Prints, Maps and Posters

William Blaeu - 'Anglia Regnum': map of England, engraving with hand-colouring, p.39cm x 49.5cm, within a Hogarth style frame.

Johannes Blaeu - 'Britannia prout divisa suit temporibus Anglo-Saxonum, praesertim durante illorum Heptarchia': map of the British Isles decorated with side borders featuring fourteen engraved vignettes representing episodes of Anglo-Saxon history, engraving with hand-colouring, 42cm x 52.5cm, within a brown Hogarth style frame.

William Hole - 'Engalond Anglia Anglosaxonum Heptarchia': map of England, engraved for Camden's Britannia, engraving, p.28cm x 32.5cm, unframed.

Robert Morden – 'Britannia Romana': map of Roman Britain, engraving, p36cm x 42.5cm, unframed.

A. Finlay (Publisher) - 'South Carolina': map of the American state, engraving with hand-colouring, 21.5 x 28cm, folding into 18 squares within a leather wallet. Note: the county configuration pre-dates 1826, when Pendleton was split into Anderson and Pickens.

John Speed & John Norden - 'Sussex Described and divided into rapes with the situation of Chichester the cheife citie thereof and the armes of such nobles as have bene dignified with the title of Earles since the conquest and other accidents therein observed': map, Thomas Bassett & Richard Chiswell, engraving with hand-colouring, 38cm x 50.5cm, within a stained wood frame.

A group of four Bartholomew’s New Reduced Survey maps: Birmingham District; Sheet 13 Derby & Notts (x 2); and Sheet 24 Oxfordshire, folding maps in blue oilcloth bindings, together with a large quantity of prints and engravings, mostly 19th century bookplates, including ornithological, animal, equestrian, landscape and portrait subjects, and locations including Cheshire, Lancashire, Derbyshire, Nottinghamshire, Oxfordshire and Durham, all unframed, various sizes (qty).

Joachin Blanchon - 'Blaisois. Blesiensis Territorii'; 'Lemovicum Totius et Confinium Provinciarum Quantum...': maps of regions of France, a pair, engravings with hand-colouring, each 33cm x 23.5cm, together with a map of the Survey of the Road from London to Dover, all within gilt frames (3).

J. Rapkin - 'North America'; 'Africa'; 'Belgium'; 'British India'; 'China and Birmah'; 'Malay Archipelago or East India Islands': six maps from the Illustrated Atlas of the World (c.1849-51), with illustrations by J. Marchant; A.H. Wray; H. Warren, engravings with hand-colouring, various sizes, all within gilt frames (6). Note: Tallis' Illustrated Atlas (produced for the 1851 Great Exhibition) included many of Rapkin's maps from 1849s British Colonies.

Johannes Janssonius - 'Guinea', engraved map with hand-colouring, 39cm x 53.5cm, within a Hogarth style frame.

Robert de Vaugondy – ‘Royaume de Hongrie’: map of the Kingdom of Hungary, engraving with hand-colouring, published 1751, 50cm x 57cm, together with a further map of Hungary by Samuel Mikovini, ‘Hungarie Comitatus Posoniensis’, engraving, p.70cm x 57cm, both within gilt frames (2).

After B. Cole - ‘The South East Prospect of Westminster Bridge’ depicting various livery barges, engraving with hand-colouring, 40cm x 57cm, together with a further hand-coloured engraving ‘A View of London about the year 1560’, 33cm x 47cm, both within plain gilt frames (2).

A quantity of assorted 18th and 19th century engravings, mezzotints and lithographs, including two portrait subjects after Kneller and Maingaud by Houbraken; figurative and portrait subjects after Hoppner, Tilly Kettle, Kneller, Domenichino, Netscher, Morland, Kauffman and others; landscape subjects include Kedleston House after N. Curzon, various sizes, all unframed (qty).

A quantity of assorted 19th and 20th century engravings, etchings and prints, including works by or after Cecil Tatton Winter, Samuel Reynolds, Celie Caterell, Ray Hedger and Alphonse Legros, various sizes, all unframed (qty).

Dutch East Indian School (17th/18th century) - ‘Gezantscapaan den Grooten Cham’; ‘Nu Kayzer van China’; a set of five engravings (plates 191, 194, 198, 200, 221) with hand-colouring, each 12cm x 16cm, within gilt frames (5).

"After L Thackeray - 'A Billiard Match: ""Snookered""; ""Left""; ""The Canon""; ""Kissing""’, a set of four chromolithographs, published 1902 by Landeker & Brown London England, each 40cm x 51cm, within walnut-veneered frames (4)."

"Pierre Bonnard (French1867-1947) - Section from Nannies' Promenade, Frieze of Carriages [Le Paravent: la promenade des nourrices frise de fiacres], colour lithograph, circa 1895-1899, 28.5cm x 45cm, within a stained wood frame. Note: from the four-panel folding screen, lithographs in five colours, published by Molines, Galerie Laffitte, 20 rue Laffitte, Paris, (edition of 110), off-white wove paper: each panel (sight) approx 1499 x 479mm (59x18 7/8 in), Froury 35; Roger-Marx 47; Bouvet 55; et al. The lithographed version of Bonnard's painted folding screen was exhibited with its model in the artist's first one-man show at the Galeries Durand-Ruel, Paris, January 6-22, 1896. It is listed as ""no.52 Paravent"" in the final section of the exhibition with the poster for France-Champagne and La Revue Blanche. The prints were offered for sale either mounted (60 francs) or loose (40 francs) in the first issue of L'Estampe et l'affiche (March 15, 1897). Only about twenty complete sets of the four lithographed panels appear to have survived, all of which are in private collections in the US and abroad, except for those in the Museum of Modern Art, New York, the Cleveland Museum and the Museum of Fine Arts, Boston. The example most recently on the market was auctioned at Christie's New York, May 9, 1989, as Lot 487. Evidently many sets were damaged by water and cut into salvageable sections (examples of which are in various museums). A reference to the print in note 43, Chapter 3 (City Life) says that according to Hubert Proute, his father, the Parisian print dealer Paul Proute, bought about 30 sets, many of which were water-damaged, from Edouard Joseph, just before the last war. These were cut into pieces and many of them sold to Rex Nankivell of the Redfern Gallery. This section depicting a cab with dog forms the top section of the third panel of the four-panel screen, the entire sheet would have been 136.8cm x 48.3cm. Lithographs of this size were something of a technical marvel at the time - in a letter to his mother Bonnard referred to this screen as ‘the eighth wonder of the world’. With four lithographs strung together like this, the eye has to travel between one detail and another, giving the viewer a sense of being in the scene. The collection of the Victoria and Albert Museum contains the third section, third in a set of four from this screen, but has been cut down and a frieze of carriages (depicted in this lot) is missing from along the top."

Clarence Alphonse Gagnon (Canadian 1881-1942) - Grand Canal, Venice, 1906, drypoint etching, signed and dated ’06 in pencil lower right, p.18.5cm x 24.5cm, within a stained wood frame.

William Walcot (Russian/British 1874-1943) - Oxford Street and Marble Arch; Fleet Street; Marsham Street, Westminster; Cornhill and the Royal Exchange; The Strand, a group of five etchings, all signed in pencil lower right, the largest p.17.5cm x 25cm, together with a further etching of a street scene by another hand, all within wood frames (6).