City & Views (112)

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1200 - Template Prints

Description: 
This finely engraved, beautifully hand coloured original 1st edition antique map of America by Johann Baptiste Homann was published in 1710. This map is in beautiful condition, with a heavy, dark impression signifying an early pressing, beautiful original hand colouring on clean heavy and stable paper, a wonderful example of this hard to find map.

Background:
A wonderfully constructed map, an uncommon 1st edition, showing California as an Island based on Nicolas Sanson's second model, with additions of the towns, S Isidoro, Gigante and N S de la Guadalupe inserted in the south of the Island. The Straits of Anian are shown forming a Northwest Passage between California and the mythical Terra Esonis, which forms a nearly continuous land bridge from the Northwest to Asia. The Pays de Moozemleck is shown east of the Straits of Anian. This landmark remains virtually unchanged through all of Homann's maps of America, despite the later transition to a peninsular California, resulting in an odd change from a coastal to an apparently landlocked position for this landmark. The Great Lakes have a little more updated information and the Mississippi River shows the results of the early French Jesuit explorations. The rivers source extends to the far North of the limits of the maps produced 20 and 30 years earlier, although Le Moyne's mythical lake in the Southeastern US remains. The title cartouche is based upon De Fer's landmark map of 1699. The top dedication cartouche is based upon De L'Isle's 1703 map of Canada. (Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - Off white
Age of map color: - Original color:
Colors used: - Green, yellow, pink, orange.
General color appearance: - Authentic & beautiful
Paper size: - 23in x 20in (585mm x 510mm)
Plate size: - 22 1/2in x 19 1/4in (575mm x 490mm)
Margins: - Min 1/4in (7mm)

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

$2,250.00 USD
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1741 Large Homann Antique Map of London Surrey - Birds Eye View of London

1741 Large Homann Antique Map of London Surrey - Birds Eye View of London

  • TitleRegionis quae est circa Londinum....Homaniamus Heredibus 1741
  • Date : 1741
  • Condition: (A+) Fine Condition
  • Ref:  92275
  • Size: 25 ½in x 21 ½in (650mm x 550mm)

Description: 
This beautifully hand coloured original antique map* of the Environs of London - Middlesex, Essex, Surrey and Kent - with a beautiful and a very real view of the city of London in the mid 18th century and the Thames - was engraved in 1741 - dated at the top of the map - and was published by the Homann firm.
A superb map with a deep heavy impression, stunning colour and sound heavy paper, a fine map.

Background: This map is based upon an earlier map of the region by Thomas Bowles and covers the London area from Berkshire (including Windsor Castle) in the west to Shamel in the east, extending north north as far as Bedford. Specifically focuses on Hertfordshire, Middlesex, Surrey, Essex and Kent. Offers extraordinary detail throughout, showing roadways, villages, London Streets, estates, and in many cases, individual homes. The lower portion of the sheet is dominated by a dramatic bird's-eye view of London and Westminster from Southwark across the Thames. View reveals a densely populated showing numerous boats, barges, and sailing vessels.
The beautifully hand coloured view of the city of London & Westminster was published only 90 odd years after the great fire of 1666.The view of London after Thomas Bowles, was one of a number published by Bowles and the Homann firm in the mid 18th century illustrating the growth and change of the great city.
The view is stunning, stretching from old London bridge & the docklands in the east to the farmlands to the west. What is really fascinating is the level of detail. There are a myriad of different sailing vessels occupying both sides of London bridge. The number of shops and residences that occupied the bridge at that time are uniquely displayed as is the number churches and cathedrals that dominate the skyline. To the right you can see the farm land that will one day become the West End and other upmarket areas of London.(Ref: M&B; Tooley)

 General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - off white
Age of map color: - Original & later color
Colors used: - Yellow, green, pink
General color appearance: - Authentic
Paper size: - 25 ½in x 21 ½in (650mm x 550mm)
Plate size: - 22 ½in x 20in (570mm x 510mm)
Margins: - Min ½in (12mm)

Imperfections:
Margins: - Light soiling in margins
Plate area: - None
Verso: - Bottom left plate-mark a little worn

$1,250.00 USD
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1842 D Urville & Le Breton Antique Print of Antarctica Adélie Land, January 1840

1842 D Urville & Le Breton Antique Print of Antarctica Adélie Land, January 1840

Description:
This magnificent, large original antique lithograph print, one of the first ever views of Antarctica, specifically Terre Adélie named by D Urville after his wife, first sighted on January 18th 1840 by Dumont D Urville in the ship The Astrolabe, was drawn by Louis Le Breton, asst. surgeon & artist/draftsman aboard the Astrolabe, during D Urvilles second voyage to the South Seas between 1837 - 1840, was engraved by Léon Sabatier and was published in the 1842 1st edition of Dumont d UrvillesVoyage 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.

Léon Jean-Baptiste Sabatier active 1827-1887. French lithographer, engraver and artist.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 21in x 13in (535mm x 330mm)
Plate size: - 21in x 13in (535mm x 330mm)
Margins: - Min 2in (50mm)

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

Background: 
Between May 1838 and October 1839 d\'Urville led the ASTROLABE and ZÈLÈE on an exploring adventure across the breadth of the Pacific Ocean. The scurvy suffered in southern waters was now replaced with fever and dysentery which cost the lives of 14 men and officers during the voyage. Another six died in Hobart, Tasmania which was his departure point for his third attempt at reaching the Antarctic mainland.
On January 2, 1840 the ships were headed out to sea. Within a week, the surgeons reported a total of 16 men ill with seasickness due to the constant rolling of the seas. By January 18th they crossed the 64th parallel. At 6 o\'clock the following morning the lookouts counted half a dozen huge icebergs nearby. By 6 o\'clock that evening they were surrounded by at least 59. The hydrographer, Dumoulin, climbed the rigging of the ASTROLABE and reported \'an appearance of land\'. The belief that land was near raised the spirits of all those aboard. At 9 o\'clock the sun was still above the horizon and at 10:50 PM d\'Urville wrote that the sun disappeared \'and showed up the raised contour of land in all its sharpness. Everyone had come together on to the deck to enjoy the magnificent spectacle\'. On January 20 d\'Urville wrote \'...before us rose the land; one could distinguish the details of it...Unfortunately an unbroken calm prevented us from approaching it to make the matter certain. Nevertheless, joy reigned on board; henceforth the success of our enterprise was assured\'. Despite a light breeze, by the middle of the following day they were within four miles of land. Showing no signs of a safe place to go ashore, they turned west, following the coast, until 6 PM when a boat was lowered so that Dumoulin could take sightings from one of the icebergs. Another boat was launched from the ZÈLÈE and by 9 PM the two boats reached an islet only a few hundred yards off the coast. The officers and men struggled ashore, shoving aside penguins in the process, and planted a flag claiming the land in the name of France. The men then set about exploring the islet, searching for any life. They unfortunately found nothing but a few chips of granite which was enough to prove that they had landed on firm ground rather than an iceberg. Recording the landing and departure, officer Joseph-Fidéle-Eugéne Dobouzet wrote \'...We saluted our discovery with a general hurrah...The echoes of these silent regions, for the first time disturbed by human voices, repeated our cries and then returned to their habitual silence\'. The boats rowed back to their respective ships and Dumont d\'Urville promptly named the mainland Terre Adélie after his wife\'s name. The wide stretch of water along its shore is now known as the Dumont d\'Urville Sea.
Almost immediately the weather turned brutal with temperatures dropping to below freezing and whirlwinds of snow surrounding the ships. In the confusion, the ASTROLABE lost contact with the ZÈLÈE creating intense fear among the crewmembers of being driven into an iceberg or on top of the icepack itself. The ASTROLABE struggled in seas with waves spilling over onto her decks causing her to heel over at such an angle that the leeward battery was almost entirely covered by the sea. By January 29 the ships were moving rapidly southwest with only a few icebergs in sight. A little after 4 o\'clock in the afternoon a very surprised lookout spotted an approaching ship closing fast. The westbound vessel was the PORPOISE, the American ship of the United States Exploring Expedition commanded by Charles Wilkes. No signals were exchanged and no greetings exchanged. The PORPOISE sailed quickly to the west while the ASTROLABE headed north.
Dumont d\'Urville spent eight more months exploring southern waters. He returned to Hobart, sailed on to New Zealand, turned north to New Guinea and Timor, north again to St. Helena Island and on November 6, 1840, the two ships entered the harbor at Toulon. They had been away three years and two months.

$650.00 USD
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1574 Sebastian Munster Large Antique Birds Eye City View of Heidelberg, Germany

1574 Sebastian Munster Large Antique Birds Eye City View of Heidelberg, Germany

Description:
This large hand coloured, original antique wood-block engraved birds-eye view of the German City of Heidelberg was published in the 1574 edition of Sebastian Munsters Cosmographia.
There were 2 large folding views in Cosmographia, both German cities, Wormbs and Heidelberg. As these were large folding views they were easily torn and damaged and so quiet rare, especially from the earlier editions.

The Cosmographia or Cosmography was first published in 1544 and is the earliest German-language description of the world.
It had numerous editions in different languages including Latin, French (translated by François de Belleforest), Italian, English, and Czech. The last German edition was published in 1628. The Cosmographia was one of the most successful and popular books of the 16th century and passed through 24 editions in 100 years. This success was due to the notable woodcuts (some by Hans Holbein the Younger, Urs Graf, Hans Rudolph Manuel Deutsch, and David Kandel). It was most important in reviving geography in 16th-century Europe. Among the notable maps within Cosmographia is the map Die Newe Welt oder Inseln, which is credited as the first map to show the American continents as geographically unique.
Munsters earlier geographic works were Germania descriptio (1530) and Mappa Europae (1536). In 1540, he published a Latin edition of Ptolemys Geographia, with numerous illustrations.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Orange, yellow, blue, red
General color appearance: - Authentic
Paper size: - 29in x 13in (740mm x 330mm)
Plate size: - 29in x 13in (740mm x 330mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Left margin cropped to plate-mark, light age toning repair to right & bottom margins
Plate area: - Left plate small loss along centrer-fold, light spotting & creasing
Verso: - Left plate backed onto contemporary paper

Background: 
Heidelberg is a college town in Baden-Wurttemberg situated on the river Neckar in south-west Germany.
Located about 78 km south of Frankfurt, Heidelberg is the fifth-largest city in the German state.
Founded in 1386, Heidelberg University is Germany\'s oldest and one of Europe\'s most reputable universities.
Heidelberg University played a leading part in the era of humanism and the Reformation, and the conflict between Lutheranism and Calvinism, in the 15th and 16th centuries. Heidelberg\'s library, founded in 1421, is the oldest existing public library in Germany. In April 1518, a few months after proclaiming his 95 Theses, Martin Luther was received in Heidelberg, to defend them. In 1537, the castle located higher up the mountain was destroyed by a gunpowder explosion. The duke\'s palace was built at the site of the lower castle.
The siege of Heidelberg 1622
Elector Frederick III, sovereign of the Electoral Palatinate from 1559 to 1576, commissioned the composition of a new Catechism for his territory. While the catechism\'s introduction credits the entire theological faculty here (at the University of Heidelberg) and all the superintendents and prominent servants of the church for the composition of the catechism, Zacharius Ursinus is commonly regarded as the catechism\'s principal author. Caspar Olevianus (1536–1587) was formerly asserted as a co-author of the document, though this theory has been largely discarded by modern scholarship. Johann Sylvan, Adam Neuser, Johannes Willing, Thomas Erastus, Michael Diller, Johannes Brunner, Tilemann Mumius, Petrus Macheropoeus, Johannes Eisenmenger, Immanuel Tremellius and Pierre Boquin are all likely to have contributed to the Catechism in some way. Frederick himself wrote the preface to the Catechism and closely oversaw its composition and publication. Frederick, who was officially Lutheran but had strong Reformed leanings, wanted to even out the religious situation of his highly Lutheran territory within the primarily Catholic Holy Roman Empire. The Council of Trent had just concluded with its conclusions and decrees against the Protestant faiths, and the Peace of Augsburg had only granted toleration for Lutheranism within the empire where the ruler was Lutheran. One of the aims of the catechism was to counteract the teachings of the Roman Catholic Church as well as Anabaptists and \"strict\" Gnesio-Lutherans like Tilemann Heshusius and Matthias Flacius, who were resisting Frederick\'s Reformed influences, particularly on the matter of Eucharist (the Lord\'s Supper). The Catechism-based each of its statements on biblical proof-texts, and Frederick himself would defend it as biblical, not reformed, at the 1566 Diet of Augsburg when he was called to answer to charges of violating the Peace of Augsburg. This was the Heidelberg Catechism, officially called the Catechism, or Christian Instruction, according to the Usages of the Churches and Schools of the Electoral Palatinate.
In November 1619, the royal crown of Bohemia was offered to the Elector, Frederick V. (He was married to Elizabeth, eldest daughter of James VI and I of Scotland and England, respectively.) Frederick became known as the Winter King, as he reigned for only one winter before the Imperial House of Habsburg regained the crown by force. His overthrow in 1621 marked the beginning of the Thirty Years War. In 1622, after a siege of two months, the armies of the Catholic League, commanded by Johann Tserclaes, Count of Tilly, captured the town. Tilly gave the famous Bibliotheca Palatina from the Church of the Holy Spirit to the Pope as a present. The Catholic Bavarian branch of the House of Wittelsbach gained control over the Palatinate and the title of Prince-Elector. In 1648, at the end of the war, Frederick Vs son Charles I Louis, Elector Palatine, was able to recover his titles and lands.
In late 1634 Imperialist forces attempted to take back the city, as the Swedish army had conquered it. They quickly took the city, but were unable to take the castle. As they prepared to blow up its fortifications with gunpowder the French army arrived, 30,000 men strong, led by Urbain de Maillé-Brézé, who had fought in many battles and participated in the Siege of La Rochelle (1627–1628), and Jacques-Nompar de Caumont, duc de La Force. They ended the siege and drove off the Catholic forces.
To strengthen his dynasty, Charles I Louis arranged the marriage of his daughter Liselotte to Philip I, Duke of Orléans, brother of Louis XIV, king of France. In 1685, after the death of Charles Louis\' son, Elector Charles II, Louis XIV laid claim to his sister-in-laws inheritance. The Germans rejected the claim, in part because of religious differences between local Protestants and the French Catholics, as the Protestant Reformation had divided the peoples of Europe. The War of the Grand Alliance ensued. In 1689, French troops took the town and castle, bringing nearly total destruction to the area in 1693. As a result of the destruction due to repeated French invasions related to the War of the Palatinate Succession coupled with severe winters, thousands of Protestant German Palatines emigrated from the lower Palatinate in the early 18th century. They fled to other European cities and especially to London (where the refugees were called the poor Palatines). In sympathy for the Protestants, in 1709–1710, Queen Anne\'s government arranged transport for nearly 6,000 Palatines to New York. Others were transported to Pennsylvania, and to South Carolina. They worked their passage and later settled in the English colonies there.
In 1720, after assigning a major church for exclusively Catholic use, religious conflicts with the mostly Protestant inhabitants of Heidelberg caused the Roman Catholic Prince-Elector Charles III Philip to transfer his residence to nearby Mannheim. The court remained there until the Elector Charles Theodore became Elector of Bavaria in 1777 and established his court in Munich. In 1742, Elector Charles Theodore began rebuilding the Palace. In 1764, a lightning bolt destroyed other palace buildings during reconstruction, causing the work to be discontinued.

$475.00 USD
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1574 Munster Large Antique Print View of The City of Wormbs, Germany

1574 Munster Large Antique Print View of The City of Wormbs, Germany

Description:
This large folding original antique print a View of the important German city ofWormbs, south of Hamburg was published in the 1574 release of Sebastian MunstersCosmographia published by Sebastian Petri, Basle.
(This is a reasonably scarce map as the large fold out maps in Cosmographia were easily damaged and lost)

Background: For a variety of reasons town plans were comparatively latecomers in the long history of cartography. Few cities in Europe in the middle ages had more than 20,00 inhabitants and even London in the late Elizabethan period had only 100-150,000 people which in itself was probably 10 times that of any other English city. The Nuremberg Chronicle in 1493 included one of the first town views of Jerusalem, thereafter, for most of the sixteenth century, German cartographers led the way in producing town plans in a modern sense. In 1544 Sebastian Munster issued in Basle his Cosmographia containing roughly sixty-six plans and views, some in the plan form, but many in the old panorama or birds eye view. (Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - off white
Age of map color: - Later
Colors used: - Green, blue, yellow, pink
General color appearance: - Authentic
Paper size: - 27in x 13in (685mm x 330mm)
Plate size: - 25in x 10in (635 x 255m)
Margins: - 1/2in (12mm)

Imperfections:
Margins: - Light soiling
Plate area: -Folds re-joined small loss, light soiling, light creasing
Verso: - Light soiling, colour show through, half the map backed in archival material

$475.00 USD
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1575 Braun & Hogenberg Antique Map City Plan of Tournai or Doornik, Belgium

1575 Braun & Hogenberg Antique Map City Plan of Tournai or Doornik, Belgium

Description:
This fine beautifully hand coloured original antique map a birds-eye view of the town ofTournai or Doornik, a Walloon city located 85 kilometres west-southwest of Brussels, on the river Scheldt, in the province of Hainaut in Belgium was published by Georg Braun & Frans Hogenberg for the 1575 atlas of town plans Civiates Orbis Terrarum Vol II (1572-1612) intended as a companion to Abraham Ortelius's master Atlas Theatrum Orbis Terrarum published in 1570.

