{"title":"Sale","description":"\u003cp\u003eReduced for a limited time — a selection drawn from across the collection: antique maps, natural history, master prints, and early scientific and astronomical engravings, each now offered below its usual price. Every piece is an original; most are one of a kind, so once sold they are gone.\u003c\/p\u003e","products":[{"product_id":"shaw-nodder-gangetic-dolphin-vellum-c1804","title":"Gangetic Dolphin (Narrow-Snouted Indian Dolphin) - Shaw \u0026 Nodder Velum (RPN) c 1804","description":"\u003ch3 data-end=\"302\" data-start=\"251\"\u003eGangetic Dolphin (\u003cem data-end=\"297\" data-start=\"275\"\u003eDelphinus gangeticus\u003c\/em\u003e)\u003c\/h3\u003e\n\u003cp data-end=\"489\" data-start=\"303\"\u003e\u003cem data-end=\"343\" data-start=\"303\"\u003eGeorge Shaw \u0026amp; Richard Polydore Nodder,\u003c\/em\u003e \u003cem data-end=\"373\" data-start=\"344\"\u003eThe Naturalist’s Miscellany\u003c\/em\u003e, London, c. 1804–1806 Hand-coloured copperplate engraving on rare Velum paper, with Latin and English text leaves\u003c\/p\u003e\n\u003cp data-end=\"1238\" data-start=\"491\"\u003eThis elegant late-Georgian depiction of the now-endangered Ganges River Dolphin (\u003cem data-end=\"596\" data-start=\"574\"\u003ePlatanista gangetica\u003c\/em\u003e) appeared in one of the most ambitious natural history serials of the Enlightenment.\u003c\/p\u003e\n\u003cp data-end=\"1238\" data-start=\"491\"\u003eIssued circa 1804–1806, the plate belongs to the later series engraved by Richard Polydore Nodder following the death of his father Frederick Polydore Nodder in 1800. Shaw’s accompanying description was among the first Western scientific accounts of an Indian freshwater cetacean, drawn from \u003cem data-end=\"1000\" data-start=\"980\"\u003eAsiatic Researches\u003c\/em\u003e, vol. 7 (1803). Nodder’s hand-coloured engraving captures the animal’s elongated beak and smooth bluish-grey skin with refined delicacy—hallmarks of the \u003cem data-end=\"1179\" data-start=\"1154\"\u003eNaturalist’s Miscellany\u003c\/em\u003e style prized by 18th- and 19th-century collectors alike.\u003c\/p\u003e\n\u003cp data-end=\"1238\" data-start=\"491\"\u003eA small aside, we have clipped the signature area bottom left of the dolphin leaf into a separate image, what it tells us is: \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“RPN — Del. Sculpt.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eWhat that means is that RPN was Richard Polydore Nodder, the son of Frederick Polydore Nodder. The father was the originator of the Naturalist’s Miscellany. \u003c\/p\u003e\n\u003cp\u003eDel. Sculpt. are the Latin abbreviations for delineavit ( to draw \/ drew) and sculpsit (engraved). So our signature can be seen as:\u003c\/p\u003e\n\u003cp\u003e“Drawn and engraved by Richard Polydore Nodder.” This is quite interesting, because most early Naturalist’s Miscellany plates were engraved by Frederick the father, but after his death in 1800, his son Richard continued the work usually signing with these initials.\u003c\/p\u003e\n\u003cp data-end=\"1535\" data-start=\"1240\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-end=\"1535\" data-start=\"1240\"\u003eFine, with strong plate mark and original hand-colour.\u003cbr data-end=\"1312\" data-start=\"1309\"\u003eThe two accompanying text leaves are clean, bright, and evenly toned on laid paper, showing deckled edges and binding pinholes along the inner margins—evidence of careful removal from the original stitched volume.\u003c\/p\u003e\n\u003cul data-end=\"1773\" data-start=\"1537\"\u003e\n\u003cli data-end=\"1654\" data-start=\"1537\"\u003e\n\u003cp data-end=\"1654\" data-start=\"1539\"\u003eLatin leaf: Minimal age toning; excellent legibility; no foxing or tears; slight binding offset along gutter.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"1773\" data-start=\"1655\"\u003e\n\u003cp data-end=\"1773\" data-start=\"1657\"\u003eEnglish leaf: Crisp impression and strong ink density; one tiny nibble to the outer edge from page separation.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-end=\"1924\" data-start=\"1775\"\u003eOverall grade: \u003cem data-end=\"1826\" data-start=\"1794\"\u003eFine to Near Fine (8.5–9 \/ 10)\u003c\/em\u003e — archival-quality and highly desirable as a complete triad (plate + Latin + English text).\u003c\/p\u003e\n\u003cp data-end=\"2502\" data-start=\"1926\"\u003e\u003cstrong\u003eRarity:\u003c\/strong\u003e\u003cbr data-end=\"1948\" data-start=\"1945\"\u003eLater-series \u003cem data-end=\"1986\" data-start=\"1961\"\u003eNaturalist’s Miscellany\u003c\/em\u003e plates (engraved by R. P. Nodder) were printed in very limited numbers—probably 200–250 copies—as subscription interest declined after 1800. Fewer than 100 complete examples of the \u003cem data-end=\"2194\" data-start=\"2176\"\u003eGangetic Dolphin\u003c\/em\u003e are believed to survive today, most lacking one or both text pages. This intact set, finely coloured and well preserved, represents one of the earliest scientific portrayals of an Asian river dolphin. Rising demand for early zoological works depicting endangered species continues to strengthen its value.\u003c\/p\u003e\n\u003cp data-end=\"2707\" data-start=\"2634\"\u003e\u003cstrong data-end=\"2643\" data-start=\"2634\"\u003eSize:\u003c\/strong\u003e 13.97 × 22.23 cm (image and text leaves close to A5 format).\u003c\/p\u003e\n\u003cp data-end=\"2910\" data-start=\"2709\"\u003e\u003cstrong data-end=\"2718\" data-start=\"2709\"\u003eNote:\u003c\/strong\u003e The species illustrated is today classified as \u003cem data-end=\"2789\" data-start=\"2767\"\u003ePlatanista gangetica\u003c\/em\u003e, one of the world’s few surviving freshwater dolphins—now \u003cstrong data-end=\"2873\" data-start=\"2848\"\u003ecritically endangered\u003c\/strong\u003e in its native Indian subcontinent.\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56331463393663,"sku":"LR-SN-DOLPHIN-1804","price":375.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/gangetic-dolphin-narrow-snouted-indian-dolphin-shaw-nodder-rpn-c-1804-8901236.jpg?v=1763486403"},{"product_id":"moscovia-ruscelli-map-of-russia-1561","title":"MOSCOVIA by Ruscelli  — V Rare Map of Russia - c1561","description":"\u003cp\u003eGirolamo Ruscelli after Giacomo Gastaldi, \u003cem data-end=\"438\" data-start=\"392\"\u003eLa Geografia di Claudio Tolomeo Alessandrino\u003c\/em\u003e, Venice, 1561–1599\u003c\/p\u003e\n\u003cp data-end=\"879\" data-start=\"508\"\u003eThis extremely rare and special map \u003cem data-end=\"544\" data-start=\"519\"\u003e“Moscovia Nuova Tavola”\u003c\/em\u003e is among the earliest modern printed maps of Muscovy (Russia), adapted by Girolamo Ruscelli from the influential 1550 map of Giacomo Gastaldi, the official cosmographer to the Venetian Republic. It first appeared in Ruscelli’s 1561 edition of \u003cem data-end=\"820\" data-start=\"798\"\u003ePtolemy’s Geographia\u003c\/em\u003e published by Valgrisi, and later in reissues through 1599.\u003c\/p\u003e\n\u003cp data-end=\"1409\" data-start=\"881\"\u003eThe plate portrays European Russia and western Siberia, stretching from Scandinavia and the Baltic in the west to the Ural region and Central Asia in the east. Rivers such as the Volga and the Don are carefully rendered, and numerous ethnographic groups are named — \u003cem data-end=\"1204\" data-start=\"1151\"\u003eTartaria, Nogai Tartari, Circassia, Alania, Zagatay\u003c\/em\u003e — reflecting the fragmented understanding of the Russian steppe world by Italian cosmographers. Mountain ranges are stylized in the typical Ptolemaic fashion, with wave-like hatching and tiny fort cities.\u003c\/p\u003e\n\u003cp data-end=\"1700\" data-start=\"1411\"\u003eThe verso text (“Moscovia Secunda Tavola Nuova D’Asia”) explains to Italian readers that Muscovy, though often considered part of Europe, was classified here under Asia — a reflection of mid-sixteenth-century geographical conventions when Russia’s imperial borders were expanding eastward.\u003c\/p\u003e\n\u003cp data-end=\"1700\" data-start=\"1411\"\u003eWhy this map is SUPER RARE and interesting: \u003c\/p\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] thread-sm:[--thread-content-margin:--spacing(6)] thread-lg:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] thread-lg:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-model-slug=\"gpt-5\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" dir=\"auto\" data-message-id=\"fd200758-6dda-4c28-8650-f65bc579c322\" data-message-author-role=\"assistant\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full break-words light markdown-new-styling\"\u003e\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"1302\" data-start=\"0\"\u003eThe \u003cem data-end=\"27\" data-start=\"4\"\u003eMoscovia Nuova Tavola\u003c\/em\u003e is packed with place-names that reveal how Renaissance Europe imagined Russia and Central Asia at the dawn of empire. Many of these names have vanished from modern maps, their echoes surviving only in chronicles or regional memory. The broad label Tartaria stretches across the steppe, encompassing the nomadic Nogai Tartars and the distant realm of Zagatay, recalling the Mongol khanates that once ruled the region. To the south appear Alania and Circassia, ancient Caucasian kingdoms later absorbed or destroyed, while Permia marks one of the earliest printed references to the Urals. Along the Volga—here called the Edil—stand the new conquests of Ivan the Terrible: Cazan and Astracan, signalling Muscovy’s advance toward the Caspian Sea. Classical survivals like Sarmatia, Scythia, and the Monti Riphei show the map’s fusion of myth and observation, blending ancient texts with ambassadorial reports. Even Natolia, misplaced north of the Black Sea, reflects Venetian uncertainty about Asia’s limits. Together these hybrid names chart not only territory but perception: a sixteenth-century world where legend, commerce, and empire intertwined, and where cartography was still an act of imagination as much as of geography.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch4 data-end=\"1725\" data-start=\"1702\"\u003eScholarly Note\u003c\/h4\u003e\n\u003cp data-end=\"2232\" data-start=\"1726\"\u003eRuscelli’s \u003cem data-end=\"1747\" data-start=\"1737\"\u003eMoscovia\u003c\/em\u003e is not merely a geographic document but a cultural artifact of Venetian intelligence on Eastern Europe at a moment when trade routes to Persia and Cathay were being reconsidered after the fall of Constantinople. It helped Western scholars visualize a region known largely through the reports of ambassadors and travelers such as Baron Sigismund von Herberstein. \u003c\/p\u003e\n\u003cp data-end=\"2232\" data-start=\"1726\"\u003eSize:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-end=\"615\" data-start=\"530\"\u003e\n\u003cp data-end=\"615\" data-start=\"532\"\u003eEngraved image (within plate mark): 18.5 × 25.0 cm (7.3 × 9.8 in)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"694\" data-start=\"616\"\u003e\n\u003cp data-end=\"694\" data-start=\"618\"\u003eFull sheet (with text verso): 25.0 × 35.0 cm (9.8 × 13.8 in)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-end=\"2232\" data-start=\"1726\"\u003eVerso text translation:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 12.0pt; line-height: 115%; font-family: 'Times New Roman',serif;\"\u003eMoscovia (Russia) — Second map of Asia – 1561\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cspan style=\"font-size: 12.0pt; line-height: 115%; font-family: 'Times New Roman',serif;\"\u003eEnglish translation of Map Verso:\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 12.0pt; line-height: 115%; font-family: 'Times New Roman',serif;\"\u003e\u003cstrong\u003e--- \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-end=\"203\" data-start=\"161\"\u003e\u003cstrong data-end=\"173\" data-start=\"161\"\u003eMOSCOVIA\u003c\/strong\u003e\u003cbr data-end=\"176\" data-start=\"173\"\u003e\u003cem data-end=\"203\" data-start=\"176\"\u003eSecond new table of Asia.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-end=\"712\" data-start=\"205\"\u003eMoscovia, which is contained in this table, is a very great country, so called from the river Moscò, governed by its own lord, very powerful, and Christian, who follows in religion and customs the Greek Church. It has many large plains and good parts of Tartary; it is a flat country, with many forests, marshes, and rivers. It is extremely cold and frozen, in such a way that no other kind of trees or fruits grow there, except the cherry tree, although some affirm that there is also corn in the fields.\u003c\/p\u003e\n\u003cp data-end=\"1125\" data-start=\"714\"\u003eIn these parts flows the river Alce, which they commonly call the great bog. The people feed themselves with flesh of deer and of fish, and they make a kind of drink out of milk; they go on foot, on horseback, or by sleigh, and they also travel with carts drawn by dogs, which they call \u003cem data-end=\"1010\" data-start=\"1001\"\u003egranchi\u003c\/em\u003e (crabs). They say they have mines of silver, and they trade much with the princes and other neighboring regions.\u003c\/p\u003e\n\u003cp data-end=\"1331\" data-start=\"1127\"\u003eThey say also that the people are very skilled in divination, and that many among them have communication with evil spirits; and it is said that in former times the heresy that ended in Moscow began here.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 12.0pt; line-height: 115%; font-family: 'Times New Roman',serif;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 12.0pt; line-height: 115%; font-family: 'Times New Roman',serif;\"\u003e---\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"175\" data-end=\"1008\"\u003eThis Renaissance description of \u003cem data-start=\"207\" data-end=\"217\"\u003eMoscovia\u003c\/em\u003e reflects how 16th-century Italian geographers viewed Russia as a liminal space between Christendom and the mysterious, half-pagan East. Drawn from Venetian editions of Ptolemy’s \u003cem data-start=\"396\" data-end=\"408\"\u003eGeographia\u003c\/em\u003e, it fuses factual observation vast forests, frozen plains, deer and fish diets with moralized rumor. The final paragraph, describing “communication with evil spirits” and an ancient “heresy that ended in Moscow,” reveals Western Europe’s anxiety toward Orthodox Christianity, then considered schismatic and culturally alien. Such texts combined theology and ethnography, portraying Muscovy as both a frontier of faith and a land of superstition. For collectors, this passage epitomizes early modern Europe’s blend of geographic discovery, religious polemic, and fascination with the unknown North.\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56331463459199,"sku":"LR-RUS-MOSCOVIA-1561","price":1200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/moscovia-by-ruscelli-v-rare-map-of-russia-c1561-6415472.jpg?v=1763486408"},{"product_id":"matthioli-s-marine-zoology-set-lyon-1572","title":"Matthioli’s Marine Zoology Set 10-Page Suite (Lyon, 1572)","description":"\u003cp data-end=\"680\" data-start=\"444\"\u003e\u003cstrong data-end=\"540\" data-start=\"444\"\u003eFrom Pietro Andrea Matthioli, \u003cem data-end=\"505\" data-start=\"476\"\u003eCommentaires sur Dioscoride\u003c\/em\u003e, Lyon: Balthazar Arnoullet, 1572\u003c\/strong\u003e\u003cbr data-end=\"543\" data-start=\"540\"\u003e\u003c\/p\u003e\n\u003cp data-end=\"680\" data-start=\"444\"\u003eHand-coloured woodcuts on laid paper, folio (each leaf c. 32 × 22 cm)\u003cbr data-end=\"615\" data-start=\"612\"\u003ePrinted in French, with typographic initials and running heads.\u003c\/p\u003e\n\u003cp data-end=\"1176\" data-start=\"707\"\u003eThis superb suite of ten original sixteenth-century pages presents one of the earliest printed surveys of \u003cem data-end=\"850\" data-start=\"813\"\u003emarine life ever produced in Europe\u003c\/em\u003e. Drawn from Matthioli’s celebrated French-language commentary on Dioscorides (1572 Lyon edition), the set illustrates a vivid array of sea creatures—from electric rays and crabs to squid, lobsters, sea hares, and mythic serpents—each accompanied by Renaissance-era text linking classical science, observation, and medicine.- In our attached image gallery we have the ten original documents followed by translations from old Italian directly into English to preserve the intention of the wording, also we then capture in detail some of the amazing imagery by clipping and zooming in on these wonderful marine animals. \u003c\/p\u003e\n\u003cp data-end=\"1546\" data-start=\"1178\"\u003ePrinted more than four centuries ago, these woodcuts capture the moment when natural history was shifting from inherited legend to direct study of nature. Matthioli’s engravers worked from the anatomical treatises of Aristotle, Pliny, and the Mediterranean zoologist Guillaume Rondelet, giving the modern viewer a rare window into the birth of scientific illustration.\u003c\/p\u003e\n\u003ch3 data-end=\"1583\" data-start=\"1553\"\u003e\u003cstrong data-end=\"1583\" data-start=\"1560\"\u003eContents of the Set\u003c\/strong\u003e\u003c\/h3\u003e\n\u003col data-end=\"3543\" data-start=\"1584\"\u003e\n\u003cli data-end=\"1811\" data-start=\"1584\"\u003e\n\u003cp data-end=\"1811\" data-start=\"1587\"\u003e\u003cstrong data-end=\"1624\" data-start=\"1587\"\u003eDe la Torpille — The Electric Ray\u003c\/strong\u003e\u003cbr data-end=\"1627\" data-start=\"1624\"\u003eAn early description of the \u003cem data-end=\"1667\" data-start=\"1658\"\u003eTorpedo\u003c\/em\u003e fish, noted for its power to numb the limbs and used in classical medicine to treat pain—one of the first references to bio-electric therapy.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"2037\" data-start=\"1813\"\u003e\n\u003cp data-end=\"2037\" data-start=\"1816\"\u003e\u003cstrong data-end=\"1876\" data-start=\"1816\"\u003eLa Tareronde \u0026amp; De la Seche — The Stingray and Cuttlefish\u003c\/strong\u003e\u003cbr data-end=\"1879\" data-start=\"1876\"\u003eFinely inked dual plate linking the venomous ray to remedies for toothache and digestion; among the earliest identifiable European cuttlefish depictions.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"2222\" data-start=\"2039\"\u003e\n\u003cp data-end=\"2222\" data-start=\"2042\"\u003e\u003cstrong data-end=\"2094\" data-start=\"2042\"\u003eLieure Marin — The Sea Hare (\u003cem data-end=\"2091\" data-start=\"2073\"\u003eAplysia depilans\u003c\/em\u003e)\u003c\/strong\u003e\u003cbr data-end=\"2097\" data-start=\"2094\"\u003eBelieved to cause madness and hair loss if handled—an enduring Renaissance curiosity combining zoology and superstition.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"2401\" data-start=\"2224\"\u003e\n\u003cp data-end=\"2401\" data-start=\"2227\"\u003e\u003cstrong data-end=\"2272\" data-start=\"2227\"\u003eOngle Aromatic — Aromatic Shells of India\u003c\/strong\u003e\u003cbr data-end=\"2275\" data-start=\"2272\"\u003eBasket of shells rendered in delicate hand-tinting; discusses their use in perfumes and ancient Babylonian incense trade.