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Imprint: London, 1832-37
Lithographed plate with original hand-colour, 54.5 x 36 cms, by J. & E. Gould, printed by Hullmandel, from the Birds of Europe.
The Birds of Europe, Gould’s second major project described by Hyman as his magnum opus, was heavily dependent upon the industry and talent of Gould’s wife Elizabeth. However, Elizabeth Gould’s work was transformed by the participation of Edward Lear. The birds were not allowed to remain suspended in mid air like stuffed specimens in a case, but were presented in their own habitats and Elizabeth Gould was also influenced by the accuracy and vitality of Lear's birds, aided by the revolutionary use of lithography which preserved the style and sponteneity of the original drawing. The Birds of Europe received a rapturous welcome at the time, and is arguably among the most magnificent and important ornithological works ever produced.
Stock number:4085.
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Imprint: London, 1832-37
Lithographed plate with original hand-colour, 54.5 x 36 cms, by J. & E. Gould, printed by Hullmandel, from the Birds of Europe.
The Birds of Europe, Gould’s second major project described by Hyman as his magnum opus, was heavily dependent upon the industry and talent of Gould’s wife Elizabeth. However, Elizabeth Gould’s work was transformed by the participation of Edward Lear. The birds were not allowed to remain suspended in mid air like stuffed specimens in a case, but were presented in their own habitats and Elizabeth Gould was also influenced by the accuracy and vitality of Lear's birds, aided by the revolutionary use of lithography which preserved the style and sponteneity of the original drawing. The Birds of Europe received a rapturous welcome at the time, and is arguably among the most magnificent and important ornithological works ever produced.
Stock number:5443.
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Imprint: London, 1832-37
Lithographed plate with original hand-colour, 54.5 x 36 cms, by J. & E. Gould, from the Birds of Europe.
The Birds of Europe, Gould’s second major project described by Hyman as his magnum opus, was heavily dependent upon the industry and talent of Gould’s wife Elizabeth. However, Elizabeth Gould’s work was transformed by the participation of Edward Lear. The birds were not allowed to remain suspended in mid air like stuffed specimens in a case, but were presented in their own habitats and Elizabeth Gould was also influenced by the accuracy and vitality of Lear's birds, aided by the revolutionary use of lithography which preserved the style and sponteneity of the original drawing. The Birds of Europe received a rapturous welcome at the time, and is arguably among the most magnificent and important ornithological works ever produced.
Stock number:3083.
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Imprint: London, Taylor and Francis, 1862-73
Hand coloured lithographed plate, 54.5 x 36 cms, by J. Gould and H.C. Richter, printed by Walter. From ‘The Birds of Great Britain’.
Stock number:4307.
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Imprint: London, Taylor and Francis, 1862-73
Hand coloured lithographed plate, 54.5 x 36 cms, by J. Gould and H.C. Richter, printed by Walter. From ‘The Birds of Great Britain’.
Stock number:4582.
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Imprint: London, 1832-37
Lithographed plate with original hand-colour, 54.5 x 36 cms, by J. & E. Gould, printed by Hullmandel, from the Birds of Europe.
The Birds of Europe, Gould’s second major project described by Hyman as his magnum opus, was heavily dependent upon the industry and talent of Gould’s wife Elizabeth. However, Elizabeth Gould’s work was transformed by the participation of Edward Lear. The birds were not allowed to remain suspended in mid air like stuffed specimens in a case, but were presented in their own habitats and Elizabeth Gould was also influenced by the accuracy and vitality of Lear's birds, aided by the revolutionary use of lithography which preserved the style and sponteneity of the original drawing. The Birds of Europe received a rapturous welcome at the time, and is arguably among the most magnificent and important ornithological works ever produced.
Stock number:5435.
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Imprint: London, 1832-37
Lithographed plate with original hand-colour, 54.5 x 36 cms, by J. & E. Gould, printed by Hullmandel, from the Birds of Europe.
