Prints (389)

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1794 William Hall Antique Print Newly Invented Farm machinery Thrashing Machines

1794 William Hall Antique Print Newly Invented Farm machinery Thrashing Machines

  • Title : New Invented Implements used in Husbandry....Royal Encylopedia....C Cooke....1794
  • Date : 1794
  • Condition: (A+) Fine Condition
  • Ref:  91127
  • Size: 15in x 9in (380mm x 230mm) 

Description:
This large original copper-plate engraved antique print by William Henry Hall was published in the 1798 edition of The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan.... Charles Cooke, London.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 9in (380mm x 230mm)
Plate size: - 14 1/2in x 8 1/2in (370mm x 215mm)
Margins: - Min 1/2in (12mm)

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

Hall, William Henry
Hall was responsible for a significant publication in the middle of the 18th century The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan . containing a digest and display of the whole theory and practice of the liberal and mechanical arts comprising a general repository of ancient and modern literature . including all the material information that is contained in Chamber s Cyclopedia, the Encyclopædia Britannica, and the French Encyclopædie . first published in 1788 going into many re-issues over the next 50 years.
The three volume set contained 153 copper-plate prints and maps, including some folding maps. Contained many brief encyclopedic entries in alphabetical orders plus longer, mainly illustrated, sections (systems or treatises) on a variety of subjects: Aerology; Aerostation (hot air balloons); Agriculture; Algebra; Amphibiology; Anatomy; Annuities; Architecture; Arithmetic; Astronomy (includes plates of telescopes); Book-Keeping; Botany; Brewing; Chronology; Chymistry; Comparative Anatomy; Concology; Dialling; Distillation; Drawing; Earth; Earthquakes; Electricity; Entomology; Farriery; Fencing; Fluxions; Fortification; Gardening; Geography (this section includes six folding maps); Geometry; Globes; Grammar; Heraldry; Hydrostatics and Hydraulics (one plate included a diving bell); Icthyology; Knighthood; Logic; Mammalia (included a plate showing whales); Mechanics; Medicine; Mensuration and Gauging; Miscroscopic Apparatus (microscopes); Midwifery; Military Affairs; Music; Natural History; Naval Affairs; Navigation (includes a folding map showing Cooks voyages); Optics; Oratory; Ornithology; Peerage; Perspective; Pneumatics; Projectiles; Steam Engines; Surgery; Surveying; Trigonometry; Vermeology; Volcanos; and War. Hard to find a complete set, as many have been broken up for their handsome copper plate engravings and maps.

$125.00 USD
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1795 William Hall Antique Print Diagram of The Watts Steam Engine in 1795

1795 William Hall Antique Print Diagram of The Watts Steam Engine in 1795

  • Title : Watts Patern Steam Engine according to the latest Improvements....Royal Encylopedia....C Cooke....1795
  • Date : 1795
  • Condition: (A+) Fine Condition
  • Ref:  91133
  • Size: 15in x 9in (380mm x 230mm) 

Description:
This large original copper-plate engraved antique print by William Henry Hall was published in the 1798 edition of The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan.... Charles Cooke, London.

The Watt steam engine, alternatively known as the Boulton and Watt steam engine, was the first type of steam engine to make use of a separate condenser. It was a vacuum or atmospheric engine using steam at a pressure just above atmospheric to create a partial vacuum beneath the piston. The difference between atmospheric pressure above the piston and the partial vacuum below drove the piston down the cylinder. James Watt avoided the use of high pressure steam because of safety concerns. Watt\'s design became synonymous with steam engines, due in no small part to his business partner, Matthew Boulton.
The Watt steam engine, developed sporadically from 1763 to 1775, was an improvement on the design of the 1712 Newcomen steam engine and was a key point in the Industrial Revolution. It was the first design to use a separate condenser.
Watts two most important improvements were the separate condenser and rotary motion. The separate condenser, located externally to the cylinder, condensed steam without cooling the piston and cylinder walls as did the internal spray in Newcomens engine. Watts engine\'s efficiency was more than double that of the Newcomen engine. Rotary motion was more suitable for industrial power than the oscillating beam of Newcomens engine.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 9in (380mm x 230mm)
Plate size: - 14 1/2in x 8 1/2in (370mm x 215mm)
Margins: - Min 1/2in (12mm)

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

Hall, William Henry
Hall was responsible for a significant publication in the middle of the 18th century The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan . containing a digest and display of the whole theory and practice of the liberal and mechanical arts comprising a general repository of ancient and modern literature . including all the material information that is contained in Chamber s Cyclopedia, the Encyclopædia Britannica, and the French Encyclopædie . first published in 1788 going into many re-issues over the next 50 years.
The three volume set contained 153 copper-plate prints and maps, including some folding maps. Contained many brief encyclopedic entries in alphabetical orders plus longer, mainly illustrated, sections (systems or treatises) on a variety of subjects: Aerology; Aerostation (hot air balloons); Agriculture; Algebra; Amphibiology; Anatomy; Annuities; Architecture; Arithmetic; Astronomy (includes plates of telescopes); Book-Keeping; Botany; Brewing; Chronology; Chymistry; Comparative Anatomy; Concology; Dialling; Distillation; Drawing; Earth; Earthquakes; Electricity; Entomology; Farriery; Fencing; Fluxions; Fortification; Gardening; Geography (this section includes six folding maps); Geometry; Globes; Grammar; Heraldry; Hydrostatics and Hydraulics (one plate included a diving bell); Icthyology; Knighthood; Logic; Mammalia (included a plate showing whales); Mechanics; Medicine; Mensuration and Gauging; Miscroscopic Apparatus (microscopes); Midwifery; Military Affairs; Music; Natural History; Naval Affairs; Navigation (includes a folding map showing Cooks voyages); Optics; Oratory; Ornithology; Peerage; Perspective; Pneumatics; Projectiles; Steam Engines; Surgery; Surveying; Trigonometry; Vermeology; Volcanos; and War. Hard to find a complete set, as many have been broken up for their handsome copper plate engravings and maps.

$149.00 USD
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1798 William Hall Antique Print of Pneumatic Air Pump Parts, Air Powered Rifles

1798 William Hall Antique Print of Pneumatic Air Pump Parts, Air Powered Rifles

  • Title : A View with Sections of Princes American Air Pumpwhich is Superior to Smeatons & every other modern construction....Royal Encylopedia....C Cooke....
  • Date : 1798
  • Condition: (A) Very Good Condition
  • Ref:  91136
  • Size: 15in x 9in (380mm x 230mm) 

Description:
This large original copper-plate engraved antique print by William Henry Hall was published in the 1798 edition of The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan.... Charles Cooke, London.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 9in (380mm x 230mm)
Plate size: - 14 1/2in x 8 1/2in (370mm x 215mm)
Margins: - Min 1/2in (12mm)

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

Hall, William Henry
Hall was responsible for a significant publication in the middle of the 18th century The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan . containing a digest and display of the whole theory and practice of the liberal and mechanical arts comprising a general repository of ancient and modern literature . including all the material information that is contained in Chamber s Cyclopedia, the Encyclopædia Britannica, and the French Encyclopædie . first published in 1788 going into many re-issues over the next 50 years.
The three volume set contained 153 copper-plate prints and maps, including some folding maps. Contained many brief encyclopedic entries in alphabetical orders plus longer, mainly illustrated, sections (systems or treatises) on a variety of subjects: Aerology; Aerostation (hot air balloons); Agriculture; Algebra; Amphibiology; Anatomy; Annuities; Architecture; Arithmetic; Astronomy (includes plates of telescopes); Book-Keeping; Botany; Brewing; Chronology; Chymistry; Comparative Anatomy; Concology; Dialling; Distillation; Drawing; Earth; Earthquakes; Electricity; Entomology; Farriery; Fencing; Fluxions; Fortification; Gardening; Geography (this section includes six folding maps); Geometry; Globes; Grammar; Heraldry; Hydrostatics and Hydraulics (one plate included a diving bell); Icthyology; Knighthood; Logic; Mammalia (included a plate showing whales); Mechanics; Medicine; Mensuration and Gauging; Miscroscopic Apparatus (microscopes); Midwifery; Military Affairs; Music; Natural History; Naval Affairs; Navigation (includes a folding map showing Cooks voyages); Optics; Oratory; Ornithology; Peerage; Perspective; Pneumatics; Projectiles; Steam Engines; Surgery; Surveying; Trigonometry; Vermeology; Volcanos; and War. Hard to find a complete set, as many have been broken up for their handsome copper plate engravings and maps.

$125.00 USD
More Info
1798 William Hall Antique Print of Chemistry Ovens, Apparatus, Stills, Forceps

1798 William Hall Antique Print of Chemistry Ovens, Apparatus, Stills, Forceps

  • TitleChymical Apparatus....Royal Encylopedia....C Cooke....
  • Date : 1798
  • Condition: (A+) Fine Condition
  • Ref:  91129
  • Size: 15in x 9in (380mm x 230mm)

Description:
This large original copper-plate engraved antique print by William Henry Hall was published in the 1798 edition of The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan.... Charles Cooke, London.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 9in (380mm x 230mm)
Plate size: - 14 1/2in x 8 1/2in (370mm x 215mm)
Margins: - Min 1/2in (12mm)

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

Hall, William Henry
Hall was responsible for a significant publication in the middle of the 18th century The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan . containing a digest and display of the whole theory and practice of the liberal and mechanical arts comprising a general repository of ancient and modern literature . including all the material information that is contained in Chamber s Cyclopedia, the Encyclopædia Britannica, and the French Encyclopædie . first published in 1788 going into many re-issues over the next 50 years.
The three volume set contained 153 copper-plate prints and maps, including some folding maps. Contained many brief encyclopedic entries in alphabetical orders plus longer, mainly illustrated, sections (systems or treatises) on a variety of subjects: Aerology; Aerostation (hot air balloons); Agriculture; Algebra; Amphibiology; Anatomy; Annuities; Architecture; Arithmetic; Astronomy (includes plates of telescopes); Book-Keeping; Botany; Brewing; Chronology; Chymistry; Comparative Anatomy; Concology; Dialling; Distillation; Drawing; Earth; Earthquakes; Electricity; Entomology; Farriery; Fencing; Fluxions; Fortification; Gardening; Geography (this section includes six folding maps); Geometry; Globes; Grammar; Heraldry; Hydrostatics and Hydraulics (one plate included a diving bell); Icthyology; Knighthood; Logic; Mammalia (included a plate showing whales); Mechanics; Medicine; Mensuration and Gauging; Miscroscopic Apparatus (microscopes); Midwifery; Military Affairs; Music; Natural History; Naval Affairs; Navigation (includes a folding map showing Cooks voyages); Optics; Oratory; Ornithology; Peerage; Perspective; Pneumatics; Projectiles; Steam Engines; Surgery; Surveying; Trigonometry; Vermeology; Volcanos; and War. Hard to find a complete set, as many have been broken up for their handsome copper plate engravings and maps.

$125.00 USD
More Info
1798 William Hall Antique Print of Chemistry Furnace or Ovens & Sectional Parts

1798 William Hall Antique Print of Chemistry Furnace or Ovens & Sectional Parts

  • Title : Chemistry Tab III Furnace Tower or Athanor....Royal Encylopedia....C Cooke....
  • Date : 1798
  • Condition: (A+) Fine Condition
  • Ref:  26247
  • Size: 16 1/2in x 10in (420mm x 255mm)

Description:
This large original copper-plate engraved antique print by William Henry Hall was published in the 1798 edition of The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan.... Charles Cooke, London.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 16 1/2in x 10in (420mm x 255mm)
Plate size: - 14 1/2in x 8 1/2in (370mm x 215mm)
Margins: - Min 1/2in (12mm)

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

Hall, William Henry
Hall was responsible for a significant publication in the middle of the 18th century The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan . containing a digest and display of the whole theory and practice of the liberal and mechanical arts comprising a general repository of ancient and modern literature . including all the material information that is contained in Chamber s Cyclopedia, the Encyclopædia Britannica, and the French Encyclopædie . first published in 1788 going into many re-issues over the next 50 years.
The three volume set contained 153 copper-plate prints and maps, including some folding maps. Contained many brief encyclopedic entries in alphabetical orders plus longer, mainly illustrated, sections (systems or treatises) on a variety of subjects: Aerology; Aerostation (hot air balloons); Agriculture; Algebra; Amphibiology; Anatomy; Annuities; Architecture; Arithmetic; Astronomy (includes plates of telescopes); Book-Keeping; Botany; Brewing; Chronology; Chymistry; Comparative Anatomy; Concology; Dialling; Distillation; Drawing; Earth; Earthquakes; Electricity; Entomology; Farriery; Fencing; Fluxions; Fortification; Gardening; Geography (this section includes six folding maps); Geometry; Globes; Grammar; Heraldry; Hydrostatics and Hydraulics (one plate included a diving bell); Icthyology; Knighthood; Logic; Mammalia (included a plate showing whales); Mechanics; Medicine; Mensuration and Gauging; Miscroscopic Apparatus (microscopes); Midwifery; Military Affairs; Music; Natural History; Naval Affairs; Navigation (includes a folding map showing Cooks voyages); Optics; Oratory; Ornithology; Peerage; Perspective; Pneumatics; Projectiles; Steam Engines; Surgery; Surveying; Trigonometry; Vermeology; Volcanos; and War. Hard to find a complete set, as many have been broken up for their handsome copper plate engravings and maps.

