Category Archives: Engraving

Barbara Latham: Prints of the Southwest

Saturday Morning - Taos. By Barbara Latham. Linocut, c.1950. Edition unknown. Image size 7 15/16 x 9 15/16" (202 x 257 mm). Very good condition. Signed and titled in pencil. LINK.

Saturday Morning – Taos. By Barbara Latham. Linocut, c.1950. Edition unknown. Image size 7 15/16 x 9 15/16″ (202 x 257 mm). Very good condition. Signed and titled in pencil. LINK.

Born in Walpole, Massachusetts in 1896, artist and illustrator Barbara Latham grew up immersed in the world of science and art. She attended the Norwich Connecticut Art School, where her painting and illustration talent was nurtured and honed. In 1915, she continued her studies at the Pratt Institute in Brooklyn, graduating in 1919. As a young adult, Latham lived and worked in New York City, creating illustrations primarily for Norcross Publishing Company on Madison Avenue, but also had her work featured in Forum Magazine and the New York Times Sunday magazine. She spent one summer at the Art Students League summer program in Woodstock, New York, working with noted modernist painter Andrew Dasburg.

In 1925, Latham traveled to Taos, New Mexico, to gather material for illustrations and greeting cards. Immediately taken with the landscape, Latham created striking paintings and prints of New Mexico’s rose-colored deserts, open sky, jagged mesas, and rugged lands. She also explored and depicted the everyday life of the Taos Pueblo Indians, creating impressive genre scenes of the homes, markets, and bustling hubs of Taos.

It was also in Taos where she was introduced by friend Victor Higgins to a fellow New England painter and printmaker, Howard Cook. Latham and Cook married in 1927. The couple had a beautiful and nurturing relationship, and benefited from each other’s artistic exploration and success. Shortly after marrying, the newlywed couple began extensive traveling- visiting Mexico, Europe, the American South, and parts of the Northeast.

Taos Pueble. By Barbara Latham. Linocut, undated. Edition unknown. Image size 10 1/8 x 7 15/16"(258 x 201 mm). Very good condition. Signed in pencil. LINK.

Taos Pueble. By Barbara Latham. Linocut, undated. Edition unknown. Image size 10 1/8 x 7 15/16″(258 x 201 mm). Very good condition. Signed in pencil. LINK.

Taos Village with Pueblo Indians. By Barbara Latham. Woodcut, 1932. Edition unknown. Image size 4 5/16 x 6 3/4" (111 x 171 mm). Very good condition. Signed in pencil. LINK.

Taos Village with Pueblo Indians. By Barbara Latham. Woodcut, 1932. Edition unknown. Image size 4 5/16 x 6 3/4″ (111 x 171 mm). Very good condition. Signed in pencil. LINK.

The Old Sink. By Barabara Latham. Wood engraving, c.1927. Edition unknown. Image size 9 x 7 3/16" (153 x 183 mm). Very good condition. Signed and titled in pencil. Inscribed "S Bush imp." LINK.

The Old Sink. By Barbara Latham. Wood engraving, c.1927. Edition unknown. Image size 9 x 7 3/16″ (153 x 183 mm). Very good condition. Signed and titled in pencil. Inscribed “S Bush imp.” LINK.

In 1933, on Cook’s first Guggenheim fellowship, the couple relocated to the silver mining town on Taxco, Mexico. It was here that Latham collected imagery which later turned into scenes for her first children book, Pedro, Nina & Perrito (published by Harper & Brother, in 1939). Latham explored the beautiful landscape and spent time with the people of Taxco, documenting all of her impressions in journals and illustrations.

Nina, Pedro and Perrito. By Barbara Latham. Lithograph, c. 1935. Edition unknown. Image size 14 3/4 x 11 7/8" (248 x 307 mm). Very good condition. This image was illustrated in a children's book published in 1939 by Harper & Brother. LINK.

Nina, Pedro and Perrito. By Barbara Latham. Lithograph, c. 1935. Edition unknown. Image size 14 3/4 x 11 7/8″ (248 x 307 mm). Very good condition. This image was illustrated in a children’s book published in 1939 by Harper & Brother. LINK.

Our Mexican Kitchen. By Barbara Latham. Wood engraving on pink paper, 1932-33. Image Size: 5 5/8 x 7 5/8" (143 x 194mm). Good condition, save for minor light discoloration. Signed and titled in pencil. LINK.