The Birds of Europe, Gould’s second major project described by Hyman as his magnum opus, was heavily dependent upon the industry and talent of Gould’s wife Elizabeth. However, Elizabeth Gould’s work was transformed by the participation of Edward Lear. The birds were not allowed to remain suspended in mid air like stuffed specimens in a case, but were presented in their own habitats and Elizabeth Gould was also influenced by the accuracy and vitality of Lear's birds, aided by the revolutionary use of lithography which preserved the style and sponteneity of the original drawing. The Birds of Europe received a rapturous welcome at the time, and is arguably among the most magnificent and important ornithological works ever produced.
Stock number:4279.
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Imprint: London, 1832-37
Lithographed plate with original hand-colour, 54.5 x 36 cms, by J. & E. Gould, printed by Hullmandel, from the Birds of Europe.
The Birds of Europe, Gould’s second major project described by Hyman as his magnum opus, was heavily dependent upon the industry and talent of Gould’s wife Elizabeth. However, Elizabeth Gould’s work was transformed by the participation of Edward Lear. The birds were not allowed to remain suspended in mid air like stuffed specimens in a case, but were presented in their own habitats and Elizabeth Gould was also influenced by the accuracy and vitality of Lear's birds, aided by the revolutionary use of lithography which preserved the style and sponteneity of the original drawing. The Birds of Europe received a rapturous welcome at the time, and is arguably among the most magnificent and important ornithological works ever produced.
Stock number:5004.
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Imprint: London, 1832-37
Lithographed plate with original hand-colour, 54.5 x 36 cms, by J. & E. Gould, printed by Hullmandel, from the Birds of Europe.
The Birds of Europe, Gould’s second major project described by Hyman as his magnum opus, was heavily dependent upon the industry and talent of Gould’s wife Elizabeth. However, Elizabeth Gould’s work was transformed by the participation of Edward Lear. The birds were not allowed to remain suspended in mid air like stuffed specimens in a case, but were presented in their own habitats and Elizabeth Gould was also influenced by the accuracy and vitality of Lear's birds, aided by the revolutionary use of lithography which preserved the style and sponteneity of the original drawing. The Birds of Europe received a rapturous welcome at the time, and is arguably among the most magnificent and important ornithological works ever produced.
Stock number:5437.
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Hand coloured lithographed plate, 55 x 36.5 cms, by J. Gould and W. Hart, printed by Walter. Two small birds, eyeing a beetle. From Gould’s last full-scale work, ‘The Birds of New Guinea’, published in 25 parts by Henry Sotheran & Co., 1875-88.
The scientific name for these parrots is now micropsitta pusio beccarrii.
Stock number:1077.
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Imprint: London, 1875-88
Hand coloured lithographed plate, 55 x 36.5 cms, by J. Gould and W. Hart, printed by Walter. From Gould’s last full-scale work, ‘The Birds of New Guinea’, published in 25 parts by Henry Sotheran & Co., 1875-88.
Stock number:4843.
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Imprint: London, Taylor and Francis, 1862-73
Hand coloured lithographed plate, 54.5 x 36 cms, by J. Gould and H.C. Richter, printed by Walter. From ‘The Birds of Great Britain’.
Stock number:4214.
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Imprint: London, 1832-37
Lithographed plate with original hand-colour, 54.5 x 36 cms, marginal foxing, by J. & E. Gould, printed by Hullmandel, from the Birds of Europe.
The Birds of Europe, Gould’s second major project described by Hyman as his magnum opus, was heavily dependent upon the industry and talent of Gould’s wife Elizabeth. However, Elizabeth Gould’s work was transformed by the participation of Edward Lear. The birds were not allowed to remain suspended in mid air like stuffed specimens in a case, but were presented in their own habitats and Elizabeth Gould was also influenced by the accuracy and vitality of Lear's birds, aided by the revolutionary use of lithography which preserved the style and sponteneity of the original drawing. The Birds of Europe received a rapturous welcome at the time, and is arguably among the most magnificent and important ornithological works ever produced.
