19th Century Maps, American Maps, Engraving, Maps, New Additions, Pocket Maps, Wood, woodblock print

New Additions: Map of the Central Pacific Railroad

NEW ADDITIONS bannerNEW ADDITIONSWe just added a scarce, early printing of a map showing the recently completed Trans-Continental Railroad, or the combined Union and Central Pacific Railroads, to our ever-growing map inventory. The map, a wood block engraving, was published by the California Mail Bag on August 1, 1871, just shortly after the driving of the “Golden Spike” in 1869.

Map of the Central Pacific Railroad and its Connections. Published by the California Mail Bag, August 1, 1871. Wood block engraving, 1871. Image size 12 7/8 x 35 3/8

Map of the Central Pacific Railroad and its Connections. Published by the California Mail Bag, August 1, 1871. Wood block engraving, 1871. Image size 12 7/8 x 35 3/8″ (32.7 x 89.8 cm) plus margins. Good condition. LINK.

The map shows an area from Chicago to San Francisco and from Madison, Wisconsin southward to Cairo, Illinois. It also notes the Utah Central Railroad, Ogden to Salt Lake City; Denver Pacific Railroad, Cheyenne to Denver; Kansas Pacific Railroad and the Central Pacific Railroad, Oregon Division.

The map is surrounded by 24 illustrations of various scenes of California and Nevada, including views of Cape Horn, the Sierras, Anderson Valley, as well as mining scenes and illustrations of the railroad tracks and tunnels. A number of the illustrations are based on photographs by 19th century artist Carleton Watkins.

(Detail of) Map of the Central Pacific Railroad and its Connections. LINK.

Map of the Central Pacific Railroad and its Connections.
Detail of smaller illustrations surrounding map.
LINK.

On the verso are timetables, as well as advertisements for stage and maritime shipping lines. Also shown on the verso is small map entitled “Map of the Rail & State Route to Big Tree Groves and Yosemite.”

Map of the Central Pacific Railroad and its Connections.  Detail of Map of on verso, Map of the Rail & State Route to Big Tree Groves and Yosemite.  LINK

Map of the Central Pacific Railroad and its Connections.
Detail of map on verso, “Map of the Rail & State Route to Big Tree Groves and Yosemite.” 
LINK

This would make a great addition to any map collection, whether you’re a railroad buff, interested in our nation’s westward expansion, or a collector of 19th century woodblock maps.

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19th Century Maps, American Maps, Engraving, Maps, New Additions, Roto-engraving

New Additions: Cram’s 1898 City Plans

NEW ADDITIONS bannerNEW ADDITIONSWe recently added twenty-four city plans from a 1898 version of “Cram’s Unrivaled Atlas of the World” to our map inventory. George F. Cram Co. was a leading 19th and 20th century map firm, based out of Chicago and later Indianapolis. It was the first American firm to publish a world atlas, and brought globes, classroom maps, and educational atlases into the schools and homes of many. His “Unrivaled Atlas of the World” was so popular it was printed continuously from the 1880’s to 1952.

These maps shown today were printed using color rotogravure, an intaglio technique adopted in the late 19th century. For those looking to collect a map of their city or a favorite travel destination, these Cram maps are handsome and finely detailed. Many offer a key to prominent buildings, churches, attractions, and railroad depots within the city. They are attractively colored in blues, yellows, and pinks, and well sized at ~10 x 13 inches. We hope you enjoy these maps!

“Cram’s Unrivaled Atlas of the World” Maps Available at The Old Print Gallery:

  1. Baltimore.
  2. Buffalo.
  3. Brooklyn.
  4. Boston.
  5. Yellowstone National Park.
  6. Map of Parkersburg West Virginia, and Vicinity. 
  7. Richmond and Manchester, Virginia.
  8. Map of Cincinnati.
  9. Cleveland.
  10. Detroit.
  11. Map of the City of Saginaw, Michigan.
  12. Map of Chicago.
  13. St. Louis.
  14. Council Bluffs.
  15. Map of St. Paul.
  16. Omaha.
  17. Denver.
  18. Louisville.
  19. Nashville.
  20. Atlanta.
  21. New Orleans.
  22. Map of the City of Quebec.
  23. Dallas.
  24. City of Montreal.
Baltimore. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 10 1/8 x 12 1/2". LINK.

