Beyond the Press
Sanders of Oxford
Antique Prints & Maps
104 High Street, Oxford. OX1 4BW 01865 242590 info@sandersofoxford.com www.sandersofoxford.com
Beyond the Press. A catalogue of large-scale prints and maps Beyond the Press brings together an eclectic collection of prints and maps from the 18th and 19th century that are unified by their size and scale. All items in this catalogue are either printed on more than one sheet, use more than one printing plate or have pushed the printing plate to its physical limit.
Prints: 1. Edystone Light-House 2. The View of the Charity Children in the Strand, upon the VII of July, MDCCXIII (...) 3. A View of the Practices and Proceedings of the Tribunal of the Inquisition; Also of the Ceremonies practiced by the Roman Catholicks on Ash Wednesday & Good Friday. 4. A Geometrical View of the Grand Procession of the Scald Miserable Masons, Designed as they were Drawn up over against Somerset House, in the Strand. on the twenty Seventh of April. Ano. 1742. 5. The East View of the Inside of Westminster-Hall, with both Houses of Parliament assembled on the Tryal of Simon Fraser Lord of Lovat. 6. Veduta del prospetto principale della Colonna Trajana [View of the Front of Trajan’s Column] 7. Panoramic View of the Southern Coast of the Crimea from Cape Meganom to Kaffa. 8. Hyde Park, 1864, Rotten Row 9. [Christian Martyrs, Reign of Diocletian Rome AD 303] Maps: 10. A Plan of the Famous Victory at Bleinem, obtained by his Grace the Duke of Marlborough over the Elector of Bavaria and the Marechals Tallard and Marcin, the 13th August, 1704. 11. Oxfordshire Actually Survey’d etc Humbly Dedicated to the Rt. Reverend Father in God George Ld. B Bishop of Bristol Dean of Christchurch & Lord Almoner to his Majesty. By his Lordship’s Most Obedient Servant Phil: Overton. 12. To the Chancellor, Master and Scholars of the University and the mayor, Aldermen, & citizens of the City of Oxford, This Plan from Actual Survey is most respectfully inscribed by Robert Syer Hoggar, Assoc. Inst. C.E. 1850 13. Geological Map of the British Isles and Part of France showing also the Inland Navigation by, means of Rivers and Canals, The Railways and Principal Roads and Sites of the Minerals... 14. A Map of the County Palatine of Lancaster Divided into Hundreds and Parishes from an accurate Survey made in the Years 1828 and 1829. 15. The Trigonometrical Plan of the Town and Port of Liverpool including the Environs of Edge Hill & Toxteth Park Kirkdale Everton Low Hill from Actual Survey.
Prints
1. Edystone Light-House Henry Winstanly Copper engraving [Winstanly’s Water-Works, Piccadilly, c.1700] Image 977 x 682 mm, Plate 990 x 695 mm, Sheet 1035 x 730 mm A large and rare architectural draught of Eddystone Lighthouse, printed over two sheets, engraved by the architect, Henry Winstanly. The highly detailed plan of the lighthouse includes a corresponding key to interesting features, labelled A to T, and the lighthouse’s history is listed in two sets of text at the top of the sheet. The dedication to the Admiralty is enclosed in a large and decorative baroque cartouche. Numerous sailing craft, from which the lighthouse extracted tolls, are depicted on either side. The Eddystone Lighthouse was commissioned to protect against wreckage on the dangerous Eddystone Rocks, near Rame Head. Although it stands off the coast of Cornwall, the rocks themselves are part of Devon. The original lighthouse, designed and built by Winstanly, had a turbulent and short life. In the early stages of its construction, it was wrecked by passing French pirates, who took Winstanly captive, though construction began anew after the intervention of Louis XIV secured the architect’s release. Completed in 1698, the lighthouse stood for only five years, being washed away in the ‘Great Storm’ of 1703. Winstanly himself, along with five other workmen, were carrying out repairs at the time, and were lost at sea. The current Eddystone lighthouse is the fourth iteration, built in 1882 and still in use. Henry Winstanly (31st March, 1644 - 27th November, 1703) was a British artist, draughtsman, and engineer, best known for his work on the original Eddystone Lighthouse. He studied engraving under Wenceslas Hollar. The motivation for his work on the Eddystone lighthouse was the loss of two of his own merchant vessels on the dangerous rocks. Winstanly himself would eventually lose his own life at Eddystone, being lost at sea while carrying out building works during a storm in 1703. Condition: Clear impression. Vertical and horizontal folds as issued. Repaired tears to folds and joins. [39984] £2,500
