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browsing 4347 items
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 NEWCASTLE, William Cavendish, Duke of (1592-1676) and Gaspard de SAUNIER
Welbeck. La Maison de WELBECK appartenant à Monseigneur le Marquis de NEWCASTLE, le quell est dans la Province de NOTTINGHAM. Paragon un Barbe [Pl. 6]
[Pl. 6]. London: J. Brindley, 1743. Copper engraving after Abraham van Diepenbeeck. In excellent condition with the exception of two expertly mended tears on top margin. Plate mark: 15 ½ x 20 ¾ inches. Sheet size: 17 1/16 x 21 5/8 inches.
A fine plate from 'A General System of Horsemanship in All Its Branches', Cavendish's extraordinary didactic work on equestrian dressage.
An affluent politician, soldier, and devoted Royalist, William Cavendish fought for Charles I during the English Civil War. He established a riding school in Antwerp with several Barbary horses obtained in Paris, and in 1657, published his revolutionary and influential work on equestrian training techniques, 'La Methode et Invention nouvelle de Dresser les Chevaux'. An English edition was published in 1743 as 'A General System Of Horsemanship In All Its Branches', with beautiful illustrations of Cavendish skillfully training and riding his horses at his Antwerp ménage and his various English estates like Bolsover Castle and Welbeck Abbey.
Cf. Brunet I.1700; cf. Mellon Books on the Horse and Horsemanship p. 49; cf. Mennessier de la Lance II, p. 250; cf. Nissen ZBI 849.
#16204 $650.00  
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 NEWCASTLE, William Cavendish, Duke of (1592-1676) and Gaspard de SAUNIER
Bolsouer. Monseignieur le Marquis a Cheval. Capriolles sur les Voltes à Main Gauche [Pl. 34]
[Pl. 34]. London: J. Brindley, 1743. Copper engraving after Abraham van Diepenbeeck. In excellent condition. Center fold has been expertly strengthened. Plate mark: 15 ¼ x 20 ¼ inches. Sheet size: 17 1/16 x 21 ¼ inches.
A fine plate from 'A General System of Horsemanship in All Its Branches', Cavendish's extraordinary didactic work on equestrian dressage.
An affluent politician, soldier, and devoted Royalist, William Cavendish fought for Charles I during the English Civil War. He established a riding school in Antwerp with several Barbary horses obtained in Paris, and in 1657, published his revolutionary and influential work on equestrian training techniques, 'La Methode et Invention nouvelle de Dresser les Chevaux'. An English edition was published in 1743 as 'A General System Of Horsemanship In All Its Branches', with beautiful illustrations of Cavendish skillfully training and riding his horses at his Antwerp ménage and his various English estates like Bolsover Castle and Welbeck Abbey.
Cf. Brunet I.1700; cf. Mellon Books on the Horse and Horsemanship p. 49; cf. Mennessier de la Lance II, p. 250; cf. Nissen ZBI 849.
#16205$650.00
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 NEWCASTLE, William Cavendish, Duke of (1592-1676) and Gaspard de SAUNIER
Bolsouer. Monseigneur le Marquis a Cheval. Caprioles sur le Droite. [Pl. 33]
[Pl. 33]. London: J. Brindley, 1743. Copper engraving after Abraham van Diepenbeeck. In excellent condition with the exception of two expertly mended tears along the top and bottom of the center fold. Plate printed off center and therefore trimmed within the platemark along the side margins. Faint printer's crease extending from top edge of sheet. Plate mark: 15 ¾ x 21 1/8 inches. Sheet size: 17 1/16 x 21 ¼ inches.
A fine plate from 'A General System of Horsemanship in All Its Branches', Cavendish's extraordinary didactic work on equestrian dressage
An affluent politician, soldier, and devoted Royalist, William Cavendish fought for Charles I during the English Civil War. He established a riding school in Antwerp with several Barbary horses obtained in Paris, and in 1657, published his revolutionary and influential work on equestrian training techniques, 'La Methode et Invention nouvelle de Dresser les Chevaux'. An English edition was published in 1743 as 'A General System Of Horsemanship In All Its Branches', with beautiful illustrations of Cavendish skillfully training and riding his horses at his Antwerp ménage and his various English estates like Bolsover Castle and Welbeck Abbey.
Cf. Brunet I.1700; cf. Mellon Books on the Horse and Horsemanship p. 49; cf. Mennessier de la Lance II, p. 250; cf. Nissen ZBI 849.
#16206$650.00
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 NEWCASTLE, William Cavendish, Duke of (1592-1676) and Gaspard de SAUNIER
Rubecan un Rousin [Pl. 10]
[Pl. 10]. London: J. Brindley, 1743. Copper engraving after Abraham van Diepenbeeck. In excellent condition. Plate mark: 15 ½ x 21 inches. Sheet size: 17 x 21 3/8 inches.
A fine plate from 'A General System of Horsemanship in All Its Branches', Cavendish's extraordinary didactic work on equestrian dressage.
An affluent politician, soldier, and devoted Royalist, William Cavendish fought for Charles I during the English Civil War. He established a riding school in Antwerp with several Barbary horses obtained in Paris, and in 1657, published his revolutionary and influential work on equestrian training techniques, 'La Methode et Invention nouvelle de Dresser les Chevaux'. An English edition was published in 1743 as 'A General System Of Horsemanship In All Its Branches', with beautiful illustrations of Cavendish skillfully training and riding his horses at his Antwerp ménage and his various English estates like Bolsover Castle and Welbeck Abbey.
Cf. Brunet I.1700; cf. Mellon Books on the Horse and Horsemanship p. 49; cf. Mennessier de la Lance II, p. 250; cf. Nissen ZBI 849.
#16207$650.00
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 NEWCASTLE, William Cavendish, Duke of (1592-1676) and Gaspard de SAUNIER
WELBECK. Le Grenier de l'Ecurie. Isÿa d' autres Ecuries pour quatre-vint Chevaux. Nobilissimo Courtier Nappolitain [Pl. 9]
[Pl. 9]. London: J. Brindley, 1743. Copper engraving after Abraham van Diepenbeeck. In excellent condition with the exception of a small mended tear along the center fold. Top right hand corner has been expertly infilled. Sheet size: 17 x 21 3/8 inches.
A fine plate from 'A General System of Horsemanship in All Its Branches', Cavendish's extraordinary didactic work on equestrian dressage.
An affluent politician, soldier, and devoted Royalist, William Cavendish fought for Charles I during the English Civil War. He established a riding school in Antwerp with several Barbary horses obtained in Paris, and in 1657, published his revolutionary and influential work on equestrian training techniques, 'La Methode et Invention nouvelle de Dresser les Chevaux'. An English edition was published in 1743 as 'A General System Of Horsemanship In All Its Branches', with beautiful illustrations of Cavendish skillfully training and riding his horses at his Antwerp ménage and his various English estates like Bolsover Castle and Welbeck Abbey.
