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browsing 4347 items
displaying items 3701 to 3800
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 SAMSON & CO. (designers)
An original design for porcelain
[Paris: 1845 or later]. Pen, ink, and watercolour. Very good condition apart from some overall light soiling and foxing, overall light creasing and a vertical crease in the center. Sheet size: 11 3/4 x 10 7/8 inches.
A rare example of an original watercolour design for porcelain, by the Samson factory of Paris.
This finished design was intended as a reference source from which the porcelain painters could work, using the design as a guide for the colours and image to be transformed from paper into fine porcelain.
The French porcelain manufactory of Samson & Cie. was established by "Edmé Samson (b. Paris, 1810; d. Paris, 1891) at 7, Rue Vendôme (later Rue Béranger) in Paris. The intention of the firm was to reproduce ceramics from museums and private collections, and it claimed that all such reproductions would be distinctly marked to avoid confusion with the originals. In 1864, the factory was moved to Montreuil by Samson's son, Emile Samson (1837-1913). The range of wares included copies of 18th-century porcelain from such factories as Sèvres, Chelsea, Meissen and Derby, Chinese export-wares, especially armorial wares decorated with famille rose colours and mugs decorated with the Fitzhugh pattern, Delftware, Iznikware, maiolica and faience." (Grove Dictionary of Art)
#15379 $1,500.00  
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 SAMSON & CO. (designers)
An original design for a porcelain plate
[Paris: 1845 or later]. Pen, ink, and watercolour. Very good condition apart from some overall light soiling and mild creasing. There is an original central crease. Sheet size: 12 ¾ x 13 ¼ inches.
A rare example of an original watercolour design for porcelain, by the Samson factory of Paris.
This finished design was intended as a reference source from which the porcelain painters could work, using the design as a guide for the colours and image to be transformed from paper into fine porcelain.
The French porcelain manufactory of Samson & Cie. was established by "Edmé Samson (b. Paris, 1810; d. Paris, 1891) at 7, Rue Vendôme (later Rue Béranger) in Paris. The intention of the firm was to reproduce ceramics from museums and private collections, and it claimed that all such reproductions would be distinctly marked to avoid confusion with the originals. In 1864, the factory was moved to Montreuil by Samson's son, Emile Samson (1837-1913). The range of wares included copies of 18th-century porcelain from such factories as Sèvres, Chelsea, Meissen and Derby, Chinese export-wares, especially armorial wares decorated with famille rose colours and mugs decorated with the Fitzhugh pattern, Delftware, Iznikware, maiolica and faience." (Grove Dictionary of Art)
#15929$850.00
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 SAMSON & CO. (designers)
An original design for a porcelain plate
[Paris: 1845 or later]. Pen, ink, and watercolour. Very good condition apart from some overall light soiling and mild creasing. There is an original central crease. Sheet size: 12 ¾ x 12 ¾ inches.
A rare example of an original watercolour design for porcelain, by the Samson factory of Paris.
This finished design was intended as a reference source from which the porcelain painters could work, using the design as a guide for the colours and image to be transformed from paper into fine porcelain.
The French porcelain manufactory of Samson & Cie. was established by "Edmé Samson (b. Paris, 1810; d. Paris, 1891) at 7, Rue Vendôme (later Rue Béranger) in Paris. The intention of the firm was to reproduce ceramics from museums and private collections, and it claimed that all such reproductions would be distinctly marked to avoid confusion with the originals. In 1864, the factory was moved to Montreuil by Samson's son, Emile Samson (1837-1913). The range of wares included copies of 18th-century porcelain from such factories as Sèvres, Chelsea, Meissen and Derby, Chinese export-wares, especially armorial wares decorated with famille rose colours and mugs decorated with the Fitzhugh pattern, Delftware, Iznikware, maiolica and faience." (Grove Dictionary of Art)
#15930$850.00
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 SAMSON & CO. (designers)
An original design for a porcelain plate
[Paris: 1845 or later]. Watercolor. Very good condition apart from very mild soiling and a vertical crease where the sheet was once folded. Sheet size: 10 1/2 x 21 inches.
This finished design was intended as a reference source from which the porcelain painters could work, using the design as a guide for the colours and image to be transformed from paper into fine porcelain.
The French porcelain manufactory of Samson & Cie. was established by "Edmé Samson (b. Paris, 1810; d. Paris, 1891) at 7, Rue Vendôme (later Rue Béranger) in Paris. The intention of the firm was to reproduce ceramics from museums and private collections, and it claimed that all such reproductions would be distinctly marked to avoid confusion with the originals. In 1864, the factory was moved to Montreuil by Samson's son, Emile Samson (1837-1913). The range of wares included copies of 18th-century porcelain from such factories as Sèvres, Chelsea, Meissen and Derby, Chinese export-wares, especially armorial wares decorated with famille rose colours and mugs decorated with the Fitzhugh pattern, Delftware, Iznikware, maiolica and faience." (Grove Dictionary of Art)
#18737$1,500.00
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 SAMSON & CO. (designers)
An original design for a porcelain plate
[Paris: 1845 or later]. Watercolor. Very good condition apart a not very visible vertical crease where the sheet was once folded. Sheet size: 14 1/2 x 15 1/4 inches.
This finished design was intended as a reference source from which the porcelain painters could work, using the design as a guide for the colours and image to be transformed from paper into fine porcelain.
The French porcelain manufactory of Samson & Cie. was established by "Edmé Samson (b. Paris, 1810; d. Paris, 1891) at 7, Rue Vendôme (later Rue Béranger) in Paris. The intention of the firm was to reproduce ceramics from museums and private collections, and it claimed that all such reproductions would be distinctly marked to avoid confusion with the originals. In 1864, the factory was moved to Montreuil by Samson's son, Emile Samson (1837-1913). The range of wares included copies of 18th-century porcelain from such factories as Sèvres, Chelsea, Meissen and Derby, Chinese export-wares, especially armorial wares decorated with famille rose colours and mugs decorated with the Fitzhugh pattern, Delftware, Iznikware, maiolica and faience." (Grove Dictionary of Art)
#18738$2,000.00
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 SAN LAZZARO, Gualtieri di (editor)
XXe Siecle
Paris: Éditions des Chroniques du Jour, March 1938 - 1939. 1re année only, numbers 1-6 in 5 (as issued), quarto (12 1/2 x 9 5/8 inches). 22 original woodcuts, lithographs or engravings, numerous illustrations in colours and black and white. Original wrappers, the upper covers printed in three colours, all contained within a single blue cloth box, with morocco lettering-piece to 'spine'.
