Products

• Title : The Absent-Minded Beggar....South African Republic
• Ref #:  93380
• Size: 18in x 17in (465mm x 435mm)
• Date : 1899
• Condition: (A+) Fine Condition

Description:
This scarce item of ephemera, an original printed linen antique handkerchief, with a map of The South African Republic, was published in 1899 by the Daily Mail to raise funds for the Soldiers Families Fund, after the outbreak of the Second Boer War (1899-1902), the first charitable effort for a war.
The map shows the theatre of war, around the South African Republic (the Transvaal) and the Orange Free State. The two portraits are of Lord Roberts, commander of the British Troops, and Queen Victoria, the British Monarch for the first half of the war.
The poem, The Absent-Minded Beggar by Rudyard Kipling, was specially commissioned for the Fund, and was given a musical score by Arthur Sullivan (of Gilbert & Sullivan fame).

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 17in (465mm x 435mm)
Plate size: - 18in x 17in (465mm x 435mm)
Margins: - Min 1/2in (12mm)

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

Background:
Despite Roberts portait being entwined in the title, the absent-minded beggar of Kiplings poem is the British Tommy (private soldier), forgetfully leaving their dependents in need while fighting for their country. The Daily Mail paid Kipling £250 for the poem, which he donated to the fund, as did Sullivan with his £100 payment. Soon afterwards Kipling was offered a knighthood, which he declined. It was not Kiplings favourite work: in his autobiography he wrote that it lacked poetry and became wedded... to a tune guaranteed to pull teeth out of barrel-organs. This did not stop it being a huge success, giving the fund the nickname, the Absent-Minded Beggar Relief Corps, and helping it raise £340,000 by the time it was wound up in 1903. Not only was it published worldwide (the New York Journal paid $25 for the privilege), it was recited by actresses including Lily Langtree and Lady Maud Beerbohm Tree.
Organising the fund was a coup for the Daily Mail, which had been founded only in 1896. This campaign capitalised on the jingoistic mood of the British public and the papers circulation soared to over a million issues a day by 1902, the highest in the world.
This handkerchief is probably the most famous item of British ephemera produced during the South African War.

The Absent-Minded Beggar is an 1899 poem by Rudyard Kipling, set to music by Sir Arthur Sullivan and often accompanied by an illustration of a wounded but defiant British soldier, A Gentleman in Kharki, by Richard Caton Woodville. The song was written as part of an appeal by the Daily Mail to raise money for soldiers fighting in the Second Boer War and their families. The fund was the first such charitable effort for a war.
The chorus of the song exhorted its audience to pass the hat for your credits sake, and pay– pay– pay! The patriotic poem and song caused a sensation and were constantly performed throughout the war and beyond. Kipling was offered a knighthood shortly after publication of the poem but declined the honour. Vast numbers of copies of the poem and sheet music were published, and large quantities of related merchandise were sold to aid the charity.

Daily Mail Publishing Co. Ltd 1896 -
The Daily Mail, devised by Alfred Harmsworth (later Viscount Northcliffe) and his brother Harold (later Viscount Rothermere), was first published on 4 May 1896. It was an immediate success. It cost a halfpenny at a time when other London dailies cost one penny, and was more populist in tone and more concise in its coverage than its rivals. The planned issue was 100,000 copies but the print run on the first day was 397,215 and additional printing facilities had to be acquired to sustain a circulation which rose to 500,000 in 1899. Lord Salisbury, 19th-century Prime Minister of the United Kingdom, dismissed the Daily Mail as a newspaper produced by office boys for office boys. By 1902, at the end of the Boer Wars, the circulation was over a million, making it the largest in the world.
With Harold running the business side of the operation and Alfred as Editor, the Mail from the start adopted an imperialist political stance, taking a patriotic line in the Second Boer War, leading to claims that it was not reporting the issues of the day objectively. From the beginning, the Mail also set out to entertain its readers with human interest stories, serials, features and competitions (which were also the main means by which the Harmsworths promoted the paper).
In 1900 the Daily Mail began printing simultaneously in both Manchester and London, the first national newspaper to do so (in 1899, the Daily Mail had organised special trains to bring the London-printed papers north). The same production method was adopted in 1909 by the Daily Sketch, in 1927 by the Daily Express and eventually by virtually all the other national newspapers. Printing of the Scottish Daily Mail was switched from Edinburgh to the Deansgate plant in Manchester in 1968 and, for a while, The People was also printed on the Mail presses in Deansgate. In 1987, printing at Deansgate ended and the northern editions were thereafter printed at other Associated Newspapers plants.
In 1906 the paper offered £10,000 for the first flight from London to Manchester, followed by a £1,000 prize for the first flight across the English Channel. Punch magazine thought the idea preposterous and offered £10,000 for the first flight to Mars, but by 1910 both the Mails prizes had been won. The paper continued to award prizes for aviation sporadically until 1930.
Before the outbreak of World War I, the paper was accused of warmongering when it reported that Germany was planning to crush the British Empire. When war began, Northcliffes call for conscription was seen by some as controversial, although he was vindicated when conscription was introduced in 1916. On 21 May 1915, Northcliffe criticised Lord Kitchener, the Secretary of State for War, regarding weapons and munitions. Kitchener was considered by some to be a national hero. The papers circulation dropped from 1,386,000 to 238,000. Fifteen hundred members of the London Stock Exchange burned unsold copies and called for a boycott of the Harmsworth Press. Prime Minister H. H. Asquith accused the paper of being disloyal to the country.
When Kitchener died, the Mail reported it as a great stroke of luck for the British Empire. The paper was critical of Asquiths conduct of the war, and he resigned on 5 December 1916. His successor David Lloyd George asked Northcliffe to be in his cabinet, hoping it would prevent him from criticising the government. Northcliffe declined.
As Lord Northcliffe aged, his grip on the paper slackened and there were periods when he was not involved. But light-hearted stunts enlivened him, such as the Hat campaign in the winter of 1920. This was a contest with a prize of £100 for a new design of hat – a subject in which Northcliffe took a particular interest. There were 40,000 entries and the winner was a cross between a top hat and a bowler christened the Daily Mail Sandringham Hat. The paper subsequently promoted the wearing of it but without much success. In 1922, when Lord Northcliffe died, Lord Rothermere took full control of the paper.
In 1919, Alcock and Brown made the first flight across the Atlantic, winning a prize of £10,000 from the Daily Mail. In 1930 the Mail made a great story of another aviation stunt, awarding another prize of £10,000 to Amy Johnson for making the first solo flight from England to Australia.
The Daily Mail had begun the Ideal Home Exhibition in 1908. At first, Northcliffe had disdained this as a publicity stunt to sell advertising and he refused to attend. But his wife exerted pressure upon him and he changed his view, becoming more supportive. By 1922 the editorial side of the paper was fully engaged in promoting the benefits of modern appliances and technology to free its female readers from the drudgery of housework. The Mail maintained the event until selling it to Media 10 in 2009.
On 25 October 1924, the Daily Mail published the forged Zinoviev letter, which indicated that British Communists were planning violent revolution. This was thought by some a significant factor in the defeat of Ramsay MacDonalds Labour Party in the 1924 general election, held four days later.
Unlike most newspapers, the Mail quickly took up an interest on the new medium of radio. In 1928, the newspaper established an early example of an offshore radio station aboard a yacht, both as a means of self-promotion and as a way to break the BBCs monopoly. However, the project failed as the equipment was not able to provide a decent signal from overboard, and the transmitter was replaced by a set of speakers. The yacht spent the summer entertaining beach-goers with gramophone records interspersed with publicity for the newspaper and its insurance fund. The Mail was also a frequent sponsor on continental commercial radio stations targeted towards Britain throughout the 1920s and 1930s and periodically voiced support for the legalisation of private radio, something that would not happen until 1973.
From 1923 Lord Rothermere and the Daily Mail formed an alliance with the other great press baron, Lord Beaverbrook. Their opponent was the Conservative Party politician and leader Stanley Baldwin. By 1929 George Ward Price was writing in the Mail that Baldwin should be deposed and Beaverbrook elected as leader. In early 1930 the two Lords launched the United Empire Party which the Daily Mail supported enthusiastically.
The rise of the new party dominated the newspaper and, even though Beaverbrook soon withdrew, Rothermere continued to campaign. Vice Admiral Ernest Augustus Taylor fought the first by-election for the United Empire Party in October, defeating the official Conservative candidate by 941 votes. Baldwins position was now in doubt, but in 1931 Duff Cooper won the key by-election at St Georges, Westminster, beating the United Empire Party candidate, Sir Ernest Petter, supported by Rothermere, and this broke the political power of the press barons.
In 1927, the celebrated picture of the year Morning by Dod Procter was bought by the Daily Mail for the Tate Gallery.
Lord Rothermere was a friend of Benito Mussolini and Adolf Hitler, and directed the Mails editorial stance towards them in the early 1930s. Rothermeres 1933 leader Youth Triumphant praised the new Nazi regimes accomplishments, and was subsequently used as propaganda by them. In it, Rothermere predicted that The minor misdeeds of individual Nazis would be submerged by the immense benefits the new regime is already bestowing upon Germany. Journalist John Simpson, in a book on journalism, suggested that Rothermere was referring to the violence against Jews and Communists rather than the detention of political prisoners.
Rothermere and the Mail were also editorially sympathetic to Oswald Mosley and the British Union of Fascists. Rothermere wrote an article titled Hurrah for the Blackshirts published in the Daily Mail on 15 January 1934, praising Mosley for his sound, commonsense, Conservative doctrine and pointing out that: Young men may join the British Union of Fascists by writing to the Headquarters, Kings Road, Chelsea, London, S.W.
The Spectator condemned Rothermeres article commenting that, ... the Blackshirts, like the Daily Mail, appeal to people unaccustomed to thinking. The average Daily Mail reader is a potential Blackshirt ready made. When Lord Rothermere tells his clientele to go and join the Fascists some of them pretty certainly will.
The papers support ended after violence at a BUF rally in Kensington Olympia in June 1934. Mosley and many others thought Rothermere had responded to pressure from Jewish businessmen who it was believed had threatened to stop advertising in the paper if it continued to back an anti-Semitic party. The paper editorially continued to oppose the arrival of Jewish refugees escaping Germany, describing their arrival as a problem to which the Daily Mail has repeatedly pointed.
On 5 May 1946, the Daily Mail celebrated its Golden Jubilee. Winston Churchill was the chief guest at the banquet and toasted it with a speech. Newsprint rationing in the Second World War had forced the Daily Mail to cut its size to four pages, but the size gradually increased through the 1950s.
The Daily Mail was transformed by its editor during the 1970s and 1980s, David English. He had been editor of the Daily Sketch from 1969 to 1971, when it closed. Part of the same group from 1953, the Sketch was absorbed by its sister title, and English became editor of the Mail, a post in which he remained for more than 20 years. English transformed it from a struggling newspaper selling half as many copies as its mid-market rival, the Daily Express, to a formidable publication, whose circulation rose to surpass that of the Express by the mid-1980s. English was knighted in 1982.
The paper enjoyed a period of journalistic success in the 1980s, employing some of the most inventive writers in old Fleet Street including the gossip columnist Nigel Dempster, Lynda Lee-Potter and sportswriter Ian Wooldridge (who unlike some of his colleagues—the paper generally did not support sporting boycotts of white-minority-ruled South Africa—strongly opposed apartheid). In 1982 a Sunday title, the Mail on Sunday, was launched (the Scottish Sunday Mail, now owned by the Mirror Group, was founded in 1919 by the first Lord Rothermere, but later sold.

• Title : T III............Ta. XXXIX
• Ref  :  70542
• Size: 19in x 12in (485mm x 305mm)
• Date : 18th century
• Condition: (A+) Fine Condition

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

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

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

• Title : Shimotsuke Province - 下野国 Shimotsuke-no kuni
• Size: 21in x 14 1/2in (535mm x 370mm)
• Condition: (A) Very Good Condition
• Date : 18th century
• Ref #:  91306

Description:
A unique opportunity to acquire an original, rare antique wood-block engraved Japanese map.
This beautiful hand coloured map of the Shimotsuke Province - 下野国 Shimotsuke-no kuni - today part of the Tochigi Prefecture - was published in the ca 18th century.
There is a high level of artistry & detail that makes this wood-block engraved map uniquely Japanese.

The is a beautiful birds-eye view map of the province with Lake Chūzenji (中禅寺湖 Chūzenji-ko) and the city of Nikkō (日光市 Nikkō-shi) at the top of the map. A partial translation accompanys the map. This translation explains the following;
Shimtsuke, ancient name for Tochigi, area 6,436sq Kilmometers. Nikko with Lake Chuzenji is shown at the top of the sheet. On the left side top are shown the names of the 9 districts into which Shimotsuke was divided, showing 1,148 villages (on the map). Further the rice crops for the villages given as 506,061 koku, that is 252,000 bushels

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Blue, green, red
General color appearance: - Authentic
Paper size: - 21in x 14 1/2in (535mm x 370mm)
Plate size: - 21in x 14 1/2in (535mm x 370mm)
Margins: - Min 1/4in (5mm)

Imperfections:
Margins: - Light wear
Plate area: - Folds as issued, light wear along folds, several small worm tracks in 10 places on image
Verso: - Folds as issued, light wear along folds, several small worm tracks in 10 places on image

Background: 
Shimotsuke Province (下野国 Shimotsuke-no kuni) was a province of Japan in the area of Japan that is today Tochigi Prefecture.[1] Shimotsuke was bordered by Kōzuke, Hitachi, Mutsu and Shimōsa Provinces. Its abbreviated form name was Yashū (野州). Under the Engishiki classification system, Shimotsuke was ranked as one of the 13 \"great countries\" (大国) in terms of importance, and one of the 30 \"far countries\" (遠国) in terms of distance from the capital. The provincial capital is located in what is now the city of Tochigi. The Ichinomiya of the province is the Futarasan jinja located in what is now the city of Utsunomiya.
During the 4th century AD, (Kofun period) the area of modern Gunma and southern Tochigi prefectures were known as Keno or Kenu (毛野). At some unknown point in the 5th century, the area was divided at the Kinugawa River into Kamitsukeno (上毛野) and Shimotsukeno (下毛野). Per the Nara period Taihō Code, these provinces became Kamitsukeno-no-kuni (上毛野国) and Shimotsukeno-no-kuni (下毛野国). In 713, with the standardization of province names into two kanji, these names became Kōzuke (上野) and Shimozuke (下野).
The area of Shimotsuke is mentioned frequently in the Nara period Rikkokushi, including the Nihon Shoki and had strong connections with the Yamato court since the Kofun period. A large Buddhist temple complex, the Shimotsuke Yakushi-ji, located in what is now the city of Tochigi, dates from the Nara period.
From the Heian period, the area was dominated by a number of samurai bands, including the Utsunomiya clan, and the Nasu clan. A branch of the Minamoto clan, the Ashikaga rose to prominence during the Kamakura period from their shōen at what is now Ashikaga, and went on to create the ashikaga shogunate of the Muromachi period.
During the Sengoku period, Shimotsuke was contested between the later Hōjō clan ,the Takeda and the Uesugi clans. After the establishment of the Tokugawa shogunate, much of the province was assigned to several feudal domains. Tokugawa Ieyasu and Tokugawa Iemitsu chose the sacred site of Nikkō to be the location of their tombs, and thus the area prospered as a site of pilgrimage through the end of the Edo period.
The Nikkō Kaidō and the Ōshū Kaidō highways passed through the province, and numerous post stations were established.
Following the Meiji Restoration, the various domains became prefectures with the abolition of the han system in 1871. These various prefectures merged to form Gunma Prefecture in 1873.