Cf. Brunet I.1700; cf. Mellon Books on the Horse and Horsemanship p. 49; cf. Mennessier de la Lance II, p. 250; cf. Nissen ZBI 849.
#16208$650.00
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 NEWCASTLE, William Cavendish, Duke of (1592-1676) and Gaspard de SAUNIER
Bolsover. Monseigneur le Marquis à Cheval. Groupades par le Droite [Pl. 31]
[Pl. 31]. London: J. Brindley, 1743. Copper engraving after Abraham van Diepenbeeck. In excellent condition with the exception of a number of expertly repaired tears on the top edge of sheet. Plate mark: 15 ¼ x 20 ¾ inches. Sheet size: 17 1/16 x 21 3/16 inches.
A fine plate from 'A General System of Horsemanship in All Its Branches', Cavendish's extraordinary didactic work on equestrian dressage.
An affluent politician, soldier, and devoted Royalist, William Cavendish fought for Charles I during the English Civil War. He established a riding school in Antwerp with several Barbary horses obtained in Paris, and in 1657, published his revolutionary and influential work on equestrian training techniques, 'La Methode et Invention nouvelle de Dresser les Chevaux'. An English edition was published in 1743 as 'A General System Of Horsemanship In All Its Branches', with beautiful illustrations of Cavendish skillfully training and riding his horses at his Antwerp ménage and his various English estates like Bolsover Castle and Welbeck Abbey.
Cf. Brunet I.1700; cf. Mellon Books on the Horse and Horsemanship p. 49; cf. Mennessier de la Lance II, p. 250; cf. Nissen ZBI 849.
#16211$650.00
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 NEWCASTLE, William Cavendish, Duke of (1592-1676) and Gaspard de SAUNIER
Pour travailler avec la réne du cauesson dedans la volte et dans la main, et la jambe hors la volte, sur le terre à terre, a droite et à gauche [Pl. 18]
[Pl. 18]. London: J. Brindley, 1743. Copper engraving after Abraham van Diepenbeeck. In excellent condition. Plate mark: 15 ¼ x 20 ¼ inches. Sheet size: 17 1/16 x 21 1/8 inches.
A fine plate from 'A General System of Horsemanship in All Its Branches', Cavendish's extraordinary didactic work on equestrian dressage.
An affluent politician, soldier, and devoted Royalist, William Cavendish fought for Charles I during the English Civil War. He established a riding school in Antwerp with several Barbary horses obtained in Paris, and in 1657, published his revolutionary and influential work on equestrian training techniques, 'La Methode et Invention nouvelle de Dresser les Chevaux'. An English edition was published in 1743 as 'A General System Of Horsemanship In All Its Branches', with beautiful illustrations of Cavendish skillfully training and riding his horses at his Antwerp ménage and his various English estates like Bolsover Castle and Welbeck Abbey.
Cf. Brunet I.1700; cf. Mellon Books on the Horse and Horsemanship p. 49; cf. Mennessier de la Lance II, p. 250; cf. Nissen ZBI 849.
#16216$650.00
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 NEWCASTLE, William Cavendish, Duke of (1592-1676) and Gaspard de SAUNIER
La gallerie. Bolsouer. Monseigneur le marquis à Cheval. Groupades sur les Voltes à main gauche [Pl. 35]
[Pl. 35]. London: J. Brindley, 1743. Copper engraving after Abraham van Diepenbeeck. In excellent condition. Plate mark: 15 ¼ x 20 ½ inches. Sheet size: 17 x 21 1/4 inches.
A fine plate from 'A General System of Horsemanship in All Its Branches', Cavendish's extraordinary didactic work on equestrian dressage.
An affluent politician, soldier, and devoted Royalist, William Cavendish fought for Charles I during the English Civil War. He established a riding school in Antwerp with several Barbary horses obtained in Paris, and in 1657, published his revolutionary and influential work on equestrian training techniques, 'La Methode et Invention nouvelle de Dresser les Chevaux'. An English edition was published in 1743 as 'A General System Of Horsemanship In All Its Branches', with beautiful illustrations of Cavendish skillfully training and riding his horses at his Antwerp ménage and his various English estates like Bolsover Castle and Welbeck Abbey.
Cf. Brunet I.1700; cf. Mellon Books on the Horse and Horsemanship p. 49; cf. Mennessier de la Lance II, p. 250; cf. Nissen ZBI 849.
#16221$650.00
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 NEWCASTLE, William Cavendish, Duke of (1592-1676) and Gaspard de SAUNIER
Le Chateau D'Ogle, qui fut à Monseigneur le Baron d'Ogle le quel fut fait Baron par Edouard quatrieme Roi d'Angletrre Grand-pere de Monseigneur le Marquis. Le quell Chateau eft dans la province de Northumberland, et appartient apresent à Monseigneur le Marquis [Pl. 40]
[Pl. 40]. London: J. Brindley, 1743. Copper engraving after Abraham van Diepenbeeck. In excellent condition. Plate mark: 15 1/16 x 19 3/4 inches. Sheet size: 17 1/16 x 21 inches.
A fine plate from 'A General System of Horsemanship in All Its Branches', Cavendish's extraordinary didactic work on equestrian dressage.
An affluent politician, soldier, and devoted Royalist, William Cavendish fought for Charles I during the English Civil War. He established a riding school in Antwerp with several Barbary horses obtained in Paris, and in 1657, published his revolutionary and influential work on equestrian training techniques, 'La Methode et Invention nouvelle de Dresser les Chevaux'. An English edition was published in 1743 as 'A General System Of Horsemanship In All Its Branches', with beautiful illustrations of Cavendish skillfully training and riding his horses at his Antwerp ménage and his various English estates like Bolsover Castle and Welbeck Abbey.
Cf. Brunet I.1700; cf. Mellon Books on the Horse and Horsemanship p. 49; cf. Mennessier de la Lance II, p. 250; cf. Nissen ZBI 849.
#16222$650.00
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 NEWDEGATE, C.N.
Sketches from the Washington Races on October 1840 by An Eye Witness
London?: no date, but circa 1840]. Folio (22 x 15 inches). Without title or text (as published). 3 fine hand-coloured lithographed plates by and after Newdegate. Unbound as issued in original oatmeal paper wrappers, lithographic title on upper cover. Modern black cloth box, black morocco lettering piece.
A very fine copy of this rare color-plate work, describing in three plates, with explanatory rhymed quatrains beneath, the course of a race, with black jockeys, run at Washington race course, Charleston, South Carolina in October 1840.
