Prints (438)

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

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

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

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

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

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

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

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

$225.00 USD
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1760 Vue D Optic Antique Print View of Hampton Court Palace, Richmond London

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

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

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

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

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

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

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

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

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

$149.00 USD
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1870 Charles Amand-Durand after Johann Ladenspelder Antique Print #49 Tarot Card

1870 Charles Amand-Durand after Johann Ladenspelder Antique Print #49 Tarot Card

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

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

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

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

$275.00 USD
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1870 Amand-Durand after Heinrich Aldegrever Antique Print - Parable of Lararus

1870 Amand-Durand after Heinrich Aldegrever Antique Print - Parable of Lararus

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

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

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

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

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

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

$275.00 USD
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1870 Amand-Durand after Van Leyden Antique Print The Annunciation to Virgin Mary

1870 Amand-Durand after Van Leyden Antique Print The Annunciation to Virgin Mary

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

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

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

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

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

$275.00 USD
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1870 Amand-Durand after Baccio Baldini Antique Print Ludovico Gonzaga III & Wife

1870 Amand-Durand after Baccio Baldini Antique Print Ludovico Gonzaga III & Wife

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

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

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

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

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

$275.00 USD
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1856 Morris Antique Ornithogical Print The Eggs of Great Northern Diver or Loon

1856 Morris Antique Ornithogical Print The Eggs of Great Northern Diver or Loon

Description: 
This fine original, antique hand coloured engraved print, the Eggs of Great Northern Diver or Loon; Plate CCIII from Volume III, was published in the 1856 edition of Francis Morris 'A Natural History of the Nest and Eggs of British Birds'

A History of British Birds - The inspiration for Francis Orpen Morris' A History of British Birds actually came from the renowned English printer, Benjamion Fawcett, who approached Morris to write the text when Morris became Vicar of Nafferton. Morris had a reputation as a popular writer on natural history in general and birds in particular. His first book had appeared as early as 1834, a guide to an arrangement of British birds. However, his association with Benjamin Fawcett was to have remarkable results, particularly for the study of ornithology.

History of British Birds was entirely printed and bound in the small North Country village of Driffield, Fawcett’s residence and shop, and shipped in tea chests to London. It was a resounding success.

Work on A History of British Birds probably began in 1848. Publication, which took over seven years to complete from June 1850, was undertaken in monthly parts costing one shilling. Each part contained 24 pages of letterpress and 4 hand-coloured plates. The final six volume work contained 358 coloured plates. One thousand copies of the first part were initially produced, but such was the demand that Fawcett quickly had to move into larger premises.

Alexander Francis Lydon was one of Fawcett’s principal engravers, contributing much in technique and design A team of women colourists under very strict scrutiny first from Fawcett then his wife (a former colourist herself) hand coloured each plate. Morris became an early advocate for conservation and was instrumental in founding the Royal Society for the Protection of Birds.

General Description: Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: -  Original
Colors used: - Yellow, brown,  
General color appearance: - Authentic 
Paper size: - 9 3/4in x 6 1/4in (250mm x 160mm)
Plate size: - 9 3/4in x 6 1/4in (250mm x 160mm)
Margins: - Min 1/2in (12mm)

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

$60.00 USD
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1856 Morris Antique Ornithogical Print Eggs of Black Throated & Red Throated Diver

1856 Morris Antique Ornithogical Print Eggs of Black Throated & Red Throated Diver

Description: 

This fine original, antique hand coloured engraved print, the Eggs of Morris Birds - (top) Black-Throated Diver (below) Red Throated Diver ; Plate CCIV from Volume III, was published in the 1856 edition of Francis Morris 'A Natural History of the Nest and Eggs of British Birds'

A History of British Birds - The inspiration for Francis Orpen Morris' A History of British Birds actually came from the renowned English printer, Benjamion Fawcett, who approached Morris to write the text when Morris became Vicar of Nafferton. Morris had a reputation as a popular writer on natural history in general and birds in particular. His first book had appeared as early as 1834, a guide to an arrangement of British birds. However, his association with Benjamin Fawcett was to have remarkable results, particularly for the study of ornithology.