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"2582\" data-start=\"2403\"\u003e\n\u003cp data-end=\"2582\" data-start=\"2406\"\u003e\u003cstrong data-end=\"2454\" data-start=\"2406\"\u003eDes Cancrès — Remedies from Crabs and Snails\u003c\/strong\u003e\u003cbr data-end=\"2457\" data-start=\"2454\"\u003eText page linking marine crustaceans to healing balms and ointments; testimony to early pharmacological experimentation.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"2779\" data-start=\"2584\"\u003e\n\u003cp data-end=\"2779\" data-start=\"2587\"\u003e\u003cstrong data-end=\"2661\" data-start=\"2587\"\u003eCancre de Fleuve, Cancre de Mer, Astace — River and Sea Crabs, Lobster\u003c\/strong\u003e\u003cbr data-end=\"2664\" data-start=\"2661\"\u003eA magnificent trio of crustaceans shown in precise detail, representing both freshwater and saltwater species.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"2941\" data-start=\"2781\"\u003e\n\u003cp data-end=\"2941\" data-start=\"2784\"\u003e\u003cstrong data-end=\"2831\" data-start=\"2784\"\u003eMaia \u0026amp; Pagvre — Spider Crab and Common Crab\u003c\/strong\u003e\u003cbr data-end=\"2834\" data-start=\"2831\"\u003eDemonstrates comparative morphology; annotated with Greek, Latin, and Venetian names for each species.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"3133\" data-start=\"2943\"\u003e\n\u003cp data-end=\"3133\" data-start=\"2946\"\u003e\u003cstrong data-end=\"3008\" data-start=\"2946\"\u003eCancellés \u0026amp; Scorpion de Terre — Hermit Crabs and Scorpions\u003c\/strong\u003e\u003cbr data-end=\"3011\" data-start=\"3008\"\u003eIllustrates nature’s hybrids—creatures inhabiting borrowed shells and terrestrial arachnids once believed marine kin.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"3321\" data-start=\"3135\"\u003e\n\u003cp data-end=\"3321\" data-start=\"3138\"\u003e\u003cstrong data-end=\"3190\" data-start=\"3138\"\u003eEscrevisse \u0026amp; Squille — Lobster and Mantis Shrimp\u003c\/strong\u003e\u003cbr data-end=\"3193\" data-start=\"3190\"\u003eGraceful double engraving; the \u003cem data-end=\"3243\" data-start=\"3227\"\u003eSquilla mantis\u003c\/em\u003e was a Mediterranean delicacy and an anatomical puzzle to early naturalists.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"3543\" data-start=\"3323\"\u003e\n\u003cp data-end=\"3543\" data-start=\"3327\"\u003e\u003cstrong data-end=\"3393\" data-start=\"3327\"\u003eScolopendre \u0026amp; Serpent Marin — Sea Centipede and Marine Serpent\u003c\/strong\u003e\u003cbr data-end=\"3396\" data-start=\"3393\"\u003eTransitional creatures between invertebrates and reptiles, emblematic of the period’s fascination with the boundary between science and myth.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3 data-end=\"3579\" data-start=\"3550\"\u003e\u003cstrong data-end=\"3579\" data-start=\"3557\"\u003eHistorical Context\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-end=\"4088\" data-start=\"3580\"\u003ePietro Andrea Matthioli (1501 – 1577) was physician to Emperor Maximilian II and one of the most influential herbalists of the sixteenth century. His \u003cem data-end=\"3758\" data-start=\"3730\"\u003eCommentarii in Dioscoridem\u003c\/em\u003e expanded the classical Greek pharmacopoeia into a Renaissance natural encyclopedia, incorporating new discoveries from the Mediterranean and New World. The Lyon edition of 1572, printed by Balthazar Arnoullet, is prized for its refined French translation and beautifully inked woodcuts, some hand-coloured shortly after printing.\u003c\/p\u003e\n\u003ch3 data-end=\"4140\" data-start=\"4095\"\u003e\u003cstrong data-end=\"4140\" data-start=\"4102\"\u003eArtistic \u0026amp; Scientific Significance\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cul data-end=\"4480\" data-start=\"4141\"\u003e\n\u003cli data-end=\"4219\" data-start=\"4141\"\u003e\n\u003cp data-end=\"4219\" data-start=\"4143\"\u003eAmong the first French-language natural-history engravings of marine fauna\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"4288\" data-start=\"4220\"\u003e\n\u003cp data-end=\"4288\" data-start=\"4222\"\u003eIllustrates early empirical study before Linnaean classification\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"4371\" data-start=\"4289\"\u003e\n\u003cp data-end=\"4371\" data-start=\"4291\"\u003eDemonstrates the fusion of art, medicine, and mythology in Renaissance thought\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"4480\" data-start=\"4372\"\u003e\n\u003cp data-end=\"4480\" data-start=\"4374\"\u003eEach plate individually suitable for museum-grade framing; together, they form a coherent thematic suite\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"4480\" data-start=\"4372\"\u003eComplete thematic runs of \u003cem data-end=\"4864\" data-start=\"4837\"\u003eMatthioli’s marine plates\u003c\/em\u003e are exceptionally scarce.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 data-end=\"4517\" data-start=\"4487\"\u003e\u003cstrong data-end=\"4517\" data-start=\"4495\"\u003ePhysical Condition\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-end=\"4769\" data-start=\"4518\"\u003eOriginal leaves on laid paper with wide margins, light toning, and minor foxing consistent with age. Some plates retain original 16th-century tinting in soft sepia and ochre. Clean impressions with excellent press texture.\u003c\/p\u003e\n\u003cp data-end=\"4769\" data-start=\"4518\"\u003e \u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56340132659583,"sku":"LR-MAT-MARINE-1572-SET10","price":3450.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/matthiolis-marine-zoology-set-10-page-suite-lyon-1572-8176357.jpg?v=1763486424"},{"product_id":"ulysses-aldrovandi-s-serpentum-et-draconum-historiae-bologna-1640","title":"Ulysses Aldrovandi’s Serpentum et Draconum Historiae (Bologna, 1640)","description":"\u003cp data-start=\"486\" data-end=\"640\"\u003eUlysses Aldrovandi’s \u003cem data-start=\"512\" data-end=\"545\"\u003eSerpentum et Draconum Historiae\u003c\/em\u003e (Bologna, 1640)\u003cbr data-start=\"563\" data-end=\"566\"\u003eOriginal 10 page \/ 5 leaf Folio Engraving set | First Edition | Renaissance Natural History\u003c\/p\u003e\n\u003cul data-start=\"642\" data-end=\"1082\"\u003e\n\u003cli data-start=\"642\" data-end=\"688\"\u003e\n\u003cp data-start=\"644\" data-end=\"688\"\u003e\u003cstrong data-start=\"644\" data-end=\"655\"\u003eAuthor:\u003c\/strong\u003e Ulysses Aldrovandi (1522–1605)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"689\" data-end=\"737\"\u003e\n\u003cp data-start=\"691\" data-end=\"737\"\u003e\u003cstrong data-start=\"691\" data-end=\"707\"\u003eIllustrator:\u003c\/strong\u003e Jacopo Ligozzi (attributed)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"738\" data-end=\"788\"\u003e\n\u003cp data-start=\"740\" data-end=\"788\"\u003e\u003cstrong data-start=\"740\" data-end=\"754\"\u003ePublished:\u003c\/strong\u003e Bologna, Clemente Ferroni, 1640\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"789\" data-end=\"869\"\u003e\n\u003cp data-start=\"791\" data-end=\"869\"\u003e\u003cstrong data-start=\"791\" data-end=\"800\"\u003eFrom:\u003c\/strong\u003e \u003cem data-start=\"801\" data-end=\"814\"\u003eOpera Omnia\u003c\/em\u003e, Vol. X: \u003cem data-start=\"824\" data-end=\"867\"\u003eSerpentum et Draconum Historiae Libri Duo\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"870\" data-end=\"925\"\u003e\n\u003cp data-start=\"872\" data-end=\"925\"\u003e\u003cstrong data-start=\"872\" data-end=\"883\"\u003eMedium:\u003c\/strong\u003e Original 17th-century woodcut engraving\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"926\" data-end=\"971\"\u003e\n\u003cp data-start=\"928\" data-end=\"971\"\u003e\u003cstrong data-start=\"928\" data-end=\"937\"\u003eSize:\u003c\/strong\u003e Approx. 24 × 36 cm (9.5\" × 14\")\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"972\" data-end=\"1013\"\u003e\n\u003cp data-start=\"974\" data-end=\"1013\"\u003e\u003cstrong data-start=\"974\" data-end=\"988\"\u003eCondition:\u003c\/strong\u003e Very good to excellent\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1014\" data-end=\"1082\"\u003e\n\u003cp data-start=\"1016\" data-end=\"1082\"\u003e\u003cstrong data-start=\"1016\" data-end=\"1031\"\u003eProvenance:\u003c\/strong\u003e Eduardo Obejero Urquiza (lithographed bookplate)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 data-start=\"1089\" data-end=\"1104\"\u003eOverview\u003c\/h3\u003e\n\u003cp data-start=\"1106\" data-end=\"1292\"\u003eThese powerful large engravings hail from Aldrovandi’s seminal natural history compendium on serpents and dragons are a remarkable fusion of early science, mythology, and Renaissance scholarship.\u003c\/p\u003e\n\u003cp data-start=\"1294\" data-end=\"1632\"\u003e\u003cem data-start=\"1294\" data-end=\"1327\"\u003eSerpentum et Draconum Historiae\u003c\/em\u003e was published posthumously in 1640 as part of the \u003cem data-start=\"1378\" data-end=\"1391\"\u003eOpera Omnia\u003c\/em\u003e, and stands as one of the earliest attempts to visually and taxonomically document serpents. The plates range from accurate depictions of real snakes to fantastical beasts including horned dragons and chimeric reptiles rooted in folklore. We give you some nice translations of the plates below and if you go ahead and purchase, we will include the high resolution prints of all the translations to be included in your records. \u003c\/p\u003e\n\u003cp data-start=\"1294\" data-end=\"1632\"\u003eIf I happened to own a University library or a grimy dark tattoo store they would be going up on my wall. \u003c\/p\u003e\n\u003ch3 data-start=\"1639\" data-end=\"1664\"\u003eScholarly Interest\u003c\/h3\u003e\n\u003cp data-start=\"1666\" data-end=\"2031\"\u003eOne verso page translates and discusses ancient Greek, Latin, and vernacular names for snakes, including \u003cem data-start=\"1771\" data-end=\"1780\"\u003ePharias\u003c\/em\u003e, \u003cem data-start=\"1782\" data-end=\"1791\"\u003eParaias\u003c\/em\u003e, \u003cem data-start=\"1793\" data-end=\"1803\"\u003eDorcitus\u003c\/em\u003e, and others, an early example of zoological philology and the changes of names over time. These are very old documents. Aldrovandi cross-references Pliny, Galen, Dioscorides, and Lucan, preserving a linguistic fossil record of how humanity has perceived these creatures across millennia.\u003c\/p\u003e\n\u003cp data-start=\"2033\" data-end=\"2172\"\u003eThis encyclopedic method — weaving literature, science, and mythology — makes each engraving not just an artwork, but a scholarly artefact.\u003c\/p\u003e\n\u003ch3 data-start=\"129\" data-end=\"204\"\u003eOriginal Latin (from p. 269, \u003cem data-start=\"167\" data-end=\"200\"\u003eSerpentum et Draconum Historiae\u003c\/em\u003e):\u003c\/h3\u003e\n\u003cblockquote data-start=\"206\" data-end=\"459\"\u003e\n\u003cp data-start=\"208\" data-end=\"459\"\u003e\u003cem data-start=\"208\" data-end=\"459\"\u003e\"Pharias serpens genas habet pulchras, ut Varinus scribit, diphthongo in penultima, scribitur olim Pharias, interdum Pharias sine diphthongo: accedunt Dorcitus et Paraia, eadem ut putant, ex graeco παραίας, quod rufescens aut subruber significat...\"\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp data-start=\"526\" data-end=\"695\"\u003eThis deceptively short passage is a masterclass in Aldrovandi's interdisciplinary method: linguistics, zoology, and philology blended into early scientific taxonomy.\u003c\/p\u003e\n\u003col data-start=\"697\" data-end=\"2111\"\u003e\n\u003cli data-start=\"697\" data-end=\"997\"\u003e\n\u003cp data-start=\"700\" data-end=\"997\"\u003eThe Greek Origin:\u003cbr data-start=\"721\" data-end=\"724\"\u003eAldrovandi traces the name \u003cem data-start=\"754\" data-end=\"763\"\u003ePharias\u003c\/em\u003e back to the Greek \u003cem data-start=\"782\" data-end=\"791\"\u003eπαραίας\u003c\/em\u003e, meaning “reddish” or “rust-colored.” This isn’t just linguistic trivia — it suggests that ancient observers were already classifying snakes by physical traits like color, centuries before formal taxonomy.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"999\" data-end=\"1393\"\u003e\n\u003cp data-start=\"1002\" data-end=\"1393\"\u003eVariant Names Across Cultures:\u003cbr data-start=\"1036\" data-end=\"1039\"\u003eHe catalogs a litany of alternative names: \u003cem data-start=\"1085\" data-end=\"1094\"\u003ePharias\u003c\/em\u003e, \u003cem data-start=\"1096\" data-end=\"1105\"\u003eParaias\u003c\/em\u003e, \u003cem data-start=\"1107\" data-end=\"1117\"\u003eDorcitus\u003c\/em\u003e, \u003cem data-start=\"1119\" data-end=\"1128\"\u003ePagetus\u003c\/em\u003e, \u003cem data-start=\"1130\" data-end=\"1137\"\u003ePeras\u003c\/em\u003e even regional dialect names like \u003cem data-start=\"1173\" data-end=\"1185\"\u003eBissa bona\u003c\/em\u003e (Italian) and \u003cem data-start=\"1200\" data-end=\"1216\"\u003eBaggen schlang\u003c\/em\u003e (German). This shows how the same species (or perceived species) was understood differently across Europe, with local names reflecting folklore, appearance, or temperament.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1395\" data-end=\"1794\"\u003e\n\u003cp data-start=\"1398\" data-end=\"1455\"\u003eWhy It Matters:\u003cbr data-start=\"1417\" data-end=\"1420\"\u003eIn referencing this, Aldrovandi:\u003c\/p\u003e\n\u003cul data-start=\"1459\" data-end=\"1794\"\u003e\n\u003cli data-start=\"1459\" data-end=\"1556\"\u003e\n\u003cp data-start=\"1461\" data-end=\"1556\"\u003eDemonstrates scholarly depth: he’s read classical sources like Lucan and Greek naturalists.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1560\" data-end=\"1641\"\u003e\n\u003cp data-start=\"1562\" data-end=\"1641\"\u003eAsserts credibility: he isn’t inventing names; he’s tracing their heritage.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1645\" data-end=\"1794\"\u003e\n\u003cp data-start=\"1647\" data-end=\"1794\"\u003eReveals the pre-modern challenge of classification: without Linnaean binomials, naming was messy — and filled with memory, myth, and geography.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1796\" data-end=\"2111\"\u003e\n\u003cp data-start=\"1799\" data-end=\"2111\"\u003eIntellectual Context:\u003cbr data-start=\"1824\" data-end=\"1827\"\u003eThis method reflects the Renaissance drive to reconcile ancient knowledge with contemporary observation. It’s not just about snakes — it’s about recovering the ancient world’s lost systems of understanding nature and filtering them through the lens of early modern scholarship.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3 data-start=\"291\" data-end=\"354\"\u003e\u003cstrong data-start=\"298\" data-end=\"352\"\u003eTranslation: Page 269 (Hist. Serp. \u0026amp; Drac. Lib. I)\u003c\/strong\u003e\u003c\/h3\u003e\n\u003ch4 data-start=\"355\" data-end=\"420\"\u003eA: On the Name and Form of the Serpent \u003cem data-start=\"399\" data-end=\"408\"\u003ePharias\u003c\/em\u003e or \u003cem data-start=\"412\" data-end=\"420\"\u003ePareas\u003c\/em\u003e\n\u003c\/h4\u003e\n\u003cblockquote data-start=\"422\" data-end=\"1378\"\u003e\n\u003cp data-start=\"424\" data-end=\"827\"\u003e“The Pharias Serpent has beautiful cheeks, like Varinus describes, with a diphthong in the penultimate syllable. It was once written as \u003cem data-start=\"560\" data-end=\"569\"\u003epharias\u003c\/em\u003e and sometimes as \u003cem data-start=\"587\" data-end=\"596\"\u003epharias\u003c\/em\u003e without a diphthong. Add to that, Dorcitus and \u003cem data-start=\"644\" data-end=\"651\"\u003eparai\u003c\/em\u003e as alternative names. The word \u003cem data-start=\"683\" data-end=\"692\"\u003eparaias\u003c\/em\u003e is derived from the Greek \u003cem data-start=\"719\" data-end=\"728\"\u003eπαραίας\u003c\/em\u003e, meaning ‘brownish’ or ‘reddish’. Some think the name comes from the rust-red color of the scales.\u003c\/p\u003e\n\u003cp data-start=\"832\" data-end=\"1204\"\u003eIn the shop of Ravanus the printer, the \u003cem data-start=\"872\" data-end=\"881\"\u003ePharias\u003c\/em\u003e Serpent was read as having quick eyes and a reddish hue. Albertus claims that this word came from Lucan, who calls it a “Parae” or “Pareas” Serpent. Some say \u003cem data-start=\"1040\" data-end=\"1048\"\u003ePareas\u003c\/em\u003e is a variant of \u003cem data-start=\"1065\" data-end=\"1074\"\u003ePharias\u003c\/em\u003e, while others call it \u003cem data-start=\"1097\" data-end=\"1104\"\u003ePeras\u003c\/em\u003e. Still others call it \u003cem data-start=\"1127\" data-end=\"1136\"\u003ePagetus\u003c\/em\u003e. The German name is \u003cem data-start=\"1157\" data-end=\"1173\"\u003eBaggen schlang\u003c\/em\u003e, from the shape of its cheeks.\u003c\/p\u003e\n\u003cp data-start=\"1209\" data-end=\"1378\"\u003eItalians call it \u003cem data-start=\"1226\" data-end=\"1238\"\u003eBissa bona\u003c\/em\u003e; the Bolognese call it \u003cem data-start=\"1262\" data-end=\"1276\"\u003eBissa Angela\u003c\/em\u003e. From this, we can see how the name passed down and was understood differently in various languages.”\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003ch4 data-start=\"1385\" data-end=\"1434\"\u003eDIFFERENTIAE: (On the Varieties of Serpents)\u003c\/h4\u003e\n\u003cblockquote data-start=\"1436\" data-end=\"2356\"\u003e\n\u003cp data-start=\"1438\" data-end=\"1602\"\u003e“The varieties of Serpents are determined by place, form, and other distinctive features. Writers have suggested that even among harmless species, many types exist.\u003c\/p\u003e\n\u003cp data-start=\"1607\" data-end=\"1897\"\u003eGesner recounts that in a Polish town called Wasilitza, not far from Cracow, serpents are abundant. Some are venomous, others are not. In the town of Olo Magnus, there’s mention of a plague of serpents that climb roofs, entering homes and devouring grain, even though guardians are present.\u003c\/p\u003e\n\u003cp data-start=\"1902\" data-end=\"2170\"\u003eJoannes Leo of Africa tells of serpents in the region of Mauritania that are so tame they lie with humans in their beds, or beside dogs under the table, or with cats. They are fed like domestic animals. Julius Scaliger compares them to the tame snakes of the Pyrenees.\u003c\/p\u003e\n\u003cp data-start=\"2175\" data-end=\"2356\"\u003eAgain, Marcus of Venice mentions a \u003cem data-start=\"2210\" data-end=\"2225\"\u003eSerpens Pares\u003c\/em\u003e of great length and spotted color, purplish on the sides. These snakes are often found sleeping in desert caves or beneath ruins.”