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Imprint: Amsterdam, 1662
Edition: First Edition
410 x 545 mm., early wash colour, some light toning in the margins due to previous framing, one small wormhole in upper margin, otherwise in good condition.
A classic double-hemisphere world map here in its FIRST EDITION published with Latin text in Joan Blaeu’s magnum opus, the ‘Atlas Major’. Joan Blaeu’s father Willem Blaeu first published the Mercator projection world map in 1606 and had been included in the Blaeu firm’s atlases from 1630. This newly engraved double-hemispheric map was produced for the ‘Atlas Major’, the monumental work is considered the greatest of all atlases. ‘The Great Atlas by the Blaeu’s is one of the monuments of map production, and for size and beauty and accuracy has never been surpassed’ (World Encompassed no. 149). ‘The contents of this unprecedented atlas illustrate the high standards of contemporary cartography and geographical knowledge, and its presentation bears witness to the superb craftsmanship of engraver, printer, binder, and papermaker’ (Koeman (1970) Joan Blaeu and his Grand Atlas, pp. 1-3).Cartographically it resembles his own large wall map of 1648 with new additions, specifically in the west coast of North America. California is still depicted as an outline but now with a flatter north coast known as the Briggs type. Similarly, a reference to Sir Francis Drake and Anian are also additions here. The map is surrounded by spandrel vignettes which incorporate allegorical images of the four seasons and celestial figures. The four seasonal characters are seen sitting in chariot’s, from left to right; spring, summer, autumn and winter. Each are drawn by various fauna. An image of Galileo Galilei sits over the western hemisphere whilst Tycho Brahe is to the right. Koeman (1967-70) Bl 56 no. 435; Van der Krogt (1997-2010) (Vol. II) 0001:2B; Shirley (1984) 428.
Stock number:9126.
$US 12950.00
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Imprint: Amsterdam, 1635-55
410 x 250 mm. Uncoloured, with some foxing, and browning. With publishers printed overlay on title and publishing details.
This ornate title page is from Joan Blaeu's 1642 German edition of the 'Novus Atlas'.
Stock number:2760.
£ 165.00 ( approx. $US 214.73 )
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Imprint: Amsterdam, 1645
390 x 510 mm., in early outline colour, the very ends of the centrefold top and bottom a little week, otherwise in good condition.
Joan Blaeu (1598-1673) is one of the most famous of the Dutch cartographers. The fourth volume of his 'Novus Atlas' focused on England and Wales. Blaeu established his firm in 1599 as instrument and globe makers. He went on to produce some of the highest quality atlases ever published. This map is one of the most desirable in the atlas covering the county of Oxfordshire. The Arms of Oxford's colleges are along the sides along with their dates of founding. An ornate title cartouche depicts two scholars. With a stylised view of Stonehenge on the verso. Rawnsley 10; Skelton 28; Van der Krogt, P. (Atlantes) 5265:2.
Stock number:6197.
£ 550.00 ( approx. $US 715.77 )
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Imprint: Amsterdam, 1645-[48]
390 x 510 mm., in early outline colour, in good condition.
Willem Blaeu established the firm in 1599 as instrument and globe makers. His first topographical atlas appeared in 1630 in one volume and was gradually expanded. By 1640 the 'Novus Atlas' by his Joan Blaeu (1598-1673) was in three volumes and contained just 4 British Isles maps. His chief rival, the Hondius-Jansson atlas contained 18 maps. Both joined a race to make their fourth volumes a complete atlas of the British Isles. Blaeu was first, publishing his magnificent work in 1645, one year before that of Jansson’s. The work of Blaeu set a standard of design, beauty and quality that arguably has never been surpassed. He went on to produce some of the highest quality atlases ever published. This map is one of the most desirable in the atlas covering the county of Oxfordshire. The Arms of Oxford's colleges are along the sides along with their dates of founding. An ornate title cartouche depicts two scholars. With a view of a stone circle on the verso in early wash colour. This is an early example from 1648 with German text. Koeman Bl47D; Skelton 28 & 44; Van der Krogt, P. (Atlantes) 5265:2.
Stock number:9008.