$125.00 USD
More Info
1798 William Hall Antique Print Methods of Defending, Laying Mines Fortification

1798 William Hall Antique Print Methods of Defending, Laying Mines Fortification

  • Title : Art of War: Fig I. Represents The Method of placing Mines in a Siege; Fig 2. Representation of a fortified Place besieged....Royal Encylopedia....C Cooke....
  • Date : 1798
  • Condition: (A+) Fine Condition
  • Ref:  01-7334
  • Size: 15in x 9in (380mm x 230mm) 

Description:
This large original copper-plate engraved antique print by William Henry Hall was published in the 1798 edition of The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan.... Charles Cooke, London.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 9in (380mm x 230mm)
Plate size: - 13 1/2in x 8 1/2in (345mm x 215mm)
Margins: - Min 1/2in (12mm)

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

Hall, William Henry
Hall was responsible for a significant publication in the middle of the 18th century The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan . containing a digest and display of the whole theory and practice of the liberal and mechanical arts comprising a general repository of ancient and modern literature . including all the material information that is contained in Chamber s Cyclopedia, the Encyclopædia Britannica, and the French Encyclopædie . first published in 1788 going into many re-issues over the next 50 years.
The three volume set contained 153 copper-plate prints and maps, including some folding maps. Contained many brief encyclopedic entries in alphabetical orders plus longer, mainly illustrated, sections (systems or treatises) on a variety of subjects: Aerology; Aerostation (hot air balloons); Agriculture; Algebra; Amphibiology; Anatomy; Annuities; Architecture; Arithmetic; Astronomy (includes plates of telescopes); Book-Keeping; Botany; Brewing; Chronology; Chymistry; Comparative Anatomy; Concology; Dialling; Distillation; Drawing; Earth; Earthquakes; Electricity; Entomology; Farriery; Fencing; Fluxions; Fortification; Gardening; Geography (this section includes six folding maps); Geometry; Globes; Grammar; Heraldry; Hydrostatics and Hydraulics (one plate included a diving bell); Icthyology; Knighthood; Logic; Mammalia (included a plate showing whales); Mechanics; Medicine; Mensuration and Gauging; Miscroscopic Apparatus (microscopes); Midwifery; Military Affairs; Music; Natural History; Naval Affairs; Navigation (includes a folding map showing Cooks voyages); Optics; Oratory; Ornithology; Peerage; Perspective; Pneumatics; Projectiles; Steam Engines; Surgery; Surveying; Trigonometry; Vermeology; Volcanos; and War. Hard to find a complete set, as many have been broken up for their handsome copper plate engravings and maps.

$125.00 USD
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1795 William Hall Antique Print The Human Nervous System Thorax Abdomen & Pelvis

1795 William Hall Antique Print The Human Nervous System Thorax Abdomen & Pelvis

  • Title : Representation of the Nerves as they pass off to the Thorax Abdomen & Pelvis....Royal Encylopedia....C Cooke...1795
  • Date : 1795
  • Condition: (A) Very Good Condition
  • Ref:  01-7324
  • Size: 15in x 9in (380mm x 230mm) 

Description:
This large original copper-plate engraved antique print by William Henry Hall was engraved in 1795 - dated - and was published in the 1798 edition of The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan.... Charles Cooke, London.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 9in (380mm x 230mm)
Plate size: - 13 1/2in x 8 1/2in (345mm x 215mm)
Margins: - Min 1/2in (12mm)

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

Hall, William Henry
Hall was responsible for a significant publication in the middle of the 18th century The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan . containing a digest and display of the whole theory and practice of the liberal and mechanical arts comprising a general repository of ancient and modern literature . including all the material information that is contained in Chamber s Cyclopedia, the Encyclopædia Britannica, and the French Encyclopædie . first published in 1788 going into many re-issues over the next 50 years.
The three volume set contained 153 copper-plate prints and maps, including some folding maps. Contained many brief encyclopedic entries in alphabetical orders plus longer, mainly illustrated, sections (systems or treatises) on a variety of subjects: Aerology; Aerostation (hot air balloons); Agriculture; Algebra; Amphibiology; Anatomy; Annuities; Architecture; Arithmetic; Astronomy (includes plates of telescopes); Book-Keeping; Botany; Brewing; Chronology; Chymistry; Comparative Anatomy; Concology; Dialling; Distillation; Drawing; Earth; Earthquakes; Electricity; Entomology; Farriery; Fencing; Fluxions; Fortification; Gardening; Geography (this section includes six folding maps); Geometry; Globes; Grammar; Heraldry; Hydrostatics and Hydraulics (one plate included a diving bell); Icthyology; Knighthood; Logic; Mammalia (included a plate showing whales); Mechanics; Medicine; Mensuration and Gauging; Miscroscopic Apparatus (microscopes); Midwifery; Military Affairs; Music; Natural History; Naval Affairs; Navigation (includes a folding map showing Cooks voyages); Optics; Oratory; Ornithology; Peerage; Perspective; Pneumatics; Projectiles; Steam Engines; Surgery; Surveying; Trigonometry; Vermeology; Volcanos; and War. Hard to find a complete set, as many have been broken up for their handsome copper plate engravings and maps.

$125.00 USD
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1791 William Hall Antique Print of Skeleton of a Stingray, Large Pike & Turtle

1791 William Hall Antique Print of Skeleton of a Stingray, Large Pike & Turtle

  • Title : Skeleton of a Thornback; Bones of the Head of a Pike; Skeleton of a Water Tortoise...Royal Encylopedia....C Cooke...1791
  • Size: 15in x 9in (380mm x 230mm)
  • Condition: (A+) Fine Condition
  • Date : 1791
  • Ref #:  26293

Description:
This large original copper-plate engraved antique print by William Henry Hall was engraved in 1791 - dated - and was published in the 1798 edition of The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan.... Charles Cooke, London.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 9in (380mm x 230mm)
Plate size: - 14in x 8 1/2in (355mm x 215mm)
Margins: - Min 1/2in (12mm)

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

Hall, William Henry
Hall was responsible for a significant publication in the middle of the 18th century The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan . containing a digest and display of the whole theory and practice of the liberal and mechanical arts comprising a general repository of ancient and modern literature . including all the material information that is contained in Chamber s Cyclopedia, the Encyclopædia Britannica, and the French Encyclopædie . first published in 1788 going into many re-issues over the next 50 years.
The three volume set contained 153 copper-plate prints and maps, including some folding maps. Contained many brief encyclopedic entries in alphabetical orders plus longer, mainly illustrated, sections (systems or treatises) on a variety of subjects: Aerology; Aerostation (hot air balloons); Agriculture; Algebra; Amphibiology; Anatomy; Annuities; Architecture; Arithmetic; Astronomy (includes plates of telescopes); Book-Keeping; Botany; Brewing; Chronology; Chymistry; Comparative Anatomy; Concology; Dialling; Distillation; Drawing; Earth; Earthquakes; Electricity; Entomology; Farriery; Fencing; Fluxions; Fortification; Gardening; Geography (this section includes six folding maps); Geometry; Globes; Grammar; Heraldry; Hydrostatics and Hydraulics (one plate included a diving bell); Icthyology; Knighthood; Logic; Mammalia (included a plate showing whales); Mechanics; Medicine; Mensuration and Gauging; Miscroscopic Apparatus (microscopes); Midwifery; Military Affairs; Music; Natural History; Naval Affairs; Navigation (includes a folding map showing Cooks voyages); Optics; Oratory; Ornithology; Peerage; Perspective; Pneumatics; Projectiles; Steam Engines; Surgery; Surveying; Trigonometry; Vermeology; Volcanos; and War. Hard to find a complete set, as many have been broken up for their handsome copper plate engravings and maps.

$125.00 USD
More Info
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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1798 Laperouse Large Antique Print of Sea Urchins of NW America, California

1798 Laperouse Large Antique Print of Sea Urchins of NW America, California

  • Title : Echini Marini, or Sea Urchins, of the North West Coast of America. Published as the (act) directs Novr. 1st 1798, by G.G. & J. Robinson
  • Size: 16 1/2in x 10 1/2in (420mm x 265mm)
  • Condition: (A+) Fine Condition
  • Date : 1798
  • Ref #:  31738

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

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 16 1/2in x 10 1/2in (420mm x 265mm)
Plate size: - 16 1/2in x 10 1/2in (420mm x 265mm)
Margins: - Min 1/2in (12mm)

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

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

$125.00 USD
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1798 Laperouse Large Antique Print of Shells, Molluscus, Shellfish of Pacific

1798 Laperouse Large Antique Print of Shells, Molluscus, Shellfish of Pacific

  • Title : Terebratulae, or Anomle of Linnaeus; Cornu Ammonis from the Pacific Ocean between the Tropics.....Published as the act directs Nov 1st 1798 by GG & J Robinson Parnastor Row
  • Size: 18in x 11 1/2in (460mm x 295mm)
  • Condition: (A+) Fine Condition
  • Date : 1798
  • Ref #:  31729

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

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18in x 11 1/2in (460mm x 295mm)
Plate size: - 17in x 10 1/2in (430mm x 270mm)
Margins: - Min 1/2in (12mm)

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

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

$125.00 USD
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Copy of 1798 Laperouse Large Antique Print of Insects, Seeds, Plants America & Pacific

Copy of 1798 Laperouse Large Antique Print of Insects, Seeds, Plants America & Pacific

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

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

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

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

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

$125.00 USD
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1798 Laperouse Large Antique Print of Insects, Seeds, Plants America & Pacific

1798 Laperouse Large Antique Print of Insects, Seeds, Plants America & Pacific

  • Title : Insects..Published as the act directs Nov 1st 1798 by GG & J Robinson Parnastor Row
  • Size: 18in x 11in (460mm x 280mm)
  • Condition: (A+) Fine Condition
  • Date : 1798
  • Ref #:  31730

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

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 18in x 11in (460mm x 280mm)
Plate size: - 17in x 10 1/2in (430mm x 270mm)
Margins: - Min 1/2in (12mm)

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

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

$125.00 USD
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1824 Louis Freycinet & Paul-Louis Oudart Antique Print Rufous-Bellied Kookaburra

1824 Louis Freycinet & Paul-Louis Oudart Antique Print Rufous-Bellied Kookaburra

  • Title : Martin-Chasseur Gaudichaud: (Dacelo Gaudichaud. N.)
  • Ref #:  31741
  • Size: 18in x 12in (460mm x 305mm)
  • Date : 1824
  • Condition: (A+) Fine Condition

Description:
This magnificent large hand coloured original copper-plate engraved antique print of The Rufous-Bellied Kookaburra of Australia & Papua New Guinea (Plate no. 25) by Paul-Louis Oudart (visited by Louis Freycinet in late 1818) was engraved by Jean-Louis-Denis Coutant (1776-1831) and published in the 1824 1st edition of Louis De Freycinets Atlas of Mammals, Birds etc Voyage autour du monde fait par ordre du Roi sur les corvettes de S. M. l\'Uranie et la Physicienne, pendant les années 1817, 1818, 1819 et 1820
These magnificent large hand coloured 1st edition engravings are extremely scarce and a must for ny collection.

The Rufous-Bellied Kookaburra (Dacelo gaudichaud), originally known as Gaudichauds kookaburra after the French botanist Charles Gaudichaud-Beaupré, is a species of kookaburra which is widely distributed through the forests of lowland New Guinea. It has also been recorded on Saibai Island, Queensland, Australia.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, green, blue, pink
General color appearance: - Authentic
Paper size: - 18in x 12in (460mm x 305mm)
Plate size: - 13in x 9 ½in (330mm x 240mm)
Margins: - Min 2in (50mm)

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

Background: 
After the Restoration the French government gave Freycinet, then a captain, command of another expedition to circumnavigate the globe and conduct research into the shape of the earth, meteorology and terrestrial magnetism. He sailed from Toulon on 17 September 1817 in L Uranie with his wife Rose who secreted herself aboard, and who wrote a separate account of the voyage. After refreshing at the Cape of Good Hope and Mauritius he landed at Shark Bay, Western Australia on 12 September 1818 where he set up an observatory, thoroughly surveyed the inlets and the coastal districts and removed the plate left by Willem de Vlamingh, which he had found and re-erected in 1801. He then sailed north to Timor. His accounts and description of the landscape and life and customs of that and other islands in the East Indies captivated the attention of people in Europe much more than his Australian reports, and a widespread interest developed in the expedition. Leaving Timor on 27 November he sailed via the Moluccas, the Carolines, the Marianas, and the Sandwich Islands and reached Port Jackson on 19 November 1819, the scientists on board adding constantly to their store of information on hydrography, botany, cartography and anthropology. After spending Christmas ashore, they sailed on 26 December and, falling in with the westerlies, set a course for Cape Horn.
On 13 February 1820 L Uranie was wrecked on the Falkland Islands; the scientific records and notes were saved before the vessel foundered, but 2500 of the 4175 plant specimens were lost. Freycinet returned to France in November 1820 and died on 18 August 1842.
There is no evidence in the expedition\'s records or French governmental archives to suggest that there were political objectives in this circumnavigation but, though its purpose was to engage in scientific discovery, this first major voyage undertaken by the restored Bourbons did show the French flag in distant seas and foreshadowed a series of other expeditions which were not wholly scientific.

$475.00 USD
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1824 Louis Freycinet Antique Print of Yellow Bellied Wood Shrike of Timor, 1818

1824 Louis Freycinet Antique Print of Yellow Bellied Wood Shrike of Timor, 1818

Description:
This magnificent large hand coloured original copper-plate engraved antique print of The Yellow Bellied Wood Shrike of Timor (Plate no. 21) by Florent Prévost (visited by Freycinet in November 1818) was engraved by Jean-Louis-Denis Coutant (1776-1831) and published in the 1824 1st edition of Louis De Freycinets Atlas of Mammals, Birds etc Voyage autour du monde fait par ordre du Roi sur les corvettes de S. M. l\'Uranie et la Physicienne, pendant les années 1817, 1818, 1819 et 1820
These magnificent large hand coloured 1st edition engravings are extremely scarce and a must for ny collection.

