THE TOP TEN. A Catalogue of Sanders' Most Wanted. by Sanders of Oxford, Antique Prints & Maps

THE TOP TEN

A CATALOGUE of SANDERSâ&#x20AC;&#x2122; MOST WANTED Sanders of Oxford

Antique Prints & Maps

All works are available to purchase and will be on display in the gallery. All items are guaranteed to be genuine. A full refund will be given for any item found not to be as described, provided it is returned undamaged within 14 days and any work returned must be sent by registered, prepaid, ďŹ rst class post (airmail overseas) and must be fully insured. All items are in good condition unless otherwise stated. Sizes are given in millimetres. Prices are nett and do not include postage. All orders will be sent by registered mail, by air to overseas customers unless instructed, at the customerâ&#x20AC;&#x2122;s expense. Any importation or customs charges will be the responsibility of the customer. Payment must be made in British Pounds Sterling, either in person or bank transfer (all banking administration and transaction fees to be paid by the customer). We also accept Visa, Mastercard, Switch, and American Express. The title of the goods does not pass to the purchaser until the amount has been paid in full. For full Terms & Conditions please visit: https://www.sandersofoxford.com/terms-conditions/

THE TOP TEN A Catalogue of Sanders’ Most Wanted From 30th May, 2017. 2017 marks a number of important anniversaries here at Sanders of Oxford. The company celebrates its 90th birthday, and the current owners, Sarah and myself, mark our 15th and 10th years respectively here on the High Street. In 1927, Francis “Frank” James Hawking Sanders took over the lease at Salutation Inn, 104 High Street, Oxford, continuing a tradition of selling books, prints, and maps from this premises since the mid 1840’s. In the 1940 novel Sweet Thames Run Softly, Robert Gibbings writes: … I went on to “The High”, to visit my friend, Mr Sanders, at “Salutation House”. This is as cosy a bookshop as one could desire, retaining that atmosphere of geniality and ease which no doubt existed in the sixteenth and seventeenth centuries, when the House was known as the Salutation Inn. Davenant and Shakespeare almost certainly visited this resort, and it is on record in the registers of St Mary’s parish that Anthony Wood and Sir Kenelm Digby were carried home from it in a condition which would today be described as “tight”. The two current owners of the shop, Sarah Boada-Momtahan and myself, have in turn brought the shop into the twenty first century, retaining at the same time the traditional charm and atmosphere of this historic property. Sarah celebrates 15 years of hard work at Sanders this year, and to mark the occasion, will be releasing a catalogue next month of her fifteen favourite items. 2017 also marks my 10th year of employment with the firm. I started working for Sarah, and the late Christopher Lennox-Boyd, as a shop and gallery assistant. Over the last decade I have worked in the basement, on the shop floor, and in the office. I have had the joy of meeting and talking to a vast array of customers and this has resulted in a whole host of curious requests and questions. This catalogue celebrates my time, so far, here at Sanders, and provides a snap-shot of the top ten most frequently asked questions I have received. Philip Marston Sanders of Oxford. Antique Prints & Maps Salutation House 104 High Street Oxford OX1 4BW www.sandersofoxford.com - 01865 242590 - info@sandersofoxford.com Monday - Saturday 10am - 6pm. Sundays 11am - 5pm.

Contents

Pg.

01: Do you have a plan of Oxford with my College on?

02: What’s the oldest thing in the Shop?

03: I probably shouldn’t ask this here, but do you have anything of ‘the Other Place’ ?

04: Have you got any maps showing the whole of the British Empire?

05: Where are the prints of the Radcliﬀe Camera?

06: Do you stock maps of London?

07: I like this, but do you have a smaller one?

08: That Thames map in the window...how much is it?

09: I saw these prints in a pub once and I’ve been trying to ﬁnd a copy.

10: I’m looking for a map of the World...

Biographies: Artists, Cartographers, Printmakers, & Publishers

“Do you have a plan of Oxford with my College on?”