Background: 
Bird's-eye view of the city from the south seen fortified with a Renaissance-style moat and wall with projecting bastions. The Old Town wall, dating from 1290, can be seen inside the city. The 12th-century Gothic cathedral of Notre-Dame (5) stands out in the centre , the most important and influential church building in Belgium. 
Tournai is one of Belgium's oldest cities. A formidable stronghold as early as the 4th century AD, it was the main centre of the Salian Franks until the mid-5th century. Tournai became an Episcopal See at the beginning of the 6th century and belonged then to the Count of Flanders from 1188 to France. 
In the 15th century the city flourished economically and culturally as a result of its tapestry industry (Rogier van der Weyden, among others). In the Treaties of Madrid and Cambrai (1526/29), France had to cede Tournai to Charles V and it thus became part of the Spanish Netherlands.  

Verso Text: "Tornacum or Turnacum is a city in Gallia Belgica, situated on the Schelde in the territory of the Nervii, called Tournai by its French inhabitants, but Dorneck by the Germans. Tournai has always been a large and powerful city, with an abundance of goods and commercial activities and wonderfully resourceful craftsmen, who invent new articles every day, and although some of these go out of use they constantly conceive of other new things, both useful and delightful, so that they have at all times something that provides work and a means of livelihood for the poor." 

Civitates Orbis Terrarum

The first volume of the Civitates Orbis Terrarum was published in Cologne in 1572. The sixth and the final volume appeared in 1617. 
This great city atlas, edited by Georg Braun and largely engraved by Franz Hogenberg, eventually contained 546 prospects, bird-eye views and map views of cities from all over the world. Braun (1541-1622), a cleric of Cologne, was the principal editor of the work, and was greatly assisted in his project by the close, and continued interest of Abraham Ortelius, whose Theatrum Orbis Terrarum of 1570 was, as a systematic and comprehensive collection of maps of uniform style, the first true atlas.

For a variety of reasons town plans were comparatively latecomers in the long history of cartography. Few cities in Europe in the middle ages had more than 20,00 inhabitants and even London in the late Elizabethan period had only 100-150,000 people which in itself was probably 10 times that of any other English city. The Nuremberg Chronicle in 1493 included one of the first town views of Jerusalem, thereafter, for most of the sixteenth century, German cartographers led the way in producing town plans in a modern sense. In 1544 Sebastian Munster issued in Basle his Cosmographia containing roughly sixty-six plans and views, some in the plan form, but many in the old panorama or birds eye view. (Ref: Tooley; M&B)

Condition Report:
Paper thickness and quality: - Heavy and stable
Paper color: - off white
Age of map color: - Early
Colors used: - Green, blue, red, yellow
General color appearance: - Authentic
Paper size: - 21 1/2in x 16in (550mm x 400mm)
Plate size: - 16 3/4in x 14 1/4in (440mm x 365mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Light chipping to margin edges
Plate area: - None
Verso: - None

$475.00 USD
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1575 Braun & Hogenberg Map of Pozzuoli Bay Naples Italy

1575 Braun & Hogenberg Map of Pozzuoli Bay Naples Italy

Description:
This finely engraved beautifully hand coloured original antique 2 x birds-eye view of the Bay of Pozzuoli -in the Gulf of Naples - with The city of Pozzuoli & the Port Of Baia visible was published by Georg Braun & Frans Hogenberg for the 1575 atlas of town plans Civiates Orbis Terrarum Vol II intended as a companion to Abraham Ortelius's master Atlas Theatrum Orbis Terrarum published in 1570.

The Gulf of Naples is a 10-mile wide gulf located in the south western coast of Italy, (province of Naples, Campania region). It opens to the west into the Mediterranean Sea & is bordered on the north by the cities of Naples and Pozzuoli. To the east is Mount Vesuvius, and on the south by the Sorrentine Peninsula and its main town Sorrento; the Peninsula separates it from the Gulf of Salerno.

Pozzuoli began as the Greek colony of Dicaearchia. The Roman colony was established in 194 BC, and took the Latin name Puteoli 'little wells', referring to the many hot springs in the area, most notably Solfatara. This is because Pozzuoli lies in the center of the Campi Flegrei, a caldera.
Puteoli was the great emporium for the Alexandrian grain ships, and other ships from all over the Roman world. It also was the main hub for goods exported from Campania, including blown glass, mosaics, wrought iron, and marble. The Roman naval base at nearby Misenum housed the largest naval fleet in the ancient world. It was also the site of the Roman Dictator Sulla's country villa and the place where he died in 78 BC.
The local volcanic sand, pozzolana formed the basis for the first effective concrete, as it reacted chemically with water. Instead of just evaporating slowly off, the water would turn this sand/lime mix into a mortar strong enough to bind lumps of aggregate into a load-bearing unit. This made possible the cupola of the Pantheon, the first real dome.

Background of Civitates Orbis Terrarum

The first volume of the Civitates Orbis Terrarum was published in Cologne in 1572. The sixth and the final volume appeared in 1617. 
This great city atlas, edited by Georg Braun and largely engraved by Franz Hogenberg, eventually contained 546 prospects, bird-eye views and map views of cities from all over the world. Braun (1541-1622), a cleric of Cologne, was the principal editor of the work, and was greatly assisted in his project by the close, and continued interest of Abraham Ortelius, whose Theatrum Orbis Terrarum of 1570 was, as a systematic and comprehensive collection of maps of uniform style, the first true atlas.

For a variety of reasons town plans were comparatively latecomers in the long history of cartography. Few cities in Europe in the middle ages had more than 20,00 inhabitants and even London in the late Elizabethan period had only 100-150,000 people which in itself was probably 10 times that of any other English city. The Nuremberg Chronicle in 1493 included one of the first town views of Jerusalem, thereafter, for most of the sixteenth century, German cartographers led the way in producing town plans in a modern sense. In 1544 Sebastian Munster issued in Basle his Cosmographia containing roughly sixty-six plans and views, some in the plan form, but many in the old panorama or birds eye view. (Ref: Tooley; M&B)

Condition Report:
Paper thickness and quality: - Light and stable
Paper color: - off white
Age of map color: - Early
Colors used: - Green, blue, red, yellow
General color appearance: - Authentic
Paper size: - 21in x 16in (535mm x 410mm)
Plate size: - 19in x 12in (485mm x 310mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Professional repair to top centre margin
Plate area: - Small professional repairs & light age toning to centrefold
Verso: - None

$475.00 USD
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1868 Ernst Gladbach Large Original Antique Print of Houses in Zurich Switzerland

1868 Ernst Gladbach Large Original Antique Print of Houses in Zurich Switzerland

Description:
This large original copper plate engraved antique print, details of houses of the Hongg & Rapperswil districts in the Swiss city of Zurich by Ernst Gladbach, was published in the 1868 edition of Der Schweizer Holzstyl in seinen cantonalen und constructiven Verschiedenheiten vergleichend dargestellt mit Holzbauten Deutschlands . Darmstadt: Carl Koehler\'s Verlag.
(Translation of title: The comparisons in construction & details between wooden houses in Switzerland and Germany)

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, blue, green, brown
General color appearance: - Authentic
Paper size: - 27in x 19in (685mm x 485mm)
Plate size: - 18 1/2in x 13 1/2in (470mm x 345mm)
Margins: - Min 2in (50mm)

Imperfections:
Margins: - Small repair to left margin, no loss
Plate area: - Central vertical fold
Verso: - None

Gladbach, Ernst Georg 1812 - 1896 
Born in Darmstadt, Germany the son of a jurist, Gladbach early on became involved in architecture and construction issues in particular through his uncle Georg Moller Moller [1784-1852] was an influential court builder in the Grand Duchy of Hesse. At the age of 14 Gladbach began an apprenticeship in his uncle’s office. He soon worked on major projects such as the theatre of Mainz [1829-1833] and supported his uncle in teaching young architects. Aside from this, he became involved with the book series Denkmaler der deutschen Baukunst (Moller 1815-1851). In the large-format illustrated volumes Moller presented detailed architectural surveys of medieval buildings. In the books and in his work as an architect and teacher he focused on construction issues in particular. Between 1833-1844 he published his own textbook on construction, under the title Beiträge zu der Lehre von den Construktionen, that assembled surveys of exemplary buildings. For Gladbach’s further work, the exposure to construction issues in his uncle’s office was formative. In addition, Gladbach received drawing lessons from his cousin Fritz Hessemer who also worked in Moller’s office. The lessons resulted in the publication of some of Gladbach’s artistic drawings by a publisher in Darmstadt. After studying at the universities in Giessen and Heidelberg, Gladbach further improved his drawing skills on a three-year study trip that took him to different German cities and then to Italy from 1837 to 1839. Back in Germany Gladbach worked as a master builder for the Hesse state civil service, dealing with timber construction mainly in a practical way. In his spare time he did some building surveys that he published together with some of Moller’s surveys as a third volume to the series Denkmäler der deutschen Baukunst. In 1857 Gladbach was appointed professor for structural theory and construction materials at the newly founded Swiss Polytechnic School in Zurich and kept this position until 1890. Being professor at the Polytechnic School, he shifted once more the main focus of his work: Gladbach stopped being professionally active as an architect. Instead, teaching became the centre of his life. In addition to his teaching load at the Polytechnic School he gave private drawing lessons. The long semester breaks allowed him to carry out study trips in the Swiss mountains where he conducted his extensive studies on historical timber constructions. In summary, Gladbach explored construction issues from different views before publishing his well-known books on Swiss timber construction: from the view of a designing architect, of a teacher wanting to make constructions issues comprehensible, of an artist who likes to draw and, last but not least, as an architect doing precise building surveys for his uncle’s publication series. This multi-perspective view decisively influenced Gladbach’s method of analysing and documenting historical Swiss timber structures.

$425.00 USD
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1575 Braun & Hogenberg Large Antique Print a View of Mechelen, Belgium

1575 Braun & Hogenberg Large Antique Print a View of Mechelen, Belgium

  • TitleMechelen - Nitidissimae Civitatis Mechlineensis in meditullio Brabantiae sitae, exactis: delineatio
  • Ref #:  16247
  • Size: 21in x 16in (535mm x 410mm)
  • Date : 1575
  • Condition: (A+) Fine Condition

Description:
This fine beautifully hand coloured original antique map a birds-eye view of the city of Mechelen in the Antwerp province of Flanders, Belgium was published by Georg Braun & Frans Hogenberg for the 1575 atlas of town plans Civiates Orbis Terrarum Vol II (1572-1612) intended as a companion to Abraham Ortelius's master Atlas Theatrum Orbis Terrarum published in 1570.

Franz Hogenberg's birthplace is illustrated twice. In the view presented in Volume I the cityscape is dominated by the massive tower belonging to the cathedral of Sint-Rombout, which measures almost 100 m in height. Behind the cathedral to the right lies the Onze-Lieve-Vrouwe church built in the Brabantine late Gothic style. In the present plate Mechelen is seen in a bird's-eye view from the northwest. Clearly apparent is the almost circular shape of the inner city, which has already spread beyond the bounds of the canal ringing the old city wall. In the Middle Ages staple rights and the cloth trade brought Mechelen great prosperity. In 1336 the city passed to the Duchy of Brabant, later to Burgundy, and developed into a highly regarded centre of commerce. The collapse of the cloth industry prompted the development of new areas of manufacturing, such as cannon and bell founding. In 1477 Mechelen passed to the Habsburgs and from 1507 to 1530, under the regency of Margaret of Austria, was capital of the Habsburg Netherlands. In 1559 Mechelen became an archbishopric and over the course of the Wars of Religion grew into a centre of the Counter-Reformation. For some time it was also the seat of the highest tribunal of the Habsburg Netherlands. (Taschen)

Background of Civitates Orbis Terrarum
The first volume of the Civitates Orbis Terrarum was published in Cologne in 1572. The sixth and the final volume appeared in 1617. 
This great city atlas, edited by Georg Braun and largely engraved by Franz Hogenberg, eventually contained 546 prospects, bird-eye views and map views of cities from all over the world. Braun (1541-1622), a cleric of Cologne, was the principal editor of the work, and was greatly assisted in his project by the close, and continued interest of Abraham Ortelius, whose Theatrum Orbis Terrarum of 1570 was, as a systematic and comprehensive collection of maps of uniform style, the first true atlas.

For a variety of reasons town plans were comparatively latecomers in the long history of cartography. Few cities in Europe in the middle ages had more than 20,00 inhabitants and even London in the late Elizabethan period had only 100-150,000 people which in itself was probably 10 times that of any other English city. The Nuremberg Chronicle in 1493 included one of the first town views of Jerusalem, thereafter, for most of the sixteenth century, German cartographers led the way in producing town plans in a modern sense. In 1544 Sebastian Munster issued in Basle his Cosmographia containing roughly sixty-six plans and views, some in the plan form, but many in the old panorama or birds eye view. (Ref: Tooley; M&B)

Condition Report:
Paper thickness and quality: - Heavy and stable
Paper color: - off white
Age of map color: - Early
Colors used: - Green, blue, red, yellow
General color appearance: - Authentic
Paper size: - 21in x 16in (535mm x 410mm)
Plate size: - 18 1/2in x 13 1/2in (470mm x 345mm)
Margins: - Min 1in (25mm)

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

$425.00 USD
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1575 Braun & Hogenberg Antique Print Sneek Dokkum Ylst Frisia Sloten Netherlands

1575 Braun & Hogenberg Antique Print Sneek Dokkum Ylst Frisia Sloten Netherlands

  • TitleSneecha, vulgo Sneeck Frisiae Occidentalis Oppidum. - Doccum - Sloten - Ylsta
  • Ref #:  30261
  • Size: 21in x 16in (535mm x 410mm)
  • Date : 1575
  • Condition: (A+) Fine Condition

Description:
This fine beautifully hand coloured original antique map a birds-eye view of the towns of Sneek, Dokkum, Ylst and Sloten in Frisia, the Netherlands was published by Georg Braun & Frans Hogenberg for the 1575 atlas of town plans Civiates Orbis Terrarum Vol II (1572-1612) intended as a companion to Abraham Ortelius's master Atlas Theatrum Orbis Terrarum published in 1570.

Background of Civitates Orbis Terrarum
The first volume of the Civitates Orbis Terrarum was published in Cologne in 1572. The sixth and the final volume appeared in 1617. 
This great city atlas, edited by Georg Braun and largely engraved by Franz Hogenberg, eventually contained 546 prospects, bird-eye views and map views of cities from all over the world. Braun (1541-1622), a cleric of Cologne, was the principal editor of the work, and was greatly assisted in his project by the close, and continued interest of Abraham Ortelius, whose Theatrum Orbis Terrarum of 1570 was, as a systematic and comprehensive collection of maps of uniform style, the first true atlas.

For a variety of reasons town plans were comparatively latecomers in the long history of cartography. Few cities in Europe in the middle ages had more than 20,00 inhabitants and even London in the late Elizabethan period had only 100-150,000 people which in itself was probably 10 times that of any other English city. The Nuremberg Chronicle in 1493 included one of the first town views of Jerusalem, thereafter, for most of the sixteenth century, German cartographers led the way in producing town plans in a modern sense. In 1544 Sebastian Munster issued in Basle his Cosmographia containing roughly sixty-six plans and views, some in the plan form, but many in the old panorama or birds eye view. (Ref: Tooley; M&B)

Condition Report:
Paper thickness and quality: - Heavy and stable
Paper color: - off white
Age of map color: - Early
Colors used: - Green, blue, red, yellow
General color appearance: - Authentic
Paper size: - 21in x 16in (535mm x 410mm)
Plate size: - 16 1/2in x 14in (420mm x 355mm)
Margins: - Min 1in (25mm)

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

$425.00 USD
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1575 Braun & Hogenberg Large Antique Map of the City of Arras, France

1575 Braun & Hogenberg Large Antique Map of the City of Arras, France

Description:
This fine beautifully hand coloured original antique map a birds-eye view of the French City of Arras - the capital of the Pas de Calais region - was published by Georg Braun & Frans Hogenberg for the 1575 atlas of town plans Civiates Orbis Terrarum Vol II (1572-1612) intended as a companion to Abraham Ortelius's master Atlas Theatrum Orbis Terrarum published in 1570.

Background of Civitates Orbis Terrarum
The first volume of the Civitates Orbis Terrarum was published in Cologne in 1572. The sixth and the final volume appeared in 1617. 
This great city atlas, edited by Georg Braun and largely engraved by Franz Hogenberg, eventually contained 546 prospects, bird-eye views and map views of cities from all over the world. Braun (1541-1622), a cleric of Cologne, was the principal editor of the work, and was greatly assisted in his project by the close, and continued interest of Abraham Ortelius, whose Theatrum Orbis Terrarum of 1570 was, as a systematic and comprehensive collection of maps of uniform style, the first true atlas.

For a variety of reasons town plans were comparatively latecomers in the long history of cartography. Few cities in Europe in the middle ages had more than 20,00 inhabitants and even London in the late Elizabethan period had only 100-150,000 people which in itself was probably 10 times that of any other English city. The Nuremberg Chronicle in 1493 included one of the first town views of Jerusalem, thereafter, for most of the sixteenth century, German cartographers led the way in producing town plans in a modern sense. In 1544 Sebastian Munster issued in Basle his Cosmographia containing roughly sixty-six plans and views, some in the plan form, but many in the old panorama or birds eye view. (Ref: Tooley; M&B)

Condition Report:
Paper thickness and quality: - Heavy and stable
Paper color: - off white
Age of map color: - Early
Colors used: - Green, blue, red, yellow
General color appearance: - Authentic
Paper size: - 21in x 16in (535mm x 410mm)
Plate size: - 19in x 14in (485mm x 355mm)
Margins: - Min 1in (25mm)

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

$425.00 USD
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1670 Dapper & Ogilby Large Old, Antique Print View of Cairo, Egypt

1670 Dapper & Ogilby Large Old, Antique Print View of Cairo, Egypt

Description: 
This finely engraved original antique print a view of the Egyptian city of Cairo was published by John Ogilby in the 1670 edition of An Accurate Description and Complete History of America and Africa based on De Nieuwe en Onbekende Wereld by Olfert Dapper.