History of British Birds was entirely printed and bound in the small North Country village of Driffield, Fawcett’s residence and shop, and shipped in tea chests to London. It was a resounding success.

Work on A History of British Birds probably began in 1848. Publication, which took over seven years to complete from June 1850, was undertaken in monthly parts costing one shilling. Each part contained 24 pages of letterpress and 4 hand-coloured plates. The final six volume work contained 358 coloured plates. One thousand copies of the first part were initially produced, but such was the demand that Fawcett quickly had to move into larger premises.

Alexander Francis Lydon was one of Fawcett’s principal engravers, contributing much in technique and design A team of women colourists under very strict scrutiny first from Fawcett then his wife (a former colourist herself) hand coloured each plate. Morris became an early advocate for conservation and was instrumental in founding the Royal Society for the Protection of Birds.

General Description: Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: -  Original
Colors used: - Yellow, brown,  
General color appearance: - Authentic 
Paper size: - 9 3/4in x 6 1/4in (250mm x 160mm)
Plate size: - 9 3/4in x 6 1/4in (250mm x 160mm)
Margins: - Min 1/2in (12mm)

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

$60.00 USD
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1898 F W Frohawk Antique Ornithogical Print, Eggs of the Great Auk Bird

1898 F W Frohawk Antique Ornithogical Print, Eggs of the Great Auk Bird

Description: 
This finely coloured original antique lithograph print, Bird Eggs of the Great Auk, by the artist Frederick William Frohawk in 1898 - date printed next to signature - was published by Brumby & Clark Ltd , London in the publication The Birds of the British Isles and their Eggs.

Frederick William Frohawk was an English zoological artist and lepidopterist. He began his lengthy and successful career at the age of 20 when he was appointed zoological artist to The Field, an important naturalist magazine of the time.

A talented and prolific artist, Frohawk worked in a variety of media including oils, watercolors, and pencils, and he was also an accomplished lithographer and wood engraver. His knowledge of bird biology is evident in his lifelike paintings and illustrations which were published in a number of books and journals. His work continues to be popular with collectors today. (Ref Tooley M&B)

Condition Report:
Paper thickness and quality: - Heavy and stable
Paper color: - off white
Age of map color: - Original
Colors used: - Yellow, red, green, brown, orange
General color appearance: - Authentic
Paper size: - 11 1/2in x 8 1/2in (290mm x 220mm)
Plate size: - 11 1/2in x 8 1/2in (290mm x 220mm)
Margins: - Min 1/2in (12mm)

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

 

$99.00 USD
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1755 Prevost & Schley Antique Print, View of Makassar in Sulawesi, Indonesia

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

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

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

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

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

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

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

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1760 Bellin Antique Print Views of Tinian Islands, Mariana Islands

1760 Bellin Antique Print Views of Tinian Islands, Mariana Islands

  • Title: Vue Du Coste Du Sud Ouest De L Isle De Tiniam; Vue De La Rade De Tiniam
  • Date: 1760
  • Condition : (A+) Fine Condition
  • Ref: 25903
  • Size: 14 1/2in x 10in (370mm x 255mm)

Description: 

This fine beautifully hand coloured original antique print two views of the Island of Tinian in the Northern Marianas Island group - situated between Hawaii & the Philippines - was published in Antoine-François Prevosts monumentus 20 volume edition of L`Histoire Generale des Voyages published by Pierre de Hondt, The Hague in 1747-80.

Tinian is one of the three principal islands of the Commonwealth of the Northern Marianas Islands. It is perhaps best known for being the base from which the United States launched their atomic bomb attacks on Japan during World War II.

