Scarce Map of Greece in Original Old Colour.

Aa, Pieter van der. "I. Stemmers Fecit" Greece. " Ελλαs. Graecia Sophiani per Abrahamum Ortelium descripta ac denuno aucta et amendata, Lugduni Batavorum, cura et sumptibus Petri Vander AA." " LugduniBatavorum" /Leiden "Par Pierre van der Aa, Marchand Libraire, Imprimeurde l'Univerite et de la Ville." 1729
Copper engraved map of Greece after Ortelius from Pieter van der Aa's " La Galerie Agreable du Monde." Original old colour; folded; verso blank.
This scarce map from van der Aa's monumental work is even more rare with original colour. The area of Greece is with full wash colour whilst the surrounding countries have outline colour.
Decorative title cartouche on blank pedestal, with ornamented scale [ both black and white as issued].
A version of the map also appears in the " Thesaurus Graecarum Antiquitatum" of J.Gronovius published by van der Aa between 1697 & 1702 [ Zacharakis Map 49] but with a different title, therefor sole edition thus. Dark impression; general toning ; bright original old colour; folded with short split on fold [10mm] below scale.
Koeman1: Aa9, Vol.46 map1; Zacharakis:3. 350 by 482mm (13¾ by 19 inches).    €1200

Scarce Plate of Zakynthos/Zante from " La Galerie Agreable du Monde".

Aa, Pieter van der. "I. Stemmers Fecit" Island of Zante/ Zakynthos. " Isle de Zante; L'Ile de Zante sur lesCôtes Occidentales de la Morée." " L'Ile de Zante, Avec sa villes Ports et Bayes." " LugduniBatavorum" /Leiden "Par Pierre van der Aa, Marchand Libraire, Imprimeurde l'Univerite et de la Ville." 1729
Copper engraved Maps of Zante/ Zakynthos of from Pieter van der Aa's " La Galerie Agreable du Monde." Black & white; verso blank.
This scarce plate from van der Aa's monumental work shows 2 maps on 1 plate within an engraved frame. The island of Zante after Coronelli; & after Dapper. Dark impression; old ink number to lower right corner just inside plate mark; horizontal fold in upper and lower blank margins to fit binding.
Koeman1: Aa9, Vol.47; pl.35 ; Zacharakis:40. 240 by 405mm (9½ by 16 inches).    €700

Scarce Plate of Kefalonia from " La Galerie Agreable du Monde".

Aa, Pieter van der. "I. Stemmers Fecit" Plan of the Fort of Zante/ Zakynthos; Kefalonia Map; Kefalonia View; Plan of Assos. " Fortresse de Zante; plan de Chateau de Zante, dans l'Isle de même nom.; lIsle Cepalonie ou Cephalonia; Cefalonie; La Ville de Cefalonia dans l'Isle du même nom, dans le Mediterranée; Forteresse d'Assso :dans l'Isle de Cephalonie" " LugduniBatavorum" /Leiden "Par Pierre van der Aa, Marchand Libraire, Imprimeurde l'Univerite et de la Ville." 1729
Copper engraved plate showing Kefalonia map views and plans of from Pieter van der Aa's " La Galerie Agreable du Monde." Black & white; verso blank.
This scarce plate from van der Aa's monumental work shows 4 vignettes on 1 plate within an engraved frame. The plates are: plan of the fort Zante after Coronelli; map of Isle de Kefalonie after Dapper; view of Kefalonie after Coronelli plan of the Fortress of Assos after Coronelli. Dark impression; old ink number to lower right corner just inside plate mark.
Koeman1: Aa9, Vol.47; pl.37 ; Zacharakis:41. 345 by 420mm (13½ by 16½ inches).    €600

Scarce Birds-eye view of Rethymnon from " La Galerie Agreable du Monde".

Aa, Pieter van der. "I. Stemmers Fecit" Rethymnon. "Vesting de Retimo:Retimo Ville de l'isle de Candie" " LugduniBatavorum"[Leiden] "Par Pierre van der Aa, Marchand Libraire, Imprimeurde l'Univerite et de la Ville." 1729
Copper engraved plan and view of Iraklion of from volume 47 of Pieter van der Aa's " La Galerie Agreable du Monde." Black & white; verso blank.
This scarce plate from van der Aa's monumental work is after the town plan of Olfert Dapper which appeared in 1688; with title in French added and engravers details to lower left corner.
The plate appears to have been re-engraved in some parts to bring out the deatils of the town which are often faded in the Dapper Clean & bright, dark impression with wide margins; centre fold; old ink number to lower right corner just outside printed area; Spot to upper left edge just touching plate mark.
Koeman1: Aa9, Vol.47; pl.18 ; Not in Zacharakis. 275 by 365mm (10¾ by 14¼ inches).    €1000

Semiramis Receiving the news of the Revolt of Babylon.

