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BURY, Thomas Talbot (1811-1877)

Viaduct across the Sankey Valley [Pl. 4]

[Pl. 4]. London: R. Ackermann, 1831. Aquatint, engraved by H. Pyall after T. T. Bury. Very good condition. Image size (including text): 8 x 9 7/8 inches. Sheet size: 10 7/8 x 13 7/8 inches .

A fine view from Bury's "Coloured Views on the Liverpool and Manchester Railway": an eyewitness account of travel on the world's second practical railway line.

Bury was "an outstanding architectural designer" (Abbey), and his work provides a detailed report of the difficulties overcome during the railway's construction. The inspiration for the project was the success of the Stockton to Darlington rail line and the urgent commercial need for faster links between the docks of Liverpool and the factories of Manchester ("goods have been known to make the transit from New York to Liverpool in less time than from the latter town to Manchester"). The route was proposed in 1824 and, under the direction of George Stephenson and with parliament's blessing, the immense work was completed by 1830. The line opened to the public on the 15th of September of that year. Despite the tragic death of the Liverpool Member of Parliament Mr. Huskisson (the first fatality attributable to the railways) and huge cost of the work (£ 740,000. by 1830), the railway was an immediate popular and financial success. Speeds in excess of 30 m.p.h. were recorded for the 31 mile journey.

Cf. Abbey, Life 400 (1833 edition); cf. Tooley, 120.

#9036$400.00
 
 
BURY, Thomas Talbot (1811-1877)

The Tunnel [Pl. 1]

[Pl. 1]. London: R. Ackermann, 1831. Aquatint, engraved by H. Pyall after T.T.Bury. Very good condition. Plate mark: 9 7/8 x 12 1/4 inches. Sheet size: 11 1/2 x 14 inches .

A fine view from Bury's "Coloured Views on the Liverpool and Manchester Railway": an eyewitness account of travel on the world's second practical railway line.

Bury was "an outstanding architectural designer" (Abbey), and his work provides a detailed report of the difficulties overcome during the railways construction. The inspiration for the project was the success of the Stockton to Darlington rail line and the urgent commercial need for faster links between the docks of Liverpool and the factories of Manchester ("goods have been known to make the transit from New York to Liverpool in less time than from the latter town to Manchester"). The route was proposed in 1824 and, under the direction of George Stephenson and with parliament's blessing, the immense work was completed by 1830: the line being opened to the public on the 15th September of that year. Despite the tragic death of the Liverpool member of parliament Mr. Huskisson (the first fatality attributable to the Railways) and huge cost of the work (£ 740,000. by 1830), the railway was an immediate popular and financial success. Speeds in excess of 30 m.p.h. were recorded for the 31 mile journey.

Cf. Abbey Life 400 (1833 edition); cf. Tooley 120.

#9037$300.00
 
 
BURY, Thomas Talbot (1811-1877)

Coloured Views on the Liverpool and Manchester Railway, with plates of the coaches, machines, &c. from drawings made on the spot... with descriptive particulars, serving as a guide to travellers on the railway

London: F. Shoberl for Ackermann & Co., sold by R. Ackermann, jun., 1833 [text watermarked 1829-1832; plates 1831-1833]. Quarto (13 1/4 x 10 7/8 inches). 16 hand-coloured aquatint plates (13 by S.G.Hughes or H.Pyall after T.T.Bury, 3 folding by S.G. Hughes [2 after I. Shaw, 1 unsigned]), extra-illustrated with a cancel title from 1831 issue. (Folding plates with folds reinforced on verso with linen [as issued]). Expertly bound to style in red straight-grained half morocco over contemporary green paper-covered boards, the upper cover with an onlaid contemporary red straight-grained morocco title label, lettered and tooled in gilt, the spine divided into eight compartments by triple fillets, repeat overall decoration in each compartment, original grey/brown paper wrappers to the 1831 issue bound in.

Third edition, with the additional plate and the title to the first edition bound in. An eye-witness account of travel on the world's second practical railway line, with plates after Bury, "an outstanding architectural designer" (Abbey) and a detailed report of the difficulties overcome during the railways construction.

Thomas Bury `a pupil of Augustus Pugin, was the artist responsible for the best-known views of the Liverpool and Manchester Railway. Published as hand-coloured aquatints in paper covers by Ackermann in February 1831 [titled Six Coloured Views of the Liverpool and Manchester Railway, with a plate of the coaches, machines, &c], Bury's work went through many editions covering a period of about three years. There were seven views in the first edition and thirteen in the second. A reissue appeared in 1832 followed by Spanish and French editions, while the prints were reproduced separately in France and Germany. After re-engraving, new editions appeared in England in 1833 and 1834 ... Ackermann clearly realized the potential of the British and European markets for railway prints as no other work passed through so many editions' (Rees). The present copy includes the first state of one of the two folding plates of carriages and engines: before canopies were added to the lower set of carriages. The view of the interior of the Wapping to Edge Hill tunnel is in a later state (possibly the fifth) dated 1833 and after the removal of the steaming train (the train was a mistake as no train under steam was allowed in the tunnel).

The inspiration for the project to build the railway was the success of the Stockton to Darlington rail line and the urgent commercial need for faster links between the docks of Liverpool and the factories of Manchester ("goods have been known to make the transit from New York to Liverpool in less time than from the latter town to Manchester.") The route was proposed in 1824 and, under the direction of George Stephenson and with parliament's blessing, the immense work was completed by 1830: the line being opened to the public on the 15th September of that year. Despite the tragic death of the Liverpool member of parliament Mr. Huskisson (the first fatality attributable to the Railways) and the huge cost of the work (£ 740,000 by 1830), the railway was an immediate popular and financial success. Speeds in excess of 30 m.p.h. were recorded for the 31 mile journey and as the author predicted in the final paragraph "The success of this experiment… has been….so complete, as to justify the anticipation of the speedy introduction of railways throughout the country.." The plates include three plates of the train and rolling stock employed on the railway, and 13 others of views of the railway in operation.

Abbey Life 400; Gareth Rees Early Railway Prints (1980) p.21 and see plates 5-9 & 13; Tooley 120

#13867$12,500.00
 
 
BURY, Thomas Talbot (1811-1877)

Entrance into Manchester across Water Street

London: R. Ackermann, 1831. Colour printed aquatint by H. Pyall after T.T. Bury. Image size (including text): 9 x 9 3/4 inches. Sheet size: 10 5/8 x 12 3/4 inches.

A fine view from Bury's "Coloured Views on the Liverpool and Manchester Railway": an eyewitness account of travel on the world's second practical railway line.