Our Mexican Kitchen. By Barbara Latham. Wood engraving on pink paper, 1932-33. Image Size: 5 5/8 x 7 5/8″ (143 x 194 mm). Good condition, save for minor light discoloration. Signed and titled in pencil. LINK.

Latham drew recognition for her printmaking and illustrations, working in the mediums of lithographs, etchings, and starkly contrasted black-and-white woodcuts and wood engravings. In 1934, Latham had a one-person show at the Weyhe Gallery in New York, a gallery known for its active support of printmakers.

In the Park.  By Barbara Latham. Wood engraving,c.1937. Edition unknown. Image size 7 15/16 x 9 15/16" (203 x 253 mm). Very good condition. Signed in pencil. Inscribed "To Ann" and "Imp." LINK.

In the Park. By Barbara Latham. Wood engraving,c.1937. Edition unknown. Image size 7 15/16 x 9 15/16″ (203 x 253 mm). Very good condition. Signed in pencil. Inscribed “To Ann” and “Imp.” LINK.

After more traveling, Latham and Cook moved again in 1938 to Talpa Ridge, New Mexico, which became their permanent home for the next 35 years. Here Latham experimented with semi-abstract egg tempera paintings, and oil and watercolor paintings of natural history subjects. She also ventured into textile and clothing design, creating intricate patterns and focusing on hand-dying all her own fabrics.

Latham is celebrated today for her depictions of the American southwest, both in paintings and print form. Her illustrations are in over 17 children’s books and many of her early greeting cards are collected to this day.

We invite our OPG Blog readers and collectors to visit both our New York store and our Georgetown store to see these prints in person.

Prints at The Old Print Gallery, Georgetown: Geraniums, The Old Sink

Prints at The Old Print Shop, New York CityIn The Park, Nina Pedro and Perrito, Our Mexican Kitchen, Saturday Morning- Taos, Taos Pueble, Taos Village with Pueblo Indians

Geraniums. By Barbara Latham. Woodcut, date unknown. Edition unknown. Image size 6 x 7 3/16" (152 x 183 mm). Very good condition. Signed and titled in pencil. LINK.

Geraniums. By Barbara Latham. Woodcut, date unknown. Edition unknown. Image size 6 x 7 3/16″ (152 x 183 mm). Very good condition. Signed and titled in pencil. LINK.

New Additions: Maps of the South

NEW ADDITIONS bannerNEW ADDITIONSToday we are sharing maps of the Southeastern United States, recently added to our OPG inventory. Dating from 1790s to 1850s, these maps offer a significant look into the burgeoning growth of our fledgling nation, as conflict, population shifts, and advances in transportation modes created a constant demand for the most up-to-date cartographic information. These maps also are all beautiful examples of American map and atlas publishing, which had its advent with Carey’s “American Atlas” and continued strong into the 19th and 20th century- with vibrant publishing hubs located in New York City, Philadelphia, and Boston. We hope you enjoy these maps!

Map of Florida. By S. Augustus Mitchell. Published by Thomas, Cowperthwait & Co., Philadephia. Engraving, hand colored, 1853. Image size 14 3/8 x 11 1/2, plus margins. Good condition, save for some faint damp staining in the lower right. Original hand coloring. LINK.

Map of Florida. By S. Augustus Mitchell. Published by Thomas, Cowperthwait & Co., Philadephia. Engraving, hand colored, 1853. Image size 14 3/8 x 11 1/2, plus margins. Good condition, save for some faint damp staining in the lower right. Original hand coloring. LINK.

A fine map of Florida from Mitchell’s “A New Universal Atlas containing maps of the various Empires, Kingdoms, States and Republics of the World.” This map shows Florida is in its fifth year as a state of the Union. Inset maps in the lower  left include plans of Pensacola, Tallahassee, and the Harbor of St. Augustine. The map also includes a distance chart for water routes from place to place.

Plan of the Siege of Savannah. Published by Charles Smith, New York. Engraved by Charles B. J. F. Saint-Memin. Copper plate engraving, 1796-97. Images size 8 1/4 x 9 1/8 inches, plus margins. Good condition. Black & white. LINK.