Nikkō (日光市 Nikkō-shi) is a city located in Tochigi Prefecture, Japan. Shōdō Shōnin (勝道上人) established the temple of Rinnō-ji in 766, followed by the temple of Chūzen-ji in 784. The village of Nikkō developed around these temples. The shrine of Nikkō Tōshō-gū was completed in 1617 and became a major draw of visitors to the area during the Edo period. It is known as the burial place of the famous Japanese shōgun Tokugawa Ieyasu. A number of new roads were built during this time to provide easier access to Nikkō from surrounding regions. Nikkō Tōshō-gū, Futarasan Shrine, and Rinnō-ji now form the UNESCO World Heritage Site Shrines and Temples of Nikkō.

Lake Chūzenji (中禅寺湖 Chūzenji-ko) is a scenic lake in Nikkō National Park in the city of Nikkō, Tochigi Prefecture, Japan.
Chuzenji Lake was discovered in 782 by a priest named Shōdō when his group succeeded in climbing Mt. Nantai. Considered sacred, the mountain was closed to women, horses, and cows until 1872. In the middle of the Meiji period and early Showa period, many European embassies built vacation houses around the lake. The former Italian villa has been renewed and is now open to visitors. Other sites around the lake include Futara Shrine built in 790, Chuzenji Temple, and Kegon Falls.

Japanese Cartography
The earliest known term used for maps in Japan is believed to be kata (形, roughly form), which was probably in use until roughly the 8th century. During the Nara period, the term zu(図) came into use, but the term most widely used and associated with maps in pre-modern Japan is ezu (絵図, roughly “picture diagram”). As the term implies, ezu were not necessarily geographically accurate depictions of physical landscape, as is generally associated with maps in modern times, but pictorial images, often including spiritual landscape in addition to physical geography. Ezu often focused on the conveyance of relative information as opposed to adherence to visible contour. For example, an ezu of a temple may include surrounding scenery and clouds to give an impression of nature, human figures to give a sense of how the depicted space is used, and a scale in which more important buildings may appear bigger than less important ones, regardless of actual physical size.
In the late 18th century, translators in Nagasaki translated the Dutch word (land)kaart into Japanese as chizu (地図): today the generally accepted Japanese word for a map.
From 1800 (Kansei 12) through 1821 (Bunsei 4), Ino Tadataka led a government-sponsored topographic surveying and map-making project. This is considered the first modern geographer\\\'s survey of Japan;[1] and the map based on this survey became widely known as the Ino-zu. Later, the Meiji government officially began using the Japanese term chizu in the education system, solidifying the place of the term chizu for \\\"map\\\" in Japanese.
Generally speaking, traditional Japanese maps were quite diverse in style, depiction, and purpose, and were often oriented towards pragmatic use. It was less common for maps to serve literary or decorative purposes as they might in the West, instead being used for purposes such as the differentiation of rice fields on a feudal manor, or orientation within a temple complex. An example might be an Edo era pilgrimage map depicting the route and location of lodges on the road between Kyoto and Edo, including images of people on the road, with distances between stops differentiated not by relative distance, but by numerical markings, as scale as it is recognized in the West today was not generally used. This compression and expansion of space as necessary to emphasize certain qualities of the depicted area is an important characteristic of traditional Japanese maps, as is the regular inclusion of text, as text and image were not separated in Japan nearly to the same degree as in the West. Perspective on traditional Japanese maps can also be confusing to the modern Western viewer, as maps were often designed to be viewed from multiple points of view simultaneously, since maps were often viewed on the floor while the viewers sat around the map in a circle. Accordingly, many maps do not have a unified orientation scheme (such as North as up), with labels sometimes appearing skewed to each other.
Much of the fundamental concepts of space as depicted in Japanese maps can be traced to Chinese geomancy and Buddhist cosmologies, which came to Japan in the 7th and 8th centuries. Buddhist cosmologies depict the world as it was thought to exist within the appropriate religious framework, often including mythical sites such as the navel of the world[citation needed] and lands beyond the sea inhabited by monsters. In this sense, world maps based on Buddhist cosmology often bear little resemblance to the \\\"real world\\\", though many have at least approximately accurate depictions of Japan, Korea, China, and India. Chinese geomancy brought orientation and a regular grid system, as is evidenced in the street plan of Kyoto, which is based on the plan of the ancient Chinese capital of Chang\\\'an. North-South orientation, as in China, is thought to have been evident in the plan of the ancient capital (672–686 AD) of Naniwa (modern Osaka) as well. Hence, although many traditional Japanese maps are characterized by the malleability of space and lack of importance of accurate depiction of physical landscape, direction, distance, and relative orientation were quite important.
Many early Japanese maps were not accurate according to Western standards. Partly, this was the result of Japan being a closed society for many years. They had a long-lasting indifference to exploration as well. And in the feudal society, it was forbidden for ordinary Japanese citizens to travel. \\\"In fact, the Japanese government in Edo (Tokyo), had no interest in accurate map making because maps could be used by enemies to gain military advantage.\\\" Distorting and falsifying maps was known during World War II. Indeed, there was some discussion that captured Japanese maps had been deliberately falsified to confuse the Allied troops. The Army Map Service put out an announcement toward the end of the war that most of the Japanese maps, although sometimes outdated, were truthful and could be used. “In general, native maps of Japan are reliable. Prior to the outbreak of the war, it was alleged that the Japanese falsified certain sheets which they later allowed to fall into our hands. Spot checks against aerial photography have revealed no evidence to substantiate this claim. However, on some of these maps, pertinent military areas were left entirely blank. The US has a basic 1:50,000 coverage for practically all of Japan and 1:25,000 coverage for about a quarter of Japan. These maps, however, do not show the major transformation of man-made features which have taken place in Japan since 1941. Because of this, native Japanese maps are obsolete and their basic reliability is decreased. It is highly important, therefore, that a large-scale map material or trig lists captured from the Japanese be transmitted promptly to the Chief of Engineers in Washington, DC. This is essential also because we possess geographic coordinates for only about a 10th of the estimated 40,000 geodetic stations established in Japan
The oldest known map in Japan is a topographical drawing discovered on a stone wall inside a tomb in the city of Kurayoshi, in Tottori Prefecture, dated to the 6th century AD. Depicting a landscape of houses, bridges, and roads, it is thought to have been made not for practical navigational purposes, but rather as a kind of celestial cartography given to the dead to maintain a connection with the world of the living and allow them to orient themselves when moving on to the other world. Similar maps have been found in other kofun burial tombs as well. There is also evidence that at least rudimentary surveying tools were already in use in this era. One of the oldest written references to maps in a Japanese source is found in the Kojiki, the oldest (albeit largely mythological) history of Japan, in which land records are mentioned. The other major ancient history, the Nihon Shoki of 720 AD, describes a map of the ancient city of Naniwa (modern Osaka). The first map of provincial surveys is thought to be in 738, as described in the Shoku Nihongi. The earliest extant maps in Japan date to the 8th century, and depict the ownership of square rice field plots, oriented to the four cardinal directions. Shinto shrines held maps that they used for agrarian reform, differentiation of property, and land holdings. The system by which these maps were measured was called jōri, measured in units called tan and tsubo.
The Imperial Court of the Emperor Kōtoku (孝徳天皇, 597?–654) put the Handen sei (班田制, lit. ancient land system) into execution in 646 (Taika 2) and asked each province to submit maps of their land holdings, known as denzu (田図, roughly, \\\"picture map of rice fields\\\"). This was considered the first attempt in Japan to draw accurate (as opposed to representational) landscape in picture maps.
During the Shōmu reign (聖武天皇, 701-756), maps known as Gyōki-zu (行基図), named for the high priest Gyōki (高僧, 668–749), were developed. Gyōki himself served as a civil engineer, although there are no explicitly known direct connections between himself and maps per se. The connection between his name and the term Gyōki-zu is thought to be derived from his authority as a priest and perceived connections between maps and geomantic rites to drive away evil spirits. The term Gyōki-zu was widespread and used for maps which illustrated the routes from the Imperial capital to each province in Japan. These maps covered a broader area, and include a much larger portion of what is now known as Japan, giving an idea of the extent of known territory at the time. Maps from these early surveys (conducted in 646, 738, and 796), show the northeasternly extent of Japan to be near the island of Sado, the westerly extent as Kyūshū and the southerly extent as the tip of Shikoku, indicating a relative relationship of orientation, but lack of knowledge of the true cardinal directions, as Kyūshū stretches much further south than Shikoku, and Sado is closer to north than northeast. More important was relative position, especially in terms of the relationship between the capital in Yamashiro Province (modern Nara Prefecture), and as long as the maps accurately depicted this relationship, they were considered useful. The style and orientation of the Gyōki-zu is much in line with the general overview of Japanese maps as described above, and it was this style that formed the dominant framework in Japanese cartography until the late medieval and Edo periods.
\\\"The earliest Japanese maps, attributed to a Buddhist priest called Gyōki Bosatsu (668–749), shows a curious affinity with modern notice boards in public parks. A scheme of outline loops showing land ownership and boundaries, with south generally at the top, characterized this form of mapmaking, a response to the government\\\'s need for feudal information. Examples of such estate surveys surviving from the Nara period in the eighth century (named after the ancient Japanese capital city). They are legible and informative, but unrelated to other aspects of accuracy. Although none of Gogyi\\\'s own maps survive today, cadastral maps in his style still exist in the Shosoin, an imperial archive from that time, and are shown occasionally in the city of Nara. The Gyogi style represented loyalty to a valid tradition. These schematic loops of information, rather than realistic shapes, continued well into the nineteenth century, as did the complex Buddhist world maps, which were also unrelated to knowledge of the world\\\'s shapes of land and sea, but rather, maps of a spiritual landscape.\\\"
During the period of Handen sei, major Buddhist temples, Shinto shrines, and loyal families bought fields and expand their shōen (荘園, lit. manors). Following the manner of denzu, they draw maps of their shōen. The oldest known shōen map is called Sanukikoku yamadagun gufuku jiryo denzu (讃岐国山田郡弘福寺領田図). These denzu were often drawn on linen cloths. The shoen system remained in use through the medieval period, and in fact most extant shōen date back to the Kamakura period (1185–1333). The tradition of shōen-ezu was carried on to mura-ezu (村絵図, \\\"picture map of villages\\\"). Mura-ezu were planar picture maps of individual villages. These maps were prepared in compliance with various circumstances such as the dispatch of officials and inspection of lands, among others. Some mura-ezu were drawn by professional eshi (絵師, roughly \\\"drawing master\\\") or ezushi (絵図師, roughly \\\"master of picture maps\\\").
During the latter half of the 16th century and beyond, traditional Japanese mapmaking became influenced by Western techniques for the first time with the arrival of Dutch and Portuguese knowledge through the trade port of Nagasaki. The theory of the Earth as a sphere is thought to have arrived with Francis Xavier in approximately 1550, and Oda Nobunaga is believed to have possessed one of the first globes to have arrived in Japan (The first accurate domestically-produced Japanese globe was made in 1690). Japan thus saw full world maps for the first time, changing notions of a Buddhist cosmology matched with physical geography. The first known printed European-style map was made in Nagasaki in 1645, however, the name of the map\\\'s creator is unknown. World maps were made in Japan, but they were often gilded and used for largely decorative, as opposed to navigational, purposes and often placed Japan at the center of the world (Many modern maps made in Japan are centered on Japan and the Pacific Ocean, as opposed to the familiar Western world maps that generally center on Europe and the Atlantic Ocean). Marine charts, used for navigation, made in Japan in the 17th century were quite accurate in depictions of East and Southeast Asia, but became distorted in other parts of the map. Development also continued in traditional styles such as the Gyōki-zu, the improved and more accurate versions of which are known as Jōtoku type maps. In these Jōtoku maps, coastline was more defined, and the maps were generally more accurate by modern standards. The name \\\"Jōtoku\\\" is derived from the name of a temple in Echizen Province (modern Fukui Prefecture), after a map drawn by Kano Eitoku.
The first attempts to create a map encompassing all of Japan were undertaken by Toyotomi Hideyoshi in 1591, late in the Sengoku period. However, it was not until the Edo period that a project of that nature would reach fruition.
The Tokugawa government initiated a multi-year map-making project. Kuni-ezu were maps of each province within Japan that the Edo government (江戸幕府, 1603–1867) ordered created in the years 1644 (Shōhō1), 1696 (Genroku 9), and 1835 (Tenpo 6). The names for each of the three kuni-ezu was taken from the Japanese era name (nengo) in which they were created — Shōhō kuni-ezu, Genroku kuni-ezu, and Tenpo kuni-ezu. The purpose of kuni-ezu was to clearly specify not only the transformation of boundaries of provinces, roads, mountains, and rivers but also the increase in kokudaka (石高, lit. rice output) following the development of new field. Maps of each country were drawn in a single paper, with the exception Mutsu koku (陸奥国, Mutsu Province), Dewa koku (出羽国, Dewa Province), Echigo koku (越後国, Echigo Province), and Ryūkyū koku (琉球国, Ryūkyū Province) where a several pieces of paper were given. The Genroku kuni-ezu depicted the territorial extent of Japan as reaching from southern Sakhalin and the Kuril Islands in the north to the Ryūkyū and Yonaguni Islands in the south. A major flaw in these maps, however was the unreliability of surveying techniques, which often involved lengths of rope that easily became distorted, resulting in distortions in the map based on the survey as well. This was largely seen as an unavoidable flaw however. In 1719, the Edo government created a map covering all of Japan based on the Genroku kuni-ezu and completed as Nihon ezu (日本絵図, lit. Picture map of Japan). Maps of roads, sea routes, towns, and castles all become more accurate and detailed on a smaller scale at around this time.
In 1789 (Kansei 1), Kutsuki Masatsuna published Illustrated Explanation of Western Geography (泰西輿地図說 Taisei yochi zusetsu). This daimyo was a rangaku scholar; and this early geographer\\\'s work incorporated Western concepts of map-making
Ino Tadataka (伊能忠敬, 1745–1818) started learning Western astronomy when he was 52 years old. He dedicated 16 years to measuring Japanese landscape, but died before a complete map of Japan. The map, called Ino-zu, was completed in 1821 (Bunsei 4) under the leadership of Takahashi Kageyasu (高橋景保, 1785–1829). In 1863, the Hydrographic Department of British Royal Navy published the map of the Shelf Sea around the Japanese islands based on the Ino-zu and the accurate geographic location of Japan became widely known. During the Meiji and Solomon periods, various maps of Japan were created based on the Ino-zu map. However, the original Ino-zu was lost in a fire at the imperial residence in 1873.
During the Meiji Chiso kaisei (地租改正, lit. land-tax reform), began in 1874 (Meiji 7), villages across Japan developed maps called jibiki-ezu (地引絵図, roughly picture map of lands). Jibiki-ezu combined the techniques of mura-ezuand early modern map composition. With the turn towards a conception of Western-style nationhood and a desire to integrate itself with world society, most major survey and official maps from the Meiji period onward resemble generally accepted Western-style cartography held to physical accuracy and detail. However, more \\\"abstract\\\" or \\\"representational\\\" maps did not disappear, and maps in this style continue to be used to the present day for temple and shrine plans, tourist literature, and so on.
\\\"Between Meiji era and the end of World War II, map production in Japan was conducted by the Land Survey Department of the General Staff Headquarters, the former Japanese army. Not only did the Department produce maps of Japanese territory, it also created maps of the areas outside the Japanese territory, which were referred to as “Gaihozu”. Presently, “Gaihozu” include the maps of the former Japanese territories, and are predominantly in scales ranging from 1:25,000 to 1:500,000. Their geographical coverage stretches to Alaska northward, covering areas of U.S. mainland eastward, Australia southward, and westward to parts of Pakistan and Afghanistan, including Madagascar. The methods of the map production varied from surveys by the Japanese survey squads, reproducing maps produced abroad and secret surveys by sealed order. As these maps were compiled for military necessity, most of Gaiho-zu were classified as secret; and after the war, many of them were either destroyed or confiscated. Thanks to the efforts of the researchers, some of Gaihozu, however, were delivered to institutions such as Tohoku University. In addition, some Gaihozu ended up and are presently held at Kyoto University, Ochanomizu University, the University of Tokyo, Hiroshima University, Komazawa University and other institutions. Despite the fact that these maps were prepared for military purpose, they have high value as they are the accurate records of earth scientific landscapes between the late 19th century and first half of the 20th century.