A run of the first six issues of this important and influential art periodical, all in excellent condition
In addition to the carefully and fully illustrated, informed and informative articles by avant-garde artists, critics, academics and collectors, each issue contains at least one original engraving or lithograph, generally by one of the more important modern artists of the period:
No. 1, Mars 1938: 1 original colour lithograph by Jules Pascin ('Le Chaperon Rouge')
No. 2, Mai 1938: 1 original colour lithograph chosen by Kurt Seligmann
No. 3, Juillet 1938: 6 original woodcuts by Wassily Kandinsky (3 in colour, 3 black-and-white), including three made for 'Klänge.'
No. 4, Christmas 1938 (English edition): 8 original engravings (Henri Matisse, Henri Laurens, Jean Miró, Hans Arp, Alberto Magnelli, Giorgio de Chirico, Ossip Zadkine and Helioni, all but the first on coloured paper stock;) 2 coloured lithographs (Marcel Duchamp and Max Bill)
No. 5/6, 1939 (English edition): 1 Gino Severini 'Futurist' engraving; 1 original lithograph by Max Ernst on cream/orange paper stock; 1 original engraving by W. Power on light green paper stock; 1 Kandinsky wood-engraving in two colours on cream paper stock.
With the exception of a single supplementary issue ('IIe Année Supplement No. 1, 1939' [a special English edition devoted to Sculpture]), no more numbers of this magazine were issued until its revival in 1951. The re-launch was successful and the 'Nouvelle Serie' (nos.1-59) ran from 1951 until 1978.
#16956$9,500.00
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 SANBORN MAP COMPANY
Insurance Maps of the City of New York. Borough of Manhattan
New York: Sanborn Map Company, 1909-1930. Volumes 1-8, 10-12 (all published) in 17 volumes, large folio (25 x 21 inches). Decorative calligraphic titles, indices, 17 key maps and 1,530 full-page maps (847 with extensive hand-coloured pasted-on correction slips, as called for). Contemporary canvas with red morocco corners, title labels on upper covers and spines, 14 volumes with protective canvas over-binding (spine of vol. `11 North' detached) .
A complete set of the most detailed and complete cartographical record ever compiled of the island of Manhattan
[With:]
SANBORN MAP COMPANY. Insurance Maps of the City of New York. Borough of the Bronx. New York: Sanborn Map Company, 1914-1915. 3 volumes (`Volumes 13-15' from the `City of New York' series), large folio (25 x 21 inches). Decorative calligraphic titles, indices, 3 key maps and 310 full-page maps (209 with extensive hand-coloured pasted-on correction slips, as called for). Contemporary canvas with red morocco corners, each with protective canvas over-binding.
Each atlas, with maps drawn to a scale of 50 feet to 1 inch, is devoted to a particular district of the city, with the Manhattan set published between 1909 and 1930. Through a remarkable system of paste-down overlays each volume was checked, and updated where necessary, every six months: the current set includes all subsequent construction and changes to the city up until 1984. Virtually the entire physical evolution of the city during the 20th century is therefore laid down in enormous detail. The result is an invaluable record of Manhattan through the decades of its most explosive growth.
Insurance maps originated in London in the eighteenth century in response to the need felt by the large fire insurance companies and underwriters for accurate, up-to-date and detailed information about the buildings they were insuring. The form reached its zenith in the United States with the work of the Sanborn Map Company.
Sanborn fire insurance maps are the most valuable of all cartographical records for the development of urban America. The earliest surviving Sanborn atlas in the Library of Congress is of Boston, 1867, and was prepared specifically for the Aetna Insurance Company. Sanborn maps and atlases were subsequently prepared for more than twelve thousand United States cities and towns. But virtually no maps or atlases dated prior to 1883 survive in the Library of Congress or elsewhere, and those subsequent to that date are also very rare and seldom offered for sale on the open market. This is due to the very small number of each map or atlas that was published. These specialized but invaluable maps were prepared for the exclusive use of fire insurance companies and underwriters. The Library of Congress catalogue for fire insurance maps (p.6) notes that `Sanborn employees colored the maps by hand, because there were usually fewer than twenty orders for a single sheet.'
Each sheet measures 21 by 25 inches and was drawn to a scale of 50 feet to an inch, with colour applied by hand. Every existing building was shown to scale, its construction material and use were noted, as well as fire-proofing, thickness of walls, elevators, chimneys, fire alarm boxes, hydrants, sprinkler systems, and a wealth of other detail. The information was gleaned by Sanborn's surveyors from public records, as well as from laborious field work. The task of updating the maps was continuous, and corrections in the form of paste-on slips were issued at regular intervals. Over the course of decades of development, slips were laid over slips, the maps finally presenting a sort of cartographical archaeological record, with layers of a city's growth carefully preserved.
As a result of this expensive on-going labor, each Sanborn map cost between $12 and $200 by the 1930s. This meant that for an area the size of Manhattan, the cost of a complete set of approximately 1500 maps was prohibitive to all but the most dedicated user. Production of the large-scale maps of the type offered here ceased in 1962, and the company has since concentrated on publishing black and white photo-revision atlases on a greatly reduced scale.
The atlases were arranged so that each area was shown twice (on two facing sheets). Each set of these paired maps was assigned a shared plate number and consisted of a black and white `skeleton map' which showed in outline each building as of the date of publication, with a facing corrections map, which showed the same outlines, but with each building color-coded to show building materials and other details. It was on these latter sheets that the evolution of the city was recorded through the use of the paste-on slips discussed above. Periodically, when development overtook the ability of a sheet to reflect dramatic change, supplemental sheets were added to the atlas. These were usually issued without an accompanying skeleton map.
The Library of Congress records three editions for Sanborn's atlases of New York: 1890-1902, 1903-1919, 1908-1952. The set offered here corresponds to the Library of Congress's third edition, but with important variations that are such a hall-mark of these works. Each existing Sanborn atlas has a uniqueness, a hand-made quality that is otherwise unknown in the history of published cartography. Due to the human factor - the need for constant, careful up-dating - it is doubtful that any two existing Sanborn atlases are identical.
A full collation of this set is available on request.
#2579$35,000.00
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 SANSON, Nicholas and Guillaume SANSON (d. 1703)
[North America] Amerique Septentrionale
Paris: Chez Pierre Mariette, 1669. Copper-engraved map, in very good condition. Sheet size: 16 5/8 x 23 1/3 inches.