01. A Pictorial Map of the City of Oxford Cairns, Brian Lithograph Published by Brian Cairns, 20, Norham Gardens, Oxford. Printed by the University Press. [c.1955] 468 x 605 mm A scarce, mid-century, aerial view of the city centring on the High Street, viewed from above the River Thames. All city centre colleges and major landmarks (including Sanders) are labelled and four inset images of the ‘Schools Tower’, ‘Founder’s Tower, Magdalen College’, ‘Magdalen Tower’ and ‘St. John’s Coll[ege]’ ﬂank either side of the map. The map is embellished further with a highly decorative border featuring the arms of all the colleges, the University motto, and the City crest. Condition: Time toned. [42816] £500

“What’s the oldest thing in the Shop?”

02. Tabula Moderna Secundae Partis Aphricae Fries, Lorenz after Waldseemüller, Martin Woodcut with hand colour 1522 [Vienne, 1541 impression] 430 x 312 mm An attractive example of Lorenz Fries’ reduced edition of Waldseemüller’s seminal 1513 woodcut map of southern Africa, this example from a later printing of the 1541 fourth edition of Fries’ Ptolemaic Atlas, with text by Michael Servetus. Waldseemüller’s original was the very first separate map of southern Africa to be published, depicting the discoveries of the Portuguese at the beginning of the sixteenth century, and has come to be recognised as one of the author’s most important contributions to the history of cartography. Fries’ map was first published in Strasbourg by Johann Gruninger in 1522, and while retaining Waldseemüller’s cartography, embellishes his design with the addition of three enthroned African Kings, a pair of serpentine dragons and a basilisk, an elephant, and, most distinctively, a large portrait of the Portuguese King Emanuel riding a sea monster in the bottom right corner, in acknowledgement of the map’s Portuguese sources. Apart from these fantastical additions, the centre of the African continent is largely devoid of detail, with only the putative Mountains of the Moon and the source of the Nile listed. By contrast, the coastline is very well detailed, with numerous place-names reflecting the increase in maritime interest in the area by the European kingdoms.

Fries’ maps were published in four diﬀerent editions, by Gruninger in Strasbourg in 1522 and 1525, and, following Fries’ death in 1532, by Johann Trechsel in Lyon and Vienne in 1535 and 1541. The Trechsel editions featured text by the Spanish humanist, Michael Servetus, writing in this case under the name Villanovus. Unfortunately for Servetus, his theological treatises drew negative attention from Protestant and Catholic corners alike, and in 1553 he was found guilty of heresy and burned at the stake, and this put paid to any future editions of Fries’ atlas. The woodcut borders on the versos of Gruninger and Trechsel’s editions are traditionally attributed to Hans Holbien and Durer respectively. The current example is something of an anomaly, as its lack of a title above the map block is consistent with earlier impressions, though the fact that the block has a prominent crack in the bottom right corner suggests it can only be a later impression from the ﬁnal 1541 fourth edition printed in Vienne. Norwich, Maps of Africa, 150 Condition: Central vertical fold as issued. Light time toning to fold. [36086] £1,600

“I probably shouldn’t ask this here, but do you have anything of ‘the Other Place’ ?”

03. Bird’s-Eye View of Cambridge, 1894 Henry William Brewer Lithograph [1894] Image 325 x 990 mm A large scale aerial view of Cambridge, from an 1894 issue of The Graphic. The text below describes it as the companion to a similar view of Oxford by Brewer, published by the Graphic the previous week. This wonderful panorama of Cambridge views the city from the north, with the Chapels of St John’s and King’s College at centre. The Cam winds its way through the scene, and the Bridge of Sighs is particularly prominent at the centre right. Beneath the panorama, a key block image with a lettered and numbered key lists colleges, halls, and public buildings of the University, as well as schools, churches, and other notable landmarks.

The Graphic, founded by William Luson Thomas, was a weekly illustrated newspaper in London that ran from 1869 until 1932. Believing that the Illustrated London News was unsympathetic towards artists, Thomas published The Graphic to compete with the popular Illustrated London News. Condition: Vertical folds as issued. Creasing to sheet, particularly to folds and edges of sheet. [41647] £700

“Have you got any maps showing the whole of the British Empire?”