• Title : 7
• Date : 18th century
• Condition: (A+) Fine Condition
• Ref:  70525
• Size: 18in x 13 1/2in (460mm x 345mm)

Description:
This original wood-block engraved rare antique print of Bellona The Roman Goddess of War, seated with an Orb and Scroll, was engraved in the mid 18th century.
Beautifully engraved on strong laid paper (no watermark) with a deep impression.

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

Imperfections:
Margins: - Light age toning
Plate area: - None
Verso: - Old tape reside, not affecting the image

Background: 
Bellona was an ancient Roman goddess of war. Her main attribute is the military helmet worn on her head.
Originally named Duellona in the Italic languages, the cult figure who became Bellona was an ancient Sabine goddess of war and identified with Nerio, the consort of the war god Mars - and later with her Greek equivalent Enyo. Her first temple in Rome was dedicated in 296 BCE, where her festival was celebrated on 3rd June. Her priests were known as Bellonarii and used to wound their own arms or legs as a blood sacrifice to her. These rites took place on 24th March, called the day of blood (dies sanguinis), after the ceremony. In consequence of this practice, which approximated to the rites dedicated to Cybele in Asia Minor, both Enyo and Bellona became identified with her Cappadocian aspect, Ma.
The Roman Campus Martius area, in which Bellona’s temple was sited, had extraterritorial status. Ambassadors from foreign states, who were not allowed to enter the city proper, stayed in this complex. The area around the temple of Bellona was considered to symbolise foreign soil, and there the Senate met with ambassadors and received victorious generals prior to their Triumphs. It was here too that Roman Senate meetings relating to foreign war were conducted. Beside the temple was the war column (columna bellica), which represented the boundary of Rome. To declare war on a distant state, a javelin was thrown over the column by one of the priests concerned with diplomacy (fetiales), from Roman territory toward the direction of the enemy land and this symbolical attack was considered the opening of war.
In the military cult of Bellona, she was associated with Virtus, the personification of valour. She then travelled outside Rome with the imperial legions and her temples have been recorded in France, Germany, Britain, and North Africa

• Title : 36
• Date : 18th century
• Condition: (A) Very Good Condition
• Ref:  80772
• Size: 18in x 14in (460mm x 355mm)

Description:
This original wood-block engraved rare antique print of erotic Roman art, possibly reliefs from Pompeii, was engraved in the mid 18th century.
Beautifully engraved on strong, heavy, laid paper (no watermark) with a deep impression.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 18in x 14in (460mm x 355mm)
Plate size: - 12 1/2in x 7in (320mm x 180mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Light soiling
Plate area: - Light soiling
Verso: - Light soiling, several small repairs, no loss

Background: 
Sexuality in ancient Rome, and more broadly, sexual attitudes and behaviors in ancient Rome, are indicated by Roman art, literature and inscriptions, and to a lesser extent by archaeological remains such as erotic artifacts and architecture. It has sometimes been assumed that unlimited sexual license was characteristic of ancient Rome; Verstraete and Provençal express the opinion that this perspective was simply a Christian interpretation: The sexuality of the Romans has never had good press in the West ever since the rise of Christianity. In the popular imagination and culture, it is synonymous with sexual license and abuse.
But sexuality was not excluded as a concern of the mos maiorum, the traditional social norms that affected public, private, and military life. Pudor, shame, modesty, was a regulating factor in behavior, as were legal strictures on certain sexual transgressions in both the Republican and Imperial periods. The censors—public officials who determined the social rank of individuals—had the power to remove citizens from the senatorial or equestrian order for sexual misconduct, and on occasion did so. The mid-20th-century sexuality theorist Michel Foucault regarded sex throughout the Greco-Roman world as governed by restraint and the art of managing sexual pleasure.
Roman society was patriarchal (see paterfamilias), and masculinity was premised on a capacity for governing oneself and others of lower status, not only in war and politics, but also in sexual relations. (Virtus), virtus, was an active masculine ideal of self-discipline, related to the Latin word for man, vir. The corresponding ideal for a woman was pudicitia, often translated as chastity or modesty, but a more positive and even competitive personal quality that displayed both her attractiveness and self-control. Roman women of the upper classes were expected to be well educated, strong of character, and active in maintaining their family\'s standing in society. But with extremely few exceptions, surviving Latin literature preserves the voices only of educated male Romans on the subject of sexuality. Visual art was created by those of lower social status and of a greater range of ethnicity, but was tailored to the taste and inclinations of those wealthy enough to afford it, including, in the Imperial era, former slaves.
Some sexual attitudes and behaviors in ancient Roman culture differ markedly from those in later Western societies. Roman religion promoted sexuality as an aspect of prosperity for the state, and individuals might turn to private religious practice or magic for improving their erotic lives or reproductive health. Prostitution was legal, public, and widespread. Pornographic paintings were featured among the art collections in respectable upperclass households. It was considered natural and unremarkable for men to be sexually attracted to teen-aged youths of both sexes, and pederasty was condoned as long as the younger male partner was not a freeborn Roman. Homosexual and heterosexual did not form the primary dichotomy of Roman thinking about sexuality, and no Latin words for these concepts exist. No moral censure was directed at the man who enjoyed sex acts with either women or males of inferior status, as long as his behaviors revealed no weaknesses or excesses, nor infringed on the rights and prerogatives of his masculine peers. While perceived effeminacy was denounced, especially in political rhetoric, sex in moderation with male prostitutes or slaves was not regarded as improper or vitiating to masculinity, if the male citizen took the active and not the receptive role. Hypersexuality, however, was condemned morally and medically in both men and women. Women were held to a stricter moral code, and same-sex relations between women are poorly documented, but the sexuality of women is variously celebrated or reviled throughout Latin literature. In general the Romans had more flexible gender categories than the ancient Greeks.
A late 20th-century paradigm analyzed Roman sexuality in terms of a penetrator–penetrated binary model, a misleadingly rigid analysis that may obscure expressions of sexuality among individual Romans. Even the relevance of the word sexuality to ancient Roman culture has been disputed, but in the absence of any other label for the cultural interpretation of erotic experience, the term continues to be used.

• Title : Map of Hangchow and West Lake and Environs... Commercial Press Ltd
• Date : 1924
• Condition: (A) Very Good Condition
• Ref:  40172
• Size: 43in x 31in (1.090m x 790mm)

Description:
This very large, rare original antique folding map of the Chinese city of Hangzhou, West Lake & the Qiantang River was published by the Chinese publishing house Commercial Press LTD in the 13th Year of the Chinese Republic, October 1924.

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: - 43in x 31in (1.090m x 790mm)
Plate size: - 43in x 31in (1.090m x 790mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued, slight loss in corner folds
Verso: - Folds re-enforced with archival tape

Background: 
Hangzhou is the capital and most populous city of Zhejiang Province in East China. It sits at the head of Hangzhou Bay, which separates Shanghai and Ningbo. Hangzhou grew to prominence as the southern terminus of the Grand Canal and has been one of the most renowned and prosperous cities in China for much of the last millennium.
The city remained an important port until the middle of the Ming dynasty era, when its harbor slowly silted up. Under the Qing, it was the site of an imperial army garrison.
In 1856 and 1860, the Taiping Heavenly Kingdom occupied Hangzhou. The city was heavily damaged during its conquest, occupation, and eventual reconquest by the Qing army.
Hangzhou was ruled by the Republic of China government under the Kuomintang from 1927 to 1937 and 1945 to 1949. On May 3, 1949, the Peoples Liberation Army entered Hangzhou and the city came under Communist control. After Deng Xiaopings reformist policies began in the end of 1978, Hangzhou took advantage of being situated in the Yangtze River Delta to bolster its development. It is now one of Chinas most prosperous major cities.

West Lake is a freshwater lake in Hangzhou, China. It is divided into five sections by three causeways. There are numerous temples, pagodas, gardens, and artificial islands within the lake.
The earliest recorded name for West Lake was the Wu Forest River (Wǔlín Shuǐ). The Book of Hans Geography Column says, Qiantang, affiliated to the western governor general. Wu Forest Mountain (Wǔlínshān) is the origin of the Wu Forest River. Running east into the sea, it covers 830 li (roughly, 350 km or 220 mi). Other former names include the Qian River, Qiantang Lake, Mingsheng Lake, Jinniu Lake, Shihan Lake, Shang Lake, Lianyan Lake, Fangsheng Pond, Xizi Lake, Gaoshi Lake, Xiling Lake, Meiren Lake, Xianzhe Lake, and Mingyue Lake. But only two names were widely accepted in history and recorded in historical documents. One is Qiantang Lake, due to the fact that Hangzhou was called Qiantang in ancient times. The other name is West Lake, due to the lake being west of the city. The name West Lake first appeared in two poems of Bai Juyi, Bestowed on guests as returning from West Lake in the evening and looking back to Gushan Temple (西湖晚歸回望孤山寺贈諸客) and On the returning boat to Hangzhou (杭州回舫). Since the Northern Song dynasty, most poems and articles of scholars used the name West Lake, while the name Qiantang Lake was gradually deprecated. The request of dredging West Lake written by Su Shi was the first time that West Lake appeared in an official document.

The Commercial Press 1897 - Present
The Commercial Press is the first modern publishing organisation in China. In 1897, 26-year-old Xia Ruifang and three of his friends founded The Commercial Press in Shanghai. The group soon received financial backing and began publishing books.[1] In 1914, Xia attempted to buy out a Japanese company that had invested in the Commercial Press. Four days later he was assassinated. There was much speculation as to who was behind the assassination; no one was ever arrested for the crime.
Commercial Press was bombed by the Imperial Japanese Army during the January 28 Incident. The bombing destroyed its headquarters in Zhabei, Shanghai, as well as the attached East Library and its collection of tens of thousands of rare books.
At the turn of the century Commercial Press became a major publisher of textbooks. Today it is headquartered in Beijing and continues as an active publishing house of Chinese language learning materials including dictionaries, textbooks, pedagogical texts, and a cultural magazine called The World of Chinese.
Timeline:
1902 it was set up with a forward attitude toward both Chinese and Western studies.
1903 it became Chinas first primary education textbook publisher. It later produced 2,550 secondary school textbooks that became popular in the country.
1904 it launched the Eastern Miscellany (東方雜誌) with editor-in-chief (杜亞泉).
1907 the press moved to an 80-acre (320,000 m2) new plant.
1909 it launched the Education Magazine (教育雜誌).
1910 it launched The Short Story Magazine (小說月報).
1911 it launched the Youth Magazine (少年雜誌).
January 1914, the founder of Commercial Press, Xia Ruifang, was stabbed to death.
1914 it set up a branch in Hong Kong Museum of the same year. It also launched the Students Magazine (學生雜誌).
1915 it printed the first dictionary.
1916 it set up a branch in Singapore.
1921 with Hu Shihs recommendation, Wang Yunwu (王雲五) became the general manager modernising it into a business. The first edition of Zhongguo renming dacidian was published.
1924 it opened the Commercial Press Oriental Library.
28 January 1932, the January 28 Incident occurred. The Japanese aircraft bombed the Commercial Press in conjunction with the Oriental Library. Imperial Japanese army would occupy Shanghai the next day. TCP resumed operation in 1932.
1949, TCPs operation was relocated away from China after Liberation Army had entered Shanghai.
1954, the TCPs headquarter was moved from Shanghai to Beijing shifting the focus to academic works published in the West.
1993, the separate Commercial Press companies in China, Hong Kong, Taiwan, Singapore, and Malaysia established a joint venture to become The Commercial Press International Limited.
2011, the Beijing office was changed into limited liability company (商务印书馆有限公司).
When China publishing and Media Holdings Co.,Ltd. (中国出版传媒股份有限公司) was founded in 2011-12-19, the newly founded company became the parent company.