Florent Prévost (1794 – 1870) was a French naturalist and illustrator. He was assistant naturalist at the Muséum National d Histoire Naturelle. He was the author of various zoological works, including Les Pigeons par Madame Knip (1843) and, with C. L. Lemaire, Histoire Naturelle des Oiseaux d\'Europe (1845). He did illustrative work in books by Coenraad Jacob Temminck (1778–1858), Charles Lucien Bonaparte (1803–1857) and Georges-Louis Leclerc de Buffon (1707–1788).
He worked on the birds from the voyage of La Venus with Marc Athanese Parfait Oeillet Des Murs, and on the birds and mammals brought back from the French expedition to Abyssinia between 1839 and 1843.
Prevost\'s ground sparrow (Melozone biarcuatum), Prevost\'s squirrel (Callosciurus prevostii), and Gerard\'s water snake (Gerarda prevostiana) are named after him

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, green, blue, pink
General color appearance: - Authentic
Paper size: - 18in x 12in (460mm x 305mm)
Plate size: - 13in x 9 ½in (330mm x 240mm)
Margins: - Min 2in (50mm)

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

Background: 
After the Restoration the French government gave Freycinet, then a captain, command of another expedition to circumnavigate the globe and conduct research into the shape of the earth, meteorology and terrestrial magnetism. He sailed from Toulon on 17 September 1817 in L Uranie with his wife Rose who secreted herself aboard, and who wrote a separate account of the voyage. After refreshing at the Cape of Good Hope and Mauritius he landed at Shark Bay, Western Australia on 12 September 1818 where he set up an observatory, thoroughly surveyed the inlets and the coastal districts and removed the plate left by Willem de Vlamingh, which he had found and re-erected in 1801. He then sailed north to Timor. His accounts and description of the landscape and life and customs of that and other islands in the East Indies captivated the attention of people in Europe much more than his Australian reports, and a widespread interest developed in the expedition. Leaving Timor on 27 November he sailed via the Moluccas, the Carolines, the Marianas, and the Sandwich Islands and reached Port Jackson on 19 November 1819, the scientists on board adding constantly to their store of information on hydrography, botany, cartography and anthropology. After spending Christmas ashore, they sailed on 26 December and, falling in with the westerlies, set a course for Cape Horn.
On 13 February 1820 L Uranie was wrecked on the Falkland Islands; the scientific records and notes were saved before the vessel foundered, but 2500 of the 4175 plant specimens were lost. Freycinet returned to France in November 1820 and died on 18 August 1842.
There is no evidence in the expedition\'s records or French governmental archives to suggest that there were political objectives in this circumnavigation but, though its purpose was to engage in scientific discovery, this first major voyage undertaken by the restored Bourbons did show the French flag in distant seas and foreshadowed a series of other expeditions which were not wholly scientific.

$475.00 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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1842 D Urville & Le Breton Antique Print Church & Chief Tupou I Hut Vavau, Tonga

1842 D Urville & Le Breton Antique Print Church & Chief Tupou I Hut Vavau, Tonga

Description:
This magnificent, large original antique lithograph print of the interior of the Protestant Church & Chief George Tupou I Hut both on the Tongan Island of Vavau , visited in October 1838 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 Pharamond Blanchard and was published in the 1842 1st edition of Dumont d Urvilles Voyage au Pole Sud et dans l Océanie sur les corvettes l Astrolabe et la Zélée : Exécuté par ordre du roi pendant les années 1837-1838-1839-1840.
These large magnificent lithographs from the 1st edition are extremely hard to find, most only found in museums or in private hands, and due to the artistry are a must for any collection.

Louis Le Breton 1818 – 1866 was a French painter who specialised in marine paintings.
Le Breton studied medicine and took part in Dumont d Urville\'s second voyage aboard the Astrolabe. After the official illustrator of the expedition, Goupil, died, Le Breton replaced him.
From 1847 he devoted himself mainly to depicting marine subjects for the French Navy.

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 15in (535mm x 380mm)
Plate size: - 21in x 15in (535mm x 380mm)
Margins: - Min 2in (50mm)

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

Background: 
Vavau is the island group of one large island (Utu Vavau) and 40 smaller ones in Tonga. It is part of Vavau District which includes several other individual islands. According to tradition the Maui god fished up both Tongatapu and Vavau but put a little more effort into the former. Vavau rises 204 metres (669 ft) above sea level at Mount Talau. The capital is Neiafu, which is the fifth largest city in Tonga, situated at the Port of Refuge (Puatalefusi or Lolo-a-Halaevalu).
Don Francisco Mourelle de la Rúa, commanding Spanish frigate Princesa was the first European to come to Vavau, on 4 March 1781. He charted Vavau as Martín de Mayorga who was the Viceroy of New Spain at the time. Captain James Cook knew about the islands a decade before, but the people in Haapai told him it would be no good for him to go there as there was no harbour. Apparently they did not want him to go there, and Cook heeded their advice anyway.
But Mourelle found excellent anchoring, of which he was in desperate need after having failed on Fonualei (Bitterness island) and Late, and he gave the spot the name Port of Refuge. But his original Port of Refuge was the bay on the west coast of the main island, near Longomapu. In 1793 Alessandro Malaspina visited for a month, following up on Mourelle and claiming the islands for Spain.
Tuʻi Tonga George Tupou I instituted the Vavau Code in Vavaʻu in 1839.

$325.00 USD
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1842 D Urville & Goupil Antique Print of Men of Santa Isabel Isle, Solomon Isle.

1842 D Urville & Goupil Antique Print of Men of Santa Isabel Isle, Solomon Isle.

Description:
This magnificent, large original antique lithograph print of profiles of 4 different men of the island of Santa Isabel of the Solomon Islands, visited in November & December 1838 by Dumont D Urville, drawn by Ernest Goupil, artist/draftsman aboard the Astrolabe during D Urvilles second voyage to the South Seas between 1837 - 1840, was engraved by Adolphe Jean-Baptiste Bayoti and was published in the 1842 1st edition of Dumont d Urvilles Voyage au Pole Sud et dans l Océanie sur les corvettes l Astrolabe et la Zélée : Exécuté par ordre du roi pendant les années 1837-1838-1839-1840.
These large magnificent lithographs from the 1st edition are extremely hard to find, most only found in museums or in private hands, and due to the artistry are a must for any collection.

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

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 21in x 15in (530mm x 380mm)
Plate size: - 21in x 15in (530mm x 380mm)
Margins: - Min 2in (50mm)

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

Background: 
Santa Isabel Island (also known as Isabel, Ysabel and Mahaga) is the longest in the Solomon Islands, the third largest in terms of surface area, and the largest in the group of islands in Isabel Province.
The first European contact to the Solomon Islands was made at Santa Isabel Island, by the Spanish explorer Álvaro de Mendaña on 7 February 1568. It was charted as Santa Isabel de la Estrella (St. Elizabeth of the Star of Bethlehem in Spanish). A settlement was established by the Spaniards, and a small boat (known in the accounts as the brigantine) was built to survey and chart the surrounding sea and islands. These local explorations led by Maestre de Campo Pedro Ortega Valencia and Alférez Hernando Enríquez resulted in the discoveries of the islands of Malaita, Guadalcanal, Savo, Vangunu, Choiseul, Makira, Ulawa, Malaupaina, Malaulalo, Ali\'ite, and Ugi Island. The Spanish immediately came into contact with Solomon Islanders and at first the relationship was cordial. However, the Spanish expedition\'s need for fresh food and water quickly led to tension and conflict, the Solomon Islanders’ subsistence economy being unable to provide continuous supplies to the Spanish.
Having found no gold and little food, and beset by attacks and sickness, the Spanish colonists shifted their colony to the site of today\'s Honiara on Guadalcanal, and the settlement on Santa Isabel was abandoned.
Santa Isabel islanders suffered attacks from blackbirding in the nineteenth century (the often brutal recruitment or kidnapping of labourers for the sugar plantations in Queensland and Fiji).
In April 1885 a German Protectorate was declared over the North Solomon Islands, including Santa Isabel Island. In 1900, under the terms of Treaty of Berlin (14 November 1899), Germany transferred the North Solomon Islands (except for Bougainville and its surrounding islands) to the British Solomon Islands Protectorate in exchange for the British giving up all claims to Samoa. Missionaries settled on Santa Isabel Island under both protectorates, converting most of the population to Christianity. In the early 20th century several British and Australian firms began large-scale coconut planting.

$525.00 USD
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C1842 D Urville & Goupil Antique Print Chief Pea, Daughter & Wife of Apia, Samoa

C1842 D Urville & Goupil Antique Print Chief Pea, Daughter & Wife of Apia, Samoa

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

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

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

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

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

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

$475.00 USD
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1842 D Urville & Marescot Antique Print King Mapou-Teoa & Envoy of Mangareva Gambier

1842 D Urville & Marescot Antique Print King Mapou-Teoa & Envoy of Mangareva Gambier

Description:
This large, magnificent, original antique lithograph print of King Mapou-Teoa and his envoy who boarded D Urvilles ship the Astrolabe in August 1838, by Jacques Marescot-Duthilleul, one of the artists,draftsman aboard the Astrolabe, during D Urvilles second voyage to the South Seas between 1837 - 1840, was engraved by Adolphe Jean-Baptiste Bayot and 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.

Jacques, Marie, Eugene Marescot Duthilleul1809 - 1839 Lieutenant in the French navy and artist who accompanied Dumont D Urville on the Corvette The Astrolabe on D Urvilles 2nd Voyage to the South Seas, Australia and Antarctica between 1837 and 1840. He was responsible for a number of exquisite drawings of peoples and views during the voyage that were later used for lithograph prints for publication
In 1837, a new mission of exploration in the southern Pacific Ocean was entrusted by King Louis-Philippe to Captain Dumont d Urville. This mission included improvement of scientific knowledge on the islands of the South Pacific and Indonesia, and exploration of the Antarctic continent.
The first phase of the expedition was the crossing the Sea of Weddel sea ice, on the coast of the Antarctic Ice Sheet. The second phase between May 1838 &o December 1839 consisting of visits to many South Pacific Islands: Marquesas, Polynesia, Fiji, Solomon Islands, New Guinea, Carolinas, Marianas, Moluccas and finally Sunda Islands.
At the end of this second phase, after eighteen months of difficult navigation in unhealthy climates, the sanitary condition of the crews of the two corvettes reached a critical state. During the last voyage from Sumatra (Lampang Bay) to Hobart Tasmania, eighteen patients died, including Lieutenant Marescot-Duthilleul.

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 15in (535mm x 380mm)
Plate size: - 21in x 15in (535mm x 380mm)
Margins: - Min 2in (50mm)

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

Background: 
Mangareva is the central and largest island of the Gambier Islands in French Polynesia. It is surrounded by smaller islands: Taravai in the southwest, Aukena and Akamaru in the southeast, and islands in the north.
Mangareva was once heavily forested and supported a large population that traded with other islands via canoes. However, excessive logging by the islanders during the 10th to the 15th centuries resulted in deforestation of the island, with disastrous results for its environment and economy.
The first European to arrive at Mangareva was British Captain James Wilson in 1797 on the ship Duff. Wilson named the island group in honour of Admiral James Gambier, who had helped him to equip his vessel.
Mangareva along with its dependencies in the Gambier Islands were ruled by a line of kings and later regents that ruled until the French formally annexed the islands in 1881. A French protectorate was requested on 16 February 1844 by King Maputeoa but was never ratified by the French government. On 4 February 1870, Prince Regent Arone Teikatoara and the Mangarevan government formally withdrew the protectorate request and asked the French to not intervene in the kingdom\'s affairs. After Father Honoré Laval was removed to Tahiti, the native government changed its stance and an agreement between Prince Regent Arone and the French colonial authority in Tahiti was signed reaffirming the protectorate status on 30 November 1871. The Gambier Islands were finally annexed on 21 February 1881 under Prince Regent Bernardo Putairi and approved by the President of France on 30 January 1882.

$425.00 USD
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1842 D Urville & Marescot Antique Print of Envoys of Mangareva Isle, Gambier Is.

1842 D Urville & Marescot Antique Print of Envoys of Mangareva Isle, Gambier Is.

Description:
This large, magnificent, original antique lithograph print of Envoys of Mangreva Island, Gambier Island visited by Dumont D Urvilles & his ship the Astrolabe in August 1838, by Jacques Marescot-Duthilleul, one of the artists,draftsman aboard the Astrolabe, during D Urvilles second voyage to the South Seas between 1837 - 1840, was engraved by Adolphe Jean-Baptiste Bayot and 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.

Jacques, Marie, Eugene Marescot Duthilleul1809 - 1839 Lieutenant in the French navy and artist who accompanied Dumont D Urville on the Corvette The Astrolabe on D Urvilles 2nd Voyage to the South Seas, Australia and Antarctica between 1837 and 1840. He was responsible for a number of exquisite drawings of peoples and views during the voyage that were later used for lithograph prints for publication
In 1837, a new mission of exploration in the southern Pacific Ocean was entrusted by King Louis-Philippe to Captain Dumont d Urville. This mission included improvement of scientific knowledge on the islands of the South Pacific and Indonesia, and exploration of the Antarctic continent.
The first phase of the expedition was the crossing the Sea of Weddel sea ice, on the coast of the Antarctic Ice Sheet. The second phase between May 1838 &o December 1839 consisting of visits to many South Pacific Islands: Marquesas, Polynesia, Fiji, Solomon Islands, New Guinea, Carolinas, Marianas, Moluccas and finally Sunda Islands.
At the end of this second phase, after eighteen months of difficult navigation in unhealthy climates, the sanitary condition of the crews of the two corvettes reached a critical state. During the last voyage from Sumatra (Lampang Bay) to Hobart Tasmania, eighteen patients died, including Lieutenant Marescot-Duthilleul.

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 15in (535mm x 380mm)
Plate size: - 21in x 15in (535mm x 380mm)
Margins: - Min 2in (50mm)

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

Background: 
Mangareva is the central and largest island of the Gambier Islands in French Polynesia. It is surrounded by smaller islands: Taravai in the southwest, Aukena and Akamaru in the southeast, and islands in the north.
Mangareva was once heavily forested and supported a large population that traded with other islands via canoes. However, excessive logging by the islanders during the 10th to the 15th centuries resulted in deforestation of the island, with disastrous results for its environment and economy.
The first European to arrive at Mangareva was British Captain James Wilson in 1797 on the ship Duff. Wilson named the island group in honour of Admiral James Gambier, who had helped him to equip his vessel.
Mangareva along with its dependencies in the Gambier Islands were ruled by a line of kings and later regents that ruled until the French formally annexed the islands in 1881. A French protectorate was requested on 16 February 1844 by King Maputeoa but was never ratified by the French government. On 4 February 1870, Prince Regent Arone Teikatoara and the Mangarevan government formally withdrew the protectorate request and asked the French to not intervene in the kingdom\'s affairs. After Father Honoré Laval was removed to Tahiti, the native government changed its stance and an agreement between Prince Regent Arone and the French colonial authority in Tahiti was signed reaffirming the protectorate status on 30 November 1871. The Gambier Islands were finally annexed on 21 February 1881 under Prince Regent Bernardo Putairi and approved by the President of France on 30 January 1882.