The most important French map of North America of its generation, produced by the country's most esteemed family of cartographers
This very influential map was the official successor to Nicolas Sanson's 1650 map of North America. When Nicolas Sanson, regarded as the father of the renaissance of cartography under Louis XIV, died in July, 1667, he left his flourishing business under the charge of his eldest son Guillaume. The younger Sanson continued his father's partnership with the Mariette family, who were prominent Parisian printers. Guillame was determined to publish a new, updated edition of his father's Cartes Generales de toutes parties du Monde, the first French general atlas, originally published in 1657. The map of North America that appeared in the atlas, although masterful, was now considered to be geographically outdated.
The present map, which appeared in the second edition of the atlas, featured updated taxonomy, and is geographically based on Nicolas Sanson's wall map of 1666 (of which only two copies survive). While California is shown to be an island, in line with popular perception, unlike the map from 1650, it no longer attempts to build a geographical mythology in the place of the Pacific Northwest, which was then totally unknown. Appropriately the magnificent baroque title cartouche, which features swags and ribbons held aloft by putti, has been placed to fill this enigmatic space. The map proved to be highly successful, and was sourced on numerous occasions by future mapmakers.
Burden, The Mapping of North America I, 404; (first state) McCorkle, New England in Early Printed Maps, 669.4; McLaughlin, California as an Island, 45; Wagner, Cartography of the Northwest Coast of America, 399
#19707$6,500.00
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 SANSON, Nicolas (1600-1667)
[Brittany] La Bretagne Divisée en ses Neuf Eveschés Qui Font (sic) Aussi L'Estendue des Receptes de la Generalité de Nantes. Dediée a Monseigneur.
Paris: Published by Alexis Hubert Jaillot, edited by Pierre Mortier in Amsterdam, 1696. Copper-engraved map, with full original colour and gold embellishments, in excellent condition. Sheet size: 24 3/8 x 37 1/8 inches.
A superb map of Brittany by Nicolas Sanson, the leading map maker during the golden age of French cartography.
One of the most important figures in French cartography, Nicolas Sanson initiated the great school of French geographers. Born in Abbeville in 1600, Sanson established his first printing house in Paris in 1638. He soon became geographer to the king, establishing himself as one of the most influential cartographers on the Continent. He was succeeded by his sons, Adrien, and Guillaume, and by his son in law Pierre Duval, who continued to publish a wealth of maps using Sanson's name. At the close of the seventeenth century, Sanson's plates were purchased by the influential cartographer Alexis Hubert Jaillot, who continued to publish his maps and atlases under Sanson's title. This stunning map of Brittany was published by Jaillot, and edited by Pierre Mortier, in his Atlas Francois in 1696. It shows the provinces of Brittany and the southern tip of Normandy. In keeping with all of Sanson's superb maps, forests, rivers, and towns are meticulously identified and named. The map includes a simple cartouche in the lower left corner as well as a scale and key.
Tooley, Maps & Map-Makers, pp. 40-41.
#15009$3,000.00
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 SANSON d'Abbeville, Nicolas (1600-67)
Le Canada, ou Nouvelle France, & c.
Paris: Chez Pierre Mariette Rue S. Jacque, [1656]. Copper-engraved map, with original outline colour, in very good condition. Sheet size: 16 7/8 x 22 5/8 inches.
A very rare example of one of the most important and influential maps of Canada ever devised, by Nicolas Sanson, the 'father of the French School of Cartography'
This very rare map is the most geographically progressive portrayal of Canada made during its generation, and was not superseded until Guillaume De L'Isle's 1703 map. While it bases many of its features on his watershed map of the continent, Amerique Septentrionale (1650), it is more advanced of it in key respects. Importantly, it is the first map to depict "L. Erie ou Du Chat" in a recognizable form. This designation was derived from Jean Boisseau, who in 1643 named the body of water after the local native name "Derie," which referred to the panther like qualities of their warriors. Sanson benefited from having received a copy of The Jesuit Relations, published in Paris in 1649, a detailed account by French missionaries who had traveled in the region. Most notably, this included Father Paul Ragueneau's account of his visit to Niagara Falls and Jean Nicollet's discovery of Lake Michigan, "Lac des Puans," in 1634. Down the St. Lawrence River from the lakes, Montréal is named, the settlement having been founded by the Sieur de Maisonneuve in 1642.
Elsewhere, to the north, a mysterious strait weaves over "New South Wales" on Hudson's Bay, terminating in the interior of the continent, a blank space labeled as "Mer Glaciale". This alludes to the existence of a much hoped-for Northwest Passage. Also, on the western shore of the same sea is "Nouveau Danemarcq," referring to the voyage that Danish explorer Jan Munk made to the region in 1619-20. With regards to the east coast of America, Sanson greatly improved upon his earlier work, as Long Island is correctly delineated and "N[ouvelle] Amsterdam" (present day New York) is correctly positioned. "N[ouvelle] Suede," appears at the mouth of the Delaware River, referring to the former Swedish colony centered on Fort Christina, founded on the site of present-day Wilmington, Delaware in 1638.
Nicholas Sanson was born in the town of Abbeville in Picardy. Something of a child prodigy, by the age of eighteen, he could already be found in Paris drafting his own maps. There he quickly rose to become Royal Geographer to Louis XIII in 1630. He maintained the position upon the ascension of the "Sun King" Louis XIV in 1643, and later served as tutor to the ambitious young monarch. In 1644, he formed a lucrative partnership with Paris publisher Pierre Mariette with the objective of producing a great atlas that could rival those of the Amsterdam houses, such as Blaeu and Jansson. The present map was devised as one of the most important maps in the atlas. The atlas itself, entitled Les Cartes Générales de toutes les parties du Monde was not finally assembled until 1658. It was however, a landmark moment in the history of French cartography, being the first folio atlas produced in that country. The extremely high quality of Sanson's work motivated other French mapmakers to improve the standard of their production. Sanson also greatly influenced Louis XIV's chief minister, Jean-Baptiste Colbert to heavily fund cartographic projects. This gave rise to a great 'French School' of cartography that was to eventually wrest dominance of the mapmaking market from the Dutch by the 1680s. After Sanson's death in 1667, his work was continued by his sons, Guillaume (d.1703) and Adrian (d.1708).
This map was first issued separately in 1656, and also appeared in an unaltered state in various editions of the first modern French atlas, Sanson's Les Cartes Générales de toutes les parties du Monde, produced from 1658 to 1676.