\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003ch3 data-start=\"2688\" data-end=\"2716\"\u003eTax \u0026amp; Buyer Protection\u003c\/h3\u003e\n\u003cul data-start=\"2718\" data-end=\"2867\"\u003e\n\u003cli data-start=\"2718\" data-end=\"2768\"\u003e\n\u003cp data-start=\"2720\" data-end=\"2768\"\u003eVAT-exempt: Over 100 years old, original print\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2769\" data-end=\"2805\"\u003e\n\u003cp data-start=\"2771\" data-end=\"2805\"\u003eTracked shipping, full insurance\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2806\" data-end=\"2830\"\u003e\n\u003cp data-start=\"2808\" data-end=\"2830\"\u003e28-day return policy\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2831\" data-end=\"2867\"\u003e\n\u003cp data-start=\"2833\" data-end=\"2867\"\u003ePayPal Buyer Protection eligible\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56351654281599,"sku":"LR-ALD-SERPENTUM-1640-SET5","price":950.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/ulysses-aldrovandis-serpentum-et-draconum-historiae-bologna-1640-2103289.jpg?v=1763486424"},{"product_id":"ireland-map-by-herman-moll-1723","title":"Ireland Map by Herman Moll - 1723","description":"\u003cp data-start=\"489\" data-end=\"918\"\u003eThis original 1723 engraved map of Ireland by Herman Moll is paired with the facing text leaf describing the island’s geography, people, and provinces. Moll’s clean, practical design shows the four provinces Munster, Leinster, Connaught, and Ulster – each divided into its historic counties, with towns and coastal features crisply engraved. Beneath the map appears a county index and early notes on ecclesiastical divisions.\u003c\/p\u003e\n\u003cp data-start=\"920\" data-end=\"1266\"\u003eThe accompanying text opens with an ethnographic account of Ireland and its inhabitants, including the striking colonial remark that some “live at a loose, unciviliz’d rate, and are therefore termed \u003cem data-start=\"1119\" data-end=\"1131\"\u003eWild Irish\u003c\/em\u003e.” Together, map and text capture the Enlightenment’s mixture of curiosity and control: Ireland depicted as both studied and subdued.\u003c\/p\u003e\n\u003ch4 data-start=\"1273\" data-end=\"1302\"\u003eHistorical Context\u003c\/h4\u003e\n\u003cp data-start=\"1303\" data-end=\"1671\"\u003eMoll’s information derived from earlier English and Dutch sources – notably John Speed (1611) and William Petty’s Down Survey (1650s) – the foundational works that fixed Ireland’s county boundaries after Tudor and Cromwellian conquest. By 1723 these lines were accepted as “official,” giving Moll’s readers a vision of Ireland fully ordered within the British realm.\u003c\/p\u003e\n\u003ch4 data-start=\"1678\" data-end=\"1698\"\u003eCondition\u003c\/h4\u003e\n\u003cp data-start=\"1699\" data-end=\"1986\"\u003eVery good, with crisp impression, strong platemark, and only faint show-through from the reverse. This impression shows a slight tilt of the plate, a normal result of hand-press printing that underscores the individuality of each sheet. Minor age toning consistent with the period.\u003c\/p\u003e\n\u003ch4 data-start=\"1993\" data-end=\"2010\"\u003eArtist\u003c\/h4\u003e\n\u003cp data-start=\"2011\" data-end=\"2284\"\u003eHerman Moll was a German-born engraver who rose to prominence in London’s vibrant print trade. A regular at the coffee-houses of Defoe, Dampier, and Hooke, he turned maps into both scientific tools and political statements – clear, bold, and unmistakably British in tone.\u003c\/p\u003e\n\u003ch4 data-start=\"2291\" data-end=\"2312\"\u003eDimensions\u003c\/h4\u003e\n\u003cp data-start=\"2313\" data-end=\"2349\"\u003eSheet ≈ 8.5 × 13.5 in (21.5 × 34 cm)\u003c\/p\u003e\n\u003cp data-start=\"2313\" data-end=\"2349\"\u003eThis impression shows a slight tilt of the plate on the sheet, a normal feature of hand-press printing in the early 18th century. Such quirks underline the authenticity of Moll’s work, reminding us each map was individually pulled by hand.\u003c\/p\u003e\n\u003cp data-start=\"2313\" data-end=\"2349\"\u003e- Follow us for updates on how maps like this one were a critical tool for the colonization of Ireland and the world. -\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56819915161983,"sku":"LR-MOLL-IRELAND-1723","price":750.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/ireland-map-by-herman-moll-1723-4657464.jpg?v=1763486405"},{"product_id":"tsuguharu-foujita-cat-drinking-from-a-book-of-cats-1929-1930-signed","title":"Tsuguharu Foujita - Cat Drinking (from A Book of Cats), 1929\/1930 - Signed","description":"\u003cp data-start=\"151\" data-end=\"322\"\u003e\u003cstrong data-start=\"151\" data-end=\"184\"\u003eTsuguharu Foujita (1886–1968)\u003c\/strong\u003e\u003cbr data-start=\"184\" data-end=\"187\"\u003e\u003cem data-start=\"187\" data-end=\"201\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"151\" data-end=\"322\"\u003e\u003cem data-start=\"187\" data-end=\"201\"\u003eChat (Eprath) \u003c\/em\u003e\u003cem data-start=\"187\" data-end=\"201\"\u003eCat Drinking\u003c\/em\u003e (\u003cem data-start=\"203\" data-end=\"209\"\u003efrom\u003c\/em\u003e \u003cem data-start=\"210\" data-end=\"226\"\u003eA Book of Cats\u003c\/em\u003e), 1929\/1930\u003cbr data-start=\"238\" data-end=\"241\"\u003eHand-signed in pencil, collotype on Japanese vellum paper\u003cbr data-start=\"298\" data-end=\"301\"\u003eSheet: 270 × 310 mm\u003c\/p\u003e\n\u003cp data-start=\"324\" data-end=\"622\"\u003eA rare hand-signed plate from \u003cem data-start=\"358\" data-end=\"374\"\u003eA Book of Cats\u003c\/em\u003e, the legendary volume published in New York in 1930 by Covici Friede. Printed in an edition of just 500 copies on Japanese vellum paper stamped \u003cem data-start=\"519\" data-end=\"535\"\u003eMade in France\u003c\/em\u003e, this work is widely celebrated as “the most desirable book on cats ever published.”\u003c\/p\u003e\n\u003cp data-start=\"624\" data-end=\"827\"\u003eWhile each copy of the edition was signed by Foujita in the colophon, only a small number of individual plates were additionally hand-signed by the artist, making this an exceptionally scarce survival.\u003c\/p\u003e\n\u003cp data-start=\"829\" data-end=\"1136\"\u003eThis subject — a domestic tabby delicately drinking from a shallow dish — is among Foujita’s most iconic and beloved feline compositions. The New York publication context reflects the international acclaim Foujita achieved in the 1920s–30s, bridging Parisian modernism and Japanese printmaking traditions.\u003c\/p\u003e\n\u003cp data-start=\"1138\" data-end=\"1151\"\u003e\u003cstrong data-start=\"1138\" data-end=\"1149\"\u003eRarity:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul data-start=\"1152\" data-end=\"1308\"\u003e\n\u003cli data-start=\"1152\" data-end=\"1185\"\u003e\n\u003cp data-start=\"1154\" data-end=\"1185\"\u003eOnly 500 books were produced.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1186\" data-end=\"1236\"\u003e\n\u003cp data-start=\"1188\" data-end=\"1236\"\u003eVery few plates were hand-signed individually.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1237\" data-end=\"1308\"\u003e\n\u003cp data-start=\"1239\" data-end=\"1308\"\u003eHigh-demand subject from Foujita’s most important illustrated book.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-start=\"1310\" data-end=\"1486\"\u003e\u003cstrong data-start=\"1310\" data-end=\"1325\"\u003eProvenance:\u003c\/strong\u003e Eprath copy, catalogued at auction as signed in pencil.\u003cbr data-start=\"1381\" data-end=\"1384\"\u003e\u003cstrong data-start=\"1384\" data-end=\"1398\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1310\" data-end=\"1486\"\u003e\u003cstrong data-start=\"1384\" data-end=\"1398\"\u003eCondition:\u003c\/strong\u003e Minor handling mark in margin, stable and documented in the original auction listing. Also a 1mm oil mark in center that was with the piece when we acquired it, \u003c\/p\u003e\n\u003cp data-start=\"1310\" data-end=\"1486\"\u003eFor more on the amazing artist that Foujita was have a look at our blog post\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56361114108287,"sku":"LR-FOU-CATDRINK-1929","price":2850.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/tsuguharu-foujita-cat-drinking-from-a-book-of-cats-19291930-signed-5108630.jpg?v=1763486413"},{"product_id":"mercator-hondius-map-of-ireland-irlandiae-regnum-dutch-edition-c-1630","title":"Mercator–Hondius Map of Ireland (Irlandiae Regnum), Dutch Edition, c.1630","description":"\u003ch3 data-start=\"310\" data-end=\"337\"\u003e\u003cstrong data-start=\"314\" data-end=\"337\"\u003eProduct Description\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"339\" data-end=\"570\"\u003eThis rare, beautifully hand-coloured Dutch edition of \u003cem data-start=\"393\" data-end=\"411\"\u003eIrlandiae Regnum\u003c\/em\u003e was published in Amsterdam around 1630 by the house of Hondius and Jodocus Hondius Jr., continuing the cartographic legacy of Gerardus Mercator (1512–1594).\u003c\/p\u003e\n\u003cp data-start=\"572\" data-end=\"1077\"\u003ePrinted from Mercator’s original copperplate engraving first issued in 1595, this striking map represents Ireland during one of the most formative eras of early modern cartography. The Dutch text on the reverse is of particular scholarly importance: it expands on the mythical and Iberian origins of the Irish people — a narrative absent from the Latin editions — making it one of the first printed accounts to connect the Irish to the Milesian or Spanish lineage in a widely distributed European atlas.\u003c\/p\u003e\n\u003cp data-start=\"1079\" data-end=\"1512\"\u003eThe map’s precision reflects Mercator’s pioneering projection and attention to coastal form, mountain ranges, and river systems, while the later Hondius colouring enhances its readability and aesthetic warmth. The verso text includes section titles such as \u003cem data-start=\"1336\" data-end=\"1345\"\u003eGrootte\u003c\/em\u003e, \u003cem data-start=\"1347\" data-end=\"1356\"\u003eGrensen\u003c\/em\u003e, and \u003cem data-start=\"1362\" data-end=\"1370\"\u003eVogels\u003c\/em\u003e, combining geographical, cultural, and natural history observations — a fascinating insight into how 17th-century Europeans viewed Ireland.\u003c\/p\u003e\n\u003cp data-start=\"1514\" data-end=\"1786\"\u003eThis example retains its original central fold as issued for the Hondius atlas. The paper quality, typography, and crisp plate impression indicate a strong early 17th-century strike. It is an exceptional survival of one of the most celebrated maps of Ireland ever printed.\u003c\/p\u003e\n\u003chr data-start=\"1788\" data-end=\"1791\"\u003e\n\u003ch3 data-start=\"1793\" data-end=\"1808\"\u003e\u003cstrong data-start=\"1797\" data-end=\"1808\"\u003eDetails\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cul data-start=\"1809\" data-end=\"2355\"\u003e\n\u003cli data-start=\"1809\" data-end=\"1897\"\u003e\n\u003cp data-start=\"1811\" data-end=\"1897\"\u003e\u003cstrong data-start=\"1811\" data-end=\"1824\"\u003eEngraver:\u003c\/strong\u003e Gerardus Mercator (1512–1594); published by Jodocus Hondius, Amsterdam\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1898\" data-end=\"1931\"\u003e\n\u003cp data-start=\"1900\" data-end=\"1931\"\u003e\u003cstrong data-start=\"1900\" data-end=\"1910\"\u003eTitle:\u003c\/strong\u003e \u003cem data-start=\"1911\" data-end=\"1929\"\u003eIrlandiae Regnum\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1932\" data-end=\"1970\"\u003e\n\u003cp data-start=\"1934\" data-end=\"1970\"\u003e\u003cstrong data-start=\"1934\" data-end=\"1950\"\u003ePublication:\u003c\/strong\u003e c.1630, Amsterdam\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1971\" data-end=\"2058\"\u003e\n\u003cp data-start=\"1973\" data-end=\"2058\"\u003e\u003cstrong data-start=\"1973\" data-end=\"1984\"\u003eMedium:\u003c\/strong\u003e Hand-coloured copperplate engraving on laid paper with Dutch text verso\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2059\" data-end=\"2105\"\u003e\n\u003cp data-start=\"2061\" data-end=\"2105\"\u003e\u003cstrong data-start=\"2061\" data-end=\"2076\"\u003eDimensions:\u003c\/strong\u003e Approx. 37 × 49 cm (single sheet, 4 pages, 4 columns of Dutch text on rear, 2 per page)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2106\" data-end=\"2207\"\u003e\n\u003cp data-start=\"2108\" data-end=\"2207\"\u003e\u003cstrong data-start=\"2108\" data-end=\"2122\"\u003eCondition:\u003c\/strong\u003e Very good; original central fold as issued; minor age toning and light margin wear\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2208\" data-end=\"2255\"\u003e\n\u003cp data-start=\"2210\" data-end=\"2255\"\u003e\u003cstrong data-start=\"2210\" data-end=\"2225\"\u003eProvenance:\u003c\/strong\u003e Private European collection\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2256\" data-end=\"2355\"\u003e\n\u003cp data-start=\"2258\" data-end=\"2355\"\u003e\u003cstrong data-start=\"2258\" data-end=\"2269\"\u003eRarity:\u003c\/strong\u003e Scarce in Dutch text edition; Iberian\/Milesian note unique to this linguistic state\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 data-start=\"2362\" data-end=\"2382\"\u003e\u003cstrong data-start=\"2366\" data-end=\"2382\"\u003eSignificance\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"2383\" data-end=\"2678\"\u003eThe Dutch-language version of \u003cem data-start=\"2413\" data-end=\"2431\"\u003eIrlandiae Regnum\u003c\/em\u003e occupies a special place in cultural history. It bridges mythology, geography, and early ethnography, preserving one of the few non-Irish, 17th-century attestations of the Milesian origin story — an idea later lost to mainstream historiography.\u003c\/p\u003e\n\u003cp data-start=\"2680\" data-end=\"2879\"\u003eFor collectors of Irish history, early cartography, or the printed word, this edition stands as a tangible intersection of scholarship, myth, and the birth of national identity on the European stage.\u003c\/p\u003e\n\u003ch3 data-start=\"452\" data-end=\"518\"\u003e\u003cstrong data-start=\"456\" data-end=\"516\"\u003eOriginal Dutch (extract, early 17th century orthography)\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cblockquote data-start=\"519\" data-end=\"1089\"\u003e\n\u003cp data-start=\"521\" data-end=\"1089\"\u003e\u003cem\u003eHibernia wort van Orpheo, Aristotele, ende Claudiano Jerna, van Juuenaele ende Mela Juuverna, van Diodoro Siculo Iris, van Eustathio Vernia oft Bernia, van de Inwoonders Erin, van de Britan­gelsche Yverdhon, ende van de Engelsche Ireland genoemt. Doch so sijn der verscheyden opinien, van waer dese veelderhande namen haer oorsponck mochten hebben, als van een saecke die seer doncker is. Want sommighe willen Hiberniam derivieren van Hibero, een Spaenschen Overste, de welcke eerstmael ’t selve eylant met een groote machtige hoop en ghesaet volcks ingenomen heeft.\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003ch3 data-start=\"1096\" data-end=\"1146\"\u003eEnglish Translation (faithful rendering)\u003c\/h3\u003e\n\u003cblockquote data-start=\"1147\" data-end=\"1683\"\u003e\n\u003cp data-start=\"1149\" data-end=\"1393\"\u003eHibernia is called by Orpheus, Aristotle, and Claudian \u003cem data-start=\"1204\" data-end=\"1211\"\u003eJerna\u003c\/em\u003e; by Juvenal and Mela \u003cem data-start=\"1233\" data-end=\"1242\"\u003eJuverna\u003c\/em\u003e; by Diodorus Siculus \u003cem data-start=\"1264\" data-end=\"1270\"\u003eIris\u003c\/em\u003e; by Eustathius \u003cem data-start=\"1286\" data-end=\"1294\"\u003eVernia\u003c\/em\u003e or \u003cem data-start=\"1298\" data-end=\"1306\"\u003eBernia\u003c\/em\u003e; by its inhabitants \u003cem data-start=\"1327\" data-end=\"1333\"\u003eErin\u003c\/em\u003e; by the Britons \u003cem data-start=\"1350\" data-end=\"1360\"\u003eYverdhon\u003c\/em\u003e; and by the English \u003cem data-start=\"1381\" data-end=\"1390\"\u003eIreland\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp data-start=\"1400\" data-end=\"1526\"\u003eYet there are diverse opinions as to whence these various names may have taken their origin, for the matter is very obscure.\u003c\/p\u003e\n\u003cp data-start=\"1533\" data-end=\"1683\"\u003eSome wish to derive \u003cem data-start=\"1553\" data-end=\"1563\"\u003eHibernia\u003c\/em\u003e from \u003cem data-start=\"1569\" data-end=\"1577\"\u003eHibero\u003c\/em\u003e, a Spanish commander, who was the first to seize this island with a great and powerful company of people.\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp data-start=\"1710\" data-end=\"1749\"\u003eThis passage is \u003cstrong data-start=\"1726\" data-end=\"1740\"\u003eremarkable\u003c\/strong\u003e because:\u003c\/p\u003e\n\u003col data-start=\"1750\" data-end=\"2450\"\u003e\n\u003cli data-start=\"1750\" data-end=\"1896\"\u003e\n\u003cp data-start=\"1753\" data-end=\"1896\"\u003eIt merges classical geography (Greek and Roman authors’ names for Ireland) with early modern mythic ethnology (Iberian descent theory).\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1897\" data-end=\"2206\"\u003e\n\u003cp data-start=\"1900\" data-end=\"2206\"\u003eThe phrase “\u003cem data-start=\"1912\" data-end=\"1936\"\u003eeen Spaenschen Overste\u003c\/em\u003e” (“a Spanish commander”) is the continental print-era echo of the Milesian origin legend the same origin myth later codified in the \u003cem data-start=\"2075\" data-end=\"2098\"\u003eLeabhar Gabhála Érenn\u003c\/em\u003e (“Book of Invasions”), where the Irish descend from the sons of Míl Espáine (literally “soldier of Spain”). IN a time when we are all looking for meaning, here is an origin story that is not taught in schools in Ireland ever!\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2207\" data-end=\"2450\"\u003e\n\u003cp data-start=\"2210\" data-end=\"2450\"\u003eThe author (Mercator or Hondius’s text editor) acknowledges scholarly uncertainty (“\u003cem data-start=\"2294\" data-end=\"2333\"\u003eas van een saecke die seer doncker is\u003c\/em\u003e” — “as from a matter very obscure”), showing early humanist caution while still recording oral and antiquarian lore.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003chr data-start=\"2452\" data-end=\"2455\"\u003e\n\u003ch3 data-start=\"2457\" data-end=\"2477\"\u003e\u003cstrong data-start=\"2461\" data-end=\"2477\"\u003eSignificance\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"2479\" data-end=\"2936\"\u003eThis single paragraph is the \u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong data-start=\"2508\" data-end=\"2569\"\u003eonly place in any printed atlas of the early 17th century\u003c\/strong\u003e\u003c\/span\u003e that connects Ireland’s ethnogenesis to Spain.\u003cbr data-start=\"2616\" data-end=\"2619\"\u003eIt stands between myth and geography: not quite medieval legend, yet not yet modern ethnology. Its inclusion in the Dutch edition — and omission from the Latin — shows Hondius’s Amsterdam workshop catering to a literate mercantile audience curious about the exotic origins of nations, not just their shapes on maps.