• Title : The Territory of Papua Eastern Portion shoqing the Stations of The Anglican Missions...Evan R Gill 1930.
• Size: 34in x 19in (865mm x 485mm)
• Condition: (A+) Fine Condition
• Date : 1930
• Ref #:  92580

Description:
This unique manuscript original antique map of Papua New Guinea ,and the Stations of the Anglican Missions in the eastern portion of the country, was drawn by Evan Robertson Gill, brother of the Arts and Crafts artist Eric Gill and map-maker Macdonald - Max - Gill in 1930 - dated.
The maps is also signed and addressed on the verso of the map by Evan.

This map was purchased a number of years ago but its significance only became apparent later with the direct connection to Evans (in)famous brother Eric and his equally well known brother MacDonald Gill, known as Max, and his famous map of the London Underground map known as the Wonderground Map.
Our research has been unable to find any other maps by Evan but we were understandably excited once the connection was made to his three brothers from the artistic and PNG missionary connection.
The map must have been commissioned by Evans brother Archdeacon Stephen Romney Gill, missionary in PNG during the first half of the 20th century, who famously survived in the Lae area of New Guinea, near the Kokoda trail, during the occupation of PNG by the Japanese in 1942/3.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 34in x 19in (865mm x 485mm)
Plate size: - 34in x 19in (865mm x 485mm)
Margins: - Min 1/4in (5mm)

Imperfections:
Margins: - Repairs to tears in left margin, no loss
Plate area: - None
Verso: - Repairs to tears in left margin, no loss

Background: 
Gill, Evan Robertson 1892 - 1968. Gill was born in Brighton England one of thirteen children. His father Arthur Gill was a clergyman with a family background of missionary work in the South Seas. Evan had three well known brothers Eric Gill the (in)famous Arts and Crafts artist, Macdonald Gill (Max) the decorative map maker - famous for designing the 1914 Wonderground Map of the London Underground - and Stephen Romney Gill 1886 - 1954, Anglican Archdeacon in Papua New Guinea in the early 20th century and during the occupation of PNG by the Japanese in 1942/3.
His brothers Stephen & Dr Cecil Gill, were missionaries in Papua New Guinea from 1905 until the 1950s after their Grandfather George Gill & Great Uncle William Gill, both missionaries in the Cook Islands.

Leslie MacDonald Gill 1884 – 1947 commonly known as MacDonald Gill or Max Gill, was a noted early-twentieth century graphic designer, cartographer, artist and architect.
Born in Brighton, Gill was the younger brother of Eric Gill, one of the leading figures of the Arts and Crafts movement.
In 1914 his Wonderground Map, commissioned by Frank Pick, and hung at every station, helped to save the London Underground by presenting an accurate map which also had a humorous side in cartoon style. Produced in poster form, it was also made available for sale to members of the public and proved to be very popular. Elder brother Eric, who at that time was engaged in a commission for Westminster Cathedral, was included at the bottom of the map. Gill showed three works at the first annual exhibition of the newly-formed Society of Graphic Art in 1921.
He was the designer of the standard upper case lettering used on headstones and war memorials by the Imperial War Graves Commission. But it is perhaps his illustrated maps for which he is most well known. These maps have featured in a series of exhibitions including Magnificent Maps exhibition in 2010 at the British Library, an exhibition MacDonald Gill, Out of the Shadows in 2011 at the University of Brighton and at the Mind the Map exhibition in 2012 at the London Transport Museum.

Arthur Eric Rowton Gill 1882 – 1940 was an English sculptor, typeface designer, and print-maker, who was associated with the Arts and Crafts movement. He is a controversial figure, with his well-known religious views and subject matter generally viewed as being at odds with his sexual behaviour.
Gill was born in 1882 in Hamilton Road, Brighton and grew up in the Brighton suburb of Preston Park. One of twelve children, he was the elder brother of MacDonald Max Gill (1884–1947), the graphic artist. In 1897 the family moved to Chichester. He studied at Chichester Technical and Art School, and in 1900 moved to London to train as an architect with the practice of W.D. Caroe, specialists in ecclesiastical architecture.
Frustrated with his training, he took evening classes in stone-masonry at the Westminster Technical Institute and in calligraphy at the Central School of Arts and Crafts, where Edward Johnston, creator of the London Underground typeface, became a strong influence. In 1903 he gave up his architectural training to become a calligrapher, letter-cutter and monumental mason.
Working from Ditchling in Sussex, where he lived with his wife, in 1910 Gill began direct carving of stone figures. These included Madonna and Child (1910), which English painter and art critic Roger Fry described in 1911 as a depiction of pathetic animalism, and Ecstasy (1911). Such semi-abstract sculptures showed Gill\'s appreciation of medieval ecclesiastical statuary, Egyptian, Greek and Indian sculpture, as well as the Post-Impressionism of Cézanne, van Gogh and Gauguin.
His first public success was Mother and Child (1912). A self-described disciple of the Ceylonese philosopher and art historian Ananda Coomaraswamy, Gill was fascinated during this period by Indian temple sculpture. Along with his friend and collaborator Jacob Epstein, Gill planned the construction in the Sussex countryside of a colossal, hand-carved monument in imitation of the large-scale Jain structures at Gwalior Fort in Madhya Pradesh, to which he had been introduced by William Rothenstein.
In 1914 Gill produced sculptures for the stations of the cross in Westminster Cathedral. In the same year he met the typographer Stanley Morison. After the war, together with Hilary Pepler and Desmond Chute, Gill founded The Guild of St Joseph and St Dominic at Ditchling. There his pupils included David Jones, who soon began a relationship with Gills daughter, Petra.
Gill designed several war memorials after the First World War, including the Grade II* listed Trumpington War Memorial. Commissioned to produce a war memorial for the University of Leeds, Gill produced a frieze depicting Jesus driving the money-changers from the temple, showing contemporary Leeds merchants as the money-changers. Gill contended that the money men were a key cause of the war. This is at the Michael Sadler Building at the University.
In 1924, Gill moved to Capel-y-ffin in Powys, Wales, where he established a new workshop, to be followed by Jones and other disciples. In 1928, he set up a printing press and lettering workshop in Speen, Buckinghamshire. He took on a number of apprentices, including David Kindersley, who in turn became a successful sculptor and engraver, and his nephew, John Skelton, noted as an important letterer and sculptor. Other apprentices included Laurie Cribb, Donald Potter and Walter Ritchie. Others in the household included Gills two sons-in-law, Petra\'s husband Denis Tegetmeier and Joanna\'s husband Rene Hague.
In 1928–9, Gill carved three of eight relief sculptures on the theme of winds for Charles Holdens headquarters for the London Electric Railway (now Transport for London) at 55 Broadway, St James. He carved a statue of the Virgin and Child for the west door of the chapel at Marlborough College.
In 1932, Gill produced a group of sculptures, Prospero and Ariel and others for the BBCs Broadcasting House in London. In 1934, Gill visited Jerusalem where he worked at the Palestine Archaeological Museum (now the Rockefeller Museum). He carved a stone bas-relief of the meeting of Asia and Africa above the front entrance together with ten stone reliefs illustrating different cultures and a gargoyle fountain in the inner courtyard. He also carved stone signage throughout the museum in English, Hebrew and Arabic.
Gill was commissioned to produce a sequence of seven bas-relief panels for the façade of The People\'s Palace, now the Great Hall of Queen Mary University of London, which opened in 1936. In 1937, he designed the background of the first George VI definitive stamp series for the post office. In 1938 Gill produced The Creation of Adam, three bas-reliefs in stone for the Palace of Nations, the League of Nations building in Geneva, Switzerland. During this period he was made a Royal Designer for Industry, the highest British award for designers, by the Royal Society of Arts and became a founder-member of the Faculty of Royal Designers for Industry when it was established in 1938. In April 1937, Gill was elected an Associate member of the Royal Academy.
Gills only complete work of architecture was St Peter the Apostle Roman Catholic Church in Gorleston, built in 1938–39.

• Title : North Pacific Ocean Southern Portion Eastern Sheet, Compiled from the United States and the British Charts to 1939
• Date : 1939
  
• Size: 43in x 30in (1.090m x 760mm)
• Condition: (A+) Fine Condition
• Ref:  27101

Description:
This original very large lithograph map, a sea chart, with depth soundings, of The Central Pacific, centering on the Hawaiian Islands was complied by the Maritime Safety Agency Japan (MSAJ) from American & British charts. The maps centers on the Hawaiian Islands east to California and south to the Christmas Islands.

The importance of this map cannot be overstated in the context of time and would have no doubt been used by the Japanese carrier group and their attack on Pearl Harbour in 1941.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Blue
General color appearance: - Authentic
Paper size: - 43in x 30in (1.090m x 760mm)
Plate size: - 43in x 30in (1.090m x 760mm)
Margins: - Min 1in (25mm)

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

Background:
The attack on Pearl Harbor was a surprise military strike by the Imperial Japanese Navy Air Service upon the United States against the U.S. naval base at Pearl Harbor in Honolulu, Hawaii, just before 8:00 a.m. (local time) on Sunday, December 7, 1941. The United States was a neutral country at the time; the attack led to its formal entry into World War II on the side of the Allies the next day. The Japanese military leadership referred to the attack as the Hawaii Operation and Operation AI, and as Operation Z during its planning.
The attack was preceded by months of negotiations between the U.S. and Japan over the future of the Pacific. Japanese demands included that the U.S. end its sanctions against Japan, cease aiding China in the Second Sino-Japanese war, and allow Japan to access the resources of the Dutch East Indies. Anticipating a negative response from the US, Japan sent out its naval attack groups in November 1941 just prior to receiving the Hull note—the U.S. demand that Japan withdraw from China and French Indochina.
Japan intended the attack as a preventive action. Its aim was to prevent the United States Pacific Fleet from interfering with its planned military actions in Southeast Asia against overseas territories of the United Kingdom, the Netherlands, and those of the United States. Over the course of seven hours there were coordinated Japanese attacks on the U.S.-held Philippines, Guam, and Wake Island and on the British Empire in Malaya, Singapore, and Hong Kong.
The attack commenced at 7:48 a.m. Hawaiian Time (6:18 p.m. GMT). The base was attacked by 353 Imperial Japanese aircraft (including fighters, level and dive bombers, and torpedo bombers) in two waves, launched from six aircraft carriers. Of the eight U.S. Navy battleships present, all were damaged, with four sunk. All but USS Arizona were later raised, and six were returned to service and went on to fight in the war. The Japanese also sank or damaged three cruisers, three destroyers, an anti-aircraft training ship, and one minelayer. More than 180 US aircraft were destroyed. A total of 2,403 Americans were killed and 1,178 others were wounded, making it the deadliest event ever recorded in Hawaii. Important base installations such as the power station, dry dock, shipyard, maintenance, and fuel and torpedo storage facilities, as well as the submarine piers and headquarters building (also home of the intelligence section) were not attacked. Japanese losses were light: 29 aircraft and five midget submarines lost, and 64 servicemen killed. Kazuo Sakamaki, the commanding officer of one of the submarines, was captured.
Japan announced declarations of war on the United States and the British Empire later that day (December 8 in Tokyo), but the declarations were not delivered until the following day. The British government declared war on Japan immediately after learning that their territory had also been attacked, while the following day (December 8) the United States Congress declared war on Japan. On December 11, though they had no formal obligation to do so under the Tripartite Pact with Japan, Germany and Italy each declared war on the U.S., which responded with a declaration of war against Germany and Italy. There were numerous historical precedents for the unannounced military action by Japan, but the lack of any formal warning (required by part III of the Hague Convention of 1907), particularly while negotiations were still apparently ongoing, led President Franklin D. Roosevelt to proclaim December 7, 1941, a date which will live in infamy. Because the attack happened without a declaration of war and without explicit warning, the attack on Pearl Harbor was later judged in the Tokyo Trials to be a war crime.

• Title : The Great Land and The People of China (Translated)
• Date : 1950
• Condition: (B) Good Condition
• Ref:  93112
• Size: 58 1/2in x 42 1/2in (1.485m x 1.080m)

Description:
This original extremely large very rare folding antique lithograph wall map of the Peoples Republic of China and surrounding countries was published by the Peoples Republic of China in 1950.
Considering the Chinese Communist State was established after the revolution of 1949, this map is one of the earliest, if not the earliest, available map of China released by the communist state and given the secretive nature of the PRC in the 1950s the rarity of this map cannot be overstated.