£ 575.00 ( approx. $US 748.30 )
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Imprint: Amsterdam, 1608
250 x 555 mm., small paper crease lower left of centre, two small marks in lower margin, otherwise a very good example.
Willem Jansz. Blaeu is one of the greatest Dutch cartographers of all time. It is little known that he began his atlas productions by publishing sea atlases. His first work was the 'Het Licht der Zee-Vaert' in 1608. “It is one of the most important Dutch pilot-guides rivalling and surpassing the ‘Thresoor der Zeevaaerdt’ of Lucas Waghenaer which was first published some sixteen years earlier and ceased with the issue of the ninth edition one year later in 1609” (Wardington). “In the history of early Dutch pilot guides Blaeu’s work takes a very prominent place" (Koeman). Blaeu was granted a privilege in ten years which expired in 1618. Two years later Jan Jansson published his own version in which the copper plates were engraved by Pieter van den Keere.This particular chart extends from the Scilly Islands along the north coasts of Cornwall, Devon and Somerset displaying both Bristol and Gloucester. It then extends westwards along the south coast of Wales and even shows the entrance to Waterford, Ireland. The map is orientated roughly north west at the top to line up the Cornish peninsula’s coastline across the bottom of the chart. The sea is decorated with a ship, compass rose and fish. The title in Dutch is repeated in French. Provenance: private English collection. Koeman IV pp. 27-34 M. Bl. 1, no. 18; Shirley (2004) refer M.Bla 1a; Skelton (1964b).
Stock number:7747.
£ 1325.00 ( approx. $US 1724.35 )
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Imprint: Amsterdam, 1645-[62]
410 x 535 mm., in SUPERB early outline colour with extensive additional gilt and silver decoration and blue wash to the sea, with large margins, minor paper crease otherwise in very good condition.
This map of Pembroke and Carmarthen is by Joan Blaeu (1598-1673), arguably the most famous of the Dutch cartographers. Here it is offered in EXTRA FINE COLOURING WITH EXTENSIVE USE OF GOLD. During the seventeenth century the Dutch held a dominant position in the production of high quality atlases. One of the more visual aspects of this was the reputation of its colourists. At its peak certain colourists began to produce work of an exceptional nature. Arguably the most famous of these was Dirk Jansz. Van Santen (1637/38-1708). Goedings made a study of his work in 1992. Although we are not stating that this is an example of his colouring many of his traits are repeated in this work. Goedings reports that “Fontaine Verwey is of the opinion that Van Santen coloured atlases in three different ways: colouring without gold; gold just for the legends, cartouches, coats of-arms and decorative motifs of a map; and gold on the maps themselves, for frontiers, cities, etc.”. About the only trait not found in this collection of maps is that of extending the foreground or background of the cartouches.The style of colouring is described by Goedings as “signified by rich and exotic colour combinations, added elements such as flowers to clothing, marbling to masonry”. He “applied transparent and opaque colours at the same time in both mixed and pure tints. He often painted the whole surface of the map or illustration, transforming the graphic light and dark contrasts into colour … He applied his characteristic shiny varnish, this had the effect of brightening the colour, frequently making use of the same colour progression … His use of colour was much freer than that of other colourists. The tone of the colours was made to complement the gold he used so lavishly. In his best work two other costly pigments, ultramarine and carmine are found in large amounts, mostly set against gold. Ultramarine and gold were a very popular colour combination in the seventeenth century … Moreover, he added elements to the design, such as patterns and flower motifs to the clothing of figures, veining of stones or map frontier lines … Van Santen applied transparent and opaque colours at the same time in both mixed and pure tints … Above all things Van Santen distinguished himself from his contemporaries in his lavish use of gold which he applied meticulously. On maps he applied gold not only to the decorative motifs, the legends, cartouches and coats-of-arms, but he also worked it decoratively into the map itself.”Goedings goes on to describe Van Santens use of 'shell gold'. “Gold leaf was available in small booklets of approximately 5 x 5 centimetres containing a number of very thin sheets of gold. A 17th century method of making shell gold from gold leaf was to grind it on a rubbing stone along with honey, water and salt and then to wash it in very clean water. The small amount of liquid gold was then placed in a shell and vinegar was added to it. The vinegar assured a good consistency … Needless to say, this high quality shell gold was very expensive and must have been paid for by the customers of large, prestigious projects, as in the case of Van der Hem. Seventeenth century instructions for applying gold to paper have been preserved and give an indication of the complexity of this treatment. In all likelihood, Van Santen had developed his own method for applying gold to paper … As far as one can tell with the naked eye, he first put on a yellow base before using a brush to apply the gold. Scientific tests might make it possible to determine more about Van Santen's characteristic use of material, particularly about his use of gold. This could make it easier to identify his work.” All of these traits can be seen on these particular examples, however we cannot say who the colourist is.Joan Blaeu's father Willem established his firm in 1599 as instrument and globe makers. He went on to produce some of the highest quality atlases ever published. This example is from the rare final Spanish text issue of the 'Atlas Major' whose production was interrupted by the great fire at the Blaeu publishing house in 1672. Booth (1977) pp. 44-8; Goedings, Truusje (1992) 'Master Colourist Dirk Jansz. Van Santen 1637/38-1708'; Koeman Bl 60A p. 281; Van der Krogt, P. (Atlantes) 5530:2; Skelton (1970) 28 & 73.