Stock number:4830.
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Hand coloured lithographed plate, 55 x 36.5 cms, by J. Gould and W. Hart, printed by Walter. From Gould’s last full-scale work, ‘The Birds of New Guinea’, published in 25 parts by Henry Sotheran & Co., 1875-88.
Stock number:2011.
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Imprint: London, Taylor and Francis, 1862-73
Hand coloured lithographed plate, 54.5 x 36 cms, by J. Gould and H.C. Richter, printed by Walter & Cohn. From ‘The Birds of Great Britain’.
Stock number:4998.
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Imprint: London, 1875-88
Hand coloured lithographed plate, 55 x 36.5 cms, by J. Gould and W. Hart, printed by Walter. From Gould’s last full-scale work, ‘The Birds of New Guinea’, published in 25 parts by Henry Sotheran & Co., 1875-88. Small marginal stain.
Stock number:4845.
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Imprint: London, 1832-37
Lithographed plate with original hand-colour, 54.5 x 36 cms, by J. & E. Gould, printed by Hullmandel, from the Birds of Europe.
The Birds of Europe, Gould’s second major project described by Hyman as his magnum opus, was heavily dependent upon the industry and talent of Gould’s wife Elizabeth. However, Elizabeth Gould’s work was transformed by the participation of Edward Lear. The birds were not allowed to remain suspended in mid air like stuffed specimens in a case, but were presented in their own habitats and Elizabeth Gould was also influenced by the accuracy and vitality of Lear's birds, aided by the revolutionary use of lithography which preserved the style and sponteneity of the original drawing. The Birds of Europe received a rapturous welcome at the time, and is arguably among the most magnificent and important ornithological works ever produced.
Stock number:3798.
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Imprint: London, 1832-37
Lithographed plate with original hand-colour, 54.5 x 36 cms, by J. & E. Gould, printed by Hullmandel, from the Birds of Europe.
The Birds of Europe, Gould’s second major project described by Hyman as his magnum opus, was heavily dependent upon the industry and talent of Gould’s wife Elizabeth. However, Elizabeth Gould’s work was transformed by the participation of Edward Lear. The birds were not allowed to remain suspended in mid air like stuffed specimens in a case, but were presented in their own habitats and Elizabeth Gould was also influenced by the accuracy and vitality of Lear's birds, aided by the revolutionary use of lithography which preserved the style and sponteneity of the original drawing. The Birds of Europe received a rapturous welcome at the time, and is arguably among the most magnificent and important ornithological works ever produced.
Stock number:4586.
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Imprint: London, 1832-37
Lithographed plate with original hand-colour, 54.5 x 36 cms, by J. & E. Gould, printed by Hullmandel, from the Birds of Europe.
The Birds of Europe, Gould’s second major project described by Hyman as his magnum opus, was heavily dependent upon the industry and talent of Gould’s wife Elizabeth. However, Elizabeth Gould’s work was transformed by the participation of Edward Lear. The birds were not allowed to remain suspended in mid air like stuffed specimens in a case, but were presented in their own habitats and Elizabeth Gould was also influenced by the accuracy and vitality of Lear's birds, aided by the revolutionary use of lithography which preserved the style and sponteneity of the original drawing. The Birds of Europe received a rapturous welcome at the time, and is arguably among the most magnificent and important ornithological works ever produced.
Stock number:5440.
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Imprint: London, 1875-88
Hand coloured lithographed plate, 55 x 36.5 cms, by J. Gould and W. Hart, printed by Walter. From Gould’s last full-scale work, ‘The Birds of New Guinea’, published in 25 parts by Henry Sotheran & Co., 1875-88.
Stock number:4847.
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Imprint: London, 1832-37
Lithographed plate with original hand-colour, 54.5 x 36 cms, by J. & E. Gould, printed by Hullmandel, from the Birds of Europe.