$425.00 USD
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1842 D Urville & Marescot Antique Print of The Chief & Son of Upolu Island Samoa

1842 D Urville & Marescot Antique Print of The Chief & Son of Upolu Island Samoa

Description:
This large, magnificent, original antique lithograph print of Chief Peha & his son, of the Island of Upolu, Samoa visited by Dumont D Urville on the ship Astrolabe in September 1838, by Jacques Marescot-Duthilleul, artist on the Astrolabe, who died during D Urvilles second voyage to the South Seas, between 1837 - 1840, was engraved by Adolphe Jean-Baptiste Bayot and published in the 1842 1st edition of Dumont d Urvilles Voyage au Pole Sud et dans l Océanie sur les corvettes l Astrolabe et la Zélée : Exécuté par ordre du roi pendant les années 1837-1838-1839-1840.
These large magnificent lithographs from the 1st edition are extremely to find, most only found in museums or in private hands, and are a must for any collection.

Jacques, Marie, Eugene Marescot Duthilleul1809 - 1839 Lieutenant in the French navy and artist who accompanied Dumont D Urville on the Corvette The Astrolabe on D Urvilles 2nd Voyage to the South Seas, Australia and Antarctica between 1837 and 1840. He was responsible for a number of exquisite drawings of peoples and views during the voyage that were later used for lithograph prints for publication
In 1837, a new mission of exploration in the southern Pacific Ocean was entrusted by King Louis-Philippe to Captain Dumont d Urville. This mission included improvement of scientific knowledge on the islands of the South Pacific and Indonesia, and exploration of the Antarctic continent.
The first phase of the expedition was the crossing the Sea of Weddel sea ice, on the coast of the Antarctic Ice Sheet. The second phase between May 1838 &o December 1839 consisting of visits to many South Pacific Islands: Marquesas, Polynesia, Fiji, Solomon Islands, New Guinea, Carolinas, Marianas, Moluccas and finally Sunda Islands.
At the end of this second phase, after eighteen months of difficult navigation in unhealthy climates, the sanitary condition of the crews of the two corvettes reached a critical state. During the last voyage from Sumatra (Lampang Bay) to Hobart Tasmania, eighteen patients died, including Lieutenant Marescot-Duthilleul.

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 15in (535mm x 380mm)
Plate size: - 21in x 15in (535mm x 380mm)
Margins: - Min 2in (50mm)

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

Background: 
Upolu is an island in Samoa, formed by a massive basaltic shield volcano which rises from the seafloor of the western Pacific Ocean. The island is 75 kilometres long, 1,125 square kilometres in area, and is the second largest in geographic area as well as with 135,000 people the most populated of the Samoan Islands. Upolu is situated to the southeast of the big island, Savai i. The capital Apia is in the middle of the north coast with Faleolo International Airport at the western end of the island. The island has not had any historically recorded eruptions, although three lava flows date back only a few hundred to a few thousand years.
In the Samoan branch of Polynesian mythology, Upolu was the first woman on the island of the same name.
In 1841, the island was the site of the Bombardment of Upolu, an incident during the United States Exploring Expedition.
In the late-19th century, the Scottish writer Robert Louis Stevenson owned a 400-acre (160-hectare) estate at Vailima village and died there in 1894. He is buried at the top of Mount Vaea above his former home. The Vailima estate was purchased in 1900 as the official residence for the German governor and, after British/Dominion confiscation, served successively as residence for the New Zealand administrator and for the Samoan head of state after independence.

$425.00 USD
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1852 ILN & J. Gilbert Large Antique Print of The Duke of Wellingtons Funeral Car

1852 ILN & J. Gilbert Large Antique Print of The Duke of Wellingtons Funeral Car

  • Title : Wellingtons Funeral Car...J Gilbert....November 27 1852 - Supplement
  • Size: 33in x 22in (840mm x 560mm)
  • Condition: (A+) Fine Condition
  • Date : 1852
  • Ref #:  26373

Description:
This very large original wood-block engraved antique print of the Funeral Car of The Duke of Wellington by Sir John Gilbert, was published as a supplement to The Illustrated London News on the 27th of November 1852.

Sir John Gilbert RA 1817 – 1897 was an English artist, illustrator and engraver.
Gilbert was born in Blackheath, Surrey, and taught himself to paint. His only formal instruction was from George Lance. Skilled in several media, Gilbert gained the nickname, the Scott of painting. He was best known for the illustrations and woodcuts he produced for the Illustrated London News.
Gilbert was initially apprenticed to a firm of estate agents, but taught himself art by copying prints. He was unable to enter the Royal Academy Schools, but mastered watercolour, oils, and other media. From 1836 he exhibited at the Society of British Artists, and at the RA from 1838. The art patron Thomas Sheepshanks and the artist William Mulready suggested that he learn wood engraving. Starting with Punch, he moved on to the Illustrated London News. He produced an impressive number of wood-engravings for that publication and for The London Journal. He also produced very many illustrations for books, including nearly all the important English poets (including his illustrated Shakespeare with almost 750 drawings). He became president of the Royal Watercolour Society in 1871. He exhibited some 400 pictures in watercolour and oil exhibited at the various societies. In 1872 he was knighted. He became an RA in 1876, in the same year as Edward Poynter.
The Gilbert-Garret Competition for Sketching Clubs was started in 1870 at St. Martins School of Art, and named after its first president, John Gilbert.
Gilbert is buried at Brockley and Ladywell Cemeteries.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 33in x 22in (840mm x 560mm)
Plate size: - 33in x 22in (840mm x 560mm)
Margins: - Min 1/4in (5mm)

Imperfections:
Margins: - Re-joined along horizontal & vertical folds, no loss
Plate area: - Re-joined along horizontal & vertical folds, no loss
Verso: - Re-joined along horizontal & vertical folds, no loss

Background: 
Arthur Wellesley, 1st Duke of Wellington, KG, GCB, GCH, PC, FRS 1769 – 1852) was an Anglo-Irish soldier and statesman who was one of the leading military and political figures of 19th-century Britain, serving twice as Prime Minister. His victory against Napoleon at the Battle of Waterloo in 1815 puts him in the first rank of Britain\'s military heroes.
Wellesley was born in Dublin, into the Protestant Ascendancy in Ireland. He was commissioned as an ensign in the British Army in 1787, serving in Ireland as aide-de-camp to two successive Lords Lieutenant of Ireland. He was also elected as a Member of Parliament in the Irish House of Commons. He was a colonel by 1796, and saw action in the Netherlands and in India, where he fought in the Fourth Anglo-Mysore War at the Battle of Seringapatam. He was appointed governor of Seringapatam and Mysore in 1799 and, as a newly appointed major-general (since 1802), won a decisive victory over the Maratha Confederacy at the Battle of Assaye in 1803.
Wellesley rose to prominence as a general during the Peninsular campaign of the Napoleonic Wars, and was promoted to the rank of field marshal after leading the allied forces to victory against the French Empire at the Battle of Vitoria in 1813. Following Napoleon\'s exile in 1814, he served as the ambassador to France and was granted a dukedom. During the Hundred Days in 1815, he commanded the allied army which, together with a Prussian army under Blücher, defeated Napoleon at Waterloo. Wellington\'s battle record is exemplary; he ultimately participated in some 60 battles during the course of his military career.
Wellington is famous for his adaptive defensive style of warfare, resulting in several victories against numerically superior forces while minimising his own losses. He is regarded as one of the greatest defensive commanders of all time, and many of his tactics and battle plans are still studied in military academies around the world.
After the end of his active military career, Wellington returned to politics. He was twice British prime minister as part of the Tory party: from 1828 to 1830, and for a little less than a month in 1834. He oversaw the passage of the Catholic Relief Act 1829, but opposed the Reform Act 1832. He continued as one of the leading figures in the House of Lords until his retirement and remained Commander-in-Chief of the British Army until his death.
Wellington died at Walmer Castle in Deal on 14 September 1852. This was his residence as Lord Warden of the Cinque Ports. Walmer Castle was said to have been his favourite residence. He was found to be unwell on that morning and was aided from his military campaign bed (the same one he used throughout his historic military career) and seated in his chair where he died. His death was recorded as being due to the after-effects of a stroke culminating in a series of seizures. He was aged 83.
Although in life he hated travelling by rail (after witnessing the death of William Huskisson, one of the first railway accident casualties), his body was then taken by train to London, where he was given a state funeral – one of only a handful of British subjects to be honoured in that way (other examples are Lord Nelson and Sir Winston Churchill) – and the last heraldic state funeral to be held in Britain. The funeral took place on 18 November 1852. At his funeral there was hardly any space to stand because of the number of people attending, and the effusive praise given him in Tennyson\'s Ode on the Death of the Duke of Wellington attests to his stature at the time of his death. He was buried in a sarcophagus of luxulyanite in St Pauls Cathedral next to Lord Nelson. A bronze memorial was sculpted by Alfred Stevens, and features two intricate supports: Truth tearing the tongue out of the mouth of False-hood, and Valour trampling Cowardice underfoot. Stevens did not live to see it placed in its home under one of the great arches of the Cathedral.
Wellington\'s casket was decorated with banners which were made for his funeral procession. Originally, there was one from Prussia, which was removed during World War I and never reinstated. In the procession, the Great Banner was carried by General Sir James Charles Chatterton of the 4th Dragoon Guards on the orders of Queen Victoria.
Most of the book A Biographical Sketch of the Military and Political Career of the Late Duke of Wellington by Weymouth newspaper proprietor Joseph Drew is a detailed contemporary account of his death, lying in state and funeral.
After his death, Irish and English newspapers disputed whether Wellington had been born an Irishman or an Englishman. In 2002, he was number 15 in the BBC\'s poll of the 100 Greatest Britons.
Owing to its links with Wellington, as the former commanding officer and colonel of the regiment, the title 33rd (The Duke of Wellington\'s) Regiment was granted to the 33rd Regiment of Foot, on 18 June 1853 (the 38th anniversary of the Battle of Waterloo) by Queen Victoria. Wellington\'s battle record is exemplary; he participated in some 60 battles during the course of his military career.

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1830 Joseph Lemercier Large Antique Print of North African Bedouin Hunters

1830 Joseph Lemercier Large Antique Print of North African Bedouin Hunters

  • Title : L Afrique...Lith de Lemercier rue de Seine S G N 55...Paris chez Aumont, rue JJ Rousseau No. 10
  • Size: 23 1/2in x 17 1/2in (600mm x 445mm)
  • Condition: (A+) Fine Condition
  • Date : 1830
  • Ref #:  40447-1

Description:
This large original early antique lithograph print of North African Bedouin, hunting on horse back, surrounded by various vignette scenes of Bedouin life was printed and published by Joseph Lemercier in his rue de Seine printing premises in 1830.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: - Yellow, green, blue, pink
General color appearance: -
Paper size: - 23 1/2in x 17 1/2in (600mm x 445mm)
Plate size: - 23 1/2in x 17 1/2in (600mm x 445mm)
Margins: - Min 1in (25mm)

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

Background: 
The Bedouin are a grouping of nomadic Arab peoples who have historically inhabited the desert regions in North Africa, the Arabian Peninsula, Iraq and the Levant. The English word bedouin comes from the Arabic badawī, which means desert dweller, and is traditionally contrasted with ḥāḍir, the term for sedentary people. Bedouin territory stretches from the vast deserts of North Africa to the rocky sands of the Middle East. They are traditionally divided into tribes, or clans and share a common culture of herding camels and goats.
Historically, the Bedouin engaged in nomadic herding, agriculture and sometimes fishing. A major source of income was the taxation of caravans, and tributes collected from non-Bedouin settlements. They also earned income by transporting goods and people in caravans across the desert. Scarcity of water and of permanent pastoral land required them to move constantly.
The Moroccan traveller, Ibn Battuta, reported that in 1326 on the route to Gaza, the Egyptian authorities had a customs post at Qatya on the north coast of Sinai. Here Bedouin were being used to guard the road and track down those trying to cross the border without permission.
The Early Medieval grammarians and scholars seeking to develop a system of standardizing the contemporary Classical Arabic for maximal intelligibility across the Arabophone areas, believed that the Bedouin spoke the purest, most conservative variety of the language. To solve irregularities of pronunciation, the Bedouin were asked to recite certain poems, where-after consensus was relied on to decide the pronunciation and spelling of a given word.
A plunder and massacre of the Hajj caravan by Bedouin tribesmen occurred in 1757, led by Qa dan al-Fa\'iz of the Bani Saqr tribe. An estimated 20,000 pilgrims were either killed in the raid or died of hunger or thirst as a result. Although Bedouin raids on Hajj caravans were fairly common, the 1757 raid represented the peak of such attacks.
Under the Tanzimat reforms in 1858 a new Ottoman Land Law was issued, which offered legal grounds for the displacement of the Bedouin. As the Ottoman Empire gradually lost power, this law instituted an unprecedented land registration process that was also meant to boost the empire\'s tax base. Few Bedouin opted to register their lands with the Ottoman Tapu, due to lack of enforcement by the Ottomans, illiteracy, refusal to pay taxes and lack of relevance of written documentation of ownership to the Bedouin way of life at that time.
At the end of the 19th century Sultan Abdülhamid II settled Muslim populations (Circassians) from the Balkan and Caucasus among areas predominantly populated by the nomads in the regions of modern Syria, Lebanon, Jordan, and Palestine, and also created several permanent Bedouin settlements, although the majority of them did not remain.
Ottoman authorities also initiated private acquisition of large plots of state land offered by the sultan to the absentee landowners (effendis). Numerous tenants were brought in order to cultivate the newly acquired lands. Often it came at the expense of the Bedouin lands.
In the late 19th century, many Bedouin began transition to a semi-nomadic lifestyle. One of the factors was the influence of the Ottoman empire authorities who started a forced sedentarization of the Bedouin living on its territory. The Ottoman authorities viewed the Bedouin as a threat to the state\'s control and worked hard on establishing law and order in the Negev. During World War I, the Negev Bedouin fought with the Turks against the British, but later, under T. E. Lawrence\'s assist, the Bedouins switched side and fought the Turks. Hamad Pasha al-Sufi (died 1923), Sheikh of the Nijmat sub-tribe of the Tarabin, led a force of 1,500 men who joined the Turkish offensive against the Suez Canal.
In Orientalist historiography, the Negev Bedouin have been described as remaining largely unaffected by changes in the outside world until recently. Their society was often considered a world without time. Recent scholars have challenged the notion of the Bedouin as fossilized, or stagnant reflections of an unchanging desert culture. Emanuel Marx has shown that Bedouin were engaged in a constantly dynamic reciprocal relation with urban centers. Bedouin scholar Michael Meeker explains that the city was to be found in their midst.