Background: A fine bird's-eye view of the ancient city of Cairo, originally featured in Dapper's 'Description of Africa', and heavily based upon the 1549 view of Cairo by Venetian printmaker Matteo Pagono. This striking view of Cairo places the dense city in the centre, surrounded by open landscape. Set to the right of the city, past the River Nile, are depictions of the Pyramids and the Sphinx. In the immediate foreground, several travellers can be seen upon a hilltop that overlooks the city. With them are various animals, including cattle and camels. Two lettered keys are featured, one in Dutch in the upper left corner, and the other, an English translation in the upper right. 
The view was featured in John Ogilby's English edition of Olfert Dapper's 'Description of Africa'.
Olfert Dapper's 'Description of Africa' was an ethnographic book which offered a detailed description of the parts of Africa known to Europeans in the mid-seventeenth century. Despite the work being regarded as one of the most important and detailed seventeenth-century publications on Africa, Dapper himself never actually visited the continent. Instead, he relied on the reports of Jesuit missionaries and Dutch explorers.
Dapper's 'Description of Africa' was first published in 1668 by Jacob van Meurs in Amsterdam, with a second Dutch edition appearing in 1676. In 1670, a German translation of the publication was issued, and in the same year, an English translation, which is generally attributed to John Ogilby. A French edition was published in 1676, although it was not as true to the original as the other translations. 
Olfert Dapper (1636 - 1689) was a Dutch physician and writer. Despite never travelling outside of the Netherlands, Dapper was a writer of world history and geography.
John Ogilby (1600-1676) was a Scottish cartographer and publisher. Ogilby is perhaps best known for his series of road-maps entitled the "Britannia", which was the first road-atlas of any country, published in 1675. (Ref: Tooley, M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 17 1/2in x 14in (445mm x 355mm)
Plate size: - 13 1/2in x 9 1/2in (345mm x 245mm)
Margins: - Min 2in (50mm)

Imperfections:
Margins: - Slight separation to bottom margin centrefold, not affecting the image
Plate area: - None
Verso: - None

$375.00 USD
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1780 Vue d' Optic Antique Print of Westminster, River Thames, Tower of London

1780 Vue d' Optic Antique Print of Westminster, River Thames, Tower of London

  • Title : Vue Du Pont De Westminster Du Cote Du Nord
  • Date : 1780
  • Condition: (A+) Fine Condition
  • Ref:  92718
  • Size: 21in x 14 1/2in (535mm x 370mm) 

Description: 

This large beautifully engraved hand coloured original antique print, a view of Westminster in London -including London Bridge, Tower Hill, Westminster Abbey and the old Parliament buildings - was engraved by Balthazar Frederic Leizelt and was published in 1780 in the unusual publication Vues d’Optique.

Vues d' Optique or Perspective Views: Perspective views, or "vues d'optique," are a special type of popular print published in Europe during the 18th century. These prints provided a form of entertainment when viewed through a device called an "optical machine" or an "optique." The most characteristic feature of the perspective views is their emphasized linear perspective, done to further intensify the enhanced appearance of depth and illusionistic space in the prints when viewed through an optique. When displayed in the optique, the prints might transport the viewer into a far away place---an unknown city, or perhaps into the midst of a dramatic bit of contemporary history. Another attribute of these prints is their bright, often heavy hand coloring, applied boldly so as to show the tints when viewed through the lens.

A number of perspective prints depicted American scenes at the time of the Revolution for a European audience hungry for news of the events in the British colonies. As documents of American history and European printmaking, these are unusual and appealing eighteenth-century prints.

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original
Colors used: - Blue, yellow, green, red
General color appearance: - Authentic & bright
Paper size: - 21in x 14 1/2in (535mm x 370mm)
Plate size: - 15 1/2in x 10in (395mm x 255mm)
Margins: - Min 1in (25mm)

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

$325.00 USD
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1719 Chatelain Large Antique Print North Africa City Views Algiers, Jijel, Tripoli & Tunis

1719 Chatelain Large Antique Print North Africa City Views Algiers, Jijel, Tripoli & Tunis

  • Title : Vue de Tunis d'Alger & de Gigeri avec quelques particularitez curieuses touchant les moeurs de leur habitans & de quelques autres peuples de Barbarie
  • Ref #:  50646
  • Size: 20in x 17 1/2in (510mm x 445mm)
  • Date : 1719
  • Condition: (A+) Fine Condition

Description:
This large finely engraved original antique print views of cities of The Barbary Coast of North Africa including Algiers and Jijel, both in Algeria, Tripoli in Libya and Tunis in Tunisia - as well as peoples & animals of the Barbary coast - was published by Henri Abraham Chatelain in 1719, in his famous Atlas Historique.

Henri Abraham Chatelain (1684 - 1743)
was a Huguenot pastor of Parisian origins. He lived consecutively in Paris, St. Martins, London (c. 1710), the Hague (c. 1721) and Amsterdam (c. 1728).
Chatelain was a skilled artist and knew combining a wealth of historical and geographical information with delicate engraving and an uncomplicated composition. Groundbreaking for its time, this work included studies of geography, history, ethnology, heraldry, and cosmography. His maps with his elegant engraving are a superb example from the golden age of French mapmaking.The publishing firm of Chatelain, Chatelain Frères and Chatelain & Fils is recorded in Amsterdam, from around 1700-1770, with Zacharias living "op den Dam" in 1730.
Henri Abraham Chatelain, his father Zacharie Chatelain (d.1723) and Zacharie Junior (1690-1754), worked as a partnership publishing the Atlas Historique, Ou Nouvelle Introduction à L'Histoire under several different Chatelain imprints, depending on the Chatelain family partnerships at the time of publication. The atlas was published in seven volumes between 1705 and 1720, with a second edition appearing in 1732. The volumes I-IV with a Third edition and volume I with a final edition in 1739.
Henri Abraham Chatelain, whose "Atlas Historique" was one of the most expansive Dutch encyclopedias of the age. First published in 1705, Chatelain's Atlas Historique was part of an immense seven-volume encyclopedia. Although the main focus of the text was geography, the work also included a wealth of historical, political, and genealogical information. The text was compiled by Nicholas Gueudeville and Garillon with a supplement by H.P. de Limiers and the maps were engraved by Chatelain, primarily after charts by De L'Isle. The atlas was published in Amsterdam between 1705 and 1721 and was later reissued by Zacharie Chatelain between 1732 and 1739.

Atlas Historique: First published in Amsterdam from 1705 to 1720, the various volumes were updated at various times up to 1739 when the fourth edition of vol.I appeared, stated as the "dernière edition, corrigée & augmentée."
The first four volumes seem to have undergone four printings with the later printings being the most desirable as they contain the maximum number of corrections and additions. The remaining three final volumes were first issued between 1719-1720 and revised in 1732.
An ambitious and beautifully-presented work, the Atlas Historique was intended for the general public, fascinated in the early eighteenth century by the recently conquered colonies and the new discoveries. Distant countries, such as the Americas, Africa, the Middle East, Mongolia, China, Japan, Indonesia, etc., take an important place in this work.
In addition to the maps, many of which are based on Guillaume De L'Isle, the plates are after the best travel accounts of the period, such as those of Dapper, Chardin, de Bruyn, Le Hay and other.
Other sections deal with the history of the european countries, and covers a wide range of subjects including genealogy, history, cosmography, topography, heraldry and chronology, costume of the world, all illustrated with numerous engraved maps, plates of local inhabitants and heraldic charts of the lineages of the ruling families of the time. The maps, prints and tables required to make up a complete set are listed in detail in each volume.
The accompanying text is in French and often is printed in two columns on the page with maps and other illustrations interspersed. Each map and table is numbered consecutively within its volume and all maps bear the privileges of the States of Holland and West-Friesland.
The encyclopaedic nature of the work as a whole is reflected in this six frontispiece. The pages are the work of the celerated mr. Romeijn de Hooghe. and are engraved by J.Goeree, T.Schynyoet and P.Sluyter.
New scholarship has suggested the compiler of the atlas, who is identified on the title as "Mr. C***" not to be Henri Abraham Châtelain, but Zacharie Châtelain. (See Van Waning's article in the Journal of the International Map Collectors' Society for persuasive evidence of the latter's authorship.) (Ref: M&B; Tooley)   

General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 20in x 17 1/2in (510mm x 445mm)
Plate size: - 17 1/2in x 15in (445mm x 380mm)
Margins: - min. 1in (25mm)

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

$299.00 USD
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1809 Wilkinson Large Antique Print View of River Thames & Somerset House, London

1809 Wilkinson Large Antique Print View of River Thames & Somerset House, London

  • Title : Somerset House in its Original State With the Various Buildings on the Banks of the River Thames as far as Westminster...October 1809...Rob Wilkinson
  • Date : 1809
  • Condition: (A+) Fine Condition
  • Ref:  92599
  • Size: 18in x 12 1/2in (460mm x 320mm)

Description:
This fine large finely copper-plate engraved beautifully hand coloured original antique print of the Thames River at Somerset House in central London was published by Robert Wilkinson 11th of October 1809, the date is engraved at the foot of the print.

Text below the title goes into some detail of the view quote ...Buildings in the distance are Whitehall and Westminster Abbey opposite to which are Lambeth Church and Palace. (Ref: M&B; Tooley)

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: - 18in x 12 1/2in (460mm x 320mm)
Plate size: - 17in x 12in (435mm x 305mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Plate-mark re-enforced with archival tape left margin
Plate area: - None
Verso: - None

Background: 
Somerset House is a large Neoclassical building situated on the south side of the Strand in central London, overlooking the River Thames, just east of Waterloo Bridge. The building, on the site of a Tudor palace, was designed by Sir William Chambers in 1776, and further extended with Victorian wings to the east and west in 1831 and 1856 respectively. The East Wing forms part of the adjacent Strand campus of King\'s College London

$275.00 USD
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1821 Charles Hullmandel & Francis Nicholson Antique Print of Bridge St, Chester

1821 Charles Hullmandel & Francis Nicholson Antique Print of Bridge St, Chester

  • Title : Bridge Street, Chester....Printed by C Hullmandel....F. N. 1821
  • Size: 16 1/2in x 12 1/2in (420mm x 315mm)
  • Condition: (A) Good Condition
  • Date : 1821
  • Ref #:  26350

Description:
This scarce, fine early lithograph of Bridge St in the city of Chester, England by the British artist Francis Nicholson was print by the Charles Joseph Hullmandel in 1821 - dated at the foot of the print.

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 12 1/2in (420mm x 315mm)
Plate size: - 16 1/2in x 12 1/2in (420mm x 315mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Soiling, repair to top & bottom margin, no loss
Plate area: - None
Verso: - Soiling

Background: 
Francis Nicholson 1753 – 1844 was a British artist, born in Pickering, North Yorkshire. He worked in watercolour and oil, and is mainly known as a landscape artist.
Nicholson studied with a local artist in Scarborough, before beginning his career in his native Pickering, producing sporting pictures and portraits for a variety of Yorkshire patrons. By the mid-1780s he was also making paintings of country houses, leading him to concentrate on landscapes in watercolour.
From 1789, he contributed views of both Yorkshire and Scotland to exhibitions at the Royal Academy. He also supplied topographical views for the Copper Plate Magazine.
He contributed Views of England in collaboration with the engraver Francis Jukes to The Beauties of England and Wales, Author: Britton, John & Edward Wedlake Brayley - A book published in 18 volumes from 1801 to 1815.
Although his market increasingly became London-based, Nicholson continued to live in Yorkshire - at Whitby, Knaresborough and Ripon. He did not move to London until about 1803. In 1804, he became a founder-member of the Society of Painters in Watercolours, and was a regular and prolific contributor to its exhibitions.
He wrote a handbook, The practice of drawing and painting landscape from nature, in water colours, which was published in 1820. It sold out and a second edition followed in 1823.
His c. 1837 self-portrait is in the National Portrait Gallery. & is known as the Father of water colour painting and also as an early pioneer of lithography, and was much admired by Turner.
Nicholson died in London and is buried there in Brompton Cemetery.

Hullmandel, Charles Joseph 1789 – 1850 
Hullmandel was born in London, where he maintained a lithographic establishment on Great Marlborough Street from about 1819 until his death.
He was born in Queen Street, Mayfair. His father was a German-speaking musician and composer, Nicolaus Joseph Hüllmandel (1751–1823), a native of Strasbourg who became a pupil of C. P. E. Bach and from 1780 spent ten years as a fashionable music teacher in Paris. In 1787 he married a Mademoiselle du Cazan, who was of a noble French family, and in 1789 sent his wife to England, following her in 1790, as the French Revolution unfolded.
As a young man, Charles Hullmandel studied art and spent several years living and working in continental Europe. He learned printmaking and printed many of his own works. In 1818, he set up a printing press in London after a visit to Munich with Rudolph Ackermann and went on to study chemistry under Michael Faraday for the purpose of improving his printing.
During the first half of the 19th century Hullmandel became one of the most important figures in the development of British lithography, and his name appears on the imprints of thousands of lithographic prints. He developed a method for reproducing gradations in tones and for creating the effect of soft colour washes which enabled the printed reproduction of Romantic landscape paintings of the type made popular in England by J. M. W. Turner. Hullmandel\\\'s essay The Art of Drawing on Stone (1824) was an important handbook of lithography. In 1843 he went into partnership with Joseph Fowell Walton (born 1812, living 1863), a cousin of the landscape artist and lithographer W. L. Walton, the firm then becoming known as Hullmandel & Walton.

$275.00 USD
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1650 Fuller Antique Print a View of Neros Palace Rome

1650 Fuller Antique Print a View of Neros Palace Rome

Description:
This finely engraved hand coloured original antique print a view of Neros Golden Palace in Rome was published in 1650 by Thomas Fuller in his unique book of the Holy Land A Pisagh-Sight of Palestine

Fuller, a loyalist during the English Civil War of the mid 17th century, wrote Pisagh-Sightduring a forced exile in Waltham. 
The book was an early success and confirmed the genial divines contention the “the booksellers have always done well by me”. His earlier studies in poetry and history and his droll humor contribute to the geographical description in “Pisagh-Sight” while the cartography in the book is derived from that of Adrichom sixty years before. 
The book contained 21 wonderfully engraved maps on the Holy Land and displayed unusual charm in their Vignettes and scenes. For all its lively and playful erudition, Pisagh-Sight is one of the great books on the topography of the Holy Land. (Ref: Nebenzahl; Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - Off white
Age of map color: - Early
Colors used: - Yellow, pink, orange, green
General color appearance: - Authentic
Paper size: - 17in X 13in (435mm x 330mm)
Margins: - Min 1/2in (12mm) 

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

$275.00 USD
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1719 Chatelain Large Antique Print of St Christopher Island, Antilles, Caribbean

1719 Chatelain Large Antique Print of St Christopher Island, Antilles, Caribbean

  • Title : Particularitez Curieuses De L'ile De St. Christopher et de la Province de Bemarin Dans Les Antilles
  • Ref  :  50630
  • Size: 20in x 17in (510m x 430m)
  • Date : 1719.
  • Condition: (A+) Fine Condition

Description: 
This large original antique sheet with engraved illustrations to text on the West Indian Island of St Christopher was published by Henri Abraham Chatelain in 1719, in his famous Atlas Historique.
This large sheet from Volume Six of Chatelain's Atlas Historique , contains six engraved views of the Island of the main French settlement, local Indians, plantations,  different types of birds, reptiles, fish and general wildlife.

Henri Abraham Chatelain (1684 - 1743)
was a Huguenot pastor of Parisian origins. He lived consecutively in Paris, St. Martins, London (c. 1710), the Hague (c. 1721) and Amsterdam (c. 1728).
Chatelain was a skilled artist and knew combining a wealth of historical and geographical information with delicate engraving and an uncomplicated composition. Groundbreaking for its time, this work included studies of geography, history, ethnology, heraldry, and cosmography. His maps with his elegant engraving are a superb example from the golden age of French mapmaking.The publishing firm of Chatelain, Chatelain Frères and Chatelain & Fils is recorded in Amsterdam, from around 1700-1770, with Zacharias living "op den Dam" in 1730.
Henri Abraham Chatelain, his father Zacharie Chatelain (d.1723) and Zacharie Junior (1690-1754), worked as a partnership publishing the Atlas Historique, Ou Nouvelle Introduction à L'Histoire under several different Chatelain imprints, depending on the Chatelain family partnerships at the time of publication. The atlas was published in seven volumes between 1705 and 1720, with a second edition appearing in 1732. The volumes I-IV with a Third edition and volume I with a final edition in 1739.
Henri Abraham Chatelain, whose "Atlas Historique" was one of the most expansive Dutch encyclopedias of the age. First published in 1705, Chatelain's Atlas Historique was part of an immense seven-volume encyclopedia. Although the main focus of the text was geography, the work also included a wealth of historical, political, and genealogical information. The text was compiled by Nicholas Gueudeville and Garillon with a supplement by H.P. de Limiers and the maps were engraved by Chatelain, primarily after charts by De L'Isle. The atlas was published in Amsterdam between 1705 and 1721 and was later reissued by Zacharie Chatelain between 1732 and 1739.