After Giovanni Francesco Barbieri [Guercino,] by Fr Hanfstaengl. Semiramis Receiving the news of the Revolt ofthe Persians, by Francesco Barbieri, called Guercino da Cento "Der Konnigen Tomiris erhalt die Nachrucht von der veiloren Schlacht gegen die Perser, von Francesco Barbieri, gen Guercino da Cento." Dresden Harausgeber. 1838.
Black and white lithograph after the painting by Giovanni Francesco Barbieri [Guercino,] formerly in the Staatliche Gemäldegalerie, Dresden.

The story of Semiramis is recounted by the Roman historian and moralist Valerius Maximus in his De Factis Dictisque Memorabilibus Libri (vol. IX, p.3, ext.4), a collection of short stories illustrating examples of good and bad conduct from the lives of important figures. Semiramis, a woman of unrivalled beauty, was the daughter of the fish-goddess Derceto, and became one of the founders of the Assyrian empire of Nineveh. Interrupted at her toilette by news of a revolt, Semiramis, the legendary queen of Assyria, demonstrated her determination as a ruler by refusing to finish combing her hair until she had led her army to crush the rebels. This depiction of the story is made lively and dramatic by the emphatic gestures and by such bold compositional devices as the off-center placement of Semiramis and the radically cropped figure of her maid at right.

The subject clearly appealed to Guercino, for he painted no fewer than three treatments of the theme, all of half-length format. The first is a this painting in the Museum of Fine Arts, Boston, which he executed in 1624 for Daniele Ricci. In around 1627-28 he returned to the subject, with a painting formerly in the Staatliche Gemäldegalerie, Dresden, destroyed in 1945. The third and final treatment was commissioned in 1645 by Cardinal Cornaro, and is now in a private collection. Bright and clean, printed on india paper laid down.
415 by 530mm (16¼ by 20¾ inches).    €200

The Rape of Lucretia.

After A de Pieters, engraved by Ch. le Vaßeur Tarquin & Lucretia "Tarquin et Lucrece." Paris Ch. le Vaßeur c1765
Copper engraving of the rape of Lucrece, after the painting by A de Pieters, Pienter de Roi de Danemarck . Engraved by Ch. le Vasseur. Title in French, quotation from Titus Livy in Latin and French. Modern hand colour.
The image shows Tarquin surprising a naked Lucretia and warnig her to remain silent.
The story is found in the Roman historian Livy's History of Rome, According to the story, Lucretia's rape by the Etruscan king's son and consequent suicide were the immediate cause of the revolution that overthrew the monarchy and established the Roman Republic. Good impression with later modern hand colour ; margins trimmed to plate mark; minor chips and tears to uppe & lower margins.
470 by 520mm (18½ by 20½ inches).    €750

Hebe with Zeus as an Eagle.

After François Huet Villiers, by H. Meyer. Hebe. "Hebe." London Engraved by H. Meyer, Great Russell Street, Bloomsbury. // Pub.d with permission Aug.t 17, 1814 by S. Knight, Sweeting's Alley, Royal Exchange.' 1814
Sepia mezzotint after the drawing of François Huet Villiers, of Hebe with Zeus in the form of an eagle.
The goddess shown as a young woman, half-length in clouds, directed to left wearing a gauzy veil and a necklace, one arm around the neck of Jupiter in the guise of an eagle with a thunderbolt, holding out a cup for him; within a border of etched lines.
The print appears to have first been printed by Colnagi in 1811, but was so popular that Villiers allowed other editions. Our copy lacks the publishers imprint but appears to be a version published by S Knight in 1814. [ see the British Museum number:2010,7081.7222 where the lettering states: 'From the Original Drawing in the possession of J,, Harper Esq.r // Drawn by Huet Villiers, Miniature Painter to their Royal Highnesses the Duke & Duchess of York. // Engraved by H. Meyer, Great Russell Street, Bloomsbury. // Pub.d with permission Aug.t 17, 1814 by S. Knight, Sweeting's Alley, Royal Exchange.']

Hebe was the goddess of youth, daughter of Zeus and Hera. She served nectar and ambrosia to the Olympians. Clean and bright; margins approx. 8 mm outside plate mark.
British Museum no:2010,7081.7222. 520 by 380mm (20½ by 15 inches).    €850

Learning Resisting the Passage of Time.

After François-Guillaume Ménageot by Jean-Jacques Avril. Learning Resisting the Passage of Time "L'Étude qui veut Arrêter le Temps." Gravé par Avril, d'après le Tableau, Original, Pient par Mangeot, pour sa Récéption àL'Académie Royale. Paris "chez Avril, Graveur, Rue de Petit Bourbon, no 23 , près St Suplice" c1781
Copper engraving by Avril of Ménageot's painting "L'Étude qui veut Arrêter le Temps." Title and text in French; later hand colour.
The image shows Learning , in a room surrounded by a globe , books and manuscripts engaged, in reading a book pushing away the figure of Time, a winged aged man holding his Scythe aloft; two putti plead with him at his feet. Dark impression; light spotting to blank margins; tiny hole on Time's torso, just below Learning's hand; small lack of engraved area in upper engraved border.
510 by 377mm (20 by 14¾ inches).    €500

Apollo Flays Marsyas.