Lemercier, Joseph Rose 1803-1887
Lemercier was an early influential lithographer & printer who founded the large firm of Lemercier and Cie in the first part of the 19th century.
Lemercier began his career in the printing business with an apprenticeship at Langlumé from 1822 to 1825, before becoming foreman at the house of Formentin. In 1827 . Lemercier started his own printing business. He was responsible for the publication of many large superb lithographs and his work is highly sorted after, due to its high standard of technical and artistic skill. His firm entered a number of partnerships over the years at various number of Paris addresses. Please see details below.

Also known as; 
Lemercier & Cie;
Lemercier & Co;
Lemercier Benard et Cie;
Lemercier Bernard & C;
Lemercier, J & A; J & A Lemercier; Lemercier, A;
Lemercier, Benard & Cie;
Lemercier

Addresses:
Rue Pierre Sarrasin, No.2 (c.1829) Before 1835 rue du Four S.G. 55 55 (later 57) rue de Seine, Paris, in partnership with Bénard (1829-36)
55 rue du Four-Saint-Germain, Paris (1840) 57 rue de Seine (later)

$475.00 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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1835 Joseph Meyer Antique Print Early View of The Rocks Sydney, Australia

1835 Joseph Meyer Antique Print Early View of The Rocks Sydney, Australia

Description:
This fine steel-plate engraved original antique print an early view of The Rocks in Sydney Australia by Joseph Meyer was published in the 1835 edition of Meyers Universum
These are beautiful steel-plate engraved prints, with a high level of detail along with beautifully executed artistry.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 10in x 7 1/2in (255mm x 190mm)
Plate size: - 10in x 7 1/2in (255mm x 190mm)
Margins: - Min 1/2in (12mm)

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

Background: 
The History of Sydney begins in prehistoric times with the occupation of the district by Australian Aborigines, whose ancestors came to Sydney in the Upper Paleolithic period. The modern history of the city began with the arrival of a First Fleet of British ships in 1788 and the foundation of a penal colony by Great Britain.
From 1788 to 1900 Sydney was the capital of the British colony of New South Wales. An elected city council was established in 1840. In 1900, Sydney became a state capital, when New South Wales voted to join the Australian Federation. Sydney today is Australia\'s largest city and a major international capital of culture and finance. The city has played host to many international events, including the 2000 Summer Olympics.

Meyer, Joseph 1796 - 1856
Meyer was a German industrialist and publisher, most noted for his encyclopedia, Meyers Konversations-Lexikon.
Meyer was born at Gotha, Germany, and was educated as a merchant in Frankfurt am Main. He went to London in 1816, but returned to Germany in 1820 after business adventures and stock speculations fell through. Here he invested in enterprises like textile-trade (1820–24). Soon after the first steam-hauled railway had started in December 1835, Meyer started to make business plans how to start the first railways. He also bought some concessions for iron mining. In 1845, he founded the Deutsche Eisenbahnschienen-Compagnie auf Actien (German Railway Rail joint stock company).
Meyer operated very successfully as a publisher, employing a system of serial subscription to publications, which was new at that time. To this end he founded a company, Bibliographisches Institut, in Gotha in 1826. It published several editions of the Bible, works of classical literature (Miniatur-Bibliothek der deutschen Classiker, Groschen-Bibliothek), atlases, the world in pictures on steel engravings Meyers Universum, 1833–61, 17 volumes in 12 languages with 80,000 subscribers all over Europe), and an encyclopaedia, (das Grosse Conversations-Lexikon für die gebildeten Stände;). His company grew substantially, and in 1828 he moved it from Gotha to Hildburghausen, where he died thirty years later.

$149.00 USD
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1799 Le Barbier Large Antique Print Consecration of Cora to the Sun Cult, Mexico

1799 Le Barbier Large Antique Print Consecration of Cora to the Sun Cult, Mexico

Description:
This beautifully engraved large original antique print of the Consecration of Cora to the Sun Cult after Jean Jacques Francois Le Barbier was engraved by Louis-François Marriage in ca 1799.

Louis-François Mariage is a French dotted engraver who was active in Paris between 1785 and 1828. He sometimes signed his inverted surname, Egairam .

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 18 1/2in (535mm x 470mm)
Plate size: - 21in x 18 1/2in (535mm x 470mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Light soiling, small re-join to bottom margin
Plate area: - Small repair to top of image, no loss
Verso: - Light soiling

Background: 
The Cora are an indigenous ethnic group of Western Central Mexico which live in the municipality El Nayar in the Mexican state of Nayarit and in a few settlements in the neighboring state of Jalisco. They call themselves náayerite whence the name of the present day Mexican state of Nayarit.
The Cora live in the rugged mountain and canyon country of Nayarit and across the border in neighboring Jalisco, Durango, and Sinaloa. In the early 18th century they were an anomaly in that they had never permitted Catholic missionaries to live in their country. They had become a pagan island in a sea of Christian Indians and Hispanic culture. In 1716, a Spanish expedition to attempt to bring the Cora under Spanish control failed. However, in 1722, the Spanish returned in force and the Cora yielded. According to Spanish accounts many of them became Christian and practice, up until the present, Catholic-derived customs.
The Cora religion is a syncretism between the pre-Conquest religion and Catholicism.
The ancestral Cora religion has three principal divinities. The supreme god is the sun god, Tayau, our father. He travels across the sky during the day, sitting down in his golden throne at noon. Clouds are believed to be smoke from his pipe. In earlier times the priests of Tayau, the tonatí, were the highest authority of the Cora communities. His wife is Tetewan, the underworld goddess associated with the moon, rain, and the west. Her alternate names are Hurima and Nasisa. Their son, Sautari, the flower picker, is associated with maize and the afternoon. Other names for him are Hatsikan, big brother, Tahás, and Ora. He is also associated with Jesus Christ.
Some Cora myths clearly have Mesoamerican origins; for example, the myth of the creation of the fifth sun. Others are shared with the geographically and linguistically adjacent Huichol; for example, the myth of the human race being the offspring of a man and a dog-woman who were the only survivors of a mythical cataclysmic deluge.

$650.00 USD
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1859 Aubert Antique Print View of Sydney, Australia from the North to The Rocks

1859 Aubert Antique Print View of Sydney, Australia from the North to The Rocks

Description:
This original steel-plate engraved antique print an view of Sydney NSW from the north across Circular Quay & The Rocks with a view to St James Church on Kings St - across where the Harbour Bridge is now situated - by Pierre Eugene Aubert was published by Dufour, Mulat and Boulanger, Paris in 1859.

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

Imperfections:
Margins: - Crease in right margin
Plate area: - None
Verso: - None

Background: 
The History of Sydney begins in prehistoric times with the occupation of the district by Australian Aborigines, whose ancestors came to Sydney in the Upper Paleolithic period. The modern history of the city began with the arrival of a First Fleet of British ships in 1788 and the foundation of a penal colony by Great Britain.
From 1788 to 1900 Sydney was the capital of the British colony of New South Wales. An elected city council was established in 1840. In 1900, Sydney became a state capital, when New South Wales voted to join the Australian Federation. Sydney today is Australia\'s largest city and a major international capital of culture and finance.

Aubert, Pierre Eugene, 1789-1847
A French artist and engraver of the early 19th century, working with the Paris publishers Dufour, Mulat and Boulanger.

$125.00 USD
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1859 Aubert Antique Print View of Sydney, Australia from the North to The Rocks

1859 Aubert Antique Print View of Sydney, Australia from the North to The Rocks

Description:
This original steel-plate engraved antique print an view of Sydney NSW from the north across Circular Quay & The Rocks with a view to St James Church on Kings St - across where the Harbour Bridge is now situated - by Pierre Eugene Aubert was published by Dufour, Mulat and Boulanger, Paris in 1859.

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

Imperfections:
Margins: - Crease in right margin
Plate area: - None
Verso: - None

Background: 
The History of Sydney begins in prehistoric times with the occupation of the district by Australian Aborigines, whose ancestors came to Sydney in the Upper Paleolithic period. The modern history of the city began with the arrival of a First Fleet of British ships in 1788 and the foundation of a penal colony by Great Britain.
From 1788 to 1900 Sydney was the capital of the British colony of New South Wales. An elected city council was established in 1840. In 1900, Sydney became a state capital, when New South Wales voted to join the Australian Federation. Sydney today is Australia\'s largest city and a major international capital of culture and finance.

Aubert, Pierre Eugene, 1789-1847
A French artist and engraver of the early 19th century, working with the Paris publishers Dufour, Mulat and Boulanger.

$125.00 USD
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1859 Aubert Antique Print View of Sydney, Australia from the North to The Rocks

1859 Aubert Antique Print View of Sydney, Australia from the North to The Rocks

Description:
This original steel-plate engraved antique print an view of Sydney NSW from the north across Circular Quay & The Rocks with a view to St James Church on Kings St - across where the Harbour Bridge is now situated - by Pierre Eugene Aubert was published by Dufour, Mulat and Boulanger, Paris in 1859.

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

Imperfections:
Margins: - Crease in right margin
Plate area: - None
Verso: - None

Background: 
The History of Sydney begins in prehistoric times with the occupation of the district by Australian Aborigines, whose ancestors came to Sydney in the Upper Paleolithic period. The modern history of the city began with the arrival of a First Fleet of British ships in 1788 and the foundation of a penal colony by Great Britain.
From 1788 to 1900 Sydney was the capital of the British colony of New South Wales. An elected city council was established in 1840. In 1900, Sydney became a state capital, when New South Wales voted to join the Australian Federation. Sydney today is Australia\'s largest city and a major international capital of culture and finance.

Aubert, Pierre Eugene, 1789-1847
A French artist and engraver of the early 19th century, working with the Paris publishers Dufour, Mulat and Boulanger.

$125.00 USD
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1859 Aubert Antique Print View of Sydney, Australia from the North to The Rocks

1859 Aubert Antique Print View of Sydney, Australia from the North to The Rocks

Description:
This original steel-plate engraved antique print an view of Sydney NSW from the north across Circular Quay & The Rocks with a view to St James Church on Kings St - across where the Harbour Bridge is now situated - by Pierre Eugene Aubert was published by Dufour, Mulat and Boulanger, Paris in 1859.

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

Imperfections:
Margins: - Crease in right margin
Plate area: - None
Verso: - None

Background: 
The History of Sydney begins in prehistoric times with the occupation of the district by Australian Aborigines, whose ancestors came to Sydney in the Upper Paleolithic period. The modern history of the city began with the arrival of a First Fleet of British ships in 1788 and the foundation of a penal colony by Great Britain.
From 1788 to 1900 Sydney was the capital of the British colony of New South Wales. An elected city council was established in 1840. In 1900, Sydney became a state capital, when New South Wales voted to join the Australian Federation. Sydney today is Australia\'s largest city and a major international capital of culture and finance.

Aubert, Pierre Eugene, 1789-1847
A French artist and engraver of the early 19th century, working with the Paris publishers Dufour, Mulat and Boulanger.

$125.00 USD
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1859 Aubert Antique Print View of Sydney, Australia from the North to The Rocks

1859 Aubert Antique Print View of Sydney, Australia from the North to The Rocks

Description:
This original steel-plate engraved antique print an view of Sydney NSW from the north across the Rocks with a view to St James Church on Kings St, across the harbour where the Harbour Bridge now sits, by Pierre Eugene Aubert was published by Dufour, Mulat and Boulanger, Paris in 1859.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Early
Colors used: - Yellow, green, blue
General color appearance: - Authentic
Paper size: - 10in x 7in (255mm x 180mm)
Plate size: - 10in x 7in (255mm x 180mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Crease in right margin
Plate area: - None
Verso: - None

Background: 
The History of Sydney begins in prehistoric times with the occupation of the district by Australian Aborigines, whose ancestors came to Sydney in the Upper Paleolithic period. The modern history of the city began with the arrival of a First Fleet of British ships in 1788 and the foundation of a penal colony by Great Britain.
From 1788 to 1900 Sydney was the capital of the British colony of New South Wales. An elected city council was established in 1840. In 1900, Sydney became a state capital, when New South Wales voted to join the Australian Federation. Sydney today is Australia\'s largest city and a major international capital of culture and finance.

Aubert, Pierre Eugene, 1789-1847
A French artist and engraver of the early 19th century, working with the Paris publishers Dufour, Mulat and Boulanger.