Plan of the Siege of Savannah. Published by Charles Smith, New York. Engraved by Charles B. J. F. Saint-Memin. Copper plate engraving, 1796-97. Images size 8 1/4 x 9 1/8 inches, plus margins. Good condition. Black & white. LINK.

A rare and detailed battle plan of the city and surroundings of Savannah Georgia. This map appeared in “The Monthly Military Repository, Respectfully Inscribed to the Military of the United States of America.” The “Repository” is an interesting early work. It was published in parts over a span of two years. Smith included instruction on military strategy, conduct, and clothing, extracting from histories of European wars and descriptions of American Revolutionary battles. Most of the descriptions for the American battles were taken from the writings of Baron Steuben and Gen. Horatio Gates. Included were a series of revolutionary battle plans based on those published in London by William Faden. This particular map was engraved by Charles B. J. F. Saint-Memin. Almost all the recorded copies of “Repository” are incomplete, lacking one or more maps.

Georgia, from the latest Authorities. Published by Mathew Carey, Philadelphia. Copper plate engraving, 1795. Images size 8 7/8 x 15 5/8 inches, plus margins. Good condition save for small area of paper fill in upper left margin, not affecting the image. Black & white. LINK/

Georgia, from the latest Authorities. Published by Mathew Carey, Philadelphia. Copper plate engraving, 1795. Images size 8 7/8 x 15 5/8 inches, plus margins. Good condition save for small area of paper fill in upper left margin, not affecting the image. Black & white. LINK.

Engraved by W. Barker for Carey’s “American Atlas…”, the earliest atlas of America produced in America. This is the first edition of one of the earliest obtainable maps of the state of Georgia. The state is shown extending to the Mississippi River and shows portions of East and West Florida and “Tennassee Government.” Noted prominently are native Indian tribes, Chicasaws, Chacataws, Cherokees, Natches, Seminoles and Creeks.

The State of South Carolina from the best Authorities, by Samuel Lewis. 1795. By Samuel Lewis. Published by Mathew Carey, Philadelphia. Copper plate engraving, 1795. Image size 15 3/4 x 17 1/4" plus margins. Fair to good condition. The map was at one time folded and has splits and tiny areas of paper loss along fold lines. Professionally repaired. Black & white. LINK.

The State of South Carolina from the best Authorities, by Samuel Lewis. 1795. By Samuel Lewis. Published by Mathew Carey, Philadelphia. Copper plate engraving, 1795. Image size 15 3/4 x 17 1/4″ plus margins. Fair to good condition. The map was at one time folded and has splits and tiny areas of paper loss along fold lines. Professionally repaired. Black & white. LINK.

This is another fine 18th century map from Carey’s “American Atlas….”, the first atlas published in America. It was engraved by W. Barker. The map shows remarkable topographic detail, and a fairly solid and accurate representation of South Carolina’s river systems. This is a “must-buy” for any South Carolina collector, especially one interested in the state’s significant Federalist period.

 

John Reid’s Map of America

General Map of North America Drawn from the Best Surveys. 1795. By John Reid. Published by Smith, Reid, & Wayland. Copper plate engraving, 1796. Image size 14 5/16 x 18 1/4" 9364 x 463 mm). Good condition. Black & white. LINK.

General Map of North America Drawn from the Best Surveys. 1795. By John Reid. Published by Smith, Reid, & Wayland. Copper plate engraving, 1796. Image size 14 5/16 x 18 1/4″ 9364 x 463 mm). Good condition. Black & white. LINK.
(Double click image to zoom in.)

Today we are sharing a new addition to our OPG map inventory, John Reid’s General Map of North America Drawn from the Best Surveys. 1795.  This map is from John Reid’s 1796 American Atlas, which was only the second atlas to be published in the United States. At the time, Philadelphia was the hub of most US publishing endeavors, but Reid chose to both engrave and produce the map in New York City. He worked with the engraver John Scoles to create this 21 map atlas. Unlike many of the atlases of the early 19th century, which were produced and updated several times over, there is only one edition of Reid’s American Atlas, making the maps within it rare and collectible examples of early American cartography.

This map, and five others in Reid’s “American Atlas”, is a cartographic copy of the America map in William Winterbotham’s  “An Historical, Geographical, Commercial and Philosophical View of the American United States…”, a 1785 London published book containing maps by John Russell. The rest of the maps in Reid’s atlas were completely new, although somewhat inspired and influenced by Mathew Carey’s atlas published the year prior.