The gray mare wins by a large margin, having been pushed all the way to the winning post by her jockey. The descriptive verses beneath each plate describe the race:1. 'At the tap of the drum they jump of from the stand, / Be the track deep in mud or heavy with sand, / At a pace which at once makes fast ones extend, / And e'en the best winded cry bellows to mend.'2. 'And now they have reach'd the third mile, second heat, / The mare is still going, the horse is dead beat; / Says Sambo "Me know how Massa him do it, / So me gib him de whip, and make him stick to it."'3. 'Now the Winner comes in decidedly blown, / Tho 'ere two miles were done the race was her own, / But they go the whole hog in this western clime, / When they've beaten the field they run against time.'The mention of 'western clime' allied with the first line of the verse on the upper cover ('British Steeds that you're fastest I've not a doubt') both suggest that the present series was published in Britain. If this is the case then London seems the most likely city of origin for this excellent series.The Washington Race Course was established in 1735 and until its sale in 1900 was the oldest race track in the world. The South Carolina Jockey Club Spring and Fall race meetings here were one of the highlights of the Charleston season. The first day's races were run in four, the second in three and the third in two-mile heats. On the disbanding of the South Carolina Jockey Club, the piers from the entrance of the Washington Race Course were given to Belmont Park, New York, where they still stand today. The proceeds from the sale of the course were passed to the Charleston Library Society for use as an acquisition fund which is still known as the 'Jockey Club Fund'.Unrecorded. Not in any of the standard bibliographies.
#6751$4,000.00
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 NICHOLSON, Walter L. (topographer of the U.S. Post Office Department)
[Collection of Post Route Maps.
Washington, D.C.]: 1879. 8 engraved folding maps (various sizes), hand-coloured in outline, dissected and backed onto 11 pieces of linen, with original marbled paper covers, with a mounted paper label with the letterpress title. All contained within a single later cloth box, with morocco label to spine, .
[with:]
W.L NICHOLSON. An autograph letter signed to C.P. Chambers, on 'Post Office Department, Topographer's Office, Washington, D.C.' headed paper, dated July 12 1879. 2 pp. (10 x 8 inches), to Chambers, the General Auditor of the New York Central and Hudson River Railroad, a covering letter which accompanied the maps when Nicholson sent them to Chambers, recalling that 'Some time ago … I undertook to prepare for you a set of certain of our Post Route Maps-to be put up in what we call "folio form" for convenient desk and table reference. The great pressure of work upon this Office during the recent Session of Congress has delayed this matter-but now I am happy to dispatch the maps … [ a list of 7 maps follows, with the dates of when they were updated] … In addition to these I propose to send you the map of the States of Illinois, Iowa & Missouri, but we have run short of these during the past few weeks, awaiting a new edition, which when received …', pasted to verso of one of the sections of the 'Upper Part' of the State of New York. Pasted to the section of the map opposite the letter is a printed and manuscript list, also dated 12 July 1879, the same eight maps. Provenance: Central & Hudson River Railroad (presentation letter, see above)
Rare presentation set of the official Post Route maps, as used by Cornelius Vanderbilt's Central & Hudson River Railroad, with an associated manuscript letter from the topographer of the Post Office Department
Taken together, the maps provide complete coverage for roughly the northeast quadrant of the lower 48 states, stretching from Maine to the Dakotas, Nebraska and Kansas, and as far south as parts of Virginia and West Virginia. They were compiled by Nicholson who was responsible for setting up the topographical department of the Post Office during the Civil War, and went on to serve as the official Topographer to the Post Office for 22 years As indicated by the title, the focus of the maps is on postal routes and, naturally, towns as well as political boundaries. Lakes, rivers and other waterways provide the only topographical detail. The postal routes are colour-coded to indicate frequency with which they are used (e.g., black for six times per week, blue for three times per week), with rail routes differentiated by cross-hatching. The distance for each route segment is also indicated. Each map includes a legend and an inset table of distances between post offices. Most also provide a table of statistics (population, number of post offices, rail mileage, etc.) relevant to the states depicted. The charming official Post Office Department logo and motto ('With Celerity Certainty and Security') is also present on each map.
The maps were originally published between 1866-1876, but it was essential to keep updating them (monthly until 1887, bi-monthly thereafter), and to this end each map also includes a printed note 'The Service on this diagram brought up to date of', followed by a space in which a manuscript date has been added. Some of the maps also include manuscript route changes.
The relationship between the Post Office and the railroads began very early. The first known contract was in 1832, just two years after the maiden voyage of the nation's first steam locomotive, for transport of mail between Philadelphia and Lancaster, PA. On July 7, 1838, an act of Congress declared all rail routes to be postal routes, and the railways rapidly became the backbone of the postal system. While these maps were distributed throughout the Post Office Department, it is not clear how often these early issues of the maps were given or sold to non-governmental users. By the early 1900s this was certainly common practice: between 1899 and 1905, 16% of all maps produced were sold to private interests. As General Auditor of the New York Central and Hudson River Railroad, owned by Cornelius Vanderbilt, J.P. Chambers presumably had influence like few other men in the country. To judge from the language of the accompanying letter, it is possible that this set was provided by Nicholson as a special favor.
List of maps:
1. Post Route Map of the State of Maine and of the Adjacent Parts of New Hampshire and the Dominion of Canada. '1869' but "brought up to date of July 1, 1879." 4 sections folded, 39 ¼ x 31 3/8 inches overall. Includes manuscript updates.
Includes large inset 'Map of the State of Maine Showing Connections with the Surrounding States and Provinces'. Phillips p. 386 (1881 issue).
2. Post Route Map of the States of New Hampshire, Vermont, Massachusetts, Rhode Island, Connecticut and Parts of New York and Maine. '1866' but "brought up to date of May 1, 1879." 8 sections folded, 60 x 39 overall. Includes manuscript updates. Phillips p. 479 (1881 issue).
3. Post Route Map of the State of New York and Parts of Vermont Massachusetts Connecticut New Jersey and Pennsylvania. Also the Adjacent Portions of the Dominion of Canada. '1866' but "brought up to date of May 1, 1879." 16 sections, 56 ½ x 63 3/8 inches overall, mounted on two separate sheets of linen folded (each with 8 sections).
'Lower part' with large inset of Long Island. 'Upper part' with large inset of northern New York and southern Quebec and Ontario, and the 2pp. autograph letter from Nicholson, and a printed list of maps pasted on to verso. Cf. Phillips p. 517 (1881 issue).
4. Post Route Map of the States of Pennsylvania New Jersey Delaware and Maryland and of the District of Columbia with Adjacent Parts of New York Ohio Virginia and West Virginia. '1866' but "brought up to date of May 15, 1879." 16 sections, 56 ½ x 63 1/48 inches overall, mounted on two separate sheets of linen folded (each with 8 sections). Cf. Phillips p. 687 (1881 issue).
5. Post Route Map of the States of Ohio and Indiana with Adjacent Parts of Pennsylvania Michigan Illinois Kentucky and West Virginia. '1870' but "brought up to date of March 1, 1879." 12 sections folded, 41 7/8 x 58 1/4 inches overall. Cf. Phillips p. 633 (1881 issue).