Atlas Historique: First published in Amsterdam from 1705 to 1720, the various volumes were updated at various times up to 1739 when the fourth edition of vol.I appeared, stated as the "dernière edition, corrigée & augmentée." 
The first four volumes seem to have undergone four printings with the later printings being the most desirable as they contain the maximum number of corrections and additions. The remaining three final volumes were first issued between 1719-1720 and revised in 1732. 
An ambitious and beautifully-presented work, the Atlas Historique was intended for the general public, fascinated in the early eighteenth century by the recently conquered colonies and the new discoveries. Distant countries, such as the Americas, Africa, the Middle East, Mongolia, China, Japan, Indonesia, etc., take an important place in this work. 
In addition to the maps, many of which are based on Guillaume De L'Isle, the plates are after the best travel accounts of the period, such as those of Dapper, Chardin, de Bruyn, Le Hay and other.
Other sections deal with the history of the european countries, and covers a wide range of subjects including genealogy, history, cosmography, topography, heraldry and chronology, costume of the world, all illustrated with numerous engraved maps, plates of local inhabitants and heraldic charts of the lineages of the ruling families of the time. The maps, prints and tables required to make up a complete set are listed in detail in each volume. 
The accompanying text is in French and often is printed in two columns on the page with maps and other illustrations interspersed. Each map and table is numbered consecutively within its volume and all maps bear the privileges of the States of Holland and West-Friesland. 
The encyclopaedic nature of the work as a whole is reflected in this six frontispiece. The pages are the work of the celerated mr. Romeijn de Hooghe. and are engraved by J.Goeree, T.Schynyoet and P.Sluyter. 
New scholarship has suggested the compiler of the atlas, who is identified on the title as "Mr. C***" not to be Henri Abraham Châtelain, but Zacharie Châtelain. (See Van Waning's article in the Journal of the International Map Collectors' Society for persuasive evidence of the latter's authorship.) (Ref: M&B; Tooley)   

General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - White
Age of map color: -  
Colors used: -  
General color appearance: -  
Paper size: - 20in x 17in (510m x 430m)
Plate size: - 17 1/4in x 15in (440m x 380mm)
Margins: - min. 1in (25mm)

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

$275.00 USD
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1693 Slezer Antique Print View of the Town of Alloa on Firth of Forth Scotland

1693 Slezer Antique Print View of the Town of Alloa on Firth of Forth Scotland

  • Title The Prospect of the House & of the Town of Alloua
  • Ref  :  24947
  • Size:  18 ½in x 14 ½in (470mm x 370mm)
  • Date : 1693
  • Condition: (A+) Fine Condition

Description: 
This finely engraved original important antique print a view of the town of Alloa in Clackmannanshire in eastern Scotland on the Firth of Forth, was published in the first edition of John Slezer's 'Theatrum Scotiae', 1693. 
This is an important and rare print as Slezer s Theatrum Scotiae is one of the earliest records of early Scottish towns. (Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - off white
Age of map color: -  
Colors used: -  
General color appearance: -  
Paper size: - 18 ½in x 14 ½in (470mm x 370mm)
Plate size: - 16 ½in x 11 in (420mm x 280mm)
Margins: - Min 1in (25mm)

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

$275.00 USD
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1693 Slezer Antique Print Fortrose View of Ross-shire, Scotland

1693 Slezer Antique Print Fortrose View of Ross-shire, Scotland

Description: 
This fine beautifully hand coloured original antique print a view of Fortrose - in the Shire of Ross, Northern Scotland - was published in the 1718 edition of John Slezer's 'Theatrum Scotiae', published in 1693.

Fortrose in Ross-shire sits on the edge of the Moray Firth. In Slezer's view you see the ruins of the town's cathedral, which fell into decline after the Reformation in 1560.
Fortrose consists of two towns, Chanonry (or as Slezer writes, 'Channery') and Rosemarkie, which were formally united in 1592 under the name Fortrose. From the 12th century, Rosemarkie was the seat of the Bishopric of Ross, but the cathedral and former bishop's residence were largely removed by Cromwell in the 1650s.
In front of the town are run-rigs unenclosed strips of separately cultivated ground. These were typical in the Scottish landscape of the 17th and early 18th centuries.

This is an important and rare print as Slezer s Theatrum Scotiae is one of the earliest records of early Scottish towns. (Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - off white
Age of map color: - Early
Colors used: - Green, yellow, orange, blue  
General color appearance: - Authentic  
Paper size: - 16 ½in x 10 ½in (420mm x 270mm)
Plate size: - 16 ½in x 10 ½in (420mm x 270mm)
Margins: - Min 1/4in (7mm)

Imperfections:
Margins: - Cropped to plate-mark
Plate area: - None
Verso: - None

$275.00 USD
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1724 Kip Large Folio Antique Print a View of Carlisle Church in Cumbria, England

1724 Kip Large Folio Antique Print a View of Carlisle Church in Cumbria, England

Description: 
Carlisle Cathedral bears the scars of 900 years spent in this most tumultuous of regions. The scarred exterior and tower, has the effect of making the cathedral look more like a Border castle than a church! The cathedral suffered badly in the Civil War, when Parliamentary troops under General Leslie almost destroyed the nave, leaving only two bays standing.

The original nave was built by secular canons in 1092 as a collegiate church. That early church was built, but by 1123 the Augustinian order had taken over. The choir aisles are late 13th century, but the body of the choir was not completed until a century later.

The transepts and tower date from the 15th century. The glories of Carlisle are the east window, one of the best examples of decorated tracery anywhere, and the delicately carved capitals in the choir, depicting the seasons. The east window is believed to be the work of Ivo de Ragheton, who was also responsible for the west front of York Minster.

The barrel-vaulted choir ceiling is painted in vivid blue with gold trim. Medieval paintings in the north and south aisles and the choir represent the lives of the Apostles and saints Anthony and Cuthbert. The choir stalls and misericords are decorated with wonderful carvings dating from the early 15th century.

This is a finely engraved print being testimony to the beautiful and detailed work produced by Kip whose eye for detail was one of the most acknowledged of his day.

Condition Report
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - Early
Colours used: - Yellow, brown, green, red
General colour appearance: - Authentic
Paper size: - 
24 1/2in x 19 1/2in (610mm x 495mm)
Plate size: - 23in x 18in (585mm x 470mm)
Margins: - min 1/4in (6mm)

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

$275.00 USD
More Info
1724 Kip Large Antique Folio Print of Gloucester Cathedral, England

1724 Kip Large Antique Folio Print of Gloucester Cathedral, England

  • TitleThe South Prospect of The Cathedral of St Peters Glocester
  • Date : 1724
  • Condition: (A+) Fine Condition
  • Ref:  40415
  • Size: 26 1/2in x 22in (670mm x 560mm)

Description: 
This finely engraved original large folio antique Cathedral print by Johnnes Kip (1653-1722) and engraved by James Collins was published in the 1724 by Joseph Smith monumental work Nouveau Theatre de la Grande Bretagne. This print also appeared in Britannia Illustrata by D. Mortier (brother of Pierre).
This is a finely engraved print being testimony to the beautiful and detailed work produced by Kip whose eye for detail was one of the most acknowledged of his day.

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

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

$275.00 USD
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1724 Kip Large Folio Antique Print of Worcester Cathedral, England

1724 Kip Large Folio Antique Print of Worcester Cathedral, England

Description: 
This finely engraved original large folio antique Cathedral print by Johnnes Kip (1653-1722) and engraved by James Collins was published in the 1724 by Joseph Smith monumental work Nouveau Theatre de la Grande Bretagne. This print also appeared in Britannia Illustrata by D. Mortier (brother of Pierre).
This is a finely engraved print being testimony to the beautiful and detailed work produced by Kip whose eye for detail was one of the most acknowledged of his day.

Background:
The history of Worcester goes back a long way. In 672, a council of the English Church was held, Worcester became the centre of five new dioceses formed. In the ninth century invasions from the Danes brought fighting to England, but Worcester being on the edge of the conflict escaped without much damage. In 983, Oswald founded a monastery at Worcester under the Benedictine rule, dedicated to St. Mary the Virgin. Wulfstan, in 1040 became a monk at Worcester and made such an impression, he became Bishop of Worcester in 1062. Wulfstan was the only Anglo-Saxon bishop to remain at his post after the Norman Conquest of 1066. In 1084, Wulfstan began rebuilding Worcester Cathedral, starting with the crypt, some of which still survives. He was canonised in 1203. Building work continued for some time, including rebuilding the two western bays of the nave in 1170 and around 1202 the central tower collapsed and there was a serious fire. In 1216, King John was buried at Worcester and he seems to have a devotion to St. Wulfstan. In 1224, Bishop William de Blois built the Lady Chapel, where he was buried when he died in 1236. In the fourteenth century the nave was completely rebuilt apart from the western bays. The central tower and the cloisters were completed built by 1374.

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

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

$275.00 USD
More Info
1724 Kip Large Antique Folio Print of Peterborough Cathedral, England

1724 Kip Large Antique Folio Print of Peterborough Cathedral, England

Description: 
This finely engraved original large folio antique Cathedral print by Johnnes Kip (1653-1722) and engraved by James Collins was published in the 1724 by Joseph Smith monumental work Nouveau Theatre de la Grande Bretagne. This print also appeared in Britannia Illustrata by D. Mortier (brother of Pierre).
This is a finely engraved print being testimony to the beautiful and detailed work produced by Kip whose eye for detail was one of the most acknowledged of his day.

Background:
An abbey was founded on the site around 655 by either Saxulf or Peada, the first Christian king of Mercia. The abbey was conconsecrated by the Archbishop of Canterbury in 655. at the end of the 9th century, the Danes invaded and raised the abbey to the ground. The abbey lay in ruins until the Bishop of Winchester, Aethelwold with help from King Edgar rebuilt the abbey and consecrated it in 972, in the presence of Archbishops Dunstan of Canterbury and Oswald of York. The second abbey was run under the rule of the Benedictines. The abbey dedicated to St. Peter had a wall built around it for defense and the name changed to Burgh St. Peter, where Burgh means fortified. In 1066, the abbot of Peterborough, Leofric, stood at Harold's side at Hastings but was wounded and died. His successor Brando mistakenly supported Edgar the Atheling instead of William and when William enforced his rule, Brando had to pay William a fine. A Norman abbot was installed at Peterborough when Brando died in 1069. In 1116 fire struck the abbey and the building was badly damaged. Building work begun in 1118. Building work took 120 years to complete. The building was consecrated in 1238 by the Bishop of Lincoln, Grosseteste. The abbey became a Cathedral in 1541 after the abbeys were dissolved in 1539. Notable people buried here are Catherine of Aragon, divorced from Henry VIII, and Mary, Queen of Scots was buried here first before being moved to Westminster Abbey.

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

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

$275.00 USD
More Info
1724 Kip Large Antique Folio Print of St Marys Church The Strand London England

1724 Kip Large Antique Folio Print of St Marys Church The Strand London England

  • TitleAdmodum Reverendis Amplissimis...Templi St Maria in Vico dicto The Strand
  • Date : 1724
  • Condition: (A+) Fine Condition
  • Ref:  40399
  • Size: 26 1/2in x 22in (670mm x 560mm)

Description: 
This finely engraved original large folio antique Cathedral print by Johnnes Kip (1653-1722) and engraved by James Collins was published in the 1724 by Joseph Smith monumental work Nouveau Theatre de la Grande Bretagne. This print also appeared in Britannia Illustrata by D. Mortier (brother of Pierre).
This is a finely engraved print being testimony to the beautiful and detailed work produced by Kip whose eye for detail was one of the most acknowledged of his day.

Background:
The parish of St Mary le Strand may lay a good claim to being one of the oldest parishes in London. It stands dominating a roadway which since prehistory has been the main artery to the west from the City of London. In early Saxon times the Strand area was the very heart of London, for it seems that the City was effectively abandoned by the newly-arrived settlers. The Saxons predominantly inhabited "Lundenwic", an area stretching from Fleet Street to Whitehall and from the Thames to Covent Garden from the sixth to the ninth centuries. Christianity came to this settlement with St Mellitus and his followers in 604, and, despite their brief expulsion in the 620s, became firmly established. We do not know if any of the existing churches in the area date back that far but some, such as St Clement Danes, are known to have existed in later Saxon times. 

There is no record of when St Mary le Strand was founded, but the first church, which was dedicated to the Nativity of the Blessed Virgin Mary, stood just south of the present church on a site now covered by Somerset House. Throughout the Middle Ages, the Bishops of Worcester were the Patrons of the parish and had their London residence on an adjoining site. For throughout the period from the Norman Conquest to the Reformation, the Strand was mainly the home of bishops and princes. Within the parish were the "inns" - large town houses with chapels, stables and accommodation for a large retinue - of the Bishops of Worcester, Llandaff, Coventry and Lichfield. A large part of the parish was absorbed by the building of a great house, the Palace of the Savoy, by Count Peter of Savoy, the uncle of Henry III, in the 1240s. A century later this became the home of John of Gaunt, Earl of Lancaster, and the palace became a centre of culture; among its residents was Geoffrey Chaucer, who was married in the palace chapel. Gaunt's unpopularity, as the king's chief minister, caused the palace to be burned in the Peasant's Revolt. Despite its long absence, the fame of the palace has lasted in the area and was recreated in the nineteenth century by the Savoy Hotel and Theatre. 
The site where the present church stands was occupied in medieval times by Strand Cross. The origins of this are unclear. It was not a cross erected in memory of Queen Eleanor - as was Charing Cross - but seems to have dated back at least to Norman times. Perhaps it began as a market cross; by the early fourteenth century it had been rebuilt in a lavish manner, almost certainly following the design of the Eleanor Crosses. Strand Cross was a famous site and it is recorded that in the thirteenth century the local magistrates held their assizes in front of it.
Until the sixteenth century, the Strand was no more than a line of Bishops' palaces on the south side of the roadway stretching all the way to Whitehall. On the north side stood a wall which bounded the Convent - later Covent - Garden, while the churches further away, St Martin's and St Giles, stood "in-the-fields". All this was to change with the Reformation. The bishops' inns around the church were seized by Edward Lord Protector who set about building himself a renaissance palace in what was then the most fashionable part of town. Even with the extensive site that he had now obtained, further space was needed and towards the end of 1548 the Lord Protector's workmen fell upon St Mary's church and demolished it to provide stone for the new palace. Further stone was provided by the demolition of a cloister at St Paul's Cathedral known as Pardon Churchyard and the greater part of the Priory of St John at Clerkenwell. Even by the standards of the time, the demolition of so much sacred property was an outrage. Somerset was never to enjoy living in his new palace; just as it was nearing completion he was overthrown by his political enemies and executed at Tower Hill in 1551.
It is said that Somerset had intended to build a new parish church. If so, all thought of it passed away with his fall. Initially, the parishioners scattered but within a short time we find them gathered in the chapel of St John the Baptist in the Savoy. Here they would remain for the next 175 years. Now known at "St Mary le Savoy", the parishioners chose and paid for their own ministers. The most famous of these was Thomas Fuller, the church historian, who was appointed in 1642, fled during the Civil War and was restored to his living in 1660. 
Following the execution of Somerset, his palace had passed to the possession of the Crown. Elizabeth I occasionally lodged there and it was from Somerset House that she set off to give thanks after the defeat of the Armada. Under the Stuarts, extensive improvements were made to the palace, the most impressive being the lavish Roman Catholic chapel built by Charles I's queen, Henrietta Maria.
The roadway in front of Somerset House, where Strand Cross had stood and where the present church was later to stand, was occupied in the early seventeenth century by a windmill used to pump water. In 1634 the first Hackney Carriage stand in England was established here by one Captain Bailey. Here also a maypole was erected which became the most famous maypole in London. Demolished by the Puritans, a new maypole was erected in 1661. Parts of this maypole remained until 1717, when they were removed and presented to Sir Isaac Newton as the base for a telescope.
In 1711, an Act of Parliament was passed for building 50 New Churches in the fast expanding suburbs of London. These were the so-called "Queen Ann Churches"; among them are Hawksmoor's Chris
t Church Spitalfields, St Anne's Limehouse, and St George's-in-the-East, Archer's St Paul's Depftord and James' St George's, Hanover Square. St Mary le Strand was quick to apply for a church to replace their demolished one and, as the site on the Strand was so prominent, the Commissioners for building the New Churches decided to make the Strand church the most lavish of the churches. Initially, it was intended that there should not be a spire but that a column celebrating the building of the New Churches should stand directly in front of the church.

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

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

$275.00 USD
More Info
1724 Kip Large Antique Print of Chester Cathedral Church, Cheshire, England

1724 Kip Large Antique Print of Chester Cathedral Church, Cheshire, England

Description: 
This finely engraved original large folio antique Cathedral print by Johnnes Kip (1653-1722) and engraved by James Collins was published in the 1724 by Joseph Smith monumental work Nouveau Theatre de la Grande Bretagne. This print also appeared in Britannia Illustrata by D. Mortier (brother of Pierre).
This is a finely engraved print being testimony to the beautiful and detailed work produced by Kip whose eye for detail was one of the most acknowledged of his day.

Background:
Standing on the site of a 10th century Saxon church, the present cathedral at Chester dates from the mid 13th century. Dedicated to St Werburgh, this Christian church was transformed into a Benedictine Abbey in 1092, colonised by a small group of monks from Normandy. Building of the new abbey church began immediately and took the best part of 150 years to complete but little evidence of the first church remains. The traditional sturdy Norman architecture was eventually replaced over the next two centuries by a more elegant Gothic style. Henry VIII dissolved the monastery in 1540 just as the monks of St Werburgh's Abbey were beginning to enjoy their new surroundings. A year later the abbey was given back as a cathedral, the last abbot of St Werburgh's becoming the first Dean of Chester Cathedral. 