Background: Northern Mariana Islands - The first European exploration of the area was in 1521 by Ferdinand Magellan, who landed on nearby Guam and claimed the islands for Spain. The Spanish ships were met offshore by the native Chamorros, who delivered refreshments and then helped themselves to a small boat belonging to Magellan's fleet. This led to a cultural clash, since in Chamorro tradition there was little private property and taking something one needed, such as a boat for fishing, was not considered stealing. The Spanish did not understand this custom. The Spanish fought against the local Chamorros until the boat was recovered. The Spanish then gave the archipelago the name Islas de los Ladrones ("Islands of the Thieves"). Three days after he had been welcomed on his arrival, Magellan fled the archipelago under attack. In 1565 Miguel López de Legazpi arrived in Guam and took possession of the islands in the name of the Spanish Crown. The islands were to be ruled from the Philippines as part of the Spanish East Indies until 1898. A Royal Palace was built in Guam for the Spanish governor of the islands. Its ruins can still be seen. Guam was an important stop-over for the Manila Galleons, a convoy of ships carrying passengers and cargo such as silver, plants and animals from Acapulco (Mexico) to Manila. On the return trip from the Philippines to Mexico, the galleons did not call at Guam as the eastern winds were farther north, near the coast of Japan. In 1668 Padre Diego Luis de San Vitores renamed the islands Las Marianas after Queen Mariana of Austria, widow of Spain's Philip IV. Most of the islands' native population (90%-95%) died from Spanish diseases or married non-Chamorro settlers under Spanish rule. New settlers, primarily from the Philippines and the Caroline Islands, were brought to repopulate the islands. The Chamorro population did gradually recover, and Chamorro, Filipino and Carolinian language and ethnic differences remain basically distinct in the Marianas. Spanish colonists forced the Chamorros to be concentrated on Guam to encourage assimilation and conversion to Christianity. By the time Chamorros were allowed to return to the Northern Marianas, Carolinians (from present-day eastern Yap State and western Chuuk State) had settled in the Marianas. Carolinians and Chamorros now are both considered as indigenous and both languages are official in the commonwealth (though not on Guam).(Ref: Tooley; M&B) 

General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - off white
Age of map color: - Early 
Colors used: - Green, red, blue 
General color appearance: - Authentic  
Paper size: - 14 1/2in x 10in (370mm x 255mm)
Plate size: - 14in x 9in (355mm x 255mm)
Margins: - Min 1/4in (5mm)

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

$125.00 USD
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1750 Prevost & Nieuhoff Antique Print View of the Zoushan Archip. Zhejiang China

1750 Prevost & Nieuhoff Antique Print View of the Zoushan Archip. Zhejiang China

  • Title: Montagne Des Cinq Tetes De Cheval Pres De Chau Cheu Fu
  • Date: 1747
  • Condition : (A+) Fine Condition
  • Ref: 15850
  • Size: 14in x 10in (355mm x 255mm)

Description:
This fine original copper-plate engraved antique print a view of the Islands of Zoushan in the in north-eastern Zhejiang Province of eastern China was engraved by Jakob van Schley - after Johannes Nieuhoff - and was published in Antoine François Prevosts 15 volumes of Histoire Generale des Voyageswritten by Prevost & other authors between 1746-1790.

Johannes Nieuhoff (1618-72) was a Dutch diplomat and adventurer, who was perhaps the most widely traveled individual of the seventeenth-century. His experiences included important expeditions to various locations in Brazil, Africa, India, Indonesia, and China. From 1655-57, Nieuhoff made an epic 2,400 trek through China, from Canton to Beijing.
During his Chinese expedition he made numerous drawings of the sites he encountered, including the port town of Chau Cheu Fu in the southern province of Guandong, which was the basis for the present print. Nieuhoff’s important written account, along with engravings of his drawings was first published as Legatio batavica ad magnum Tartariæ chamum Sungteium, modernum Sinæ imperatorem (Amsterdam, 1668). His illustrations proved to be highly influential, as they did much to spawn the genre of chinoiserie in European art and design.

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

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

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

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

$125.00 USD
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1755 Prevost & Schley Antique Print Dharmapala the Defender Buddhist Gods Pagoda

1755 Prevost & Schley Antique Print Dharmapala the Defender Buddhist Gods Pagoda

  • Title: Pagodes ou Statues Du Temple
  • Date: 1755
  • Condition : (A+) Fine Condition
  • Ref: 25935
  • Size: 15in x 10in (385mm x 255mm)

Description:
This fine, original copper-plate engraved antique print of Dharmapala the defender Buddhist God & Goddess in a Pagoda Temple by Jakob van Schley in 1755 was published in Antoine François Prevosts 15 volumes of Histoire Generale des Voyages written by Prevost & other authors between 1746-1790.