Baltimore. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 10 1/8 x 12 1/2″.

Brooklyn. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 10 1/16 x 11 1/8", plus text and margins.

Brooklyn. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 10 1/16 x 11 1/8″, plus text and margins.

Cleveland. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 9 7/8 x 12". LINK.

Cleveland. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 9 7/8 x 12″.

Map of Chicago. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 13 5/8  x 10". LINK.

Map of Chicago. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 13 5/8 x 10″.

Denver. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 13 1/8 x 10 1/2". LINK.

Denver. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 13 1/8 x 10 1/2″.

Atlanta. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 13  x 10 1/8". LINK.

Atlanta. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 13 x 10 1/8″.

New Orleans. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 11 1/4  x 9 3/4". LINK.

New Orleans. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 11 1/4 x 9 3/4″.

Map of the City of Quebec. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 11 1/4  x 9 3/4". LINK.

Map of the City of Quebec. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 11 1/4 x 9 3/4″.

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17th Century Maps, American Maps, Copperplate, Engraving, Maps

Blaeu’s Map of Bermuda

Mappa Aestivarum Insularum Alias Barmudas Dictarum. . . . By Willem J. Blaeu. Published by W. Blaeu, Amsterdam. Handcolored copper plate engraving, c.1633. Image size 15 5/8 x 20 11/16" (396 x 525 mm) plus margins. French text on verso. Good condition save for paper toning, slight fading and marginal mat line. Original coloring. LINK.

Mappa Aestivarum Insularum Alias Barmudas Dictarum. . . . By Willem J. Blaeu. Published by W. Blaeu, Amsterdam. Handcolored copper plate engraving, c.1633. Image size 15 5/8 x 20 11/16″ (396 x 525 mm) plus margins. French text on verso. Good condition save for paper toning, slight fading and marginal mat line. Original coloring. LINK.

Today we are sharing this stunning c.1633 Willem J. Blaeu map of Bermuda. Cartographically, this map was based upon Richard Norwood’s 1618 survey for the Bermuda Company. The map shows the division of land into “Tribes”, a short-lived name for what later became administrative parishes. Many tiny houses dot the map, locating settlements, along with a scattering of minute cannons, marking the defensible points. At the bottom is a color-coded chart listing both the Bermuda Company stockholders and the landowners, in twelve columns.

(detail of) Mappa Aestivarum Insularum Alias Barmudas Dictarum. . . .

(detail of) Mappa Aestivarum Insularum Alias Barmudas Dictarum. . . .

The highly embellished cartouche at center features Neptune astride the royal coat of arms of England, trident in one hand and a galleon in the other.  The cartouche is adorned on both sides by mermaids, as a bountiful string of fish hangs from the bottom. Many other engraved embellishments ornament this beautiful map, including a stunning compass rose, a coat of arms, and a medallion.

(detail of) Mappa Aestivarum Insularum Alias Barmudas Dictarum. . . .

(detail of) Mappa Aestivarum Insularum Alias Barmudas Dictarum. . . .

(detail of) Mappa Aestivarum Insularum Alias Barmudas Dictarum. . . .

(detail of) Mappa Aestivarum Insularum Alias Barmudas Dictarum. . . .

(detail of) Mappa Aestivarum Insularum Alias Barmudas Dictarum. . . .

(detail of) Mappa Aestivarum Insularum Alias Barmudas Dictarum. . . .

