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99. An Accurate Map of the Island of Barbadoes Drawn from an Actual Survey containing all the Towns, Churches, Fortifications, Roads, Paths, Plantations &c Copper engraved with hand colour Bowen, Emanuel 1747 350 x 427 mm unmounted A decorative map of Barbados from Emanuel Bowen’s ‘A Complete System Of Geography’. Outline colour divides the island into parishes. Barbados is orientated on its side with North to the left of the sheet. An ornate title cartouche and brief key to the map and parishes features to the top of the map with a decorative compass rose to the left, and a scale of English miles in the bottom right. 100. Insula Ceilon Olim Taprobana, Carte De L’Isle De Ceylan Dressée sur les Observations de Mrs. De L’Academia Royale De Sciences Par Le Sr. De L’Isle Copper engraved with original colour De L’Isle Amsterdam Chez Jean Covens et Corneille Mortier Geographes ave Privil. c. 1730 unmounted From the ‘Atlas nouveau, contenant toutes les parties su Monde, ou sont exactement remarquees les empires, monarchies, royaumes, etats, republiques, &c. Par Guillaume de l’Isle. Premier Geographe de sa Majeste.’ [29365] £600 Condition: Excellent impression with good hand colour and full margins. Centre fold as issued, one small stain to the bottom right parish of the island. [29683] £750
Biographies Artists Paul Brill (c.1553/4 - 1626) was a Flemish painter, draughtsman and etcher. Trained in Antwerp, Brill moved to Rome in around 1575, where he worked with his brother Matthijs and specialised in landscapes. He remained there for the rest of his life, and had a major influence on Italian landscape painting. Francis Philip Barraud (1824 - 1900) was an English watercolurist, etcher and painter of stained-glass windows. In 1858, Barraud went into partnership with Nathaniel Wood Lavers in a company which produced stained-glass windows in the conventional Gothic Revival manner. Up until that point, Barraud had been a freelance designer and was renowned for his excellent draughtsmanship, which can be seen to manifest in his etching. In the 1880’s, Barraud produced the watercolours for a series of thirty chromolithographs of English cathedrals. He also exhibited with the Fine Arts Association in 1884. John Constable (1776 - 1837) was one of the most famed painters and watercolourists of the nineteenth-century. Born at East Bergholt, Suffolk, Constable was the son of a corn and coal merchant and farmer. Though he initially entered the family business in 1792, Constable made a sketching tour of Norfolk two years later, and upon an introduction to Joseph Farrington in 1799, was enrolled in the Royal Academy. He exhibited there from 1802; was made an Associate of the Royal Academy in 1819, and a Royal Academician in 1829. He was given the gold medal by Charles X when his work was displayed at the Paris Salon in 1824, and was awarded the same accolade two years later at the Society of Fine Arts, Lille. Between 1833, and until his death in 1837, Constable lectured on landscape painting at the Royal Institution, the Hampstead Literary and Scientific Society, and the Worcester Athenaeum. Isaac Robert Cruikshank (1789 - 1856) was a celebrated Scottish painter and caricaturist. Born in Edinburgh, it is widely believed that Cruikshank trained with John Kay, before travelleling with his master to London in 1783. Isaac Cruikshank was a contemporary of James Gillray and Thomas Rowlandson, and he was part of what has now been deemed ‘the Golden Age of British Caricature.’ Cruikshank had a pedagogical leaning. He is known to have given lessons in art, and George Dawe was a former pupil. His greatest success as a teacher however was arguably with his own sons, George and Robert, as they would grow to become two of the most important caricaturists of the nineteenth century. Albrecht Dürer (1471 - 1528) was a celebrated German polymath. Though primarily a painter, printmaker and graphic artist, he was also a writer, mathematician and theoretician. Born in Nuremberg, Dürer was apprenticed to the painter Michel Wolgemut whose workshop produced woodcut illustrations for major books and publications. He travelled widely between the years of 1492 and 1494, and is known to have visited Martin Schongauer, the leading German painter and engraver at the time, at his studio in Colmar. In 1495, Dürer set up his own workshop in his native Nuremberg, and, by the beginning of the sixteenth-century, had already published three of his most famous series’ of woodcuts: The Apocalypse; The Large Passion, and The Life of the Virgin. Nuremberg was something of a hub for Humanism at this time, and Dürer was privy to the teachings of Philipp Melanchthon, Willibald Pirkheimer and Desiderius Erasmus. The latter went so far as to call Dürer ‘the Apelles of black lines’, a reference to the most famous, ancient Greek artist. Though Dürer’s approach to Protestantism was not as staunch as that of his fraternity, his artwork was just as revolutionary. For their technical virtuosity, intellectual scope, and psychological depth, Dürer’s works were unmatched by earlier printed work, and, arguably, have yet to be equalled. Joseph Farington (1747 - 1821) was an English landscape painter and topographical draughtsman. From 1763 he was a pupil of Richard Wilson, whom he assisted until 1767/8. He entered the Royal Academy schools in 1769, and exhibited there between 1778 and 1813. He became a Royal Academy member in 1785. His Diary 1793-1821 is a key source of information about the London art world. William Hincks (1752 - 1797) was an Irish painter of portraits; he was also a miniaturist and an engraver. He was born in Waterford but moved to London in 1780 before subsequently enrolling in the schools of the Royal Academy. Thomas Hulley (fl. 1798 - 1817) was a British watercolourist and aquatinter. He is best-known for his topographical works featuring mountains and rivers. Hulley is believed to have lectured in the painting of oils and body colours, as well as the practise of tinted drawings, in the city of Bath.
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Page 6 and 7: margin not affecting plate or image
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Page 12 and 13: in England and Wales’; a rare fol
Page 14 and 15: They also reflect the development o
Page 16 and 17: c. 1755 Image 265 x 400 mm mounted
Page 18 and 19: Published March 25th.1775 by John B
Page 20 and 21: 52. Nero Copper engraving John Alex
Page 22 and 23: 57. Tab I [Frontal view of Skeleton
Page 24 and 25: 60. Tab VIII [Posterior view of Ske
Page 26 and 27: No.9 Sutton Street, Southwark. 1827
Page 28 and 29: 69. Tab III [Lateral view of Skelet
Page 30 and 31: 75. Der Tod als Freund [Death the F
Page 32 and 33: 82. The International Sculling Matc
Page 34 and 35: 86. Orbis Terrae Compendiosa Descri
Page 36 and 37: From Collins’ Great Britain’s C
Page 38 and 39: ose, key to paths and river depth a
Page 42 and 43: George Jones (1786 - 1869) was a Br
Page 44 and 45: tal, Fittler became a student at th
Page 46 and 47: Joseph Constantine Stadler (fl. 178
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