Bury was "an outstanding architectural designer" (Abbey), and his work provides a detailed report of the difficulties overcome during the railway's construction. The inspiration for the project was the success of the Stockton to Darlington rail line and the urgent commercial need for faster links between the docks of Liverpool and the factories of Manchester ("goods have been known to make the transit from New York to Liverpool in less time than from the latter town to Manchester"). The route was proposed in 1824 and, under the direction of George Stephenson and with parliament's blessing, the immense work was completed by 1830. The line opened to the public on the 15th of September of that year. Despite the tragic death of the Liverpool Member of Parliament Mr. Huskisson (the first fatality attributable to the railways) and huge cost of the work (£ 740,000. by 1830), the railway was an immediate popular and financial success. Speeds in excess of 30 m.p.h. were recorded for the 31 mile journey.

Cf. Abbey Life 401 ('a rare series')

#14820$400.00
 
 
BUTT, Richard

Map of the City of Brooklyn, and village of Williamsburgh, showing the size of blocks and width of streets as laid out by the Commissioners, the old Farm lines Water line and all recent changes in streets. Laid out from accurate surveys & documents

New York: Benj. S.D. Demarest, 1877. Lithographic map, with original colour, in eight sections with linen joints, four sections linen-backed, two backed with marbled paper and two mounted onto the inner covers of a pair of half calf cloth-covered boards, the boards expertly rebacked and cornered, 33 3/8 x 47 3/8 inches, in modern cloth box.

A very fine large-scale map of Brooklyn, depicting the city in the middle of the 19th century, with detailed information about the city's early settlers

As the map itself makes clear: this is a reissue of a map that was originally published in 1846 by Richard Butt. It was transferred by George A. Buckingham Jr., in February 1877, and photo-lithographed by Robert A. Welcke. The addition of colour not only adds greatly to the attractiveness of the image, it also allows the boundaries of the early land holdings (most marked with the names of their original owners) to be clearly seen despite the presence of the grids of the modern streets. A fascinating historical record of Brooklyn's past.

Phillips, Maps of America, p.176

#19017$1,500.00
 
 
BUTTERSWORTH, After James Edward (circa 1817-1894)

Wreck of the U.S. Steam Ship "Arctic". Off Cape Race Wednesday September 27th. 1854

New York: Published by N. Currier, 1854. Tinted lithograph, coloured by hand, by Charles Parsons after Buttersworth (working from a sketch by James Smith), printed by N. Currier. Sheet size: 27 x 20 5/8 inches.

A dramatic image of a disaster at sea.

James Smith of Jackson, Missouri, supplied the original sketch of the scene. The 2,850-ton 'Arctic' was relatively luxurious and fast, with a top speed of over 12 knots, and along with the 'Atlantic', 'Pacific' and 'Baltic' formed the core of Collins Line fleet (the main American opponent of Cunard in the 1850s). The 'Arctic' on 'her homeward voyage from Liverpool, during dense fog... came in collision with the French iron propeller "Vesta", and was so badly injured that in about 5 hours she sank stern foremost, by which terrible calamity nearly 300 persons are supposed to have perished'. In fact 322 people drowned and only 86 were saved.

Conningham 679; Gale 7340

#3546$4,750.00
 
 
BUTTRE, John Chester (1821-1893, engraver)

Abraham Lincoln. President of the United States. Assassinated April 14th 1865

New York: Engraved and published by J.C. Buttre, 'Entered according to act of Congress AD 1864' [but 1865?]. Steel engraving by Buttre, after Anthony Berger and W. Momberger. Laid down, some expert repairs. Sheet size: 17 1/4 x 14 inches.

A fine portrait of Lincoln, taken from an image that his son Robert called 'the most satisfactory likeness' of the President

A fine half-length portrait of Abraham Lincoln, with his facsimile signature beneath. The President is shown in an oval with an integral engraved surround by New York illustrator William Momberger. The images in the borders (suggestive of many of Lincoln's policies and beliefs) portray the defeat of the rebellion, freed slaves, patriots, and peace between the North and South. The portrait is taken from a photograph that is attributed in the plate to Mathew Brady, but it is now known that the portrait was taken by Anthony Berger at Brady's studios in Washington on 9 February 1864.

According to Stauffer, the engraver Buttre was born in Auburn, New York in 1821. He studied under a Polish artist Hulaniski, and started in business as a wood-engraver. "In 1841 he removed to New York, became a line-engraver of reputation, and a considerable amount of his work of this period appeared in magazines. As a member of the firm of Rice & Buttre, and later under his own name, he established an extensive engraving business in New York."

Gilder Lehrman Institute of American History GLC 05239; cf. Hamilton & Ostendorf Lincoln in Photographs pp.176-177; cf. Holzer, Boritt & Neely The Lincoln Image (2001) p. 98 (incorrectly identified as the model for the five-dollar bill portrait); Cf. Horan Mathew Brady 143 (incorrectly identified as the model for the five-dollar bill portrait); Indiana Historical Society - Digital Image Collections P0406_293 (incorrectly identified as a lithograph; cf. F.T. Miller Portrait Life of Lincoln p.77; Stauffer, American Engravers Upon Copper and Steel, I, p.139.

#18824$1,750.00
 
 
[CALIFORNIA]

The Californian

Monterey & San Francisco: August 29, 1846 - September 15, 1847. 27 numbers, quarto (11 3/4 x 8 1/4 inches) (vol.I, 21 issues) and folio (18 1/4 x 11 1/2 inches) (vol.II, 6 issues). Each 4pp. (No. 3 has large hole through both leaves with loss of some text, no. 5 is silked and separated at fold, no. 15 silked, no. 28 has small hole, no. 29 silked and separated at fold with small hole and corner missing, four numbers of volume II have small sections missing, either clipped or torn out.). Contained in two half red morocco and cloth boxes.

An extensive run of the first California newspaper, comprised of twenty-one issues of volume one and six numbers of volume two. The set offered here is probably the most complete to appear on the market since the Streeter Sale in 1968, and offers what is likely to be the last opportunity to acquire this California rarity.

The California State Library's set is less complete - as is every other known run of the newspaper save for the complete set handled by Howell and a run of thirty-eight numbers sold at the Streeter Sale (for $ 17,500 in 1968). A set belonging to the California Pioneers was destroyed by fire.