Stock number:8879.
£ 750.00 ( approx. $US 976.05 )
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Imprint: Amsterdam, 1645
410 x 530 mm., early outline colour in good condition.
Joan Blaeu (1598-1673) is one of the most famous of the Dutch cartographers. The fourth volume of his 'Novus Atlas' first published in 1645 focused on England and Wales. Blaeu established his firm in 1599 as instrument and globe makers. He went on to produce some of the highest quality atlases ever published. This very decorative map of Pembroke is from the French text edition of 1645, it was re-issued in 1646 and 1648 with the same text setting. Booth (1977) pp. 44-8; Koeman Bl 42A 341; Van der Krogt, P. (Atlantes) 5530:2; Skelton (1970) 28.
Stock number:9006.
£ 450.00 ( approx. $US 585.63 )
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Imprint: Amsterdam, 1645
410 x 530 mm., early outline colour with small paper repair in the sea repaired, otherwise a good example.
ex 'Novus Atlas'. Joan Blaeu (1598-1673) is one of the most famous of the Dutch cartographers. The fourth volume of his atlas focused on England and Wales. Blaeu established his firm in 1599 as instrument and globe makers. He went on to produce some of the highest quality atlases ever published. From the Dutch text edition of 1646 issued one year after initial publication. Skelton 28; Van der Krogt, P. (Atlantes) 5530:2.
Stock number:6202.
£ 425.00 ( approx. $US 553.09 )
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Imprint: Amsterdam, 1635-[50]
38 x 50 cms., early outline colour, a nice fresh example.
A beautiful map of Portugal and the Algarve. 'Cartografia Impressa dos Seculos XVI e XVII Imagens de Portugal ...' Exhibition Catalogue no. 29; 'Olhar o Mundo ler o Territorio' Exhibition Catalogue p. 98; Van der Krogt, P. (Atlantes) 6300:2.
Stock number:4136.
£ 595.00 ( approx. $US 774.33 )
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Imprint: Amsterdam, c.1650
440 x 550 mm., early outline colour with French text to the verso, light foxing and with narrow margins otherwise a good example.
Joan Blaeu (1598-1673) is one of the most famous of the Dutch cartographers. The fourth volume of his 'Novus Atlas' focused on England and Wales. Willem Blaeu established the firm in 1599 as instrument and globe makers. He went on to produce some of the highest quality atlases ever published. Several attempts had been made to drain the Fenns as this area was known without great success dating back to the Romans. The region contained busy trading ports and there was much opposition to any such work. The first map of the region was by William Hayward in 1604 which it appears was never engraved. The first printed map apparently derived from Hayward is that of Henricus Hondius published in Amsterdam, 1633, which was followed by a similar map by Joan Blaeu offered here. Draining the region would become the greatest engineering achievement of the seventeenth century. Skelton 28; Van der Krogt, P. (Atlantes) 5310:2.
Stock number:5574.
£ 195.00 ( approx. $US 253.77 )
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Imprint: Amsterdam, 1645-[62]
440 x 550 mm., in SUPERB early outline colour with extensive additional gilt and silver decoration and blue wash to the sea, with very large margins, reinforced lower right, otherwise in good condition.