A protector of Buddhist dharma is called a Dharmapala in Buddhism. They are typically divinities, usually depicted with wrathful iconography in the Mahayana and tantric traditions of Buddhism. The wrath depicts their believed willingness to defend and guard Buddhist followers from dangers and enemies. The Astasena, or eight nonhuman super beings, for example are one of the list of dharmapalas. The Astasena dharmapala include, state Buswell and Lopez, Garuda, Deva, Naga, Yaksa, Gandharva, Asura, Kimnara and Mahoraga.
In Vajrayana iconography and thangka depictions, dharmapālas are fearsome beings, often with many heads, many hands, or many feet. Dharmapālas often have blue, black or red skin, and a fierce expression with protruding fangs. Though dharmapālas have a terrifying appearance and countenance, they are all bodhisattvas or buddhas, meaning that they are embodiments of compassion that act in a wrathful way for the benefit of sentient beings.
The devotional worship of dharmapalas in the Tibetan tradition is traceable to early 8th-century

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 15in x 10in (385mm x 255mm)
Plate size: - 14in x 8 1/2in (355mm x 220mm)
Margins: - Min 1in (25mm)

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

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

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

$99.00 USD
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1755 Prevost & Schley Antique Print View of Fortress in Beijing Rivers, China

1755 Prevost & Schley Antique Print View of Fortress in Beijing Rivers, China

  • Title: Forteresse de Tyen Tsing Wey, tiree de Nieuhof
  • Date: 1755
  • Condition : (A+) Fine Condition
  • Ref: 34146
  • Size: 16in x 10in (400mm x 255mm)

Description:
This fine, original copper-plate engraved antique print of view of the Fortress - long ago demolished - guarding the cross roads of the meeting of the major rivers in Beijing (Peking) by Jakob van Schley - after Nieuhoff - in 1755 was published in Antoine François Prevosts 15 volumes of Histoire Generale des Voyages written by Prevost & other authors between 1746-1789.

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

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

Background: 
Several major rivers, including the Yongding, Chaobai, Juma and Wenyu flow through Beijing Municipality. They originate in the highlands of Hebei and Shanxi, cut through the mountains west and north of the city, and eventually flow into the Hai River, which empties into the Bohai Sea. Over the centuries, the hydrologists have channeled rivers through the city into man-made lakes, moats, channels and aqueducts, which provide water to the city and drain its refuse, but no longer threaten Beijing with flooding.

$149.00 USD
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1755 Prevost & Schley Antique Print of Artifacts Recovered from Inca Burial Tomb

1755 Prevost & Schley Antique Print of Artifacts Recovered from Inca Burial Tomb

  • Title: Puvrages qui se trouvent dans les Tombeaux des anciens Peruviens
  • Date: 1755
  • Condition : (A+) Fine Condition
  • Ref: 34132
  • Size: 15in x 10in (385mm x 255mm)

Description:
This fine, original copper-plate engraved antique print of artifacts found in an Inca Tomb in Peru by Jakob van Schley in 1755 - after De Bry - was published in Antoine François Prevosts 15 volumes of Histoire Generale des Voyages written by Prevost & other authors between 1746-1790.