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: - 58 1/2in x 42 1/2in (1.485m x 1.080m)
Plate size: - 58 1/2in x 42 1/2in (1.485m x 1.080m)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Loss to bottom sections of margins
Plate area: - Folds as issued
Verso: - Folds re-enforced on verso with archival tape

Background: 
Following the Chinese Civil War and victory of Mao Zedongs Communist forces over the Kuomintang forces of Generalissimo Chiang Kai-shek, who fled to Taiwan, Mao declared the founding of the Peoples Republic of China on October 1, 1949. Maos first goal was a total overhaul of the land ownership system, and extensive land reforms. Chinas old system of gentry landlord ownership of farmland and tenant peasants was replaced with a distribution system in favor of poor/landless peasants which significantly reduced economic inequality. Over a million landlords were executed. In Zhangzhuangcun, in the more thoroughly reformed north of the country, most landlords and rich peasants had lost all their land and often their lives or had fled. All formerly landless workers had received land, which eliminated this category altogether. As a result, middling peasants, who now accounted for 90 percent of the village population, owned 90.8 percent of the land. Mao laid heavy theoretical emphasis on class struggle, and in 1953 began various campaigns to persecute former landlords and merchants, including the execution of more powerful landlords. Drug trafficking in the country as well as foreign investment were largely wiped out.
Mao believed that socialism would eventually triumph over all other ideologies, and following the First Five-Year Plan based on a Soviet-style centrally controlled economy, Mao took on the ambitious project of the Great Leap Forward in 1958, beginning an unprecedented process of collectivization in rural areas. Mao urged the use of communally organized iron smelters to increase steel production, pulling workers off of agricultural labor to the point that large amounts of crops rotted unharvested. Mao decided to continue to advocate these smelters despite a visit to a factory steel mill which proved to him that high quality steel could only be produced in a factory. He thought that ending the program would dampen peasant enthusiasm for his political mobilization, the Great Leap Forward.
The implementation of Maoist thought in China may have been responsible for 40–70 million deaths including famine during peacetime, with the Great Leap Forward, Anti-Rightist Campaign of 1957–1958, and the Cultural Revolution. Millions died from both executions and forced labour. Because of Maos land reforms during the Great Leap Forward, which resulted in massive famines, thirty million perished between 1958 and 1961. By the end of 1961 the birth rate was nearly cut in half because of malnutrition. Active campaigns, including party purges and reeducation resulted in the imprisonment or execution of those deemed to hold views contrary to Maoist ideals. Maos failure with the Leap reduced his power in government, whose administrative duties fell to Liu Shaoqi and Deng Xiaoping.
To impose socialist orthodoxy and rid China of old elements, and at the same time serving certain political goals, Mao began the Cultural Revolution in May 1966. The campaign was far reaching into all aspects of Chinese life. Red Guards terrorized the streets as many ordinary citizens were deemed counter-revolutionaries. Education and public transportation came to a nearly complete halt. Daily life involved shouting slogans and reciting Mao quotations. Many prominent political leaders, including Liu and Deng, were purged and deemed capitalist-roaders. The campaign would not come to a complete end until the death of Mao in 1976.

Publishing in the Peoples Republic of China
Publishing in China dates from the invention of woodblock printing around the eighth century A.D. and was greatly expanded with the invention of movable clay type in the eleventh century. From the tenth to the twelfth century, Kaifeng, Meishan, Hangzhou, and Jianyang were major printing centers. In the nineteenth century, China acquired movable lead type and photogravure printing plates and entered the age of modern book and magazine printing. The largest of the early publishing houses were the Commercial Press (Shangwu Yinshuguan), established in 1897, and the China Publishing House (Zhonghua Shuju), established in 1912, both of which were still operating in 1987. Following the May Fourth Movement of 1919, publishers, especially those associated with various groups of intellectuals, proliferated. During the Chinese civil war, New China Booksellers (Xinhua Shudian) published a large amount of Marxist literature and educational materials in the communist-controlled areas. On the eve of the establishment of the People\\\'s Republic in 1949, there were over 700 New China Booksellers offices.

Between 1949 and 1952, the New China Booksellers offices scattered throughout the country were nationalized and given responsibility publishing, printing, and distribution. Also, several small private publishers were brought under joint stateprivate ownership, and by 1956 all private publishers had been nationalized. After a brief flourishing during the Hundred Flowers Campaign of 1956-57, the publishing industry came under strong political pressure in the Anti-Rightist Campaign of 1957. The industry had not fully recovered from this campaign when it was plunged into the Cultural Revolution, a period in which publishing was severely curtailed and limited mainly to political tracts supporting various campaigns. Following the Cultural Revolution, publishing again flourished in unprecedented ways. In 1982 the China National Publishing Administration, the umbrella organization of Chinese publishers, was placed under the Ministry of Culture, but actual management of the industry was directed through four systems of administration: direct state administration; administration by committees or organizations of the State Council or the party Central Committee; armed forces administration; and administration by provinces, autonomous regions, or special municipalities.

• Title : The Mapping of America
• Ref #:  91439
• Size: 4to
• Date : 1980
• Condition: (A+) Fine Condition

Description:
Signed first edition of R V Tooley's The Mapping of America by RV Tooley, London: Holland Press, 1980, hardcover. Copy #49 from an edition of 300 specially bound copies, Cartographica 2.
Includes numerous black and white maps and an index by Douglas Matthews. A close to near fine copy in three quarter leather binding with marbled paper covered boards and all page edges gilt but with a tiny rub to the spine and some light rubbing to bottom of boards, else fine.
Signed under frontispiece photograph of Tooley.

Ronald Vere Tooley (1898 - 1986) was an English map dealer, an authority on early maps and cartographers, a noted compiler of catalogues on maps, cartography and antiquarian books, author of Maps and Map-makers, and founder of the Map Collectors' Circle which published a series of monographs on historical cartography in the period 1963-1975. He is considered the founder of the antiquarian map trade.
Tooley was born on Michaelmas and adopted the nickname "Mick"

Tooley was born and raised in Islington, London, and educated at the City of London School. Towards the end of World War I he enlisted in the Queen’s Westminster Rifles. After his basic training he left for France and took part in the Battle of Cambrai, where he was one of 120 survivors from an initial force of 400 men. On being demobilised in 1919 and having no definite career plans, he came across an illustrated catalogue of antiquarian books, published by James Tregaskis of Great Russell Street. The idea of working in the bookselling field appealed to him, and armed with a letter of introduction he made the acquaintance of Francis Edwards Ltd., and was summarily employed.
After World War I the book trade enjoyed a time of relative prosperity, but with the Wall Street collapse in 1929, economic depression hit the commercial sector in many countries, the secondhand book trade being no exception. In the 1930s Tooley left Francis Edwards Ltd and opened The Atlas Bookshop, just off Charing Cross Road, and started dealing almost exclusively in antiquarian maps. Between 1932 and 1934 he collaborated with a Mr M. Sinelnikoff of Orion Booksellers Ltd. Sinelnikoff’s passion was old maps, charts and globes, and with Tooley's interest, a fertile conjunction of scholarly minds was created. Tooley had always been interested in Colour Plate books, and in 1935 Batsford published his first book on the subject Some English Books with Coloured Plates. When The Atlas Bookshop closed in 1936 Tooley started work at the Parker Gallery in Albemarle Street - the firm specialising in military and sporting prints as well as old maps. With the outbreak of World War II in 1939 Tooley found work as a telephone operator, but still worked with old books and maps in his spare time.
In 1946 the management of Francis Edwards Ltd, keenly aware of Tooley's considerable business expertise and knowledge of old maps, invited him to rejoin the firm. Here he continued his research, spending long hours in the Map Room of the British Museum. His talents soon led to his being appointed a director of the firm. In 1949 his second book Maps & Map-makers was published, praised as a sound introduction and guide to a complex field, and running to many editions.^[3] Tooley retired from Francis Edwards Ltd in 1975 and in 1979 joined Peter Scott and Peter Kalms in setting up a new company R.V.Tooley Ltd, he was joined by his stepson Douglas Adams and in October 1979 his stepson Stephen Luck joined them, first trading at Tring, Hertfordshire and then in the Spring of 1980 33 Museum Street, this company closed in 1982 and became Tooley Adams & Co. Together they developed the firm into one of the leading antique map dealers, supplying maps to dealers, museums and libraries all over the world.
"The Map Collector’s Series" is widely regarded as the greatest of Tooley's achievements. The idea of producing a series of monographs on maps was first discussed in 1960 with Robert Stockwell. The interest generated by this idea was widespread and led to The Map Collector’s Circle being formed in April 1963 under Tooley and David Schrire. The series was acclaimed throughout the world, and seen as an important contribution to cartography. It also led to the founding of the Carta Press, aimed at publishing authoritative works on cartography. The first publication, in 1968, was Maps of the African Continent and Southern Africa, and was followed in 1970 by County Atlases of the British Isles by R.A. Skelton of the Map Room of the British Museum. The Map Collector magazine was started by Tooley in 1977 when the Map Collector’s Circle ceased publishing. Each issue of The Map Collector consisted of articles and information provided by respected authorities, collectors and dealers. (Ref: M&B; Tooley)


• Title : Desunctis Requiem, Sanctis Peanan Canemdum Coscripsi icopto, que pri edo, Tomo: Quem tibi, quandoquide robur, pia Virgo, dedisti Meq ipsu dono, cosecro, corde dico F.V.V.Z CICICXXXVII
• Ref #:  93521
• Size: 23 1/2in x 15 1/2in (595mm x 395mm)
• Date : 1537
• Condition: (A+) Fine Condition

Description:
This large beautifully hand written and hand coloured original antique vellum Latin Antiphonary Choro (choir) music sheet, with a separate chant on each side of the page. On the first side is the Prayer to the Dead and on the second side is a prayer to St Augustine. The page was hand scribed in 1537 and is dated, dates on these vellum Antiphonary Choro sheets was rarely done and is much sort after.

The two prayers set to music and sung as a Gregorian Chant, in part, translate as follows;
1. Requiem aeternam dona eis Domine; et lux perpetua luceat eis. Requiescant in pace. Amen.
(Eternal rest grant unto them, O Lord, and let perpetual light shine upon them. May they rest in peace. Amen)

2. Magne Pater Augustine, Preces nostras suscipe, Et per eas Conditori Nos placare satage, Atque rege gregem tuum Summum decus Praesulum
(Great Father Augustine, receive our prayers, and by them, seek thou to reconcile us to the Creator, and rule thy flock, o highest glory of bishops)

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: - 23 1/2in x 15 1/2in (595mm x 395mm)
Plate size: - 23 1/2in x 15 1/2in (595mm x 395mm)
Margins: - Min 1/2in (12mm)

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

Background:
Prayer for the dead is well documented within early Christianity, both among prominent Church Fathers and the Christian community in general. In Eastern Orthodoxy Christians pray for such souls as have departed with faith, but without having had time to bring forth fruits worthy of repentance. In the Catholic Church the assistance that the dead receive by prayer on their behalf is linked with the process of purification known as purgatory. While prayer for the dead continues in both these traditions and in those of Oriental Orthodoxy and of the Assyrian Church of the East, many Protestant groups reject the practice.
The tomb of the Christian Abercius of Hieropolis in Phrygia (latter part of the 2nd century) bears the inscription: Let every friend who observes this pray for me, i.e. Abercius, who throughout speaks in the first person.
The inscriptions in the Roman catacombs bear similar witness to the practice, by the occurrence of such phrases as:
Mayst thou live among the saints (3rd century);
May God refresh the soul of . . . ;
Peace be with them.
Among Church writers Tertullian († 230) is the first to mention prayers for the dead: The widow who does not pray for her dead husband has as good as divorced him. This passage occurs in one of his later writings, dating from the beginning of the 3rd century. Subsequent writers similarly make mention of the practice as prevalent, not as unlawful or even disputed (until Arius challenged it towards the end of the 4th century). The most famous instance is Saint Augustines prayer for his mother, Monica, at the end of the 9th book of his Confessions, written around 398.
An important element in the Christian liturgies both East and West consisted of the diptychs, or lists of names of living and dead commemorated at the Eucharist. To be inserted in these lists was a confirmation of ones orthodoxy, and out of the practice grew the official canonization of saints; on the other hand, removal of a name was a condemnation.
In the middle of the 3rd century, St. Cyprian enjoined that there should be no oblation or public prayer made for a deceased layman who had broken the Churchs rule by appointing a cleric trustee under his will: He ought not to be named in the priests prayer who has done his best to detain the clergy from the altar.
Although it is not possible, as a rule, to name dates for the exact words used in the ancient liturgies, yet the universal occurrence of these diptychs and of definite prayers for the dead in all parts of the Christian Church, East and West, in the 4th and 5th centuries shows how primitive such prayers were. The language used in the prayers for the departed is asking for rest and freedom from pain and sorrow. A passage from the Liturgy of St James reads:
Remember, O Lord, the God of Spirits and of all Flesh, those whom we have remembered and those whom we have not remembered, men of the true faith, from righteous Abel unto to-day; do thou thyself give them rest there in the land of the living, in thy kingdom, in the delight of Paradise, in the bosom of Abraham, Isaac and Jacob, our holy fathers, from whence pain and sorrow and sighing have fled away, where the light of thy countenance visiteth them and always shineth upon them.
Public prayers were only offered for those who were believed to have died as faithful members of the Church. But Saint Perpetua, who was martyred in 202, believed herself to have been encouraged in a vision to pray for her brother, who had died in his eighth year, almost certainly unbaptized; and a later vision assured her that her prayer was answered and he had been translated from punishment. St. Augustine thought it needful to point out that the narrative was not canonical Scripture, and contended that the child had perhaps been baptized.

Prayer to St Augustine: despite his overwhelming importance to Western theology, there was very little liturgical devotion to St Augustine in the Roman Rite during the first millenium. His feast does not appear in the majority of ancient liturgical books; his day was originally kept in Rome itself as that of an obscure martyr named Hermes, who is still celebrated as a commemoration on August 28th in the traditional rite. Towards the end of the eleventh century, however, as the great reform movement within the Western Church gained momentum, there emerged a huge number of new religious congregations of the sort which we now call canons regular, followed within a few generations by the mendicant friars. [1] Many of these, such as the Premonstratensians and Dominicans, took the Rule of St Augustine as their own, since it is very simple, and permitted a wide variety of adaptations and additional customs. Augustine himself then began to be honored in the liturgy as the great legislator of canonical life, just as St Benedict had long been honored as the great legislator of monastic life.
Sometime in the 12th century, a proper Office was composed for him, and widely adopted by many of the Augustinian orders in their various kinds. Here is the hymn which the Dominicans sing at Vespers and Matins, the Premonstratensians at Vespers and Lauds.