04. British Empire Throughout the World Exhibited in One View Bartholomew, John Lithograph A. Fullarton & Co. Edinburgh, London & Dublin [c.1872] 425 x 530 mm A ﬁne example of one of the most sought-after Victorian maps of the British Empire, engraved by John Bartholomew Jnr for Archibald Fullarton’s Royal Illustrated Atlas of the Modern World. The map shows the British Empire just before its zenith, encompassing colonial holdings in Ireland, Canada, the Caribbean and South America, West Africa and the Cape, India and the East Indies, Hong Kong, Australia, New Zealand, and Oceania. As is customary, Imperial possessions are coloured red and engraved in bold. Sea coasts and borders outside British dominion are coloured green, except Africa, perhaps suggestive of the imperial ambitions of the various European powers at the time. Above and below the map are a series of vignettes engraved by Thom, depicting the various peoples of the Empire. Along the top, Aboriginal Australians stand behind a group of settlers, while American frontiersmen speak to a group of First Nations people described in the inscription as ‘copper coloured.’ In the bottom border are representatives of the Raj and British China, a group of British sailors, a Scotsman, a gentleman and lady, a cavalryman with his horse and sabre, and native peoples of Cape Colony (South Africa). In the top right and left corners, tables feature extensive data for the populations and area in square miles of British possessions across the globe.

The Royal Illustrated Atlas of the Modern World was first published as a single atlas in 1864, having been issued as 27 individual parts from 1854 to 1862. The majority of its maps were engraved by Bartholomew, featuring highly decorative vignettes of peoples and places. The atlas is significant for being the last highly decorative atlas to be published in Britain, as Victorian imperial ambitions had resulted in a renewed focus on accuracy rather than aesthetic in the creation of maps. The atlas went through numerous different editions, making dating of individual maps difficult. The majority of Fullarton’s maps of the British Empire date throughout the period from 1864 to 1872, the dates of each edition usually estimated by the absence or appearance of various Australian states. Unusually, all known copies of the British Empire map feature a slim territorial holding in Papua New Guinea, though annexation of the region by Queensland did not formally take place until 1883, some 20 years after the publication of the first of Fullarton’s maps. Condition: Central vertical fold as issued. Minor foxing and time toning to edges of sheet. Minor staining to surface of map, particularly to the east of Tasmania and above the vignette at the bottom right corner. [42885] £1,000

“Where are the prints of the Radcliﬀe Camera?”

05. A View of the Radcliﬀe Library, Brazen Nose College, the West Front of All Souls College part of the Schools, a distant view of the Tower of Wadham College, &c. in the University of Oxford John Donowell Copper engraving Published according to Act of Parliament Feb. 1755 & Sold by John Tinney at the Golden Lion in Fleetstreet, London. Image 260 x 415 mm, Sheet 292 x 435 mm

Donowell’s pioneering work was the basis for many of the Oxonian compositions that would be replicated by other artists throughout the following centuries. These include his view of the Sheldonian Theatre from Broad Street, the curve of the High Street looking west from Queen’s College, as well as Christ Church from the Carfax Conduit. The success of Donowell’s series is exempliﬁed by their reworking by later artists, and their pirating for the foreign print trade, as can be seen in Daumont’s reversed vues d’optique.

A view of the Radcliﬀe Camera and the surrounding colleges by John Donowell, from Perspective Views of the Colleges and other Public Buildings of Oxford. The title features an alphanumeric key, corresponding to the principal buildings featured in the scene. Donowell’s view is one of the earliest depictions of Oxford’s most iconic building, as construction of the Radcliﬀe Camera had only been completed six years before the publication of this engraving.