Burden, The Mapping of North America I, 318; Kershaw, Early Printed Maps of Canada I, 133, pl.81; Pastoreau, Les Atlas Français XVIe-XVIIe Siècles, Sanson VA no.86, p.406; Schwartz & Ehrenberg, Mapping of America, p.114, pl.62
#20234$8,500.00
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 SANTINI, P. (fl. late 1700s) and Jean-Baptiste Bourguignon D'ANVILLE (1697-1782)
[American South] Partie Méridionale de la Louisiane, avec la Floride, la Caroline et la Virginie, Par Le Sr. D'Anville
Venice: Santini, 1776. Copper-engraved map, with original outline colour, in excellent condition. Sheet size: 20 x 24 inches.
A very fine example of Santini's map of the American Southeast, printed in the early days of the Revolutionary War
This very finely engraved map captures the American Southeast during an especially momentous time in history, as the region was caught up in the early days of the American Revolution. The map embraces the east coast from Philadelphia all the way down past Cape Canaveral, Florida, and extends west past the Mississippi River. A remarkable aspect of the map is its immensely detailed rendering of the numerous river sytems that traverse the region. The map depicts the British colonies of Georgia, South and North Carolina and Virignia, and labels majors towns such as Charleston, Savannah, and Williamsburg. Further to the south is Florida, then sparsely populated, which in 1763 fell under British control following the conclusion of the Seven Years War in 1763. To the west, the Mississippi basin comprises the vast territory of Louisiana, which although first explored by the French was transferred to Spanish sovereignty following the same conlict. New Orleans and the various forts and Jesuit missions founded by the French dot the territory. Throughout the interior of the region are numerous native villages, located within the territory of various named tribes. The Appalachian Mountains are expressed through a series of finely engraved ridges. Santini closely based his map on part of D'Anville's monumental work, Amérique Septentrionale, which was first published in 1746. The present map was included as one of the key maps of the first edition of Santini's Atlas Universel. This elegant composition is adorned by a magnificent title cartouche of a rococo motif.
Cf. Sellers & Van Ee, Maps & Charts of North America & West Indies, 1408 (Remondini edition)
#19784$1,600.00
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 SARJENT, Francis J.
Edinburgh
London: F.J.Sarjent, 1 April 1810. Aquatint, printed in colours with hand-colouring, by Sarjent. (Two small expertly repaired tears to blank margins). Image size (including text): 15 3/4 x 23 3/8 inches. Sheet size: 19 x 25 3/4 inches.
A beautiful and rare large format view of Edinburgh.
Francis Sarjent drew, engraved and published this rare view of Scotland's capital city. This panoramic image is balanced and enlivened by the figures in the foreground of an old sailor (telescope under one arm), who stands talking to two young boys whilst the sailor's greyhound looks on. Various landmark buildings are identified beneath the image: The Bank, The New Prison, Prince Street, The Register Office and the Monument to the memory of Lord Nelson. Sarjent is also credited with having painted the images for a number of the plates in W.Richards & J.Sillett's 'The History of King's Lynn' (London & King's Lynn: 1812).
A 19th-century gazetteer notes that 'Edinburgh presents, from almost every point of view whence it can be viewed such scenic and architectural groupings as are perhaps unrivalled in any existing city in the world. It possesses attractions peculiarly its own, and fixes the gaze and challenges the admiration of a spectator by displays of general excellence, unaided by the sumptuousness of any one object, and undergraded by the deteriorations from its prevailing style of magnificence.' (Fullarton [publishers] A Gazetteer of the World 1856, III, p.140).
#5667$3,000.00
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 SARTAIN, John after Chester HARDING
Washington Allston
Mezzotint. In excellent condition apart from some very faint foxing on sheet. Image size: 12 1/8 x 9 3/4 inches. Plate mark: 15 x 12 inches. Sheet size: 17 x 13 1/4 inches.
A wonderful impression of John Sartain's striking mezzotint of Washington Allston, the famous American painter who introduced Romanticism to the United States.
John Sartain was the preeminent portrait engraver in Philadelphia. His success was unusual for a nineteenth century engraver and can be attributed mainly to his adaptability as an artist and his skill as an engraver. Although most of his attention was focused on mezzotint engraving, he also turned variously to lithography, etching, bank-note engraving, portrait painting in oils, and photography. Sartain was held in great esteem, and he worked closely with the leading artists of the day, establishing himself as an eminent figure in the Philadelphian art world. This fascinating portrait of Washington Allston is a wonderful example of Sartain's unique skills as a mezzotint engraver. His fine engraving style brings continuity to the surface of the print, which is almost photographic in its fine texture and subtle effect, producing a truly striking image of this celebrated American artist.
Washington Allston was a seminal figure in the development of American art after the Revolution. His beautiful landscape paintings ushered in the age of Romanticism in America, but his work ranged in subject matter from biblical paintings to portraiture. Allston drew the inspiration for his paintings from poetry, novels, and Biblical texts, all of which demonstrate his deep understanding of nature and civilization. He was part of the famous Hudson River School, an elite group of landscape painters who worked in the Hudson Valley after the Revolution.
Reaves, American Portrait Prints p.135-161
#8844$600.00
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 SARTAIN, William
Andrew Johnson
Philadelphia: Published by William Sartain, 728 Sansom Street. Printed by Irwin & Sartain, 1865. Mixed method, mezzotint and engraving. Printed on fine india and mounted onto thick wove sheet, as issued. "Proof" printed in lower left corner of sheet. Facsimile signature in lower right corner. In excellent condition with the exception of a slight rubbed line in upper left corner. Image size: 18 1/2 x 14 inches. Plate mark: 22 x 15 inches. Sheet size: 24 1/4 x 17 1/2 inches.
This is a rich impression of this commanding portrait of Andrew Johnson by William Sartain, one of the most celebrated American engravers.
William Sartain's monumental engraving of America's seventeenth President, Andrew Johnson, follows a developed tradition of American Presidential portraiture established in earlier portraits of George Washington and Thomas Jefferson. During this period a grand American style developed which instituted a visual iconography for presidential portraiture, it combined composition and symbol to create a model, which would be used for centuries. As in previous presidential portraits, Johnson is shown standing at a table with his hand resting on a sheet of text. In earlier examples the text would be a copy of the Constitution but Sartain has cleverly contextualized Johnson's portrait by including Lincoln's controversial Emancipation Proclamation. Johnson is surrounded by symbols that indicate his presidency. The view of the capital building in the background as well as the quill, inkstand, and piled books represent him as a working statesman, while the classical architecture and romantic drapery in the background recalls portraits of European royalty. In its use of symbol and composition this commanding portrait of Johnson belongs to a long tradition of Presidential portraiture in America. It acts as a symbol of national identity and bears witness to the American dream of enlightened leadership.