6. Post Route Map of the States of Michigan and Wisconsin with Adjacent Parts of Ohio Indiana Illinois Iowa and Minnesota. '1871' but "brought up to date of March 1, 1879." 12 sections folded, 42 1/8 x 58 1/2 inches overall. Cf. Phillips p. 428 (1881 issue).
7. Post Route Map of the States of Illinois Iowa and Missouri with Adjacent Parts of Indiana Wisconsin Minnesota Kansas and Arkansas. '1872' but "brought up to date of July 1, 1879." 16 sections, 64 x 56 3/16 inches overall, mounted on two separate sheets of linen folded (each with 8 sections). Cf. Phillips p. 331 (1881 issue).
8. Post Route Map of the State of Minnesota with Adjacent Parts of Iowa, Nebraska, Dakota, Wisconsin and of the British Possessions. '1876' but "brought up to date of June 1, 1879." 16 sections folded, 58 ¼ x 42 1/2 inches overall. Cf. Phillips p. 434 (1881 issue).
Cf. Virginia W. Mason. The U.S. Post Office Department, Division of Topography: the Conception, Production, and Obsolescence of Postal Mapping in the United States. (unpublished thesis). Madison, WI: Department of Geography, University of Wisconsin-Madison, 2002.
#16085$15,000.00
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 NIEUHOFF, Johann (1630-1672)
Ambassades Memorables de la Compagnie des Indes Orientales des Provinces Unies, vers les Empereurs du Japon. Contenant plusieurs choses remarquables arrivées pendant le voyage des Ambassadeurs; et deplus, la description des villes, bourgs, châteaux, forteresses, temples & autres bâtimens: des animaux, des plantes, montagnes, riviéres, fonteines; des moeurs, coutumes, religions & habillemens des Japonois: comme aussi leurs exploits de guerre, & les révolutions tant anciennes que modernes que ces peuples ont essuyées
Amsterdam: Jacob de Meurs, 1680. 2 parts in one volume, folio (14 7/16 x 9 1/4 inches). Letterpress title in red and black with engraved vignette. Engraved additional title, 1 folding map, 25 plates (4 folding, 21 double-page), 70 illustrations, 1 head-piece and 2 initials. Contemporary mottled calf, spine gilt in seven compartments with raised bands, black morocco lettering-piece in the second, the others with repeat decoration in gilt, endpapers with browned margins. Provenance: Joannes Joseph, count Thun (armorial bookplate, red ink "Tetschner Bibliothek" stamp on verso of letterpress title).
A fine wide-margined copy of this important early description of Japan: an eye-witness account from the missions despatched by the Dutch East India Company
According to the preface, this work was translated from a Flemish original. The work has a wide remit and provides information on a range of different subjects: the title gives a precis, noting that it includes details of "many remarkable things which happened during the voyage of the Ambassadors; in addition, descriptions of the towns, boroughs, châteaux, fortresses, temples & other buildings: the animals, the plants, mountains, rivers, springs; the way-of-life, customs, religion and costume of the Japanese; also their wars and revolutions, both ancient and modern."
Cordier notes (correctly) that the plate list at the end of part one lists "15 fig. hors text" (including the map) and that at the end of the second part "11 fig. hors text" are detailed. What is not mentioned is that one of the figures mentioned in the plate list for part one is not required ("Temple du Dayro" at p.222), whilst part two includes an additional plate not mentioned on the list ("Grande Temple proche de Saccai" at p.93).
Cordier Bibliotheca Japonica 385; Landwehr VOC 525.
#19559$12,000.00
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 NIGG, Joseph (1782-1863)
[Bouquet of Flowers]
circa 1945. Chromolithograph. Printed on wove paper. In good condition with the exception of some faint discoloration to the surface of the paper in the margins. Image size: 25 7/8 x20 3/4 inches. Sheet size: 31 1/4 x 22 inches.
This luxurious chromolithograph of a bouquet of flowers is after a painting by the celebrated Viennese porcelain painter, Joseph Nigg.
A celebrated Viennese flower painter, Josef Nigg studied under Johan Drechsler at the Academie des Beaux-Arts in Vienna. Primarily a flower and fruit painter, Nigg was best known for his highly detailed still lifes on porcelain. Between 1800 and 1848 he became one of the foremost decorators at the Vienna porcelain factory, and his delicate paintings are considered some of the finest examples of the Austrian style. Examples of his superb work can be found in some of the best museums in the world, including the Hermitage in St. Petersburg. Known for his luxurious still lifes, Nigg paid close attention to every minute detail of the composition from bloomy roses to dewy peaches. This large chromolithograph is a lovely example of his intricate paintings and effortlessly conveys the luxuriousness and grandeur of his monumental designs.
Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs Vol 10, p. 220; Thieme/Becker, Allgemeines Lexicon der bilden Künstler, Vol. 25/26, p. 473.
#16274$1,200.00
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 NIGG, Joseph (1782-1863)
[Bouquet of Flowers]
circa 1945. Chromolithograph by Mourlot, Printed on thick faux laid wove paper. In good condition with the exception of some discoloration to the top margin, outside image. Image size: 25 1/2 x 19 7/8 inches. Sheet size: 31 1/2 x 23 5/8 inches.
This luxurious chromolithograph of a bouquet of flowers is after a painting by the celebrated Viennese porcelain painter, Joseph Nigg. Signature and date lower right of image: "Jos. Nigg 1813".
A celebrated Viennese flower painter, Josef Nigg studied under Johan Drechsler at the Academie des Beaux-Arts in Vienna. Primarily a flower and fruit painter, Nigg was best known for his highly detailed still lifes on porcelain. Between 1800 and 1848 he became one of the foremost decorators at the Vienna porcelain factory, and his delicate paintings are considered some of the finest examples of the Austrian style. Examples of his superb work can be found in some of the best museums in the world, including the Hermitage in St. Petersburg. Known for his luxurious still lifes, Nigg paid close attention to every minute detail of the composition from bloomy roses to dewy peaches. This large chromolithograph is a lovely example of his intricate paintings and effortlessly conveys the luxuriousness and grandeur of his monumental designs.
Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs Vol 10, p. 220; Thieme/Becker, Allgemeines Lexicon der bilden Künstler, Vol. 25/26, p. 473.
#17464$1,200.00
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 [NOLIN, Jean-Baptiste (1657-1725)] and Jean-Baptiste NOLIN II (1686-1672).
L'Amerique Dressée sur les Relations les plus Recentes rectifiées sur les dernieres observations
Paris: Chez l'Auteur Rue St. Jacques au dessus de la Rue des Mathurins a lensgne. de la Place des Victoires, 1740. Copper-engraved wall map, with original outline colour, composed from four joined sheets, surrounded by text and vignettes printed on separate sheets, backed onto old linen, with contemporary wooden rollers. Sheet size: 49 x 55 inches.
First state of a rare and monumental wall map of the Americas by a great French master of cartography.