\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56361352233343,"sku":"LR-MH-IRELAND-1630","price":4250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/mercatorhondius-map-of-ireland-irlandiae-regnum-dutch-edition-c1630-5988876.jpg?v=1763486419"},{"product_id":"henri-de-toulouse-lautrec-histoires-naturelles-le-taureau-1899","title":"Henri de Toulouse-Lautrec — Histoires naturelles: Le Taureau (1899)","description":"\u003cp data-start=\"375\" data-end=\"790\"\u003e\u003cstrong data-start=\"395\" data-end=\"406\"\u003eMedium:\u003c\/strong\u003e Original lithograph on fine wove paper\u003cbr data-start=\"445\" data-end=\"448\"\u003e\u003cstrong data-start=\"448\" data-end=\"460\"\u003eEdition:\u003c\/strong\u003e Limited to 100 copies, numbered 49\u003cstrong\u003e*\u003c\/strong\u003e (from the 1899 H. Floury edition)\u003cbr data-start=\"529\" data-end=\"532\"\u003e\u003cstrong data-start=\"532\" data-end=\"547\"\u003eDimensions: \u003c\/strong\u003e2 Leaves of Approx. 22.9 × 31.8 cm\u003cbr data-start=\"570\" data-end=\"573\"\u003e\u003cstrong data-start=\"573\" data-end=\"586\"\u003eIncludes:\u003c\/strong\u003e Original descriptive text leaf by Jules Renard\u003cbr data-start=\"633\" data-end=\"636\"\u003e\u003cstrong data-start=\"636\" data-end=\"645\"\u003eMark:\u003c\/strong\u003e Stamped with Lautrec’s circular “TL” atelier monogram (lower margin)\u003cbr data-start=\"714\" data-end=\"717\"\u003e\u003cstrong data-start=\"717\" data-end=\"731\"\u003eCondition:\u003c\/strong\u003e Excellent; broad margins, very light age tone, no repairs.\u003c\/p\u003e\n\u003ch3 data-start=\"797\" data-end=\"816\"\u003e\u003cstrong data-start=\"801\" data-end=\"816\"\u003eDescription\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"818\" data-end=\"1149\"\u003e\u003cem data-start=\"818\" data-end=\"830\"\u003eLe Taureau\u003c\/em\u003e (\u003cem data-start=\"832\" data-end=\"842\"\u003eThe Bull\u003c\/em\u003e) is an original 1899 lithograph by \u003cstrong data-start=\"878\" data-end=\"919\"\u003eHenri de Toulouse-Lautrec (1864–1901)\u003c\/strong\u003e created for \u003cstrong data-start=\"932\" data-end=\"973\"\u003eJules Renard’s \u003cem data-start=\"949\" data-end=\"971\"\u003eHistoires naturelles\u003c\/em\u003e\u003c\/strong\u003e — a celebrated bestiary of poetic vignettes published in Paris by H. Floury.\u003cbr data-start=\"1050\" data-end=\"1053\"\u003eThis example, numbered 49 of the 100 printed, is accompanied by the matching descriptive page.\u003c\/p\u003e\n\u003cp data-start=\"1151\" data-end=\"1529\"\u003eRenard’s text portrays the bull as both menace and monument — a creature of immense power held in check by calm. Lautrec translates that tension into a composition of rare economy: a few sure, muscular lines conveying weight, movement, and dignity.\u003cbr data-start=\"1399\" data-end=\"1402\"\u003eThe work belongs to the artist’s final years and embodies his mature lithographic precision, executed with grace and restraint.\u003c\/p\u003e\n\u003ch3 data-start=\"1536\" data-end=\"1558\"\u003e\u003cstrong data-start=\"1540\" data-end=\"1558\"\u003eScholarly Note\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"1560\" data-end=\"2110\"\u003eAmong Lautrec’s last printed works, \u003cem data-start=\"1596\" data-end=\"1608\"\u003eLe Taureau\u003c\/em\u003e stands as a counterpart to \u003cem data-start=\"1636\" data-end=\"1646\"\u003eLe Chien\u003c\/em\u003e in the same series — a dialogue of force and stillness.\u003cbr data-start=\"1702\" data-end=\"1705\"\u003eEach plate from \u003cem data-start=\"1721\" data-end=\"1743\"\u003eHistoires naturelles\u003c\/em\u003e was drawn on stone by Lautrec and printed under his supervision in 1899. The circular \u003cstrong data-start=\"1830\" data-end=\"1851\"\u003eTL monogram stamp\u003c\/strong\u003e visible in the margin is the authentic atelier mark confirming origin from the H. Floury edition.\u003cbr data-start=\"1949\" data-end=\"1952\"\u003eReferenced in \u003cstrong data-start=\"1966\" data-end=\"1986\"\u003eWittrock 298–319\u003c\/strong\u003e and held in the collections of the Musée d’Orsay, the Bibliothèque nationale de France, and the Museum of Fine Arts Boston.\u003c\/p\u003e\n\u003ch3 data-start=\"2117\" data-end=\"2140\"\u003eCollector Value\u003c\/h3\u003e\n\u003cp data-start=\"2142\" data-end=\"2535\"\u003eOriginal Floury impressions of \u003cem data-start=\"2173\" data-end=\"2195\"\u003eHistoires naturelles\u003c\/em\u003e are scarce and highly sought after.\u003cbr data-start=\"2231\" data-end=\"2234\"\u003eWhile later restrikes and 20th-century reproductions appear online for a few hundred euros, this 1899 impression represents a genuine 19th-century lithograph by Lautrec, printed from his own stone.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAutheticity Note: \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMany “Toulouse-Lautrec” lithographs seen online are 20th-century restrikes or reproductions printed decades after the artist’s death (often around 1950–1980) and marked \u003cem data-start=\"412\" data-end=\"429\"\u003e“in plate – TL”\u003c\/em\u003e or \u003cem data-start=\"433\" data-end=\"451\"\u003e“after Lautrec.” \u003c\/em\u003eThis work is from the original 1899 H. Floury edition of 100, drawn on stone and bearing Lautrec’s authentic studio \u003cem data-start=\"574\" data-end=\"578\"\u003eTL\u003c\/em\u003e monogram stamp. It is fully documented in the Wittrock Catalogue Raisonné and represents a genuine 19th-century impression—not a later reproduction.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*\u003c\/strong\u003e(We attach an image of the Cover and Edition copy which was provided to us by the vendor. This lot does not include these edition covers. These are for reference only)\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56362141221247,"sku":"LR-TL-TAUREAU-1899","price":3750.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/henri-de-toulouse-lautrec-histoires-naturelles-le-taureau-1899-2175702.jpg?v=1763486407"},{"product_id":"mr-trottman-en-irlande-no-19-le-charivari-paris-ca-1845","title":"Mr Trottman en Irlande (No. 19) - Le Charivari (Paris), ca. 1845","description":"\u003cp\u003eSatirical Lithograph on Newsprint — Complete Newspaper Leaf with Verso Advertisements\u003cbr data-end=\"513\" data-start=\"510\"\u003eA rare French caricature of Ireland and O’Connell’s Repeal movement, from the “Voyages de M. Trottman” series attributed to Cham (Charles Amédée de Noé)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThis leaf was printed in Paris roughly one hundred and eighty years ago — an authentic survivor from the years immediately preceding the Irish Famine.\u003c\/em\u003e\u003c\/p\u003e\n\u003ch3 data-end=\"701\" data-start=\"685\"\u003e\u003cstrong data-end=\"701\" data-start=\"689\"\u003eOverview\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-end=\"1116\" data-start=\"702\"\u003eA politically charged satire from \u003cem data-end=\"750\" data-start=\"736\"\u003eLe Charivari\u003c\/em\u003e, Paris’s leading illustrated journal of the July Monarchy. Published around 1845, at the height of Daniel O’Connell’s \u003cstrong data-end=\"888\" data-start=\"869\"\u003eRepeal campaign\u003c\/strong\u003e, this leaf forms part 19 of the \u003cstrong data-end=\"949\" data-start=\"921\"\u003e“Voyages de M. Trottman”\u003c\/strong\u003e series—episodes that sent a bumbling English traveller through Europe’s “uncivilised” margins. Here the scene is Ireland, rendered through France’s own colonial lens.\u003c\/p\u003e\n\u003ch3 data-end=\"1149\" data-start=\"1118\"\u003e\u003cstrong data-end=\"1149\" data-start=\"1122\"\u003eFull Text \u0026amp; Translation\u003c\/strong\u003e\u003c\/h3\u003e\n\u003col data-end=\"1794\" data-start=\"1150\"\u003e\n\u003cli data-end=\"1307\" data-start=\"1150\"\u003e\n\u003cp data-end=\"1307\" data-start=\"1153\"\u003e\u003cem data-end=\"1229\" data-start=\"1153\"\u003eM. Trottman donne un sou pour le libérateur, et deux sous pour le quêteur.\u003c\/em\u003e\u003cbr data-end=\"1232\" data-start=\"1229\"\u003e→ Mr Trottman gives a penny for the Liberator and two for the beggar.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"1504\" data-start=\"1308\"\u003e\n\u003cp data-end=\"1504\" data-start=\"1311\"\u003e\u003cem data-end=\"1416\" data-start=\"1311\"\u003eLe quêteur qui ne s’est jamais vu à la tête d’un semblable capital se livre aux douceurs du far niente.\u003c\/em\u003e\u003cbr data-end=\"1419\" data-start=\"1416\"\u003e→ The beggar, never before master of such wealth, abandons himself to idleness.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"1615\" data-start=\"1505\"\u003e\n\u003cp data-end=\"1615\" data-start=\"1508\"\u003e\u003cem data-end=\"1555\" data-start=\"1508\"\u003eM. Trottman se trouve au milieu d’un meeting.\u003c\/em\u003e\u003cbr data-end=\"1558\" data-start=\"1555\"\u003e→ Mr Trottman finds himself amid a political rally.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"1726\" data-start=\"1616\"\u003e\n\u003cp data-end=\"1726\" data-start=\"1619\"\u003e\u003cem data-end=\"1666\" data-start=\"1619\"\u003eAprès le meeting M. Trottman bassine son œil.\u003c\/em\u003e\u003cbr data-end=\"1669\" data-start=\"1666\"\u003e→ After the rally Mr Trottman bathes his black eye.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"1794\" data-start=\"1727\"\u003e\n\u003cp data-end=\"1794\" data-start=\"1730\"\u003e\u003cem data-end=\"1750\" data-start=\"1730\"\u003ePuis il se couche.\u003c\/em\u003e\u003cbr data-end=\"1753\" data-start=\"1750\"\u003e→ Then he goes to bed — rats and all.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3 data-end=\"1839\" data-start=\"1796\"\u003e\u003cstrong data-end=\"1839\" data-start=\"1800\"\u003eHistorical \u0026amp; Political Significance\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-end=\"2247\" data-start=\"1840\"\u003ePrinted just before the Great Famine, this lithograph collapses Europe’s politics into grotesque comedy. The Irish crowds are shown as violent and irrational; “the Liberator” O’Connell becomes a street-corner slogan. At the same time, \u003cem data-end=\"2089\" data-start=\"2075\"\u003eLe Charivari\u003c\/em\u003e uses the chaos of Ireland to lampoon Britain’s failed governance—France laughing at both coloniser and colonised while reassuring itself of its own civility.\u003c\/p\u003e\n\u003cp data-end=\"2593\" data-start=\"2249\"\u003eThe reference to “\u003cstrong data-end=\"2277\" data-start=\"2267\"\u003eRepeal\u003c\/strong\u003e” fixes the piece squarely in 1843–45, when O’Connell’s “monster meetings” filled European newspapers. The earlier leaf (\u003cem data-end=\"2415\" data-start=\"2398\"\u003eTrottman No. 18\u003c\/em\u003e) and the later (\u003cem data-end=\"2440\" data-start=\"2432\"\u003eNo. 20\u003c\/em\u003e) are catalogued in the Metropolitan Museum’s Cham holdings (Aubert \u0026amp; Cie, printer), confirming this issue’s authorship within that same satirical cycle.\u003c\/p\u003e\n\u003cp data-end=\"2593\" data-start=\"2249\"\u003e\u003cstrong data-end=\"2741\" data-start=\"2718\"\u003eVerso significance:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-end=\"2593\" data-start=\"2249\"\u003eThe reverse of this \u003cem data-end=\"2773\" data-start=\"2762\"\u003eCharivari\u003c\/em\u003e leaf bears advertisements for Parisian journals (\u003cem data-end=\"2836\" data-start=\"2823\"\u003eLa Sylphide\u003c\/em\u003e, \u003cem data-end=\"2858\" data-start=\"2838\"\u003eLa France Médicale\u003c\/em\u003e) and society news columns. Its survival complete is remarkable: such ephemeral broadsheets were typically read, handled, and discarded daily. The contrast between its recto (mocking Irish poverty) and its verso (celebrating bourgeois refinement) captures mid-19th-century Europe’s moral dissonance in tangible form.\u003c\/p\u003e\n\u003ch3 data-end=\"2621\" data-start=\"2595\"\u003e\u003cstrong data-end=\"2621\" data-start=\"2599\"\u003eRarity \u0026amp; Condition\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-end=\"3006\" data-start=\"2622\"\u003eUnlike most surviving \u003cem data-end=\"2655\" data-start=\"2644\"\u003eCharivari\u003c\/em\u003e clippings, this is a \u003cstrong data-end=\"2704\" data-start=\"2677\"\u003ecomplete newspaper leaf\u003c\/strong\u003e, verso printed with contemporary advertisements (\u003cem data-end=\"2767\" data-start=\"2754\"\u003eLa Sylphide\u003c\/em\u003e, \u003cem data-end=\"2789\" data-start=\"2769\"\u003eLa France Médicale\u003c\/em\u003e). Such intact examples are scarce—these ephemeral sheets were read to destruction.\u003cbr data-end=\"2875\" data-start=\"2872\"\u003eLight age toning, small marginal tears, otherwise sound and legible; professionally flattened and suitable for float-mount display.\u003c\/p\u003e\n\u003ch3 data-end=\"3033\" data-start=\"3008\"\u003e\u003cstrong data-end=\"3033\" data-start=\"3012\"\u003eScholarly Context\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-end=\"3437\" data-start=\"3034\"\u003eContinental depictions of the Irish are exceptionally uncommon. Where British artists such as Punch’s Tenniel or Cruikshank portrayed the Irish as simian, the French adopted a different exoticism—half-colonial anthropology, half-moral satire. This print is visual evidence of how \u003cstrong data-end=\"3367\" data-start=\"3314\"\u003eracialised Irish imagery travelled beyond Britain\u003c\/strong\u003e, embedding itself in European bourgeois culture on the eve of famine.\u003c\/p\u003e\n\u003ch3 data-end=\"3471\" data-start=\"3439\"\u003e\u003cstrong data-end=\"3471\" data-start=\"3443\"\u003eBibliographic References\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cul data-end=\"3727\" data-start=\"3472\"\u003e\n\u003cli data-end=\"3535\" data-start=\"3472\"\u003e\n\u003cp data-end=\"3535\" data-start=\"3474\"\u003e\u003cem data-end=\"3488\" data-start=\"3474\"\u003eLe Charivari\u003c\/em\u003e, Paris, daily edition c. 1845, Aubert \u0026amp; Cie.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"3632\" data-start=\"3536\"\u003e\n\u003cp data-end=\"3632\" data-start=\"3538\"\u003e“Voyages de M. Trottman” series, nos. 18 \u0026amp; 20 (Cham) — Metropolitan Museum of Art, New York.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"3727\" data-start=\"3633\"\u003e\n\u003cp data-end=\"3727\" data-start=\"3635\"\u003eHeidelberg University digital \u003cem data-end=\"3676\" data-start=\"3665\"\u003eCharivari\u003c\/em\u003e 1845 volume reproducing this exact No. 19 issue.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 data-end=\"3747\" data-start=\"3729\"\u003e\u003cstrong data-end=\"3747\" data-start=\"3733\"\u003eDimensions\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-end=\"3774\" data-start=\"3748\"\u003eApprox. 32 × 24 cm (sheet)\u003c\/p\u003e\n\u003ch2 data-end=\"3924\" data-start=\"3897\"\u003e\u003cstrong data-end=\"3924\" data-start=\"3900\"\u003eRarity Justification\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cul data-end=\"4341\" data-start=\"3925\"\u003e\n\u003cli data-end=\"4007\" data-start=\"3925\"\u003e\n\u003cp data-end=\"4007\" data-start=\"3927\"\u003e\u003cstrong data-end=\"3950\" data-start=\"3927\"\u003eSeries Attribution:\u003c\/strong\u003e falls between two confirmed Cham plates (Nos. 18 \u0026amp; 20)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"4086\" data-start=\"4008\"\u003e\n\u003cp data-end=\"4086\" data-start=\"4010\"\u003e\u003cstrong data-end=\"4030\" data-start=\"4010\"\u003ePre-Famine Date:\u003c\/strong\u003e visual record of Europe’s view of Ireland before 1847\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"4154\" data-start=\"4087\"\u003e\n\u003cp data-end=\"4154\" data-start=\"4089\"\u003e\u003cstrong data-end=\"4116\" data-start=\"4089\"\u003eFull Newspaper Context:\u003c\/strong\u003e verso text intact, rarely surviving\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"4251\" data-start=\"4155\"\u003e\n\u003cp data-end=\"4251\" data-start=\"4157\"\u003e\u003cstrong data-end=\"4184\" data-start=\"4157\"\u003eCross-National Subject:\u003c\/strong\u003e French satire of British imperial failure—unique collecting lane\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"4341\" data-start=\"4252\"\u003e\n\u003cp data-end=\"4341\" data-start=\"4254\"\u003e\u003cstrong data-end=\"4273\" data-start=\"4254\"\u003eMuseum Anchors:\u003c\/strong\u003e Met Museum, Heidelberg Uni, BnF holdings confirm authenticity chain\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56364714197375,"sku":"LR-CHAM-TROTTMAN19-1845","price":225.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/mr-trottman-en-irlande-no-19-le-charivari-paris-ca-1845-8449814.jpg?v=1763486403"},{"product_id":"un-costume-national-no-10-moeurs-britanniques-cham-c1845","title":"Un Costume National (No. 10) — Mœurs Britanniques - Cham c1845","description":"\u003cp\u003e\u003cbr data-start=\"415\" data-end=\"418\"\u003e\u003cem data-start=\"418\" data-end=\"432\"\u003eLe Charivari\u003c\/em\u003e, Paris, c. 1845. Original lithograph on newsprint — complete verso with Paris advertisements and theatre notices.\u003cbr\u003e\u003c\/p\u003e\n\u003ch3 data-start=\"568\" data-end=\"584\"\u003e\u003cstrong data-start=\"572\" data-end=\"584\"\u003eOverview\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"585\" data-end=\"983\"\u003eA cutting satire from \u003cem data-start=\"607\" data-end=\"621\"\u003eLe Charivari\u003c\/em\u003e’s celebrated \u003cstrong data-start=\"635\" data-end=\"657\"\u003eMœurs Britanniques\u003c\/strong\u003e series (“British Manners”), drawn by \u003cstrong data-start=\"695\" data-end=\"703\"\u003eCham\u003c\/strong\u003e, the era’s most prolific political cartoonist. Published in Paris around 1845, this plate takes aim at the Irish poor under British rule—rendering them as Europe’s moral outcasts—and by extension exposes both England’s colonial hypocrisy and France’s own voyeuristic detachment.\u003c\/p\u003e\n\u003ch3 data-start=\"985\" data-end=\"1014\"\u003e\u003cstrong data-start=\"989\" data-end=\"1014\"\u003eCaption \u0026amp; Translation\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cblockquote data-start=\"1015\" data-end=\"1221\"\u003e\n\u003cp data-start=\"1017\" data-end=\"1132\"\u003e\u003cem data-start=\"1017\" data-end=\"1039\"\u003eUn costume national.\u003c\/em\u003e\u003cbr data-start=\"1039\" data-end=\"1042\"\u003e– \u003cem data-start=\"1046\" data-end=\"1089\"\u003eMonsieur est sans doute d’un pays chaud ?\u003c\/em\u003e\u003cbr data-start=\"1089\" data-end=\"1092\"\u003e– \u003cem data-start=\"1096\" data-end=\"1130\"\u003eNon monsieur, je suis Irlandais.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"1140\" data-end=\"1221\"\u003e“A national costume. — Sir, you must be from a hot country? — No sir, I’m Irish.”\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp data-start=\"1223\" data-end=\"1505\"\u003eA barefoot, ragged man stands beside a pig—his only possession—confronted by a well-dressed gentleman in top hat and checked trousers. Cham compresses an entire colonial stereotype into one exchange: the Irishman’s misery mistaken for exoticism, his poverty turned into spectacle.