What is extremely interesting about this print of Johnson was that Sartain executed an identical portrait of Johnson's successor Ulysses S. Grant. Both images are almost identical with the exception of the sitter. Sartain published this print of Johnson in 1865 after his inauguration as President, and likewise the portrait of Grant must have been completed shortly after he assumed office. The astounding similarity between the two images raises questions about whether Sartain reworked the same plate for both portraits.
#12829$1,200.00
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 SARTORIUS, After Francis (1734-1804)
This excellent Horse Marquis, got by the Godolphin Colt is the Property of Mr. Vernon won 300 Guineas.... & the Gold Cup at Newmarket
London: Robert Sayer, [1770 or later]. Mezzotint (margins expertly extended). Image size (including text): 9 x 13 11/16 inches. Sheet size: 10 1/16 x 14 1/16 inches.
A fine early mezzotint after an equestrian portrait by the mid-18th century master Francis Sartorius
Robert Sayer issued four mezzotint portraits of well-known racehorses after Sartorius, each with details of their successes, and dated 10 January 1770. The present print is probably somewhat later.
Francis Sartorius was born in Nuremburg and came to London with his father, John, in the mid-18th century. "Francis exhibited paintings of racehorses, hunters and hacks in London between 1773 and 1791, including twelve pictures in the Royal Academy. His work bridges the gap between the 'primitive' work of James Seymour and the realism of George Stubbs." (Lane, p.157).
Charles Lane ,British Racing Prints p.159
#5237$1,200.00
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 SARTORIUS, After John Nost (1759-1828)
Diamond. Was bred by F. Dawson Esqr. of Newmarket, he was got by Highflyer. Dam by Matchem... he is now in Training and is the Property of Joseph Cookson Esqr.
London: John Harris, November 1799. Aquatint, by Whesshel [sic.], i.e. J. Whessell. Image size (including text): 14 1/4 x 18 7/8 inches. Sheet size: 18 x 22 inches approx. Gold and wood frame.
A highly decorative aquatint recalling the race at Newmarket on 25 March 1799: the reference works make no mention of this rare aquatint issue.
This work recalls the contest between Diamond and Sir Henry Vane-Tempest's horse Hambletonian. They raced, for prize-money of three thousand guineas, over the Beacon Course at Newmarket on 25 March 1799. Hambletonian won.
John Nost Sartorius was the only son of Francis Sartorius. He 'lived for much of his life at Carshalton in Surrey from where he exhibited no less than seventy-four paintings at the Academy; thirty-two elsewhere. Among his patrons were the Prince of Wales, Lord Derby and Christopher Wilson' (Charles Lane British Racing Prints p.157).
Cf. Lane British Racing Prints p.160 (stipple engraving); cf. Siltzer p.243 (stipple engraving)
#6533$2,850.00
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SAUTHIER, Claude Joseph (1736-1802)
[New York] A Chorographical Map of the Province of New-York in North America, divided into counties, manors, patents and Townships...compiled from Actual Surveys deposited in the Patent Office at New York, by Order of His Excellency Major General William Tryon...
London: William Faden, January 1st, 1779. Copper-engraving on six joined sheets, with period colour. Sheet size: 55 x 74¾ inches.
The last and best large scale map of an American colony. Drawn on a scale of five miles to the inch, it is the most detailed printed map of any extensive part of North America published during the Revolutionary period
Claude Joseph Sauthier was one of the most accomplished engineers working in America in the eighteenth century. Alsatian by birth, he accompanied Governor William Tryon to North Carolina in 1769. He surveyed several North Carolina towns and designed the Governor's Mansion at New Bern before accompanying Tryon to New York in 1771. He subsequently conducted many surveys of New York, and during the Revolution he served as a military engineer producing a number of fine maps for the British Army. A number of Sauthier's printed and manuscript maps, including an example of the present map, can be found in the collection formed by Sir Henry Clinton, Commander of the British Forces in North America, 1775-1782, now preserved at the William L. Clements Library in Ann Arbor, Michigan.
Sauthier's greatest production was a large manuscript map of the Province of New York which was first published on three sheets in 1776 by William Faden as A Map of the Province of New York. This map included details taken from Bernard Ratzer's survey of New Jersey. Sauthier continued to improve this great manuscript during the first years of the Revolution, and in 1779 it was published, again by Faden, but on six sheets, as A Chorographical Map.... Although the two are usually viewed as different maps, they are clearly based on the same source (the previously mentioned large manuscript), and the Chorographical Map... is clearly an enlarged improvement on the 1776 map.
The Chorographical Map... contains a vast amount of information lacking from the earlier map, particularly in upstate New York, the Catskills, and what would become Vermont. A note on the Chorographical Map... states that "the Mohawk Valley and County of Tryon are Laid down according to an Actual Survey and other Manuscripts generously communicated by Governor Pownall." The grand scale, which was almost three times that of the 1776 map, also allowed for the inclusion of many previously omitted details in the more settled areas. The result is an amazing record of New York from the Revolutionary War period.
Adams, British Headquarters Maps and Sketches Used by Sir Henry Clinton...now preserved in the William L. Clements Library, 118; Cumming, British Maps of Colonial America, pp. 72-74; Phillips, A List of Maps of America, p.505; Sellers & Van Ee, Maps & Charts of North America and & West Indies 1750-1789, 1070; Cf. Brun, Guide to the Manuscript Maps in the William L. Clements Library, (original manuscript) 371; Guthorn, British Maps of the American Revolution, (original manuscript) 100/2
#13643$32,500.00
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 SAUTHIER, Claude Joseph (1736-1802)
[Fort Washington, Manhattan] A Topographical Map of the Northn Part of New York Island, Exhibiting the Plan of Fort Washington, now Fort Knyphausen, with the Rebels Lines to the Southward, which were Forced by the Troops under the Command of the Rt. Honble. Earl Percy, on the 16th Novr 1776, and Survey'd immediately after by Claude Joseph Sauthier. To which is added the Attack made to the Northd. By the Hessians. Survey'd by Order of Lieut. Genl. Knyphausen
London: William Faden, March 1st, 1777. Copper-engraved map, with original outline colour, in excellent condition. Sheet size: 22 1/2 x 15 1/8 inches.