Jean-Baptiste Nolin was one of the most accomplished and certainly the most ambitious French cartographer of his era. He founded what ultimately became a family empire in Paris in the 1680s. Exceptionally, he managed to marry superlative decorative ornamentation with the serious objective of producing maps that reflected the most advanced rendering of geographical detail. The artistic élan of his compositions evinced a style that preserved the rhetorical ambitions of the Baroque ethic, while anticipating the playful elegance of the Rococo period. His masterpieces, many like the present wall map, were monumental in scale and represented Nolin's desire to overwhelm his competition in what was a very challenging market. Highly controversial, Nolin occasionally described himself as "the Engraver to the King," an appointment of which the royal court was curiously never apprised. In his endeavour to include the very latest geographical details on his maps, he seldom hesitated to acquire information from his eminent contemporaries, most notably Guillaume De L'Isle and Vincenzo Maria Coronelli, Jean-Dominique Cassini and the Sieur de Tillemon. At times these rivals were not appreciative of Nolin's adoption of their intellectual property, and De L'Isle successfully sued Nolin for plagiarism in 1705. However, the larger-than-life Nolin always seemed to transcend these challenges, leaving a thriving enterprise to be taken up by his son.
The present map was created in 1740 by Jean-Baptiste Nolin II, largely based on earlier maps produced by his father. This work ambitiously endeavours to depict the Americas in the most up-to-date geographic form, generally borrowing from the most authoritative sources. Ironically, it was the senior Nolin's desire to acquire the most accurate information that caused him to propagate one of the eighteenth-century's greatest cartographic myths. By this time, South America had been quite thoroughly explored, however, the Pacific northwest and the adjacent interior areas of North America remained largely unseen by European eyes. The only prominent feature present in this terra incognita is the mythical Mer de l'Ouest, that sees the Pacific protrude dramatically into the continental landmass. The senior Nolin was the first cartographer to put this detail into print, his campaign of corporate espionage having uncovered a manuscript map by De L'Isle which depicted the sea. This incident was one of the key pieces of evidence that won De L'Isle's suit against Nolin. Although the Mer de l'Ouest is dramatically smaller here than in its original form (and is unlabelled in this map) it sustains a fascinating myth.
The map is an artistically virtuous composition on a monumental scale, the image being surrounded by thirty vignettes that depict the dramatic historical events that shaped the founding of the French and Spanish empires in the Americas. Each vignette is set within an elaborate baroque frame of a unique design, accompanied by descriptive text. The extensive text along the lower margin entitled "Description Géographique de l'Amérique" places this important map into its greater social and historical context. The map is further enhanced by a large decorative title cartouche, magnificently framed by period rocaille motifs, that depicts French Jesuits ministering to the Indians. A small vignette below the cartouche shows beavers at work, a popular motif on eighteenth-century maps of America
The map also features a decorative detail that represents a social commentary on contemporary European attitudes towards the indigenous peoples they encountered in the New World. The scene occupying the lower-left of the main image depicts Mars, the god of war, capriciously watching over two Europeans who are firing rifles onto a group of native Americans, who themselves are engaging in macabre acts of cannibalism.
This wall map is one of the greatest subjects of the Nolins' legacy, not only being a masterful work of art and a fascinating image that tests the very limits of European geographical knowledge, but a vivid record of a dramatic transitional period in the history of cartography, and of society in general.
Hale, The Discovery of the World Maps of the Earth and the Cosmos, p. 159
#10419$65,000.00
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 [NOLIN, Jean-Baptiste (1657-1725)] and Jean-Baptiste NOLIN II (1686-1762)
[Africa] L'Afrique Dressée Sur les Relationes les Plus Recentes et rectifiées sur les dernieres observations
Paris: Chez l'auteur rue s.Jacques au dessous de la rue Mathurins a l'Enseigne de la Place des Victoires, 1740. Copper-engraved wall map, with original outline colour, of four joined sheets, surrounded by text and vignettes printed on separate sheets, backed onto old linen, with contemporary wooden rollers, overall in very good condition. Sheet size: 49 x 55 inches.
A rare and monumental wall map of Africa by a great French master of cartography.
Jean-Baptiste Nolin was one of the most accomplished and certainly the most ambitious French cartographer of his era. He founded what ultimately became a family empire in Paris in the 1680s. Exceptionally, he managed to marry superlative decorative ornamentation with the serious objective of producing maps that reflected the most advanced rendering of geographical detail. The artistic élan of his compositions evinced a style that preserved the rhetorical ambitions of the Baroque ethic, while anticipating the playful elegance of the Rococo period. His masterpieces, many like the present wall map, were monumental in scale and represented Nolin's desire to overwhelm his competition in what was a very challenging market. Highly controversial, Nolin occasionally described himself as "the Engraver to the King", an appointment of which the royal court was curiously never apprised. In his endeavour to include the very latest geographical details on his maps, he seldom hesitated to acquire information from his eminent contemporaries, most notably Guillaume De L'Isle and Vincenzo Maria Coronelli, Jean-Dominique Cassini and the Sieur de Tillemon. At times these rivals were not appreciative of Nolin's adoption of their intellectual property, as De L'Isle successfully sued Nolin for plagiarism in 1705. However, the larger-than-life Nolin always seemed to transcend these challenges, leaving a thriving enterprise to be taken up by his son.
The present map was created in 1740 by Jean-Baptiste Nolin II, largely based on earlier maps produced by his father. Geographically, the map is relatively progressive, however it showcases some rather curious speculations. The coastlines are well defined, having been explored for over two-hundred and fifty years, however, the heart of Africa remains an enigma. In the absence of direct observation, the European imagination was given free reign. In this light, Nolin adopts the seventeenth-century conceptions popularized by De L'Isle and Coronelli that the Nile was somehow connected to the Niger River, even though both rivers flow in different directions to terminate at points thousands of miles apart. Furthermore, the written descriptions of the continent's inhabitants are replete with archaic legends of bizarre and monstrous races.
The presented map is an artistically virtuous composition on a monumental scale, the image being surrounded by thirty vignettes that depict events from African history. The focus of the vignettes is on the better known North African regions, however, there is also a great deal of attention paid to French commercial activities in Guinea. Each vignette is set within an elaborate baroque frame of a unique design, and is accompanied by textual narratives. The detailed description at the bottom is entitled "Description Geographique de L'Afrique." The large title cartouche is framed by period rocaille swirls, and is inhabited by an optimistic scene depicting the amicable commerce between Africans and Europeans, as well as a dedication to Louis XV.
This wall map is one of the greatest subjects of the Nolins' legacy, not only being a masterful work of art and a fascinating image that tests the very limits of European geographical knowledge, but also a vivid record of a dramatic transitional period in the history of cartography, and of society in general.
Tooley, Maps of Africa, p.86, plate 67.