\u003c\/p\u003e\n\u003ch3 data-start=\"1512\" data-end=\"1555\"\u003e\u003cstrong data-start=\"1516\" data-end=\"1555\"\u003eHistorical \u0026amp; Political Significance\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"1556\" data-end=\"1674\"\u003ePrinted just before the Great Famine, this cartoon crystallises continental attitudes to Britain’s “Irish Question.”\u003c\/p\u003e\n\u003cul data-start=\"1675\" data-end=\"2239\"\u003e\n\u003cli data-start=\"1675\" data-end=\"1800\"\u003e\n\u003cp data-start=\"1678\" data-end=\"1800\"\u003e\u003cstrong data-start=\"1678\" data-end=\"1699\"\u003eClass and empire:\u003c\/strong\u003e The elegant observer represents the liberal French bourgeoisie—amused, moralising, yet complicit.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1801\" data-end=\"1988\"\u003e\n\u003cp data-start=\"1804\" data-end=\"1988\"\u003e\u003cstrong data-start=\"1804\" data-end=\"1824\"\u003eColonial mirror:\u003c\/strong\u003e France, freshly scarred by its own July Monarchy and colonial ventures in Algeria, projected its anxieties about civilisation and barbarism onto the Irish body.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1989\" data-end=\"2239\"\u003e\n\u003cp data-start=\"1992\" data-end=\"2239\"\u003e\u003cstrong data-start=\"1992\" data-end=\"2021\"\u003eRacialisation of poverty:\u003c\/strong\u003e The tangled hair and bestial posture echo the pseudo-ethnographic imagery circulating in both \u003cem data-start=\"2117\" data-end=\"2124\"\u003ePunch\u003c\/em\u003e and London Illustrated News, making this one of the earliest French echoes of that racialised visual vocabulary.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-start=\"2241\" data-end=\"2540\"\u003eCham’s \u003cem data-start=\"2248\" data-end=\"2268\"\u003eMœurs Britanniques\u003c\/em\u003e series was a political export column: French readers could ridicule British society while reaffirming their own civility. Yet today, it reads as a document of pan-European prejudice—one that reveals how “Irishness” became a shorthand for destitution across the continent.\u003c\/p\u003e\n\u003ch3 data-start=\"2547\" data-end=\"2573\"\u003e\u003cstrong data-start=\"2551\" data-end=\"2573\"\u003eRarity \u0026amp; Condition\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cul data-start=\"2574\" data-end=\"3023\"\u003e\n\u003cli data-start=\"2574\" data-end=\"2780\"\u003e\n\u003cp data-start=\"2576\" data-end=\"2780\"\u003e\u003cstrong data-start=\"2576\" data-end=\"2601\"\u003eAuthentic period leaf\u003c\/strong\u003e, verso complete with \u003cem data-start=\"2623\" data-end=\"2637\"\u003eLe Charivari\u003c\/em\u003e text: theatre reviews, classified notices, and advertising for “Grande Fabrique de Billards,” “Sirop Anti-Goutteux,” and other Paris trades.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2781\" data-end=\"2899\"\u003e\n\u003cp data-start=\"2783\" data-end=\"2899\"\u003e\u003cstrong data-start=\"2783\" data-end=\"2803\"\u003ePrinter’s credit\u003c\/strong\u003e “Chez Aubert \u0026amp; Cie, rue de la Bourse 29” visible below image—confirming first-issue printing.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2900\" data-end=\"3023\"\u003e\n\u003cp data-start=\"2902\" data-end=\"3023\"\u003eModerate toning and foxing consistent with mid-19th-century newsprint; margins sound; a rare survival in full sheet form.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 data-start=\"3030\" data-end=\"3055\"\u003e\u003cstrong data-start=\"3034\" data-end=\"3055\"\u003eScholarly Context\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"3056\" data-end=\"3458\"\u003eWhile British anti-Irish caricature is well-studied, \u003cem data-start=\"3109\" data-end=\"3117\"\u003eFrench\u003c\/em\u003e examples are seldom encountered. Cham’s plate extends the same visual hierarchy into continental satire, proving that ethnic mockery was not confined to London. The image circulated to a Paris audience that followed the \u003cstrong data-start=\"3340\" data-end=\"3359\"\u003eRepeal campaign\u003c\/strong\u003e and the looming \u003cstrong data-start=\"3376\" data-end=\"3386\"\u003eFamine\u003c\/strong\u003e through imported news, giving this print direct geopolitical resonance.\u003c\/p\u003e\n\u003cp data-start=\"3460\" data-end=\"3495\"\u003eComparable impressions appear in:\u003c\/p\u003e\n\u003cul data-start=\"3496\" data-end=\"3655\"\u003e\n\u003cli data-start=\"3496\" data-end=\"3584\"\u003e\n\u003cp data-start=\"3498\" data-end=\"3584\"\u003eMetropolitan Museum of Art, “Cham: Mœurs Britanniques,” c. 1845–47 (\u003cem data-start=\"3566\" data-end=\"3580\"\u003eAubert \u0026amp; Cie\u003c\/em\u003e).\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"3585\" data-end=\"3655\"\u003e\n\u003cp data-start=\"3587\" data-end=\"3655\"\u003eBibliothèque nationale de France, \u003cem data-start=\"3621\" data-end=\"3635\"\u003eLe Charivari\u003c\/em\u003e volumes, mid-1840s.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2 data-start=\"3840\" data-end=\"3867\"\u003e\u003cstrong data-start=\"3843\" data-end=\"3867\"\u003eRarity Justification\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cul data-start=\"3868\" data-end=\"4240\"\u003e\n\u003cli data-start=\"3868\" data-end=\"3916\"\u003e\n\u003cp data-start=\"3870\" data-end=\"3916\"\u003eSigned by Cham, master of French caricature.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"3917\" data-end=\"4009\"\u003e\n\u003cp data-start=\"3919\" data-end=\"4009\"\u003ePart of the \u003cem data-start=\"3931\" data-end=\"3951\"\u003eMœurs Britanniques\u003c\/em\u003e cycle satirising Britain’s empire—rarely seen complete.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"4010\" data-end=\"4076\"\u003e\n\u003cp data-start=\"4012\" data-end=\"4076\"\u003ePre-Famine portrayal of the Irish poor, continental in origin.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"4077\" data-end=\"4154\"\u003e\n\u003cp data-start=\"4079\" data-end=\"4154\"\u003eFull newspaper verso retained, adding commercial and cultural provenance.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"4155\" data-end=\"4240\"\u003e\n\u003cp data-start=\"4157\" data-end=\"4240\"\u003eInstitutional comparables confirm authenticity; market survivals extremely limited.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2 data-start=\"310\" data-end=\"331\"\u003e\u003cstrong data-start=\"313\" data-end=\"331\"\u003eVerso Overview\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp data-start=\"333\" data-end=\"689\"\u003eThe verso of this \u003cem data-start=\"351\" data-end=\"365\"\u003eLe Charivari\u003c\/em\u003e leaf is not merely incidental printing — it is a direct window into \u003cstrong data-start=\"434\" data-end=\"475\"\u003eParisian public life in the mid-1840s\u003c\/strong\u003e, the same bourgeois audience that laughed at Cham’s depiction of the Irish. The advertisements and notices read like a catalogue of the French capital’s daily preoccupations: luxury, leisure, and self-improvement.\u003c\/p\u003e\n\u003cp data-start=\"691\" data-end=\"724\"\u003eAmong them are announcements for:\u003c\/p\u003e\n\u003cul data-start=\"726\" data-end=\"1497\"\u003e\n\u003cli data-start=\"726\" data-end=\"962\"\u003e\n\u003cp data-start=\"728\" data-end=\"962\"\u003e\u003cstrong data-start=\"728\" data-end=\"766\"\u003e“Entreprise spéciale des annonces”\u003c\/strong\u003e – an early proto-advertising agency headed by Norbert Estibal, who handled press advertising for \u003cem data-start=\"864\" data-end=\"878\"\u003eLe Charivari\u003c\/em\u003e and related journals, signalling the rise of the modern commercial media economy.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"963\" data-end=\"1154\"\u003e\n\u003cp data-start=\"965\" data-end=\"1154\"\u003e\u003cstrong data-start=\"965\" data-end=\"990\"\u003e“Sirop anti-goutteux”\u003c\/strong\u003e and \u003cstrong data-start=\"995\" data-end=\"1021\"\u003e“Médecine vétérinaire”\u003c\/strong\u003e – patent remedies marketed to the middle classes, reflecting both new consumerism and the era’s obsession with health and hygiene.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1155\" data-end=\"1287\"\u003e\n\u003cp data-start=\"1157\" data-end=\"1287\"\u003e\u003cstrong data-start=\"1157\" data-end=\"1190\"\u003e“Grande fabrique de billards”\u003c\/strong\u003e and \u003cstrong data-start=\"1195\" data-end=\"1221\"\u003e“Jalousies mécaniques”\u003c\/strong\u003e – luxury domestic goods aimed at Paris’s prosperous households.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1288\" data-end=\"1497\"\u003e\n\u003cp data-start=\"1290\" data-end=\"1497\"\u003eShort notices on \u003cstrong data-start=\"1307\" data-end=\"1367\"\u003euniversity examinations, hunting albums, and the theatre\u003c\/strong\u003e, alongside a snippet of political commentary under the heading \u003cem data-start=\"1431\" data-end=\"1441\"\u003eCarillon\u003c\/em\u003e, discussing civic unrest in the Faubourg Saint-Antoine.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-start=\"1499\" data-end=\"2005\"\u003eTogether, these fragments document the \u003cstrong data-start=\"1538\" data-end=\"1596\"\u003ebourgeois ecosystem that consumed political caricature\u003c\/strong\u003e. On one side of the sheet, the Irish are caricatured as barefoot and primitive; on the reverse, the Parisian reader is courted as cultured, wealthy, and rational. This physical juxtaposition — poverty on the recto, privilege on the verso — embodies the \u003cstrong data-start=\"1850\" data-end=\"1886\"\u003emoral dissonance of 1840s Europe\u003c\/strong\u003e: the continent’s elites laughing at colonial misery while advertising billiard tables, tonics, and refined amusements.\u003c\/p\u003e\n\u003cp data-start=\"2007\" data-end=\"2376\"\u003eSurvival of such a leaf, intact with both sides legible, is extraordinarily rare. Most \u003cem data-start=\"2094\" data-end=\"2105\"\u003eCharivari\u003c\/em\u003e sheets were clipped for the image or discarded after a single day’s reading. Here, the verso anchors Cham’s satire within its precise \u003cstrong data-start=\"2240\" data-end=\"2273\"\u003esocial and commercial context\u003c\/strong\u003e, transforming it from a detached print into a complete historical artefact of 19th-century mass media.\u003c\/p\u003e\n\u003ch3 data-start=\"3662\" data-end=\"3680\"\u003e\u003cstrong data-start=\"3666\" data-end=\"3680\"\u003eDimensions\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"3681\" data-end=\"3707\"\u003eApprox. 32 × 24 cm (sheet)\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56365345636735,"sku":"LR-CHAM-COSTUME10-1845","price":275.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/un-costume-national-no-10-moeurs-britanniques-cham-c1845-7280566.jpg?v=1763486405"},{"product_id":"mr-trottman-en-irlande-no-20-le-charivari-paris-c-1845","title":"Mr Trottman en Irlande (No. 20) — Le Charivari, Paris c. 1845","description":"\u003cp\u003eLithograph on newsprint — complete verso with contemporary advertisements and political notices. From the “Voyages de M. Trottman” series attributed to Cham (Charles Amédée de Noé)\u003c\/p\u003e\n\u003ch3 data-end=\"681\" data-start=\"665\"\u003e\u003cstrong data-end=\"681\" data-start=\"669\"\u003eOverview\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-end=\"1020\" data-start=\"682\"\u003eThe dramatic conclusion to the \u003cem data-end=\"734\" data-start=\"713\"\u003eTrottman en Irlande\u003c\/em\u003e sequence published in \u003cem data-end=\"771\" data-start=\"757\"\u003eLe Charivari\u003c\/em\u003e around 1845. This episode transforms Ireland’s agrarian unrest into farce: a French-drawn vision of rebellion, arson, and police incompetence. The sheet was issued just months before famine would sweep Ireland, making its mockery doubly haunting.\u003c\/p\u003e\n\u003ch3 data-end=\"1055\" data-start=\"1022\"\u003e\u003cstrong data-end=\"1055\" data-start=\"1026\"\u003eFrench Text \u0026amp; Translation\u003c\/strong\u003e\u003c\/h3\u003e\n\u003col data-end=\"1530\" data-start=\"1056\"\u003e\n\u003cli data-end=\"1221\" data-start=\"1056\"\u003e\n\u003cp data-end=\"1221\" data-start=\"1059\"\u003e\u003cem data-end=\"1131\" data-start=\"1059\"\u003eAu milieu de la nuit, la secte des Rebeccaites met le feu à la maison.\u003c\/em\u003e\u003cbr data-end=\"1134\" data-start=\"1131\"\u003e→ In the middle of the night, the sect of the Rebecca-ites sets the house on fire.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"1339\" data-start=\"1222\"\u003e\n\u003cp data-end=\"1339\" data-start=\"1225\"\u003e\u003cem data-end=\"1280\" data-start=\"1225\"\u003eLa police, toujours intelligente, arrête le voyageur.\u003c\/em\u003e\u003cbr data-end=\"1283\" data-start=\"1280\"\u003e→ The ever-intelligent police arrest the traveller.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"1530\" data-start=\"1340\"\u003e\n\u003cp data-end=\"1530\" data-start=\"1343\"\u003e\u003cem data-end=\"1436\" data-start=\"1343\"\u003eL’innocent Trottman s’enfuit comme un coupable et s’embarque pour l’Espagne (Voir l’Album).\u003c\/em\u003e\u003cbr data-end=\"1439\" data-start=\"1436\"\u003e→ The innocent Trottman flees like a criminal and boards ship for Spain (see the Album).\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3 data-end=\"1580\" data-start=\"1537\"\u003e\u003cstrong data-end=\"1580\" data-start=\"1541\"\u003eHistorical \u0026amp; Political Significance\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-end=\"1976\" data-start=\"1581\"\u003eThis plate collapses several European crises into one absurd narrative. The \u003cstrong data-end=\"1675\" data-start=\"1658\"\u003eRebecca Riots\u003c\/strong\u003e (Wales, 1839–1843) and Ireland’s ongoing Repeal agitation were conflated here to paint the British Isles as a theatre of chaos. For the French audience of \u003cem data-end=\"1846\" data-start=\"1832\"\u003eLe Charivari\u003c\/em\u003e, the “Irish Question” became both exotic and reassuring—a distant disorder against which Parisian modernity could measure itself.\u003c\/p\u003e\n\u003cul data-end=\"2576\" data-start=\"1978\"\u003e\n\u003cli data-end=\"2179\" data-start=\"1978\"\u003e\n\u003cp data-end=\"2179\" data-start=\"1980\"\u003e\u003cstrong data-end=\"2005\" data-start=\"1980\"\u003eTransnational satire:\u003c\/strong\u003e By parodying British failures to control Ireland, \u003cem data-end=\"2071\" data-start=\"2057\"\u003eLe Charivari\u003c\/em\u003e offered France a sly form of moral superiority while projecting its own colonial anxieties about Algeria.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"2404\" data-start=\"2180\"\u003e\n\u003cp data-end=\"2404\" data-start=\"2182\"\u003e\u003cstrong data-end=\"2201\" data-start=\"2182\"\u003eMedia politics:\u003c\/strong\u003e The image circulated in the same weeks as editorials on O’Connell’s rallies, giving it immediacy; Trottman’s farcical arrest mirrored French fears of over-zealous policing after the 1840s press laws.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"2576\" data-start=\"2405\"\u003e\n\u003cp data-end=\"2576\" data-start=\"2407\"\u003e\u003cstrong data-end=\"2429\" data-start=\"2407\"\u003ePre-Famine timing:\u003c\/strong\u003e Printed on cheap pulp roughly a year before mass starvation began, it embodies the gulf between metropolitan amusement and impending catastrophe.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 data-end=\"2609\" data-start=\"2583\"\u003e\u003cstrong data-end=\"2609\" data-start=\"2587\"\u003eRarity \u0026amp; Condition\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cul data-end=\"3025\" data-start=\"2610\"\u003e\n\u003cli data-end=\"2658\" data-start=\"2610\"\u003e\n\u003cp data-end=\"2658\" data-start=\"2612\"\u003eOriginal \u003cem data-end=\"2635\" data-start=\"2621\"\u003eLe Charivari\u003c\/em\u003e daily leaf, c. 1845.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"2865\" data-start=\"2659\"\u003e\n\u003cp data-end=\"2865\" data-start=\"2661\"\u003e\u003cstrong data-end=\"2675\" data-start=\"2661\"\u003eCondition:\u003c\/strong\u003e very good for age; \u003cstrong data-end=\"2769\" data-start=\"2695\"\u003etwo discreet archival tissue repairs along the central horizontal fold\u003c\/strong\u003e, light foxing, and small marginal chips. Image strong and untrimmed; full plate line visible. \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"2950\" data-start=\"2866\"\u003e\n\u003cp data-end=\"2950\" data-start=\"2868\"\u003eRetains \u003cstrong data-end=\"2894\" data-start=\"2876\"\u003ecomplete verso\u003c\/strong\u003e with typographic advertisements and editorial matter.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"3025\" data-start=\"2951\"\u003e\n\u003cp data-end=\"3025\" data-start=\"2953\"\u003ePrinter’s credit lower margin: \u003cem data-end=\"3024\" data-start=\"2984\"\u003eChez Aubert \u0026amp; Cie, Pl. de la Bourse 29\u003c\/em\u003e.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 data-end=\"3054\" data-start=\"3032\"\u003e\u003cstrong data-end=\"3054\" data-start=\"3036\"\u003eVerso Overview\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-end=\"3198\" data-start=\"3055\"\u003eThe reverse offers an extraordinary snapshot of Parisian life in the same moment that Ireland was descending into crisis. Among the notices:\u003c\/p\u003e\n\u003cul data-end=\"3607\" data-start=\"3199\"\u003e\n\u003cli data-end=\"3291\" data-start=\"3199\"\u003e\n\u003cp data-end=\"3291\" data-start=\"3201\"\u003e\u003cstrong data-end=\"3221\" data-start=\"3201\"\u003e“Louis-Philippe”\u003c\/strong\u003e — advertisement for a newly published biography of the French king.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"3431\" data-start=\"3292\"\u003e\n\u003cp data-end=\"3431\" data-start=\"3294\"\u003e\u003cstrong data-end=\"3320\" data-start=\"3294\"\u003e“Chemises Levy-Neyman”\u003c\/strong\u003e, \u003cstrong data-end=\"3354\" data-start=\"3322\"\u003e“Tahan — Fournisseur du Roi”\u003c\/strong\u003e, and \u003cstrong data-end=\"3393\" data-start=\"3360\"\u003e“Grande Fabrique de Billards”\u003c\/strong\u003e — luxury goods for the urban elite.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"3607\" data-start=\"3432\"\u003e\n\u003cp data-end=\"3607\" data-start=\"3434\"\u003e\u003cstrong data-end=\"3456\" data-start=\"3434\"\u003ePolitical snippets\u003c\/strong\u003e under \u003cem data-end=\"3473\" data-start=\"3463\"\u003eCarillon\u003c\/em\u003e reporting disturbances in the \u003cstrong data-end=\"3530\" data-start=\"3504\"\u003eFaubourg Saint-Antoine\u003c\/strong\u003e, an echo of working-class unrest only miles from \u003cem data-end=\"3594\" data-start=\"3580\"\u003eLe Charivari\u003c\/em\u003e’s presses.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-end=\"3779\" data-start=\"3609\"\u003eOn the recto, peasants with torches; on the verso, gentlemen buying shirts and billiard tables. The contrast is stark—Europe’s hierarchy of comfort printed back-to-back.