2. The View of the Charity Children in the Strand, upon the VII of July, MDCCXIII (...) George Vertue Copper engraving 1715 Image 367 x 1257 mm, Sheet 372 x 1274 mm Vertue’s panoramic work is composed of two sheets and joined in the middle. The plates were commissioned by Sir Richard Hoare, who was Lord Mayor at the time. His grandson, Henry Hoare, then endowed them to the Society of Antiquaries of London. The plates were later republished in 1774. George Vertue’s depiction of national rejoicing celebrated the Peace of Utrecht which followed the Duke of Marlborough’s series of victories against the French. In the print, a procession of carriages pass from left to right along the Strand. They are watched by ranks of children; the girls are mostly on the left, whilst the boys appear to the right. Infantrymen occupy the space in between the stalls, and shoulder their weapons. Other spectators in balconies line the houses behind. Two roundels appear at the top of the image. On the left is a bust portrait in profile of Queen Anne. The right hand roundel is more emblematical, and shows Britannia with ships, a chariot and man sowing seed. Inscription content: The title continues to read: ‘being the day appointed by her late Majesty Quenne ANNE for a Publick Thanksgiving for the Oeace; when both Houses of Parliament made a solemn procession to the Cathedral of St Paul. By the care & provision of the Trustees of the Several Charity-Schools in & about LONDON & WESTMINSTER near IV thousand CHARITY CHILDREN Boys & Girls, being new cloathed were placed upon a Machine extended in length 620 feet, which had in breadth eight ranges of seats one above another; During the whole procession which lasted nearly three Hours, they sung & repeated the Hymns, which were prepared upon the expectation of her Majesty’s Royal Presence. The Like View of the CHARITY CHILDREN was presented to his Majesty King GEORGE, on the fourth side of St. PAUL’S, when he made—his Publick Entry into the City of LONDON, upon the XX of September, MDCCXIV.’ Lettered on either side of the title with the two hymns sung by the children. George Vertue (1684-1756) was an antiquary and engraver. He was born in the parish of St. Martin-in-theFields, London. Vertue was apprenticed to a silver engraver and later to the Flemish engraver Michael Vandergucht. His early work includes plates after Kneller, whose academy he attended from 1711. Vertue had a deep interest in antiquarian research, and much of his work was devoted to this subject. He also served as the official engraver to the Society of Antiquaries (1717-56). From 1713 onwards, Vertue dedicated his research to the details of the history of British art, which resulted in an extensive collection of notebooks now in the British Library. The contents of which were the basis of Horace Walpole’s 1762 Anecdotes of Painting. There are approximately five hundred portraits attributed to Vertue, and an equivalent number of published plates which were devoted to antiquarian subjects. Alexander 124 Condition: Pressed folds as issued. The centre fold has been professionally restored. [30669] £650
3. A View of the Practices and Proceedings of the Tribunal of the Inquisition; Also of the Ceremonies practiced by the Roman Catholicks on Ash Wednesday & Good Friday. After Bernard Picart Copper engraving with original hand colouring Printed and Sold by John Bowles at the Black Horse in Cornhill. [n.d.c. 1723 - 34] Sheet 585 x 930 mm An extremely rare ‘popular print’ engraved after the designs of Monsieur Picart (Bernard Picart) dissected into twelve panels and laid to original linen. The titles of each panel from top left to right are: The Standard of the Inquisition at Goa, The Standard of the Inquisition in Spain. The Hall of the Inquisition in which the Prisoners are examined. The place of Torments and Manner of giving the Torture. A Nun who has escaped ye Flames by confessing before she is try’d, The Habit of a Penitent called Sambenito. The Ceremony of distributing the Ashes on Ash Wednesday, as observed by the Roman Catholicks. The Celebration of an Act of Faith in the Great Square of Madrid as it was solemized in honour if ye Nuptials of Charles 2d of Spain. The Procession of the Inquisition of Goa. The Adoration of the Cross by the Roman Catholicks on Good Friday. The Habits wore by Patients, who by Confession, escape the Flames after sentence is pronounced. The Celebration of an Act of Faith at Goa. The place and manner of Executions. The Habit of a Relapse or Impenitent going to be burnt, A Woman condemned by ye Inquisition to be burnt