Over the next two hundred years the cathedral slipped into a bad state of disrepair but was eventually saved from total collapse by the efforts of Sir George Gilbert Scott. His 19th century restoration of Chester Cathedral, both externally and internally, not only put in place essential repairs but also enhanced the appearance of the great church immensely. Most of the stained glass comes from this period and highlights the abbey's dedication to St Werburgh, as well as the long history of the cathedral. On the northern aisle of the nave, at the side of one of the large windows, sits the 'Chester Imp'. A charming little figure in chains, carved by one of the medieval monks, to protect the church from evil spirits.
Most medieval cathedrals have beautifully carved stalls in the quire but the quality of oak carving at Chester Cathedral is quite exceptional. Each stall is topped with an elaborately carved canopy set above a row of small corbels, and below each seat a magnificently carved misericord. This area of the church is so richly carved with such a diverse array of religious artefacts, animals, birds and grotesque figures that it is quite overwhelming.
Apart from the main church many of the monastic buildings from the ancient Benedictine Abbey have been remarkably preserved. The original cloisters, although largely rebuilt during the first half of the 16th century and subsequently restored at the beginning of the 20th century, are a constant reminder of the important part they played in monastic life. All the bays of the undercroft, containing some wonderful vaulting, have been utilised to provide an exhibition centre, gift shop and workshop. The monks' dining room or refectory is still used regularly, as is the superb Chapter House. .

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

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

$275.00 USD
More Info
1720 Kip Large Folio Antique Print of Bath Cathedral, Somerset, England

1720 Kip Large Folio Antique Print of Bath Cathedral, Somerset, England

Description: 
This finely engraved original large folio antique Cathedral print by Johnnes Kip (1653-1722) and engraved by James Collins was published in the 1724 by Joseph Smith monumental work Nouveau Theatre de la Grande Bretagne. This print also appeared in Britannia Illustrata by D. Mortier (brother of Pierre).
This is a finely engraved print being testimony to the beautiful and detailed work produced by Kip whose eye for detail was one of the most acknowledged of his day.

Background:
Bath Abbey stands at the heart of the city of Bath; during the past twelve and a half centuries, three different churches have occupied this site:
An Anglo-Saxon Abbey Church dating from 757, pulled down by the Norman conquerors of England soon after 1066.
A massive Norman cathedral begun about 1090. It was larger than the monastery could afford to maintain and by the end of the 15th century was in ruins.
The present Abbey church founded in 1499, ruined after the dissolution of the monasteries in 1539 by order of Henry VIII.

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

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

$275.00 USD
More Info
1725 Kip Large Antique Print of the Holy Trinity Cathedral, Chichester, England

1725 Kip Large Antique Print of the Holy Trinity Cathedral, Chichester, England

  • TitleThe Cathedral Church of the Holy Trinity in Chichester
  • Date : 1724
  • Condition: (A+) Fine Condition
  • Ref:  40411
  • Size: 26 1/2in x 22in (670mm x 560mm)

Description: 
This finely engraved original large folio antique Cathedral print by Johnnes Kip (1653-1722) and engraved by James Collins was published in the 1724 by Joseph Smith monumental work Nouveau Theatre de la Grande Bretagne. This print also appeared in Britannia Illustrata by D. Mortier (brother of Pierre).
This is a finely engraved print being testimony to the beautiful and detailed work produced by Kip whose eye for detail was one of the most acknowledged of his day.

Background:
The cathedral of the Holy Trinity at Chichester was founded in 1075, after the seat of the bishop was transferred to the town from nearby Selsey. It was consecrated in 1108, but a subsequent fire created a need for substantial rebuilding, which was not completed until 1184. The cathedral was reconsecrated in 1199. This was not the last stage in its development, by a long way. Richard de la Wyche, (Saint Richard of Chichester in the Anglican Communion), who was bishop from 1245 to 1253, was buried in the cathedral, where his shrine was a place of pilgrimage, until it was ordered destroyed in 1538, during the first stages of the English Reformation. Further damage to the cathedral had been done by fire after the second consecration, and much rebuilding was carried out in the Early English style. The original wooden ceiling had burnt out, and the sublimely simple present vaulting replaced it. The spire, which was originally built in the 14th century, was of poor-quality local stone, and collapsed suddenly in 1861, miraculously without loss of life. It was immediately rebuilt, by Sir Gilbert Scott, a noted scholarly architect.

The cathedral has many other unique features. Under the floor of the nave are the remains of a Roman mosaic pavement, which can be viewed through a glass window. Also in the interior are the grave of the composer Gustav Holst and the Gothic "Arundel tomb" referred to in a famous poem by Philip Larkin.
Despite its age, the cathedral contains several modern works of art, including tapestries by John Piper and Ursula Benker-Schirmer, a window by Marc Chagall, and a sculpture by Graham Sutherland.  

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

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

$275.00 USD
More Info
1724 Kip Large Antique Folio Print of St Marys Church, The Strand, London

1724 Kip Large Antique Folio Print of St Marys Church, The Strand, London

  • TitleThe South West Prospect of St Mary's Church in ye Strand
  • Date : 1724
  • Condition: (A+) Fine Condition
  • Ref:  40400
  • Size: 26 1/2in x 22in (670mm x 560mm)

Description: 
This finely engraved original large folio antique Cathedral print by Johnnes Kip (1653-1722) and engraved by James Collins was published in the 1724 by Joseph Smith monumental work Nouveau Theatre de la Grande Bretagne. This print also appeared in Britannia Illustrata by D. Mortier (brother of Pierre).
This is a finely engraved print being testimony to the beautiful and detailed work produced by Kip whose eye for detail was one of the most acknowledged of his day.

Background:
The parish of St Mary le Strand may lay a good claim to being one of the oldest parishes in London. It stands dominating a roadway which since prehistory has been the main artery to the west from the City of London. In early Saxon times the Strand area was the very heart of London, for it seems that the City was effectively abandoned by the newly-arrived settlers. The Saxons predominantly inhabited "Lundenwic", an area stretching from Fleet Street to Whitehall and from the Thames to Covent Garden from the sixth to the ninth centuries. Christianity came to this settlement with St Mellitus and his followers in 604, and, despite their brief expulsion in the 620s, became firmly established. We do not know if any of the existing churches in the area date back that far but some, such as St Clement Danes, are known to have existed in later Saxon times. 

There is no record of when St Mary le Strand was founded, but the first church, which was dedicated to the Nativity of the Blessed Virgin Mary, stood just south of the present church on a site now covered by Somerset House. Throughout the Middle Ages, the Bishops of Worcester were the Patrons of the parish and had their London residence on an adjoining site. For throughout the period from the Norman Conquest to the Reformation, the Strand was mainly the home of bishops and princes. Within the parish were the "inns" - large town houses with chapels, stables and accommodation for a large retinue - of the Bishops of Worcester, Llandaff, Coventry and Lichfield. A large part of the parish was absorbed by the building of a great house, the Palace of the Savoy, by Count Peter of Savoy, the uncle of Henry III, in the 1240s. A century later this became the home of John of Gaunt, Earl of Lancaster, and the palace became a centre of culture; among its residents was Geoffrey Chaucer, who was married in the palace chapel. Gaunt's unpopularity, as the king's chief minister, caused the palace to be burned in the Peasant's Revolt. Despite its long absence, the fame of the palace has lasted in the area and was recreated in the nineteenth century by the Savoy Hotel and Theatre. 
The site where the present church stands was occupied in medieval times by Strand Cross. The origins of this are unclear. It was not a cross erected in memory of Queen Eleanor - as was Charing Cross - but seems to have dated back at least to Norman times. Perhaps it began as a market cross; by the early fourteenth century it had been rebuilt in a lavish manner, almost certainly following the design of the Eleanor Crosses. Strand Cross was a famous site and it is recorded that in the thirteenth century the local magistrates held their assizes in front of it.
Until the sixteenth century, the Strand was no more than a line of Bishops' palaces on the south side of the roadway stretching all the way to Whitehall. On the north side stood a wall which bounded the Convent - later Covent - Garden, while the churches further away, St Martin's and St Giles, stood "in-the-fields". All this was to change with the Reformation. The bishops' inns around the church were seized by Edward Lord Protector who set about building himself a renaissance palace in what was then the most fashionable part of town. Even with the extensive site that he had now obtained, further space was needed and towards the end of 1548 the Lord Protector's workmen fell upon St Mary's church and demolished it to provide stone for the new palace. Further stone was provided by the demolition of a cloister at St Paul's Cathedral known as Pardon Churchyard and the greater part of the Priory of St John at Clerkenwell. Even by the standards of the time, the demolition of so much sacred property was an outrage. Somerset was never to enjoy living in his new palace; just as it was nearing completion he was overthrown by his political enemies and executed at Tower Hill in 1551.
It is said that Somerset had intended to build a new parish church. If so, all thought of it passed away with his fall. Initially, the parishioners scattered but within a short time we find them gathered in the chapel of St John the Baptist in the Savoy. Here they would remain for the next 175 years. Now known at "St Mary le Savoy", the parishioners chose and paid for their own ministers. The most famous of these was Thomas Fuller, the church historian, who was appointed in 1642, fled during the Civil War and was restored to his living in 1660. 
Following the execution of Somerset, his palace had passed to the possession of the Crown. Elizabeth I occasionally lodged there and it was from Somerset House that she set off to give thanks after the defeat of the Armada. Under the Stuarts, extensive improvements were made to the palace, the most impressive being the lavish Roman Catholic chapel built by Charles I's queen, Henrietta Maria.
The roadway in front of Somerset House, where Strand Cross had stood and where the present church was later to stand, was occupied in the early seventeenth century by a windmill used to pump water. In 1634 the first Hackney Carriage stand in England was established here by one Captain Bailey. Here also a maypole was erected which became the most famous maypole in London. Demolished by the Puritans, a new maypole was erected in 1661. Parts of this maypole remained until 1717, when they were removed and presented to Sir Isaac Newton as the base for a telescope.
In 1711, an Act of Parliament was passed for building 50 New Churches in the fast expanding suburbs of London. These were the so-called "Queen Ann Churches"; among them are Hawksmoor's Chris
t Church Spitalfields, St Anne's Limehouse, and St George's-in-the-East, Archer's St Paul's Depftord and James' St George's, Hanover Square. St Mary le Strand was quick to apply for a church to replace their demolished one and, as the site on the Strand was so prominent, the Commissioners for building the New Churches decided to make the Strand church the most lavish of the churches. Initially, it was intended that there should not be a spire but that a column celebrating the building of the New Churches should stand directly in front of the church.

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

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

$275.00 USD
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1724 Kip Large Antique Folio Print of Rochester Cathedral, Kent, England

1724 Kip Large Antique Folio Print of Rochester Cathedral, Kent, England

  • TitleThe North Prospect of the Cathedral Church of Rochester
  • Date : 1724
  • Condition: (A+) Fine Condition
  • Ref:  40405
  • Size: 26 1/2in x 22in (670mm x 560mm)

Description: 
This finely engraved original large folio antique Cathedral print by Johnnes Kip (1653-1722) and engraved by James Collins was published in the 1724 by Joseph Smith monumental work Nouveau Theatre de la Grande Bretagne. This print also appeared in Britannia Illustrata by D. Mortier (brother of Pierre).
This is a finely engraved print being testimony to the beautiful and detailed work produced by Kip whose eye for detail was one of the most acknowledged of his day.

Background:
Being the second oldest cathedral foundation in England, Rochester Cathedrals history goes back to AD604 when Augustine sent Bishop Justus to establish the house founded by King Ethelbert of Kent. Following several invasions by the Danes, the church was in a state of devastation by the time Bishop Gundulf was consecrated in 1077 but immediately he began a major building operation, and introduced a community of Benedictine monks in 1080.
The church suffered misfortune again in the mid 12th century with two serious fires, resulting in a further rebuilding programme. Since that time there has been continuous remodelling, refurbishments and restorations, mainly due to other historical events when the cathedral sustained damage. As a consequence of its very chequered history, Rochester Cathedral displays the varied building styles of each period, from the functional austerity of Gundulf's original structure, through the Romanesque, Gothic and Early English architectural periods, and continuing with renovation and restoration well into the 20th century following war damage.
The sturdy, squat Norman nave contrasts dramatically with the tall, narrow Gothic arches of the crossing. A superbly carved stone archway of the Decorated period (c1345), now enhanced with a solid oak door, leads to the chapter room and is a magnificent feat of craftsmanship. Quite unusually, the Lady Chapel is sited between the nave and the south transept as monastic outbuildings occupied the traditional location at the eastern end of the church when the chapel was added in the late 15th century. Beneath the quire transept is a beautifully preserved and vaulted crypt, with two bays surviving from the original Norman construction. There are also many fragments of medieval ceiling paintings to be found in this lower level sanctuary.
Though one of the smaller Norman cathedrals, Rochester was an important centre for pilgrimage during the 13th century, and even today attracts many visitors who are keen to learn more about its fascinating history. From a photographic perspective, a wonderful view of Rochester cathedral can be seen from the top of Rochester Castle, immediately opposite. We have visited both the Rochester Cathedral and Castle on many occasions, and still manage to uncover more information, or something interesting that we had previously overlooked. Earlier this year, we ventured for the first time into the cloister garth, discovering a substantial section of the ruined Chapter House. On the south side, the entrance arch to the monk's refectory survives and, looking behind it, the 13th century lavatorium and towel recess is still visible.

Johannes Kip was a draughtsman and engraver, who worked first in his native Amsterdam before moving to London at the end of the seventeenth century. He did portraits, views, and book illustrations. (Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

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

$275.00 USD
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1809 Wilkinson Large Antique Print of London, Somerset to Whitehall, Westminster

1809 Wilkinson Large Antique Print of London, Somerset to Whitehall, Westminster

  • Title : Somerset House in its Original State With the Various Buildings on the Banks of the River Thames as far as Westminster...October 1809...Rob Wilkinson
  • Date : 1809
  • Condition: (A+) Fine Condition
  • Ref:  92599
  • Size: 18in x 12 1/2in (460mm x 320mm)

Description: 

This large finely engraved beautifully hand coloured original antique print of Somerset House - and the Thames as far as Westminster - as it was before the alterations by Indigo Jones was published by Robert Wilkinson 11th of October 1809, the date is engraved at the foot of the print.

Text below the title goes into some detail of the view quote ..."Buildings in the distance are Whitehall and Westminster Abbey opposite to which are Lambeth Church and Palace". (Ref: M&B; Tooley)

Condition Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original
Colors used: - Blue, green, brown, yellow
General color appearance: - Authentic
Paper size: - 18in x 12 1/2in (460mm x 320mm)
Plate size: - 17in x 12in (435mm x 305mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Plate-mark re-enforced with archival tape left margin
Plate area: - None
Verso: - None

$275.00 USD
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1819 Gainsborough & Wells Antique Print of an English Country Farming Scene

1819 Gainsborough & Wells Antique Print of an English Country Farming Scene

  • Title : From the Original in the Collection of the Rt. Hon. ble Baroness Lucas...T Gainsborough del. W.F. Wells sculpt.
  • Date : 1801
  • Condition: (A+) Fine Condition
  • Ref:  91222
  • Size: 17 1/4in x 11 1/2in (440mm x 290mm) 

Description: 
This large beautiful executed original antique soft ground etched print with hand tint colour, of a English country scene after Thomas Gainsborough, was engraved by William Frederick Wells and published in A Collection of Prints Illustrative of English Scenery From the Drawings and Sketches of Thos. Gainsborough, R.A. in the various collections of The Baroness Lucas; Viscount Palmerston; George Herbert, Esq.; Dr. Monro by John and Josiah Boydell, London in 1819.

The English painter Thomas Gainsborough (1727-1788) ranks as one of the principal masters and innovators of the English school of landscape painting. Thomas Gainsborough was baptized in Sudbury, Suffolk, on May 14, 1727. His father, a substantial cloth merchant, recognized Thomas's precocious artistic gifts and sent him at an early age, possibly 12, to London. Gainsborough was connected with the artists Francis Hayman and Hubert François Gravelot, possibly as apprentice to the former and assistant to the latter. Gainsborough is reported to have copied and restored Dutch landscapes for dealers. At the age of 19 he married Margaret Burr, reputedly a natural daughter of the Duke of Beaufort, who is said to have brought him an income of £200 a year.

At the age of 21 Gainsborough was so much admired as a landscape painter that he was invited with the leading artists of the day to present a picture to the Foundling Hospital in London. His painting, The Charterhouse, shows a mature observation of reality and handling of light. From Hayman the scene painter and Gravelot the rococo decorator Gainsborough learned to approach pictorial composition on inventive principles, and the alternation between observation and invention henceforth became the basis of his artistic growth. The two approaches may be illustrated by comparing Mr. and Mrs. Robert Andrews (ca. 1749), with a deliciously observed Suffolk landscape dappled by sunlight and shadow of cloud, and Henéage Lloyd and His Sister (ca. 1750), shown against a limpid background of stage scenery.

Gainsborough's art after his early London studies falls into three main divisions: the Suffolk period, 1748-1759; the Bath period, 1759-1774; and the years of fame in London, 1774-1788. In Suffolk he combined the charms of the modern conversation piece with those of realistic landscape, thus making a strong appeal to the country gentry. Here too he painted the Suffolk countryside as faithfully and freshly as if he were a Dutch painter reborn in the 18th century.

William Frederick Wells (1762 - 10 Nov 1836) was an English watercolour landscape painter and etcher. Wells was born in London in 1762. Wells studied art in London under John James Barralet (1747–1815). On 20 November 1804, Wells initiated the founding of the Society of Painters in Watercolours (now the Royal Watercolour Society), at a meeting held at the Stratford Coffee House, Oxford St, London. He served as President of the fledgling association from 1806 to 1807.