After Giovanni Battista Langetti by Lorenzo Zucchi. The Flaying of Marsyas. "The Flaying of Marsyas." Dresden: C.H.von Heineken 1750-1757
Black & white copper engraving of Apollo flaying Marsyas, from the Recueil d'estampes d'après les plus célèbres tableaux de la Galerie Royale de Dresde. Engraved by Lorenzo Zucchi and Anto. Kern after the painting of Giovanni Battista Langetti.
Lettered below image with production detail: 'Ant. Kern del. - L. Zucchi Scul.' and 'Quadro di Giovambattista Langetti..', 'Tableau de Jean Baptiste Langetti..', and size and provenance of painting in Italian and French. Numbered 47 on plate.

The image show Apollo at the centre tying the satyr's legs to a tree trunk; on the right, an old satyr with his arms folded; on the left, three more satyrs witnessing the scene.

Maryas is mythological personage, connected with the earliest period of Greek music. He is variously called the son of Hyagnis, or of Oeagrus, or of Olympus. Some make him a satyr, others a peasant. All agree in placing him in Phrygia. The following is the outline of his story, according to the mythographers. Athena having, while playing the flute, seen the reflection of herself in water, and observed the distortion of her features, threw away the instrument in disgust. It was picked up by Marsyas, who no sooner began to blow through it than the flute, having once been inspired by the breath of a goddess, emitted of its own accord the most beautiful strains. Elated by his success, Marsyas was rash enough to challenge Apollo to a musical contest, the conditions of which were that the victor should do what he pleased with the vanquished. The Muses, or, according to others, the Nysaeans, were the umpires. Apollo played upon the cithara, and Marsyas upon the flute; and it was not till the former added his voice to the music of his lyre that the contest was decided in his favour. As a just punishment for the presumption of Marsyas, Apollo bound him to a tree, and flayed him alive. His blood was the source of the river Marsyas, and Apollo hung up his skin in the cave out of which that river flows. Dark impression; light toning and dampstain to left and lower blank margins; soft crease to upper right corner,
British Museum no:1855,0609.1267. 435 by 565mm (17¼ by 22¼ inches).    €350

The Banquet given by Esther for Ahaseurus and Haman.

After Jean François de Troy by Beauvarlet, Jacques Firmin. Banquet given by Esther for Ahaseurus and Haman. "Repas donne par Esther à Assuérus." Paris Jacques Firmin Beauvarlet. 1775-1784
Black and white copper engraving By Beauvarlet After Jean François de Troy. Plate 6 from a series of seven, depicting the story of Esther, executed 1775-93 after a series of seven cartoons for tapestries designed 1736-42; plate advertised in the 'Journal de Paris', 8 September 1783. Proof before letters
The image shows the banquet given by Esther to Ahasuerus and Haman, a sumptuous scene with the main figures adorned in rich silks, surrounded by numerous attendants. Dark impression; trimmed to plate mark top and sides; attached to card at top; spotting to lower blank margin; damage at lower right where a section of the engraving has been torn and re-laid down [it looks worse in the margin, but could be covered by a mount and would not be so obvious.]
British museum No;1913,1015.122 490 by 620mm (19¼ by 24½ inches).    €500

Spanish Gypsies.

After Mathias Artaria, engraved by Friedrich Weber Spanish Gypsies. "Spanische Zigeuner. Gitanos." Stuttgart Eduard Hallberger. c1850
Copper engraving of a group of Spanish Gypsies by a fountain after the painting by Math. Artaria. Modern hand colour. Lightly toned and soiled; damp stain to upper left corner; plate mark at sides beginning to crack.
400 by 450mm (15¾ by 17¾ inches).    €160

The Apotheosis of Aeneas.

After Michel Corneille II, by Pierre Etienne Moitte. Apotheosis of Aeneas. "L'heureux destin d'Enée." Dresden. Georges Conrad Walther, 'A Paris chez Moitte, au coin de la rue St Julien le Pauvre, près le petit Chatelet, 1747.' 1747-1754
Black & white copper engraving of the Apotheosis of Aeneas from the Recueil d'estampes Gravées of aprez les tableaux et de la Galerie du Cabinet de SE Mr le comte de Bruhl, engraved by Pierre Etienne Moitte after the painting by Michel Corneille II
Numbered on plate: '31'; lettered with producers' names, publication address: 'A Paris chez Moitte, au coin de la rue St Julien le Pauvre, près le petit Chatelet, 1747', title, verses on either site of Bruhl's coat of arms ('Pour toi, Venus obtient un règne glorieux... l'eloquence est trop grande'), and provenance of original painting (collection of Comte de Bruhl).