alive. Descriptive text of each scene depicted below each illustration. The illustrations are copies of those that appear in Picart’s famous Cérémonies et coutumes religieuses de tous les peuples du monde (1723-43). An advertisement this print ‘printed and Sold by John Bowles. at Mercers-Hall in Cheapside’ appears to have been published in a copy of ‘A brief representation of the cruel and barbarous proceedings against Protestants...’, published by James Roberts in 1734, held in the British Library. A reproduction of this advert is included with the print. Bernard Picart (11 June 1673 – 8 May 1733), was a French engraver, the son of the engraver Etienne Picart. He was born in Paris and worked in France and the Netherlands. Following the death of his wife in 1708, he moved to Amsterdam in 1711 where he became a Protestant convert and married again. Most of his work was book-illustrations, including the Bible and Ovid. His most famous work is Cérémonies et coutumes religieuses de tous les peuples du monde. Jonathan I. Israel calls Cérémonies “an immense effort to record the religious rituals and beliefs of the world in all their diversity as objectively and authentically as possible”. Israel notes also that Picart left Paris with Prosper Marchand, and collaborated on the Cérémonies with Jean-Frédéric Bernard, with a commitment to religious toleration. Picart, Marchand and Charles Levier belonged to a “radical Huguenot coterie”. John Bowles (1701? - 1779) was a print publisher working in London in the middle of the eighteenth century. He was the younger son of Thomas Bowles I, and brother of Thomas Bowles II. Thomas II took on the family business, but John set up his separate print shop c.1723 at Mercers’ Hall, Cheapside, London. By 1733 he was trading from the sign of the Black Horse, Cornhill, from where this print was published. Not listed on COPAC Condition: General time toning to sheets, repairs to middle and bottom left panels, to the margins only. Light brown vertical stain to second panels. Printers crease to right middle panels. [40166] £700
4. A Geometrical View of the Grand Procession of the Scald Miserable Masons, Designed as they were Drawn up over against Somerset House, in the Strand. on the twenty Seventh of April. Ano. 1742. Antoine Benoist Etching 1742 Image 204 x 1185 mm, Sheet 227 x 1197 mm A long panorama of a crowd of spectators gathered on the Strand watching a procession of mock Free-Masons, walking, in carriages and on horse and donkey, parading with trumpets and large signs emblazoned with freemason emblems and imagery. These caricature processions were inaugurated by anti freemason groups as a satire on the Freemason “Processions of the Craft”. Below the image is a numbered key:1. The grand Sword Bearer, or Tylor, carrying y e Swoard of / State, a Present of Ishmaer Abiff to old Hyram King of y e Saracens / to his Grace of Wattin, Grand Master of y e Holy Lodge of S.t John of Jerusalem in Clerkenwell. / 2. Tylers or Guarders. 3. Grand Chorus of Instruments. / 4. The Stewards in three Gutt Carts drawn by Asses. / 5. Two famous Pillers Jachin and Boaz. / 6. Three Great Lights, the Sun Hiroglyphical to Rule the / Day, the Moon Emblematical to Rule the Night. / A Master Mason Political to Rule his - Lodge. 7. The Entered Prentice’s Token. / 8. The letter G famous in Masonry. for differing the / fellow-Crafts Lodge from that of Prentices. / 9. The funeral of a Grand Master according to y e Rites of y e / Order with the 15 loving Brethren. 10. A Master Masons Lodge. [2] 11. Grand Band of Musick. / 12. Two Trophies one being that of a Black Shoe Boy and / Link boy, the other that of a Chimney Sweeper. / 13. The Equipage of the Grand Master all y e Attendants, wearing Mystical Jewels. Inscription below key reads: Invevented & Engrav’d by A. Benoist at his Lodgings / Sold by the Printsellers of London & Westminster. Antoine Benoist (1721 - 1770) was an etcher and engraver, born in Soissons, he worked his entire later career in London, where he died. This engraving shows he was in London by 1742, when he advertises his services as a drawing master. BM Satires 2546.iii/iv, IFF 14 Condition: Printed on two sheets and professionally inset into album page. Numerous vertical folds with some surface damage, especially to centre fold. Repaired tear to bottom left of right hand sheet. [37702] £650