The Birds of Europe, Gould’s second major project described by Hyman as his magnum opus, was heavily dependent upon the industry and talent of Gould’s wife Elizabeth. However, Elizabeth Gould’s work was transformed by the participation of Edward Lear. The birds were not allowed to remain suspended in mid air like stuffed specimens in a case, but were presented in their own habitats and Elizabeth Gould was also influenced by the accuracy and vitality of Lear's birds, aided by the revolutionary use of lithography which preserved the style and sponteneity of the original drawing. The Birds of Europe received a rapturous welcome at the time, and is arguably among the most magnificent and important ornithological works ever produced.
Stock number:5442.
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Imprint: London, 1832-37
Lithographed plate with original hand-colour, 54.5 x 36 cms, by J. & E. Gould, from the Birds of Europe.
The Birds of Europe, Gould’s second major project described by Hyman as his magnum opus, was heavily dependent upon the industry and talent of Gould’s wife Elizabeth. However, Elizabeth Gould’s work was transformed by the participation of Edward Lear. The birds were not allowed to remain suspended in mid air like stuffed specimens in a case, but were presented in their own habitats and Elizabeth Gould was also influenced by the accuracy and vitality of Lear's birds, aided by the revolutionary use of lithography which preserved the style and sponteneity of the original drawing. The Birds of Europe received a rapturous welcome at the time, and is arguably among the most magnificent and important ornithological works ever produced.
Stock number:3094.
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Imprint: London, Taylor and Francis, 1862-73
Hand coloured lithographed plate, 54.5 x 36 cms, by J. Gould and H.C. Richter, printed by Walter. From ‘The Birds of Great Britain’.
Stock number:4303.
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Imprint: London, 1832-1837.
Lithographed plate with original hand-colour, approx 35.5 x 51.5 cms, from the Birds of Europe, by Edward Lear for Gould.
The Birds of Europe, Gould’s second major project (described by Hyman as his magnum opus), is dominated by the extraordinary contribution of Edward Lear. Arguably Gould's inspiration for the project was Lear's folio lithographed work on Parrots. Lear chose the large folio size which became general for later bird books, he was also among the first to draw from life where possible and he was the first to appreciate the full potential of the new process of lithography for ornithological illustration. Lear learned the process of lithography from Charles Hullmandel, author of 'The Art of Drawing on Stone' and the printer of the Birds of Europe. Hullmandel visited Germany to learn the technique directly from Senefelder, its inventor. Hundreds of faithful impressions could be taken from a lithographic stone, and drawing directly onto the stone preserved the style and sponteneity of the original drawing, rather than translating the original medium into the lines and dots necessary when etching onto copper or steel. It was perfect for showing strong flight feathers, or plumage ruffled by the wind. Lear's financial difficulties - he was forced to abandon his work on Parrots and sell the copyright to Gould - enabled Gould to employ him more fully in the Birds of Europe than he had in his work on Toucans. Lear supplied 67 plates, and chose to illustrate many of the largest and most charismatic birds. He also influenced the work of his fellow artist, Gould’s wife Elizabeth. The Birds of Europe received a rapturous welcome at the time, and is arguably among the most magnificent and important ornithological works ever produced.
Stock number:6391.
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Hand coloured lithographed plate, 55 x 36.5 cms, by J. Gould and W. Hart, printed by Walter. Three birds. From Gould’s last full-scale work, ‘The Birds of New Guinea’, published in 25 parts by Henry Sotheran & Co., 1875-88.
Stock number:1106.
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Imprint: London, 1832-37
Lithographed plate with original hand-colour, 54.5 x 36 cms, by J. & E. Gould, printed by Hullmandel, from the Birds of Europe.
The Birds of Europe, Gould’s second major project described by Hyman as his magnum opus, was heavily dependent upon the industry and talent of Gould’s wife Elizabeth. However, Elizabeth Gould’s work was transformed by the participation of Edward Lear. The birds were not allowed to remain suspended in mid air like stuffed specimens in a case, but were presented in their own habitats and Elizabeth Gould was also influenced by the accuracy and vitality of Lear's birds, aided by the revolutionary use of lithography which preserved the style and sponteneity of the original drawing. The Birds of Europe received a rapturous welcome at the time, and is arguably among the most magnificent and important ornithological works ever produced.
