers, and geophysicists in all theaters of the war. Civilians on the home front produced over 100 million maps and charts for the Allied Forces. Eleven members of the C&GS gave their lives during the war.

Alexander Dallas Bache 1806 – 1867 was an American physicist, scientist, and surveyor who erected coastal fortifications and conducted a detailed survey to map the mid-eastern United States coastline. Originally an army engineer, he later became Superintendent of the U.S. Coast Survey, and built it into the foremost scientific institution in the country before the Civil War.
Alexander Bache was born in Philadelphia, the son of Richard Bache, Jr., and Sophia Burrell Dallas Bache. He came from a prominent family as he was the nephew of Vice-President George M. Dallas and naval hero Alexander J. Dallas. He was the grandson of Secretary of the Treasury Alexander Dallas and was the great-grandson of Benjamin Franklin.
Bache was a professor of natural philosophy and chemistry at the University of Pennsylvania from 1828 to 1841 and again from 1842 to 1843. He spent 1836–1838 in Europe on behalf of the trustees of what became Girard College; he was named president of the college after his return. Abroad, he examined European education systems, and on his return he published a valuable report. From 1839 to 1842, he served as the first president of Central High School of Philadelphia, one of the oldest public high schools in the United States.
In 1843, on the death of Professor Ferdinand Rudolph Hassler, Bache was appointed superintendent of the United States Coast Survey. He convinced the United States Congress of the value of this work and, by means of the liberal aid it granted, he completed the mapping of the whole coast by a skillful division of labor and the erection of numerous observing stations. In addition, magnetic and meteorological data were collected. Bache served as head of the Coast Survey for 24 years (until his death).

Please note all items auctioned are genuine, we do not sell reproductions. A Certificate of Authenticity (COA) can be issued on request.

• Title : Map Showing Coal Laterals of the Philadelphia & Reading Rail Raod company William Lorenz Chief Eng. 1879
• Date : 1879
  
• Size: 29in x 19 1/2in (735mm x 495mm)
• Condition: (A) Very Good Condition
• Ref:  93520

Description:
This original, large folding rare lithograph map of the Coal Fields of Schuylkill County, Pennsylvania, owned at the time by the Pennsylvania & Reading Railroad Company by William Lorenz was engraved and published in 1879 - dated.

The Definition of a Coalseam lateral is any system of development in coal seams or thick orebodies in which headings are driven horizontally across the coal or ore and connected to main haulage drifts, entries, or shafts. There are many variations and modifications depending on the thickness, shape, and inclination of the deposit.(Ref Tooley M&B)

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Pink, blue
General color appearance: - Authentic
Paper size: - 29in x 19 1/2in (735mm x 495mm)
Plate size: - 29in x 19 1/2in (735mm x 495mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Chipping to map edges not affecting the image
Plate area: - Light wear along sectioned edges
Verso: - Backed in linen