5. The East View of the Inside of Westminster-Hall, with both Houses of Parliament assembled on the Tryal of Simon Fraser Lord of Lovat. Remigius Parr after I. Freeman Copper engraving Printed for & Sold by Carrington Bowles No. 69 St. Pauls Church Yard London. [n.d.c. 1770] Image 510 x 927 mm, Sheet 556 x 934 mm. A large-scale engraving of the interior of Westminster hall with an impressive beamed ceiling and hundreds of peers and audience members assembled below. The Royal throne is to the right, flanked by viewing boxes. The Lord High Steward sits at a central table with clerks recording the proceedings. The key figure of Lord Lovat leans over the front of the bench on the left, talking to a man who repeats his words to the rest of the court. Lettered with the title below the image, and a key listing the people represented. Originally ‘Publish’d according to Act of Parliament June 30, 1747 Printed for John Bowles at the Black Horse in Cornhill, London.’ Simon Fraser, 11th Lord Lovat (c.1667-1747), was a Scottish Jacobite and Chief of Clan Fraser. He was famous for his violent feuding and his changes of allegiance. In 1715, he had been a supporter of the House of Hanover, but in 1745 he changed sides and supported the Stuart claim to the crown of the United Kingdom. Lovat was among the Highlanders defeated at the Battle of Culloden. He was convicted of treason, and was the last man in Britain to be publicly beheaded, at Tower Hill, London. Remigius Parr (fl. 1723 - 1747) was an English engraver, the brother of Nathaniel Parr. Prints by Richard Parr have been previously been mistakenly ascribed to Remigius. John Bowles (1701? - 1779) was a print publisher working in London in the middle of the eighteenth century. He was the younger son of Thomas Bowles I, and brother of Thomas Bowles II. Thomas II took on the family business, but John set up his separate print shop c.1723 at Mercers’ Hall, Cheapside, London. By 1733 he was trading from the sign of the Black Horse, Cornhill. Condition: Printed on two sheets and professionally joined. Trimmed within the plate. Short tears to top and bottom of sheet [35301] £700
6. Veduta del prospetto principale della Colonna Trajana [View of the Front of Trajan’s Column] Giovanni Battista Piranesi Etching [Rome, 1774-1779] (c. 1835 impression) Overall 2910 x 465 mm One of Piranesi’s most impressive and accomplished etchings. A magnificent, almost three metre high, depiction of Trajan’s column in Rome using six plates printed over five pages. Piranesi’s spectacular vision of the monument illustrates the column’s narrative spiral frieze, featuring sculpted relief scenes of the Roman emperor Trajan’s epic battles against the Dacians. The etching includes the original bronze statue of Trajan, which was later replaced with a figure of Saint Peter in 1587, and still stands today. Descriptions of the many reliefs run the entire length of the print on the left and right sides. Plate three from ‘Trofeo o sia Magnifica Colanna Coclide di marmo composta di grossi macigni ove si veggono scolpite le due guerre daciche fatte, da Trajano inalzata nel mezzo del Gran Foro eretto al medesimo imperadore per ordine del senato e popolo romano doppo i suoi trionfi’ (The Trophy or Magnificent Spiral Column of marble composed of large drums on which are carved the two Dacian Wars of Trajan, raised in the middle of the large Forum, erected in honor of the same Emperor on the order of the Senate and People of Rome after his Triumph) John Wilton-Ely describes the ‘Trofeo o sia Magnifica Colanna Coclide...’ as a composite publication, which meticulously records the three monumental relief columns in Rome - those of Trajan, of Marcus Aurelius (the Antonine Column) and of Antonius and Faustina - consisting of three groups of plates executed between 1774 and 1779 and eventually combined. It belongs to the last phase of Piranesi’s career, when a number of works, initiated earlier, were brought to conclusion with considerable studio help. Besides other such assistants as Vincenzo Dolcibene, Francesco Piranesi had now begun to play an important role in the business. Dolcibene and the younger Piranesi were probably involved in most if not all of the plates concerned. Apart from a certain mechanical character in these illustrations, attributable to such studio assistance, the somewhat frozen expression found in these plates shows the growing influence of the aesthetic ideals of Neoclassicism. Giovanni Battista (also Giambattista) Piranesi (1720 – 1778) was an Italian artist famous for his etchings of Rome and of fictitious and atmospheric “prisons” (the Carceri d’Invenzione). He was a major Italian printmaker, architect and antiquarian. The son of a Venetian master builder, he studied architecture and stage design, through which he became familiar with Illusionism. During the 1740’s, when Rome was emerging as the centre of Neoclassicism, Piranesi began his lifelong obsession with the city’s architecture. He was taught to etch by Giuseppe Vasi and this became the medium for which he was best known. Wilton-Ely 687, Focillon 553, C621-626, Hind p.86 Condition: Excellent impression, printed on five sheets and professionally joined. Small nicks to edges of sheet, not affecting plate or image, old water stains to left of bottom sheets. [40171] £10,000