This map of the Fenns is by Joan Blaeu (1598-1673), arguably the most famous of the Dutch cartographers. Here it is offered in EXTRA FINE COLOURING WITH EXTENSIVE USE OF GOLD. During the seventeenth century the Dutch held a dominant position in the production of high quality atlases. One of the more visual aspects of this was the reputation of its colourists. At its peak certain colourists began to produce work of an exceptional nature. Arguably the most famous of these was Dirk Jansz. Van Santen (1637/38-1708). Goedings made a study of his work in 1992. Although we are not stating that this is an example of his colouring many of his traits are repeated in this work. Goedings reports that “Fontaine Verwey is of the opinion that Van Santen coloured atlases in three different ways: colouring without gold; gold just for the legends, cartouches, coats of-arms and decorative motifs of a map; and gold on the maps themselves, for frontiers, cities, etc.”. About the only trait not found in this collection of maps is that of extending the foreground or background of the cartouches.The style of colouring is described by Goedings as “signified by rich and exotic colour combinations, added elements such as flowers to clothing, marbling to masonry”. He “applied transparent and opaque colours at the same time in both mixed and pure tints. He often painted the whole surface of the map or illustration, transforming the graphic light and dark contrasts into colour … He applied his characteristic shiny varnish, this had the effect of brightening the colour, frequently making use of the same colour progression … His use of colour was much freer than that of other colourists. The tone of the colours was made to complement the gold he used so lavishly. In his best work two other costly pigments, ultramarine and carmine are found in large amounts, mostly set against gold. Ultramarine and gold were a very popular colour combination in the seventeenth century … Moreover, he added elements to the design, such as patterns and flower motifs to the clothing of figures, veining of stones or map frontier lines … Van Santen applied transparent and opaque colours at the same time in both mixed and pure tints … Above all things Van Santen distinguished himself from his contemporaries in his lavish use of gold which he applied meticulously. On maps he applied gold not only to the decorative motifs, the legends, cartouches and coats-of-arms, but he also worked it decoratively into the map itself.”Goedings goes on to describe Van Santens use of 'shell gold'. “Gold leaf was available in small booklets of approximately 5 x 5 centimetres containing a number of very thin sheets of gold. A 17th century method of making shell gold from gold leaf was to grind it on a rubbing stone along with honey, water and salt and then to wash it in very clean water. The small amount of liquid gold was then placed in a shell and vinegar was added to it. The vinegar assured a good consistency … Needless to say, this high quality shell gold was very expensive and must have been paid for by the customers of large, prestigious projects, as in the case of Van der Hem. Seventeenth century instructions for applying gold to paper have been preserved and give an indication of the complexity of this treatment. In all likelihood, Van Santen had developed his own method for applying gold to paper … As far as one can tell with the naked eye, he first put on a yellow base before using a brush to apply the gold. Scientific tests might make it possible to determine more about Van Santen's characteristic use of material, particularly about his use of gold. This could make it easier to identify his work.” All of these traits can be seen on these particular examples, however we cannot say who the colourist is.Several attempts had been made to drain the Fenns as this area was known without great success dating back to the Romans. The region contained busy trading ports and there was much opposition to any such work. The first map of the region was by William Hayward in 1604 which it appears was never engraved. The first printed map apparently derived from Hayward is that of Henricus Hondius published in Amsterdam, 1633, which was followed by a similar map by Joan Blaeu offered here. Draining the region would become the greatest engineering achievement of the seventeenth century. Joan Blaeu's father Willem established his firm in 1599 as instrument and globe makers. He went on to produce some of the highest quality atlases ever published. This example is from the rare final Spanish text issue of the 'Atlas Major' whose production was interrupted by the great fire at the Blaeu publishing house in 1672. Goedings, Truusje (1992) 'Master Colourist Dirk Jansz. Van Santen 1637/38-1708'; Koeman Bl 60A p. 281; Van der Krogt, P. (Atlantes) 5310:2; Skelton (1970) 28 & 73.
Stock number:8864.