Cartographically, this map shows the new north-south boundary lines of the fledgling United States. The northeast border is set to the St. Croix River, as a result of the 1795 Jay Treaty between Great Britain and the United States.

Detail of United States northern border.

Detail of United States northern border.

In the south, the 1795 Pinckney’s Treaty between Spain and the United States re-negotiated the border between Georgia and Spanish-controlled East and West Florida. This agreement lowered the line back to the 31st parallel north and increased the United States’ access to the Mississippi River and the extremely important trading port of New Orleans.

Detail of United States southern border.

Detail of United States southern border.

There is substantial detail along the northwest coast of America, but only a meager amount of information beyond the coast. Reid fails to identify western settlements, peoples, or topographical features. The lone exceptions are the Rocky Mountains, which Reid labels the “Stony Mountains”, and a large, unnamed lake, which is now called Lake Timpanogos, located in present-day Utah.

"Stony Mountains" and unnamed Lake Timpanogos.

Western coastline of America, including the “Stony Mountains” and large, unnamed Lake Timpanogos.

With the Louisiana Purchase still 8 years in the future, Reid (not-surprisingly) focuses almost all cartographic detail on New Spain, British Canada, and the new United States. The map includes “References to the United States”- a key to the names of the States. Scale for the map is not given.

The fledgling United States, with "References to the United States" key to the right.

The fledgling United States, with “References to the United States” key to the right.

New Additions: Reptiles and Amphibians

NEW ADDITIONS bannerNEW ADDITIONSBelow is a sampling of our natural history inventory. Created between the 18th and 20th century, and published across Europe and in early publishing houses of the United States, these prints offer brilliant insight into the scientific dialogue of the past. Early scientists and naturalists would accompany explorers in their travels to newly discovered or conquered lands, recording plants and animals in detailed sketchbooks. Once home, these written descriptions and pencil sketches were put to the engraving plate and lithographic stone, and published in various compendiums of natural history, for wealthy patrons and a fledgling zoology community. Although printed initially for scientific purposes, as more artists became involved and printing technologies improved, natural history prints were collected and celebrated for their beauty and the finesse in which engravers merged science with art. With their alluring geometric patterns and arabesque forms, some of the most accurate and fascinating illustrations of the period were of frogs, snakes, and lizards. To see more reptile and amphibian prints from our inventory, click here. 

Bufo Vulgaris. Bufo Calamita.  Lithograph by Zanetti after Petrus Quattrocchi. From Iconographi della Fauna Italica by Carlo L. Principe Bonaparte. Published by Tipographia Salviucci, Rome, 1832-41. Highly detailed illustrations of three toads, one poisonous. LINK.

Bufo Vulgaris. Bufo Calamita. Lithograph by Zanetti after Petrus Quattrocchi. From Iconographi della Fauna Italica by Carlo L. Principe Bonaparte. Published by Tipographia Salviucci, Rome, 1832-41. Highly detailed illustrations of three toads, one poisonous. LINK.

Flying Dragon. Designed and engraved by William Daniell for his work "Interesting Selections from Animated Nature." Published by Cadell & Davies, London. Aquatint engraving, 1807. From the deluxe edition on large paper with the engravings executed on chine colle. LINK.

Flying Dragon. Designed and engraved by William Daniell for his work “Interesting Selections from Animated Nature.” Published by Cadell & Davies, London. Aquatint engraving, 1807. From the deluxe edition on large paper with the engravings executed on chine colle. LINK.

Untitled Snake, Tab. LVIII. By Albertus Seba. Hand-colored copper plate engraving, 1734-65. Published in Amsterdam. From "Locupletissimi Rerum Naturalium Thesauri Accurata Descripto Et Iconibus Artificiosissmis Expressio..." LINK.

Untitled Snake, Tab. LVIII. By Albertus Seba. Hand-colored copper plate engraving, 1734-65. Published in Amsterdam. From “Locupletissimi Rerum Naturalium Thesauri Accurata Descripto Et Iconibus Artificiosissmis Expressio…” LINK.