7. Panoramic View of the Southern Coast of the Crimea from Cape Meganom to Kaffa. Capt.n W.H. Parker Lithograph with hand colouring Lithographed and Published by Dickinson Bro.s New Bond St. [c.1855] Image 172 x 1918 mm, Sheet 360 x 2016 mm A spectacular large scale panorama of the Crimean coast line with key names listed below, including Cape Meganom, Mount Chernai, KiatLama Point, St.Elias’ Monastery, Theodosia Point and Kaffa (ancient Theodosia). Condition: Printed on four sheets and joined, repairs to verso. Light staining to margins and joins. Staining to sky of right hand sheets. [31797] £450
8. Hyde Park, 1864, Rotten Row William Henry Simmons after Henry Barraud Mixed method steel engraving Pubd. Feby. 20th, 1867 by Robert Turner, Newcastle-on-Tyne. London by Messers. A.B. Fores & Co. Piccadilly. Image 605 x 1215 mm, Sheet 720 x 1280 mm Signed in pencil by Henry Barraud. Proof before letters on India laid paper. An uncommon large-scale print of nineteenth century high society Londoners dressed in their finery. Riders in Hyde Park, with a crowd of persons prominent in society socialising in the foreground, carriages pass in front of the Wellington Arch behind, and St. George’s Hospital partly obscured by trees; in the centre on the right hand side, the Princess of Wales is riding to left, followed by the Prince of Wales, Prince Alfred and the Duke of Cambridge. States A.P. 475, Present. 25, B.L. 250, L.P. 250, Unlimited with title. Printsellers Asscoiation Index 178, O’Donoghue & Hake (Vol V, Groups) 26 Condition: Good impression, overall time toning and foxing to sheet and image. [31056] £1,500
9. [Christian Martyrs, Reign of Diocletian Rome AD 303] Herbert Bourne after Gustave Doré Steel engraving London: October 19th 1875. Published by Fairless & Beeforth, Dore Gallery, 35, New Bond Street, W. Copyright Registered. Image 558 x 807 mm, Plate 672 x 915 mm, Sheet 810 x 1124 mm Artists proof with signatures of Doré and Bourne in pencil. A atmospheric large-scale engraving set within an amphitheatre. Numerous martyrs, men and women, lie dead on the ground of an empty Roman amphitheatre, with wilds animals prowling and gnawing at the bodies. Set at night, the only light source comes from the angels hovering over the bodies. Behind the angels in the foreground is a trail of other angels swooping towards the amphitheatre. From 1865 onwards, Doré began to regularly submit large-scale religious works to the Salon. He depicted Biblical stories such as Moses in the Bulrushes, Christ Leaving the Tomb, and The Flight into Egypt. These works, however, do not appear to have been the result of a theological conviction, but motivated by commercial considerations. To honour the launch of the Doré Gallery in 1868, the managers of the institution, Fairless and Beeforth, commissioned Doré to paint a ten feet high canvas displaying a multitude of Pagan deities reeling before a triumphant Christ. A clause in Doré’s contract stipulated that he would also make a watercolour version of the picture for an engraver to work from, and that he would receive fifteen percent of the entrance fees, engraving and catalogue sales. Herbert Bourne (1820 - 1907) was a British line engraver who worked in London. He exhibited from 1831 to 1855, and then at the Royal Academy from 1859 to 1885. Paul Gustave Doré (1832 -1883) was a French artist, engraver, illustrator and sculptor. Doré was born in Strasbourg and began work as a literary illustrator in Paris. He won commissions to depict scenes from texts by Rabelais, Balzac, Milton and Dante. This was followed by work for British publishers. Amongst these commissions, Doré was charged with the task of producing a new illustrated English Bible. The English Bible, published in 1866, was a great success. Playing upon this popularity, Doré had a major exhibition of his work in London in 1867; a show which subsequently laid the foundations for the Doré Gallery in Bond Street. Condition: Small tears to the extremities of the sheet; image and plate unaffected. [37831] £500
Maps