The Californian was edited by Walter Colton, author of Deck and Port (1850) and Three Years in California (1850), and Robert Semple, a frontier doctor from Kentucky. The first issue appeared on August 15, 1846 and continued to be published weekly in Monterey, in English and Spanish on the Zamorano Press, the first printing press in California. Paper was so scarce that a few issues had to be printed on cigar wrapping papers. Much of the news is comprised of first-hand accounts of local happenings. When there was a scarcity of news items, Colton and Semple used fillers of poetry and fiction, or culled from newspapers received in exchange. The paper was printed every Saturday until No. 36, April 24, 1847, when Colton turned the business over to Semple due to ill health. Number 37, here present, notes the change; this and the next issue, that last published in Monterey, appeared on Thursday rather than Saturday.

Semple moved the paper almost immediately to San Francisco, where he began publication in a larger folio format, on May 22, 1847. The paper bore the masthead The Californian until Number 15, August 28, here present, when the "The" was dropped. B.R. Buckelew took over as publisher July 17, Robert Gordon on October 27th, and Buckelew again January 26, 1848.

The Californian served as a vital source of news for the American forces during their occupation of California in the Mexican War. The paper continued in its important role after the war with its support of the new government, printing the texts of the various official proclamations, and strongly advocating a territorial relationship with the United States as a first step toward annexation. The issues included here include Part I of a review, with extracts, of Melville's Typee (Vol. I, No. 21), a reprinting of the Prospectus for the paper establishing editorial policy (Vol I, No. 30), and an account of the rescue of the Donner party survivors (Vol. I, No. 32), among many other items of great historical interest.

Fahey, pp.33-48; Streeter Sale 2509; Greenwood 99; Graff 550; Kemble (1962), pp.52-65; Wagner, California Imprints 1

#2542$75,000.00
 
 
CALYO, Nicolino (1799-1884)

General View of Niagara Falls

Original watercolour and bodycolour, within a thick black line border, with and integral outer 'frame' of grey wash, the title inscribed in white on this gray wash 'frame'. Gilt frame. Image size (including text): 5 x 7 11/16 inches. 6 1/4 x 8 3/4 inches.

A beautifully observed and typically detailed work from Nicolino Calyo in the classical Italian 'veduta' or 'view' tradition.

Nicolino Calyo's work is well-represented in American museums and institutions, with examples at the White House, the Baltimore Museum of Art, the New York Historical Society, the Metropolitan Museum of Art in New York, Belmont Mansion in Nashville, the Amon Carter Museum in Fort Worth, the Maryland Historical Society in Baltimore, the Washington County Museum of Fine Arts in Maryland and the Museum of the City of New York.

Calyo was born in Naples, Italy, where he studied art at the Royal Academy. After some time travelling in Europe (he apparently lived briefly in both Malta and Spain) he emigrated to the United States in about 1830, setting up a studio initially in Baltimore. He left for Philadelphia and the north in about June 1835, arriving in New York in time to record the disastrous Great Fire of 16 and 17 December 1835 (two of the resulting pictures were later reproduced in aquatint by by William James Bennett [1789-1844]). Calyo subsequently made New York his home and the city directories from 1838 to 1855 all list him as either a 'portrait and landscape painter' or a 'professor of painting.' By the late 1840s his Italian-born son John A. Calyo (1818-1893) had joined him and they advertised as 'N. Calyo & Son,' historical painters and teachers. The original reason for his leaving Italy had been political, and given this background it is not surprising to find that his New York home became a gathering place for other European exiles (including the future Napoleon III [1808-1873]). Calyo apparently made one significant return visit to Europe, when he travelled to Spain (where he worked as Court painter to Queen Maria Cristina [1806-1878]), but he returned to New York in 1874 and remained there for the rest of his life.

Calyo is best known for the watercolour and gouache views of American cities and landmarks (such as the present work) but he also painted scenes taken from the Mexican War of 1846-1848 and an enormous forty-foot panorama of the Connecticut River. He exhibited paintings at American Society of Painters in Watercolor in New York between 1867 and 1869. The style he employs is quite distinctive among American artists, and as Kathleen Foster notes, his Italian training 'dominates his method . . . conditioning his liberal use of gouache, which imparts an opaque, slightly chalky surface to his work, setting it apart from the English style of transparent watercolor more familiar to American artists of that period.' (Kathleen Foster in Philadelphia: Three Centuries of American Art [Philadelphia: Philadelphia Museum of Art, 1976], p. 300)

Literature:
G.-G. Deak Picturing America,1988
J. Poesch The Art of the Old South, 1983
S.K. Johnston American Painting 1750-1900, 1983
R.J. Koke American Landscape/Genre Paintings in the New York Historical Society, 1982
T.E. Stebbins American Master Drawings and Watercolors, 1976

#10100$15,000.00
 
 
CAMPBELL, After Lieutenant Archibald

An East View of Fort Royal in the Island of Guadaloupe... Drawn on the Spot by Lieut. Arch. Campbell Engineer

London: Thomas Jefferys, November 1762. Engraving, by Peter Mazell. Image size (including text): 11 1/8 x 19 1/2 inches. Sheet size: 18 3/4 x 24 3/4 inches.

A fine and rare image of Guadaloupe in the West Indies, taken during the English occupation of the island from 1759 to 1763.

Fort Royal is situated on the west coast of Basse-Terre (the more rugged of the two islands that make up the bulk of Guadaloupe) and is near the present-day town of Deshaies. The British attempted, unsuccessfully, to capture the French colony of Guadaloupe in 1666, 1691 and 1703, before finally succeeding in 1759. The island was returned to the French in 1763, but captured again, briefly, in April 1794.

#5748$2,400.00
 
 
CAMPBELL, Colen (1676 - 1729) engraved by H. HULSBERGH

The North Prospect of Cliefden House in Buckinghamshire the Seat of the Right Hon:ble The Earl of Orkney...

London: Published by Colen Campbell, 1725. Engraved by Henry Hulsbergh. Watermarked laid paper. A few spots. Repaired split at bottom of centerfold. Browning at edges. Plate mark: 10 x 19 1/2 inches. Sheet size: 19 3/4 x 26 1/2 inches.

A noble British Palladian facade from Colen Campbell's "Vitruvius Britannicus."

Colen Campbell's Vitruvius Britannicus is considered one of the greatest eighteenth-century English architectural works. Campbell's seminal text helped establish Palladianism as the English national style and gave a unified façade to England's architectural landscape. Campbell published the first three volumes between 1715 and 1725, but the text was continued in two subsequent volumes by Woolfe and Gandon in 1767 and 1771. The work is comprised of large, finely engraved illustrations, plans, and cross sections of English country houses and parks.

This rendition of the north facade of Cliefden was drawn by Campbell and engraved by Henry Hulsbergh (d.1729). Colen Campbell (1676-1729) was a descendant of the Campbells of Cawdor Castle in Scotland. As an architect, he favored the Palladian style and through his own designs and withVitruvius Britannicus successfully established it as the dominant style in great houses, public and private, in England.