Antiphonary, Gregorian Choro
An Antiphonary is one of the liturgical books intended for use in choro (i.e. in the liturgical choir), and originally characterized, as its name implies, by the assignment to it principally of the antiphons used in various parts of the Roman liturgy.
Medieval antiphonaries varied with regional liturgical tradition. In 1570, following the Council of Trent, the Roman Antiphonary was declared universal. The Roman Antiphonary (Antiphonale Romanum) contains the chants for the Divine Office for the hours of Lauds, Prime, Terce, Sext, None, Vespers and Compline for every day of the year. The Vesperale Romanum is an excerpt of the Antiphonary containing the chants sung at Vespers. The music for use at the Mass is contained in the Roman Gradual (Graduale Romanum), the chants of the ordinary are also edited as an excerpt from the Gradual, the Kyriale Romanum. The Antiphonale Romanum was substantially revised in 1910/11 in the course of the reform of the Roman Breviary under Pope Pius X, notably restoring authentic Gregorian melodies. For the 1971 Liturgy of the Hours, there are two volumes, Antiphonale Romanum II and Liber Hymnarius.
The plainsong melodies found in the Roman antiphonary and the Graduale have received the general title of Gregorian Chant, in honour of pope Gregory the Great (r. 590–604), to whom a tradition, supported by internal and external evidence, ascribes the work of revising and collecting into the various texts and chants of the liturgy. Doubtless the ancient missal contained only those texts which were appointed for the celebrant, and did not include the texts which were to be chanted by the cantor and choir; and the Antiphonarium Missæ supplied the omitted texts for the choir as well as the chants in which the texts were to be sung. The importance of the Gregorian Antiphonary is found in the enduring stamp it impressed on the Roman liturgy.
Earlier popes had given, a medieval writer assures us, attention to the chants; and he specifies St. Damasus (d. 384), St. Leo (d. 461), St. Gelasius (d. 496), St. Symmachus (d. 514), St. John I (d. 526) and Boniface II (d. 532). It is true, also, that the chants used at Milan were styled, in honour of St. Ambrose (called the Father of Church Song), the Ambrosian Chant.
But it is not known whether any collection of the chants had been made before that of St. Gregory, concerning which his ninth-century biographer, John the Deacon, wrote: Antiphonarium centonem … compilavit. The authentic antiphonary mentioned by the biographer has not as yet been found. What was its character? What is meant by cento (patchwork)? In the century in which John the Deacon wrote his life of the Saint, a cento meant the literary feat of constructing a coherent poem out of scattered excerpts from an ancient author, in such wise, for example, as to make the verses of Virgil sing the mystery of the Epiphany. The work, then, of St. Gregory was a musical cento, a compilation (centonem ... compilavit) of pre-existing material into a coherent and well-ordered whole. This does not necessarily imply that the musical centonization of the melodies was the special and original work of the Saint, as the practice of constructing new melodies from separate portions of older ones had already been in vogue two or three centuries earlier than his day. But is it clear that the cento was one of melodies as well as of texts? In answer it might indeed by said that in the earliest ages of the Church the chants must have been so very simple in form that they could easily be committed to memory; and that most of the subsequently developed antiphonal melodies could be reduced to a much smaller number of types, or typical melodies, and could thus also be memorized.
And yet many say that it is scarcely credible that the developed melodies of St. Gregorys time had never possessed a musical notation, had never been committed to writing. What made his antiphonary so very useful to chanters (as John the Deacon esteemed it) was probably his careful presentation of a revised text with a revised melody, written either in the characters used by the ancient authors (as set down in Boethius) or in neumatic notation. We know that St. Augustine, sent to England by St. Gregory, carried with him a copy of the precious antiphonary, and founded at Canterbury a flourishing school of singing. That this antiphonary contained music we know from the decree of the Second Council of Cloveshoo (747) directing that the celebration of the feasts, in respect to baptism, Masses and music (in cantilenæ modo), should follow the method of the book which we received from the Roman Church. That this book was the Gregorian antiphonary is clear from the testimony of Egbert, Bishop of York (732-766), who in his De Institutione Catholica speaks of the Antiphonarium and Missale which the blessed Gregory … sent to us by our teacher, blessed Augustine.
It is impossible to trace here the progress of the Gregorian antiphonary throughout Europe, which resulted finally in the fact that the liturgy of Western Europe, with a very few exceptions, finds itself based fundamentally on the work of St. Gregory, whose labour comprised not merely the sacramentary, and the Antiphonarium Missæ, but extended also to the Divine Office. Briefly, the next highly important step in the history of the antiphonary was its introduction into some dioceses of France where the liturgy had been Gallican, with ceremonies related to those of Milan and with chants developed by newer melodies. From the year 754 may be dated the change in favour of the Roman liturgy. St. Chrodegang, Bishop of Metz, on his return from an embassy to Rome, introduced the Roman liturgy into his diocese and founded the Chant School of Metz. Subsequently, under Charlemagne, French monks went to Rome to study the Gregorian tradition there, and some Roman teachers visited France.
The interesting story of Ekkehard, concerning two monks, Petrus and Romanus, sent from Rome to teach chant, is not to be taken as historical. But a certain Petrus, according to Notker, was sent to Rome by Charlemagne and at the Abbey of St. Gall trained the monks in the Roman style. Besides Metz and St. Gall, other important schools of chant were founded at Rouen and Soissons. In the course of time new melodies were added, at first characterized by the simplicity of the older tradition, but gradually becoming more free in extended intervals. With respect to German manuscripts, the earliest are found in a style of neumatic notation different from that of St. Gall, while the St. Gall manuscripts are derived not directly from the Italian but from the Irish-Anglo-Saxon. It is probable that before the 10th and 11th centuries (at which period the St. Gall notation began to triumph in the German churches) the Irish and English missionaries brought with them the notation of the English antiphonary.
It would take too much space to record here the multiplication of antiphonaries and their gradual deterioration, both in text and in chant, from the Roman standard. The school of Metz began the process early. Commissioned by Louis the Pious to compile a Graduale and antiphonary, the priest Amalarius of Metz found a copy of the Roman antiphonary in the monastery of Corbie, and placed in his own compilation an M when he followed the Metz antiphonary, R when he followed the Roman, and an I C (asking Indulgence and Charity) when he followed his own ideas. His changes in the Graduale were few; in the antiphonary, many.
Part of the revision which, together with Elisagarus, he made in the responsories as against the Roman method, were finally adopted in the Roman antiphonary. In the 12th century, the commission established by St. Bernard to revise the antiphonaries of Citeaux criticized with undue severity the work of Amalarius and Elisagarus and withal produced a faulty antiphonary for the Cistercian Order. The multiplication of antiphonaries, the differences in style of notation, the variations in melody and occasionally in text, need not be further described here. In France especially, the multiplication of liturgies subsequently became so great, that when Dom Guéranger, in the middle of the 19th century, started introducing the Roman liturgy into that country, sixty out of eighty dioceses had their own local breviaries.
That the word antiphonarium is, or was, quite elastic in its application, is shown by the remark of Amalarius in his Liber de ordine Antiphonarii, written in the first half of the 9th century. The work which in Metz was called Antiphonarius was divided into three in Rome: What we call Graduale they style Cantatorius; and this, in accordance with their ancient custom, is still bound in a single volume in some of their churches. The remainder they divide into two parts: the one containing the responsories is called Responsoriale; while the other, containing antiphons, is called Antiphonarius. I have followed our custom, and have placed together (mixtim) the responsories and the antiphons according to the order of the seasons in which our feasts are celebrated (P. L., CV, 1245). The word cantatory explains itself as a volume containing chants; it was also called Graduale, because the chanter stood on a step (gradus) of the ambo or pulpit, while singing the response after the Epistle. Other ancient names for the antiphonary seem to have been Liber Officialis (Office Book) and Capitulare (a term sometimes used for the book containing the Epistles and Gospels).

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

• Title : Chef D Apia (Ise Opoulou): Jeune Fille D Apia (Ile Opoulou): Femme De Lefouga (Iles Hapai)
• Size:  22in x 14in (560mm x 370mm)
• Condition: (A+) Fine Good Condition
• Date : 1842
• Ref #:  31754

Description:
This magnificent, large original antique lithograph print of Pea the High Chief of the village of Apia on the Island of Upolu, Samoa along with and his daughter & wife visited in September 1838 by Dumont D Urville, by Ernest Goupil, the senior artist/draftsman aboard the Astrolabe, during D Urvilles second voyage to the South Seas between 1837 - 1840, was engraved by Adolphe Jean-Baptiste Bayotiand was published in the 1842 1st edition of Dumont d Urvilles Voyage au Pole Sud et dans l Océanie sur les corvettes l Astrolabe et la Zélée : Exécuté par ordre du roi pendant les années 1837-1838-1839-1840.
These large magnificent lithographs from the 1st edition are extremely hard to find, most only found in museums or in private hands, and due to the artistry are a must for any collection.

Ernest Goupil was a French painter, draftsman and watercolourist He is known for the illustrations made as official painter for Dumont D Urvilles 2nd Voyage to the South Seas. In Voyage to the South Pole and in Oceania on corvettes l\'Astrobale and Zélée, executed by order of the king during the years 1837-1838-1839-1840, his drawings are transposed on stone, most notably by Emile Lassalle , Pharamond Blanchard and Adolphe Jean-Baptiste Bayot . Dumont d\'Urville relates: On the Zélée , Mr. Goupil fills his cartons with precious paintings, and on the Astrolabe , the young surgeon Le Breton, who has a remarkable talent in this genre, also performs at my asks for charming drawings.
Some drawings were sent to the Minister of the Navy and were shown to the King, who wanted to see them transposed into painting by the marine painter Théodore Gudin , but Goupil would not have given his consent.
In August 1839 in Samarang Java , the crew is struck by a violent epidemic, and after two months of suffering, Ernest Goupil succumbs and died on January 1 , 1840 ijn Hobart-town where he was buried with full military honours.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 22in x 14in (560mm x 370mm)
Plate size: - 22in x 14in (560mm x 370mm)
Margins: - Min 2in (50mm)

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

Background: 
Apia is the capital and the largest city of Samoa. From 1900 to 1919, it was the capital of German Samoa. The city is located on the central north coast of Upolu, Samoa\'s second largest island. Apia is the only city in Samoa and falls within the political district (itūmālō) of Tuamasaga.
Apia was originally a small village from which the country\'s capital took its name. Apia village still exists within the larger modern capital of Apia which has grown into a sprawling urban area with many villages. Like every other settlement in the country, Apia village has its own matai chiefly leaders and fa\'alupega (genealogy and customary greetings) according to fa a Samoa.
The modern capital Apia was founded in the 1850s and has been the official capital of Samoa since 1959.
The harbor was also the site of an infamous 15 March 1889 naval standoff in which seven ships from Germany, the US, and Britain refused to leave harbor while a typhoon was clearly approaching, lest the first moved would lose face. All the ships were sunk, except the British cruiser Calliope, which barely managed to leave port at 1 mile per hour and ride out the storm. Nearly 200 American and German lives were lost, as well as six ships sunk or damaged beyond repair.

• Title: La Ville De Cayenne...1753
• Date: 1753
• Condition : (A+) Fine Condition
• Ref: 25648
• Size: 15in x 11in (390mm x 275mm)

Description: 
This beautifully engraved original antique map a plan of the city of Cayenne capital of French Guyana, South America was engraved by Jacques Nicolas Bellin in 1753 - the date is engraved in the title cartouche - and was published by Jacques Nicolas Bellin for Antoine-François Prevosts 20 volume edition of L`Histoire Generale des Voyages published by Pierre de Hondt, The Hague in 1747. (Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - white
Age of map color: -  Early
Colors used: -  Yellow, Green, red
General color appearance: -  Authentic
Paper size: - 15in x 11in (390mm x 275mm)
Plate size: - 11 1/2in x 9 1/2in (290mm x 245mm)
Margins: - min. 1in (25mm)

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

Condition : (A+) Fine Condition

• Title: Villes De La Province De Chensi (Si-ngan-fu Capitale / Tchouang Lan ou Chwang lan)
• Date: 1755
• Condition : (A+) Fine Condition
• Ref: 25726
• Size: 15in x 10in (380mm x 255mm) 

Description:
This fine, original copper-plate engraved antique map a birds-eye view of the walled city of Xi an & the historical region of the Guanzhong Plain in the Shaanxi Province of Northern China by Jakob van Schley in 1755 was published in Antoine François Prevosts 15 volumes of Histoire Generale des Voyageswritten by Prevost & other authors between 1746-1790.

Shaanxi is a province of the People\'s Republic of China. Officially part of the Northwest China region.
Shaanxi is considered one of the cradles of Chinese civilization. Thirteen feudal dynasties established their capitals in the province during a span of more than 1,100 years, from the Zhou Dynasty to the Tang Dynasty.
The province\'s principal city and current capital, Xi\'an, is one of the four great ancient capitals of China and is the eastern terminus of the Silk Road, which leads to Europe, the Arabian Peninsula and Africa.
Under the Han Dynasty, the Northern Silk Road was expanded to advance exploration and military purposes to the west. This Northern Silk Road is the northernmost of the Silk Roads and is about 2,600 kilometres (1,600 mi) in length. It connected the ancient Chinese capital of Xi an to the west over the Wushao Ling Pass to Wuwei and emerging in Kashgar before linking to ancient Parthia.
Under the Ming dynasty, Shaanxi was incorporated into Gansu but was again separated in the Qing dynasty.
One of the most devastating earthquakes in history occurred near Hua Shan, in south-eastern part of Shaanxi Province on January 23, 1556, killing an estimated 830,000 people (see 1556 Shaanxi earthquake).

Xi an is the capital of Shaanxi province in China. It is a sub-provincial city located in the center of the Guanzhong Plain in Northwestern China. One of the oldest cities in China, Xi\'an is the oldest of the Four Great Ancient Capitals, having held the position under several of the most important dynasties in Chinese history, including Western Zhou, Qin, Western Han, Sui, and Tang. Xi\'an is the starting point of the Silk Road and home to the Terracotta Army of Emperor Qin Shi Huang.