Stock number:5448.
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Hand coloured lithographed plate, 55 x 36.5 cms, by W. Hart, printed by Walter. Two birds. From Gould’s last full-scale work, ‘The Birds of New Guinea’, published in 25 parts by Henry Sotheran & Co., 1875-88.
Stock number:1087.
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Imprint: London, Taylor and Francis, 1862-73
Hand coloured lithographed plate, 54.5 x 36 cms, by J. Gould and H.C. Richter, printed by Walter. From ‘The Birds of Great Britain’.
Stock number:4579.
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Imprint: London, 1832-37
Lithographed plate with original hand-colour, 54.5 x 36 cms, by J. & E. Gould, printed by Hullmandel, from the Birds of Europe.
The Birds of Europe, Gould’s second major project described by Hyman as his magnum opus, was heavily dependent upon the industry and talent of Gould’s wife Elizabeth. However, Elizabeth Gould’s work was transformed by the participation of Edward Lear. The birds were not allowed to remain suspended in mid air like stuffed specimens in a case, but were presented in their own habitats and Elizabeth Gould was also influenced by the accuracy and vitality of Lear's birds, aided by the revolutionary use of lithography which preserved the style and sponteneity of the original drawing. The Birds of Europe received a rapturous welcome at the time, and is arguably among the most magnificent and important ornithological works ever produced.
Stock number:5444.
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Imprint: London, 1832-37
Lithographed plate with original hand-colour, 54.5 x 36 cms, by J. & E. Gould, printed by Hullmandel, from the Birds of Europe. two small paper holes
The Birds of Europe, Gould’s second major project described by Hyman as his magnum opus, was heavily dependent upon the industry and talent of Gould’s wife Elizabeth. However, Elizabeth Gould’s work was transformed by the participation of Edward Lear. The birds were not allowed to remain suspended in mid air like stuffed specimens in a case, but were presented in their own habitats and Elizabeth Gould was also influenced by the accuracy and vitality of Lear's birds, aided by the revolutionary use of lithography which preserved the style and sponteneity of the original drawing. The Birds of Europe received a rapturous welcome at the time, and is arguably among the most magnificent and important ornithological works ever produced.
Stock number:4838.
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Imprint: Etonae [Eton] excudebat Ioannes Norton [...], 1610
Binding: Hardback Inscription: Signed, Inscribed Or Annotated 4to. pp. [viii], 172, [lxxxvi]. Greek text, woodcut headpieces, minor waterstaining to first few leaves, light browning; contemporary blind-stamped calf, probably German, with oval ornament on the covers, a little wear to joints and corners. Signature of Friedrich Münter, dated 1824, at foot of title-page; book label of George Dunn of Woolley Hall.
Sir Henry Savile, translator of Tacitus and provost of Eton College from 1596, established the first press at Eton at his own expense and with the assistance of John Norton who held the specialist post of King’s Printer in Latin, Greek and Hebrew (1603-30). This edition of Gregory’s invectives against the Emperor Julian the Apostate, composed c. AD 362 and printed here with scholia and other material, was one of the two earliest books issued by the press, being contemporary with Savile’s highly regarded edition of Chrysostom., STC 12346
Stock number:6440.
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Imprint: London: Printed for the Guild of Women-Binders, 1902
Binding: Hardback 4to. Number 167 of 500 copies. pp. xxxii + 50 superb colour-printed plates interleaved with explanatory text, trivial spotting. Contemporary chocolate morocco, ambitiously elaborate onlaid design within gilt-tooled frame on the covers, spine lettered direct, upper joint renewed; vellum doublures and relatively restrained gilt-ruled turn-ins and hinges. Almost certainly bound by an unidentified member of the Guild of Women Binders.