 

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18th Century Prints, Botanical, Engraving, Prints

Traite des Arbres Fruitiers

Today we are sharing a collection of prints from the first edition of one of the most influential 18th-century works on fruit, “Traite des Arbres Fruitiers” by Henri Louis Duhamel du Monceau. The book was first published in Paris in 1768 and contained one hundred and eighty black & white engravings. The engravings were hand-colored after printing, in great detail and featuring a full spectrum of colors. The publication “proved of such importance that it was reissued between 1808 and 1835 after having been enlarged to four hundred and twenty two excellent plates” (Dunthorne, pg.53).

“Traite des Arbres Fruitiers” begins by discussing various methods of pruning and grafting fruit specimens. This concise and instructive description of techniques was written to encourage propagation of fruit trees throughout Europe, with particular concentration on French climate and soil conditions. Duhamel’s aim was to promote the advantageous and nutritional benefit of fruit-bearing trees, going against popular opinion at the time that claimed eating fruit was detrimental to one’s health.

Sixteen different types of fruit and a number of their different species are described in the work – including apricots, cherries, figs, gooseberries, pears, peaches, grapes, and many more. For each fruit included in “Traite des Arbres Fruitiers”, the plate features a depiction of the seed, foliage, blossom, fruit, and sometimes cross sections of the specimen. As pears were Duhamel’s favorite fruit, they constitute the largest percentage of the plates.

Duhamel employed three artists to illustrate his book- Claude Aubriet, Madeleine Basseporte, and Abbé le Berriays (credited only by the initials “L.B.”). These artists’ names can be found on the lower left publication line of their respective plates.

We hope you enjoy these beautiful examples of early fruit illustration.

Bon Chretien d'Hyver.Tome II. Pl. XLV. By Henri Duhamel Du Monceau. Published Paris. Engraving, handcolored, 1768. Image size 9 1/4 x 7 3/4" (237 x 197 mm). LINK.

Bon Chretien d’Hyver.Tome II. Pl. XLV. By Henri Duhamel Du Monceau. Published Paris. Engraving, handcolored, 1768. Image size 9 1/4 x 7 3/4″ (237 x 197 mm). LINK.

Corinthe Blanc.Tome II. Pl. VII. By Henri Duhamel Du Monceau. Published Paris. Engraving, handcolored, 1768. Image size 8 7/8 x 7 1/2" (225 x 190 mm). LINK.

Corinthe Blanc. Tome II. Pl. VII. By Henri Duhamel Du Monceau. Published Paris. Engraving, handcolored, 1768. Image size 8 7/8 x 7 1/2″ (225 x 190 mm). LINK.

Griotte d'Allemagne. Tome I. Pl. XIV. By Henri Duhamel Du Monceau. Published Paris. Engraving, handcolored, 1768. Image size 9 x 7 1/2" (227 x 190 mm). LINK.

Griotte d’Allemagne. Tome I. Pl. XIV. By Henri Duhamel Du Monceau. Published Paris. Engraving, handcolored, 1768. Image size 9 x 7 1/2″ (227 x 190 mm). LINK.

Chair-a-Dame.Tome II. Pl. XVI. By Henri Duhamel Du Monceau. Published Paris. Engraving, handcolored, 1768. Image size 9 x 7 5/8" (227 x 193 mm). LINK.

Chair-a-Dame.Tome II. Pl. XVI. By Henri Duhamel Du Monceau. Published Paris. Engraving, handcolored, 1768. Image size 9 x 7 5/8″ (227 x 193 mm). LINK.

Beure Gris. Tome II. Pl. XXXVIII. By Henri Duhamel Du Monceau. Published Paris. Engraving, handcolored, 1768. Image size 9 x 7 1/2" (223 x 190 mm). LINK.

Beure Gris. Tome II. Pl. XXXVIII. By Henri Duhamel Du Monceau. Published Paris. Engraving, handcolored, 1768. Image size 9 x 7 1/2″ (223 x 190 mm). LINK.