#15517$25,000.00
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 [NOLIN, Jean-Baptiste (1657-1725)] and Jean-Baptiste NOLIN II (1686-1762)
[Asia] L'Asie Dressée sur les Nouvelles Observations Faites en toutes les Parties de la Terre et Rectifieés
Paris: Chez J.B. Nolin le Fils Geografe sur le Quay de l'Horloge du Palais a l'Enseigne de la Place des Victoires entre le Rue de Harlay et le Pont Neuf, 1740. Copper-engraved wall map, with original outline colour, of four joined sheets, surrounded by text and vignettes printed on separate sheets, backed onto old linen, with contemporary wooden rollers, overall in very good condition. Sheet size: 49 x 55 inches.
A rare and monumental wall map of Asia by one of the great French masters of cartography.
Jean-Baptiste Nolin was one of the most accomplished and certainly the most ambitious French cartographer of his era. He founded what ultimately became a family empire in Paris in the 1680s. Exceptionally, he managed to marry superlative decorative ornamentation with the serious objective of producing maps that reflected the most advanced rendering of geographical detail. The artistic élan of his compositions evinced a style that preserved the rhetorical ambitions of the Baroque ethic, while anticipating the playful elegance of the Rococo period. His masterpieces, many like the present wall map, were monumental in scale and represented Nolin's desire to overwhelm his competition in what was a very challenging market. Highly controversial, Nolin occasionally described himself as "the Engraver to the King," an appointment of which the royal court was curiously never apprised. In his endeavour to include the very latest geographical details on his maps, he seldom hesitated to acquire information from his eminent contemporaries, most notably Guillaume De L'Isle and Vincenzo Maria Coronelli, Jean-Dominique Cassini and the Sieur de Tillemon. At times these rivals were not appreciative of Nolin's adoption of their intellectual property, and De L'Isle successfully sued Nolin for plagiarism in 1705. However, the larger-than-life Nolin always seemed to transcend these challenges, leaving a thriving enterprise to be taken up by his son.
The present map was created in 1740 by Jean-Baptiste Nolin II, largely based on an earlier maps produced by his father. While the geographical depiction of most of the continent is quite assured for the time, this map is one of the eighteenth-century's most fascinating experiments in cartographic speculation. Published on the very eve of Vitus Bering's voyage to Alaska and eastern Siberia, this map shows that contemporary Europeans had no real concept of what lands might have occupied these regions. North America is thus shown as reaching down to a point just north of Japan. On the other side of the continent, an absurdly large Greenland looms closely over the northern coast of Siberia to a point past Nova Zemlya. On the main map the Mariana Islands, or Nouvelle Phillipines, adorn the Pacific in a configuration consistent with the account of the Jesuit explorer Paul Clain. Curiously, the inset in the upper right corner depicts a different rendering of the same islands as suggested in a Jesuit report of 1697.
Nolin's work is an artistically virtuous composition on a monumental scale, the image being surrounded by thirty vignettes that depict various events from Greek, Roman, Jewish, Christian, and Islamic history. In turn, each vignette is set within an elaborate baroque frame of a unique design, accompanied by textual narratives. The extensive text along the lower margin is entitled "Description Géographique de l'Asie." The upper left of the main image is adorned with an especially resplendent cartouche, featuring Jesuit priests evangelizing to the diverse peoples of the continent.
This wall map is one of the greatest subjects of the Nolins' legacy, not only being a masterful work of art and a fascinating image that tests the very limits of European geographical knowledge, but a vivid record of a dramatic transitional period in the history of cartography, and of society in general.
#15518$45,000.00
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 [NOLIN, Jean-Baptiste (1657-1725)] and Jean-Baptiste NOLIN II (1686-1762)
[Europe] L'Europe Dressée Sur les Nouvelles observations faites en toutes les parties de la Terre Rectifiée
Paris: Chez le fils de l'auteur Rue St.Jacques a lenseigne de la Place des Victoires, 1740. Copper-engraved wall map, with original outline colour, backed onto old linen, with contemporary wooden rollers, overall in very good condition. Sheet size: 49 x 55 inches.
A rare and monumental wall map of Europe by one of the great masters of French cartography.
Jean-Baptiste Nolin was one of the most accomplished and certainly the most ambitious French cartographer of his era. He founded what ultimately became a family empire in Paris in the 1680s. Exceptionally, he managed to marry superlative decorative ornamentation with the serious objective of producing maps that reflected the most advanced rendering of geographical detail. The artistic élan of his compositions evinced a style that preserved the rhetorical ambitions of the Baroque ethic, while anticipating the playful elegance of the Rococo period. His masterpieces, many like the present wall map, were monumental in scale and represented Nolin's desire to overwhelm his competition in what was a very challenging market. Highly controversial, Nolin occasionally described himself as "the Engraver to the King," an appointment of which the royal court was curiously never apprised. In his endeavour to include the very latest geographical details on his maps, he seldom hesitated to acquire information from his eminent contemporaries, most notably Guillaume De L'Isle and Vincenzo Maria Coronelli, Jean-Dominique Cassini and the Sieur de Tillemon. At times these rivals were not appreciative of Nolin's adoption of their intellectual property, and De L'Isle successfully sued Nolin for plagiarism in 1705. However, the larger-than-life Nolin always seemed to transcend these challenges, leaving a thriving enterprise to be taken up by his son.
The present map was created in 1740 by Jean-Baptiste Nolin II, largely based on earlier maps produced by his father. It is a highly detailed and refined image of Europe, which was then in the process of intensifying its imperialistic grip over the other continents.
This map is an artistically virtuous composition on a monumental scale, the image being surrounded by thirty vignettes, each framed in individualised Baroque borders, that depict various events from European history, along with textual narratives. The greatest decorative flourish of the composition is surely the title cartouche, located in the upper-left of the main image. Exquisitely engraved classical gods and allegorical personifications border the construction. Iconologically, they are meant to imbue Europe with the various strengths and virtues that they represent. For instance, Mercury, the messenger god of travel, is present to protect and speed European ships as they sail the seas on global missions of conquest and commerce.
This wall map is one of the greatest subjects of the Nolins' legacy, not only being a masterful work of art and a fascinating image that tests the very limits of European geographical knowledge, but a vivid record of a dramatic transitional period in the history of cartography, and of society in general.
#15519$25,000.00
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 [NOLIN, Jean-Baptiste (1657-1725)] and NOLIN, Jean-Baptiste II (1686-1762)
[North & South America] L'Amerique Dressée sur les Relations les plus Recentes rectifiées sur les dernieres observations.
Paris: Chez l'Auteur Rue St. Jacques au dessus de la Rue des Mathurins a lensgne. de la Place des Victoires, 1740. Copper-engraved wall map, with original outline colour, on four unjoined sheets, each 21 5/8 x 28 inches, if joined would form a map measuring approximately 40 x 49 1/2 inches, in excellent condition.
A rare and highly decorative large-scale map of the Americas, and one of the finest masterpieces produced by the Nolin family.