The image shows the Apotheosis of Aeneas, with Ganymede pouring the ambrosia into a cup held by the young man who is sitting at centre, while nearby Zeus converses with Aphrodite, his arm placed around the goddess' shoulders.
It is said that Aphrodite asked Zeus to make Aeneas immortal, and as Zeus granted her request, the river god Numicius washed away all of Aeneas' mortal parts, and Aphrodite anointed him with Nectar and Ambrosia, making him a god, whom the people later worshipped under the name of Indiges. Dark impression; clean and bright; large paper; wide margins.
British Museum no:1850,0810.427; Le Blanc 11; Robert-Dumesnil VI 285 (102 nos) 435 by 565mm (17¼ by 22¼ inches).    €850

Aeneas fleeing Troy with his family

After Michel Corneille II, by Pierre Etienne Moitte. Aeneas fleeing Troy with his family "Enée sauvant sa famille de l'embrasement de Troie." Dresden. Georges Conrad Walther, 'A Paris chez Moitte, au coin de la rue St Julien le Pauvre, près le petit Chatelet, 1747.' 1747-1754
Black & white copper engraving of Aeneas fleeing Troy with his family the from the Recueil d'estampes Gravées of aprez les tableaux et de la Galerie du Cabinet de SE Mr le comte de Bruhl ...[ Plate 29], engraved by Pierre Etienne Moitte after the painting by Michel Corneille II
Numbered on plate: '29'; lettered with producers' names, publication address: 'A Paris chez Moitte, au coin de la rue St Julien le Pauvre, près le petit Chatelet, 1747', title, verses on either site of Bruhl's coat of arms ('Fils sensible et zélé... ne crains rien pour toy'), and provenance of original painting (collection of Comte de Bruhl).

The image shows Aeneas fleeing Troy with his family; the young bearded man stands at centre and gestures towards his family and some servants, who are approaching from the left; Aeneas' son Ascanius stands beside his father; Venus appears at centre and points to the right, while some putti can be seen carrying Aeneas' weapons with them.

Aeneas was born from the union of a mortal, Anchises and a goddess, Aphrodite. During the Trojan War, Aeneas, who some time before had been driven from Mount Ida by Achilles, was wounded by Diomedes and, having fainted, would have died if his mother had not come to his rescue. Aphrodite herself was wounded by Diomedes on this occasion, but then Apollo took over the protection of the Aeneas, removing him from the battle to the citadel, where his temple stood. In the sanctuary, Leto and Artemis healed Aeneas and made him even stronger. But for those fighting, Apollo fashioned a phantom of Aeneas, so that Achaeans and Trojans killed each other round it, until the real Aeneas, having recovered, returned to the field.
At the fall of Troy, Aeneas, who had been Leader of the Dardanians during the Trojan War, left the city in flames, and after wandering in the Mediterranean sea, came to Italy and founded the state that later became Rome. Dark impression; centre fold; generally bright; light toning; dampstain to lower margin; large paper; wide margins.
British Museum no:11850,0810.425; Le Blanc not described; Robert-Dumesnil VI 285 (102 nos) 435 by 565mm (17¼ by 22¼ inches).    €750

The "Triumph" of Aemilius Paulus.

After Monsiau, Nicolas-André by Vieth-Varenne. The "Triumph" of Aemilius Paulus. "Triomphe de Paul Emile" (2eme P.tie) Paris impremier par Jaques Prudhome c1820
Panoramic lithograph showing part of the Roman triumph of Aemilius Paulus after the painting byNicolas-André Monsiau, exhibited in Paris 1789. Modern hand colour
The image shows part of the Roman "Triumph " accorded to Aemilius Paulus after his victory over Perseus at Pydna and the conquest of Macedonia and the ending of the third Macedonian War

The Third Macedonian War broke out in 171 BC, when king Perseus of Macedon defeated a Roman army led by the consul Publius Licinius Crassus in the battle of Callinicus. After two years of results indecisive for either side, Paullus was elected consul again in 168 BC (with Gaius Licinius Crassus as colleague). As consul, he was appointed by the senate to deal with the Macedonian war. Shortly afterwards, on June 22, he won the decisive battle of Pydna. Perseus of Macedonia was made prisoner and the Third Macedonian War ended.
To set an example, Paullus ordered the killing of 500 prominent Macedonians known for their opposition to Rome. He also exiled many more to Italy and confiscated their belongings in the name of Rome but, according to Plutarch, kept too much to himself. Other sources report that he kept for himself only the extensive royal library,[2] in which act he set an example for later Roman generals, such as Lucullus. On setting out on the return to Rome in 167 BC, his legions were displeased with their share of the plunder. To keep them happy, Paullus decided on a stop in Epirus, a kingdom suspected of sympathizing with the Macedonian cause. The region had been already pacified, but Paullus ordered the sacking of seventy of its towns. 150,000 people were enslaved and the region was left to bankruptcy.
Paullus' return to Rome was glorious. With the immense plunder collected in Macedonia and Epirus, he celebrated a spectacular triumph, featuring no less than the captured king of Macedonia himself, and his sons, putting an end to the dynasty. As a gesture of acknowledgment, the senate awarded him the surname (cognomen) Macedonicus. This was the peak of his career. In 164 BC he was elected censor. He fell ill, appeared to be recovering, but relapsed within three days and died during his term of office in 160 BC. Bright and clean; modern hand colour; lower right corner torn off and repaired with different paper.
328 by 703mm (13 by 27¾ inches).    €160

The Continence of Scipio.

