• Title : Woman of Caramania 
• Date : 1803
• Condition: (A+) Fine Condition
• Ref:  92705
• Size: 19 1/2in x 13in (485mm x 330mm)  

Description: 

This large fine beautifully coloured original early antique aquatint of a woman and children of the ancient southern Turkish region of Caramania (Karaman) was engraved in 1803 - the date is engraved at the foot of the image - and was published in Luigi Mayer's "Views in Egypt, Palestine and Other Parts of the Ottoman Empire" R Bowyer, Historic Gallery Pall Mall.

This engraving is characteristic of those made during Regency period, a time of exploration of the Middle East spurred by Napoleon's explorations and conquests in Egypt. Often these expeditions were published as books, containing descriptions and illustrations of the ancient architecture, customs and culture of indigenous peoples.

Italian orientalist Luigi Mayer, active in the 18th and begin 19th century travelled extensively in the middle east. His work "Views in Egypt, Palestine and Other Parts of the Ottoman Empire" was published between 1801 and 1804 with historical observations, and incidental illustrations of the manners and customs of the natives of that country. During Mayer’s time, while Britain and France were vying for control of colonial territories, Views in Egypt captivated and informed audiences in Europe about the country’s prevailing culture and even political structures. "Mamalukes exercising in the Square of Muurad Bey’s Palace," for instance, provides a valuable visual record of the military elite’s training exercises, and perhaps a hint of the Ottoman ruler’s efforts to impose centralized authority. Such highly descriptive drawings continue to make the volume an invaluable primary source.

The aquatint engraver, Thomas Milton studied under William Woollett, and was extolled by scholar W. Bell Scott as having "a unique power of distinguishing the foliage of trees and the texture of bodies, especially water, as it never had been done before, and never will be done again." (Ref: Abbey, Travel, 369. Blackmer 1097. Colas 2018-2022. Gay 2145. Hiler, pp. 577-8. HBS 15571)

General Description:
Paper thickness and quality: - Haevy and stable
Paper color: - off white
Age of map color: - Early
Colors used: - Yellow, green, pink, orange
General color appearance: - Authentic
Paper size: - 18 1/2 in x 13in (460mm x 330mm)
Plate size: -  15 in x 12in (380mm x 305mm)
Margins: - Min 1in (25mm)  

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

• 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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

• Title : CCII
• Date : 1856
• Condition: (A+) Fine Condition
• Ref:  90418
• Size: 9 3/4in x 6 1/4in (250mm x 160mm) 

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 

• Title : CCIV
• Date : 1856
• Condition: (A+) Fine Condition
• Ref:  90418
• Size: 9 3/4in x 6 1/4in (250mm x 160mm) 

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 

• 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)

• 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)

• 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)