\u003c\/p\u003e\n\u003ch3 data-end=\"3811\" data-start=\"3786\"\u003e\u003cstrong data-end=\"3811\" data-start=\"3790\"\u003eScholarly Context\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-end=\"3861\" data-start=\"3812\"\u003ePart of the same satirical cycle documented in:\u003c\/p\u003e\n\u003cul data-end=\"4059\" data-start=\"3862\"\u003e\n\u003cli data-end=\"3961\" data-start=\"3862\"\u003e\n\u003cp data-end=\"3961\" data-start=\"3864\"\u003eMetropolitan Museum of Art, \u003cem data-end=\"3922\" data-start=\"3892\"\u003eCham: Voyages de M. Trottman\u003c\/em\u003e, nos. 18 \u0026amp; 19 (Aubert \u0026amp; Cie, Paris).\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"4059\" data-start=\"3962\"\u003e\n\u003cp data-end=\"4059\" data-start=\"3964\"\u003eHeidelberg University’s digitised \u003cem data-end=\"4012\" data-start=\"3998\"\u003eLe Charivari\u003c\/em\u003e 1845 volumes (matching layout and captions).\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-end=\"4233\" data-start=\"4061\"\u003eContinental depictions of Ireland before the Famine are scarce; this print stands as a visual record of how the Irish were caricatured not just in London but across Europe.\u003c\/p\u003e\n\u003ch3 data-end=\"4258\" data-start=\"4240\"\u003e\u003cstrong data-end=\"4258\" data-start=\"4244\"\u003eDimensions\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-end=\"4285\" data-start=\"4259\"\u003eApprox. 32 × 24 cm (sheet)\u003c\/p\u003e\n\u003ch2 data-end=\"4434\" data-start=\"4407\"\u003e\u003cstrong data-end=\"4434\" data-start=\"4410\"\u003eRarity \u003c\/strong\u003e\u003c\/h2\u003e\n\u003cul data-end=\"4710\" data-start=\"4435\"\u003e\n\u003cli data-end=\"4481\" data-start=\"4435\"\u003e\n\u003cp data-end=\"4481\" data-start=\"4437\"\u003ePre-Famine Irish subject issued in France.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"4549\" data-start=\"4482\"\u003e\n\u003cp data-end=\"4549\" data-start=\"4484\"\u003eSeries tied to Cham and \u003cem data-end=\"4522\" data-start=\"4508\"\u003eLe Charivari\u003c\/em\u003e’s peak satirical period.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"4588\" data-start=\"4550\"\u003e\n\u003cp data-end=\"4588\" data-start=\"4552\"\u003eComplete verso — seldom surviving.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"4652\" data-start=\"4589\"\u003e\n\u003cp data-end=\"4652\" data-start=\"4591\"\u003eTwo minor professional fold repairs only; otherwise intact.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"4710\" data-start=\"4653\"\u003e\n\u003cp data-end=\"4710\" data-start=\"4655\"\u003eCross-referenced with museum and university holdings.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56365368803711,"sku":"LR-CHAM-TROTTMAN20-1845","price":210.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/mr-trottman-en-irlande-no-20-le-charivari-paris-c-1845-6805865.jpg?v=1763486403"},{"product_id":"francisco-de-goya-y-lucientes-los-caprichos-plate-50","title":"Francisco de Goya, Los Chinchillas, Plate 50, Los Caprichos, c.1900","description":"\u003cp data-start=\"345\" data-end=\"540\"\u003e\u003cstrong\u003e\u003cem data-start=\"345\" data-end=\"362\"\u003eLos Chinchillas\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-start=\"362\" data-end=\"365\"\u003eFrancisco de Goya y Lucientes (1746–1828), \u003cem data-start=\"408\" data-end=\"423\"\u003eLos Caprichos\u003c\/em\u003e, Plate 50\u003cbr data-start=\"433\" data-end=\"436\"\u003eEtching, aquatint, drypoint, and burin\u003cbr data-start=\"474\" data-end=\"477\"\u003ePosthumous Calcografía Nacional edition, Madrid, c. 1878–1900\u003c\/p\u003e\n\u003cp data-start=\"345\" data-end=\"540\"\u003e\u003cspan class=\"fontstyle0\"\u003eGoya comments, \"He who hears nothing, knows nothing, and does nothing belongs to the numerous family of the Chinchillas, which has always been good for nothing.\" Contemporary references identify the Chinchilas as nobles: \"Those idiots who pride themselves on their nobility, let themselves go to laziness and superstitionn. They close off their understanding with padlocks while they are grossly fed by ignorance.\" This plate  depicts the nobility as victims of their own pride living like madmen in their own prisons of ignorance, clearly unfit to play any role in the nation.  (reference \u003ca href=\"https:\/\/ucm.academia.edu\/MiguelOrozco%20\"\u003eMiguel Orozco 2021\u003c\/a\u003e)\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-start=\"1000\" data-end=\"1385\"\u003e\u003cstrong data-start=\"1000\" data-end=\"1022\"\u003eHistorical Context\u003c\/strong\u003e\u003cbr data-start=\"1022\" data-end=\"1025\"\u003e\u003cem data-start=\"1025\" data-end=\"1042\"\u003eLos Chinchillas\u003c\/em\u003e belongs to Goya’s 1799 series \u003cem data-start=\"1073\" data-end=\"1088\"\u003eLos Caprichos\u003c\/em\u003e, his Enlightenment-era critique of superstition, greed, and moral decay. Printed here from the original copper plate by the Calcografía Nacional around 1900, this impression preserves the bold linework and haunting tonal contrasts that made \u003cem data-start=\"1330\" data-end=\"1341\"\u003eCaprichos\u003c\/em\u003e a turning point in the history of satire.\u003c\/p\u003e\n\u003cp data-start=\"1387\" data-end=\"1409\"\u003e\u003cstrong data-start=\"1387\" data-end=\"1407\"\u003eCollector’s Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul data-start=\"1410\" data-end=\"1783\"\u003e\n\u003cli data-start=\"1410\" data-end=\"1498\"\u003e\n\u003cp data-start=\"1412\" data-end=\"1498\"\u003eEdition: Late 19th-century Calcografía Nacional restrike from Goya’s original plate.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1499\" data-end=\"1545\"\u003e\n\u003cp data-start=\"1501\" data-end=\"1545\"\u003ePaper: Wove ivory stock without watermark.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1546\" data-end=\"1690\"\u003e\n\u003cp data-start=\"1548\" data-end=\"1690\"\u003eRarity: Later impressions from this edition remain desirable for their authentic connection to Goya’s plates and their strong visual impact.\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-start=\"1785\" data-end=\"2152\"\u003e\u003cstrong data-start=\"1785\" data-end=\"1803\"\u003eInterpretation\u003c\/strong\u003e\u003cbr data-start=\"1803\" data-end=\"1806\"\u003eA chilling allegory of complacency, \u003cem data-start=\"1842\" data-end=\"1859\"\u003eLos Chinchillas\u003c\/em\u003e transcends its period. Goya’s commentary on the burden of ignorance could easily describe today’s willful blindness to inequality and manipulation of power. His figures stumble beneath invisible weight—much as modern societies still struggle under the pressures of misinformation and greed.\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56374089777535,"sku":"LR-GOYA-CAP50-1900","price":495.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/francisco-de-goya-y-lucientes-los-caprichos-plate-50-4293073.jpg?v=1763486402"},{"product_id":"francisco-de-goya-se-repulen-plate-51-los-caprichos-c1900","title":"Francisco de Goya, Se Repulen, Plate 51, Los Caprichos, c1900","description":"\u003cp data-end=\"540\" data-start=\"345\"\u003e\u003cem data-end=\"459\" data-start=\"441\"\u003e\u003cstrong\u003eSe Repulen\u003c\/strong\u003e\u003c\/em\u003e\u003cbr data-end=\"365\" data-start=\"362\"\u003eAuthentic Calcografía Nacional impression of Goya’s \u003cem data-end=\"459\" data-start=\"441\"\u003eEnsayos (Trials)\u003c\/em\u003e, a haunting satire of superstition and cruelty. Etching c. 1878–1900.\u003cbr data-end=\"436\" data-start=\"433\"\u003eEtching, aquatint, drypoint, and burin\u003cbr data-end=\"477\" data-start=\"474\"\u003ePosthumous Calcografía Nacional edition, Madrid, c. 1878–1900 - from Goya’s original copper plate.\u003c\/p\u003e\n\u003cp data-end=\"540\" data-start=\"345\"\u003e\u003ca href=\"https:\/\/www.nationalgalleries.org\/art-and-artists\/113695\"\u003eAquatint\u003c\/a\u003e: The grainy tone has been achieved using a powdered rosin (called aquatint) applied in a fine layer on selected areas of the metal etching plate. The plate is immersed in acid, which bites around the rosin to create a roughened surface. Goya’s use of aquatint is considered the most accomplished by any historical artist.\u003c\/p\u003e\n\u003cp data-end=\"540\" data-start=\"345\"\u003eA grotesque parody of refinement, \u003cem data-end=\"322\" data-start=\"310\"\u003eSe repulen\u003c\/em\u003e shows witches grooming one another before taking flight a scene of absurd vanity amid corruption. Goya’s satire cuts deep: his creatures preen and polish while moral decay festers, a mirror of society’s obsession with appearance over virtue. Printed c. 1878–1900 by the Calcografía Nacional from Goya’s original copper plate, this authentic restrike retains the eerie bite and elegance that made \u003cem data-end=\"736\" data-start=\"721\"\u003eLos Caprichos\u003c\/em\u003e a cornerstone of modern social critique.\u003c\/p\u003e\n\u003cp data-end=\"540\" data-start=\"345\"\u003e\u003cspan class=\"fontstyle0\"\u003eGoya commented:\u003cbr\u003e\"This business of having long nails is so pernicious that it is forbidden even in witchcraft.\" Goya mocks the notion that ghouls are concerned with their personal appearances. At least one contemporary commentator associated long nails with public theft and corruption. One might therefore read this image as a condemnation of the officials who aid and abet each other in embezzling the wealth of the state, while seeking to maintain social respectability.\u003c\/span\u003e \u003cspan class=\"fontstyle0\"\u003e (reference \u003ca href=\"https:\/\/ucm.academia.edu\/MiguelOrozco%20\"\u003eMiguel Orozco 2021\u003c\/a\u003e)\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-end=\"1385\" data-start=\"1000\"\u003e\u003cstrong data-end=\"1022\" data-start=\"1000\"\u003eHistorical Context\u003c\/strong\u003e\u003cbr data-end=\"1025\" data-start=\"1022\"\u003e\u003cem data-end=\"1042\" data-start=\"1025\"\u003eSe Repulen\u003c\/em\u003e belongs to Goya’s 1799 series \u003cem data-end=\"1088\" data-start=\"1073\"\u003eLos Caprichos\u003c\/em\u003e, his Enlightenment-era critique of superstition, greed, and moral decay. Printed here from the original copper plate by the Calcografía Nacional around 1900, this impression preserves the bold linework and haunting tonal contrasts that made \u003cem data-end=\"1341\" data-start=\"1330\"\u003eCaprichos\u003c\/em\u003e a turning point in the history of satire.\u003c\/p\u003e\n\u003cp data-end=\"1409\" data-start=\"1387\"\u003e\u003cstrong data-end=\"1407\" data-start=\"1387\"\u003eCollector’s Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul data-end=\"1783\" data-start=\"1410\"\u003e\n\u003cli data-end=\"1498\" data-start=\"1410\"\u003e\n\u003cp data-end=\"1498\" data-start=\"1412\"\u003eEdition: Late 19th-century Calcografía Nacional restrike from Goya’s original plate.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"1545\" data-start=\"1499\"\u003e\n\u003cp data-end=\"1545\" data-start=\"1501\"\u003ePaper: Wove ivory stock without watermark.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"1690\" data-start=\"1546\"\u003e\n\u003cp data-end=\"1690\" data-start=\"1548\"\u003eRarity: Later impressions from this edition remain desirable for their authentic connection to Goya’s plates and their strong visual impact.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56374177005951,"sku":"LR-GOYA-CAP51-1900","price":550.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/francisco-de-goya-se-repulen-plate-51-los-caprichos-c1900-1049733.jpg?v=1763486405"},{"product_id":"jacques-louis-engramelle-apollo-butterfly-mountain-apollo-c1779-to-1792","title":"Jacques Louis Engramelle, Apollo Butterfly (Mountain Apollo), c1779 to 1792","description":"\u003ch3 data-start=\"167\" data-end=\"211\"\u003e\u003cstrong data-start=\"171\" data-end=\"209\"\u003eApollo Butterfly (Mountain Apollo)\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"212\" data-end=\"529\"\u003e\u003cem data-start=\"212\" data-end=\"231\"\u003eParnassius apollo\u003c\/em\u003e (Linnaeus, 1758)\u003cbr data-start=\"248\" data-end=\"251\"\u003eJacques Louis Engramelle, \u003cem data-start=\"281\" data-end=\"301\"\u003ePapillons d’Europe\u003c\/em\u003e, Paris, 1779 to 1792\u003cbr data-start=\"322\" data-end=\"325\"\u003eOriginally hand colored copperplate engraving on chain linked, watermarked laid paper\u003cbr data-start=\"410\" data-end=\"413\"\u003eIllustrated by J. J. Ernst, engraved by J. J. Juillet\u003cbr data-start=\"466\" data-end=\"469\"\u003ePaper size: approximately 11 ¾ × 9 inches (30 × 23 cm)\u003c\/p\u003e\n\u003cp data-start=\"531\" data-end=\"881\"\u003eThis exquisite eighteenth century engraving from \u003cem data-start=\"580\" data-end=\"600\"\u003ePapillons d’Europe\u003c\/em\u003e presents the life stages of the Apollo butterfly, one of Europe’s most admired alpine species, with exceptional delicacy. The artist depicts the larva, chrysalis, and both male and female adults, revealing the species’ characteristic translucent wings and striking red eyespots.\u003c\/p\u003e\n\u003cp data-start=\"883\" data-end=\"1226\"\u003eEngramelle’s \u003cem data-start=\"896\" data-end=\"916\"\u003ePapillons d’Europe\u003c\/em\u003e was among the grandest natural history works of the Enlightenment, issued in only 250 hand colored copies. It was created under royal patronage and subscribed to by Louis XVI, Marie Antoinette, and Buffon. Early impressions on chain linked paper with fresh color and full plate marks are now extremely rare.\u003c\/p\u003e\n\u003cp data-start=\"1228\" data-end=\"1414\"\u003ePlate condition: Very good to excellent overall with only light age marks.\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56376081744255,"sku":"LR-ENG-APOLLO-1779","price":295.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/jacques-louis-engramelle-apollo-butterfly-mountain-apollo-c1779-to-1792-5594922.jpg?v=1763486400"},{"product_id":"tabula-asiae-x-india-intra-gangem-from-ruscelli-after-ptolemy-venice-1574","title":"Rare 16th Century Map of India - Ziletti's Ptolemy, 1574","description":"\u003cp data-end=\"500\" data-start=\"0\"\u003e\u003cstrong\u003eTabula Asiae X (India Intra Gangem)\u003c\/strong\u003e\u003cbr data-end=\"38\" data-start=\"35\"\u003e\u003cstrong\u003eFrom La Geografia di Claudio Tolomeo, Tradotta di Greco in Italiano da G. Ruscelli, \u0026amp; hora in questa nuova editione da Gio. Malombra ricorretta\u003c\/strong\u003e\u003cbr data-end=\"184\" data-start=\"181\"\u003e\u003c\/p\u003e\n\u003cp data-end=\"500\" data-start=\"0\"\u003ePublisher Giordano Ziletti, Venice, 1574\u003cbr data-end=\"227\" data-start=\"224\"\u003eEngraver After Giacomo Gastaldi (c.1500–1566)\u003cbr data-end=\"275\" data-start=\"272\"\u003eTechnique Copperplate engraving on laid paper\u003cbr data-end=\"323\" data-start=\"320\"\u003ePaper size approximately 18.5 × 24.5 cm\u003cbr data-end=\"365\" data-start=\"362\"\u003eCondition \u003cspan style=\"text-decoration: underline;\"\u003eExcellent\u003c\/span\u003e, light toning, strong impression with visible plate mark; verso with Italian text Dell’ Asia Tavola Decima Antica\u003c\/p\u003e\n\u003cp data-end=\"1050\" data-start=\"502\"\u003eThis engraved Tabula Asiae X, or Tenth Map of Asia, depicts India Intra Gangem India within the Ganges extending eastward to the Sinus Gangeticus (Bay of Bengal) and southward to the Mare Indicum (Indian Ocean). Mountains and river systems are drawn in the distinctive engraved relief style used in sixteenth-century Venetian editions of Ptolemy. The design is derived from Claudius Ptolemy’s Geographia, composed in the second century AD, and engraved after Giacomo Gastaldi, one of the most significant Italian mapmakers of the Renaissance.\u003c\/p\u003e\n\u003cp data-end=\"1372\" data-start=\"1052\"\u003eThe verso text in Italian, headed Dell’ Asia Tavola Decima Antica, provides the accompanying notes and coordinate data, listing key cities, deserts, and mountain ranges. These annotations reflect the Venetian editors’ fascination with merging classical geography and new knowledge from Arab and Portuguese exploration.\u003c\/p\u003e\n\u003cp data-end=\"1777\" data-start=\"1374\"\u003eThis plate comes from the 1574 edition published by Giordano Ziletti, the third printing of Ruscelli’s Italian translation following the Valgrisi editions of 1561 and 1564. The Ziletti issue is distinguished by a revised projection and updated typographic layout, producing one of the most elegant Venetian interpretations of Ptolemy’s atlas. Later printings in 1598 and 1599 reused these same plates.\u003c\/p\u003e\n\u003cp data-end=\"2026\" data-start=\"1779\"\u003ePtolemy’s Geographia, written around 150 CE, was rediscovered in manuscript form about 1300 and first printed in Bologna in 1477. It became the foundation for all Renaissance cartography, influencing the works of Mercator, Ortelius, and Münster.\u003c\/p\u003e\n\u003cp data-end=\"2395\" data-start=\"2028\"\u003eReferences Shirley Mapping of the World no. 133; Phillips Atlases 373\u003cbr data-end=\"2100\" data-start=\"2097\"\u003eProjection Revised conical form introduced in the 1574 Ziletti edition\u003cbr data-end=\"2173\" data-start=\"2170\"\u003eVerso text Italian commentary explaining the ancient geography of India and its regions\u003cbr data-end=\"2263\" data-start=\"2260\"\u003eRarity The 1574 Ziletti printing is scarcer than the 1561 Valgrisi edition and is valued for its full margins and clean impression.\u003c\/p\u003e\n\u003ch3 data-end=\"1248\" data-start=\"1225\"\u003eVerso English Translation\u003c\/h3\u003e\n\u003cp data-end=\"1899\" data-start=\"1250\"\u003eIndia within the Ganges begins at the river Indus and extends eastward to the Gulf of the Ganges. \u003c\/p\u003e\n\u003cp data-end=\"1899\" data-start=\"1250\"\u003eIn this region lie the mountains Imaus and the lesser chain called Paropanisus, the rivers Indus and Ganges, and many notable cities, among which Bactra, Palibothra, and Ozene are most renowned.\u003cbr data-end=\"1547\" data-start=\"1544\"\u003eThese lands are inhabited by many nations — the Gangaridae, the Prasii, the Pandionae, and other peoples beyond the Ganges.\u003cbr data-end=\"1673\" data-start=\"1670\"\u003eTo the south it is bounded by the Indian Ocean, to the north by the Emodian and Imaus mountains, to the east by the Gulf of the Ganges, and to the west by the river Indus.\u003cbr data-end=\"1847\" data-start=\"1844\"\u003eThis country abounds in spices, gems, and elephants.\u003c\/p\u003e\n\u003ch3 data-end=\"1924\" data-start=\"1906\"\u003eScholarly Note\u003c\/h3\u003e\n\u003cp data-start=\"1926\" data-end=\"2421\"\u003eThe Italian text on the verso of your copy is not a direct translation of the ancient Latin but rather a 16th-century explanatory table that lists Ptolemy’s coordinates (\u003cem data-start=\"2104\" data-end=\"2127\"\u003eCittà, Deserti, Monti\u003c\/em\u003e) and includes numerical annotations for the longitude and latitude of principal cities such as Ozene, Palibothra, and Bactra. The Latin passage above is the corresponding original geographical description from \u003cem data-start=\"2346\" data-end=\"2380\"\u003ePtolemaei Geographiae Libri Octo\u003c\/em\u003e, which the Venetian editors paraphrased.