After Nicolas Poussin by Francis Legat. The Continence of Scipio "The Continence of Scipio." London. John Boydell. 1784
Black & white copper engraving of The Continence of Scipio, from John Boydell's Houghton Gallery.[a set of 162 prints reproducing paintings from the collection of Sir Robert Walpole at Houghton].
Proof before title; coat of arms, "Nichs. Poussin, pinxit./ J. Boydell excudit 1784/ Francis Legat Sculpsit./ In the Gallery [coat of arms] at Houghton./ Publish'd Jany. 1st1 1784, by John Boydell Engraver, in Cheapside London."
The image shows Scipio, on the far left, seated on a throne and being crowned with ivy, his left hand reaching out to Allucius, who bows before him; between the two stands a young woman, two soldiers on the right, stone tower in the background.

Scipio Africanus; Publius Cornelius Scipio Africanus Major (236 BC - c.184 B)was a Roman general whose tactics concluded the second Punic War by defeating the Carthaginians in 206 and Hannibal in Africa in 202.
Many legends accumulated around him, many derived from stories of Alexander the Great. Dark impression; light toning; proof before title; margins trimmed to plate mark; creasing at lower edge in publishers imprint.
British Museum no:1982,U.1714.; Rubinstein II.52. 480 by 600mm (19 by 23½ inches).    €450

Apollo & Galateia.

After Paolo de Matteis by Pierre Etienne Moitte Apollo & Galatea. "Apollon et Galathée." Dresden: Georges Conrad Walther, 'A Paris chez Moitte au coin de la rue St Julien le Pauvre près le petit Chatelet 1748' 1748-1754
Black & white copper engraving of Apollo & Galateia from the Recueil d'estampes Gravées of aprez les tableaux et de la Galerie du Cabinet de SE Mr le comte de Bruhl ...[ Plate 46], engraved by Pierre Etienne Moitte after the painting after Paolo de Matteis.
Lettered in lower margin with title and eight lines of verse; and production details: "Paulus de Matthei Pinx." and "P. Moitte Sculp." and "Tableau de 6 pieds de longeur sur 4 de hauteur qui est dans la Gallerie de S.E.M.gr Le Comte de / Bruhl Chevalier de l'Ordre de l'Aigle Blanc et Premier Ministre de sa Majesté Le Roy de Pologne Electeur de Saxe.".
The image shows Apollo in his chariot greeting Galateia who sits on her shell drawn by dolphins and accompanied by mermaids and other sea-creatures.

Galateia was one of the Nereides, fifty goddess-nymphs of the sea. Her name means either "the goddess of calm seas" from galênê and theia or "milky-white" from galaktos. Galateia frequented the coast of Sicily where she attracted the attention of the CyclopsPolyphemos. The giant wooed her with tunes from his rustic pipes, and offerings of cheese, milk, and wild fruit. The nymph, however, spurned his advances and consorted instead with a handsome Sicillian youth named Akis. When Polyphemos learned of this, he fell into a jealous rage and crushed the boy beneath a rock. Galateia was grief-stricken and transformed Akis into a stream. Dark impression; centre fold; image clean and bright; slight toning and damp stain to edges of upper and side margins; large paper; wide margins.
British Museum no:1872,0608.43. 378 by 502mm (15 by 19¾ inches).    €1000

Hagar Received by Abraham.

After Phillip van Dyk, engraved by Jean Massard Hagar received by Abraham. "Agar recue par Abraham." Dediée à la Reine. Paris Jean Massard ,"Tiré du Cabinet de Mr. Servai chez l'Auteur ,rue Ste. Jacinthe, Place St. Michel, " 1785
Black & white copper engraving after the painting by Phillip van Dyck, engraved by Jean Massard, lettered Dediée à la Reinearound a composition with coats of arms of the Bourbons and the Habsburg-Lorraines Title and text in French.
The image shows the young Egyptian slave, naked, with the aged Abraham, in a richly draped bedroom, with Sarah, his wife standing above them, a serene and sad expression on her face; a servant peers around a curtain in the background.
The biblical story of how Sarah, Abraham's wife due to her sterility gives him her Egyptian slave Hagar to lie with to give him an heir is related in Genesis 16: 1-4.
Massard in the etching reproduces a painting entitled Sarah presenting Hagar to Abraham,now in the Louvre, by Philippe van Dyck.
The engraving is dedicated to the queen Marie Antoinette, and it has been suggested that the biblical theme of lack of maternity of Sarah and her marital relations with Abraham, could have been chosen to counter allusions to sexual troubled events of the French royal couple, at the time the subject of numerous satirical pamphlets and pornographic and poisonous gossip at court. The marriage took place in 1770, when the future Louis XVI was still Dauphin of France, and was not, of course, consumed in the first seven years, and Marie Antoinette did not have the first daughter, Maria Teresa Carlotta,until the end of 1778, and will bear the heir to the throne only in October 1781. Good Impression; margins trimmed close to plate mark.
575 by 470mm (22¾ by 18½ inches).    €300

Psyche Surprises Eros.