The Inca Empire also known as the Incan Empire and the Inka Empire, was the largest empire in pre-Columbian America, and possibly the largest empire in the world in the early 16th century. Its political and administrative structure \"was the most sophisticated found among native peoples\" in the Americas.The administrative, political and military center of the empire was located in Cusco in modern-day Peru. The Inca civilization arose from the highlands of Peru sometime in the early 13th century. Its last stronghold was conquered by the Spanish in 1572.
From 1438 to 1533, the Incas incorporated a large portion of western South America, centered on the Andean Mountains, using conquest and peaceful assimilation, among other methods. At its largest, the empire joined Peru, large parts of modern Ecuador, western and south central Bolivia, northwest Argentina, north and central Chile and a small part of southwest Colombia into a state comparable to the historical empires of Eurasia. Its official language was Quechua.Many local forms of worship persisted in the empire, most of them concerning local sacred Huacas, but the Inca leadership encouraged the worship of Inti – their sun god – and imposed its sovereignty above other cults such as that of Pachamama. The Incas considered their king, the Sapa Inca, to be the \"son of the sun.\"
The Inca Empire was unique in that it lacked many features associated with civilization in the Old World. In the words of one scholar, \"The Incas lacked the use of wheeled vehicles. They lacked animals to ride and draft animals that could pull wagons and plows... [They] lacked the knowledge of iron and steel... Above all, they lacked a system of writing... Despite these supposed handicaps, the Incas were still able to construct one of the greatest imperial states in human history\". Notable features of the Inca Empire include its monumental architecture, especially stonework, extensive road network reaching all corners of the empire, finely-woven textiles, use of knotted strings (quipu) for record keeping and communication, agricultural innovations in a difficult environment, and the organization and management fostered or imposed on its people and their labor.
The Incan economy has been described in contradictory ways by scholars: as \"feudal, slave, socialist (here one may choose between socialist paradise or socialist tyranny)\". The Inca empire functioned largely without money and without markets. Instead, exchange of goods and services was based on reciprocity between individuals and among individuals, groups, and Inca rulers. \"Taxes\" consisted of a labor obligation of a person to the Empire. The Inca rulers (who theoretically owned all the means of production) reciprocated by granting access to land and goods and providing food and drink in celebratory feasts for their subjects.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Early
Colors used: - Yellow, green, red
General color appearance: - Authentic
Paper size: - 15in x 10in (385mm x 255mm)
Plate size: - 14in x 8 1/2in (355mm x 220mm)
Margins: - Min 1in (25mm)

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

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

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

$149.00 USD
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1767 Francois Pages Large Antique Print of Philippines Sailing Vessel, Outrigger

1767 Francois Pages Large Antique Print of Philippines Sailing Vessel, Outrigger

  • Title: Gouanga, ou Espece de Pyrongue à trois Rangs de Rames, Pour fervir au Voyages au Tour du Monde
  • Date: 1767
  • Condition : (A+) Fine Condition
  • Ref: 16088
  • Size: 13 1/2in x 11 1/2in (345mm x 290mm)

Description:

This fine large original highly detailed antique print of a sailing vessel, the bouanga, an outrigger with three tiers of oars, which Pagès saw in use in the Philippines by was engraved by Robert Benard and was published by Pierre Marie Francois Pages in his 1767 publication  "Voyage autour du monde et vers les deux poles, par terra et par mar, pendant les annees 1767 a 1776" (Travel around the world and toward the two poles, by terra and mar, the years 1767 to 1776)

Viscount de Pierre Marie Francois Pages - French explorer, born in Toulouse in 1748; died in Santo Domingo in 1793. He entered the navy as midshipman in 1764, was promoted to 2d lieutenant, and in 1767 projected an expedition to search for the northwest passage by the eastern coast of Asia. He sailed from Cape Francais, in Santo Domingo, on 30 June, 1767, and, although he was unsuccessful in his object, he explored Louisiana, Texas, Mexico, and the East Indies, returning to Marseilles, 5 September, 1771. After some difficulties he was reinstated in the navy on 9 March, 1772. During the following" year he took part in the expedition of Kerguelen to the South sea. In 1776 he engaged passage on a whaler and visited Spitzbergen and the coast of Greenland, being the first navigator to reach 80º 30' north latitude. After being imprisoned twice by ice-fields he reached Amsterdam on 15 August, 1777. The fatigues and hardships that he experienced during the journey having impaired his health, he retired from the navy in 1782 and, going to Santo Domingo, settled upon an estate that belonged to his wife, a creole. His last years were devoted to scientific researches, and he had in preparation several important works on America when he fell in 1.793 among the first victims of the negro insurgents. Pages was a member of many learned societies, and in 1782 was created a knight of St. Louis. He published " Observations sur l'histoire naturelle, la temperature, les mceurs, l'industrie et les habitants du royaume de la Nouvelle Espagne" (2 vols., Paris, 1772); "Memoire sur l'anomalie de la constitution atmospherique des deux poles" (1775); " Voyage autour du monde et vers les deux poles, par terra et par mar, pendant les annees 1767 a 1776" (2 vols., 1782; translated into Dutch, Rotterdam, 1784" German, Leipsie, 1786; Swedish, Upsala, 1788" and English, London, 1791, and Boston, 1793) ; and "Reflexions sur les vents d'est qui regnent entre les tropiques, sur les pluies et le ciel serein darts ce paralldle etles circonvoisins" (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 13 1/2in x 11 1/2in (345mm x 290mm)
Paper size: - 9 3/4in x 7 3/4in (250mm x 200mm)
Margins: - Min 2in (50mm)