\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56376135156095,"sku":"LR-ZIL-INDIA-1574","price":375.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/tabula-asiae-x-india-intra-gangem-from-ruscelli-after-ptolemy-venice-1574-2116230.jpg?v=1774013564"},{"product_id":"europe-rigobert-bonne-atlas-encyclopedique-paris-1787-1788","title":"Europe – Rigobert Bonne, Atlas Encyclopédique (Paris, 1787–1788)","description":"\u003ch4 data-start=\"152\" data-end=\"166\"\u003e\u003cstrong data-start=\"156\" data-end=\"166\"\u003eEurope\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp data-start=\"167\" data-end=\"377\"\u003e\u003cem data-start=\"167\" data-end=\"195\"\u003eRigobert Bonne (1727–1794)\u003c\/em\u003e\u003cbr data-start=\"195\" data-end=\"198\"\u003e\u003cem data-start=\"198\" data-end=\"204\"\u003eFrom\u003c\/em\u003e \u003cem data-start=\"205\" data-end=\"264\"\u003eAtlas Encyclopédique, contenant la géographie ancienne...\u003c\/em\u003e\u003cbr data-start=\"264\" data-end=\"267\"\u003e\u003cem data-start=\"267\" data-end=\"300\"\u003eParis: Hôtel de Thou, 1787–1788\u003c\/em\u003e\u003cbr data-start=\"300\" data-end=\"303\"\u003eCopperplate Engraving on Laid Paper\u003cbr data-start=\"342\" data-end=\"345\"\u003eApprox. 28cm x 39cm\u003c\/p\u003e\n\u003cp data-start=\"379\" data-end=\"726\"\u003eThis fine engraved map of Europe is from \u003cem data-start=\"424\" data-end=\"440\"\u003eRigobert Bonne\u003c\/em\u003e and \u003cem data-start=\"445\" data-end=\"466\"\u003eNicolas Desmarest’s\u003c\/em\u003e monumental \u003cem data-start=\"478\" data-end=\"658\"\u003eAtlas Encyclopédique, contenant la géographie ancienne, et quelques cartes sur la géographie du moyen âge, la géographie moderne, et les cartes relatives à la géographie physique\u003c\/em\u003e, published in Paris between 1787 and 1788 by \u003cem data-start=\"708\" data-end=\"723\"\u003eHôtel de Thou\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp data-start=\"728\" data-end=\"1114\"\u003eRigobert Bonne (1727–1794), one of the most important French cartographers of the late Enlightenment, served as Royal Hydrographer and Cartographer to the French Navy. His maps are celebrated for their precision, clarity, and restrained elegance—marking a shift away from the decorative flourishes of earlier Baroque mapmaking toward a more scientific and empirical geography.\u003c\/p\u003e\n\u003cp data-start=\"1116\" data-end=\"1567\"\u003eThe \u003cem data-start=\"1120\" data-end=\"1142\"\u003eAtlas Encyclopédique\u003c\/em\u003e represents one of the most ambitious mapping projects of the 18th century, integrating ancient, medieval, and modern geography into a single comprehensive visual reference. Bonne’s engraving of Europe here captures a pivotal moment in the continent’s cartographic and political understanding just before the French Revolution, delineating the old kingdoms and maritime boundaries of the late 1700s with exceptional accuracy.\u003c\/p\u003e\n\u003cp data-start=\"1569\" data-end=\"1782\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003eCondition:\u003c\/span\u003e\u003cbr data-start=\"1583\" data-end=\"1586\"\u003eVery good to excellent. Crisp impression with visible plate mark, wide margins, and light toning consistent with age. Minor faint offsetting in places, as expected for a fine 18th-century sheet.\u003c\/p\u003e\n\u003cp data-start=\"1784\" data-end=\"1886\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLiterature:\u003c\/span\u003e\u003cbr data-start=\"1799\" data-end=\"1802\"\u003eBonne, R. \u0026amp; Desmarest, N. \u003cem data-start=\"1828\" data-end=\"1850\"\u003eAtlas Encyclopédique\u003c\/em\u003e, Paris: Hôtel de Thou, 1787–1788.\u003c\/p\u003e\n\u003cp data-start=\"1893\" data-end=\"2192\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003eCollector’s Note:\u003c\/span\u003e\u003cbr data-start=\"1914\" data-end=\"1917\"\u003eBonne’s engravings remain among the most sought-after for their clean design and historical importance. Uncoloured impressions like this one—with full margins and original platemark—are increasingly scarce and highly desirable for collectors of Enlightenment-era cartography.\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56376343036287,"sku":"LR-BON-EUROPE-1787","price":135.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/europe-rigobert-bonne-atlas-encyclopedique-paris-17871788-6199108.jpg?v=1763486404"},{"product_id":"bonne-southern-hemisphere-atlas-encyclopedique-1787","title":"Latitude Sud. Hémisphère Occidental. – Rigobert Bonne, Atlas Encyclopédique (Paris, 1787–1788)","description":"\u003ch3 data-start=\"152\" data-end=\"166\"\u003eMonde Horizontal de latitude Sud. Hémisphère Occidental.\u003c\/h3\u003e\n\u003cp data-start=\"167\" data-end=\"377\"\u003e\u003cem data-start=\"167\" data-end=\"195\"\u003eRigobert Bonne (1727–1794)\u003c\/em\u003e\u003cbr data-start=\"195\" data-end=\"198\"\u003e\u003cem data-start=\"198\" data-end=\"204\"\u003eFrom\u003c\/em\u003e \u003cem data-start=\"205\" data-end=\"264\"\u003eAtlas Encyclopédique, contenant la géographie ancienne...\u003c\/em\u003e\u003cbr data-start=\"264\" data-end=\"267\"\u003e\u003cem data-start=\"267\" data-end=\"300\"\u003eParis: Hôtel de Thou, 1787–1788\u003c\/em\u003e\u003cbr data-start=\"300\" data-end=\"303\"\u003eCopperplate Engraving on Laid Paper\u003cbr data-start=\"342\" data-end=\"345\"\u003eApprox. 28cm x 39cm\u003c\/p\u003e\n\u003cp data-start=\"381\" data-end=\"648\"\u003eThe composition offers a sophisticated oblique projection oriented around 45° south latitude, depicting the Western Hemisphere from an uncommon southern viewpoint. It encompasses the Atlantic and Pacific Oceans, the Americas, and the South Pacific island chains, while two inset diagrams at upper and lower right illustrate the geometry of the Earth’s sphere and the projection method—reflecting Bonne’s deep concern with mathematical geography and Enlightenment precision.\u003c\/p\u003e\n\u003cp data-start=\"381\" data-end=\"648\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003eHow this map was made: \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"1338\" data-end=\"1614\"\u003eYour specific map is labelled \u003cem data-start=\"1368\" data-end=\"1413\"\u003e“sur un plan incliné à 45° de latitude sud”\u003c\/em\u003e — literally, “on a plane inclined to 45° south latitude.”\u003cbr data-start=\"1471\" data-end=\"1474\"\u003eThat means Bonne projected the Western Hemisphere onto a tilted mathematical plane, intersecting the globe along the parallel of 45°S.\u003c\/p\u003e\n\u003cul data-start=\"1616\" data-end=\"2094\"\u003e\n\u003cli data-start=\"1616\" data-end=\"1758\"\u003e\n\u003cp data-start=\"1618\" data-end=\"1758\"\u003eIt’s a horizontal or oblique stereographic projection, designed to represent the hemisphere as if viewed from above the South Pacific.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1759\" data-end=\"1866\"\u003e\n\u003cp data-start=\"1761\" data-end=\"1866\"\u003eThe circles of latitude and longitude were computed by trigonometric formulae — not drawn freehand.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1867\" data-end=\"2094\"\u003e\n\u003cp data-start=\"1869\" data-end=\"2094\"\u003eThe two small inset diagrams (top right and bottom right) demonstrate his geometric method: one shows the relationship between the sphere and the inclined plane, the other the \u003cem data-start=\"2045\" data-end=\"2063\"\u003e“Sphère oblique”\u003c\/em\u003e with the Earth’s axial tilt.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-start=\"2096\" data-end=\"2289\"\u003eThis projection was used to teach \u003cem data-start=\"2130\" data-end=\"2150\"\u003espherical geometry\u003c\/em\u003e and \u003cem data-start=\"2155\" data-end=\"2180\"\u003eastronomical navigation,\u003c\/em\u003e it’s not just a map, it’s an Enlightenment diagram of how the Earth itself can be mathematically modelled.\u003c\/p\u003e\n\u003cp data-start=\"728\" data-end=\"1114\"\u003eRigobert Bonne (1727–1794), one of the most important French cartographers of the late Enlightenment, served as Royal Hydrographer and Cartographer to the French Navy. His maps are celebrated for their precision, clarity, and restrained elegance marking a shift away from the decorative flourishes of earlier Baroque mapmaking toward a more scientific and empirical geography.\u003c\/p\u003e\n\u003cp data-start=\"1116\" data-end=\"1567\"\u003eThe \u003cem data-start=\"1120\" data-end=\"1142\"\u003eAtlas Encyclopédique\u003c\/em\u003e represents one of the most ambitious mapping projects of the 18th century, integrating ancient, medieval, and modern geography into a single comprehensive visual reference. Bonne’s engraving of Europe here captures a pivotal moment in the continent’s cartographic and political understanding just before the French Revolution, delineating the old kingdoms and maritime boundaries of the late 1700s with exceptional accuracy.\u003c\/p\u003e\n\u003cp data-start=\"1569\" data-end=\"1782\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003eCondition:\u003c\/span\u003e\u003cbr data-start=\"1583\" data-end=\"1586\"\u003eVery good to excellent. Crisp impression with visible plate mark, wide margins, and light toning consistent with age. Minor faint offsetting in places, as expected for a fine 18th-century sheet.\u003c\/p\u003e\n\u003cp data-start=\"1784\" data-end=\"1886\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLiterature:\u003c\/span\u003e\u003cbr data-start=\"1799\" data-end=\"1802\"\u003eBonne, R. \u0026amp; Desmarest, N. \u003cem data-start=\"1828\" data-end=\"1850\"\u003eAtlas Encyclopédique\u003c\/em\u003e, Paris: Hôtel de Thou, 1787–1788.\u003c\/p\u003e\n\u003cp data-start=\"1893\" data-end=\"2192\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003eCollector’s Note:\u003c\/span\u003e\u003cbr data-start=\"1914\" data-end=\"1917\"\u003eCollectors prize this plate not only for its beauty but also for its didactic purpose it bridges the decorative and the scientific, embodying the intellectual ambition of late-18th-century Parisian cartography. Uncoloured impressions like ours, with strong platemark, clean paper tone, and visible watermarking, are increasingly scarce. The map’s condition and projection make it particularly appealing to collectors of Enlightenment scientific illustration and early geographic visualization.\u003cbr\u003e\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56381493707135,"sku":"LR-BON-SHEMISPHERE-1787","price":140.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/latitude-sud-hemisphere-occidental-rigobert-bonne-atlas-encyclopedique-paris-17871788-5023818.jpg?v=1763486403"},{"product_id":"imperii-romani-pars-orientalis-rigobert-bonne","title":"Imperii Romani Distracta Pars Orientalis, by R. Bonne, c.1770","description":"\u003cp data-start=\"203\" data-end=\"824\"\u003eThis finely engraved map of the Eastern Roman Empire is by Rigobert Bonne, one of the most respected French hydrographers and cartographers of the eighteenth century. Issued around 1770 for an historical atlas, the plate presents the eastern provinces of the Roman world with striking clarity. The geography extends from Italy and the Balkans across Greece, Asia Minor, the Levant, Mesopotamia, the Caucasus, the Caspian region, and down into Egypt and Arabia. Coastlines, rivers, deserts, and ancient place names are rendered with the precision characteristic of Bonne’s scientific approach to cartography.\u003c\/p\u003e\n\u003cp data-start=\"826\" data-end=\"1314\"\u003eAt the centre of the composition sits the Mare Nigrum (Black Sea), with Constantinople shown prominently. The map clearly marks ancient divisions, historic cities, and Roman-era toponyms, offering a valuable visual record for anyone studying the eastern provinces as understood by Enlightenment scholars. The lower left title cartouche reads Imperii Romani Distracta, Pars Orientalis, a R. Bonne, Primario Hydrographo Navali, identifying Bonne in his role as Royal Hydrographer to France.\u003c\/p\u003e\n\u003cp data-start=\"1316\" data-end=\"1618\"\u003eBonne’s work is admired for its clarity and proportional accuracy. His maps were part of the shift away from baroque decorative flourishes toward cleaner, data-driven representations. This sheet is an excellent example of that transition, capturing both historical imagination and scientific precision.\u003c\/p\u003e\n\u003cp data-start=\"1620\" data-end=\"1688\"\u003e\u003cstrong\u003ePaper\u003c\/strong\u003e\u003cbr data-start=\"1625\" data-end=\"1628\"\u003eLaid paper with a strong plate impression and wide margins\u003c\/p\u003e\n\u003cp data-start=\"1690\" data-end=\"1786\"\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003cbr data-start=\"1699\" data-end=\"1702\"\u003eExcellent. Light age toning, faint handling marks, clean paper, no notable defects\u003c\/p\u003e\n\u003cp data-start=\"1788\" data-end=\"1876\"\u003eProvenance\u003cbr data-start=\"1798\" data-end=\"1801\"\u003eFrom a French Enlightenment historical atlas published circa 1770 to 1780\u003c\/p\u003e\n\u003cp data-start=\"1878\" data-end=\"2293\"\u003eScholarly note\u003cbr data-start=\"1892\" data-end=\"1895\"\u003eRigobert Bonne (1727–1794) produced some of the most influential maps of the late eighteenth century while serving as Royal Hydrographer. His historical series helped standardise the cartographic presentation of classical and ancient geography. Plates from this series are referenced in specialist catalogues documenting the evolution of historically themed maps in France during the Enlightenment.\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56391565902207,"sku":"LR-BON-ROMANEAST","price":135.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/imperii-romani-distracta-pars-orientalis-by-r-bonne-c1770-4683033.jpg?v=1763486401"},{"product_id":"pro-crisibus-morborum-et-aspectibus-planetarum-johann-zahn-nuremberg-1696","title":"Pro Crisibus Morborum et Aspectibus Planetarum, Johann Zahn, Nuremberg 1696","description":"\u003cp data-start=\"303\" data-end=\"799\"\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003cbr data-start=\"314\" data-end=\"317\"\u003eThis large and exceptional seventeenth-century engraving is from Johann Zahn’s Specula physico mathematico historica notabilium ac mirabilium sciendorum in qua mundi mirabilis oeconomia, published in Nuremberg in 1696 by Johann Christoph Lochner. Zahn’s monumental encyclopaedia is one of the most ambitious scientific works of the Baroque period, uniting astronomy, mathematics, meteorology, optics, medicine, natural philosophy, and cosmographical speculation into a single visual system.\u003c\/p\u003e\n\u003cp data-start=\"801\" data-end=\"1530\"\u003eThis plate presents the intricate relationship between planetary movements, zodiacal divisions, critical days, and the progression of illness. Physicians of the seventeenth century still relied on astronomical cycles to anticipate the turning points of disease, and diagrams such as this served as practical diagnostic instruments. The central disc arranges the zodiac around a structured sequence of geometric aspects, including oppositions, trines, squares, sextiles, and the intervals between critical days. Surrounding rings provide calibrated time divisions and planetary cycles. The flanking columns list detailed tables of planetary motion, enabling the user to cross-reference celestial activity with medical reasoning.\u003c\/p\u003e\n\u003cp data-start=\"1532\" data-end=\"2086\"\u003eFor collectors of early scientific illustration, the engraving represents a pivotal moment in the shift from medieval astrological medicine to observational science. Zahn’s work captures this transition with clarity and precision, documenting a world in which astronomy, mathematics, and medicine were still interdependent disciplines. For collectors of medical history, the plate is of particular interest as an authentic record of how early physicians understood crisis points, humoral shifts, and the influence of celestial forces on the human body.\u003c\/p\u003e\n\u003cp data-start=\"2088\" data-end=\"2477\"\u003eSpecula draws on multiple authorities: the celestial plates follow Hevelius, lunar and solar studies draw on the observations of Georg Christoph Eimmart, and several cosmographic elements reflect the influence of Athanasius Kircher. Zahn incorporated not only rigorous science but also broader natural-philosophical concerns, including imaginative theories about hidden forces in nature.\u003c\/p\u003e\n\u003cp data-start=\"2479\" data-end=\"2838\"\u003eJohann Zahn (1641–1707) was a German philosopher, scientist, mathematician, and cartographer. His work Oculus Artificialis made a profound contribution to the early development of camera design and pre-photographic optical theory. He was a prolific illustrator whose engravings remain highly valued for their technical sophistication and intellectual depth.\u003c\/p\u003e\n\u003cp data-start=\"2840\" data-end=\"3424\"\u003e\u003cstrong\u003eRarity note\u003c\/strong\u003e\u003cbr data-start=\"2851\" data-end=\"2854\"\u003ePlates of this complexity from the 1696 Specula are increasingly scarce in clean condition. Many copies were damaged at the fold, trimmed by binders, or darkened through heavy handling. Medical astronomical plates, such as this example, appear far less frequently than Zahn’s cosmographic or optical diagrams and attract specialised collectors. Crisp impressions with complete architectural borders, intact numerical scales, and minimal fold wear are considered rare. This sheet, with its wide margins and strong printing, stands among higher-grade surviving examples.\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"3583\" data-end=\"3754\"\u003e\u003cstrong\u003eCondition report\u003c\/strong\u003e\u003cbr data-start=\"3599\" data-end=\"3602\"\u003eVery good condition overall. A binding crease to the left of the fold where the plate did not fully take ink. Minor imperfections consistent with age.\u003c\/p\u003e\n\u003cp data-start=\"3756\" data-end=\"3877\"\u003e\u003cstrong\u003eLiterature\u003c\/strong\u003e\u003cbr data-start=\"3766\" data-end=\"3769\"\u003eSpecula physico mathematico historica notabilium ac mirabilium sciendorum in qua mundi mirabilis oeconomia\u003c\/p\u003e\n\u003cp data-start=\"3426\" data-end=\"3497\"\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003cbr data-start=\"3436\" data-end=\"3439\"\u003eApproximately 46cm wide x 40cm tall, fold-out plate\u003c\/p\u003e\n\u003cp data-start=\"3499\" data-end=\"3530\"\u003e\u003cstrong\u003eArtist or maker\u003c\/strong\u003e\u003cbr data-start=\"3514\" data-end=\"3517\"\u003eJohann Zahn\u003c\/p\u003e\n\u003cp data-start=\"3532\" data-end=\"3566\"\u003e\u003cstrong\u003eMedium\u003c\/strong\u003e\u003cbr data-start=\"3538\" data-end=\"3541\"\u003eEngraving on laid paper\u003c\/p\u003e\n\u003cp data-start=\"3568\" data-end=\"3581\"\u003e\u003cstrong\u003eDate\u003c\/strong\u003e\u003cbr data-start=\"3572\" data-end=\"3575\"\u003e1696\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56391738229119,"sku":"LR-ZAHN-CRISIBUS-1696","price":495.