Condition: Trimmed close to plate mark, without loss to image or plate. Repaired tear to bottom right corner of inscription space. Thumb-tack punctures and small rust stains to corners of sheet. [42817] £450

The title and key is also given in French to the right of the English inscription: Veue de la Bibliotheque du feu Dr. Radcliﬀe, du College du Nez de Bronze, de la Facade a l’ouest du College des Morts, d’une partie des Ecoles, du Clocher du College de Wadham, dans le Lointain, &c. dans l’Universite d’Oxford.

“Do you stock maps of London?”

06. London Blome, Richard and Hollar, Wenceslaus Copper engraved with hand colour W. Hollar fecit [London, c.1673] 167 x 277 mm A map of London, engraved by Hollar and showing the city before the Great Fire of 1666, from the ﬁrst edition of ‘Britannia’, Blome’s larger series of county maps. The border and inscription, showing the crests of various guilds and companies active in London at the time of publication, was added by Blome himself. Blome apparently charged £4 each for the privilege of including patrons crests on his maps, and the number of dedications shows that he had no shortage of subscribers. Blome’s maps are often much maligned, due to their generally sketchy cartography and often naive decorative work and lettering, however they do include all the elements expected from a seventeenth century British map, including elaborately decorated cartouches, scales in English miles, crests and coats of arms, as well as dedications.

This example is something of an outlier in the series, with the map itself engraved by Hollar, and markedly more detailed and graceful than Blome’s own contributions. A pair of keys, one numbered, the other lettered, pick out the most important sites of London and Westminster respectively. Old St Paul’s features prominently as number ‘1’ in the key, while the ﬂoorplan of the Tower is clearly visible to the right of London Bridge. The many crests in Blome’s border include the Arms of the Mercers, Grocers, Drapers, Fishmongers, Goldsmiths, Skinners, Tailors, Salters, Ironmongers, Vintners, Adventurers, and the Merchant Companies to Turkey, India, Moscovy, and the Eastland (North Sea). The dedication, in two columns either side of Sir Robert Vyner’s coat of arms, below the map reads: ‘To the Hono.ble Sr. Robert Vyner of the City of London Alderman, Kt. and Baronet; Yjis Mapp is humbly dedicated by Ric: Blome,’ Condition: Good clean impression. Printers crease to top of map. Remargined at base. [42880] £850

â&#x20AC;&#x153;I like this, but do you have a smaller one?â&#x20AC;?

07a. Cetus Flamsteed, John Copper engraved with hand colour 1753 509 x 647 mm A scarce, large-scale, celestial chart from Flamsteed’s ‘Atlas Coelestis’ illustrating the Cetus constellation and neighbouring stars. Cetus, known as the large ﬁsh, whale, or sea monster, is the fourth largest constellation and can only be seen in its complete form a few months of the year. The ‘Atlas Coelestis’ was published in 1725 by Flamsteed’s widow. Comprised of 27 double-page maps it was one of the ﬁnest examples of Europe’s Golden Age of celestial cartography. This impression is from the 1753 edition of Flamsteed’s Atlas, with page number printed to top right hand corner. P.11. This excellent example is in full wash colour with each star heightened in gold.

07b. La Baleine [Cetus] Jean Fortin after John Flamsteed Copper engraved with hand colour A Paris F.G. Deschamps, Libraire, rue S. Jacques, aux Associes. Second Edition 1776 182 x 226 mm Plate 23 from the Atlas Celeste De Flamsteed, Approuve Par L’Academie Royale Des Sciences, Et Publie Sous Le Privledge De Cette Compagnie, depicting La Baleine [Cetus]. This star chart is a reduced version of that featured in Flamsteed’s ‘Atlas Coelestis.’ [39705] £250

Condition: Slight staining to the outer margins, not aﬀecting plate or image. [37332] £995

“That Thames map in the window...how much is it?”