Background:
Schuylkill is a county in the Commonwealth of Pennsylvania. It is located in the heart of Pennsylvanias Coal Region and is part of Northeastern Pennsylvania. As of the 2020 census, the population was 143,049. The county seat is Pottsville.
The county was created on March 1, 1811, from parts of Berks and Northampton counties and named for the Schuylkill River, which originates in the county. On March 3, 1818, additional territory in its northeast was added from Columbia and Luzerne counties. The county is part of the Pottsville, Pennsylvania Micropolitan Statistical Area.
The lands that today constitute Schuylkill County were acquired by William Penns proprietors by treaty executed August 22, 1749, with representatives of the Six Nations and the Delaware, Shamokin and Shawnee, who received 500 pounds lawful money of Pennsylvania. The territory described included all of Schuylkill County except the northern part of Union Township, which was included in the purchase of 1768.
In the year 1754, the area that would become Schuylkill County along with the areas that today are Berks, Dauphin, Lebanon, and Lehigh counties were settled by German immigrants. The earliest settlers in southeastern Schuylkill County, which was then part of Northampton County, were primarily Moravian missionaries from Saxony. Other early settlers in southern Schuylkill County were German Palatines.
An early mill in the county was built in 1744 by John Finscher, but it later burned down. The first log church in the county was built in 1755. Native American massacres were commonplace in Schuylkill County between 1755 and 1765. Warrant for tracts of land in the vicinity of McKeansburg were in existence as early as 1750. Found by Sammy Hepler in 1789.
Anthracite coal (then called stone coal) was discovered by Necho Allen near the area where Pottsville was ultimately developed in 1790. In 1795, a blacksmith in Schuylkill County named Whetstone learned how to use the coal successfully for smithing purposes. In 1806 coal was found while the tail-race was cut of the Valley (Iron) Forge, on the Schuylkill. Daniel Berlin, another blacksmith, also used it successfully, and smiths in the neighborhood adopted using the coal.
Schuylkill County was created via an Act of Assembly on March 1, 1811, from portions of Berks and Northampton counties. More land was added to the county in 1818, from Columbia and Luzerne counties. At the time of its creation, the county had a population of about 6,000. An early book of Schuylkill County history was written by Daniel Deibert in 1802.
Orwisgsburg was the first community in Schuylkill County to be laid out. During the early years of Schuylkill County, there was an attempt to make McKeansburg the county seat; Orwigsburg was also a contender. Orwigsburg was agreed upon to be the county seat, as it was deemed to be well-suited for industries. Beginning in 1831, sentiment began to rise for moving the county seat to Pottsville. In 1846, the Legislature passed an Act that was approved by Governor Francis R. Shunk on March 13, submitting the question to the voters. The change was desired principally because the railroad and canal connections with Orwigsburg were problematic to transport the public to that town without losing valuable time while Pottsville had such facilities and was within easy access from all parts of the county.
In 1812, George Shoemaker who, with Necho Allen, had discovered stone coal at Centerville in Schuylkill County, personally delivered some coal to Philadelphia. He gave away most of the coal, intending to encourage individuals to find ways to use it. Most of the experiments failed and though Shoemaker was nearly run out of town and called an imposter, Mellon and Bishop of Delaware County successfully used it in their rolling mill. When other rolling mills also adopted the fuel, a large industrial market and demand developed.
The Schuylkill Navigation Company was chartered in 1815 to build a series of navigation improvements in the Schuylkill River. This was during a period when the much larger Erie Canal along the Mohawk River in New York also was being developed. It was well ahead of other key canals fueling the Industrial Revolution, such as the Delaware and Hudson, the Lehigh, the Chesapeake and Ohio, Delaware and Raritan, and Morris canals. The originators of the project did not count upon the coal trade to promote the success of the undertaking. They looked forward mainly to transporting the agricultural products being produced below the mountains, the lumber of Schuylkill County, and the grain and other products of the counties between the Susquehanna and Schuylkill rivers. The first shipments of coal by canal were made in 1822 when 1,480 tons were sent down the line.
With a regular supply of anthracite coal ensured, the southern anthracite coal field in Schuylkill County attracted speculators and fortune hunters. They were inspired by dreams of becoming millionaires. This was the first speculative era of the Schuylkill coal trade. Pottsville became the center of the movement. The more successful explorers revealed numerous veins of coal, extending over a vast stretch of county and with a seemingly inexhaustible quantity of coal. These discoveries brought excitement and speculation; lands were bought (and sold); roads were laid out in the forest, mines were opened and railroads projected, and innumerable town plots planned. The demand for houses was so great that the lumber for many was framed in Philadelphia and sent by canal to the burgeoning coal region.
At this stage, coal-mining firms were small and family owned. The residents and entrepreneurs of the Schuylkill region opposed the entry here of incorporated coal companies. In these years, coal mining operations in the Schuylkill region were conducted with economy, and relatively little capital was required. As the workings were all above the water level, no machinery was required for water drainage or for hoisting coal to the surface. Coal breakers and other expensive fixtures and appliances for the preparation of coal had not then been introduced. Numerous operators produced from five to six thousand tons for market annually (which was then considered a respectable business), who had never committed thousands of dollars to their enterprises, including their first land purchases of coal mines. It was commonly asserted that coal land could be bought and mines opened for less capital than the purchase and stocking of a decent farm. Such mines could be worked for less capital than that required to establish a line of stagecoaches or transportation wagons.
Eventually, railroads replaced the canals as the primary means of transporting coal to markets. Mining was taken over by major corporate business, especially after the Civil War. As a result, the Middle Coal Field was developed in the 1860s and the Philadelphia and Reading Railroad created a subsidiary (Philadelphia and Reading Coal and Iron Company) to buy or lease, and develop the expanding industrial coal trade. Consumption of coal along the Schuylkill above Philadelphia in 1839 was 30,290 tons when the Pioneer at Pottsville, the first anthracite furnace in the United States, became operational. By 1849, consumption had increased to 239,290 tons, to 554,774 tons in 1859, and to 1,787,205 tons in 1873.
The numerous jobs in the mining industry comprised a catalyst for mass immigration to Schuylkill County from the British Isles and Europe in the 19th and 20th centuries. As mines became more numerous (by 1846 there were 110 operators in the region and 142 collieries in Schuylkill County) and more complex (in 1846 there were 35 collieries below water level), mechanical breakers, steam locomotive, it became more labor-intensive both for accomplishing mining tasks and supporting minings peripheral industries. Such industries included manufacturing of explosives, metal screens, pump components, piping, and timber for support. This led to an influx of population into Schuylkill and other anthracite counties to fill these jobs. Beginning with the Irish immigration in the 1840s (fueled by the Great Famine), after the Civil War, beginning in the 1870s, newcomers arrived from Eastern Europe. Poles, Hungarians, Lithuanians, Slovaks, Rusyns and Ukrainians (Ruthenians), often from the Austro-Hungarian monarchy settled in the villages of Schuylkill County and took their place among the laborers in the coal mines. By the 1880s and 1890s, thousands of Italians immigrated for jobs related to mining.

• Title :  Aborigines of South America
• Ref #:  80519
• Size: 15in x 11in (380mm x 280mm)
• Date : 1880
• Condition: (A+) Fine Condition

Description:
This beautifully coloured large original antique lithograph print was published by Blackie & Son of Glasgow in the 1880 edition of Geographical Atlas. (Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - Original
Colours used: - Brown, blue, green
General colour appearance: - Authentic
Paper size: - 15in x 11in (380mm x 280mm)
Margins: - min 12in (25mm)

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

• Title : Mongol Race - Japanese
• Ref #:  80515
• Size: 15in x 11in (380mm x 280mm)
• Date : 1880
• Condition: (A+) Fine Condition

Description:
This beautifully coloured large original antique lithograph print was published by Blackie & Son of Glasgow in the 1880 edition of Geographical Atlas. (Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - Original
Colours used: - Brown, blue, green
General colour appearance: - Authentic
Paper size: - 15in x 11in (380mm x 280mm)
Margins: - min 12in (25mm)

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