10. A Plan of the Famous Victory at Bleinem, obtained by his Grace the Duke of Marlborough over the Elector of Bavaria and the Marechals Tallard and Marcin, the 13th August, 1704 Leers, Reinier after Vianen, Jan Van Copper engraved [n.d.c. 1704] Each sheet 635 x 890 mm A large uncommon and separately published plan of the Battle of Blenheim, on a scale of 1.4 inches to 700 geometric paces. The map depicts the positions and movements of the troops, printed on two sheets. A large decorative cartouche in the upper left in which Mars frees himself from chains and a portrait of the Duke of Marlborough. In the top right there is a cartouche with a list of the Allied Armies and a dedication to Queen Anne decorated with allegorical figures of victory, father time, the Dutch lion and the British Unicorn. Reinier Leers (1654—1714) was a Dutch publisher and bookseller. Jan van Vianen (1660 - 1726) was a Dutch engraver, painter and draftsman working in Haarlem, Amsterdam and Utrecht. Vianen specialized in historical and topographical subjects. In 1703 he became a member of the Guild of St Luke, near the city of Haarlem. Condition: Excellent impression. Dirt build-up to margins, worm holes in lower section of top and bottom sheets, glue reside to lower left of top sheet, and vertical crease through both sheets. [39357] £1,800
11. Oxfordshire Actually Survey’d etc Humbly Dedicated to the Rt. Reverend Father in God George Ld. Bishop of Bristol Dean of Christchurch & Lord Almoner to his Majesty. By his Lordship’s Most Obedient Servant Phil: Overton. Overton, Philip Copper engraved with original hand colour Sold by Phil: Overton Mapseller against St. Dunstans Church in Fleet Street London, 1715 570 x 930 mm Engraved by John Oliver on two sheets, on a scale of 1 inch to 1 mile. This is the rare second state of a map first published c. 1681 by John Selller and John Oliver, known only by a unique copy in the British Library. For this later edition widespread revisions have been carried out to the decorative and explanatory features and there have been additions and alterations to the map itself. It is orientated with the west to the top of the map and is printed on two separate sheets. The right-hand sheet, which contains the decorative title cartouche, includes engravings of ‘The Publicke Schools in Oxford’ and ‘The Pavement Mosaic Work Discover’d at Stansfield near Woodstock’. The left-hand sheet includes views of Blenheim House, Blenheim Bridge, and the Sheldonian Theatre in Oxford. More important, however, is the fine ‘Prospect of Oxford from the East near London Road’. There is a list of the hundreds and of the market towns whilst Overton’s additions include mileage’s given between some of the towns; a note below the mileage scales states ‘the uppermost figures in the Circles are Computed and the undermost Statute or Measured Miles and Furlongs’. An informative and clearly engraved map, the towns and villages particularly prominent. The engraver, John Oliver, was a surveyor, engraver and glass-painter who gained prominence at the end of the seventeenth century contributing to maps of Middlesex, Essex, Kent and Hertfordshire. Philip Overton was the son of Henry Overton and published several important large-scale surveys between 1715 and 1740. he died in 1745 and his business was acquired by Robert Sayer two years later. Rodger 368 Condition: Printed on two sheets and professionally joined. Light foxing to centre of left sheet. Professional repairs to top and bottom of centre fold. Pressed old horizontal and vertical folds with some professional repair. [40165] £2,500
12. To the Chancellor, Master and Scholars of the University and the mayor, Aldermen, & citizens of the City of Oxford, This Plan from Actual Survey is most respectfully inscribed by Robert Syer Hoggar, Assoc. Inst. C.E. 1850 Hoggar, Robert Syer Copper engraved with hand colour 1850 1440 x 1220 mm Engraved by Thomas Jones on four sheets on a scale of 44 feet to one inch. Dissected and laid to linen with early full wash colour. Slip case in blue cloth with gilt title. The most important nineteenth-century plan of the city of Oxford, forming a link between the earlier surveys carried out by Isaac Taylor in 1751 and Richard Davis in 1797 and the large-scale maps and plans of the Ordanance Survey which surveyed Oxfordshire in 1876. Such plans, together with their smaller-scale successors that appeared in countless oxford Guide-Books, have provided the definitive basis for most of the plans, street maps and tourist guides that proliferated throughout the nineteenth century. The map includes the new working-class suburbs of St.Ebbs, St.Thomas’s and Jericho, of which the first two were blighted by the