£ 550.00 ( approx. $US 715.77 )
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Imprint: Amsterdam, 1643
400 x 510 mm., in early outline colour with extreme upper corners with light reinforcement to verso, otherwise in good condition.
A detailed map of Upper Saxony including Halle, Leipzig, Meissen and Dresden. It also displays at the southern edge the city of Prague and much of Bohemia. The title runs in a long banner across the top. Willem Blaeu died in 1638 and this map is from a 1643 edition with French text published by his son Joan. Van der Krogt, P. (Atlantes) 2100:2.
Stock number:8018.
£ 150.00 ( approx. $US 195.21 )
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Imprint: Amsterdam, c.1650
420 x 510 mm., early outline colour with Latin text to the verso, light even toning and small foxmark left side otherwise in good condition.
Joan Blaeu (1598-1673) is one of the most famous of the Dutch cartographers. The fourth volume of his 'Novus Atlas' focused on England and Wales. Willem Blaeu established the firm in 1599 as instrument and globe makers. He went on to produce some of the highest quality atlases ever published. King 11; Skelton 28; Van der Krogt, P. (Atlantes) 5350:2.
Stock number:5719.
£ 375.00 ( approx. $US 488.02 )
Click for full size image.
Imprint: Amsterdam, 1645-[48]
420 x 510 mm., early outline colour with Latin text to the verso, light even toning and small foxmark left side otherwise in good condition.
Willem Blaeu established the firm in 1599 as instrument and globe makers. His first topographical atlas appeared in 1630 in one volume and was gradually expanded. By 1640 the 'Novus Atlas' by his Joan Blaeu (1598-1673) was in three volumes and contained just 4 British Isles maps. His chief rival, the Hondius-Jansson atlas contained 18 maps. Both joined a race to make their fourth volumes a complete atlas of the British Isles. Blaeu was first, publishing his magnificent work in 1645, one year before that of Jansson’s. The work of Blaeu set a standard of design, beauty and quality that arguably has never been surpassed. He went on to produce some of the highest quality atlases ever published. This map of Staffordshire bears attractive coats of arms and two ornate cartouches in the lower corners. This is an early example from 1648 with German text. Koeman Bl47D; King 11; Skelton 28 & 44; Van der Krogt, P. (Atlantes) 5350:2.
Stock number:9011.
£ 450.00 ( approx. $US 585.63 )
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Imprint: Amsterdam, c.1650
195 x 250 mm., on a sheet of text, in superb early wash colour, good condition.
A superb view of Stonehenge in beautiful early colour by Joan Blaeu (1598-1673) who is one of the most famous of the Dutch cartographers. From the fourth volume of his 'Novus Atlas' focused on England and Wales. Willem Blaeu established the firm in 1599 as instrument and globe makers. He went on to produce some of the highest quality atlases ever published. Skelton 28.
Stock number:5377.
£ 165.00 ( approx. $US 214.73 )
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Imprint: Amsterdam, 1645-[46]
38 x 50 cms., early outline colour
ex 'Novus Atlas'. Joan Blaeu (1598-1673) is one of the most famous of the Dutch cartographers. The fourth volume of his atlas focused on England and Wales. Blaeu established his firm in 1599 as instrument and globe makers. He went on to produce some of the highest quality atlases ever published. From the Dutch text edition of 1646 issued one year after initial publication. Skelton 28; Van der Krogt, P. (Atlantes) 5290:2.
Stock number:3424.
£ 575.00 ( approx. $US 748.30 )
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Imprint: Amsterdam, 1645-[62]
380 x 500 mm., in SUPERB early outline colour with extensive additional gilt and silver decoration and blue wash to the sea, with large margins, some gilt offset to the title otherwise in very good condition.