One of the very few Revolutionary War battle plans that relate to the City of New York. Sauthier's delineation of upper Manhattan was the most accurate and detailed to date.
After the British occupation of New York, George Washington evacuated Manhattan, with the exception of Fort Washington at the northern tip of the island. The British under Sir William Howe moved north and attacked the main American army at White Plains in October 1776. However, the Americans still retained control of Fort Washington behind their forward lines.
On November 16, the British mounted a six-column attack on the fort that forced the patriots to surrender. Washington's decision not to evacuate Fort Washington was one of his most serious tactical errors of the war. Almost three thousand men were taken prisoner and the British seized large quantities of supplies and weapons. Four days later General Cornwallis was sent to take Fort Lee on the opposite New Jersey shore, but the Americans stationed there had retreated.
Sauthier illustrated the four phases of the attack with the letters A through D. The key at the right identifies the first attack as that by General Knyphausen, the second by Matthews and Cornwallis, the third as a feint, and the fourth by Lord Percy. Sauthier's original manuscript, on which the present map is based, currently resides in the Faden Collection at the Library of Congress.
Cumming, British Maps of Colonial America, pp. 72-74; Guthorn, British Maps of the American Revolution, 100/5 & 12; Nebenzahl, Atlas of the American Revolution, pp. 90-91; Nebenzahl, Bibliography of Printed Battle Plans of the American Revolution, 116; Wallis, The American War of Independence, 116.
#19639$9,500.00
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 SAUTHIER, Claude Joseph (1736-1802) and HOMANN HEIRS
[New York and New Jersey] Mappa Geographica Provinciae Novae Eboraci ab Anglis New York dictae ex ampliori delineatione ad exactus dimensiones concinnata in arctius Spatium redacta cura Claudii Josephi Sauthier cui acceit Nova Jersey ex topographicis observationibus.
Nuremberg: Homann Heirs, 1778. Copper-engraved map, on two joined sheets, with original outline colour, in excellent condition. Sheet size: 34 1/8 x 25 inches.
An especially fine copy of Homann Heirs' elegant edition of Sauthier's celebrated map of New York and New Jersey, made during the Revolutionary War
The present map was printed by the esteemed Nuremberg firm, Homann Heirs, and is derivative of Claude Joseph Sauthier's greatest production, a large manuscript map of the provinces of New York and New Jersey which was first published on three sheets in 1776 by William Faden as A Map of the Province of New York. That map also included details taken from Bernard Ratzer's survey of New Jersey. Sauthier continued to improve this great manuscript during the first years of the Revolution, and in 1779 it was published, again by Faden, but on six sheets, as A Chorographical Map.... Although the two are usually viewed as different maps, they are clearly based on the same source (the aforementioned large manuscript), and the present map is a reduced version of this mapping sequence.
The Sauthier map contains a vast amount of information lacking in earlier works, particularly in upstate New York, the Catskills, and Vermont. Sauthier stated that "the Mohawk Valley and County of Tryon are Laid down according to an Actual Survey and other Manuscripts generously communicated by Governor Pownall [the esteemed cartographer and former Massachusetts governor]." The result is an amazing record of New York and New Jersey from the Revolutionary War period.
Alsatian by birth, Claude Joseph Sauthier accompanied Governor William Tryon to North Carolina in 1769. He surveyed several North Carolina towns and designed "Tryon's Palace" at New Bern before accompanying Tryon to New York in 1771. He subsequently conducted many surveys of New York, and during the revolution he served as a military engineer producing a number of fine maps for the British Army. A number of Sauthier's printed and manuscript maps, including an example of the present map, can be found in the collection formed by Sir Henry Clinton, Commander of the British Forces in North America, 1775-1782, now preserved at the William L. Clements Library in Ann Arbor, Michigan.
This map was made by Germany's premier printer of cartographic works, originally founded by Johann Baptist Homann (1663-1724). Homann had established himself in Nuremberg, and by 1715 was appointed Geographer to the Emperor, producing some of the finest maps and atlases of the age. After Homann's death, the prolific business was taken over by his son, Johann Christoph. From 1730, the firm was entrusted to a committee of family members, the Homann Heirs, who published maps and atlases for the next two generations, maintaining the high standards set by Johann Baptist.
McCorckle, Early Printed Maps of New England, 778.9; Sellers & Van Ee, Maps & Charts of North America & West Indies, 1049
#19732$3,500.00
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 [SAVAGE, Edward, possibly] after Gilbert STUART
George Washington
1801. Mezzotint. In good condition with the exception of being trimmed within the plate mark on the lower margin. Overall light rubbing throughout image and rubbed crease along lower left side of image. Mended tear on left margin extending into image, and small tear on right margin. Lower right corner has been repaired, and paper is slightly yellowed. Tear on upper right margin extending into image. Image size: 26 3/8 x 20 inches. Sheet size: 27 5/8 x 20 7/8 inches.
A stunning print of George Washington after Gilbert Stuart's famous Lansdowne Portrait.
This stunning image is based on James Heath's engraving after Gilbert Stuart's famous portrait of Washington. Stuart's painting, done in 1796, is known as the Lansdowne Portrait because it was a gift to the Marquis of Lansdowne, an English supporter of American independence, from Senator and Mrs. William Bingham of Pennsylvania. The painting was quickly reproduced by the British engraver James Heath without Stuart's consent, an act that infuriated Stuart who had hoped to control the rights to the engraving and thus garner some profit from the publication and sale of the print. Despite his condemnation, Heath's engraving established Stuart's painting as the official image of Washington and set a style for portraying Washington's successors in the White House.
By process of elimination it would appear that this print is Edward Savage's portrait of Washington after Heath's famous image. Hart describes a print by Savage that matches almost exactly this mezzotint of Washington, except that the lettering in the first line of this impression is impossible to read. Upon inspection it appears that the lettering, which according to Hart should read 'E. Savage Execu: td 1801', has been printed over twice, or an attempt has been made to erase it. Hart claims that in most copies of this print the date is barely visible, therefore it is possible that the lettering on this pull has become unreadable or that a failed attempt to correct the weakened inscription line resulted in this indecipherable text. (Hart)
Hart, Catalogue of Engraved Portraits of Washington no.293; Cunningham, Popular Images of the Presidency: From Washington to Lincoln p.135-139; Wick, George Washington an American Icon p.60-61
#9387$2,250.00
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 SAY, Thomas (1787-1834)
American Conchology, or descriptions of the shells of North America, illustrated by coloured figures from original drawings executed from nature
New Harmony, Indiana: Printed at the School Press, 1830-1834-[?1838]. 7 original parts, octavo (9 1/4 x 6 inches). 68 hand-coloured engraved plates (33 by C. Tiebout, 19 by S. Lyon, 7 by I. Walker and 9 unsigned; 65 after Mrs. Say, 2 after C.A. Lesueur and 1 unsigned). Original wrappers, single blue cloth chemise, all within a modern blue morocco-backed blue cloth box, titled in gilt.