$149.00 USD
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1878 Leon Richeton after Gainsborough Antique Print of a Young Gentleman, William III

1878 Leon Richeton after Gainsborough Antique Print of a Young Gentleman, William III

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

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

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

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

$275.00 USD
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1870 Augustin Mongin after Sir Peter Lely Antique Print of Princess Mary II as Diana

1870 Augustin Mongin after Sir Peter Lely Antique Print of Princess Mary II as Diana

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

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

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

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

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

$275.00 USD
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1870 Charles Murray after Bartolome Esteban Murillo Antique Print - Murillo Self Portrait

1870 Charles Murray after Bartolome Esteban Murillo Antique Print - Murillo Self Portrait

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

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

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

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

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

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

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

$275.00 USD
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1870 Amand-Durand after Jacapo de Barbari Antique Print Holy Family w/ St Paul

1870 Amand-Durand after Jacapo de Barbari Antique Print Holy Family w/ St Paul

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

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

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

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

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

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1870 Amand-Durand after Martin Schongauer Antique Print - Flight into Egypt

1870 Amand-Durand after Martin Schongauer Antique Print - Flight into Egypt

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

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

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

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

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1870 Amand-Durand after Marcantonio Raimondi Antique Print Writer Pietro Aretino

1870 Amand-Durand after Marcantonio Raimondi Antique Print Writer Pietro Aretino

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

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

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

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

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

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

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1870 Amand-Durand after Israhel van Meckenem Antique Print - Organ Player & Wife

1870 Amand-Durand after Israhel van Meckenem Antique Print - Organ Player & Wife

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

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

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

 

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

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

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1870 Amand-Durand after Albrecht Durer Antique Print - Frederick III of Saxony

1870 Amand-Durand after Albrecht Durer Antique Print - Frederick III of Saxony

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

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

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

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

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

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

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

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1878 Leon Richeton after Rembrandt of an Antique Print - Portrait of a Boy

1878 Leon Richeton after Rembrandt of an Antique Print - Portrait of a Boy

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

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

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

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

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

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1870 Charles Amand-Durand after Mattaus Zaisinger Antique Print - The Embrace

1870 Charles Amand-Durand after Mattaus Zaisinger Antique Print - The Embrace

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

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

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

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

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

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1870 Amand-Durand after Van Leyden Antique Print St George rescuing the Princess

1870 Amand-Durand after Van Leyden Antique Print St George rescuing the Princess

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

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

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

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

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

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1784 Cook & Webber Large 1st Edition Antique Print of Human Sacrifice on Tahiti

1784 Cook & Webber Large 1st Edition Antique Print of Human Sacrifice on Tahiti

Description:
This large beautifully engraved original copper-plate 1st edition antique print of Captain Cook (seen to the right) and his men witnessing a human sacrifice on a Maori (Marae) in Tahiti during Cooks visit in 1777 as drawn by John Webber (Cooks official artist on the voyage) was published for the 1784 1st edition and official British Admiralty sanctioned account of Captain Cook’s third and final voyage along with that of Cooks successor Capt. James King......
A Voyage to the Pacific Ocean. Undertaken, by the Command of his Majesty, for making Discoveries in the Northern Hemisphere. To determine The Position and Extent of the West Side of North America; its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the direction of Captains Cook, Clerke, and Gore, In His Majesty\'s Ships the Resolution and Discovery. In the Years 1776, 1777, 1778, 1779, and 1780. In Three Volumes. Vol. I and II written by James Cook, F.R.S. Vol. III by Captain James King, LL.D. and F.R.S

.......During his final visit, Cook returned Mai to Tahiti on 12 Aug. 1777, after Mais long visit in England. Cook also brought two Maori from Queen Charlotte Sound, Te Weherua and Koa. Cook first harbored in Vaitepiha Bay, where he visited Vehiatua II s funeral bier and the prefabricated Spanish mission house. Cook also met Vehiatua III, and inscribed on the back of the Spanish cross, Georgius tertius Rex Annis 1767, 69, 73, 74 & 77, as a counterpoint to Christus Vincit Carolus III imperat 1774 on the front. On 23 Aug., Cook sailed for Matavai Bay, where he met Tu, his father Teu, his mother Tetupaia, his brothers Ari ipaea and Vaetua, and his sisters Ari ipaea-vahine, Tetua-te-ahamai, and Auo. Cook also observed a human sacrifice, taata tapu, at the Utu-ai-mahurau marae, and 49 skulls from previous victims......

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 15in (535mm x 385mm)
Plate size: - 21in x 15in (535mm x 385mm)
Margins: - Min 1/2in (12mm)

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

Background: 
Tahiti previously also known as Otaheite is the largest island in the Windward group of French Polynesia. The island is located in the archipelago of the Society Islands in the central Southern Pacific Ocean.
The first European to have visited Tahiti according to existing records was lieutenant Samuel Wallis, who was circumnavigating the globe in HMS Dolphin, sighting the island on 18 June 1767, and eventually harboring in Matavai Bay. This bay was situated on the territory of the chiefdom of Pare-Arue, governed by Tu (Tu-nui-e-a a-i-te-Atua) and his regent Tutaha, and the chiefdom of Ha apape, governed by Amo and his wife Oberea (Purea). Wallis named the island King Georges Island. The first contacts were difficult, since on the 24 and 26 June 1767, Tahitian warriors in canoes showed aggression towards the British, hurling stones from their slings. In retaliation, the British sailors opened fire on the warriors in the canoes and on the hills. In reaction to this powerful counter-attack, the Tahitians laid down peace offerings for the British. Following this episode, Samuel Wallis was able to establish cordial relations with the female chieftain “Oberea “ (Purea) and remained on the island until 27 July 1767.
In July 1768, Captain James Cook was commissioned by the Royal Society and on orders from the Lords Commissioners of the Admiralty to observe the transit of Venus across the sun, a phenomenon that would be visible from Tahiti on 3 June 1769. He arrived in Tahitis Matavai Bay, commanding the HMS Endeavour on 12 April 1769. On 14 April, Cook met with Tutaha and Tepau. On 15 April, Cook picked the site for a fortified camp at Point Venus along with Banks, Parkinson, Daniel Solander, to protect Charles Greens observatory. The length of stay enabled them to undertake for the first time real ethnographic and scientific observations of the island. Assisted by the botanist Joseph Banks, and by the artist Sydney Parkinson, Cook gathered valuable information on the fauna and flora, as well as the native society, language and customs, including the proper name of the island, Otaheite. On 28 April, Cook met Purea and Tupaia, and Tupaia befriended Banks following the transit. On 21 June, Amo visited Cook, and then on 25 June, Pohuetea visited, signifying another chief seeking to ally himself with the British.
Cook and Banks circumnavigated the island from 26 June to 1 July. On the exploration, they met Ahio, chief of Ha apaiano o or Papenoo, Rita, chief of Hitia a, Pahairro, chief of Pueu, Vehiatua, chief of Tautra, Matahiapo, chief of Teahupo o, Tutea, chief of Vaira o, and Moe, chief of Afa Ahiti. In Papara, guided by Tupaia, they investigated the ruins of Mahaiatea marae, an impressive structure containing a stone pyramid or ahu, measuring 44 feet high, 267 feet long and 87 feet wide. Cook and the Endeavour departed Tahiti on 13 July 1769, taking Raiatean navigator Tupaia along for his geographic knowledge of the islands.
Cook returned to Tahiti between 15 August and 1 September 1773, greeted by the chiefs Tai and Puhi, besides the youg ari i Vehiatua II and his stepfather Ti itorea. Cook anchored in Vaitepiha Bay before returning to Point Venus where he met Tu, the paramount chief. Cook picked up two passengers from Tahiti during this trip, Porea and Mai, with Hitihiti later replacing Porea when Cook stopped at Raiatea. Cook took Hitihiti to Tahiti on 22 April, during his return leg. Then, Cook departed Tahiti on 14 May 1774.
During his final visit, Cook returned Mai to Tahiti on 12 Aug. 1777, after Mais long visit in England. Cook also brought two Maori from Queen Charlotte Sound, Te Weherua and Koa. Cook first harbored in Vaitepiha Bay, where he visited Vehiatua II s funeral bier and the prefabricated Spanish mission house. Cook also met Vehiatua III, and inscribed on the back of the Spanish cross, Georgius tertius Rex Annis 1767, 69, 73, 74 & 77, as a counterpoint to Christus Vincit Carolus III imperat 1774 on the front. On 23 Aug., Cook sailed for Matavai Bay, where he met Tu, his father Teu, his mother Tetupaia, his brothers Ari ipaea and Vaetua, and his sisters Ari ipaea-vahine, Tetua-te-ahamai, and Auo. Cook also observed a human sacrifice, taata tapu, at the Utu-ai-mahurau marae, and 49 skulls from previous victims.
On 29 Sept. 1777, Cook sailed for Papetoai Bay on Moorea. Cook met Mahine in an act of friendship on 3 Oct., though he was an enemy of Tu. When a goat kid was stolen on 6 Oct., Cook in a rampage, ordered the burning of houses and canoes until it was returned. Cook sailed for Huahine on 11 Oct., Raiatea on 2 Nov., and Borabora on 7 Dec.
On 26 October 1788, HMS Bounty, under the command of Captain William Bligh, landed in Tahiti with the mission of carrying Tahitian breadfruit trees (Tahitian: uru) to the Caribbean. Sir Joseph Banks, the botanist from James Cooks first expedition, had concluded that this plant would be ideal to feed the African slaves working in the Caribbean plantations at very little cost. The crew remained in Tahiti for about five months, the time needed to transplant the seedlings of the trees. Three weeks after leaving Tahiti, on 28 April 1789, the crew mutinied on the initiative of Fletcher Christian. The mutineers seized the ship and set the captain and most of those members of the crew who remained loyal to him adrift in a ships boat. A group of mutineers then went back to settle in Tahiti.
Although various explorers had refused to get involved in tribal conflicts, the mutineers from the Bounty offered their services as mercenaries and furnished arms to the family which became the Pōmare Dynasty. The chief Tū knew how to use their presence in the harbours favoured by sailors to his advantage. As a result of his alliance with the mutineers, he succeeded in considerably increasing his supremacy over the island of Tahiti.

Captain James King FRS 1750 – 1784 was an officer of the Royal Navy. He served under James Cook on his last voyage around the world, specialising in taking important astronomical readings using a sextant. After Cook died he helped lead the ships on the remainder of their course, also completing Cooks account of the voyage. He continued his career in the Navy, reaching the rank of post-captain, commanding several ships and serving in the American War of Independence.
King joined HMS Resolution as second lieutenant, sharing the duties of astronomer with Cook, taking astronomical observations on board by sextant and with Larcum Kendals timekeeper K1, to establish the Resolutions position at sea and on shore by sextant or by astronomical quadrant to establish the geographical position of salient points during the course of Cooks surveys. Thus Kings geographical positions were an important contribution to the accuracy of the various surveys carried out during the voyage and his use of the early chronometers helped prove their use at sea for calculation of Longitude. .
Following the death of Cook, King remained in the Resolution but on the death of Charles Clerke, Cooks successor, King was appointed to command HMS Discovery, the Resolutions consort, remaining in her for the rest of the voyage. After his return to England King was very much involved in the publication of the official account of Cooks third voyage, writing the third volume at Woodstock, near Oxford, where his brother Thomas was rector of St Mary Magdalene. But shortly after his return King was promoted Post-captain and appointed commander of HMS Crocodile in the English Channel.

John Webber RA 1751 – 1793 was an English artist who accompanied Captain Cook on his third Pacific expedition. He is best known for his images of Australasia, Hawaii and Alaska.
Webber was born in London, educated in Bern and studied painting at Paris.His father was Abraham Wäber, a Swiss sculptor who had moved to London, and changed his name to Webber before marrying a Mrs Mary Quant in 1744.
Webber served as official artist on James Cooks third voyage of discovery around the Pacific (1776–80) aboard HMS Resolution. At Adventure Bay in January 1777 he did drawings of A Man of Van Diemens Land and A Woman of Van Diemens Land. He also did many drawings of scenes in New Zealand and the South Sea islands. On this voyage, during which Cook lost his life in a fight in Hawaii, Webber became the first European artist to make contact with Hawaii, then called the Sandwich Islands. He made numerous watercolor landscapes of the islands of Kauai and Hawaii, and also portrayed many of the Hawaiian people.
In April 1778, Captain Cooks ships Resolution and Discovery anchored at Ship Cove, now known as Nootka Sound, Vancouver Island, Canada to refit. The crew took observations and recorded encounters with the local people. Webber made watercolour landscapes including Resolution and Discovery in Ship Cove, 1778. His drawings and paintings were engraved for British Admiraltys account of the expedition, which was published in 1784.
Back in England in 1780 Webber exhibited around 50 works at Royal Academy exhibitions between 1784 and 1792, and was elected an associate of the Royal Academy in 1785 and R.A. in 1791. Most of his work were landscapes. Sometimes figures were included as in A Party from H.M.S. Resolution shooting sea horses, which was shown at the academy in 1784, and his The Death of Captain Cook became well known through an engraving of it. Another version of this picture is in the William Dixson gallery at Sydney

$850.00 USD
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1784 Cook & Webber Large 1st Edition Antique Print Men Dancing Lifuka Isle Tonga

1784 Cook & Webber Large 1st Edition Antique Print Men Dancing Lifuka Isle Tonga

Description:
This large beautifully engraved original copper-plate 1st edition antique print of Captain Cook (seen in the foreground) and his men watching men dancing at night on the Island of Lifuka, in the Ha apai island group of Tonga, at the time of Cooks visit in 1777 as drawn by John Webber (Cooks official artist on the voyage) was published for the 1784 1st edition and official British Admiralty sanctioned account of Captain Cook’s third and final voyage along with that of Cooks successor Capt. James King......
A Voyage to the Pacific Ocean. Undertaken, by the Command of his Majesty, for making Discoveries in the Northern Hemisphere. To determine The Position and Extent of the West Side of North America; its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the direction of Captains Cook, Clerke, and Gore, In His Majesty\'s Ships the Resolution and Discovery. In the Years 1776, 1777, 1778, 1779, and 1780. In Three Volumes. Vol. I and II written by James Cook, F.R.S. Vol. III by Captain James King, LL.D. and F.R.S

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 15in (535mm x 385mm)
Plate size: - 21in x 15in (535mm x 385mm)
Margins: - Min 1/2in (12mm)

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

Background: 
Tonga officially the Kingdom of Tonga, is a Polynesian sovereign state and archipelago comprising 169 islands, of which 36 are inhabited. The total surface area is about 750 square kilometres (290 sq mi) scattered over 700,000 square kilometres (270,000 sq mi) of the southern Pacific Ocean. It has a population of 107,122 people, of whom 70% reside on the main island of Tongatapu.
The Tongan people first encountered Europeans in 1616 when the Dutch vessel Eendracht, captained by Willem Schouten, made a short visit to trade. Later came other Dutch explorers, including Jacob Le Maire (who called on the northern island of Niuatoputapu); and in 1643 Abel Tasman (who visited Tongatapu and Haapai).
Later noteworthy European visitors included James Cook (Royal Navy) in 1773, 1774, and 1777; Alessandro Malaspina (Spanish Navy) in 1793; the first London missionaries in 1797; and the Wesleyan Methodist Reverend Walter Lawry in 1822.
Tonga became known in the West as the Friendly Islands because of the congenial reception accorded to Captain James Cook on his first visit in 1773. He arrived at the time of the inasi festival, the yearly donation of the First Fruits to the Tui Tonga (the islands paramount chief) and so received an invitation to the festivities. According to the writer William Mariner, the chiefs wanted to kill Cook during the gathering but could not agree on a plan.