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

$175.00 USD
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1767 Francois Pages Large Antique Print of Philippines Sailing Vessel, Outrigger

1767 Francois Pages Large Antique Print of Philippines Sailing Vessel, Outrigger

  • Title: Gouanga, ou Espece de Pyrongue à trois Rangs de Rames, Pour fervir au Voyages au Tour du Monde
  • Date: 1767
  • Condition : (A+) Fine Condition
  • Ref: 16083
  • Size: 20in x 17 1/2in (510m x 445m)

Description:

This fine large original highly detailed antique print of a sailing vessel, the bouanga, an outrigger with three tiers of oars, which Pagès saw in use in the Philippines by was engraved by Robert Benard and was published by Pierre Marie Francois Pages in his 1767 publication  "Voyage autour du monde et vers les deux poles, par terra et par mar, pendant les annees 1767 a 1776" (Travel around the world and toward the two poles, by terra and mar, the years 1767 to 1776)

Viscount de Pierre Marie Francois Pages - French explorer, born in Toulouse in 1748; died in Santo Domingo in 1793. He entered the navy as midshipman in 1764, was promoted to 2d lieutenant, and in 1767 projected an expedition to search for the northwest passage by the eastern coast of Asia. He sailed from Cape Francais, in Santo Domingo, on 30 June, 1767, and, although he was unsuccessful in his object, he explored Louisiana, Texas, Mexico, and the East Indies, returning to Marseilles, 5 September, 1771. After some difficulties he was reinstated in the navy on 9 March, 1772. During the following" year he took part in the expedition of Kerguelen to the South sea. In 1776 he engaged passage on a whaler and visited Spitzbergen and the coast of Greenland, being the first navigator to reach 80º 30' north latitude. After being imprisoned twice by ice-fields he reached Amsterdam on 15 August, 1777. The fatigues and hardships that he experienced during the journey having impaired his health, he retired from the navy in 1782 and, going to Santo Domingo, settled upon an estate that belonged to his wife, a creole. His last years were devoted to scientific researches, and he had in preparation several important works on America when he fell in 1.793 among the first victims of the negro insurgents. Pages was a member of many learned societies, and in 1782 was created a knight of St. Louis. He published " Observations sur l'histoire naturelle, la temperature, les mceurs, l'industrie et les habitants du royaume de la Nouvelle Espagne" (2 vols., Paris, 1772); "Memoire sur l'anomalie de la constitution atmospherique des deux poles" (1775); " Voyage autour du monde et vers les deux poles, par terra et par mar, pendant les annees 1767 a 1776" (2 vols., 1782; translated into Dutch, Rotterdam, 1784" German, Leipsie, 1786; Swedish, Upsala, 1788" and English, London, 1791, and Boston, 1793) ; and "Reflexions sur les vents d'est qui regnent entre les tropiques, sur les pluies et le ciel serein darts ce paralldle etles circonvoisins" (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 13 1/2in x 11 1/2in (345mm x 290mm)
Paper size: - 9 3/4in x 7 3/4in (250mm x 200mm)
Margins: - Min 2in (50mm)

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

$175.00 USD
More Info
1617 Schouten Antique Print of Unity Bay, South Seas Island of Futuna, Wallis

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

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

Description:

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


General Description:
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Age of map color: -  Early
Colors used: -  Green, brown, blue
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Paper size: - 10in x 7 1/2in (260mm x 190mm)
Image Size: - 8 1/2in x 6in (220mm x 145mm)
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