Cliefden House near Maidenhead was at one time a residence of Frederick, Prince of Wales, son of George II, but outlived by his father. The building burnt down in 1795.

#17743$550.00
 
 
CAMPBELL, Colen (1676-1729)

The Elevation of the Rt. Honourable the Lord Leimpster's house in Northamptonshire...

London: Published by Colen Campbell, 1725. Engraved. Laid paper. . Plate mark: 9 3/4 x 19 inches. Sheet size: 17 1/4 x 21 inches.

A notable facade by Nicolas Hawksmoor from Colen Campbell's "Vitruvius Britannicus."

Vitruvius Britannicus is one of the great eighteenth-century English architectural works. It illustrates, in a way, the social revolution that occured in the first half of the 18th century under the governance of Robert Walpole. Noble country estates as grand as any in continental Europe appeared throughout the land. These were buildings of Classical formality and grandeur, implying familial and imperial permanence and superiority.

Nicholas Hawksmoor (1661-1736) worked under Sir Christopher Wren in the rebuilding of St. Paul's and was later one of the architects involved in the building of 50 churches in London as part of the great recovery from the Great Fire.

Colen Campbell (1676-1729) was a descendant of the Campbells of Cawdor Castle in Scotland. As an architect, he favored the Palladian style and through his own designs and withVitruvius Britannicus helped establish it as the dominant style in great houses, both public and private, in England.

#17744$600.00
 
 
CAMPBELL, Colen (1676-1729)

The Elevation of one Wing of the Great Court of Greenwich Hospital...

London: Published by Colen Campbell, 1725. Engraved. Laid paper. . Plate mark: 9 1/2 x 25 inches. Sheet size: 17 1/2 x 25 3/4 inches.

Greenwich Hospital by Wren and Hawksmoor from Colen Campbell's "Vitruvius Britannicus."

Vitruvius Britannicus is one of the great eighteenth-century English architectural works. It illustrates, in a way, the social revolution that occured in the first half of the 18th century under the governance of Robert Walpole. Noble country estates as grand as any in continental Europe appeared throughout the land. These are buildings of Classical formality and grandeur, implying familial and imperial permanence, vast, symmetrical palaces that preside over their surroundings.

Colen Campbell (1676-1729) was a descendant of the Campbells of Cawdor Castle in Scotland. As an architect, he favored the Palladian style and, through his own designs and withVitruvius Britannicus , helped establish it as the dominant style in great buildings, both public and private, in England.

Greenwich Hospital was founded in 1694 and called the Royal Naval Hospital for Seamen. Queen Mary II seeing wounded sailors returning from the Battle of the Boyne was the inspirational force for it. Sir Christopher Wren and Nicholas Hawksmoor donated their services, Sir John Vanbrugh participated in the completion of the work.

#17748$600.00
 
 
CAMPBELL, Colen (1676-1729)

The West Front of Cliefden House...

London: Published by Colen Campbell, 1725. Engraved by Henry Hulsbergh. On laid paper. Two repaired tears in the bottom margin, well outside image. Plate mark: 9 7/8 x 19 1/2 inches. Sheet size: 19 1/2 x 26 1/2 inches.

From Colen Campbell's "Vitruvius Britannicus, or the British Architect"

Vitruvius Britannicus is one of the great eighteenth-century English architectural works. It illustrates, in a way, the social revolution that occured in the first half of the 18th century under the governance of Robert Walpole. Noble country estates as grand as any in continental Europe appeared throughout the land. These are buildings of Classical formality and grandeur, implying familial and imperial permanence, vast, symmetrical palaces that preside over their surroundings.

Colen Campbell (1676-1729) was a descendant of the Campbells of Cawdor Castle in Scotland. As an architect, he favored the Palladian style and, through his own designs and withVitruvius Britannicus , helped establish it as the dominant style in great buildings, both public and private, in England.

Cliefden House near Maidenhead was at one time a residence of Frederick, Prince of Wales, son of George II, but outlived by his father. The building burnt down in 1795.

#17749$600.00
 
 
CAMPBELL, Colen (1676-1729)

[Baron Halifax' Residence] This New Design of my Invention is most humbly Inscribed to the Rt. Honble. the Earl of Halifax...

London: Published by Colen Campbell, 1725. Engraved by Henry Hulsbergh. On laid paper. Two repaired tears in the bottom margin, well outside image. Sheet size: 19 1/2 x 26 1/2 inches.

From Colen Campbell's "Vitruvius Britannicus, or the British Architect"

Vitruvius Britannicus is one of the great eighteenth-century English architectural works. It illustrates, in a way, the social revolution that occured in the first half of the 18th century under the governance of Robert Walpole. Noble country estates as grand as any in continental Europe appeared throughout the land. These are buildings of Classical formality and grandeur, implying familial and imperial permanence, vast, symmetrical palaces that preside over their surroundings.

Colen Campbell (1676-1729) was a descendant of the Campbells of Cawdor Castle in Scotland. As an architect, he favored the Palladian style and, through his own designs and withVitruvius Britannicus , helped establish it as the dominant style in great buildings, both public and private, in England. This design for the Earl of Halifax was Campbell's own.

#17750$600.00
 
 
CAMPBELL, Colen (1676-1729)

[Wentworth Castle] The Elevation of Stainborough in Yorkshire the Seat of the Rt. Hon.ble the Earl of Strafford &c...

London: Published by Colen Campbell, 1725. Engraved on laid paper. . Plate mark: 10 x 19 inches. Sheet size: 17 1/2 x 20 3/4 inches.

From Colen Campbell's "Vitruvius Britannicus, or the British Architect"

Vitruvius Britannicus is one of the great eighteenth-century English architectural works. It illustrates, in a way, the social revolution that occured in the first half of the 18th century under the governance of Robert Walpole. Noble country estates as grand as any in continental Europe appeared throughout the land. These are buildings of Classical formality and grandeur, implying familial and imperial permanence, vast, symmetrical palaces that preside over their surroundings.

Colen Campbell (1676-1729) was a descendant of the Campbells of Cawdor Castle in Scotland. As an architect, he favored the Palladian style and, through his own designs and withVitruvius Britannicus , helped establish it as the dominant style in great buildings, both public and private, in England.

Stainborough is actually known as Wentworth Castle, having been the residence of Thomas Wentworth, Earl of Strafford. The architect was Johan von Bodt, a German, which may account for some Baroque touches in the design.