Lifuka is an island in the Kingdom of Tonga. It is located within the Ha apai Group in the centre of the country, to northeast of the national capital of Nuku alofa.
Lifuka is the place where Captain James Cook dubbed Tonga The Friendly Islands. Tofua is where the mutiny on the Bounty occurred in 1789; this active volcanic island lies approximately forty nautical miles west of Lifuka. The Cpt. Bligh voyage stands as the longest successful passage ever recorded in an open boat without modern navigational aids.

Captain James King FRS 1750 – 1784 was an officer of the Royal Navy. He served under James Cook on his last voyage around the world, specialising in taking important astronomical readings using a sextant. After Cook died he helped lead the ships on the remainder of their course, also completing Cooks account of the voyage. He continued his career in the Navy, reaching the rank of post-captain, commanding several ships and serving in the American War of Independence.
King joined HMS Resolution as second lieutenant, sharing the duties of astronomer with Cook, taking astronomical observations on board by sextant and with Larcum Kendals timekeeper K1, to establish the Resolutions position at sea and on shore by sextant or by astronomical quadrant to establish the geographical position of salient points during the course of Cooks surveys. Thus Kings geographical positions were an important contribution to the accuracy of the various surveys carried out during the voyage and his use of the early chronometers helped prove their use at sea for calculation of Longitude. .
Following the death of Cook, King remained in the Resolution but on the death of Charles Clerke, Cooks successor, King was appointed to command HMS Discovery, the Resolutions consort, remaining in her for the rest of the voyage. After his return to England King was very much involved in the publication of the official account of Cooks third voyage, writing the third volume at Woodstock, near Oxford, where his brother Thomas was rector of St Mary Magdalene. But shortly after his return King was promoted Post-captain and appointed commander of HMS Crocodile in the English Channel.

John Webber RA 1751 – 1793 was an English artist who accompanied Captain Cook on his third Pacific expedition. He is best known for his images of Australasia, Hawaii and Alaska.
Webber was born in London, educated in Bern and studied painting at Paris.His father was Abraham Wäber, a Swiss sculptor who had moved to London, and changed his name to Webber before marrying a Mrs Mary Quant in 1744.
Webber served as official artist on James Cooks third voyage of discovery around the Pacific (1776–80) aboard HMS Resolution. At Adventure Bay in January 1777 he did drawings of A Man of Van Diemens Land and A Woman of Van Diemens Land. He also did many drawings of scenes in New Zealand and the South Sea islands. On this voyage, during which Cook lost his life in a fight in Hawaii, Webber became the first European artist to make contact with Hawaii, then called the Sandwich Islands. He made numerous watercolor landscapes of the islands of Kauai and Hawaii, and also portrayed many of the Hawaiian people.
In April 1778, Captain Cooks ships Resolution and Discovery anchored at Ship Cove, now known as Nootka Sound, Vancouver Island, Canada to refit. The crew took observations and recorded encounters with the local people. Webber made watercolour landscapes including Resolution and Discovery in Ship Cove, 1778. His drawings and paintings were engraved for British Admiraltys account of the expedition, which was published in 1784.
Back in England in 1780 Webber exhibited around 50 works at Royal Academy exhibitions between 1784 and 1792, and was elected an associate of the Royal Academy in 1785 and R.A. in 1791. Most of his work were landscapes. Sometimes figures were included as in A Party from H.M.S. Resolution shooting sea horses, which was shown at the academy in 1784, and his The Death of Captain Cook became well known through an engraving of it. Another version of this picture is in the William Dixson gallery at Sydney

$650.00 USD
More Info
1784 Cook & Webber Large 1st Edition Antique Print of Inasi Ceremony Mu'a, Tonga

1784 Cook & Webber Large 1st Edition Antique Print of Inasi Ceremony Mu'a, Tonga

  • Title : Natche, a Ceremony in Honour of the Kings Son in Tongataboo
  • Size: 21in x 15in (535mm x 385mm)
  • Condition: (A+) Fine Condition
  • Date : 1784
  • Ref #:  82067

Description:
This large beautifully engraved original copper-plate 1st edition antique print of possibly the coming of age or Inasi ceremony for the son of the King of Tonga in the village of Mua on the main Tongan Island of Tongatapu, at the time of Captain Cooks visit in 1777 as drawn by John Webber (Cooks official artist on the voyage) was published for the 1784 1st edition and official British Admiralty sanctioned account of Captain Cook’s third and final voyage along with that of Cooks successor Capt. James King......
A Voyage to the Pacific Ocean. Undertaken, by the Command of his Majesty, for making Discoveries in the Northern Hemisphere. To determine The Position and Extent of the West Side of North America; its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the direction of Captains Cook, Clerke, and Gore, In His Majesty\'s Ships the Resolution and Discovery. In the Years 1776, 1777, 1778, 1779, and 1780. In Three Volumes. Vol. I and II written by James Cook, F.R.S. Vol. III by Captain James King, LL.D. and F.R.S 

While on Tongatapu from 10 June to 10 July 1777, Cook and his men recorded Tongan ceremonies and culture.
The most unusual and extraordinary ceremony observed during Cook\'s stay at Tongatapu was the Inasi ceremony which took place at Mua from 8 to 9 July. The ceremony was centred upon the son of Fatafehi Paulaho, the sacred King of Tonga (Tui Tonga), and was probably performed in honour of his coming of age. Several thousand were involved, most of whom entered the performing area with sticks about four feet long. They approached a shelter or small hut in which Paulaho, his son and other people of distinction were seated.

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 15in (535mm x 385mm)
Plate size: - 21in x 15in (535mm x 385mm)
Margins: - Min 1/2in (12mm)

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

Background: 
Tonga officially the Kingdom of Tonga, is a Polynesian sovereign state and archipelago comprising 169 islands, of which 36 are inhabited. The total surface area is about 750 square kilometres (290 sq mi) scattered over 700,000 square kilometres (270,000 sq mi) of the southern Pacific Ocean. It has a population of 107,122 people, of whom 70% reside on the main island of Tongatapu.
The Tongan people first encountered Europeans in 1616 when the Dutch vessel Eendracht, captained by Willem Schouten, made a short visit to trade. Later came other Dutch explorers, including Jacob Le Maire (who called on the northern island of Niuatoputapu); and in 1643 Abel Tasman (who visited Tongatapu and Haapai).
Later noteworthy European visitors included James Cook (Royal Navy) in 1773, 1774, and 1777; Alessandro Malaspina (Spanish Navy) in 1793; the first London missionaries in 1797; and the Wesleyan Methodist Reverend Walter Lawry in 1822.
Tonga became known in the West as the Friendly Islands because of the congenial reception accorded to Captain James Cook on his first visit in 1773. He arrived at the time of the inasi festival, the yearly donation of the First Fruits to the Tui Tonga (the islands paramount chief) and so received an invitation to the festivities. According to the writer William Mariner, the chiefs wanted to kill Cook during the gathering but could not agree on a plan.

Mu a is a small town in the Hahake (eastern) district on the island of Tongatapu, and it was for centuries the ancient capital of Tonga. It is divided in the villages Lapaha and Tatakamotonga, is close to Talasiu and famous for the ancient langi (royal burial tombs).
Mua was at one time the center of Lapita culture in Tonga (about 2,000 years ago) and later (twelfth to sixteenth century CE) the capital of the Tuʻi Tonga Empire. After the disintegration of the empire it remained the capital of the Tui Tonga (Tonga kings), up to the nineteenth century, but was rather a spiritual centre and no longer a source of political power.
The Tui Tonga and his retinue stayed in Lapaha, his residence being Olotele and Ahofakasiu, while Takuilau was for his wives. Subchiefs and servants on the other hand lived in Tatakamotonga.
When, around 1470, the Tui Tonga line started to lose power to the Tui Ha atakalaua, and another century later to the Tu i Kanokupolu, chiefs belonging to these lines were not welcome in Mu a, and had to stay on the low-lying coastal areas, separated from the real chiefs (i.e. those belonging to the Tu i Tonga) by the Hala Fonuamoa (dry land road). The former became known as the kauhalalalo (low road people) and the latter as the kauhala uta (inland road people), which nowadays are still two important moieties in Tonga.
Whatever political power the Tu i Tonga yielded to their rivals, they gained in spiritual power, and as a kind of high priest they were perhaps even more awesome than as kings. When a Tu i Tonga died he was buried in one of the huge tomb hills, known as langi, of which there are still at least two dozen in Lapaha. The Tu i Haʻatakalaua were also buried in such tombs, but they are called fale instead.
The langi are big, artificial hills surrounded by huge slabs of coral rock, usually in three or more tiered layers. These slabs were quarried from several places along the coast of Tongatapu or neighbouring minor islands. The waves of the sea made them over the centuries, by compacting coral sand into layers of 10 to 20 centimetres (3.9 to 7.9 inches) thick. They were only to be dug out and then transported by boat to the building site. Nevertheless, the accuracy by which the slabs were cut to shape so that they fit along each other with barely any space to spare is remarkable.
One of the best-preserved langi is the Paepae-o-Tele a, which is even more remarkable as the slabs along the corner really have an L shape.
The story that the slabs were moved by magic means from Uvea to Tonga is just a myth. Uvea is volcanic and has not got the proper geology. This fact has always been known, as shown, for example by a stanza of the poem named Laveofo from around the 18th century by Tufui.

Captain James King FRS 1750 – 1784 was an officer of the Royal Navy. He served under James Cook on his last voyage around the world, specialising in taking important astronomical readings using a sextant. After Cook died he helped lead the ships on the remainder of their course, also completing Cooks account of the voyage. He continued his career in the Navy, reaching the rank of post-captain, commanding several ships and serving in the American War of Independence.
King joined HMS Resolution as second lieutenant, sharing the duties of astronomer with Cook, taking astronomical observations on board by sextant and with Larcum Kendals timekeeper K1, to establish the Resolutions position at sea and on shore by sextant or by astronomical quadrant to establish the geographical position of salient points during the course of Cooks surveys. Thus Kings geographical positions were an important contribution to the accuracy of the various surveys carried out during the voyage and his use of the early chronometers helped prove their use at sea for calculation of Longitude. .
Following the death of Cook, King remained in the Resolution but on the death of Charles Clerke, Cooks successor, King was appointed to command HMS Discovery, the Resolutions consort, remaining in her for the rest of the voyage. After his return to England King was very much involved in the publication of the official account of Cooks third voyage, writing the third volume at Woodstock, near Oxford, where his brother Thomas was rector of St Mary Magdalene. But shortly after his return King was promoted Post-captain and appointed commander of HMS Crocodile in the English Channel.

John Webber RA 1751 – 1793 was an English artist who accompanied Captain Cook on his third Pacific expedition. He is best known for his images of Australasia, Hawaii and Alaska.
Webber was born in London, educated in Bern and studied painting at Paris.His father was Abraham Wäber, a Swiss sculptor who had moved to London, and changed his name to Webber before marrying a Mrs Mary Quant in 1744.
Webber served as official artist on James Cooks third voyage of discovery around the Pacific (1776–80) aboard HMS Resolution. At Adventure Bay in January 1777 he did drawings of A Man of Van Diemens Land and A Woman of Van Diemens Land. He also did many drawings of scenes in New Zealand and the South Sea islands. On this voyage, during which Cook lost his life in a fight in Hawaii, Webber became the first European artist to make contact with Hawaii, then called the Sandwich Islands. He made numerous watercolor landscapes of the islands of Kauai and Hawaii, and also portrayed many of the Hawaiian people.
In April 1778, Captain Cooks ships Resolution and Discovery anchored at Ship Cove, now known as Nootka Sound, Vancouver Island, Canada to refit. The crew took observations and recorded encounters with the local people. Webber made watercolour landscapes including Resolution and Discovery in Ship Cove, 1778. His drawings and paintings were engraved for British Admiraltys account of the expedition, which was published in 1784.
Back in England in 1780 Webber exhibited around 50 works at Royal Academy exhibitions between 1784 and 1792, and was elected an associate of the Royal Academy in 1785 and R.A. in 1791. Most of his work were landscapes. Sometimes figures were included as in A Party from H.M.S. Resolution shooting sea horses, which was shown at the academy in 1784, and his The Death of Captain Cook became well known through an engraving of it. Another version of this picture is in the William Dixson gallery at Sydney

$750.00 USD
More Info
1784 Cook & Webber Large 1st Edition Antique Print Burial Mounds or Langi, Tonga

1784 Cook & Webber Large 1st Edition Antique Print Burial Mounds or Langi, Tonga

Description:
This large beautifully engraved original copper-plate 1st edition antique print of the faitoka or the Royal Langi (burial mounds) in the village of Mua on the main Tongan Island of Tongatapu as seen by Captain James Cook in 1777 and John Webber (Cooks official artist on the voyage) was published for the 1784 1st edition and official British Admiralty sanctioned account of Captain Cook’s third and final voyage along with that of Cooks successor Capt. James King......
A Voyage to the Pacific Ocean. Undertaken, by the Command of his Majesty, for making Discoveries in the Northern Hemisphere. To determine The Position and Extent of the West Side of North America; its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the direction of Captains Cook, Clerke, and Gore, In His Majesty\'s Ships the Resolution and Discovery. In the Years 1776, 1777, 1778, 1779, and 1780. In Three Volumes. Vol. I and II written by James Cook, F.R.S. Vol. III by Captain James King, LL.D. and F.R.S

While on Tongatapu from 10 June to 10 July 1777, Cook and his men recorded Tongan ceremonies and culture. In this view Webber depicts a faitoka (burying ground).
Cooks journal ......\'The Places set apart for burying the dead are raised with Gravel about a foot or two above the level of the Ground, on which stand two or three Houses which are constantly shut up but contain nothing in them; these Ceremonies called in their Language Dano are kept very neat & clean & the Indians are generally despleased at our approaching them.....