A very rare complete set of the New Harmony edition of Say's `American Conchology' in the original parts
A fine set of Thomas Say's pioneering work devoted to American shells, issued by the School Press at the utopian colony of New Harmony, Indiana.
Say began his career as a naturalist in Philadelphia before 1810. While his first published works were all entomological, he began gathering material on shells at an early date, and supplemented his knowledge with information gathered during numerous expeditions in the United States, including the Long expedition on the Great Plains in 1819-20. In 1827 he joined several other distinguished naturalists of the period in Robert Owen's utopian experiment at New Harmony, Indiana, and helped to establish the printing office at the school there. Having completed the work on his American Entomology... before moving, he was able to devote all his time to American Conchology.... The first number appeared in 1830, followed by five additional sections through 1834. The last part, published after Say's death, is usually dated 1838 but may actually have been printed later than that and somewhere other than New Harmony. The rest of the text was printed at the School Press and the plates were beautifully colored by the students, nine of whom worked on the project at one time.
All the products of the New Harmony press are rare, and this, the only one with color plates, is particularly so. As a piece of American natural history, it is the pioneering and major work in its field, by one of the great American naturalists. "Here are hand-colored copperplate engravings diamond fine in their precision. There was not even any varnish used to heighten the coloring. Looking at these little shells, it almost seems possible to pick them off the page" - McGrath. "A work as extraordinary for having been produced in the wilderness as for its elegance and the importance of its contribution to natural history" - Streeter.
Bennett p.94; Byrd & Peckham Indiana Imprints 414; McGrath pp.15-16; Meisel III, 405; Nissen ZBI 3614; Sabin 77368; Streeter Sale 1413
#16653$20,000.00
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 SAY, W. after Sir William BEECHEY
His Royal Highness Edward Duke of Kent and Strathearn
London: W. Say, 92 Norton Street, Marylebone, July 14, 1808. Mezzotint. In excellent condition with the exception of a skillfully mended tear on the left margin extending into the image. Image size: 26 1/4 x 17 7/16 inches. Plate mark: 27 7/8 x 17 1/2 inches. Sheet size: 31 9/16 x 20 7/8 inches.
An impressive portrait of His Royal Highness, Edward the Duke of Kent, when he participated in the defense of Gibraltar.
Edward Augustus was the fourth son of George III and Queen Charlotte; he spent his early years in Switzerland where he received a strict education from the Baron Wagenheim. Throughout his life he took an active role in the army, joining Lord Grey's forces in the West Indies he took part in the reduction of St. Lucia. In the political sphere he spoke adamantly for catholic emancipation and the abolishment of the slave trade. Edward was an active freemason who was viewed as an intricate force in the development of freemasonry in England. By resolving the ideological differences between the "Ancients" and the "Moderns", he succeeded in forming the United Grand Lodge of England, and thus unifying the movement under one ideological concept. Late in life, Edward married Victoria of Saxe-Coburg-Saalfeld, and they had one daughter Victoria, who later became one of the most influential and best-loved monarchs to rule Britain.
O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 2.
#7763$750.00
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 SAY, William after T. HEAPHY
His Excellency Lieut. General Lord Beresford..
London: Published by Edward Orme, Bond Street, Jan. 2, 1815. Mezzotint. State i/i with the title in gothic letters and thick and thin italics. With the engraved inscription: "Heaphy Pinx**W.Say sc, Engraver to his H.R.H. the Duke of Gloucester./ His Excellency Lieut. General Lord Beresford, K.B./ Grand Cross of the Portugeze Military Order of the Tower and Sword. Marquis of Campo Maior./ Marshal and Commander in Chief of the Portugeze Armies./ Captain General of Spain, &c.&c./ Published and Sold Jan. 21 1815 by Edw. Orme Publisher to his Majesty & H.R.H the Prince Regent Bond Str. corner of Brook Str. London." In excellent condition. Image size: 19 1/4 x 15 1/4 inches. Plate mark: 22 1/4 x 17 3/8 inches. Sheet size: 29 11/16 x 23 1/4 inches.
A striking portrait of General Beresford, who distinguished himself under Wellington during the Peninsular War.
William Carr Beresford was a noted British general who distinguished himself for his military skill and patriotism. Beresford served with distinction in Egypt and participated in capturing the Cape Colony from the Dutch. Under his command Buenos Aires was seized, but it remained under British control only briefly before Jacques de Liniers retook it. Beresford occupied Madeira and for a time was governor of the island. He was active throughout the Peninsular War, distinguishing himself on many occasions for his exceptional tactical ability and outstanding valor. He joined the Duke of Wellington in Portugal where he successfully reorganized the Portuguese army and was later created general of ordnance in the Duke's cabinet.
O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 3; Lennox-Boyd & Stogdon, state i/i.
#7906$1,250.00
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 SAYER, Robert, & Co. (publishers)
Archery. Plate 1; Archery. Plate 2
London: Robert Sayer & Co., 6 May 1792. Mezzotints. Image size (including text): 13 x 9 3/4 inches approx. Sheet size: 15 x 11 inches approx.
A fine highly decorative pair of anonymous mezzotints.
By the middle of the seventeenth century the bow was no longer considered a viable weapon of war in Europe, although as late as 1808 Napoleon's army in Poland faced a force including 1500 archers on horseback. However, Archery as a sport survived and prospered and a number of quite exclusive toxophilic societies were formed. Through the eighteenth and much of the nineteenth century, archery enjoyed an enviable reputation as a genteel pursuit that both men and women could take part in with decorum.
The present pair of plates depicts two archery matches: the first, a men's match, shows the four male contestants dressed in the uniform of their society. The central figure is just about to release an arrow at an unseen but clearly distant target. His companions stand around, another stretched canvas target just behind the central bowman. The second image, of a ladies' match, shows four contestants all dressed in similar costume. The central figure, standing behind one target, draws her bow and looks to the distance where a man standing by the second target signals where her last arrow hit.