He travelled and painted extensively in England and Europe, particularly in Norway and Sweden. Wells' art was annually exhibited at the Royal Academy from 1795 to 1813. He held the post of Professor of Drawing at Addiscombe Military Seminary for officers of the East India Company Army over twenty years from 1813 until his retirement, immediately before his death, in November 1836.[1] Wells was an intimate friend of Joseph Mallord William Turner. Among his works as an etcher are two fine sets in soft ground; Thomas Gainsborough's English Scenery (1819) and Select Views in Cumberland (1810).

General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - off white
Age of map color: - Original
Colors used: - Blue, orange, green, brown
General color appearance: - Authentic
Paper size: - 17 1/4in x 11 1/2in (440mm x 290mm)
Plate size: - 12 1/2in x 9 1/2in (315mm x 245mm)
Margins: - Min 2in (50mm)

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

$275.00 USD
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1780 Vue D Optic Antique Print of Queens College Oxford University, England

1780 Vue D Optic Antique Print of Queens College Oxford University, England

  • Title : Le College de L Universite et celui de la Reine a Oxford (The University College and the Queen's at Oxford) 
  • Date : 1780
  • Condition: (A+) Fine Condition
  • Ref:  92705
  • Size: 19 1/2in x 13in (485mm x 330mm)  

Description: 
This large beautifully hand coloured original antique print, a view of the famous Queens College located in Oxford University was engraved by Balthazar Frederic Leizelt and was published in 1780 in the unusual publication Vues d’Optique..

Vues d' Optique or Perspective Views: Perspective views, or "vues d'optique," are a special type of popular print published in Europe during the 18th century. These prints provided a form of entertainment when viewed through a device called an "optical machine" or an "optique." The most characteristic feature of the perspective views is their emphasized linear perspective, done to further intensify the enhanced appearance of depth and illusionistic space in the prints when viewed through an optique. When displayed in the optique, the prints might transport the viewer into a far away place---an unknown city, or perhaps into the midst of a dramatic bit of contemporary history. Another attribute of these prints is their bright, often heavy hand coloring, applied boldly so as to show the tints when viewed through the lens.

A number of perspective prints depicted American scenes at the time of the Revolution for a European audience hungry for news of the events in the British colonies. As documents of American history and European printmaking, these are unusual and appealing eighteenth-century prints.

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - Original
Colors used: - Blue, yellow, green, red
General color appearance: - Authentic & bright
Paper size: - 19 1/2in x 13in (485mm x 330mm)
Plate size: - 17in x 12in (435mm x 305mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Small repair to right margin
Plate area: - None
Verso: - None

$275.00 USD
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1780 Vue D Optic Antique Print Royal Household Cavalry Procession in London

1780 Vue D Optic Antique Print Royal Household Cavalry Procession in London

  • Title :Vue de l Hotel Royal des Gardes du corps a pied vis a vis la Salle Blanche a manger a Londres
  • Date : 1780
  • Condition: (A+) Fine Condition
  • Ref:  92706
  • Size: 19in x 12 1/2in (485mm x 330mm) 

Description: 
This large beautifully hand coloured original antique print, a view of the Royal Household Cavalry Procession from the Royal Hotel in London was engraved by Balthazar Frederic Leizelt and was published in 1780 publication Vues d’Optique.

Vues d' Optique or Perspective Views: Perspective views, or "vues d'optique," are a special type of popular print published in Europe during the 18th century. These prints provided a form of entertainment when viewed through a device called an "optical machine" or an "optique." The most characteristic feature of the perspective views is their emphasized linear perspective, done to further intensify the enhanced appearance of depth and illusionistic space in the prints when viewed through an optique. When displayed in the optique, the prints might transport the viewer into a far away place---an unknown city, or perhaps into the midst of a dramatic bit of contemporary history. Another attribute of these prints is their bright, often heavy hand coloring, applied boldly so as to show the tints when viewed through the lens.

A number of perspective prints depicted American scenes at the time of the Revolution for a European audience hungry for news of the events in the British colonies. As documents of American history and European printmaking, these are unusual and appealing eighteenth-century prints.

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - Original
Colors used: - Blue, yellow, green, red
General color appearance: - Authentic & bright
Paper size: - 19in x 12 1/2in (485mm x 330mm)
Plate size: - 17in x 12in (435mm x 305mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Small repair to right margin
Plate area: - None
Verso: - None

$275.00 USD
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1718 Slezer Antique Print View of Falkland Palace, Fife, Scotland

1718 Slezer Antique Print View of Falkland Palace, Fife, Scotland

  • Title  : Palace of Falkland
  • Date  : 1718
  • Ref # :  24958
  • Size   : 18 ½in x 14 ½in (470mm x 360mm)
  • Condition: (A+) Fine

Description:

This fine beautifully hand coloured original antique print a view of the internal courtyard of Falkland Palace, home of the Scottish Kings - was published in the 1718 edition of John Slezer's 'Theatrum Scotiae'.

Falkland Palace in Falkland, Fife, Scotland, is a former royal palace of the Scottish Kings. The Scottish Crown acquired Falkland Castle from MacDuff of Fife in the 14th century. In 1402 Robert Stewart, 1st Duke of Albany imprisoned his nephew David Stewart, Duke of Rothesay, the eldest son of King Robert III of Scotland, at Falkland. The incarcerated Duke eventually died there from neglect and starvation. Albany was exonerated from blame by Parliament, but suspicions of foul play persisted, suspicions which never left Rothesay's younger brother the future James I of Scotland, and which would eventually lead to the downfall of the Albany Stewarts. John Debrett, writing in 1805, was in no doubt of Duke Robert's motives and guilt. This Robert, Duke of Albany, having obtained the entire government from his brother, King Robert, he caused the Duke of Rothesay to be murdered, thinking to bring the Crown into his own family; but to avoid the like fate, King Robert resolved to send his younger son James, to France, then about nine years old, who being sea-sick, and forced to land on the English coast ... was detained a captive in England eighteen years. At these misfortunes King Robert died of grief in 1406. Between 1501 and 1541 Kings James IV and James V of Scotland transformed the old castle into a beautiful royal palace: with Stirling Castle it was one of only two Renaissance palaces in Scotland. To address the poor state of the garden and park, James V appointed a new Captain and Keeper, William Barclay, Master of Rhynd, in March 1527. Ten years later, James V extended his father's buildings in French renaissance style. He died at Falkland in December 1542 after hearing that his wife had given birth to a daughter—Mary, Queen of Scots. Falkland became a popular retreat with all the Stewart monarchs. They practised falconry there and used the vast surrounding forests for hawking and for hunting deer. Wild boar, imported from France, were kept in the Park, within a fence made by the Laird of Fernie. Nearby Myres Castle is the hereditary home of the Royal Macers and Sergeants at Arms who served Falkland Castle since at least the sixteenth century. John Scrimgeour of Myres supervised building at the Palace from 1532 to 1563. After the Union of the Crowns (1606), James VI and I, Charles I, and Charles II all visited Falkland. A fire partially destroyed the palace during its occupation by Cromwell's troops and it quickly fell into ruin.

This is an important and rare print as Slezer s Theatrum Scotiae is one of the earliest records of early Scottish towns & major buildings. (Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18 ½in x 14 ½in (470mm x 360mm)
Plate size: - 16 ½in x 11in (420mm x 275mm)
Margins: - Min 1in (25mm)

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

$249.00 USD
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1718 Slezer Antique Print View of Kelso Abby & Township, Scotland

1718 Slezer Antique Print View of Kelso Abby & Township, Scotland

  • Title  : The Abby of Kelso
  • Date  : 1718
  • Ref # :  24953
  • Size   : 18 ½in x 14 ½in (470mm x 360mm)
  • Condition: (A+) Fine

Description:

This fine beautifully hand coloured original antique print a view of Kelso Abby & Kelso Town, Scotland was published in the 1718 edition of John Slezer's 'Theatrum Scotiae'.

Kelso Abbey is a ruined Scottish abbey in Kelso, Scotland. It was founded in the 12th century by a community of Tironensian monks first brought to Scotland in the reign of Alexander I. It occupies ground overlooking the confluence of the Tweed and Teviot waters, the site of what was once the Royal Burgh of Roxburgh and the intended southern centre for the developing Scottish kingdom at that time. Kelso thus became the seat of a pre-eminently powerful abbacy in the heart of the Scottish Borders.

In the 14th century, Roxburgh became a focus for periodic attack and occupation by English forces and Kelso's monastic community survived a number of fluctuations in control over the area, restoring the abbey infrastructure after episodes of destruction and ultimately retaining Scottish identity. From 1460 onwards, life for the abbey probably grew more settled, but came once again under attack in the early sixteenth century. By the mid-century, through a turbulent combination of events, the abbey effectively ceased to function and the building fell into ruin.

Although the site of Kelso Abbey has not been fully excavated in modern times, evidence suggests that it was a major building with two crossings. The only remains standing today are the west tower crossing and part of the infirmary. The massive design and solid romanesque style of the tower indicate a very large building of formidable, semi-military construction and appearance, evidence of the importance with which Roxburgh was regarded when the abbacy was at the height of its power.

This is an important and rare print as Slezer s Theatrum Scotiae is one of the earliest records of early Scottish towns & major buildings. (Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18 ½in x 14 ½in (470mm x 360mm)
Plate size: - 16 ½in x 11in (420mm x 275mm)
Margins: - Min 1in (25mm)

Imperfections: Margins: - Light age toning
Plate area: - Light age toning
Verso: - Light age toning

$249.00 USD
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1617 Schouten Antique Print of Unity Bay, South Seas Island of Futuna, Wallis

1617 Schouten Antique Print of Unity Bay, South Seas Island of Futuna, Wallis

  • Title  : Hoornse Eijlandt - Isle de Hoorn
  • Date  : 1617
  • Ref # : 42000
  • Size  : 10in x 7 1/2in (260mm x 190mm)
  • Condition: B+ (Very Good)

Description:

This fine, somewhat scarce, original hand coloured antique print a view of a natural harbour, on the sw coast of the South Seas island of Futuna (Hoorn) which they called after the ship the Eendrachts baai (Unity bay) was published in the 1617 French edition of Willem Cornelis Schouten book of exploration of the South Seas published by Aris Classen "Scheeps-Journal en Beschrijving van de bewonderensvaardige Reis gemaakt door Willem Cornelis Schouten, geboren te Hoorn, toen hy heeft outdekt ten Zuiden van de zee-engte van Magellan een nieuwe doorgang in de groote Zuidzee" (Ship-Journal and description of the bewonderensvaardige Trip created by Willem Cornelis Schouten, born in Hoorn, when hy has outdekt South of the Strait of Magellan a new passage in the great South Sea) Schouten, Willem Cornelis Dutch navigator, b. in Hoorn in 1567; d. in Antongil bay, Madagascar, in 1625. He had been for years in the employ of the Dutch East India company, when he quarrelled with one of the directors and resigned in 1610. From that time he resolved to find a new route to the Indies, eluding the charter of the East India company. He interested in his scheme Hoorn's richest citizen, Isaac Lemaire, and they formed a company with a capital of 200,000 florins, one half being furnished by Isaac Lemaire and an eighth by Schouten. The expedition left the Texel, 14 June, 1615, Schouten being the commander, and a son of Isaac, James Lemaire, acting as his deputy and director-general. The details of the discoveries are to be found in the article Lemaire, James. The navigators were arrested in Batavia by George Spielbergen for infringing upon the privileges of the East India company, but, on Schouten's arrival in Holland, he secured an acquittal, and even compelled the company to pay him heavy damages. He resumed the exercise of his profession, and was returning to Europe after a successful voyage to the Indies, when stress of weather forced him to enter the Bay of Antongil, and he died there. A narrative of Schouten's expedition was written by Aris Classen, the clerk of the admiral, and published under the title “Scheeps-Journal en Beschrijving van de bewonderensvaardige Reis gemaakt door Willem Cornelis Schouten, geboren te Hoorn, toen hy heeft outdekt ten Zuiden van de zee-engte van Magellan een nieuwe doorgang in de groote Zuidzee” (Amsterdam, 1617). It was translated into French (Amsterdam, 1617), into German (Arnheim, 1618), and into Latin (Amsterdam, 1619). The name of Schouten has been given to an island that he discovered on the northern coast of New Guinea. Wallis and Futuna, officially the Territory of the Wallis and Futuna Islands is a French island collectivity in the South Pacific between Tuvalu to the northwest, Rotuma of Fiji to the west, the main part of Fiji to the southwest, Tonga to the southeast, Samoa to the east, the New Zealand territory of Tokelau to the northeast and to a more distant north the Phoenix Islands (Kiribati). Wallis and Futuna is not part of French Polynesia, nor even contiguous with it, as the former are located at the very opposite western end of Polynesia. Futuna and Alofi were put on the European maps by Willem Schouten and Jacob Le Maire during their famous circumnavigation of the globe with the ship the Eendracht in 1616. After having come from Niuafo ou, they suddenly changed their course from west to northwest and so stumbled on this island pair. They called it Hoorn Eylanden, after the city of Hoorn, Schouten's birthplace, which became Horne in both French and English. Wise from their earlier experiences, they started with a show of force to the natives who approached them, which resulted in a peaceful barter with coconuts, yams and hogs from one side and iron nails, beads and knives from the other. They found a beautiful bay, a natural harbour along the southwest coast of Futuna, which they called after the ship the Eendrachts baai (Unity bay). This must be the Anse de Sigave near Leava of today. They went ashore on to get water and met the king, who told his subjects that their guests were not to be disturbed by petty thieving. In this amiable way the Dutch were able to replenish their stocks. A few days later the king of the other island, Alofi, came to visit with 300 men. The two kings were extremely courteous to each other, and a big feast was prepared. A kava ceremony and ʻumu were organised. Schouten and LeMaire were probably the first Europeans ever to witness these, and the description they gave still rings familiar tones nowadays. Not having been bothered by thieving and hostilities, Schouten and LeMaire had the opportunity to study Futuna a little bit more carefully than the Niua islands. (They did not go to Alofi). But their description of the islanders is not flattering. Although they praise the men for being well proportioned, the women they found ugly, ill-shaped with breasts hanging down to their bellies as empty satchels. They all went naked and copulated in public, even in front of their revered king. (Ref: M&B; Tooley)


General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: -  Early
Colors used: -  Green, brown, blue
General color appearance: -  Light
Paper size: - 10in x 7 1/2in (260mm x 190mm)
Image Size: - 8 1/2in x 6in (220mm x 145mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - Backed onto contemporary heavy rag paper

 

$225.00 USD
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1628 Sebastian Munster & RMD Antique Map View Nordlingen Swabia, Bavaria Germany

1628 Sebastian Munster & RMD Antique Map View Nordlingen Swabia, Bavaria Germany

Description:
This fine original wood block engraved antique map a birds eye view of the German town of Nördlingen in the Donau-Ries district, in Swabia, Bavaria,, was engraved by Hans Rudolf Manuel Deutsch (RMD) in 1549 - dated - and published in the German Section of Sebastian Munsters 1628 edition of Cosmographia, Das ist: Beschreibung der gantzen Welt, Darinnen Aller Monarchien Keyserthumben, Königreichen, Fürstenthumben, Graff- und Herrschafften, Länderen, Stätten und Gemeinden.Ursprung (Cosmographia, that is: description of the whole world, in it all monarchies Keyser thumben, kingdoms, prince thumben, graff and herrschafften, countries, places and municipalities.)

Hans Rudolf Manuel Deutsch (1525–1571) was a Swiss artist. He made several of the woodcuts for De re metallica (the metals and mining treatise by Georgius Agricola, the father of mineralogy) and for Sebastian Münsters Cosmographia.
Deutschs father, Niklaus Manuel Deutsch (the Elder), and Deutsch\'s brother, Niklaus Manuel Deutsch the Younger, were also artists. The elder Niklaus had taken the last name Manuel, but all three also commonly used Deutsch as part of their names and signed their paintings with initials ending in D.

Nördlingen is a town in the Donau-Ries district, in Swabia, Bavaria, Germany. The town was the location of two battles during the Thirty Years\' War, which took place between 1618–1648. Today it is one of only three towns in Germany that still has a completely established city wall, the other two being Rothenburg ob der Tauber and Dinkelsbühl.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 17in x 15in (435mm x 380mm)
Plate size: - 17in x 15in (435mm x 380mm)
Margins: - Min 1/2in (10mm)

Imperfections:
Margins: - Light offsetting
Plate area: - Light offsetting
Verso: - Light offsetting

Background: 
Cosmographia, Das ist: Beschreibung der gantzen Welt, Darinnen Aller Monarchien Keyserthumben, Königreichen, Fürstenthumben, Graff- und Herrschafften, Länderen, Stätten und Gemeinden.Ursprung, Regiment, Reichthumb, Gewalt und.Beschaffenheit. Dessgleichen Aller deren, beyder Ständen, Regenten: Keysern, Königen, Bäpsten, Bischoffen.Genealogien und Stammbäumen.zusammen getragen. by Sebastian Münster was first published in 1544 and is the earliest German-language description of the world. It had numerous editions in different languages including Latin, French (translated by François de Belleforest), Italian, English, and Czech. The last German edition was published in 1628, long after Munsters death. The Cosmographia was one of the most successful and popular books of the 16th century. It passed through 24 editions in 100 years. This success was due to the notable woodcuts (some by Hans Holbein the Younger, Urs Graf, Hans Rudolph Manuel Deutsch, and David Kandel). It was most important in reviving geography in 16th-century Europe. Among the notable maps within Cosmographia is the map Tabula novarum insularum, which is credited as the first map to show the American continents as geographically discrete.
Munsters earlier geographic works were Germania descriptio (1530) and Mappa Europae (1536). In 1540, he published a Latin edition of Ptolemys Geographia with illustrations.