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 15in (535mm x 385mm)
Plate size: - 21in x 15in (535mm x 385mm)
Margins: - Min 1/2in (12mm)

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

Background: 
Tonga officially the Kingdom of Tonga, is a Polynesian sovereign state and archipelago comprising 169 islands, of which 36 are inhabited. The total surface area is about 750 square kilometres (290 sq mi) scattered over 700,000 square kilometres (270,000 sq mi) of the southern Pacific Ocean. It has a population of 107,122 people, of whom 70% reside on the main island of Tongatapu.
The Tongan people first encountered Europeans in 1616 when the Dutch vessel Eendracht, captained by Willem Schouten, made a short visit to trade. Later came other Dutch explorers, including Jacob Le Maire (who called on the northern island of Niuatoputapu); and in 1643 Abel Tasman (who visited Tongatapu and Haapai).
Later noteworthy European visitors included James Cook (Royal Navy) in 1773, 1774, and 1777; Alessandro Malaspina (Spanish Navy) in 1793; the first London missionaries in 1797; and the Wesleyan Methodist Reverend Walter Lawry in 1822.
Tonga became known in the West as the Friendly Islands because of the congenial reception accorded to Captain James Cook on his first visit in 1773. He arrived at the time of the inasi festival, the yearly donation of the First Fruits to the Tui Tonga (the islands paramount chief) and so received an invitation to the festivities. According to the writer William Mariner, the chiefs wanted to kill Cook during the gathering but could not agree on a plan.

Mu a is a small town in the Hahake (eastern) district on the island of Tongatapu, and it was for centuries the ancient capital of Tonga. It is divided in the villages Lapaha and Tatakamotonga, is close to Talasiu and famous for the ancient langi (royal burial tombs).
Mua was at one time the center of Lapita culture in Tonga (about 2,000 years ago) and later (twelfth to sixteenth century CE) the capital of the Tuʻi Tonga Empire. After the disintegration of the empire it remained the capital of the Tui Tonga (Tonga kings), up to the nineteenth century, but was rather a spiritual centre and no longer a source of political power.
The Tui Tonga and his retinue stayed in Lapaha, his residence being Olotele and Ahofakasiu, while Takuilau was for his wives. Subchiefs and servants on the other hand lived in Tatakamotonga.
When, around 1470, the Tui Tonga line started to lose power to the Tui Ha atakalaua, and another century later to the Tu i Kanokupolu, chiefs belonging to these lines were not welcome in Mu a, and had to stay on the low-lying coastal areas, separated from the real chiefs (i.e. those belonging to the Tu i Tonga) by the Hala Fonuamoa (dry land road). The former became known as the kauhalalalo (low road people) and the latter as the kauhala uta (inland road people), which nowadays are still two important moieties in Tonga.
Whatever political power the Tu i Tonga yielded to their rivals, they gained in spiritual power, and as a kind of high priest they were perhaps even more awesome than as kings. When a Tu i Tonga died he was buried in one of the huge tomb hills, known as langi, of which there are still at least two dozen in Lapaha. The Tu i Haʻatakalaua were also buried in such tombs, but they are called fale instead.
The langi are big, artificial hills surrounded by huge slabs of coral rock, usually in three or more tiered layers. These slabs were quarried from several places along the coast of Tongatapu or neighbouring minor islands. The waves of the sea made them over the centuries, by compacting coral sand into layers of 10 to 20 centimetres (3.9 to 7.9 inches) thick. They were only to be dug out and then transported by boat to the building site. Nevertheless, the accuracy by which the slabs were cut to shape so that they fit along each other with barely any space to spare is remarkable.
One of the best-preserved langi is the Paepae-o-Tele a, which is even more remarkable as the slabs along the corner really have an L shape.
The story that the slabs were moved by magic means from Uvea to Tonga is just a myth. Uvea is volcanic and has not got the proper geology. This fact has always been known, as shown, for example by a stanza of the poem named Laveofo from around the 18th century by Tufui.

Captain James King FRS 1750 – 1784 was an officer of the Royal Navy. He served under James Cook on his last voyage around the world, specialising in taking important astronomical readings using a sextant. After Cook died he helped lead the ships on the remainder of their course, also completing Cooks account of the voyage. He continued his career in the Navy, reaching the rank of post-captain, commanding several ships and serving in the American War of Independence.
King joined HMS Resolution as second lieutenant, sharing the duties of astronomer with Cook, taking astronomical observations on board by sextant and with Larcum Kendals timekeeper K1, to establish the Resolutions position at sea and on shore by sextant or by astronomical quadrant to establish the geographical position of salient points during the course of Cooks surveys. Thus Kings geographical positions were an important contribution to the accuracy of the various surveys carried out during the voyage and his use of the early chronometers helped prove their use at sea for calculation of Longitude. .
Following the death of Cook, King remained in the Resolution but on the death of Charles Clerke, Cooks successor, King was appointed to command HMS Discovery, the Resolutions consort, remaining in her for the rest of the voyage. After his return to England King was very much involved in the publication of the official account of Cooks third voyage, writing the third volume at Woodstock, near Oxford, where his brother Thomas was rector of St Mary Magdalene. But shortly after his return King was promoted Post-captain and appointed commander of HMS Crocodile in the English Channel.

John Webber RA 1751 – 1793 was an English artist who accompanied Captain Cook on his third Pacific expedition. He is best known for his images of Australasia, Hawaii and Alaska.
Webber was born in London, educated in Bern and studied painting at Paris.His father was Abraham Wäber, a Swiss sculptor who had moved to London, and changed his name to Webber before marrying a Mrs Mary Quant in 1744.
Webber served as official artist on James Cooks third voyage of discovery around the Pacific (1776–80) aboard HMS Resolution. At Adventure Bay in January 1777 he did drawings of A Man of Van Diemens Land and A Woman of Van Diemens Land. He also did many drawings of scenes in New Zealand and the South Sea islands. On this voyage, during which Cook lost his life in a fight in Hawaii, Webber became the first European artist to make contact with Hawaii, then called the Sandwich Islands. He made numerous watercolor landscapes of the islands of Kauai and Hawaii, and also portrayed many of the Hawaiian people.
In April 1778, Captain Cooks ships Resolution and Discovery anchored at Ship Cove, now known as Nootka Sound, Vancouver Island, Canada to refit. The crew took observations and recorded encounters with the local people. Webber made watercolour landscapes including Resolution and Discovery in Ship Cove, 1778. His drawings and paintings were engraved for British Admiraltys account of the expedition, which was published in 1784.
Back in England in 1780 Webber exhibited around 50 works at Royal Academy exhibitions between 1784 and 1792, and was elected an associate of the Royal Academy in 1785 and R.A. in 1791. Most of his work were landscapes. Sometimes figures were included as in A Party from H.M.S. Resolution shooting sea horses, which was shown at the academy in 1784, and his The Death of Captain Cook became well known through an engraving of it. Another version of this picture is in the William Dixson gallery at Sydney

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1784 Cook & Webber Large 1st Edition Antique Portrait of Poulaho King of Tonga

1784 Cook & Webber Large 1st Edition Antique Portrait of Poulaho King of Tonga

Description:
This large beautifully engraved original copper-plate 1st edition antique portrait of Fatafehi Paulaho, the Tui Tonga or Tongan King, visited by Captain Cook in 1777 by John Webber (Cooks official artist on the voyage) was published for the 1784 1st edition and official British Admiralty sanctioned account of Captain Cook’s third and final voyage along with that of Cooks successor Capt. James King......
A Voyage to the Pacific Ocean. Undertaken, by the Command of his Majesty, for making Discoveries in the Northern Hemisphere. To determine The Position and Extent of the West Side of North America; its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the direction of Captains Cook, Clerke, and Gore, In His Majesty\'s Ships the Resolution and Discovery. In the Years 1776, 1777, 1778, 1779, and 1780. In Three Volumes. Vol. I and II written by James Cook, F.R.S. Vol. III by Captain James King, LL.D. and F.R.S

Cooks diary ......On the 28th May 1777, as Cook was about to leave, Ha apai Paulaho came on board and brought me one of their Caps made or at least covered with red feathers. ..These Caps or rather bonnets are made of the tail feathers of the Tropic bird with red feathers of the Paroquets worked upon them or in along with them, they are made so as to tie upon the forehead without any Crown, and have the form of a Semicircle whose raids is 18 or 21 Inches. Cook Journals III, i.117.
Cook had described Paulaho as \\\'the corperate plump fellow we had met with\\\'.
......About Noon a large sailing Canoe came under our Stern in which the Indians on board told us was Fattafee Polaho [Fatafehi Paulaho] King of all the Isles. He brought with him as a present to me two good fat hogs, though not so fat as himself, for he was the most corperate plump fellow we had met with. I found him to be a Sedate sensible man… I asked him down into the Cabbin, some of his attendants objected to this, saying if he went there people would walk over his head and this was never done. I desired Omai to till them I would remove that objection by giving orders that no one should walk on that part of the deck but the chief \'waved the ceremony and walked down with me without any more to do.....

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 15in (535mm x 385mm)
Plate size: - 21in x 15in (535mm x 385mm)
Margins: - Min 1/2in (12mm)

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

Background: 
Tonga officially the Kingdom of Tonga, is a Polynesian sovereign state and archipelago comprising 169 islands, of which 36 are inhabited. The total surface area is about 750 square kilometres (290 sq mi) scattered over 700,000 square kilometres (270,000 sq mi) of the southern Pacific Ocean. It has a population of 107,122 people, of whom 70% reside on the main island of Tongatapu.
The Tongan people first encountered Europeans in 1616 when the Dutch vessel Eendracht, captained by Willem Schouten, made a short visit to trade. Later came other Dutch explorers, including Jacob Le Maire (who called on the northern island of Niuatoputapu); and in 1643 Abel Tasman (who visited Tongatapu and Haapai).
Later noteworthy European visitors included James Cook (Royal Navy) in 1773, 1774, and 1777; Alessandro Malaspina (Spanish Navy) in 1793; the first London missionaries in 1797; and the Wesleyan Methodist Reverend Walter Lawry in 1822.
Tonga became known in the West as the Friendly Islands because of the congenial reception accorded to Captain James Cook on his first visit in 1773. He arrived at the time of the inasi festival, the yearly donation of the First Fruits to the Tui Tonga (the islands paramount chief) and so received an invitation to the festivities. According to the writer William Mariner, the chiefs wanted to kill Cook during the gathering but could not agree on a plan.

Captain James King FRS 1750 – 1784 was an officer of the Royal Navy. He served under James Cook on his last voyage around the world, specialising in taking important astronomical readings using a sextant. After Cook died he helped lead the ships on the remainder of their course, also completing Cooks account of the voyage. He continued his career in the Navy, reaching the rank of post-captain, commanding several ships and serving in the American War of Independence.
King joined HMS Resolution as second lieutenant, sharing the duties of astronomer with Cook, taking astronomical observations on board by sextant and with Larcum Kendals timekeeper K1, to establish the Resolutions position at sea and on shore by sextant or by astronomical quadrant to establish the geographical position of salient points during the course of Cooks surveys. Thus Kings geographical positions were an important contribution to the accuracy of the various surveys carried out during the voyage and his use of the early chronometers helped prove their use at sea for calculation of Longitude. .
Following the death of Cook, King remained in the Resolution but on the death of Charles Clerke, Cooks successor, King was appointed to command HMS Discovery, the Resolutions consort, remaining in her for the rest of the voyage. After his return to England King was very much involved in the publication of the official account of Cooks third voyage, writing the third volume at Woodstock, near Oxford, where his brother Thomas was rector of St Mary Magdalene. But shortly after his return King was promoted Post-captain and appointed commander of HMS Crocodile in the English Channel.

John Webber RA 1751 – 1793 was an English artist who accompanied Captain Cook on his third Pacific expedition. He is best known for his images of Australasia, Hawaii and Alaska.
Webber was born in London, educated in Bern and studied painting at Paris.His father was Abraham Wäber, a Swiss sculptor who had moved to London, and changed his name to Webber before marrying a Mrs Mary Quant in 1744.
Webber served as official artist on James Cooks third voyage of discovery around the Pacific (1776–80) aboard HMS Resolution. At Adventure Bay in January 1777 he did drawings of A Man of Van Diemens Land and A Woman of Van Diemens Land. He also did many drawings of scenes in New Zealand and the South Sea islands. On this voyage, during which Cook lost his life in a fight in Hawaii, Webber became the first European artist to make contact with Hawaii, then called the Sandwich Islands. He made numerous watercolor landscapes of the islands of Kauai and Hawaii, and also portrayed many of the Hawaiian people.
In April 1778, Captain Cooks ships Resolution and Discovery anchored at Ship Cove, now known as Nootka Sound, Vancouver Island, Canada to refit. The crew took observations and recorded encounters with the local people. Webber made watercolour landscapes including Resolution and Discovery in Ship Cove, 1778. His drawings and paintings were engraved for British Admiraltys account of the expedition, which was published in 1784.
Back in England in 1780 Webber exhibited around 50 works at Royal Academy exhibitions between 1784 and 1792, and was elected an associate of the Royal Academy in 1785 and R.A. in 1791. Most of his work were landscapes. Sometimes figures were included as in A Party from H.M.S. Resolution shooting sea horses, which was shown at the academy in 1784, and his The Death of Captain Cook became well known through an engraving of it. Another version of this picture is in the William Dixson gallery at Sydney

$650.00 USD
More Info