After Raphaël by A. Legrande [le Grande]. Psyche Surprises Eros. "L'Amour Supris." Paris "chez Bance, ainé, rue St Denis." C1790-1800
Black and white stipple engraving of Psyche uncovering Eros by Augustin Legearde after Rapaël. Title and text in French
It is attributed to Raphaël, but is more likely inspired by him and his famous frescoes of the Loggia di Psyche in the Villa Farnesina (1517-18) .

Psyche's beauty caused the jealousy and envy of Aphrodite In order to avenge herself, the goddess ordered Eros to inspire Psyche with a love for the most contemptible of all men: but Eros was so stricken with her beauty that he himself fell in love with her. He accordingly conveyed her to some charming place, where he, unseen and unknown, visited her every night, and left her as soon as the day began to dawn. Psyche might have continued to have enjoyed without interruption this state of happiness, if she had attended to the advice of her beloved, never to give way to her curiosity, or to inquire who he was. But her jealous sisters made her believe that in the darkness of night she was embracing some hideous monster, and accordingly once, while Amor was asleep, she approached him with a lamp, and, to her amazement, she beheld the most handsome and lovely of the gods. In her excitement of joy and fear, a drop of hot oil fell from her lamp upon his shoulder. This awoke Amor, who censured her for her mistrust, and escaped. Psyche's peace was now gone all at once, and after having attempted in vain to throw herself into a river, she wandered about from temple to temple, inquiring after her beloved, and at length came to the palace of Venus. There her real sufferings began, for Venus retained her, treated her as a slave, and inmposed upon her the hardest and most humiliating labours. Psyche would have perished under the weight of her sufferings, had not Amor, who still loved her in secret, invisibly comforted and assisted her in her labours. With his aid she at last succeeded in overcoming the jealousy and hatred of Venus; she became immortal, and was united with him for ever. Dark impression; light toning; scattered light spotting, most noticeable in blank margins.
407 by 470mm (16 by 18½ inches).    €500

The Toilette of Psyche.

After Raphaël by A. Legrande [le Grande]. The Toilette of Psyche. "La Toilette de Psiché." Paris "chez Bance, ainé, rue St Denis." C1790-1800.
Black and white stipple engraving of the Toilette of Psyche by Augustin Legearde after Rapaël. Title and text in French
The engraving shows Psyche with her attendents, It is attributed to Raphaël, but is more likely inspired by him and his famous frescoes of the Loggia di Psiche in the Villa Farnesina (1517-18) .
Psyche's beauty caused the jealousy and envy of Aphrodite In order to avenge herself, the goddess ordered Eros to inspire Psyche with a love for the most contemptible of all men: but Eros was so stricken with her beauty that he himself fell in love with her. He accordingly conveyed her to some charming place, where he, unseen and unknown, visited her every night, and left her as soon as the day began to dawn. Dark impression; light toning; scattered light spotting.
405 by 473mm (16 by 18½ inches).    €500

Tobias and the Angel.

After Rembrandt, engraved by J McArdell Tobias with the Angel. "Tobias with the Angel." from the Original in the COLLECTION of Mr Reynolds. London J. McArdell 1742-1765
Black & white Mezzotint by James McArdell after Rembrandt; Laid down to later paper.
Tobias with the Angel; Tobias sitting on riverbank with his dog beside him, the angel kneeling over him; both he and his dog gazing in terror at grotesque fish emerging from the Tigris at right; shepherds and figures crossing bridge in landscape beyond; Lettered with 'signature' as Rembrandt within image.

Tobias and the Angel is the title given to paintings and other artworks depicting a scene in which Tobias, son of Tobit, meets an angel without realising he is an angel (Book of Tobit, 5.5-6) and is then instructed by the angel what to do with a giant fish he catches (Book of Tobit, 6.2-9). Dark impression; trimmed to plate mark and laid down at some time to late [modern?] paper probably to preserve due to the following faults: creasing; upper right corner missing and replaced with later paper and pencil; 3 tears to upper margin [approx 20-30mm] ;long paper fault to sky.
British Museum No:1870,0625.582 [ proof before letters]; Goodwin 214.II; not in Chaloner Smith. 480 by 357mm (19 by 14 inches).    €350

The Meeting of Isaac & Rebecca.

After Robert Smirke, engraved by James Godby. The Meeting of Isaac & Rebekah. "The Meeting of Isaac and Rebekah.// Recontre d'Isaac et de Rebecca." London John Murphy. 1801
Stipple engraving by James Godby after the painting by Robert Smrke of the meeting between Isaac and Rebekah. Modern hand colour.

The image shows Rebekah standing demurely in centre, covering her face with her veil as she is introduced to Isaac standing at right, servants surrounding and camels behind, camp in background at right.

Lettered below image with title in English and French and bible reference, production detail: "R. Smirke pinxit/ J. Murphy excudit/ James Godby sculpsit" [lacks publication line: "London, Published Octr. 1st. 1801 by John Murphy No. 19 Howland Street, Fitzroy Square"} Good impression; trimmed to plate mark , shaving off publication line; olded just right of centre [ from being bound?]; some spotting and offsetting to title; modern hand colour.
British Museum No:1953,0214.46 471 by 590mm (18½ by 23¼ inches).    €250

Innocence Recognized.