Founded in 1898 by bookseller Frank Karslake, the Guild of Women Binders operated until 1904 as a loose confederation of established female binders from various groups such as the Chiswick Art Workers' Guild and the Edinburgh Arts and Crafts Club, with Karslake organizing exhibitions and sales from his shop on the Charing Cross Road and through Sotheby's. A number of outstanding female binders were represented by the Guild, and it also provided the opportunity for amateurs to study under established male binders such as Douglas Cockerell. Anstruther's introduction to the present work identifies the laudable long term goal of opening up a new career for women in addition to the, overcrowded professions of teaching, dressmaking, type-writing and the like
Stock number:6236.
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Imprint: London, 1836
Tinted lithograph, 26 x 37.5 cms, short tear with old repair on verso. From “Sketches at Home and Abroad”, printed by Charles Hullmandel for Charles Tilt. London Bridge and the Monumnet can be glimpsed through a forest of masts.
Abbey, Travel, 29/19.
Stock number:5886.
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Imprint: London, c. 1831
Aquatint, 28.5 x 43.5 cms, with key in lower margin, blank verso.
Stock number:6233.
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Imprint: Washington, 1878
Lithograph, 22 x 32 cms, colour printed, closed tear, blank verso; prepared by J. Bien for the Report of the Commissioner of Indian Affairs, who was Hayt between 1877-80.
Stock number:6423.
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Imprint: Lipsiae [Leipzig], apud Gotthilff Theophil. Georgi, 1792
Binding: Hardback 8vo. pp. [xviii], 524. Greek text, spotting and browning throughout. Contemporary half vellum over sprinkled boards, slightly rubbed. Nineteenth-century ownership signatures and annotations to title and end-papers.
Stock number:6289.
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Imprint: Londoni [London] Excudenbat Thom. Harper, Impensis Samuelis Browne, 1639
Binding: Hardback 8vo. pp. [xx], 266, [viii], 51, [i]. Parallel Greek and Latin text, occasional early underlining and marginalia in Greek, wormhole at foot of the title-page not affecting text, lower margin F8 torn without loss of text, contemporary plain vellum with yapp edges, without end-papers.
Stock number:4493.
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Imprint: Glasguae [Glasgow]: excudebant Andreas et Jacobus Duncan [...], 1818
Binding: Hardback 4 vols. 8vo. pp. lii, 368; [ii], 392, 56; [ii], 500; [ii], 500. Contemporary biscuit calf decorated in gilt and blind, upper joint of vol. IV and all labels renewed.
Of the first Schweighauser edition of 1806 Dibdin writes: “perhaps the very best edition of Herodotus extant” (Dibdin II, 27).
Stock number:6178.
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Imprint: Lutetiae [Paris], E Typographia Steph. Prevosteau [...], 1583-85
Edition: First Edition Binding: Hardback Two works bound in one volume: 12mo, pp. xxiv, 347, [i]. 12mo, pp. [ii], 11, [xi], 90. Old ink-burn D11-E9 in the first work (ie pp. 93-114), particularly noticeable E3-E6. Second work lacks two of the final leaves of text. (Text concludes with the errata on verso of H1; H2 and H3 have been extracted; H4, blank as called for by Adams, is present.). Greek and Latin text. Contemporary limp vellum. Two early ownership inscriptions on title. The clearer of the two reads “Ex libris Ioa. Maussaci” in an early seventeenth century hand, possibly Philippe Jacques de Maussac (1590-1650), president in Montpellier and a Greek scholar (he edited Harpocration in 1614, cf. Sandys II, p. 287).