Marquise. Tome II. Pl. XLIX. By Henri Duhamel Du Monceau. Published Paris. Engraving, handcolored, 1768. Image size 9 x 7 1/2" (227 x 190 mm). LINK.

Marquise. Tome II. Pl. XLIX. By Henri Duhamel Du Monceau. Published Paris. Engraving, handcolored, 1768. Image size 9 x 7 1/2″ (227 x 190 mm). LINK.

REF: Dunthorne, G. (1970). Flower & Fruit Prints of the 18th and early 19th centuries. New York: Da Capo Press.

To see all Henri Duhamel Du Monceau prints, click here.

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Abstract, Aquatint, Contemporary, Drypoint, Early 20th Century, Engraving, Etching, Gallery Opening Receptions, Gallery Openings, Gallery Updates, Landscapes, Mezzotint, Photo engraving, Prints

“Resonant Terrain” to open on April 17th

The Old Print Gallery is excited to announce its new print exhibit, Resonant Terrain, which will open on Friday April 17th, with a nighttime reception at the gallery from 5-7pm. This exhibit of landscapes in print features work by both 20th century and contemporary printmakers, including Matt Brown, Margaret Patterson, Joseph Essig, Sylvie Covey, John Taylor Arms, and more. The selected works range from representational to abstract, depicting vistas, valleys, and views of our shared terrain. The show will remain on view until July 11th.

Sentinels. Robert Kipniss. Mezzotint, 1992. Editon 60 + 10 ap. Image size 13 13/16 x 9 1/4" (350 x 234 mm).

Sentinels. Robert Kipniss. Mezzotint, 1992. Editon 60 + 10 ap. Image size 13 13/16 x 9 1/4″ (350 x 234 mm).

The landscape has a long tradition in art, and Resonant Terrain explores how printmakers choose to depict the natural world through its evolution and transformation into the modern era. Although united in the theme of landscape, the works are realized through differing conceptual and methodical approaches. Some, like Robert Kipniss, use the velvety blacks and luminous whites of a mezzotint to infuse landscapes with a poetic melancholy and stillness- depicting a terrain seemingly untouched by the viewer or even the artist. Others, like Harry Wickey and Gerald Scheck, use the chaotic crosshatching of a drypoint needle or the unpredictable acidic bite of the aquatint to evoke the untamed, wild majesty of the natural world.

Storm in the Mountains. Harry Wickey. Drypoint, 1935. Edition 100. Image size 8 7/8 x 12 3/4" (223 x 324 mm).

Storm in the Mountains. Harry Wickey. Drypoint, 1935. Edition 100. Image size 8 7/8 x 12 3/4″ (223 x 324 mm).

Alone Again.  Gerald Scheck. Drypoint, etching, and aquatint, 2005. Edition 25. Image size 19 5/8 x 21 3/4" (497 x 550 mm).

Alone Again. Gerald Scheck. Drypoint, etching, and aquatint, 2005. Edition 25. Image size 19 5/8 x 21 3/4″ (497 x 550 mm).

As our landscapes evolve and modernize, so too do the artists’ tools and technologies, as shown in the methods of two contemporary printmakers selected for the exhibit. Nancy Previs crafts photopolymer plates from her own un-retouched photographs, documenting the life-force of the natural world found hidden within her increasingly urbanized home city of Dublin.  Using a similar photogravure process, Sylvie Covey transforms her own photographs into impressive, mammoth-sized prints of the vast Wyoming landscape.

Seen together, the prints selected for the show unveil the emotional power and pull of the natural world, a beauty and mystery that entraps and enchants artists, and serves as a deep pool of inspiration for their work.

Wyoming III. Sylvie Covey.  Photogravure, 2011. Edition 6. Image size 18 x 23 7/8" (457 x 608 mm).

Wyoming III. Sylvie Covey. Photogravure, 2011. Edition 6. Image size 18 x 23 7/8″ (457 x 608 mm).

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