#6504$2,950.00
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 SAYER, Robert & J. BENNETT (publishers)
Damon and Pastora
London: R. Sayer & J. Bennett, 28 July 1783. Mezzotint, collection mark on verso, tipped onto early mount. (Expert small repairs to upper corners). Image size (including text): 13 x 10 inches. Sheet size: 14 3/8 x 10 1/2 inches.
A charming anonymous image from the collection of Frederic R. Halsey (1847-1918), 'un des principaux collectionneurs de son èpoque à New York' (Lugt 1308)
The image (of a fashionably-dressed young lady reclining by a brook being approached by a young gentleman) is explained by the engraved verse (by 'Mr. Nicholl') in the title area beneath the image:
Alone by the side of a murmuring rill / That lav'd the gay foot of a primrosy hill / Pastora beneath a broad poplar was laid / When Damon in extasy enter'd the Shade / He sigh'd & he swore by the pow'rs overhead / If she'd bless him to day, to morrow he'd wed.
#6524$750.00
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 SAYER, Robert and John BENNET (publishers)
The American Military Pocket Atlas; being an approved collection of correct maps, both general and particular, of the British Colonies; especially those which now are, or probably may be the Theatre of War: Taken principally from the actual surveys and judicious observations of engineers De Brahm and Romans; Cook, Jackson, and Collett; Maj. Holland, and other officers
London: Printed for R. Sayer and J. Bennet, [1776]. Octavo (8 11/16 x 5 3/8 inches). Letterpress text: title (verso blank), 1p. 'List of maps' (verso blank), 2pp. dedication to 'Gov. Pownall', 2pp. 'Advertisement', 6 folding engraved maps, all hand-coloured in outline. Expertly bound to style in 18th-century diced half russia over contemporary marbled paper-covered boards, the flat spine divided into six compartments by gilt double fillets, lettered in gilt in the second compartment, modern blue morocco-backed cloth box.
The 'Holster Atlas' : one of the most important atlases of the American Revolution designed for use in the field. The 'Holster Atlas' was issued at the suggestion of Governor George Pownall and included the 'maps that the British high command regarded as providing essential topographical information in the most convenient form' (Schwartz & Ehrenberg)
This collection of maps was published by Sayer and Bennet at the beginning of the Revolution for the use of British officers. 'Surveys and Topographical Charts being fit only for a Library, such maps as an Officer may take with him into the Field have been much wanted. The following Collection forms a Portable Atlas of North America, calculated in its Bulk and Price to suit the Pockets of Officers of all Ranks' (Advertisement). Although the publishers claimed the atlas would fit into an officer's pocket, it was more usually carried in a holster and thus gained its nick-name.
The six maps are as follows:
1. DUNN, Samuel. 'North America, as divided amongst the European Powers. By Samuel Dunn, Mathematician London: printed for Robt. Sayer, 10 Jany. 1774.' Engraved map, hand-coloured in outline (13 1/4 x 18 inches). Engraved for Dunn's 'A New Atlas' (London: 1774).
2. DUNN, Samuel. 'A compleat map of the West Indies, containing the coasts of Florida, Louisiana, New Spain, and Terra Firma: with all the islands.' London: Robt. Sayer, 10 January 1774. Engraved map, hand-coloured in outline (13 1/8 x 18 1/2 inches). Engraved for Dunn's 'A New Atlas' (London: 1774).
The 'Advertisement' describes these first two maps as 'a general map of the part of the globe, called North America, and a second general map of those islands, shores, gulfs, and bays, which form what is commonly called the West Indies; these we consider as introductory, and as giving a general idea, and we trust a just one.'
3. 'A general map of the Northern British Colonies in America. which comprehends the Province of Quebec, the Government of Newfoundland, Nova-Scotia, New-England and New-York. from the maps published by the Admiralty and Board of Trade, Regulated by the astronomic and trigonometric observations of Major Holland and corrected from Governor Pownall's late Map 1776. London: Robt. Sayer & Jno. Bennet, 14 August 1776.' Engraved map, hand-coloured in outline (20 1/2 x 26 1/2 inches). First state, also issued as a separate map. This map was re-issued in 1788 with the title changed to reflect the new political realities. McCorkle New England 776.11; Sellers & Van Ee 143; Stevens & Tree 65
4. EVANS, Lewis. 'A general map of the Middle British Colonies, in America. containing Virginia, Maryland, the Delaware Counties, Pennsylvania and New Jersey. With the addition of New York, and the greatest part of New England, as also of the bordering parts of the Province of Quebec, improved from several surveys made after the late war,and corrected from Governor Pownall's late Map 1776. London: R. Sayer & J. Bennet, 15 October 1776.' Engraved map, hand-coloured in outline (20 1/8 x 26 1/2 inches). Based on Lewis Evans' map of 1755, with additions and corrections. Cf. Stephenson & McKee Virginia p.82 (an image of the Evans map)
5. ROMANS, Bernard. 'A general map of the Southern British Colonies, in America. comprehending North and South Carolina, Georgia, East and West Florida, with the neighbouring Indian countries. From the modern surveys of Engineer de Brahm, Capt. Collet, Mouzon & others; and from the large hydrographical survey of the coasts of East and West Florida. By B. Romans. London: R.Sayer & J. Bennett [sic.], 15 Octr. 1776.' Engraved map, hand-coloured in outline (20 3/4 x 25 5/8 inches). Based on charts and maps by Roman and others.
6. BRASSIER, William Furness (1745-1772). 'A Survey of Lake Champlain including Lake George, Crown Point and St. John, Surveyed by order of ... Sr. Jeffery Amherst ... by William Brassier, draughtsman. 1762. London: Robt. Sayer & Jno. Bennet, 5 Aug., 1776.' Engraved map, hand-coloured in outline (29 1/8 x 21 5/8 inches). Also issued as the first separately published map of Lake Champlain, this excellent detailed chart was based on a survey made during the French and Indian War, but not published until the Revolution. Included is an inset illustrating America's first naval battle, in which General Benedict Arnold, though forced back down the lake, was able to delay the British attempt to descend to the Hudson for that year. No mention, of course, is made of Ethan Allen's taking of Fort Ticonderoga in 1775.
Fite & Freeman A Book of Old Maps pp.212-216; Howes A208; Nebenzahl Atlas of the American Revolution pp.61-63; Phillips Atlases 1206; Rumsey p.311; Sabin 1147; Schwartz & Ehrenberg p.190; Streeter Sale 73.
#19184$35,000.00 | | | |