No. 412. By F. P. Nodder. Engraving with original hand-color, 1799. Two salamanders from George Shaw's "the Naturalist's Miscellany", published from 1790 to 1813. LINK.

No. 412. By F. P. Nodder. Engraving with original hand-color, 1799. Two salamanders from George Shaw’s “The Naturalist’s Miscellany”, published from 1790 to 1813. LINK.

Anguis niger, maculis rubris & luteis eleganter varius: The Bead Snake; Convolvulus Radice tuberoso esculento: The Virginian Potato. By Mark Catesby. Hand-colored engraving, 1800.  T. 60. From, ‘The Natural History of Carolina, Florida, and the Bahama Islands: Containing Figures of Birds, Beasts, Fishes, Serpents, Insects and Plants:…’ Engravings by Mark Catesby, published in London. LINK.

Anguis niger, maculis rubris & luteis eleganter varius: The Bead Snake; Convolvulus Radice tuberoso esculento: The Virginian Potato. By Mark Catesby. Hand-colored engraving, 1800. T. 60. From, ‘The Natural History of Carolina, Florida, and the Bahama Islands: Containing Figures of Birds, Beasts, Fishes, Serpents, Insects and Plants:…’ Engravings by Mark Catesby, published in London. LINK.

The Black Iguana. By P. J. Smit. Chromolithograph, 1904. Published in Saalfield, New York. From "Library of Natural History" by Richard Lydekker. LINK.

The Black Iguana. By P. J. Smit. Chromolithograph, 1904. Published in Saalfield, New York. From “Library of Natural History” by Richard Lydekker. LINK.

American Frogs and Toads. Lithographed by Julius Bien & Co. Lith.  N.Y.  Published by Todd, Mead & Co., New York. Chromolithograph, 1902. Several types of frogs and toads are pictured. LINK.

American Frogs and Toads. Lithographed by Julius Bien & Co. Lith. N.Y. Published by Todd, Mead & Co., New York. Chromolithograph, 1902. Several types of frogs and toads are pictured. LINK.

Untitled. XXVII. (Aligator, crocodile and two large lizards). Published by A. Fullarton, London and Edinburgh. Engraving with original hand-color, 1854. A natural history print from Oliver Goldsmith's "A History of the Earth and Animated Nature." This edition is distinguished by having the birds and animals displayed in full color against a black-and-white background. LINK.

Untitled. XXVII. (Alligator, crocodile and two large lizards). Published by A. Fullarton, London and Edinburgh. Engraving with original hand-color, 1854. A natural history print from Oliver Goldsmith’s “A History of the Earth and Animated Nature.” This edition is distinguished by having the birds and animals displayed in full color against a black-and-white background. LINK.

Coluber Monspessulanus. By Battistelli. Lithograph, hand-colored, 1834. A 19th century lithograph of a snake in full and inset of an aerial depiction of the snake's head. LINK.

Coluber Monspessulanus. By Battistelli. Lithograph, hand-colored, 1834. A 19th century lithograph of a snake in full and inset of an aerial depiction of the snake’s head. LINK.

Lacertus Griseus: The Lyon Lizard; Viscum Caryophylloides, foliis longis in apice incisis, floris labello albo trifido, petalis luteis, longis augustissimis. By Mark Catesby. Hand-colored engraving, 1800.  T. 68. From, ‘The Natural History of Carolina, Florida, and the Bahama Islands: Containing Figures of Birds, Beasts, Fishes, Serpents, Insects and Plants:…’ Engravings by Mark Catesby, published in London. LINK.

Lacertus Griseus: The Lyon Lizard; Viscum Caryophylloides, foliis longis in apice incisis, floris labello albo trifido, petalis luteis, longis augustissimis. By Mark Catesby. Hand-colored engraving, 1800. T. 68. From, ‘The Natural History of Carolina, Florida, and the Bahama Islands: Containing Figures of Birds, Beasts, Fishes, Serpents, Insects and Plants:…’ Engravings by Mark Catesby, published in London. LINK.

Untitled Snake, Tab. XLII. By Albertus Seba. Published in Amsterdam. Hand-colored copper plate engraving, 1734-65. From Locupletissimi Rerum Naturalium Thesauri Accurata Descripto Et Iconibus Artificiosissmis Expressio... LINK.