building of the gasworks in 1818 following the passing of an Act in that year which allowed for the manufacture of “inflammable air” for heating. For over a century the area suffered from the acrid smell of the gasworks plus the intermittent flooding of the houses, which doubtless contributed to the disease and pestilence so rife in the area. A complete contrast to this and possibly most interesting part of Hoggar’s survey, was the beginning of the development of North Oxford, the area running from St.Giles Church to Marston Road, Frenchay Road and the Norham Gardens Estate (most of which was owned by St.John’s College) where the period from 1850 to 1910 sawe enormous changes to the architectural landscape of teh area. It is interesting to note that Woodstock Road and Banbury Road are designated respectively as St.Giles Road West and St.Giles Road East, whilst the area beyond Park End Street is completely underdeveloped but indicates an area earmarked for a “Proposed Station”. Like most nineteenth-century plans the decoration is limited to a fine calligraphic title piece enhanced by a “Representation and Explanation of Levels” from which may be deduced the difference in level between any two points on the map. The immense detail includes colleges, halls and houses, bridges, rivers and parks, chapels, churches and burial grounds, hospitals and institutions, the Radclife Observatory and the Botanical Gardens. large-scale city plans of this period were separately published in small numbers and thus have a low survival rate - it is unusual to find one inn such good condition. Clary Undescribed, Rodger Undescribed. Condition: Four filled burn holes to south east sheet on linen fold and damage to slip case. Otherwise an excellent impression with impressive early full was colour. [40169] £2,500
13. Geological Map of the British Isles and Part of France showing also the Inland Navigation by, means of Rivers and Canals, The Railways and Principal Roads and Sites of the Minerals... Dower, I. after Knipe, James Steel engraved with hand colour Stanford & Co., Charing Cross, London, 1880. 1510 x 1300 mm Housed in a dark blue leather book-style box, with gilt title and decoration. A highly detailed geological map of the British Isles and part of France, with Paris featured in the lower right corner of the map. As well as featuring an ‘Explanation’, the map also includes a table of Geological Reference, with the systems and formations noted in English, French, and German. This impressive folding map is printed across four sheets, each of which is backed onto linen. When folded, each sheet features a small label in the upper left corner in order to identify the sheets. Second edition. Condition: Excellent condition. [39826] £1,400
14. A Map of the County Palatine of Lancaster Divided into Hundreds and Parishes from an accurate Survey made in the Years 1828 and 1829 Bingley, James after Hennet, George Steel engraved with original hand colour Henry Teesdale & Co., London, 1830 1560 x 1110 mm Dissected into four sections, and laid on linen. Cased in an original book-style red morocco sliding box, with gilt decoration and title. Fine folding map of Lancashire, featuring a typical calligraphic title, a compass, an ‘Explanation’, and an engraving of the New Custom House in Liverpool. This greatly detailed, large-scale map includes market towns, hamlets and villages, gentlemen’s seats and houses, woods, plantations, heaths and commons, churches and chapels, water mills and wood mills, turnpike and cross roads, rivers, canals and brooks, and railways. Interest in the sea sections of the county is also visible, with channels, wharfs, and sand banks noted. The style is similar to that of the Greenwoods Survey, published in 1818, which was one of the first to be produced. Rodger 255 Condition: Excellent condition. [39828] £1,200
15. The Trigonometrical Plan of the Town and Port of Liverpool including the Environs of Edge Hill & Toxteth Park Kirkdale Everton Low Hill from Actual Survey. Starling, Thomas after Gage, Michael Alexander Steel engraved with original hand colour Liverpool, 1836 1040 x 1700 mm Backed onto linen and leather, with silk edges, and contained in an original burgundy leather book-style sliding box, with decoration, shortened title, and date in gilt. A stunning large-sclae map of the city split over 36 sections. This large-scale folding map shows the town and port of Liverpool in detail, and includes parts of the surrounding areas. Condition: Offset staining to sheets. [39827] ÂŁ1,800
Sanders of Oxford
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