08. Tombleson’s Panoramic Map of the Thames and Medway. [Anonymous] Steel engraved with original hand colour London Published by J. Reynolds, 174 Strand, c. 1870 1245 x 285 mm One of the finest and most sought after maps of the entire Thames river system from Cirencester to Sheerness, with aerial views of the towns and cities along its route, beautifully ornamented in hand colour. The map was first published as an accompaniment to Tombleson’s Picturesque Views on the Thames and Medway, a collection of engravings by Henry Winkles after original studies by William Tombleson. The views were supplemented by a textual commentary by Tombleson. The map’s popularity meant that it was in almost constant circulation from the 1840s until the early twentieth century, appearing in many different editions, and being constantly updated to show the growth and development of the Thames valley, the addition of the railways, the opening up of the canal system, and the rapid expansion of the cities of London and Oxford during the late nineteenth and early twentieth centuries. Most examples were originally published as folding pocket books, backed on linen and hand coloured. By the twentieth century, the original steel-engraved plates were replaced by new lithographic techniques that allowed later impressions of the map to be printed in colour. Condition: Horizontal folds as issued, light staining to sheet. [42635] £1,450

“I saw these prints in a pub once and I’ve been trying to ﬁnd a copy.”

09. Beer Street / Gin Lane William Hogarth Copper engraving Design’d by W. Hogarth. Publish’d according to Act of Parliamt. Feb. 1. 1751 [J & J Boydell, c.1802] Each Image ~360 x 305 mm, Plate ~390 x 325 mm, Sheet ~645 x 480 mm A ﬁne posthumously published pair of Hogarth’s most famous moral engravings, Beer Street and Gin Lane. The prints were ﬁrst designed and issued in February 1751, and, like the Four Stages of Cruelty series that followed, engraved in a much heavier wood-cut style and sold cheaply in order to attract the widest possible dissemination. Hogarth was inspired by growing concerns about the role of gin-fueled social degeneration in the capital, following the relaxation in 1743 of the taxes and license charges associated with the sale of gin in England. At the time, gin was still a relatively new and ‘foreign’ drink, and its cheap and widespread availability was seen as a major cause for drunkenness among the lower classes, and in turn, the rapid rise in crime.

Hogarth’s prints, with their ﬁgures closely modelled on Breughel’s La Cuisine Maigre and La Cuisine Grasse, contained a strong moral message, that beer was the drink of success, and gin the drink of ruin. Less than six months after the publication of Beer Street and Gin Lane, the Gin Act was passed, drastically limiting the availability of gin and more than doubling the tax on its importation and distilling. Paulson 185 and 186 (iii/iv). Despite being Boydell impressions on 1802 watermarked paper, these prints both feature the ‘Price 1s’ inscription that Paulson describes as having been removed for the 4th state Boydell printings. Condition: Strong dark impressions with full margins. Watermark ‘1802.’ Small tear to top edge of ‘Gin Lane’ and light water stains to bottom margins, not aﬀecting image or plate. [42886] £1,500

“I’m looking for a map of the World...”

10. Nova Totius Terrarum Orbis Geographica ac Hydrographica Tabula, Auct. Henr. Hondio Hondius, Henricus Copper engraved with early hand colour Henr. Hondius A° 1630 [Amsterdam, 1630] 380 x 545 mm A superb example of the first state of Henricus Hondius’ double-hemisphere world map, from the 1633 edition of the Atlantis Maioris Appendix. The map is of paramount importance in the history of cartography, being the first widely disseminated and dated map to record Dutch explorations along the north coast of Australia. The map was intended to replace the earlier world map by Henricus’ father Jodocus, mostly in response to the rapid expansion and success of the publishing house of the Blaeu family, Hondius’ great rivals. Cartographically, the map closely follows the 1627 double hemisphere by John Speed, being one of the very earliest atlas world maps to show California as an island. Japan is shown oriented incorrectly, and parts of the theorised northwest passage are depicted. The map is beautifully ornamented in early hand colour. The coasts and borders of the continents are outlined in hand colour, and the seas are populated with ships, sea monsters, and a large school of flying fish between South America and Africa. Three decorative baroque cartouches enclose a dedication to a number of esteemed academics from the University of Paris, a note on Dutch explorations across the globe, and a description of the discovery of America by Columbus in 1492, how it was claimed for the Kingdom of Castille, and how it came to be named after Amerigo Vespucci in 1499.