#17759$500.00
 
 
CANFIELD, Thomas Hawley (1822-1897)

Northern Pacific Railroad. Partial Report to the Board of Directors of a portion of a reconnoissance made in the summer of 1869, between Lake Superior and the Pacific Ocean, by Thos. H. Canfield, general agent of the company; accompanied with Notes on Puget Sound, by Samual Wilkeson ... the Historian of the Expedition

[N.p. but New York]: for Private Circulation Only, May, 1870. 8vo (9 x 5 1/2 inches). 2 folding engraved maps, with routes marked in colour by hand, extra-illustrated with 2 albumen print photographs, mounted recto and verso on a single captioned card (as frontispiece) which reads respectively: "Embarkation of Northern Pacific Rail Road Exploring Expedition on board Steamer Mary Moody, Pend d'Oreille Lake, Idaho, July 30th 1869" and "View of Pend d'Oreille Lake in Rocky Mountains, Idaho, 2,000 feet above the Sea". Expertly bound to style in dark blue morocco over brown cloth-covered boards, the flat spine divided into five compartments by double gilt fillets, lettered in gilt in the second and fourth compartments.

Very rare: only two copies are listed as having sold at auction in the past thirty years.

This privately-printed report to the Board of Directors of the Northern Pacific Railroad was produced by Canfield in answer to their request for an account of his survey undertaken in the summer of 1869. He noted that it was important that the Board of Directors be given the full information, but also that "there must be many facts embodied in it, if complete, which ought not, in the present stage of the Company's affairs, to go to the public," especially those relating to the Puget Sound. Samuel Wilkeson's Notes on Puget Sound are found at the end of the volume, and are separately paginated. The two large folding maps are particularly interesting and depict the harbours of Puget Sound and Cowlitz Valley and the country west of Dakota to the Pacific Ocean.

"During the Civil War Josiah Perham of Maine had received a charter for a railroad from Maine to the Pacific Coast, to be called the People's Railroad. The plans for that railroad did not work out, but he reapplied under the name of the Northern Pacific Railroad. Still unsuccessful, his charter was turned over to J. Gregory Smith of the Vermont Central Railroad. Smith became president of the company in 1865 and named Thomas H. Canfield a director and general agent. The charter for the railroad set a deadline for construction to begin and Canfield had to lobby Congress to provide aid for the project or extend its charter. As the government was already aiding the Union and Central Pacific Railroads there was not enough support to assist the Northern Pacific, so Canfield devised a new scheme for raising money. He proposed that a syndicate of twelve prominent businessmen, who represented other transportation interests in the country, be created to lend credibility to the project, and by 1867 he had an agreement signed known as the Original Interests Agreement. A key person to sign the agreement was William B. Ogden, president of the Chicago and North Western Railroad. In 1869 Congress permitted the Northern Pacific Railroad to issue bonds under the direction of Jay Cooke and Company, and finally in 1870 ground was broken for the railroad.

"In 1870 the Lake Superior and Puget Sound Land Company was founded with Canfield as president. The land company was necessary because under their charter the Northern Pacific Railroad had no authority to buy land. Under Canfield's direction the Lake Superior and Puget Sound Land Company located and laid out some of the towns along the Northern Pacific rail route from Lake Superior to the Red River" (Thomas H. Canfield Papers, Vermont Historical Society Library).

Graff 573; Howes C-114 and W-420. R

#20362$7,500.00
 
 
CANOT, Peter Charles (1710-1777) after John MAURER (1713-1761)

View of the Canal in St. James's Park / Veüe du Canal dans le Parc de St. Jacques

London: Published by Francis West, circa 1833-1850. Hand-coloured engraving. A later impression. Very good condition apart from some light soiling, a few small tears and a mild water stain in the bottom margin. Plate mark: 11 1/4 x 16 1/8 inches. Sheet size: 15 1/4 x 21 3/8 inches.

A lovely view down the length of the canal in St. James Park as seen from Buckingham Palace, from "A Collection of Views of Old London and its Environs," a series of plates originally engraved for the publisher John Bowles in the mid 1700s and later reissued in the nineteenth century by Francis West. This particular plate was first published by John Bowles & Son in 1746.

Born in France in 1713, Peter Charles Canot was a prolific line engraver who was active in England beginning in 1740. He engraved copious plates after various old Masters as well as contemporary artists, including Samuel Scott, Thomas Sandby, and John Maurer, and exhibited at the Free Society, the Society of Artists and the Royal Academy, which appointed him an associate engraver in 1770. He was also a member of the Incorporated Society of Artists.

The English draughtsman and engraver John Maurer was chiefly know for his various views of London. His services were in high demand by print sellers during the mid-eighteenth century, and he engraved numerous plates for such eminent publishers as Thomas Bowles, John Boydell, and Robert Sayer.

Cf. Adams, London Illustrated 1604-1851 193; cf. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 9, p. 389; Dictionary of National Biography.

#13793$600.00
 
 
CANOT after Thomas SANDBY (1721-1798)

The New Building on Shrubs Hill

circa 1780. Hand-coloured engraving, printed on wove paper. Very good condition apart from some overall light soiling and a few small losses and skillfully repaired tears along the edge of the top margin. A few small surface abrasions along the exterior of the platemark. Trimmed virtually to the platemark on the right side. Plate mark: 13 3/4 x 22 7/8 inches. Sheet size: 16 1/4 x 24 7/8 inches.

A beautifully coloured print of the newly constructed Fort Belvedere in Windsor Forest, Berkshire. Erected by the Duke of Cumberland in 1755, Belvedere was expanded into a hunting lodge for King George IV. The triangular turreted structure was set amidst a dense plantation of trees and overlooked Virginia Water, a man-made body of water constructed by Thomas and Paul Sandby at the behest of the Duke. Belvedere was later renovated and inhabited by Edward VIII, Prince of Wales.

Brother of the celebrated artist Paul Sandby, the architect and draughtsman Thomas Sandby was an eminent artist in his own right. Essentially self-taught, he moved to London, where he assumed the position of draughtsman and personal secretary of William Augustus, Duke of Cumberland, whom he attended on his military campaigns in Scotland and the Netherlands from 1743 to 1748. On these expeditions, he made many detailed sketches of the various battles, encampments, and scenery he observed. Upon being chosen ranger of Windsor Park in 1746, Cumberland appointed Sandby deputy ranger, a position he would hold for the duration of his life.

During his tenure as deputy ranger, Sandby inhabited the lower lodge and was responsible for overseeing modifications made to the park's land and any renovations to its buildings including Cumberland Lodge. He illustrated the many projects he undertook, and several of his drawings and designs were engraved and published as folios. In addition to his duties at Windsor, Sandby designed a number of houses in the adjacent neighborhood and was appointed architect and master-carpenter of his majesty's works in 1777 and 1780 respectively. Like his brother, he was an original member of the Royal Academy, where he regularly taught and lectured on architecture.