Jean-Baptiste Nolin was one of the most accomplished and certainly the most ambitious French cartographer of his era. He founded what ultimately became a family empire in Paris in the 1680s. Exceptionally, he managed to marry superlative decorative ornamentation with the serious objective of producing maps that reflected the most advanced rendering of geographical detail. The artistic élan of his compositions evinced a style that preserved the rhetorical ambitions of the Baroque ethic, while anticipating the playful elegance of the Rococo period. His masterpieces, many like the presented wall map, were monumental in scale and represented Nolin's desire to overwhelm his competition in what was a very challenging market. Highly controversial, Nolin occasionally described himself as "the Engraver to the King," an appointment of which the royal court was curiously never apprised. In his endeavour to include the very latest geographical details on his maps, he seldom hesitated to acquire information from his eminent contemporaries, most notably Guillaume De L'Isle and Vincenzo Maria Coronelli, Jean-Dominique Cassini and the Sieur de Tillemon. While Nolin very successfully collaborated with Coronelli, other cartographers were not appreciative of Nolin's adoption of their intellectual property, as De L'Isle successfully sued Nolin for plagiarism in 1705. However, the larger-than-life Nolin always seemed to transcend these challenges, leaving a thriving enterprise to be taken up by his son.
The present map was created in 1740 by Jean-Baptiste Nolin II, largely based on earlier maps produced by his father. This work ambitiously endeavours to depict the Americas in the most up-to-date geographic form, drawing upon the most authoritative sources. Ironically, it was the senior Nolin's desire to acquire the most accurate information that caused him to propagate one of the eighteenth-century's greatest cartographic myths. By this time, South America had been quite thoroughly explored, however, the Pacific northwest and the adjacent interior areas of North America remained largely unseen by European eyes. The only prominent feature present in this terra incognita is the mythical Mer de l'Ouest, that sees the Pacific protrude dramatically into the continental landmass. The senior Nolin was the first cartographer to put this detail into print, his campaign of corporate espionage having uncovered a manuscript map by De L'Isle which depicted the sea. This incident was one of the key pieces of evidence that won De L'Isle's lawsuit against Nolin. Although the Mer de l'Ouest is dramatically smaller here than in its original form (and is unlabelled in this map) it sustains a fascinating myth. The highly detailed and relatively accurate depiction of eastern Canada and the Mississippi basin conveys an advanced knowledge of the best French sources. The large landmass looming in the lower-right of the combined image, Indes Meridionales, approximates the presence of Antarctica, but is predicated on speculation rather than any actual discovery of such a landmass.
The map features decorative details that represent a social commentary on contemporary European attitudes towards the indigenous peoples they encountered in the New World. The elegant title cartouche formed by period rocaille decoration is inhabited by scenes of the Jesuits evangelizing Christianity to the native peoples. To the lower-left of the combined composition, amidst an elaborate backdrop of exotic tropical vegetation, Mars, the god of war, is shown capriciously watching over two Europeans who are firing rifles onto a group of native Americans, who themselves are engaging in macabre acts of cannibalism. The oceans that lie on either side of the Americas are inhabited by diverse creatures, including sawfish, sea snakes, and flying fish. Numerous ships, some engaged in active combat, allude to the intense contests between European powers for naval supremacy that raged at the time. The tracks of several of the great sea voyages including those of Columbus, Verazanno, Magellan, Quiros, Medaña, and Schouten and Le Maire, traverse the vast maritime spaces.
This presented map is certainly one of finest images of the western hemisphere made in the eighteenth-century. A large-scale work of great artistic merit, the finely engraved details comprise not only an elegant geographical rendering of the Americas and the oceans, but showcase a fascinating vision of contemporary European values with respect to their imperialistic ambitions in the New World.
Hale, The Discovery of the World Maps of the Earth and the Cosmos, p.159
#15990$45,000.00
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 NOLIN, Jean-Baptiste (1657-1725)
[Israel] La Terre Sainte autrefois Terre de Chanaan et de Promission divisée selon ses douze tribus dressée sur l'Ancien et le Nouveau Testament sur l'histoire de Flave Joseph et sur les relations les plus recentes, rectifiées sur les dernieres observations de M[onsieu]rs. de l'Academie des Sciences
Paris: chez l'Auteur, 1700. Copper-engraved wall map, with original outline colour, on four un-joined sheets, each sheet measuring: 21 1/2 x 27 3/4 inches, if joined would form a map measuring approximately: 40 x 51 1/4 inches.
A highly decorative and monumental wall-map of the Holy Land by one of the greatest masters of French Cartography.
This map is an especially dramatic and artistically virtuous composition, and certainly one of Nolin's finest maps. By this time, Jean-Baptiste Nolin had established himself as one of Europe's most prominent cartographers. This map epitomises the superlative quality of engraved decoration, the meticulous detail of geographical rendering and textual descriptions, and the grand scale that were the hallmarks of Nolin's work. Highly ambitious, Nolin went to great lengths to create superior works that could better those of his rivals in an incredibly competitive market.
Geographically, the image embraces all of the lands that were the theatre of Biblical events. The territory covered follows a great arch around the Mediterranean coast, commencing with the Nile Delta, in the lower-left, over past the northern Red Sea, up through modern-day Israel and then north into Lebanon in the upper-right. The land is divided amongst the Twelve Tribes of Israel and features information from the Old and New Testaments, the History of Josephus Flavius and the accounts of Paul de Miglionico who spent thirty years in the Holy Land. The map is flanked on each side by a column featuring highly detailed illustrations. On the left column are six views of Biblical towns, along with two plans of buildings. Of these, the most important are the two insets of Jerusalem, one showing the city at the time of Christ, and the other in its modern form. On the right column are eight views and plans of important holy sights. One of the more spectacular features of this map is the large trompe l'oeil of hanging cloth which covers the Mediterranean, on which extensive explanatory text is written under the general heading 'Description géographique et historique de la Terre Sainte Suite de la table alphabetique'. Overlaying this 'cloth' is the title cartouche surrounded by very fine decorative details. Interestingly, there is a year by year description of the forty year wandering of Moses and the Israelites from Egypt to the Holy Land.
Laor, Maps of the Holy Land 1475-1900, 535
#15991$9,000.00
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 NORBURY, Richard (1815-1886)
Encyclia sp. (Orchid)
Pencil, pen, ink, watercolour and wash signed (right margin) 'R. Norbury' and dated '1838'
. Sheet size: 16 3/4 x 13 inches (visible area). French wash-line mat, gold leaf frame.
A fine watercolour, dating from the early years of the explosion of interest in orchids. Little is known of Richard Norbury, who is listed as having taught at both the Government School of Design at Somerset House (set up in 1837) and later at its provincial offshoot, the Liverpool school of design.