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1628 Sebastian Munster Antique Map Birds Eye View Freiburg im Breisgau, Germany

1628 Sebastian Munster Antique Map Birds Eye View Freiburg im Breisgau, Germany

  • Title  : Die Statt Freyberg
  • Date  : 1628
  • Condition: (A) Very Good Condition
  • Ref # :  33599
  • Size   : 16in x 14in (405mm x 355mm)

Description:
This fine original wood block engraved antique map a birds eye view of the German city of Freiburg im Breisgau in Baden-Württemberg, was published in the German Section of Sebastian Munsters 1628 edition of Cosmographia, Das ist: Beschreibung der gantzen Welt, Darinnen Aller Monarchien Keyserthumben, Königreichen, Fürstenthumben, Graff- und Herrschafften, Länderen, Stätten und Gemeinden.Ursprung (Cosmographia, that is: description of the whole world, in it all monarchies Keyser thumben, kingdoms, prince thumben, graff and herrschafften, countries, places and municipalities.)

Freiburg im Breisgau is a city in Baden-Württemberg, south-west Germany. It straddles the Dreisam river, at the foot of the Schlossberg.
According to an old Freiburg legend, a butcher named Hauri stabbed the Bishop of Strasbourg to death on 29 July 1299. It was a Pyrrhic victory, since henceforth the citizens of Freiburg had to pay an annual expiation of 300 marks in silver to the count of Freiburg until 1368. In 1366 the counts of Freiburg made another failed attempt to occupy the city during a night raid. Eventually the citizens were fed up with their lords, and in 1368 Freiburg purchased its independence from them. The city turned itself over to the protection of the Habsburgs, who allowed the city to retain a large measure of freedom. Most of the nobles of the city died in the battle of Sempach (1386). The patrician family Schnewlin took control of the city until the guildsmen revolted. The guilds became more powerful than the patricians by 1389.
The silver mines in Mount Schauinsland provided an important source of capital for Freiburg. This silver made Freiburg one of the richest cities in Europe, and in 1327 Freiburg minted its own coin, the Rappenpfennig. In 1377 the cities of Freiburg, Basel, Colmar, and Breisach entered into an monetary alliance known as the Genossenschaft des Rappenpfennigs (Rappenpfennig Collective). This alliance facilitated commerce among the cities and lasted until the end of the sixteenth century. There were 8,000-9,000 people living in Freiburg between the thirteenth and fourteenth centuries, and 30 churches and monasteries. At the end of the fourteenth century the veins of silver were dwindling, and by 1460 only approximately 6,000 people still lived within Freiburg\'s city walls.
A university city, Freiburg evolved from its focus on mining to become a cultural centre for the arts and sciences. It was also a commercial center. The end of the Middle Ages and the dawn of the Renaissance was a time of both advances and tragedy for Freiburg.
In 1457, Albrecht VI, Regent of Further Austria, established Albert-Ludwigs-Universität, one of Germany\'s oldest universities. In 1498, Emperor Maximilian I held a Reichstag in Freiburg. In 1520, the city ratified a set of legal reforms, widely considered the most progressive of the time. The aim was to find a balance between city traditions and old Roman Law. The reforms were well received, especially the sections dealing with civil process law, punishment, and the city\'s constitution.
In 1536, a strong and persistent belief in witchcraft led to the city\'s first witch-hunt. The need to find a scapegoat for calamities such as the Black Plague, which claimed 2,000 area residents (25% of the city population) in 1564, led to an escalation in witch-hunting that reached its peak in 1599. A plaque on the old city wall marks the spot where burnings were carried out.
The seventeenth, eighteenth, and nineteenth centuries were turbulent times for Freiburg. At the beginning of the Thirty Years\' War there were 10,000-14,000 citizens in Freiburg; by its end only 2,000 remained. During this war and other conflicts, the city belonged at various times to the Austrians, the French, the Swedish, the Spanish, and various members of the German Confederacy. Between 1648 and 1805, when the city was not under French occupation it was the administrative headquarters of Further Austria, the Habsburg territories in the southwest of Germany. In 1805, the city, together with the Breisgau and Ortenau areas, became part of Baden. In 1827, when the Archdiocese of Freiburg was founded, Freiburg became the seat of a Catholic archbishop.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 17in x 15in (435mm x 380mm)
Plate size: - 17in x 15in (435mm x 380mm)
Margins: - Min 1/2in (10mm)

Imperfections:
Margins: - Light offsetting
Plate area: - Light offsetting
Verso: - Light offsetting

Background: 
Cosmographia, Das ist: Beschreibung der gantzen Welt, Darinnen Aller Monarchien Keyserthumben, Königreichen, Fürstenthumben, Graff- und Herrschafften, Länderen, Stätten und Gemeinden.Ursprung, Regiment, Reichthumb, Gewalt und.Beschaffenheit. Dessgleichen Aller deren, beyder Ständen, Regenten: Keysern, Königen, Bäpsten, Bischoffen.Genealogien und Stammbäumen.zusammen getragen. by Sebastian Münster was first published in 1544 and is the earliest German-language description of the world. It had numerous editions in different languages including Latin, French (translated by François de Belleforest), Italian, English, and Czech. The last German edition was published in 1628, long after Munsters death. The Cosmographia was one of the most successful and popular books of the 16th century. It passed through 24 editions in 100 years. This success was due to the notable woodcuts (some by Hans Holbein the Younger, Urs Graf, Hans Rudolph Manuel Deutsch, and David Kandel). It was most important in reviving geography in 16th-century Europe. Among the notable maps within Cosmographia is the map Tabula novarum insularum, which is credited as the first map to show the American continents as geographically discrete.
Munsters earlier geographic works were Germania descriptio (1530) and Mappa Europae (1536). In 1540, he published a Latin edition of Ptolemys Geographia with illustrations.

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1628 Sebastian Munster Antique Map Birds Eye View of the city of Lyon, France

1628 Sebastian Munster Antique Map Birds Eye View of the city of Lyon, France

Description:
This fine original wood block engraved antique map a birds eye view of the French city of Lyon in the Auvergne-Rhône-Alpes region was published in the French Section of Sebastian Munsters 1628 edition of Cosmographia, Das ist: Beschreibung der gantzen Welt, Darinnen Aller Monarchien Keyserthumben, Königreichen, Fürstenthumben, Graff- und Herrschafften, Länderen, Stätten und Gemeinden.Ursprung (Cosmographia, that is: description of the whole world, in it all monarchies Keyser thumben, kingdoms, prince thumben, graff and herrschafften, countries, places and municipalities.)

Lyon is the third-largest city and second-largest urban area of France. It is located in the country\'s east-central part at the confluence of the rivers Rhône and Saône, about 470 km south from Paris, 320 km north from Marseille and 56 km northeast from Saint-Étienne.
Fernand Braudel remarked, Historians of Lyon are not sufficiently aware of the bi-polarity between Paris and Lyon, which is a constant structure in French development...from the late Middle Ages to the Industrial Revolution. In the late 15th century, the fairs introduced by Italian merchants made Lyon the economic counting house of France. Even the Bourse (treasury), built in 1749, resembled a public bazaar where accounts were settled in the open air. When international banking moved to Genoa, then Amsterdam, Lyon remained the banking centre of France.
During the Renaissance, the citys development was driven by the silk trade, which strengthened its ties to Italy. Italian influence on Lyon\'s architecture is still visible among historic buildings. In the later 1400s and 1500s Lyon was also a key centre of literary activity and book publishing, both of French writers (such as Maurice Scève, Antoine Heroet, and Louise Labé) and of Italians in exile (such as Luigi Alamanni and Gian Giorgio Trissino).
In 1572, Lyon was a scene of mass violence by Catholics against Protestant Huguenots in the St. Bartholomews Day Massacre. Two centuries later, Lyon was again convulsed by violence when, during the French Revolution, the citizenry rose up against the National Convention and supported the Girondins. The city was besieged by Revolutionary armies for over two months before surrendering in October 1793. Many buildings were destroyed, especially around the Place Bellecour, while Jean-Marie Collot d Herbois and Joseph Fouché administered the execution of more than 2,000 people. The Convention ordered that its name be changed to Liberated City and a plaque was erected that proclaimed Lyons made war on Liberty; Lyons no longer exists. A decade later, Napoleon ordered the reconstruction of all the buildings demolished during this period.
The city became an important industrial town during the 19th century. In 1831 and 1834, the canuts (silk workers) of Lyon staged two major uprisings for better working conditions and pay. In 1862, the first of Lyons extensive network of funicular railways began operation.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 17in x 15in (435mm x 380mm)
Plate size: - 17in x 15in (435mm x 380mm)
Margins: - Min 1/2in (10mm)

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

Background: 
Cosmographia, Das ist: Beschreibung der gantzen Welt, Darinnen Aller Monarchien Keyserthumben, Königreichen, Fürstenthumben, Graff- und Herrschafften, Länderen, Stätten und Gemeinden.Ursprung, Regiment, Reichthumb, Gewalt und.Beschaffenheit. Dessgleichen Aller deren, beyder Ständen, Regenten: Keysern, Königen, Bäpsten, Bischoffen.Genealogien und Stammbäumen.zusammen getragen. by Sebastian Münster was first published in 1544 and is the earliest German-language description of the world. It had numerous editions in different languages including Latin, French (translated by François de Belleforest), Italian, English, and Czech. The last German edition was published in 1628, long after Munsters death. The Cosmographia was one of the most successful and popular books of the 16th century. It passed through 24 editions in 100 years. This success was due to the notable woodcuts (some by Hans Holbein the Younger, Urs Graf, Hans Rudolph Manuel Deutsch, and David Kandel). It was most important in reviving geography in 16th-century Europe. Among the notable maps within Cosmographia is the map Tabula novarum insularum, which is credited as the first map to show the American continents as geographically discrete.
Munsters earlier geographic works were Germania descriptio (1530) and Mappa Europae (1536). In 1540, he published a Latin edition of Ptolemys Geographia with illustrations.

$175.00 USD
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1574 Sebastian Munster Antique Map Birds Eye View of the City of Tours, France

1574 Sebastian Munster Antique Map Birds Eye View of the City of Tours, France

Description:
This fine original wood block engraved antique map a birds eye view of the French city of Tours, France was published in the French Section of Sebastian Munsters 1574 edition of Cosmographia, Das ist: Beschreibung der gantzen Welt, Darinnen Aller Monarchien Keyserthumben, Königreichen, Fürstenthumben, Graff- und Herrschafften, Länderen, Stätten und Gemeinden.Ursprung (Cosmographia, that is: description of the whole world, in it all monarchies Keyser thumben, kingdoms, prince thumben, graff and herrschafften, countries, places and municipalities.)

Tours is a city in the centre-west of France. It is the administrative centre of the Indre-et-Loire department and the largest city in the Centre-Val de Loire region of France

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 16in x 13in (410mm x 330mm)
Plate size: - 16in x 13in (410mm x 330mm)
Margins: - Min 1in (25mm)

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

Background: 
Cosmographia, Das ist: Beschreibung der gantzen Welt, Darinnen Aller Monarchien Keyserthumben, Königreichen, Fürstenthumben, Graff- und Herrschafften, Länderen, Stätten und Gemeinden.Ursprung, Regiment, Reichthumb, Gewalt und.Beschaffenheit. Dessgleichen Aller deren, beyder Ständen, Regenten: Keysern, Königen, Bäpsten, Bischoffen.Genealogien und Stammbäumen.zusammen getragen. by Sebastian Münster was first published in 1544 and is the earliest German-language description of the world. It had numerous editions in different languages including Latin, French (translated by François de Belleforest), Italian, English, and Czech. The last German edition was published in 1628, long after Munsters death. The Cosmographia was one of the most successful and popular books of the 16th century. It passed through 24 editions in 100 years. This success was due to the notable woodcuts (some by Hans Holbein the Younger, Urs Graf, Hans Rudolph Manuel Deutsch, and David Kandel). It was most important in reviving geography in 16th-century Europe. Among the notable maps within Cosmographia is the map Tabula novarum insularum, which is credited as the first map to show the American continents as geographically discrete.
Munsters earlier geographic works were Germania descriptio (1530) and Mappa Europae (1536). In 1540, he published a Latin edition of Ptolemys Geographia with illustrations.

$175.00 USD
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1784 Anderson Antique Map The Island of Iowa Jima, Japan - Cooks 3rd Voyage 1779

1784 Anderson Antique Map The Island of Iowa Jima, Japan - Cooks 3rd Voyage 1779

  • Title : View of Sulphur Island bearing ENE, Hill on the South Part; North I; Sulphur Island; South I.
  • Ref #:  21431
  • Size: 13 1/2in x 9 1/2in (345mm x 240mm)
  • Date : 1784
  • Condition: (A+) Fine Condition

Description:
This fine original copper-plate engraved antique map of the Japanese Island of Iwo Jima (Sulphur Island) and the tracks of HMS Resolution, was charted by Cooks expedition on 14 November 1779, after the death of Cook, during his third and final Voyage of Discovery, was published in George Andersons 1784 edition of A Collection of voyages round the world : performed by royal authority : containing a complete historical account of Captain Cooks first, second, third and last voyages, undertaken for making new discoveries, &c. ... published by Alexander Hogg, London 1784.

From Cooks/Gore Diary..........and the strong sulphureous smell which we perceived, as we approached the point. ... From these circumstances, Captain Gore gave it the name of Sulphur Island.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 13 1/2in x 9 1/2in (345mm x 240mm)
Plate size: - 13 1/2in x 9 1/2in (345mm x 240mm)
Margins: - Min 1/2in (12mm)

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

Background: 
Iwo To (硫黄島 Iō-tō, sulfur island), known in English as Iwo Jima, is an island of the Japanese Volcano Islands chain south of the Ogasawara Islands and together with them forms the Ogasawara Archipelago also known as the Bonin Islands. The island of 21 km2 is 1,200 kilometres south of mainland Tokyo and is administered as part of Ogasawara, one of the eight villages of Tokyo inhabited only by Japan Self-Defense Forces and used by the U.S. Navy for carrier practice.