After Schall by A. Legrande [le Grande]. Innocence Recognized. "L'innocence Reconnue." Paris "chez Depuille, Md. d'Estampes, Rue St Denis no 52 Section de Bon Conseil." C1790-1800
Black and white copper & stipple engraving of a scene from the legend of Genevieve of Brabant by Augustin Legearde after Schall. Title in French
The image shows Genevieve of Brabant with her son discovered by her husband Siegfried whilst out hunting with a wounded deer at her feet.

The Genevieve tale first obtained wide popularity in L'Innocence reconnue, ou vie de Sainte Genevieve de Brabant(pr. 1638) by the Jesuit René de Cerisiers (1603–1662).
The story is a typical example of the widespread tale of the chaste wife falsely accused and repudiated, generally on the word of a rejected suitor. Genevieve of Brabant was said to be the wife of the palatine Siegfried of Treves, and was falsely accused by the majordomo Golo. Sentenced to death, she was spared by the executioner and lived for six years with her son in a cave in the Ardennes nourished by a roe. Siegfried, who had meanwhile found out Golo's treachery, was chasing the roe when he discovered her hiding-place, and reinstated her in her former honour. Dark impression; light toning; trimmed to plate mark ; short tears to upper and lower margins, one longer ( approx 70mm )entering image at upper margin.
520 by 615mm (20½ by 24¼ inches).    €450

Orlando furioso.

After St Amand by Morange. Olympia rescued by Orland "Olympe Déliverée par Roland." Paris Bonnefoy c1770
Copper engraving by Morange after the drawing by St Amand illustrating Chanson XI of Roland Furieux.[Ariosto Orlando furioso]where Orlando/ Roland rescues Olympia from the Orca.
The image shows a naked Olympia tied to a rock; [reminiscent of Perseus rescuing Andromeda]. Dark impression; light toning; light spotting mainly to blank margins; dampstain to left margin, far from image; 2 short tears to lower edge with old repairs to verso.
Thomas Gaehtgens, Jacques Lugand, Joseph-Marie Vien, Arthéna, 1988, p. XIII, notice w7050 422 by 318mm (16½ by 12½ inches).    €250

Diana, Artemis Preparing for the Hunt

After: Charles de Lafosse Pierre Etienne Moitte Preparations for the Hunt. "Préparatifs pour la chasse" Dresden: Georges Conrad Walther, 1740-1754
Black & white copper engraving of Diana- Artemis preparing for the hunt, from the Recueil d'estampes Gravées of aprez les tableaux et de la Galerie du Cabinet de SE Mr le comte de Bruhl ...[ Plate 32], engraved by Pierre Etienne Moitte after the painting by Charles de Lafosse.
Insribed below the image the producers' names, title, verses on either site of Bruhl's coat of arms ('Que viens-tu faire ici... J'attrape souvent la plus fine'), and dimensions and provenance of original painting (collection of Comte de Bruhl).

The image shows Artemis-Diana and her nymphs resting in a landscape, one of the nymphs is helping the goddess to put on her sandals, while another pours the content of a small vase over her head
According to the Homeric account and Hesiod (Theog. 918) Artemis was the daughter of Zeus and Leto She was the sister of Apollo, and born with him at the same time in the island of Delos. One of the great divinities of the Greeks. Her name is usually derived from artemês, uninjured, healthy, vigorous; according to which she would be the goddess who is herself inviolate and vigorous, and also grants strength and health to others.
The representations of the Greek
Artemis in works of art are different accordingly as she is represented either as a huntress, or as the goddess of the moon; yet in either case she appears as a youthful and vigorous divinity, as becomes the sister of Apollo. As the huntress, she is tall, nimble, and has small hips; her forehead is high, her eyes glancing freely about, and her hair tied up behind in such a manner, that some locks float down her neck; her breast is covered, and the legs up to the knees are naked, the rest being covered by the chlamys. Her attributes are the bow, quiver, and arrows, or a spear, stags, and dogs. As the goddess of the moon, she wears a long robe which reaches down to her feet, a veil covers her head, and above her forehead rises the crescent of the moon. In her hand she often appears holding a torch. Dark impression; centre fold; clean and bright; large paper; wide margins.
British Museum no:1850,0810.428 Le Blanc 43 380 by 497mm (15 by 19½ inches).    €750

Greece and the Balkan Peninsular under the Turks.

Alexis Hubert Jaillot. Estats de L'Empire des Turqs en Europe... " Estats de L'Empire des Turqs en Europe subdivisés suivant l'estendue des Beglerbeglicz ou govenements..." A Paris. "Chez H Jaillot joignant les grandes Augustins, aux 2 globes" 1692
Large double page copper engraved map of Greece & the Balkan Peninsular, after Sanson, from Jaillot's "Atlas Nouveau"1698. Original outline colour; verso blank.
The map is centred on the the Balkan Peninsular, Greece and the Archipelago, with Italy to the West and the coast of Asia minor to the East.
Decorative title cartouche ornamented with images of the Ottoman rulers of the area. Evenly toned; crease to left of centre fold & also through right half of map; some light offsetting mostly to the blank area of the Black Sea; chipping.to lower edge of blank margin.
Zacherakis: 3121/2071 578 by 880mm (22¾ by 34¾ inches).    €850

The Twelve Tribes in the Holy Land .