Surrounding the double hemispheres is a large and very fine ornate border. In each corner of the plate, a baroque cartouche contains the portrait of a notable geographical figure: Julius Caesar, who allegedly dispatched 4 surveyors, one in each cardinal direction, in an attempt to chart the known world, Claudius Ptolemy, the 1st century AD Greek Alexandrian polymath and father of geography, Gerard Mercator, the leading figure of the Flemish cartographic Golden Age, and Jodocus Hondius, father of Henricus and founder of the successful and influential Hondius publishing house. Beside each portrait, allegorical figures represent the Four elements. Ignis (Fire) is represented by a youth in a flaming golden chariot, probably Phaethon, son of Helios, along with a phoenix, a dragon, and a salamander. Aer (Air) is a crescent-moon crowned female figure, perhaps Diana Selene, accompanied by an eagle, and a pair of halcyones. Aqua (Water) depicts a young river god, his hair garlanded with kelp, who pours a barrel of freshwater into an ocean, populated by a pair of sea monsters and a sailing ship. Finally, Terra (Earth) is a beautiful maiden, crowned with wheat and holding a cornucopia, with beasts wild and domestic at rest beside her. At the centre of the border, in the space created by the curve of the double hemisphere, are depictions of the Sun and Moon, a Celestial Globe in a cradle, and a vignette of the nations paying homage to Europa, mistress of the globe. Condition: Excellent early hand colour. Strong impression with full margins. Central vertical fold as issued. Minor creasing to central folds. Latin text on verso. [42813] £10,000

Artists, Cartographers, Printmakers, & Publishers

John Bartholomew & Son was founded by John Bartholomew Senior (1805 - 1861) in 1826. Initially the firm printed maps for external companies, though under John Bartholomew Junior and his son John George Bartholomew, the company achieved much greater success after making the decision to commission and print their own map series. In particular, the firm was responsible for the Times Survey Atlas of the World (1922) and successive Times Atlases. Richard Blome was one of the most active mappublishers of his day, working between about 1667 and 1705. His principal publications were the ‘Geographical Description of the World’, and two county atlases, the ‘Britannia’, published in 1673, and ‘Speed’s Maps Epitomiz’d’, published in 1681. Blome first began engraving maps for his Geographical Description Of The Four Parts Of The World in 1667. The completed volume was in small folio, and contained 24 maps (plus one duplicated), engraved by Francis Lamb, Thomas Burnford, and Wenceslaus Hollar. Blome has been heavily criticised as a plagiarist, but he lacked the capital to be innovative (as indeed did virtually all his contemporaries), and his output filled an important gap in the market. The ‘Geographical Description’ was the first new, and uniformly assembled, folio world atlas to be published in London since 1627, while the next folio world atlases appeared in the decade 1710-1720. Henry William Brewer (1836 - 1903) was a London based architectural illustrator active in the late 19th century. Specialising in bird’s-eye views of cities, Brewer produced a number of views for British magazines such as The Graphic and The Builder. John Donowell (1753 - 1786) was an eighteenthcentury British architect and engraver, most notable for his architectural work at West Wycombe Park in Buckinghamshire, where he appears to have been influenced by the works of Colen Campbell.