Cooks Third Voyage (1776–79)
On his last voyage, Cook again commanded HMS Resolution, while Captain Charles Clerke commanded HMS Discovery. The voyage was ostensibly planned to return the Pacific Islander, Omai to Tahiti, or so the public were led to believe. The trip\\\'s principal goal was to locate a Northwest Passage around the American continent. After dropping Omai at Tahiti, Cook travelled north and in 1778 became the first European to begin formal contact with the Hawaiian Islands. After his initial landfall in January 1778 at Waimea harbour, Kauai, Cook named the archipelago the \\\"Sandwich Islands\\\" after the fourth Earl of Sandwich—the acting First Lord of the Admiralty.
From the Sandwich Islands Cook sailed north and then north-east to explore the west coast of North America north of the Spanish settlements in Alta California. He made landfall on the Oregon coast at approximately 44°30′ north latitude, naming his landing point Cape Foulweather. Bad weather forced his ships south to about 43° north before they could begin their exploration of the coast northward. He unknowingly sailed past the Strait of Juan de Fuca, and soon after entered Nootka Sound on Vancouver Island. He anchored near the First Nations village of Yuquot. Cook\\\'s two ships remained in Nootka Sound from 29 March to 26 April 1778, in what Cook called Ship Cove, now Resolution Cove, at the south end of Bligh Island, about 5 miles (8 km) east across Nootka Sound from Yuquot, lay a Nuu-chah-nulth village (whose chief Cook did not identify but may have been Maquinna). Relations between Cook\\\'s crew and the people of Yuquot were cordial if sometimes strained. In trading, the people of Yuquot demanded much more valuable items than the usual trinkets that had worked in Hawaii. Metal objects were much desired, but the lead, pewter, and tin traded at first soon fell into disrepute. The most valuable items which the British received in trade were sea otter pelts. During the stay, the Yuquot \\\"hosts\\\" essentially controlled the trade with the British vessels; the natives usually visited the British vessels at Resolution Cove instead of the British visiting the village of Yuquot at Friendly Cove.
After leaving Nootka Sound, Cook explored and mapped the coast all the way to the Bering Strait, on the way identifying what came to be known as Cook Inlet in Alaska. In a single visit, Cook charted the majority of the North American north-west coastline on world maps for the first time, determined the extent of Alaska, and closed the gaps in Russian (from the West) and Spanish (from the South) exploratory probes of the Northern limits of the Pacific.
By the second week of August 1778 Cook was through the Bering Strait, sailing into the Chukchi Sea. He headed north-east up the coast of Alaska until he was blocked by sea ice. His furthest north was 70 degrees 44 minutes. Cook then sailed west to the Siberian coast, and then south-east down the Siberian coast back to the Bering Strait. By early September 1778 he was back in the Bering Sea to begin the trip to the Sandwich (Hawaiian) Islands. He became increasingly frustrated on this voyage, and perhaps began to suffer from a stomach ailment; it has been speculated that this led to irrational behaviour towards his crew, such as forcing them to eat walrus meat, which they had pronounced inedible.
Cook returned to Hawaii in 1779. After sailing around the archipelago for some eight weeks, he made landfall at Kealakekua Bay, on \\\'Hawaii Island\\\', largest island in the Hawaiian Archipelago. Cook\\\'s arrival coincided with the Makahiki, a Hawaiian harvest festival of worship for the Polynesian god Lono. Coincidentally the form of Cook\\\'s ship, HMS Resolution, or more particularly the mast formation, sails and rigging, resembled certain significant artefacts that formed part of the season of worship. Similarly, Cook\\\'s clockwise route around the island of Hawaii before making landfall resembled the processions that took place in a clockwise direction around the island during the Lono festivals. It has been argued (most extensively by Marshall Sahlins) that such coincidences were the reasons for Cook\\\'s (and to a limited extent, his crew\\\'s) initial deification by some Hawaiians who treated Cook as an incarnation of Lono. Though this view was first suggested by members of Cook\\\'s expedition, the idea that any Hawaiians understood Cook to be Lono, and the evidence presented in support of it, were challenged in 1992.
After a month\\\'s stay, Cook attempted to resume his exploration of the Northern Pacific. Shortly after leaving Hawaii Island, however, the Resolution\\\'s foremast broke, so the ships returned to Kealakekua Bay for repairs.
Tensions rose, and a number of quarrels broke out between the Europeans and Hawaiians at Kealakekua Bay. An unknown group of Hawaiians took one of Cook\\\'s small boats. The evening when the cutter was taken, the people had become \\\"insolent\\\" even with threats to fire upon them. Cook was forced into a wild goose chase that ended with his return to the ship frustrated.[53] He attempted to kidnap and ransom the King of Hawaiʻi, Kalaniʻōpuʻu.
That following day, 14 February 1779, Cook marched through the village to retrieve the King. Cook took the King (aliʻi nui) by his own hand and led him willingly away. One of Kalaniʻōpuʻu\\\'s favorite wives, Kanekapolei and two chiefs approached the group as they were heading to boats. They pleaded with the king not to go until he stopped and sat where he stood. An old kahuna (priest), chanting rapidly while holding out a coconut, attempted to distract Cook and his men as a large crowd began to form at the shore. The king began to understand that Cook was his enemy. As Cook turned his back to help launch the boats, he was struck on the head by the villagers and then stabbed to death as he fell on his face in the surf. He was first struck on the head with a club by a chief named Kalaimanokahoʻowaha or Kanaʻina (namesake of Charles Kana\\\'ina) and then stabbed by one of the king\\\'s attendants, Nuaa. The Hawaiians carried his body away towards the back of the town, still visible to the ship through their spyglass. Four marines, Corporal James Thomas, Private Theophilus Hinks, Private Thomas Fatchett and Private John Allen, were also killed and two others were wounded in the confrontation.
The esteem which the islanders nevertheless held for Cook caused them to retain his body. Following their practice of the time, they prepared his body with funerary rituals usually reserved for the chiefs and highest elders of the society. The body was disembowelled, baked to facilitate removal of the flesh, and the bones were carefully cleaned for preservation as religious icons in a fashion somewhat reminiscent of the treatment of European saints in the Middle Ages. Some of Cook\\\'s remains, thus preserved, were eventually returned to his crew for a formal burial at sea.
Clerke assumed leadership of the expedition, and made a final attempt to pass through the Bering Strait. He died from tuberculosis on 22 August 1779 and John Gore, a veteran of Cook\\\'s first voyage, took command of Resolution and of the expedition. James King replaced Gore in command of Discovery. The expedition returned home, reaching England in October 1780. After their arrival in England, King completed Cook\\\'s account of the voyage.
David Samwell, who sailed with Cook on Resolution, wrote of him: \\\"He was a modest man, and rather bashful; of an agreeable lively conversation, sensible and intelligent. In temper he was somewhat hasty, but of a disposition the most friendly, benevolent and humane. His person was above six feet high: and, though a good looking man, he was plain both in dress and appearance. His face was full of expression: his nose extremely well shaped: his eyes which were small and of a brown cast, were quick and piercing; his eyebrows prominent, which gave his countenance altogether an air of austerity.

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1760 Vue D Optic Large Antique Print View of Cheapside, London St Mary le Bow

1760 Vue D Optic Large Antique Print View of Cheapside, London St Mary le Bow

  • Title : Prospectus majoris viae, et Ecclesiae Sanctae Mariae in Londino; 25c Vue D Optique Representatnt; Le Grande Rue, et L Englise St Marie de Londres
  • Ref  :  43197
  • Size: 18in x 13in (460mm x 330mm)
  • Date : 1756
  • Condition: (A) Very Good Condition

Description:
This hand coloured original antique print, a view of Cheapside and St Marys Le Bow, London was published as part of the Vues d’Optique in 1760.

St Mary-le-Bow is an historic church rebuilt after the Great Fire of 1666 by Sir Christopher Wren in the City of London on the main east–west thoroughfare, Cheapside. According to tradition a true Cockney must be born within earshot of the sound of Bow Bells (which refers to this church's bells rather than St Mary and Holy Trinity, Bow Road, in Bow, an outlying village until the 19th century.

Vues d'Optique or Perspective Views: Perspective views, or "vues d'optique," are a special type of popular print published in Europe during the 18th century. These prints provided a form of entertainment when viewed through a device called an "optical machine" or an "optique." The most characteristic feature of the perspective views is their emphasized linear perspective, done to further intensify the enhanced appearance of depth and illusionistic space in the prints when viewed through an optique. When displayed in the optique, the prints might transport the viewer into a far away place---an unknown city, or perhaps into the midst of a dramatic bit of contemporary history. Another attribute of these prints is their bright, often heavy hand coloring, applied boldly so as to show the tints when viewed through the lens. 
A number of perspective prints depicted American scenes at the time of the Revolution for a European audience hungry for news of the events in the British colonies. As documents of American history and European printmaking, these are unusual and appealing eighteenth-century prints. (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original
Colors used: - Blue, yellow, green, red
General color appearance: - Authentic & bright
Paper size: - 18in x 13in (460mm x 330mm)
Plate size: - 16 1/2in x 10in (420mm x 255mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Repair to top margin, no loss
Plate area: - None
Verso: - None

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1574 Munster Large Antique Print View of The French City of Tours

1574 Munster Large Antique Print View of The French City of Tours

Description: 
This large finely engraved original antique print a view of the French city of Tours was published by Sebastian Munster in the 1574 edition of Cosmographia.

Tours is a city located in the centre-west of France. It is the administrative centre of the Indre-et-Loire department and the largest city in the Centre-Val de Loire region of France (although it is not the capital, which is the region's second-largest city, Orléans). Tours stands on the lower reaches of the River Loire, between Orléans and the Atlantic coast. The surrounding district, the traditional province of Touraine, is known for its wines, for the alleged perfection (as perceived by some speakers) of its local spoken French, and for the Battle of Tours (732).

 Background: For a variety of reasons town plans were comparatively latecomers in the long history of cartography. Few cities in Europe in the middle ages had more than 20,00 inhabitants and even London in the late Elizabethan period had only 100-150,000 people which in itself was probably 10 times that of any other English city. The Nuremberg Chronicle in 1493 included one of the first town views of Jerusalem, thereafter, for most of the sixteenth century, German cartographers led the way in producing town plans in a modern sense. In 1544 Sebastian Munster issued in Basle hisCosmographia containing roughly sixty-six plans and views, some in the plan form, but many in the old panorama or birds eye view.

Sebastian Münster (1488-1552) was a German cartographer, cosmographer, and Hebrew scholar whose work Cosmographia (1544; "Cosmography") was the earliest German description of the world and a major work in the revival of geographic thought in 16th-century Europe. It had numerous editions in different languages including Latin, French, Italian, English, and even Czech. Altogether, about 40 editions of the Cosmographiaappeared between 1544 and 1628 and was one of the most successful and popular books of the 16th century. Münster was a major influence in popular thinking in Europe for the next 200 years.
This success was due not only to the level of descriptive detail but also to the fascinating full page maps & views as well as smaller woodcuts that were included in the text. Many of the woodcuts were executed by famous engravers of the time including Hans Holbein the Younger, Urs Graf, Hans Rudolph Manuel Deutsch, and David Kandel. 
Aside from the well-known maps present in the Cosmographia, the text is thickly sprinkled with vigorous views: portraits of kings and princes, costumes and occupations, habits and customs, flora and fauna, monsters, wonders, and horrors about the known -- and unknown -- world, and was undoubtedly one of the most widely read books of its time.
Münster acquired the material for his book in three ways. Firstly he researched all available literary sources across Germany, Switzerland and other parts of Europe. Secondly he obtained original manuscript material from locals all over Europe for description of the countryside, cities, villages, towns, rivers and local history. Finally, he obtained further material first hand on his travels (primarily in south-west Germany, Switzerland, and Alsace). 

In 1588 Sebastian Petri re-released Cosomgraphia and re-issued many of Munsters maps and views in the "copperplate style". The maps in this release were more sophisticated than with earlier publications ofCosomgraphia and were based on the 1570 release of Abraham Ortelius monumental work Theatrum Orbis Terrarum.(Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Light and stable
Paper color: - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 16in x 13in (410mm x 330mm)
Plate size: - 16in x 13in (410mm x 330mm)
Margins: - 1/2in (12mm)

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

$175.00 USD
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1704 Pierre Mortier Antique Print Panoramic View of Rome, Italy

1704 Pierre Mortier Antique Print Panoramic View of Rome, Italy

Description: 
This beautifully hand coloured original antique print a panoramic view of Rome was published by Pierre Mortier in 1704  (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original 
Colors used: - Yellow, red, green, blue
General color appearance: - Authentic 
Paper size: - 13 1/4in x 6in (335mm x 155mm)
Paper size: - 13in x 5in (330mm x 120mm)
Margins: - Min 1/4in (6mm)

Imperfections:
Margins: - None
Plate area: - Heavy folds as issued, age toning along folds
Verso: - Heavy folds as issued, age toning along folds

$175.00 USD
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1760 Vue D Optic Antique Print View of Hampton Court Palace, Richmond London

1760 Vue D Optic Antique Print View of Hampton Court Palace, Richmond London

  • Title : Vue du Palias Royal de Hampton Court a 15 Milles de Londres
  • Date : 1760
  • Condition: (A) Very Good Condition
  • Ref:  92704
  • Size: 19in x 12 3/4in (480mm x 325mm) 

Description: 
This hand coloured original antique print, a view of Hampton Court Palace was published as part of the Vues d’Optique in 1760.

Hampton Court Palace: is a royal palace in the London Borough of Richmond upon Thames, Greater London, in the historic county of Middlesex, and within the postal town East Molesey, Surrey. It has not been inhabited by the British Royal Family since the 18th century. The palace is 11.7 miles (18.8 kilometres) south west of Charing Cross and upstream of central London on the River Thames. It was originally built in 1514 for Cardinal Thomas Wolsey, a favourite of King Henry VIII. In 1529, as Wolsey fell from favour, the King seized the palace for himself and later enlarged it. Along with St. James's Palace, it is one of only two surviving palaces out of the many owned by King Henry VIII.

In the following century, King William III's massive rebuilding and expansion project was intended to rival Versailles. Work ceased in 1694, leaving the palace in two distinct contrasting architectural styles, domestic Tudor and Baroque. While the palace's styles are an accident of fate, a unity exists due to the use of pink bricks and a symmetrical, if vague, balancing of successive low wings.

Vues d' Optique or Perspective Views: Perspective views, or "vues d'optique," are a special type of popular print published in Europe during the 18th century. These prints provided a form of entertainment when viewed through a device called an "optical machine" or an "optique." The most characteristic feature of the perspective views is their emphasized linear perspective, done to further intensify the enhanced appearance of depth and illusionistic space in the prints when viewed through an optique. When displayed in the optique, the prints might transport the viewer into a far away place---an unknown city, or perhaps into the midst of a dramatic bit of contemporary history. Another attribute of these prints is their bright, often heavy hand coloring, applied boldly so as to show the tints when viewed through the lens.

A number of perspective prints depicted American scenes at the time of the Revolution for a European audience hungry for news of the events in the British colonies. As documents of American history and European printmaking, these are unusual and appealing eighteenth-century prints.

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - Original
Colors used: - Blue, yellow, green, red
General color appearance: - Authentic & bright
Paper size: - 19in x 12 3/4in (480mm x 325mm)
Plate size: - 14 1/2in x 9 1/2in (370mm x 240mm)
Margins: - Min 2in (50mm)

Imperfections:
Margins: - Light soiling
Plate area: - Small smudge & toning to sky
Verso: - Small repair, no loss

$175.00 USD
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1755 Prevost & Schley Antique Print, View of Makassar in Sulawesi, Indonesia

1755 Prevost & Schley Antique Print, View of Makassar in Sulawesi, Indonesia

  • Title: Vue de Samboupo
  • Date: 1750
  • Condition : (A+) Fine Condition
  • Ref: 40154
  • Size: 11 1/2in x 11in (295mm x 280mm)

Description:
This fine, original copper-plate engraved antique print a view of the city of Makassar - here called Samboupo - the provincial capital of South Sulawesi, Indonesia & a major trading port for the Dutch East India Company (VOC) & the Spice Trade by Jakob van Schley in 1755, was published in Antoine François Prevosts 15 volumes of Histoire Generale des Voyages written by Prevost & other authors between 1746-1789.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, green, blue, pink
General color appearance: - Authentic
Paper size: - 16in x 10in (400mm x 255mm)
Plate size: - 12in x 8 1/2in (305mm x 215mm)
Margins: - Min 1in (25mm)

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

Background: 
Makassar sometimes spelled Macassar – is the provincial capital of South Sulawesi, Indonesia. It is the largest city on Sulawesi Island in terms of population, and the fifth largest city in Indonesia after Jakarta, Surabaya, Bandung, and Medan. From 1971 to 1999, the city was named Ujung Pandang, after a precolonial fort in the city, and the two names are often used interchangeably. The city is located on the southwest coast of the island of Sulawesi, facing the Makassar Strait.

Makassar is mentioned in the Nagarakretagama, a Javanese eulogy composed in 14th century during the reign of Majapahit king Hayam Wuruk. In the text, Makassar is mentioned as an island under Majapahit dominance, alongside Butun, Salaya and Banggawi. Nevertheless, the 9th King of Gowa Tumaparisi Kallonna (1510-1546) is thought to be the first person who actually developed the city of Makassar. He moved the royal center from the interior to the coast, built a fortress at the mouth of the Jeneberang River, and appointed a Shahbandar to regulate trade.
Beginning in the sixteenth century, Makassar was the dominant trading center of eastern Indonesia, and soon became one of the largest cities in island Southeast Asia. The Makassar kings maintained a policy of free trade, insisting on the right of any visitor to do business in the city, and rejecting the attempts of the Dutch to establish a monopoly.
Tolerant religious attitudes meant that as Islam became the dominant faith in the region, Christians and others were still able to trade in the city. With these attractions, Makassar was a key center for Malays working in the spice trade, as well as a valuable base for European and Arab traders from much further afield.
The first European settlers were Portuguese sailors. When the Portuguese reached Sulawesi in 1511, they found Makassar a thriving cosmopolitan Entrepôt, where Chinese, Arabs, Indians, Siamese, Javanese, and Malays came to trade their manufactured metal goods and textiles for pearls, gold, copper, camphor and spices – nutmeg, cloves and mace imported from the interior and the neighbouring Spice Islands of Maluku. By the 16th century, Makassar had become Sulawesi\'s major port and centre of the powerful Gowa and Tallo sultanates which between them had a series of 11 fortresses and strongholds and a fortified sea wall that extended along the coast.[8] Portuguese rulers called the city Macáçar.
The arrival of the Dutch in the early 17th century altered events dramatically. They finally replaced the Portuguese as colonial masters in 1667. Their first objective was to create a hegemony over the spice trade and their first move was to capture the fort of Makassar in 1667, which they rebuilt and renamed Fort Rotterdam. From this base they managed to destroy the strongholds of the Sultan of Gowa who was then forced to live on the outskirts of Makassar. Following the Java War (1825–30), Prince Diponegoro was exiled to Fort Rotterdam until his death in 1855

$175.00 USD
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1797 Laperouse Antique Print View De Kastri Bay, Ulchsky Khabarovsk Kai, Russia

1797 Laperouse Antique Print View De Kastri Bay, Ulchsky Khabarovsk Kai, Russia

Description:
This large original copper plate engraved antique print, a view of the very early settlement at De Kastri Bay, in the Ulchsky District of Khabarovsk Kai, Eastern Russia - opposite the Sakhalin Islands - by Jean-François de Galaup, Comte de la Pérouse was published in the 1st edition of the Atlas du voyage de La Perouse, Paris 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: - 17in x 11in (435mm x 280mm)
Plate size: - 17in x 11in (435mm x 280mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Small repairs to margins, no loss
Plate area: - None
Verso: - None

Background: 
De-Kastri was named for the former name of the bay on which it stands. The bay was discovered by La Pérouse on July 25, 1787 and named after the sponsor of the expedition—the then Secretary of State of the French Navy, the Marquis de Castries. The bay is a convenient natural refuge for vessels, giving it strategic importance from a military viewpoint.
The settlement was officially founded in 1853, although the land where it was situated would not officially be Russian territory until the signing of the Treaty of Aigun five years later.
In 1854, the difficult task of defending Petropavlovsk-Kamchatsky when it came under siege from the British and French forces during the Crimean War brought to attention the difficulties of supply and defense of the Kamchatka Peninsula, where a large section of the Russian Pacific Fleet was based. It was decided to move the port from Kamchatka without waiting for another attack. In the spring of 1855, the Russian navy\'s weapons and sailors under the leadership of Rear Admiral Vasily Zavoyko headed toward the mouth of the Amur River; however, the river mouth was still covered with ice. It was decided to wait for the break-up, hiding in the Bay of de Castries from the superior forces of French and English. Russian ships were discovered there, but managed to escape to the Amur River in the Strait of Tartary before the arrival of enemy reinforcements. The British and French did not know that Sakhalin was an island, and spent the later years of the war waiting in vain for the Russian fleet at its southern coast.

$149.00 USD
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