Guanzhong Plain, is a historical region of China corresponding to the lower valley of the Wei River. It is called Guanzhong or \'within the passes\', as opposed to \'Guandong\' or \'east of the pass\', i.e., the North China Plain. The North China Plain is bordered on the west by mountains. The Yellow River cuts through the mountains at the Hangu Pass or Tongguan separating Guanzhong from Guandong.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Early
Colors used: - Yellow, green, orange
General color appearance: - Authentic
Paper size: - 15in x 10in (380mm x 255mm)
Plate size: - 11in x 9in (280mm x 230mm)
Margins: - Min 1/2in (12mm)

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

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

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

• Title : Insects..Published as the act directs Nov 1st 1798 by GG & J Robinson Parnastor Row
• Size: 16 1/2in x 10in (420mm x 255mm)
• Condition: (A+) Fine Condition
• Date : 1798
• Ref #:  31737

Description:
This large original copper plate engraved antique print of various insects, seeds & plants collected during the voyages of Jean-François de Galaup, Comte de la Pérouse between 1785 to 1788 was engraved in 1798 - dated - and was published in the 1st English edition of the Atlas du voyage de La Perouse G.G & J. Robinson, London in 1799.
La Perouse set sail from France in 1785 to continue the discoveries of Captain Cook. He was shipwrecked in 1788 but his narrative, maps, and views survived and were first published in 1797.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 16 1/2in x 10in (420mm x 255mm)
Plate size: - 16 1/2in x 10in (420mm x 255mm)
Margins: - Min 1/2in (12mm)

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

Background: 
In 1783 the French government resolved to send an expedition to the Pacific to complete Captain James Cook\'s unfinished work, and in particular to explore the passages in the Bering Sea, which had been a mystery to Europeans since the sixteenth century. King Louis XVI himself took a hand in drafting the plan and itinerary, a copy of which is in the Municipal Library at Rouen, France, and when La Pérouse was selected to lead the fleet gave him an audience before he sailed. In command of two ships, La Boussole and L Astrolabe (Commandant de Langle), he left Brest on 1 August 1785 making for Brazil. Doubling Cape Horn he refitted in Chile, then sailed to the Sandwich Islands and thence to Alaska, where he turned south exploring and surveying the coast as far as California. After a short refit at Monterey, he sailed across the Pacific, discovered uncharted islands, and visited Macao and Manila. After six weeks reprovisioning and refreshing he left on 10 April 1787 to survey the coasts and territories north of Korea, which had been described and commented on by Christian missionaries. He sailed up the Gulf of Tartary, naming several points on both its shores and learned that Sakhalin was an island. In September he put in to Kamchatka to replenish his supplies. From there he dispatched an officer, Lesseps, overland to Paris with accounts of his discoveries, while he turned south making for New Holland. In December, at Tutuila, Samoa, which Bougainville had called the Navigator Islands when he explored them in 1768, natives suddenly attacked a party from L\'Astrolabe seeking water and killed de Langle and eleven others. La Pérouse left without taking reprisals and sailed through the Pacific Islands to Norfolk Island and to Botany Bay. He was sighted off the coast there on 24 January 1788 but bad weather prevented his entering the bay for two days. By then Governor Arthur Phillip had sailed to Port Jackson, but John Hunter had remained with the Sirius and the transports, and assisted La Pérouse to anchor. He established a camp on the northern shore, now called after him, and maintained good relations with the English during his six-week stay. He sailed on 10 March and was not heard of again. His disappearance led the French government in 1791 to equip another expedition under Bruny d Entrecasteaux to look for him, but the search was fruitless.

• Title : Published by the Society for the Diffusion of Useful Knowledge
• Size: 16in x 14in (410mm x 355m)
• Condition: (A+) Fine Condition
• Date : 1840
• Ref #:  11-0984

Description:
This hand coloured original steel-plate engraved antique Gnomonic Map of eastern Australia, New Zealand & The South Pacific was engraved by J & C Walker, in 1840 and was published in the Chapman & Hall edition of the Society For the Diffusion of Useful Knowledge (SDUK) Atlas.

A gnomonic map projection displays all great circles as straight lines, resulting in any line segment on a gnomonic map showing a geodesic, the shortest route between the segment\'s two endpoints. This is achieved by casting surface points of the sphere onto a tangent plane, each landing where a ray from the center of the sphere passes through the point on the surface and then on to the plane. No distortion occurs at the tangent point, but distortion increases rapidly away from it. Less than half of the sphere can be projected onto a finite map. Consequently a rectilinear photographic lens cannot image more than 180 degrees.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, pink, green, blue
General color appearance: - Authentic
Paper size: - 16in x 14in (410mm x 355m)
Plate size: - 16in x 14in (410mm x 355m)
Margins: - Min 1/4in (5mm)

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

Background: 
The SDUK produced two landmark volumes of cartography in the first half of the 19th century. The first volume concentrated on areas of the old world, Europe, Africa, Great Britain etc. The second volume contained maps of the new world, America, South Asia, including US state maps, colonies of Australia, South Africa, South America etc. Also included were some of the finest engraved town and city plans published at that time.
The SDUK was published in its entirety or in part by many publishers including Baldwin and Cradock 1829-32, Chapman & Hall in 1844, Charles Knight & co. 1846 – 1852. G. Cox published the SDUK between 1852-3, Stanford 1857-70 and later revised edition were also published after Stanford. (Ref: Tooley, M&B)

• Title : Gerardi Mercatoris - Atlas Europae
• Date : 2000
• Condition: (A+) Fine Condition
• Ref:  Merc1
• Size: Folio

Description: 
Gerardi Mercatoris - Atlas Europae - In 1967, an anonymous buyer purchased a large, tattered book of maps in a second-hand bookshop in Belgium. He had unknowingly rediscovered a priceless and long-lost early atlas produced 400 years earlier by none other than Gerardus Mercator, the German mapmaker, whose cylindrical projection of the world revolutionized long-distance navigation, and who pioneered the practice of cutting wall maps into book pages and binding them. Mercator, in fact, coined the term "atlas" for such a book, and probably produced this one for a tour of Europe undertaken by the young Crown Prince of Cleves. His original maps are magnificently presented here, unbound in a foil-stamped, slipcased folio of 17 superb reproductions. Labeled in Latin, each map folds out flat to 21½" by 16", suitable for framing, and is printed in full color to reveal the master mapmaker's green and brown hills, sandy coastlines, and red cities and towns. The 17 replica maps are accompanied by an in-depth companion book, featuring essays by an international team of map scholars. This volume relates the historical significance of Mercator's atlas and how it influenced the politics and science of the day. It also examines the work of later cartographers, in more than 100 original-color illustrations. A must-have for collectors, this elegant edition combines the high art of antiquarian maps with exceptional scholarly analysis.

Published by Walking Tree Press, 2000. Softcover book and 17 loose maps in clothbound folio cover with cardboard slipcase. Approximate dimensions: 11 x 16 1/2 in. 94 pages

• Title : Isles of Gold - Antique Maps of Japan
• Date : 1992
• Condition: (A+) Fine Condition
• Ref:  Hugh1
• Size: Folio

Description: 
Isles of Gold - Antique Maps of Japan is a selection of over 90 of the most attractive, remarkable, and historically significant of these European and Japanese maps of Japan. The text by Hugh Cortazzi tells the fascinating story of the encounter between the west and Japan through the gradual process of mapping the island empire. Far-ranging Portuguese explorers, Jesuit Fathers, Dutch merchants and English sea-captains, samurai and shoguns populate this account, which is surprisingly rich in drama. Especially enlightening is the authors emphasis on mutual influences, borrowings and eventual co-operation between European and Japanese map-makers, often in opposition to the Japanese authorities, who were set on sealing off their land from the prying eyes of outsiders.

Weatherhill, New York and Tokyo 1992 

• Title : Japan: A Cartographic Vision
• Date : 1994
• Condition: (A+) Fine Condition
• Ref:  Lutz1
• Size: Folio

Description: 
Japan: A Cartographic Vision is a celebration, in words and pictures, of the spectacular and colourful maps of Japan produced by Europeans. It explores the changing shape of Japan as conceived by Western explores and cartographers, from the crude and fanciful depictions of the early sixteenth century to the first accurate maps published in the mid-nineteenth century. Prestel-Verlag, Munich, New York, 1994

• Title: Munster Cosmographia
• Date: 1988
• Condition : (A+) Fine Condition
• Ref: Cosmo1
• Size:  Folio

Description: 
Two volume 1988 reprint of the 1628 edition of Sebastian Munster's Cosmographia Basel, Beyden Henripetrinischen. Until 1578, the editions of the Cosmographia were published by Munster's stepson, Heinrich Petri (1508 - 1579). Thereafter they were published by the latters son, Sebastian Petri.

• Title : The South East In Early Maps
• Date : 1998
• Condition: (A+) Fine Condition
• Ref:  Cumm1
• Size: Folio

Description: 

A study of the historical cartography of the southeast region of the North American continent before the American Revolution. With an annotated checklilst of printed and manuscript regional and local maps of Southeastern North America and a supplement. Chapel Hill: University of North Carolina Press, 1998. Fine/Fine. Book and dust-jacket in mint condition. 71 plates.

• Title : Shinano no Kuni Zenzu (Complete map of Shinano no Kuni - Shinano Province: Nagano Prefecture 信濃国 
• Size:  78in x 38in (2.0m x 975mm)
• Condition: (A+) Fine Condition
• Date : Tokugawa Period 徳川幕府
• Ref #:  91208

Description:
A very large, unique & original wood-block engraved antique map of the old Shinano Province (信濃国 Shinano no kuni) today the Nagano Prefecture (長野県 Nagano-ken) Japan.
This map is incredibly rare, within a limit of 100 printed, in the mid to late Tokugawa Period of Japan (1600 and 1868). Over 2m in length, folded, made up of joined sheets, each measuring approx 41cm x 31cm (16in x 12in) printed on traditional Japanese Washi paper. Hand coloured in outline.

Accompanying this map is earlier typed research on the map, noting the level of incredible and specific detail of the map. To quote
........Province Sagami- On this map, little has been skipped as to the locations of villages, places of historical interest, etc. so that travellers/toursits might find a suitable guide, to be slipped in thier pocket. Takashibe Mitsuo.....
......That Odawara is indicated with somewhat larger characters is interesting as to show its significanc held in those days....
.....Hakone One of the strongest military posts protecting Kamakura against kioto forces.....
......On the map stands the name of Yeddo, and not Tokyo, testifying perhaps to the date of the publication to be put in the latter years of the Tokugawa regime (1603-1867).....

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - White
Age of map color: - Original
Colors used: - Red
General color appearance: - Authentic
Paper size: - 78in x 38in (2.0m x 975mm)
Plate size: - 78in x 38in (2.0m x 975mm)
Margins: - Min 1/4in (5mm)

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

Background: 
Shinano Province (信濃国 Shinano no kuni) or Shinshū (信州) is an old province of Japan that is now Nagano Prefecture.
In 713, the road that traverses Mino and Shinano provinces was widened to accommodate increasing numbers of travelers through the Kiso District of modern Nagano Prefecture.
In the Sengoku period, Shinano Province was often split among fiefs and castle towns developed, including Komoro, Ina, and Ueda. Shinano was one of the major centers of Takeda Shingen\'s power during his wars with Uesugi Kenshin and others.
Suwa taisha was designated as the chief Shinto shrine (ichinomiya) for the province.
In 1871, during the Meiji period, with the abolition of the han system and the establishment of prefectures (Haihan Chiken) after the Meiji Restoration, Shinano Province was administratively separated in 1871 into Nagano and Chikuma prefectures. These two tentative governmental and territorial units were reconfigured together again in 1876. This became the modern prefecture of Nagano, which remains substantially unchanged from that time.

Nagano Prefecture (長野県 Nagano-ken) is a prefecture located in the Chūbu region of Japan. Nagano has impressive highland areas, including most of the Kita-Alps, Chūō-Alps, and Minami-Alps, which extend into the neighbouring prefectures. Due to the abundance of mountain ranges in this area, the land available for inhabitance is relatively limited. In addition to its natural scenic beauty and rich history.

The Tokugawa Shogunate, also known as the Tokugawa Bakufu (徳川幕府) and the Edo Bakufu (江戸幕府) was the last feudal Japanese military government, which existed between 1600 and 1868. The head of government was the shōgun and each was a member of the Tokugawa clan. The Tokugawa shogunate ruled from Edo Castle and the years of the shogunate became known as the Edo period. This time is also called the Tokugawa period or pre-modern (Kinsei (近世)).
Following the Sengoku period (warring states period), the central government had been largely re-established by Oda Nobunaga during the Azuchi–Momoyama period. After the Battle of Sekigahara in 1600, central authority fell to Tokugawa Ieyasu.
Society in the Tokugawa period, unlike in previous shogunates, was supposedly based on the strict class hierarchy originally established by Toyotomi Hideyoshi. The daimyō (lords) were at the top, followed by the warrior-caste of samurai, with the farmers, artisans, and traders ranking below. In some parts of the country, particularly smaller regions, daimyō and samurai were more or less identical, since daimyō might be trained as samurai, and samurai might act as local rulers. Otherwise, the largely inflexible nature of this social stratification system unleashed disruptive forces over time. Taxes on the peasantry were set at fixed amounts that did not account for inflation or other changes in monetary value. As a result, the tax revenues collected by the samurai landowners were worth less and less over time. This often led to numerous confrontations between noble but impoverished samurai and well-to-do peasants, ranging from simple local disturbances to much larger rebellions. None, however, proved compelling enough to seriously challenge the established order until the arrival of foreign powers.