Alongside Thomas Sandby and Thomas Malton, Donowell was considered to be one of the principal architect-draughtsmen in the third quarter of the eighteenth-century. He drew a number of topographical drawings, mostly views of London. His work was exhibited at the Royal Academy in the 1770’s and 1780’s, and was also published as prints during this period. John Flamsteed (19th August 1646 – 31st December 1719) was English astronomer and was appointed the first Astronomer Royal at the London Observatory in 1675. He convinced Charles II to build the Observatory in Greenwich to aid British ships from getting lost due to the inaccuracy of star catalogues. Flamsteed started to compile a new star catalogue calculated from telescopic observations and this work continued until his death in 1719, this work is known as the ‘Britannic Catalogue’ and has been said to form the basis of the ‘Atlas Coelestis’. Jean Fortin (1750-1831) was born in France. He was employed by the King and Royal family to produce spheres and globes. He produced two publications both updated and improved editions of Flamsteed’s star atlas, ‘Atlas Coelestis’ published in French in 1776 and 1795 named ‘Atlas Celeste’. The plates were reengraved to about a third of the size of Flamsteed’s original plates. Lorenz Fries (c.1490-1532) was born in the Alsace region and studied variously at the universities in Pavia, Vienna, Piacenza and Montpellier. After completing his studies, Fries set himself up as a physician in Alsace, and briefly in Switzerland, before finally settling in Strasbourg in 1519, by which point he had published several medical texts. It was in Strasbourg that Fries meet Johann Gruniger, an associate of the St. Die group of scholars who included Martin Waldseemüller. From 1520 to 1525 Fries worked with Gruniger as his cartographic editor, producing numerous reduced woodblock maps using the vast material of Waldseemüller’s 1513 Ptolemaic Atlas.

Archibald Fullarton & Company were a Glasgow based publisher operating towards the end of the nineteenth century. The company produced a number of atlases, and books containing maps, including Fullarton’s Parliamentary Gazetteer Of England And Wales and The Royal Illustrated Atlas, Of Modern Geography. These publications featured attractively decorated maps, with small vignette views of local interest surrounding the engraved map. William Hogarth (1697 - 1764) was born in London, the son of an unsuccessful schoolmaster and writer from Westmoreland. After apprenticeship to a goldsmith, he began to produce his own engraved designs in about 1710. He later took up oil painting, starting with small portrait groups called conversation pieces. He went on to create a series of paintings satirising contemporary customs, but based on earlier Italian prints, of which the ﬁrst was The Harlot’s Progress (1731), and perhaps the most famous The Rake’s Progress. His engravings were so plagiarised that he lobbied for the Copyright Act of 1735, commonly referred to as ‘Hogarth’s Act,’ as a protection for writers and artists. During the 1730s Hogarth also developed into an original painter of life-sized portraits, and created the ﬁrst of several history paintings in the grand manner.

Henricus Hondius (1597 - 16th August 1651), often called Hendrik Hondius the Younger to differentiate him from the earlier, and unrelated portrait engraver Hendrik Hondius the Elder, was the son of the famous cartographer Jodocus Hondius. Like his father, Henricus was an engraver, cartographer, and publisher. He first came to prominence through his publication in 1606 of a new version of Mercator’s 1569 World Map, the plates for which he had obtained from Mercator’s grandson Rumold. Following his father’s death, Henricus co-ran the family business, eventually partnering with his brother-in-law, Jan Jansson. Martin Waldseemüller (11th September, 1470 - 16th March, 1520) was a German author, cartographer, and publisher, and one of the most significant figures in the history of cartography. His most celebrated achievement was the publication in 1507 of his Universalis Cosmographia, a monumental twelve-panel map of the world making use of the discoveries of Columbus and Vespucci, and being the first recorded use of the title ‘America’ to describe the New World. In addition to this, Waldseemuller’s appendix to his Ptolemaic atlas featured some of the very first individual maps of European discoveries in the New World, East Indies, and Western and Southern Africa.

Wenceslaus Hollar (1607-1677) left his native Prague in 1627. He spent several years travelling and working in Germany before his patron, the Earl of Arundel, brought him to London in 1636. During the civil wars, Hollar fought on the Royalist side, after which he spent the years 1644-52 in Antwerp. Hollar’s views of London form an important record of the city before the Great Fire of 1666. He was proliﬁc and engraved a wide range of subjects, producing nearly 2,800 prints, numerous watercolours, and many drawings.

Sanders of Oxford

Antique Prints & Maps 104 High Street, Oxford. OX1 4BW info@sandersofoxford.com - 01865 242590 - www.sandersofoxford.com