First edition of the commentary on the Golden Verses of ‘Pythagorus’ by the fifth-century Neoplatonist Hierocles, discovered in the library of François de la Rochefoucauld-Randan and edited and translated by Curterius; bound here with the first edition of Théodore Marcile's Latin translation. Both works were printed by Stephan Prevosteau - he is credited in the colophon of the first work, and a variant title page carries his imprint (Adams P2312) rather than Nivelle’s - and pairings of the works are not unknown. The example in the recently dispersed Macclesfield library (lot 2711 in part 8, October 2006) was similarly bound in limp vellum, and issuing them together may have been Prevosteau’s own recommendation to his clients., Adams P2313 & P2314; Brunet III, 154-155; Sandys II, 105.
Stock number:6293.
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Imprint: Genevae [Geneva], apud Petrum Chouet, 1653
Binding: Hardback 2 vols. folio. pp. [xx], 915, [i]; [vi], 707, [ccxxix]. Waterstaining in upper margin of first volume. Contemporary blind-ruled calf, rebacked. Numerous schoolboy inscriptions, particularly to lower endpapers of the first volume (many with a name, followed by “a young student”, mostly c. 18). Eighteenth-century book label of Repton school on pastedown, “ad usum Scholae Reptonensis” lettered direct on upper covers, ink stamps to titles. Contains Livy, Tacitus, Ammianus Marcellinus etc.
Stock number:5377.
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Imprint: London, 1637
Copper engraving, 28.5 x 32.5 cms, recent hand-colour, blank verso. Map of the seven Anglo-Saxon kingdoms engraved by William Hole for the first illustrated edition of Camden’s Britannia, originally published in 1607 with Latin text. Our example accompanied the second edition of the English translation.
Stock number:5916.
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Imprint: London, 1610
Copper engraving, 27 x 31.5 cms, closed centrefold split, recent hand-colour, blank verso. Map of Scotland engraved by William Hole for the first illustrated edition of Camden’s Britannia, originally published in 1607 with Latin text. Our example accompanied the English translation.
Stock number:5915.
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Imprint: Nuremberg, c. 1730
Copper engraving, 49.5 x 59 cms, original hand-colour, blank verso.
Stock number:3913.
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Imprint: Numermberg, c. 1760
Copper engraving, 50 x 59 cms, original hand-colour, short tear repaired in right-hand margin, blank verso. Five maps on one sheet, showing British possessions in the Caribbean, to various scales; text in Latin and German.
Stock number:5571.
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Imprint: Nuremberg, 1735
50 x 58 cms, original colour, a couple of old paper repairs to lower margin.
Stock number:3442.
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Imprint: Nuremberg, c. 1740
Copper engraving, 50 x 58.5 cms, original hand-colour, blank verso.
Stock number:6103.
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Imprint: Nuremburg, c. 1740
Copper engraving, 59 x 49.5 cms. Caribbean and Central America, with insets showing the isthmus of Panama, Saint Augustine (Florida), Vera Cruz and San Domingo, with a view of Mexico City at the foot. Original outline colour. Slightly age-toned. Corners strengthened.
Stock number:2194.
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Imprint: Nuremberg, 1743
51 x 60 cms, town plan of Prague with insets showing sections through the fortifications and further illustrating the disposition of the besieging forces. Prague was captured by a mixed force of French, Bavarians and Saxons on behalf of Charles, the elector of Bavaria, during the Austrian war of Succession. In 1743, the year in which our map was published, Prague was re-taken by the armies of the empress Maria Theresa, and despite two sieges by the Prussian armies of Frederick the Great in 1744 and 1757 (the first briefly successful), Prague remained under Austrian control until the collapse of the Holy Roman Empire during the First World War.
Stock number:3324.
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Imprint: Nuremburg,, c. 1707
Copper engraving, 49 x 58 cms, original hand-colour, first state of plate 1, with portrait of Queen Anne and without any of the later modifications. Some light staining in the lower part of the map, and some underlining in ink, mostly of principal towns, with one or two names supplied in manuscript, blank verso.
Shirley, Homann 2.
Stock number:5529.
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Imprint: Nuremberg, c. 1730
Copper-egraving 49.5 x 59.5 cms, original hand-colour with black and white cartouche. Slight toning at centrefold. Blank verso.
Stock number:3902.
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