Cf. Dictionary of National Biography.

#13372$1,200.00
 
 
CAREY, Mathew (1760-1839)

Carey's American Pocket Atlas; containing nineteen maps.... with a brief description of each State. Second edition, greatly improved and enlarged

Philadelphia: Printed by H. Sweitzer, for Mathew Carey, 1801. Octavo (8 x 4 7/8 inches). 4pp. list of subscribers. 19 folding engraved maps, 2 folding letterpress tables. Contemporary sheep, expertly rebacked and cornered to style, the flat spine divided into six compartments by double gilt fillets, original red morocco title label in the second compartment.

A fine copy of the rare second edition of one of the best contemporary guides to the United States

The first edition was published in 1796. The text and illustrations consist of maps and descriptions of the United States as a whole, and the states of New England, the mid-west, and the south. The text provides useful information on each state, including history, topography, educational institutions, descriptions of leading towns, etc. The folding tables provide an account of the Federal census (of 'free white males' and 'free white females') for 1801, and a summary of the value of the exports by State from 1791-1800. The publisher notes that in 'the present edition, the Maps have been very considerably improved. The chief roads through out the United Statese laid down - and nearly seven hundred places added, none of which were in the former edition'. The maps are captioned as follow:

1) "The United States of America." (the map extends west to the Mississippi, with the trans-Mississippi region labeled only as "Louisiana.")
2) "Vermont, from actual Survey."
3) "The State of New Hampshire, by Saml. Lewis."
4) "Province of Maine."
5) "Massachusetts."
6) "Rhode Island."
7) "Connecticut."
8) "New York."
9) "New Jersey."
10) "Pennsylvania."
11) "Delaware."
12) "N.W. Territory."
13) "Maryland."
14) "Virginia."
15) "Kentuckey."
16) "North Carolina."
17) "Tennassee [sic.]: lately the S.Wn. Territory."
18) "South Carolina."
19) "Georgia."

Howes C137; Phillips 1172; Rumsey 127; Shaw & Shoemaker 277; Sabin 10856.

#17850$6,000.00
 
 
[CAREY, Mathew (1760-1839)]

Carey's General Atlas

Philadelphia: Published by Mathew Carey, May 1, 1796. Folio (16 x 9 inches). Letterpress title. 45 folding engraved maps. Expertly bound to style in brown calf-backed marbled paper-covered boards, the flat spine divided into six compartments with double gilt fillets, lettered in the second compartment, modern black morocco-backed cloth box, spine gilt.

A handsome copy of this very important American atlas, including the very rare large scale map by Samuel Lewis "A map of the United States: the state maps and other authentic information".

Significantly, this copy contains the very rare "Map of the United States" (map 24 below), by Samuel Lewis, which is often missing. An idea of its rarity may be gained from the fact that the Siebert copy of this atlas was missing this map, as was one of the only two other copies to sell at auction in the past thirty one years. The last example which did include this map was sold by Sotheby's in 1976 (lot 38, sale 24 February 1976).

In 1795, Mathew Carey published the first atlas to be printed in the United States: the American Atlas containing twenty-one maps. The first edition of the present work was published later in the same year, as a companion to the text volume of Guthrie's Geography (Philadelphia: 1794-1795). In 1796 the present edition was published: it includes twenty-three maps relating to the Americas, eighteen to Europe, three to Asia, and one to Africa. Two states of the titlepage of this atlas are known - one stating "price nine dollars" and one without: this copy's titlepage contains the note on the price.

The maps are as follows:

1. 'A map of the world from the best authorities. Thackara & Vallance sc.'

2. 'A chart of the world, according to Mercators projection, shewing the latest discoveries of Capt. Cook. William Barker sculp.'

3. 'An accurate map of Europe from the best authorities. Engrav'd by S. Hill.'

4. 'Sweden, Denmark, Norway and Finland, from the best authorities. Engrav'd by S. Hill.' Inset: Iceland.

5. 'The Russian Empire, in Europe and Asia. W. Barker sculp.'

6. 'Scotland with the principal roads from the best authorities.' Inset: Shetland Isles.

7. 'An accurate map of England and Wales with the principal roads from the best authorities. Doolittle sc.'

8. 'A map of Ireland according to the best authorities. J.T. Scott sculp.'

9. 'The Seven United Provinces of Holland, Groningen, Gelders, Friesland, Overyssel, Utrecht and Zealand from the best authorities. C. Tiebout sculpt.'

10. 'The Austrian, French and Dutch Netherlands, from the best authorities.Joseph T. Scott sculp.'

11. 'The empire of Germany with the 13 cantons of Switzerland from the best authorities. J.T. Scott sculpt.'

12. 'France divided into circles and departments.'

13. 'A map of the seat of war in France, with the country divided into its several departments. Wm. Barker sculp.'

14. 'Turkey, in Europe and Hungary; from the best authorities. W. Barker sculp.'

15. 'Spain and Portugal, from the best authorities.'

16. 'Italy, and Sardinia, from the best authorities.'

17. 'Switzerland according to the best authorities. Joseph T. Scott sculpt.'

18. 'Poland, shewing the claims of Russia, Prussia & Austria, until the late depredations, the extent of which cannot as yet be ascertained. W. Barker sculp.'

19. 'Asia, according to the best authorities.'

20. 'China, divided into it's great provinces according the best authorities. B. Tanner sc.'

21. 'An accurate map of Hindostan or India, from the best authorities. J.T. Scott, sculp.'

22. 'Africa according to the best authorities.'

23. 'The British possessions in North America from the best authorities by Samuel Lewis 1794.'

24. 'A map of the United States: the state maps and other authentic information. By Saml. Lewis 1795.'

25. 'Vermont from actual survey delineated & engraved by Amos Doolittle.'

26. 'The State of New Hampshire. Compiled chiefly from actual surveys. By Samuel Lewis, 1794. Smither sculpt.'

27. 'The Province of Maine, from the best authorities by Samuel Lewis, 1794. W. Barker sculp.'

28. 'The State of Massachusetts. Compiled from the best authorities by Samuel Lewis. Engraved...by J.T. Scott.'

29. 'The State of Rhode Island; compiled from the surveys and observations of Caleb Harris. By Harding Harris. J. Smither sculp.'

30. 'Connecticut from the best authorities. Delineated & engraved by A. Doolittle.'

31. 'The State of New York, compiled from the best authorities, by Samuel Lewis. 1795. Harrison, Junr. sc.'