Japanese Cartography
The earliest known term used for maps in Japan is believed to be kata (形, roughly form), which was probably in use until roughly the 8th century. During the Nara period, the term zu(図) came into use, but the term most widely used and associated with maps in pre-modern Japan is ezu (絵図, roughly “picture diagram”). As the term implies, ezu were not necessarily geographically accurate depictions of physical landscape, as is generally associated with maps in modern times, but pictorial images, often including spiritual landscape in addition to physical geography. Ezu often focused on the conveyance of relative information as opposed to adherence to visible contour. For example, an ezu of a temple may include surrounding scenery and clouds to give an impression of nature, human figures to give a sense of how the depicted space is used, and a scale in which more important buildings may appear bigger than less important ones, regardless of actual physical size.
In the late 18th century, translators in Nagasaki translated the Dutch word (land)kaart into Japanese as chizu (地図): today the generally accepted Japanese word for a map.
From 1800 (Kansei 12) through 1821 (Bunsei 4), Ino Tadataka led a government-sponsored topographic surveying and map-making project. This is considered the first modern geographer\\\'s survey of Japan;[1] and the map based on this survey became widely known as the Ino-zu. Later, the Meiji government officially began using the Japanese term chizu in the education system, solidifying the place of the term chizu for \\\"map\\\" in Japanese.
Generally speaking, traditional Japanese maps were quite diverse in style, depiction, and purpose, and were often oriented towards pragmatic use. It was less common for maps to serve literary or decorative purposes as they might in the West, instead being used for purposes such as the differentiation of rice fields on a feudal manor, or orientation within a temple complex. An example might be an Edo era pilgrimage map depicting the route and location of lodges on the road between Kyoto and Edo, including images of people on the road, with distances between stops differentiated not by relative distance, but by numerical markings, as scale as it is recognized in the West today was not generally used. This compression and expansion of space as necessary to emphasize certain qualities of the depicted area is an important characteristic of traditional Japanese maps, as is the regular inclusion of text, as text and image were not separated in Japan nearly to the same degree as in the West. Perspective on traditional Japanese maps can also be confusing to the modern Western viewer, as maps were often designed to be viewed from multiple points of view simultaneously, since maps were often viewed on the floor while the viewers sat around the map in a circle. Accordingly, many maps do not have a unified orientation scheme (such as North as up), with labels sometimes appearing skewed to each other.
Much of the fundamental concepts of space as depicted in Japanese maps can be traced to Chinese geomancy and Buddhist cosmologies, which came to Japan in the 7th and 8th centuries. Buddhist cosmologies depict the world as it was thought to exist within the appropriate religious framework, often including mythical sites such as the navel of the world[citation needed] and lands beyond the sea inhabited by monsters. In this sense, world maps based on Buddhist cosmology often bear little resemblance to the \\\"real world\\\", though many have at least approximately accurate depictions of Japan, Korea, China, and India. Chinese geomancy brought orientation and a regular grid system, as is evidenced in the street plan of Kyoto, which is based on the plan of the ancient Chinese capital of Chang\\\'an. North-South orientation, as in China, is thought to have been evident in the plan of the ancient capital (672–686 AD) of Naniwa (modern Osaka) as well. Hence, although many traditional Japanese maps are characterized by the malleability of space and lack of importance of accurate depiction of physical landscape, direction, distance, and relative orientation were quite important.
Many early Japanese maps were not accurate according to Western standards. Partly, this was the result of Japan being a closed society for many years. They had a long-lasting indifference to exploration as well. And in the feudal society, it was forbidden for ordinary Japanese citizens to travel. \\\"In fact, the Japanese government in Edo (Tokyo), had no interest in accurate map making because maps could be used by enemies to gain military advantage.\\\" Distorting and falsifying maps was known during World War II. Indeed, there was some discussion that captured Japanese maps had been deliberately falsified to confuse the Allied troops. The Army Map Service put out an announcement toward the end of the war that most of the Japanese maps, although sometimes outdated, were truthful and could be used. “In general, native maps of Japan are reliable. Prior to the outbreak of the war, it was alleged that the Japanese falsified certain sheets which they later allowed to fall into our hands. Spot checks against aerial photography have revealed no evidence to substantiate this claim. However, on some of these maps, pertinent military areas were left entirely blank. The US has a basic 1:50,000 coverage for practically all of Japan and 1:25,000 coverage for about a quarter of Japan. These maps, however, do not show the major transformation of man-made features which have taken place in Japan since 1941. Because of this, native Japanese maps are obsolete and their basic reliability is decreased. It is highly important, therefore, that a large-scale map material or trig lists captured from the Japanese be transmitted promptly to the Chief of Engineers in Washington, DC. This is essential also because we possess geographic coordinates for only about a 10th of the estimated 40,000 geodetic stations established in Japan
The oldest known map in Japan is a topographical drawing discovered on a stone wall inside a tomb in the city of Kurayoshi, in Tottori Prefecture, dated to the 6th century AD. Depicting a landscape of houses, bridges, and roads, it is thought to have been made not for practical navigational purposes, but rather as a kind of celestial cartography given to the dead to maintain a connection with the world of the living and allow them to orient themselves when moving on to the other world. Similar maps have been found in other kofun burial tombs as well. There is also evidence that at least rudimentary surveying tools were already in use in this era. One of the oldest written references to maps in a Japanese source is found in the Kojiki, the oldest (albeit largely mythological) history of Japan, in which land records are mentioned. The other major ancient history, the Nihon Shoki of 720 AD, describes a map of the ancient city of Naniwa (modern Osaka). The first map of provincial surveys is thought to be in 738, as described in the Shoku Nihongi. The earliest extant maps in Japan date to the 8th century, and depict the ownership of square rice field plots, oriented to the four cardinal directions. Shinto shrines held maps that they used for agrarian reform, differentiation of property, and land holdings. The system by which these maps were measured was called jōri, measured in units called tan and tsubo.
The Imperial Court of the Emperor Kōtoku (孝徳天皇, 597?–654) put the Handen sei (班田制, lit. ancient land system) into execution in 646 (Taika 2) and asked each province to submit maps of their land holdings, known as denzu (田図, roughly, \\\"picture map of rice fields\\\"). This was considered the first attempt in Japan to draw accurate (as opposed to representational) landscape in picture maps.
During the Shōmu reign (聖武天皇, 701-756), maps known as Gyōki-zu (行基図), named for the high priest Gyōki (高僧, 668–749), were developed. Gyōki himself served as a civil engineer, although there are no explicitly known direct connections between himself and maps per se. The connection between his name and the term Gyōki-zu is thought to be derived from his authority as a priest and perceived connections between maps and geomantic rites to drive away evil spirits. The term Gyōki-zu was widespread and used for maps which illustrated the routes from the Imperial capital to each province in Japan. These maps covered a broader area, and include a much larger portion of what is now known as Japan, giving an idea of the extent of known territory at the time. Maps from these early surveys (conducted in 646, 738, and 796), show the northeasternly extent of Japan to be near the island of Sado, the westerly extent as Kyūshū and the southerly extent as the tip of Shikoku, indicating a relative relationship of orientation, but lack of knowledge of the true cardinal directions, as Kyūshū stretches much further south than Shikoku, and Sado is closer to north than northeast. More important was relative position, especially in terms of the relationship between the capital in Yamashiro Province (modern Nara Prefecture), and as long as the maps accurately depicted this relationship, they were considered useful. The style and orientation of the Gyōki-zu is much in line with the general overview of Japanese maps as described above, and it was this style that formed the dominant framework in Japanese cartography until the late medieval and Edo periods.
\\\"The earliest Japanese maps, attributed to a Buddhist priest called Gyōki Bosatsu (668–749), shows a curious affinity with modern notice boards in public parks. A scheme of outline loops showing land ownership and boundaries, with south generally at the top, characterized this form of mapmaking, a response to the government\\\'s need for feudal information. Examples of such estate surveys surviving from the Nara period in the eighth century (named after the ancient Japanese capital city). They are legible and informative, but unrelated to other aspects of accuracy. Although none of Gogyi\\\'s own maps survive today, cadastral maps in his style still exist in the Shosoin, an imperial archive from that time, and are shown occasionally in the city of Nara. The Gyogi style represented loyalty to a valid tradition. These schematic loops of information, rather than realistic shapes, continued well into the nineteenth century, as did the complex Buddhist world maps, which were also unrelated to knowledge of the world\\\'s shapes of land and sea, but rather, maps of a spiritual landscape.\\\"
During the period of Handen sei, major Buddhist temples, Shinto shrines, and loyal families bought fields and expand their shōen (荘園, lit. manors). Following the manner of denzu, they draw maps of their shōen. The oldest known shōen map is called Sanukikoku yamadagun gufuku jiryo denzu (讃岐国山田郡弘福寺領田図). These denzu were often drawn on linen cloths. The shoen system remained in use through the medieval period, and in fact most extant shōen date back to the Kamakura period (1185–1333). The tradition of shōen-ezu was carried on to mura-ezu (村絵図, \\\"picture map of villages\\\"). Mura-ezu were planar picture maps of individual villages. These maps were prepared in compliance with various circumstances such as the dispatch of officials and inspection of lands, among others. Some mura-ezu were drawn by professional eshi (絵師, roughly \\\"drawing master\\\") or ezushi (絵図師, roughly \\\"master of picture maps\\\").
During the latter half of the 16th century and beyond, traditional Japanese mapmaking became influenced by Western techniques for the first time with the arrival of Dutch and Portuguese knowledge through the trade port of Nagasaki. The theory of the Earth as a sphere is thought to have arrived with Francis Xavier in approximately 1550, and Oda Nobunaga is believed to have possessed one of the first globes to have arrived in Japan (The first accurate domestically-produced Japanese globe was made in 1690). Japan thus saw full world maps for the first time, changing notions of a Buddhist cosmology matched with physical geography. The first known printed European-style map was made in Nagasaki in 1645, however, the name of the map\\\'s creator is unknown. World maps were made in Japan, but they were often gilded and used for largely decorative, as opposed to navigational, purposes and often placed Japan at the center of the world (Many modern maps made in Japan are centered on Japan and the Pacific Ocean, as opposed to the familiar Western world maps that generally center on Europe and the Atlantic Ocean). Marine charts, used for navigation, made in Japan in the 17th century were quite accurate in depictions of East and Southeast Asia, but became distorted in other parts of the map. Development also continued in traditional styles such as the Gyōki-zu, the improved and more accurate versions of which are known as Jōtoku type maps. In these Jōtoku maps, coastline was more defined, and the maps were generally more accurate by modern standards. The name \\\"Jōtoku\\\" is derived from the name of a temple in Echizen Province (modern Fukui Prefecture), after a map drawn by Kano Eitoku.
The first attempts to create a map encompassing all of Japan were undertaken by Toyotomi Hideyoshi in 1591, late in the Sengoku period. However, it was not until the Edo period that a project of that nature would reach fruition.
The Tokugawa government initiated a multi-year map-making project. Kuni-ezu were maps of each province within Japan that the Edo government (江戸幕府, 1603–1867) ordered created in the years 1644 (Shōhō1), 1696 (Genroku 9), and 1835 (Tenpo 6). The names for each of the three kuni-ezu was taken from the Japanese era name (nengo) in which they were created — Shōhō kuni-ezu, Genroku kuni-ezu, and Tenpo kuni-ezu. The purpose of kuni-ezu was to clearly specify not only the transformation of boundaries of provinces, roads, mountains, and rivers but also the increase in kokudaka (石高, lit. rice output) following the development of new field. Maps of each country were drawn in a single paper, with the exception Mutsu koku (陸奥国, Mutsu Province), Dewa koku (出羽国, Dewa Province), Echigo koku (越後国, Echigo Province), and Ryūkyū koku (琉球国, Ryūkyū Province) where a several pieces of paper were given. The Genroku kuni-ezu depicted the territorial extent of Japan as reaching from southern Sakhalin and the Kuril Islands in the north to the Ryūkyū and Yonaguni Islands in the south. A major flaw in these maps, however was the unreliability of surveying techniques, which often involved lengths of rope that easily became distorted, resulting in distortions in the map based on the survey as well. This was largely seen as an unavoidable flaw however. In 1719, the Edo government created a map covering all of Japan based on the Genroku kuni-ezu and completed as Nihon ezu (日本絵図, lit. Picture map of Japan). Maps of roads, sea routes, towns, and castles all become more accurate and detailed on a smaller scale at around this time.
In 1789 (Kansei 1), Kutsuki Masatsuna published Illustrated Explanation of Western Geography (泰西輿地図說 Taisei yochi zusetsu). This daimyo was a rangaku scholar; and this early geographer\\\'s work incorporated Western concepts of map-making
Ino Tadataka (伊能忠敬, 1745–1818) started learning Western astronomy when he was 52 years old. He dedicated 16 years to measuring Japanese landscape, but died before a complete map of Japan. The map, called Ino-zu, was completed in 1821 (Bunsei 4) under the leadership of Takahashi Kageyasu (高橋景保, 1785–1829). In 1863, the Hydrographic Department of British Royal Navy published the map of the Shelf Sea around the Japanese islands based on the Ino-zu and the accurate geographic location of Japan became widely known. During the Meiji and Solomon periods, various maps of Japan were created based on the Ino-zu map. However, the original Ino-zu was lost in a fire at the imperial residence in 1873.
During the Meiji Chiso kaisei (地租改正, lit. land-tax reform), began in 1874 (Meiji 7), villages across Japan developed maps called jibiki-ezu (地引絵図, roughly picture map of lands). Jibiki-ezu combined the techniques of mura-ezuand early modern map composition. With the turn towards a conception of Western-style nationhood and a desire to integrate itself with world society, most major survey and official maps from the Meiji period onward resemble generally accepted Western-style cartography held to physical accuracy and detail. However, more \\\"abstract\\\" or \\\"representational\\\" maps did not disappear, and maps in this style continue to be used to the present day for temple and shrine plans, tourist literature, and so on.
\\\"Between Meiji era and the end of World War II, map production in Japan was conducted by the Land Survey Department of the General Staff Headquarters, the former Japanese army. Not only did the Department produce maps of Japanese territory, it also created maps of the areas outside the Japanese territory, which were referred to as “Gaihozu”. Presently, “Gaihozu” include the maps of the former Japanese territories, and are predominantly in scales ranging from 1:25,000 to 1:500,000. Their geographical coverage stretches to Alaska northward, covering areas of U.S. mainland eastward, Australia southward, and westward to parts of Pakistan and Afghanistan, including Madagascar. The methods of the map production varied from surveys by the Japanese survey squads, reproducing maps produced abroad and secret surveys by sealed order. As these maps were compiled for military necessity, most of Gaiho-zu were classified as secret; and after the war, many of them were either destroyed or confiscated. Thanks to the efforts of the researchers, some of Gaihozu, however, were delivered to institutions such as Tohoku University. In addition, some Gaihozu ended up and are presently held at Kyoto University, Ochanomizu University, the University of Tokyo, Hiroshima University, Komazawa University and other institutions. Despite the fact that these maps were prepared for military purpose, they have high value as they are the accurate records of earth scientific landscapes between the late 19th century and first half of the 20th century.Jap