Untitled Snake, Tab. XLII. By Albertus Seba. Published in Amsterdam. Hand-colored copper plate engraving, 1734-65. From Locupletissimi Rerum Naturalium Thesauri Accurata Descripto Et Iconibus Artificiosissmis Expressio… LINK.

 

Past/Present: Railroad Waiting Room

We have a new Past/Present post for our readers today, featuring two railroad scenes. The older print is a circa 1888 hand-colored engraving of a waiting room scene at a railway depot. The title on the verso of the print is “The Every-Day Life of Railroad Men”. This scene is repeated again in a 20th century lithograph by Charles Locke, entitled “Waiting Room.”

Charles Locke was born in Cincinnati, Ohio, on August 31, 1899. He studied at the Cincinnati Art Academy and the Ohio Mechanics Institute. He came to New York City in 1922 with Joseph Pennell to help teach lithography at the Art Students League, where he remained until 1937. He traveled to Paris in 1928 on a grant from Mrs. John D. Rockefeller to study the work of French painters. His students included John S. Curry, Paul Cadmus, and Don Freeman. As well as being a teacher at the League, he was also a student- learning etching from a friend and fellow instructor, Allen Lewis. Locke is well-known for his role as an educator, and for his prints of New York City docks, bars, shops, and everyday street-life.

Image on the left: In the Waiting Room of the Country Station. Engraving, hand-colored, c. 1988.

Image on the right: Waiting Room by Charles Locke. Lithograph. Edition of 40. Signed and editioned in pencil by the artist.

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May 2014 Showcase- Read it Now!

Our new May 2014 Showcase has been sent out to our mailing list, and should hit mailboxes this week. The month’s catalog features a wide range of prints related to architecture. Highlights include antique black and white engravings of architectural elements by Domenico de Rossi, compelling bird’s eye views of cities both foreign and domestic, as well as Gualtieri’s 1742 engravings of shells in spherical, spiked, and fractal forms. The showcase also highlights a sampling of early 20th century and contemporary explorations of space, light, and perspective by artists like Martin Lewis, Emilio Sanchez, John Ross, and many more.

Published in both traditional and digital media forms, we are now able to share our fantastic collection in a whole new way.  We are already working on our next issue, which should arrive in September. To receive our next Showcase, just send us your mailing information, via email.

Read the May Showcase:

The Old Print Gallery Showcase. Volume XXXVII, Number 2 May 2014 CLICK TO READ

The Old Print Gallery Showcase
Volume XXXVII, Number 2
May 2014
CLICK TO READ

We hope you enjoy it!

New Additions: Maps and Views

NEW ADDITIONS bannerNEW ADDITIONSToday we are sharing several beautiful maps and bird’s-eye views, recently added to our  inventory. The colors are just stunning for many of these engravings,  especially the Braun and Hogenberg view of trading ports in the East and the Lotter map and view of the Republic of Genoa. We hope you enjoy these new additions as much as we do!

Calechut Celeberrimum Indiae Emporium [on sheet with] Ormus [and] Canonor [and] S. Georgii Oppidum Mina. By Braun and Hogenberg. Copper plate engraving, 1572-1618. Image size 13 1/4 x 18 9/16" (335 x 470 mm). Very good condition. Original handcoloring. LINK.

Calechut Celeberrimum Indiae Emporium [on sheet with] Ormus [and] Canonor [and] S. Georgii Oppidum Mina. By Braun and Hogenberg. Copper plate engraving, 1572-1618. Image size 13 1/4 x 18 9/16″ (335 x 470 mm). Very good condition. Original handcoloring. LINK.

This engraving shows four views of the trading regions of the East, from Africa to India. The upper view shows the important 16th century Indian trading center Calecut. Located near Madras, Calecut was dubbed the “City of Spices” for its role in the Eastern spice trade, with red pepper as a main export. This view presents the town at the edge of a jungle, with red-roofed buildings and several larger stone structures. An elephant with a mahout standing on his back is watching while boats are constructed on the beach. Asian and European vessels are shown in the harbor, and a fishing scene occurs at the water’s edge. Beneath Calecut are smaller views of Ormuz at the entrance of the Persian Gulf, Canonor in India, and the Portuguese fortress of El Mina in West Africa. This view is from Braun & Hogenberg’s Civitates Orbis Terrarum, the most famous and influential book of town plans published in the 16th Century.