Alexis Hubert Jaillot. Iudæa seu Terra Sancta, quæ Herbræorum. Sive Israelitarum Terra, in suas Duodecim Tribus Divisa. "Iudæa seu Terra Sancta, quæ Herbræorum. Sive Israelitarum Terra, in suas Duodecim Tribus Divisa.secretis ab invicem Iuda et Israel....." A Paris. "apud Herbertum Jaillot propemaiorum Conventum PP Augustinensiu, sub Signo duorum Globorù" 1696
Large double page copper engraved map of the Holy Land after " Guillielmi Sanson Nicolas Fily",from Jaillot's "Atlas Nouveau"1698.Original outline colour; verso blank; Old ink number to upper right corner.
The map is an enlargement of a previous map by Sanson's father, Nicolas Sanson (1600-67). The map shows the division of Biblical Israel among the Twelve Tribes and is based on information found in the Bible.
Large decorative title cartouche ornamented with images of Moses & Abraham ; scale adorned by Adam & Eve below the tree of Knowledge complete with serpent, surrounded by the animals and fruits of Eden. Good, dark impression; light toning; a couple of minor spots near scale.
575 by 846mm (22¾ by 33¼ inches).    €750

Cyprus & the Deserts of Egypt and Arabia.

Alexis Hubert Jaillot. The Deserts of Egypt , Arabia & Syria with Cyprus. " Les Deserts d'Egypt, de Thebiade d'Arabie et de Sirie &c...." A Paris. "Chez E Michalet" 1693
Large double page copper engraved map of Cyprus, Egypt and Syria from Jaillot's "Atlas Nouveau"1698. Original full colour; verso blank.
The map shows the Eastern Mediterranean, Cyprus as it lies off the coasts of Egypt, Arabia & Syria. The map is oriented North east with Cyprus at the top centre and the Red Sea also in the centre of the map
Decorative title cartouche and scale. Evenly toned; some minor spotting mainly to margins but also within the Red Sea; old ink number in top right corner of margin.
570 by 780mm (22½ by 30¾ inches).    €1200

Cyprus & the Deserts of Egypt and Arabia.

Alexis Hubert Jaillot. The Deserts of Egypt , Arabia & Syria with Cyprus. " Les Deserts d'Egypt, de Thebiade d'Arabie et de Sirie &c...." A Paris. "Chez E Michalet". 1693
Large double page copper engraved map of Cyprus, Egypt and Syria from Jaillot's "Atlas Nouveau"1698. Original old outline colour; verso blank.
The map shows the Eastern Mediterranean, Cyprus as it lies off the coasts of Egypt, Arabia & Syria. The map is oriented North east with Cyprus at the top centre and the Red Sea also in the centre of the map
Decorative title cartouche and scale. Evenly lightly toned; some minor spotting to margins; old ink number in top right corner of margin.
570 by 780mm (22½ by 30¾ inches).    €1000

Superb Large Map of the Peloponnesus.

Alexis Hubert Jaillot. The Peloponnessus with the Islands of Zakinthos, Kefalonia, Kythera and Levkada. " La Morée Et les Isles de Zante, Cefalonie, Ste. Maura, Cerigo &c..." A Paris. "Chez H Jaillot joignant les grandes Augustins, aux 2 globes" 1692
Large double page copper engraved map of of the Peloponnesus after Sanson, from Jaillot's "Atlas Nouveau"1698. Original full wash colour; verso blank.
The large impressive map extends from just north of the gulf of Corinth and includes the Ionian islands of Levkada, Kefalonia ,Zakinthos and Kythera; decorative title cartouche including a victory wreath of olive branches with the Lion of Venice triumphant above the crescent of the Ottomans. surrounded by 12 vignette plans of the ports and castles captured by the Venetians; Passava 1685, Chiefela 1685, Navarin 1686, Zarnata 1685. Mistra autrofois Sparte 1687, Patras 1687, Napoli de Romanie 1686, Malvasia 1687, Dardenelle de Lapante 1687, Calamata 1687 Coron 1685, Modon 1685.
Scale to lower right corner. Light toning and some slight off setting.
Mounted in line washed passpartout.
Zacherakis: 3163/2072; listed under Sanson, 565 by 850mm (22¼ by 33½ inches).    €1650

Dotted-flowered Geranium of South Africa.

Andrews, Henry C. Dotted-flowered Geranium. "Geranium punctatum." London: Printed by T. Bensley, and published by the author, No 5 Knightsbridge. 1797-1815
Original coloured engraving of the Dotted-flowered Geranium.from Henry Andrew's " The Botanist's Repository, for New, and Rare Plants" dated 1799.
The plate shows the geranium which is a native of South Africa. Printed in black and coloured by hand by Andrews; tiny spots to plate .
Haworth (ESTC). Dunthorne 8, Nissen 2382. 267 by 210mm (10½ by 8¼ inches).    €40