32. 'The State of New Jersey, compiled from the most authentic information. Compiled by Samuel Lewis. Engraved by W. Barker.'

33. 'The State of Pennsylvania, reduced with permission from Reading Howells map, by Samuel Lewis, Smither sculp.'

34. 'Delaware, from the best authorities. W. Barker, sculp.'

35. 'The State of Maryland, from the best authorities. By Samuel Lewis. W. Barker sculp. Inset: Continuation of the Potowmac River, from Fort Cumberland.'

36. 'The State of Virginia from the best authorities, by Samuel Lewis. 1794. Smither sculpt.'

37. 'The State of North Carolina from the best authorities, &c. by Samuel Lewis. Engraved by Vallence.'

38. 'The State of South Carolina: from the best authorities, by Samuel Lewis. 1795. W. Barker sculp.'

39. 'Georgia, from the latest authorities. W. Barker, sculp.'

40. 'Kentucky, reduced from Elihu Barker's large map. W. Barker sculp.'

41. 'A map of the Tennassee Government formerly part of North Carolina taken chiefly from surveys by Genl. D. Smith & others. J.T. Scott sculp.'

42. 'A map of South America according to the best authorities.'

43. 'A chart of the West Indies, from the latest marine journals and surveys. W. Barker sculp.'

44. 'A map of the countries situate about the North Pole as far as the 50th degree of north latitude. W. Barker sculp.'

45. 'A map of the discoveries made by Captn. Cook & Clerke in the years 1778 & 1779 between the eastern coast of Asia and the western coast of North America...Also Mr. Hearn's discoveries to the north westward of Hudson's Bay in 1772. J.T. Scott sculp.'

Evans 30162; NAIP w030216; Phillips Atlases 683; Sabin 10858.

#19116$55,000.00
 
 
CAREY, Mathew (1760-1839)

Carey's General Atlas, improved and enlarged: being a collection of maps of the world and quarters, their principal empires, kingdoms, &c

Philadelphia: Published by M. Carey, 1814. Folio (17 3/8 x 11 1/2 inches). Letterpress title and 2pp. of 'prefatory remarks', 1p. certification leaf with two columns of letterpress text below a three-quarter page engraved plate made up of seven small maps. 58 engraved maps, all hand-coloured in outline (49 double-page, 1 folding). Contemporary roan-backed marbled paper-covered boards with vellum tips, the flat spine divided into five compartments by single gilt fillets (scuffed, front free endpaper creased and torn with loss), modern blue morocco-backed cloth box. Provenance: Levi Hollingsworth (signature on title); Sally A. Murray (inscription dated 1895 on title).

Third and rarest edition of Carey's "General Atlas," one of the earliest American atlases published in the United States and the "the first atlas made in the United States to employ color on the maps" (Rumsey)

Mathew Carey published the first American atlas in 1795. That atlas contained only 21 maps, so, as the title claims, the present atlas with 58 maps, really is much "improved and enlarged". This copy comes with an interesting and appropriate provenance: although there were several Levi Hollingsworths, mostly related, who were active at the start of the 19th century, the most likely owner of this work is the ardent Federalist and prosperous and distinguished merchant Levi Hollingsworth (1739-1824) of Philadelphia ( see Appleton's Cyclopedia). He served with distinction during the Revolution (and was later twice wounded during the War of 1812), suffered financial losses from furnishing supplies to the Continental Army, and undertook such special services as delivering funds for the salaries of General Montgomery's forces during their investment of Quebec. Hollingsworth corresponded with George Washington on agricultural matters and joined explorer William Clark in a Kentucky lawsuit. Such an enterprising individual would certainly have needed an accurate, up-to-date atlas of the United States, and, his political affiliations suggest that he would have particularly appreciated the fact that he was buying an all-American production.

Most of the atlas is devoted to the Americas with 33 of the 58 maps being of the region. Of the 33 the majority concern the United States and its territories, and incorporate the latest geographical knowledge available, by what was then one of the premier mapping firms in the United States. There are maps of virtually every state (including the North-Western, Michigan, Illinois and Indiana Territories) and in this edition there are five American maps which are included for the first time: map 23 'Mississippi Territory', 24 'The State of Ohio with part of Upper Canada', 25 'The upper territories of the United States', 26 'Louisiana', and 27 'Missouri Territory formerly Louisiana'. The western maps are particularly detailed, incorporating geographic information from recent explorations. The map of the whole North American continent and the excellent large detailed map of the United States and territories can lay claim to being the best available to that time. The other maps are of the West Indies, South America, Mexico, Europe, Asia, Africa, Australia, and one of "Captain Cook's Discoveries" showing a large part of the North Pacific and as far south as the Hawaiian Islands.

Wheat points out that the map of the Missouri Territory was influenced by the recent explorations of Lewis and Clark: "Lewis and Clark influence is apparent on the Upper Missouri and also along the Columbia. Missouri Territory extends west to the Pacific Coast, its probable northern and southern boundaries being shown by colored dotted lines. The northern line runs easterly from Mt. Ranier and includes most of the Columbia watershed, thence north of the Missouri drainage and including that of the Assiniboin (with its large lake), thence east to Lake of the Woods and south to the head of the Mississippi, which then forms the eastern boundary. The southern line leaves the coast just north of F.S. Francisco (whose Bay is not shown), thence easterly and slightly north of the headwaters of the Rio Grande, following south along the ridge east of that stream, southeast to the head of the Colorado (of Texas) and down that stream to the Gulf of Mexico at St. Bernardo B. The State of Louisiana (admitted 1812) appears near the mouth of the Mississippi."

Phillips Atlases 722 & 1372; cf. Sabin 10858; Shaw & Shoemaker 31087; Streeter Sale 82; Wheat Transmississippi West 315

#20226$27,500.00
 
 
CAREY, Matthew (1760-1839)

Carey's General Atlas

Philadelphia: M. Carey, 1800. Folio (17 x 14 inches). 49 engraved maps, (including 26 double-page or folding, 'A Map of the part of the N.W. Territory of the United States' printed on heavy paper and coloured in outline in a contemporary hand.) (Occasional expert repairs to margins and folds). Expertly bound to style in half russia over contemporary speckled paper-covered boards, the flat spine divided into six compartments by double gilt fillets, red morocco lettering-piece in the second compartment.