#3895$2,400.00
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 NORIE, J.W (1772-1843)
[Southern portion of the Gulf of Mexico with inset charts of Jamaica, Mobile Bay, the Harbour of Vera Cruz, the Harbour of Tampico]
London: J. W. Norie & Co., 1836. Black and white copper engraving. Four vertical creases where folded, multiple creases at centerfold. Repaired split in center fold about two inches long. There are erasible pencil lines and dates that chronicle a sea voyage]. Sheet size: 23 1/2 x 63 1/2 inches.
A large, handsomely engraved chart of the Gulf of Mexico south of Cuba and including all of the Caribbean Islands, the eastern coast of Central America and the northern coast of South America
John William Norie was the leading chartmaker and writer on navigation of his time. Born in London, he attached himself to William Heather at an early age and by the age of 25 was making charts independently. William Heather ran a shop for navigators known as the Naval Academy and the Naval Warehouse. (Dickens later used the Naval Warehouse in Dombey and Son). It sold nautical instruments, sea charts, guides and instructional books on navigation. By 1815, Heather had retired, and Norie was in command. His accomplishments were considerable and lasting, including several atlases of sea charts:Complete West India Pilot (first published in 1828), from which this chart comes; East India Pilot (1816); North Sea & Baltic Pilot (1824); Complete North America and United States Pilot (1825); as well as general works on navigation, most notably The Epitome of Practical Navigation (1805), which was the standard work throughout the 19th century.
This highly detailed, large chart shows all of Jamaica, Santo Domingo, all of the Caribbean Islands, the north coast of South America and the east coast of Central America. It includes inset charts of Jamaica, Mobile Bay (Alabama), Vera Cruz and Tampico.
#15528$2,500.00
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 [NORMAN, John] - William NORMAN (1748-1817)
[Coastal Maine] A Chart of the Coast of America from Wood Island to Good Harbour From Hollands Surveys
[Boston: William Norman, 1791-1801]. Copper-engraved sea chart, in very good condition. Sheet size: 21 1/4 x 33 5/8 inches.
State two of the second sea chart of the Maine coast to be published in America, from William Norman's "The American Pilot." State one of this chart lacks the title, which Wheat & Brun identify as first appearing on state two. They further note that state two was first published in the 1803 edition of the atlas. The present example of state two was included in an example of the exceedingly rare 1801 edition, unknown to Wheat & Brun, and it is possible that the alteration was undertaken before the close of the 18th century
The American Revolution brought an end to Britain's leading role in the mapping of America. The task now fell to the American publishing industry, still in its infancy, but with first-hand access to the new surveys that were documenting the rapid growth of the nation. In particular, there was a need for nautical charts for use by the expanding New England commercial fleets. The first American marine atlas, Mathew Clark's A Complete Set of Charts of the Coast of America, was published in Boston in 1790.
Two of Clark's charts had been engraved by John Norman, who was inspired to launch his own enterprise. On Jan. 1, 1790, Norman advertised in the Boston Gazette the publication of A New General Chart of the West Indies, with a notice stating that he was currently engraving charts of all the coast of America on a large scale. These were assembled and published as The American Pilot, Boston, 1791. Norman's Pilot, the second American marine atlas, indeed the second American atlas of any kind, marked an advance over the earlier work of Mathew Clark.
New editions of the Norman's Pilot appeared in 1792 and 1794, and after John Norman's death, his son, William, brought out editions in 1794, 1798, 1801, and 1803. Despite the seemingly large number of editions, The American Pilot is one of the rarest of all American atlases, and one of only a small handful published in the eighteenth century. Wheat and Brun (pps. 198-199) locate just ten complete copies for the first five editions: 1791 (Huntington, Harvard); 1792 (LC, Clements); 1794(1) (LC, JCB, Boston Public); 1794(2) (Yale); 1798 (LC, Boston Public).
Cf. Wheat & Brun, Maps & Charts Published in America before 1800,166; cf. Suarez, Shedding the Veil, p. 164.
#16367$17,500.00
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 [NORMAN, John] - William NORMAN (1748-1817)
[A Sea Chart of South Carolina and Georgia]
[Boston: William Norman, 1798-1801]. Copper-engraved sea chart, with an early ink manuscript notation at centre, in very good condition. Sheet size: 21 1/4 x 17 inches.
A very rare and finely engraved sea chart from John Norman's 'American Pilot,' one of the earliest maritime maps of the Georgia and South Carolina coasts, here in the second of three states.
This map was originally published as part of the first edition of John Norman's The American Pilot, 1791, and was preceeded only by Mathew Clark's chart of 1790. The present second state, with "Shute's Folly" in the inset corrected to "Shutes Folly," first appeared in the very rare 1798 edition. The chart shows the area from the St. John's River, Florida, in the south, to John's Island, South Carolina, in the north. At the lower right is a large inset of Charleston Harbour.
The manuscript notation, in a contemporary hand, lends a fascinating sense of life to the map. The line concludes with the note "Black Beard Point," alluding to the fact that "Sappola Inlet," now referred to as Sapelo Sound, was one of the favourite hideouts of the infamous pirate Blackbeard (the alias of Edward Teach) during his reign of terror from 1716 to 1718. Blackbeard's nimble vessel Queen Anne's Revenge would hide in the inlet from patrolling British ships of the line that found these littoral waters too treacherous to chance. Blackbeard's presence in the area is immortalized by the designation of the Blackbeard Island National Wildlife Refuge, located at the northern part of Sapelo Island.
The presented map was made in the years following the American Revolution, which had brought to an end Britain's leading role in the mapping of America. The task now fell to the American publishing industry, still in its infancy, but with first-hand access to the new surveys that were documenting the rapid growth of the nation. In particular, there was a need for nautical charts for use by the expanding New England commercial fleets. The first American marine atlas, Mathew Clark's A Complete Set of Charts of the Coast of America, was published in Boston in 1790. Two of Clark's charts had been engraved by John Norman, who was inspired to launch his own enterprise. In January 1790, Norman published a notice in the Boston Gazette stating he was currently engraving charts of all the coast of America on a large scale. These were assembled and published as The American Pilot, Boston, 1791. Norman's Pilot, the second American marine atlas, indeed the second American atlas of any kind, marked an advance over the earlier work of Mathew Clark.
New editions of the Pilot appeared in 1792 and 1794, and after John Norman's death, his son, William, brought out editions in 1794, 1798, 1801, and 1803. Despite the seemingly large number of editions, The American Pilot is one of the rarest of all American atlases, and one of the very few published during the eighteenth century. Wheat and Brun (pps. 198-199) locate just ten complete copies for the first five editions: 1791 (Huntington, Harvard); 1792 (LC, Clements); 1794(1) (LC, JCB, Boston Public); 1794(2) (Yale); 1798 (LC, Boston Public). This example came from one of the rarest of all, the 1801 edition; not in the Library of Congress; unknown to Wheat & Brun and all other commentators except Tom Suarez
Wheat & Brun, Maps & Charts Published in America before 1800, 607; Suarez, Shedding the Veil, p. 164
#16369$20,000.00 | | | |