This map of the Suffolk is by Joan Blaeu (1598-1673), arguably the most famous of the Dutch cartographers. Here it is offered in EXTRA FINE COLOURING WITH EXTENSIVE USE OF GOLD. During the seventeenth century the Dutch held a dominant position in the production of high quality atlases. One of the more visual aspects of this was the reputation of its colourists. At its peak certain colourists began to produce work of an exceptional nature. Arguably the most famous of these was Dirk Jansz. Van Santen (1637/38-1708). Goedings made a study of his work in 1992. Although we are not stating that this is an example of his colouring many of his traits are repeated in this work. Goedings reports that “Fontaine Verwey is of the opinion that Van Santen coloured atlases in three different ways: colouring without gold; gold just for the legends, cartouches, coats of-arms and decorative motifs of a map; and gold on the maps themselves, for frontiers, cities, etc.”. About the only trait not found in this collection of maps is that of extending the foreground or background of the cartouches.The style of colouring is described by Goedings as “signified by rich and exotic colour combinations, added elements such as flowers to clothing, marbling to masonry”. He “applied transparent and opaque colours at the same time in both mixed and pure tints. He often painted the whole surface of the map or illustration, transforming the graphic light and dark contrasts into colour … He applied his characteristic shiny varnish, this had the effect of brightening the colour, frequently making use of the same colour progression … His use of colour was much freer than that of other colourists. The tone of the colours was made to complement the gold he used so lavishly. In his best work two other costly pigments, ultramarine and carmine are found in large amounts, mostly set against gold. Ultramarine and gold were a very popular colour combination in the seventeenth century … Moreover, he added elements to the design, such as patterns and flower motifs to the clothing of figures, veining of stones or map frontier lines … Van Santen applied transparent and opaque colours at the same time in both mixed and pure tints … Above all things Van Santen distinguished himself from his contemporaries in his lavish use of gold which he applied meticulously. On maps he applied gold not only to the decorative motifs, the legends, cartouches and coats-of-arms, but he also worked it decoratively into the map itself.”Goedings goes on to describe Van Santens use of 'shell gold'. “Gold leaf was available in small booklets of approximately 5 x 5 centimetres containing a number of very thin sheets of gold. A 17th century method of making shell gold from gold leaf was to grind it on a rubbing stone along with honey, water and salt and then to wash it in very clean water. The small amount of liquid gold was then placed in a shell and vinegar was added to it. The vinegar assured a good consistency … Needless to say, this high quality shell gold was very expensive and must have been paid for by the customers of large, prestigious projects, as in the case of Van der Hem. Seventeenth century instructions for applying gold to paper have been preserved and give an indication of the complexity of this treatment. In all likelihood, Van Santen had developed his own method for applying gold to paper … As far as one can tell with the naked eye, he first put on a yellow base before using a brush to apply the gold. Scientific tests might make it possible to determine more about Van Santen's characteristic use of material, particularly about his use of gold. This could make it easier to identify his work.” All of these traits can be seen on these particular examples, however we cannot say who the colourist is.Joan Blaeu's father Willem established his firm in 1599 as instrument and globe makers. He went on to produce some of the highest quality atlases ever published. This example is from the rare final Spanish text issue of the 'Atlas Major' whose production was interrupted by the great fire at the Blaeu publishing house in 1672. Across the top of the map are the arms of the nobles in the county. Goedings, Truusje (1992) 'Master Colourist Dirk Jansz. Van Santen 1637/38-1708'; Koeman Bl 60A p. 281; Van der Krogt, P. (Atlantes) 5290:2; Skelton (1970) 28 & 73.
Stock number:8867.
£ 950.00 ( approx. $US 1236.33 )
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Imprint: Amsterdam, 1640-50
405 x 250 mm. In early wash colour, very decorative, heightened in gold.
This ornate title page is from Joan Blaeu's 1650 Latin edition of the second volume of the 'Novus Atlas' and is heightened in gold.
Stock number:2787.
£ 300.00 ( approx. $US 390.42 )
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Imprint: Amsterdam, 1650
410 x 250 mm., in good condition with extended margin to the right margin.
This ornate title page is from the Latin edition of Joan Blaeu's 'Novus Atlas' second volume published in 1650.
Stock number:8725.
£ 150.00 ( approx. $US 195.21 )
Imprint: Amsterdam, 1648
415 x 240 mm., fine early wash colour heightened with extensive use of gold, light water stain upper right, small tear to lower margin, otherwise in good condition.
This ornate title page is from the Latin edition of Joan Blaeu's 'Novus Atlas', the fourth volume published in 1648 which covered England and Wales.
Stock number:9704.
£ 195.00 ( approx. $US 253.77 )
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