Rare edition of Carey's important and early US-produced "General Atlas"

Carey's "American Atlas," printed in 1795 with 21 maps, was the first atlas printed in America. Carey's "General Atlas" was first published in 1796 with 45 maps. Most of the present atlas is devoted to the Americas with 27 of the 49 maps being of the region. Of the 27, the majority concern the United States and its territories, and incorporate the latest geographical knowledge available by what was to become one of the premier mapping firms in the United States. Two additional important maps, not included in the 1796 edition, are map 46 Seven Ranges of Townships... laid out by Congress and map 47 Part of the North Western Territory by Samuel Lewis, dated 1796.

Phillips Atlases 3535; not in Rumsey; cf. Sabin 10858

#14158$37,500.00
 
 
CARLETON, Osgood (fl.1792-1806)

Map of Massachusetts proper compiled from Actual Surveys made by Order of the General Court, and under the inspection of agents of their appointment

[Boston: B. & J. Loring, 1801]. Copper-engraved map, with original outline colour, folded and mounted on linen. Publisher's paper label to verso, in good condition apart from some slight browning. Modern cloth chemise, within a morocco-backed cloth slipcase. Sheet size: 31 3/4 x 46 3/4 inches.

A very rare and highly important early map of Massachusetts.


The revised and much improved first "official" edition of the most important early map of Massachusetts. In three key ways, this edition is a great improvement over Osgood Carleton's 1798 original which was rejected for official sanction by the government of the Commonwealth. Firstly, the coastline and coastal islands have been more correctly rendered, largely due to the incorporation of information from the charts of Joseph Des Barres. Secondly, roads and streams that had been left incomplete in the earlier map were extended. Thirdly, some of the clutter of the 1798 map, engraved by Carleton's partner, John Norman, was removed, and the map is more attractive and informative, with a cleaner and crisper appearance.

The history of the creation and publication of Carleton's map is interesting. There was a movement to create a state-sponsored map of Massachusetts as early as 1791. In 1795, after a failed attempt by the Massachusetts Historical Society, Osgood Carleton and John Norman signed a contract with the Commonwealth to create a state map based on surveys submitted by every town, with the entire map to be endorsed as to its quality by the state government. The map was produced in 1798, but it failed to win approval by the General Court which criticized Norman's engraving. The government asked Norman to redraw the map, although he had already printed 400 copies and went about marketing it without the official seal of approval from the Massachusetts government. Carleton, however, began to recompile the map and the firm of Callendar and Hill was contracted to engrave it. The present version of the map was approved by the General Court in 1801, and 500 copies were ordered to be printed. The map was published by B. & J. Loring in Boston, and offered (along with a companion map of Maine, which was then a constituent part of Massachusetts) at four dollars for a set, seven dollars if mounted on cloth with rollers, and eight dollars folded into cases. This copy of the map retains the publisher's original paper label, which forcefully asserts that this 1801 version of the Carleton map of Massachusetts, approved by the General Court, is "the only accurate one ever published of this state."

The map is drawn on a scale of four miles to the inch, and gives a clear delineation of the boundaries and coastline of Massachusetts, and of the borders of each town in the state. The distance of each town from Boston and from their respective county seat is given, and major roads and streams are shown. Public and private institutions, including academies, meetinghouses, courthouses, etc., are located, as are topographical features such as mountains, ponds, rivers and streams. The cartouche, smaller in size and more attractive than that in the 1798 version, is still quite large, taking up much of the lower left corner of the map. It shows an Indian standing beside trees on a shoreline, with boats in the distant waters, and casks, anchors, nets, and a globe in the foreground.

Danforth, 'The First Official Maps of Maine and Massachusetts,' in Imago Mundi 35 (1983), pp. 37-57; Krieger & Cobb, Mapping Boston, p. 52; Phillips, A List of Maps of America, p. 400; Ristow, American Maps and Mapmakers, pp. 89-92

#17662$35,000.00
 
 
CARLONI, Marco (1742-1796) after Franciszek SMUGLIEWICZ (1745-1807) and Vincenzo BRENNA (1745-1820)

Detail of a fresco in the 'Domus Aureus' [Pl. 32]

[Pl. 32]. Rome: Ludovico Mirri, [1776-1778]. Original engraving with modern bodycolour. Very good condition apart from a small light brown stain in the top right corner of the sheet and some mild creasing and rippling. Plate mark: 21 5/8 x 23 1/2 inches. Sheet size: 24 1/2 x 28 5/8 inches.

A fine plate from 'Vestigia delle terme di Tito e loro interne pitture' of an ancient fresco from the 'Domus Aureus', Nero's sumptuous imperial complex in Rome.

Situated between the Palatine and Esquiline Hills in Rome and designed by architects Severus and Celer, the Domus Aureus (Golden House) was erected by Nero in 64 AD after the great fire in Rome. The magnitude and decadent extravagance of the impressive gold-covered, jewel bedecked palace was intended to glorify the Emperor's reign. Its rooms were filled with lavish furniture and its walls and ceilings covered with decorative late-Hellenistic murals by the renowned ancient artist Fabullus. Nero, however, died in 68 AD before the Domus was totally completed. Years later, Titus (and later Trajan) built his thermal bath over its ruins, which were used as a foundation for and were partially preserved by Titus' edifice. Successive emperors continued to erect various buildings on the site and subsequently make several renovations to the Domus substructure. In 1480, practically forgotten, the Domus was excavated, and its subterranean passages and rooms thereafter became known as 'le grotte' (cave). Many of its original frescoes survived, and their motifs and ancient style of ornamentation, called 'grotteschi' (grotesque) after 'grotte', became extremely popular during the Renaissance, influencing many prominent artists such as Raphael, Michelangelo, Ghirlandio, and Pinturicchio.

Published in the late eighteenth century, 'Vestigia delle terme di Tito e loro interne pitture' is an elaborate album of engravings depicting the stunning 'al fresco' and 'al stucco' murals of Nero's Domus Aureus. Carloni's colourful and beautifully rendered plates faithfully capture the grotesque style of the ancient frescoes, which was characterized by decorative borders filled with whimsical, often comical animals and foliage taken from both nature and the artist's imagination. The ornamental borders also served the practical functions of framing the central mythological, religious, or historical subject portrayed and separating the various murals in a single decorative scheme.

#10424$1,200.00
 
 
CARLONI, Marco (1742-1796) after Franciszek SMUGLIEWICZ (1745-1807) and Vincenzo BRENNA (1745-1820)

Detail of a fresco in the 'Domus Aureus' [Pl. 33]

[Pl. 33]. Rome: Ludovico Mirri, [1776-1778]. Original engraving with modern bodycolour. Very good condition apart from a few minor creases and some mild rippling. Plate mark: 19 1/2 x 20 7/8 inches. Sheet size: 24 1/2 x 28 5/8 inches.

A fine plate from 'Vestigia delle terme di Tito e loro inte