 

Carte d'une Partie des Indes Orientales, Etats du Mogol les Cotes de Malabar et de Coromandel &c. Published by J. Covens & C. Mortier, Amsterdam. Copper engraving, original outline color, c.1700. Image size 21 3/8 x 19 1/2" (544 x 498 mm) plus margins. Very good condition. Original hand coloring. LINK.

Carte d’une Partie des Indes Orientales, Etats du Mogol les Cotes de Malabar et de Coromandel &c. Published by J. Covens & C. Mortier, Amsterdam. Copper engraving, original outline color, c.1700. Image size 21 3/8 x 19 1/2″ (544 x 498 mm) plus margins. Very good condition. Original hand coloring. LINK.

A fine and highly detailed depiction of India and the surrounding region, this map extends from the Straits of Hormuz to the Gulf of Bengal. The Amsterdam publishing firm of Covens and Mortier was the successor to the extensive publishing empire built by Frenchman Pierre Mortier (1661 – 1711). Upon Mortier’s death in 1711,  the firm was inherited by Mortier’s son, Cornelius, and son-in-law, Johannes Covens. The two set out to re-publish maps by great 17th and 18th century Dutch and French cartographers De L’Isle, Allard, Jansson, De Wit, and Ottens, among others. They quickly became one of the largest and most prolific Dutch publishing houses of the 18th century.


Lo Stato della Repubblica di Genova. Tobias Conrad Lotter. Published in Augsburg. Copper plate engraving, c.1770. Image size 19 1/8 x 22 1/2" (487 x 572 mm). Good condition. Tight lower margin, as issued. Nicely handcolored. LINK.

Lo Stato della Repubblica di Genova. Tobias Conrad Lotter. Published in Augsburg. Copper plate engraving, c.1770. Image size 19 1/8 x 22 1/2″ (487 x 572 mm). Good condition. Tight lower margin, as issued. Nicely handcolored. LINK.

An intricately detailed map of Republic of Genoa with a striking view of the harbor and city below. A numbered key identifies 64 buildings and locations along the harbor.  Genoa was an independent state from 1005 to 1797. Tobias Conrad Lotter (1717-1777) was a German publisher and engraver. He married the daughter of prominent map publisher, Matthaus Seutter, and upon Seutter’s retirement took control of the firm, updating and republishing many of his maps.


Carte Generale Des Etats-Unis et du Mexique comprenant L'Amerique Centrale et les Antilles. Eugene Andriveau-Goujon. Engraving, undated, c.1878. Overall 26 1/4 x 37 7/8" (55.6 x 96 cm). Segmented map. Removed from, but retains, original cover.  Very good condition. Original handcoloring. LINK.

Carte Generale Des Etats-Unis et du Mexique comprenant L’Amerique Centrale et les Antilles. Eugene Andriveau-Goujon. Engraving, undated, c.1878. Overall 26 1/4 x 37 7/8″ (55.6 x 96 cm). Segmented map. Removed from, but retains, original cover. Very good condition. Original handcoloring. LINK.

A large and highly detailed folding-map of the United States, Mexico, and West Indies. Four inset maps are shown: Central America, Lesser Antilles, New York and Long Island, and the Atlantic Ocean showing the connections to Europe. The map provides an up-to-date account of the political boundaries of the West, especially notable for a European map produced during that time period.


India Orientalis. Jodocus Hondius. Copper plate engraving, 1606-c.1607. Image size 14 x 19" (355 x 483 mm). Good condition, save for tiny repaired hole in scale. Nice early color. Latin text on verso. LINK.

India Orientalis. Jodocus Hondius. Copper plate engraving, 1606- c.1607. Image size 14 x 19″ (355 x 483 mm). Good condition, save for tiny repaired hole. Nice early color. Latin text on verso. LINK.

A beautiful, early color example of Jodocus Hondius’ map of China and Southeast Asia. This is one of the finest early Dutch maps of the region. Cartographically, it depicts all of India and the Maldives, eastward to the Malay Peninsula, Indochina, northern Borneo and the Philippines. It also includes southern China with the Pearl River Estuary, Canton, and Formosa. The map is richly embellished with three strap work cartouches, two sailing vessels (one being an oriental junk), and a large sea monster.