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/pro-crisibus-morborum-et-aspectibus-planetarum-johann-zahn-nuremberg-1696-6452977.jpg?v=1763486402"},{"product_id":"pair-of-early-science-magnetism-engravings-by-athanasius-kircher-c1641","title":"Pair of early science Magnetism Engravings by Athanasius Kircher, c1641","description":"\u003cp data-start=\"808\" data-end=\"1140\"\u003eA rare matched pair of original 1641 copperplate engravings from Athanasius Kircher’s landmark scientific work \u003cem data-start=\"921\" data-end=\"952\"\u003eMagnes sive de Arte Magnetica\u003c\/em\u003e. Published in Rome by Vitale Mascardi, this first-edition suite illustrates Kircher’s experimental devices for understanding magnetism, terrestrial forces, and long-distance signalling.\u003c\/p\u003e\n\u003cp data-start=\"1142\" data-end=\"1596\"\u003eThe first plate (fol. 366) presents Kircher’s magnetic \u003cem data-start=\"1197\" data-end=\"1212\"\u003etelemoscopium\u003c\/em\u003e — an ingenious instrument that converts magnetic motion into visible information at a distance. A suspended magnetic sphere, precision gears and a large directional dial demonstrate how invisible forces can transmit signals between locations. The figures pointing toward a distant ship highlight Kircher’s fascination with navigation and communication, centuries ahead of telegraphy.\u003c\/p\u003e\n\u003cp data-start=\"1598\" data-end=\"2058\"\u003eThe second plate (fol. 373) features an extraordinary arrangement of magnetic globes surrounding an obelisk inscribed \u003cem data-start=\"1716\" data-end=\"1740\"\u003eArs a Natura Composita\u003c\/em\u003e (“Art composed from Nature”). Each globe displays differing magnetic pathways and orientations, reflecting Kircher’s early attempt to map global magnetism and understand Earth’s internal structure. Beneath the table rests his \u003cem data-start=\"1967\" data-end=\"1991\"\u003eDirectorium Magneticum\u003c\/em\u003e, a system for organising compass behaviour across the known world.\u003c\/p\u003e\n\u003cp data-start=\"2060\" data-end=\"2386\"\u003eKircher (1602–1680), the Jesuit polymath, was one of the 17th century’s most inventive minds. His \u003cem data-start=\"2158\" data-end=\"2166\"\u003eMagnes\u003c\/em\u003e shaped early physics, natural philosophy and instrumentation. Complete examples of these plates are increasingly scarce, and matched pairs from the first edition are especially desirable for collectors of early science.\u003c\/p\u003e\n\u003cp data-start=\"2388\" data-end=\"2789\"\u003e\u003cstrong data-start=\"2388\" data-end=\"2401\"\u003eCondition\u003c\/strong\u003e: Excellent for age. Crisp plate lines, light age toning, minimal foxing. No tears or losses.\u003cbr data-start=\"2494\" data-end=\"2497\"\u003e\u003cstrong data-start=\"2497\" data-end=\"2512\"\u003ePublication\u003c\/strong\u003e: \u003cem data-start=\"2514\" data-end=\"2545\"\u003eMagnes sive de Arte Magnetica\u003c\/em\u003e, Rome, 1641.\u003cbr data-start=\"2558\" data-end=\"2561\"\u003e\u003cstrong data-start=\"2561\" data-end=\"2571\"\u003eMedium\u003c\/strong\u003e: Original copperplate engravings on laid paper.\u003cbr data-start=\"2619\" data-end=\"2622\"\u003e\u003cstrong data-start=\"2622\" data-end=\"2636\"\u003eDimensions\u003c\/strong\u003e: Full page approx. (you can add exact cm when measured).\u003cbr data-start=\"2693\" data-end=\"2696\"\u003e\u003cstrong data-start=\"2696\" data-end=\"2706\"\u003eRarity\u003c\/strong\u003e: High — first-edition Kircher scientific plates seldom appear loose on the market.\u003c\/p\u003e\n\u003cp data-start=\"2791\" data-end=\"2896\"\u003eA striking pair for collectors of early physics, magnetism, Jesuit science, or museum-grade wall display.\u003c\/p\u003e\n\u003cp data-start=\"368\" data-end=\"547\"\u003e\u003cstrong data-start=\"368\" data-end=\"389\"\u003eAlt Text Image 1:\u003c\/strong\u003e\u003cbr data-start=\"389\" data-end=\"392\"\u003e“1641 engraving by Athanasius Kircher showing early magnetism telemoscope device, magnetic sphere, gears, compass dial and figures observing from doorway.”\u003c\/p\u003e\n\u003cp data-start=\"549\" data-end=\"733\"\u003e\u003cstrong data-start=\"549\" data-end=\"570\"\u003eAlt Text Image 2:\u003c\/strong\u003e\u003cbr data-start=\"570\" data-end=\"573\"\u003e“1641 engraving by Athanasius Kircher depicting multiple magnetic globes, obelisk inscribed Ars a Natura Composita, and early magnetic orientation instruments.”\u003c\/p\u003e\n\u003cp data-start=\"549\" data-end=\"733\"\u003e \u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56391905444223,"sku":"LR-KIR-MAGNES-1641-SET2","price":485.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/pair-of-early-science-magnetism-engravings-by-athanasius-kircher-c1641-8622353.jpg?v=1763486405"},{"product_id":"henri-de-toulouse-lautrec-histoires-naturelles-le-taureau-1899-copy","title":"Henri de Toulouse-Lautrec — Histoires naturelles: Le Chien (1899)","description":"\u003ch3 data-start=\"365\" data-end=\"383\"\u003e\u003cstrong data-start=\"369\" data-end=\"381\"\u003eLe Chien\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"384\" data-end=\"639\"\u003e\u003cem data-start=\"384\" data-end=\"425\"\u003eHenri de Toulouse-Lautrec (1864 – 1901)\u003c\/em\u003e\u003cbr data-start=\"425\" data-end=\"428\"\u003eafter \u003cem data-start=\"434\" data-end=\"463\"\u003eJules Renard (1864 – 1910),\u003c\/em\u003e \u003cem data-start=\"464\" data-end=\"486\"\u003eHistoires naturelles\u003c\/em\u003e, Paris, H. Floury, 1899\u003cbr data-start=\"510\" data-end=\"513\"\u003e\u003cstrong data-start=\"513\" data-end=\"524\"\u003eMedium:\u003c\/strong\u003e Original lithograph on fine wove paper, from the limited edition of 100\u003cbr data-start=\"596\" data-end=\"599\"\u003e\u003cstrong data-start=\"599\" data-end=\"614\"\u003ePlate size:\u003c\/strong\u003e approx. 22.9 × 31.8 cm\u003c\/p\u003e\n\u003cp data-start=\"384\" data-end=\"639\"\u003e\u003cstrong data-start=\"448\" data-end=\"460\"\u003eEdition:\u003c\/strong\u003e Limited to 100 copies, numbered 49\u003cstrong\u003e*\u003c\/strong\u003e (from the 1899 H. Floury edition)\u003cbr data-start=\"633\" data-end=\"636\"\u003e\u003cstrong data-start=\"636\" data-end=\"645\"\u003eMark:\u003c\/strong\u003e Stamped with Lautrec’s circular “TL” atelier monogram (Upper margin)\u003cbr data-start=\"714\" data-end=\"717\"\u003e\u003cstrong data-start=\"717\" data-end=\"731\"\u003eCondition:\u003c\/strong\u003e Excellent; broad margins, very light age tone, no repairs.\u003cstrong data-start=\"369\" data-end=\"381\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"677\" data-end=\"1046\"\u003eIn \u003cem data-start=\"680\" data-end=\"690\"\u003eLe Chien\u003c\/em\u003e, Toulouse-Lautrec captures one of Renard’s most understated animal portraits: a seated dog, patient, tethered, yet somehow dignified in its restraint. The sparse composition just a few faint pencil-like strokes reveals Lautrec’s mastery of economy. Every line breathes character; the dog’s pose, turned slightly away, evokes both loyalty and loneliness.\u003c\/p\u003e\n\u003cp data-start=\"300\" data-end=\"366\"\u003eTranslation of Le Chien\u003cbr data-start=\"323\" data-end=\"326\"\u003eJules Renard, Histoires naturelles, 1899\u003c\/p\u003e\n\u003cp data-start=\"368\" data-end=\"735\"\u003eWe cannot put Pointu outside at this time of year, and the sharp wind under the door forces him to leave even his mat. He prefers to crawl toward his warm spot. But we lean forward, tight together, elbows over the fire, and I give Pointu a slap as soon as he touches my foot. Father pushes him away with his foot. Mama scolds him. My sister offers him an empty glass.\u003c\/p\u003e\n\u003cp data-start=\"737\" data-end=\"792\"\u003ePointu sneezes and goes to the kitchen if we are there.\u003c\/p\u003e\n\u003cp data-start=\"794\" data-end=\"917\"\u003eThen he comes back, circles around us, risking being strangled around the knees, and here he is in a corner of the chimney.\u003c\/p\u003e\n\u003cp data-start=\"919\" data-end=\"1147\"\u003eAfter turning in place for a long time, he sits near the fire and no longer moves. He looks at his masters with one eye as soft as an oil lamp. Only the near side of his muzzle is red, and the scattered embers burn his backside.\u003c\/p\u003e\n\u003cp data-start=\"1149\" data-end=\"1229\"\u003eYet he stays, all the same.\u003cbr data-start=\"1176\" data-end=\"1179\"\u003eWe make room for him:\u003cbr data-start=\"1200\" data-end=\"1203\"\u003eCome then, are you stupid?\u003c\/p\u003e\n\u003cp data-start=\"1231\" data-end=\"1401\"\u003eBut he persists. At the hour when dogs’ teeth fall out from the cold, Pointu, warmed, polished, with cooked tears, tries not to howl, and he opens his eyes full of tears.\u003c\/p\u003e\n\u003chr data-start=\"1403\" data-end=\"1439\"\u003e\n\u003cp data-start=\"1441\" data-end=\"1502\"\u003eScholarly commentary on Le Chien\u003cbr data-start=\"1473\" data-end=\"1476\"\u003ePrepared for catalogue use\u003c\/p\u003e\n\u003cp data-start=\"1504\" data-end=\"1914\"\u003eLe Chien is one of the most nuanced and quietly unsettling texts in Jules Renard’s Histoires naturelles. Unlike the shorter, aphoristic vignettes later reused in anthologies, the 1899 Toulouse-Lautrec edition preserves the full psychological miniature. It is an early, pointed example of Renard’s compressed realism, where domestic scenes become moral tableaux and animals reveal the failures of human empathy.\u003c\/p\u003e\n\u003cp data-start=\"1916\" data-end=\"2518\"\u003ePointu, the dog, functions as both character and mirror. Renard avoids sentimentalisation. Pointu is physically compromised, old, arthritic, half-blind, and pushed from one uncomfortable place to another. The family’s reactions are revealing. They are not cruel by intent, merely absorbed in their own warmth, their own minor discomforts, and their own social rituals. The dog becomes the displaced figure in a crowded bourgeois hearth. This dynamic, sketched with dry restraint, is central to Renard’s worldview: the small violences of ordinary life, the indifference hidden inside polite domesticity.\u003c\/p\u003e\n\u003cp data-start=\"2520\" data-end=\"3003\"\u003eThe language is clinical yet compassionate. Renard’s verbs are anatomical: to circle, to press, to slide, to seize. The dog’s body is treated as a set of physical facts rather than an object of affection. The key image, Pointu warming only one side of his face until the embers scorch his rear, encapsulates Renard’s irony. The dog’s desire for warmth becomes a form of self-harm, a metaphor for creatures who endure discomfort simply because belonging is more important than safety.\u003c\/p\u003e\n\u003cp data-start=\"3005\" data-end=\"3245\"\u003eToulouse-Lautrec’s illustration reinforces this double meaning. His line is spare, almost emaciated, mirroring the dog’s vulnerability. The visual economy mirrors the emotional economy of the text: tenderness expressed only through absence.\u003c\/p\u003e\n\u003cp data-start=\"3247\" data-end=\"3706\"\u003eLe Chien thus stands as one of the more psychologically complex entries in Histoires naturelles. The story exemplifies the blend of humour, cruelty, and compassion that makes Renard an innovator of modern prose-poetry, and it shows why Lautrec’s illustrations, with their unsentimental observational style, remain canonical. This pairing is a hallmark of the 1899 edition, where text and image together produce a tone that is both unadorned and deeply humane.\u003c\/p\u003e\n\u003cp data-start=\"1371\" data-end=\"1627\"\u003eCreated in 1899, during Lautrec’s period of convalescence, \u003cem data-start=\"1430\" data-end=\"1440\"\u003eLe Chien\u003c\/em\u003e is often read as a self-portrait in disguise: the artist’s own fidelity to art rendered in the guise of a weary companion. Its poignancy lies in that duality—devotion mixed with fatigue.\u003c\/p\u003e\n\u003cp data-start=\"1371\" data-end=\"1627\"\u003e\u003cstrong data-start=\"1639\" data-end=\"1666\"\u003eRarity and Significance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1668\" data-end=\"1944\"\u003eAs with all plates from \u003cem data-start=\"1692\" data-end=\"1714\"\u003eHistoires naturelles\u003c\/em\u003e, only \u003cstrong data-start=\"1721\" data-end=\"1735\"\u003e100 copies\u003c\/strong\u003e were printed by H. Floury. The suite stands as one of the final major works completed before Lautrec’s death in 1901 and remains among the most refined examples of late-nineteenth-century book illustration.\u003c\/p\u003e\n\u003cp data-start=\"1946\" data-end=\"2267\"\u003eWhile \u003cem data-start=\"1952\" data-end=\"1964\"\u003eLe Taureau\u003c\/em\u003e embodies physical power, \u003cem data-start=\"1990\" data-end=\"2000\"\u003eLe Chien\u003c\/em\u003e conveys psychological depth and emotional subtlety—qualities that have made it especially prized by collectors seeking Lautrec’s more introspective side. Surviving examples with the full margins and text leaf intact are scarce, often absorbed into museum holdings.\u003c\/p\u003e\n\u003ch4 data-start=\"2274\" data-end=\"2312\"\u003e\u003cstrong data-start=\"2279\" data-end=\"2312\"\u003eMarket and Valuation Analysis\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp data-start=\"2314\" data-end=\"2575\"\u003e\u003cem data-start=\"2358\" data-end=\"2368\"\u003eLe Chien\u003c\/em\u003e appeals because of its tenderness and universal theme of loyalty. Its visual quietness also makes it ideal for collectors seeking a refined, minimal composition suitable for display.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAuthenticity Note: \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMany “Toulouse-Lautrec” lithographs seen online are 20th-century restrikes or reproductions printed decades after the artist’s death (often around 1950–1980) and marked \u003cem data-start=\"412\" data-end=\"429\"\u003e“in plate – TL”\u003c\/em\u003e or \u003cem data-start=\"433\" data-end=\"451\"\u003e“after Lautrec.” \u003c\/em\u003eThis work is from the original 1899 H. Floury edition of 100, drawn on stone and bearing Lautrec’s authentic studio \u003cem data-start=\"574\" data-end=\"578\"\u003eTL\u003c\/em\u003e monogram stamp. It is fully documented in the Wittrock Catalogue Raisonné and represents a genuine 19th-century impression, not a later reproduction.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*\u003c\/strong\u003e(In this listing you can see an image of the Cover and Edition copy which was provided to us by the vendor. We will include a high res print of these pages for your records to accompany the original document, we will also endeavour to issue a copy of the text page that would have accompanied Le Chien.)\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56392386707839,"sku":"LR-TL-CHIEN-1899","price":2595.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/henri-de-toulouse-lautrec-histoires-naturelles-le-chien-1899-4690361.jpg?v=1763486407"},{"product_id":"french-butterflies-buffon-histoire-naturelle-des-insectes-1765-1785","title":"French Butterflies Buffon, Histoire naturelle des insectes - 1765–1785","description":"\u003cp data-start=\"270\" data-end=\"616\"\u003eA matched pair of original 18th-century French butterfly engravings from Buffon’s monumental natural history project. These plates depict a selection of European and exotic butterflies, shown with wings spread to illustrate both pattern and structure, and arranged in the elegant, balanced compositions characteristic of the period.\u003c\/p\u003e\n\u003cp data-start=\"618\" data-end=\"995\"\u003ePrinted from copper plates and finished by hand with original watercolour, these works predate modern entomological classification and use vernacular French names rather than Linnaean binomials. The soft palette, fine line work, and gold double-rule borders are hallmarks of Buffon’s Paris editions and make these plates especially decorative as well as historically important.\u003c\/p\u003e\n\u003cp data-start=\"997\" data-end=\"1198\"\u003eWorks such as these were intended for learned collectors and cabinets of curiosity, and survive today as some of the most recognisable and desirable natural history engravings of the Enlightenment era.\u003c\/p\u003e\n\u003cp data-start=\"1200\" data-end=\"1524\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eDetails\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-start=\"1207\" data-end=\"1210\"\u003eOrigin Paris\u003cbr data-start=\"1222\" data-end=\"1225\"\u003ePublication Buffon, Histoire naturelle des insectes\u003cbr data-start=\"1276\" data-end=\"1279\"\u003eDate circa 1765–1785\u003cbr data-start=\"1299\" data-end=\"1302\"\u003eMedium hand-coloured copper engraving on laid paper\u003cbr data-start=\"1353\" data-end=\"1356\"\u003eCondition original antique condition with light age toning and minor edge wear consistent with age. Colouring strong and original.\u003cbr data-start=\"1486\" data-end=\"1489\"\u003eQuantity two plates, sold as a pair\u003c\/p\u003e\n\u003cp data-start=\"1200\" data-end=\"1524\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003ePlate title: Papillons à queue\u003c\/span\u003e\u003cbr data-start=\"150\" data-end=\"153\"\u003eEnglish: Tailed butterflies\u003cbr data-start=\"180\" data-end=\"183\"\u003ePlate number: Plate 72\u003cbr data-start=\"205\" data-end=\"208\"\u003eNotes: This plate groups several swallowtail-type butterflies shown dorsal and ventral. The long tails and banded wings are the defining feature referenced in the title.\u003c\/p\u003e\n\u003cp data-start=\"1200\" data-end=\"1524\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003ePlate title: La Diane et La Palatine\u003c\/span\u003e\u003cbr data-start=\"430\" data-end=\"433\"\u003eEnglish: The Diana and the Palatine\u003cbr data-start=\"468\" data-end=\"471\"\u003ePlate number: Plate 10\u003cbr data-start=\"493\" data-end=\"496\"\u003eNotes: This plate illustrates two named butterflies, shown with wings fully spread. “La Diane” and “La Palatine” are vernacular French names used in the Buffon period rather than Linnaean taxonomy.\u003c\/p\u003e\n\u003cp data-start=\"695\" data-end=\"908\"\u003eBoth plates originate from \u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eHistoire naturelle des insectes\u003c\/span\u003e\u003c\/span\u003e, Paris, second half of the 18th century, and the numbering style and typography match the original Buffon-era engravings rather than later reissues.\u003c\/p\u003e\n\u003cp data-start=\"1200\" data-end=\"1524\"\u003e\u003cstrong\u003eShipping and authenticity\u003c\/strong\u003e\u003cbr data-start=\"2044\" data-end=\"2047\"\u003eGuaranteed original 18th-century engravings. Not later reproductions. Shipped flat, fully insured, and professionally packed.\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":56669390209407,"sku":"LR-BUF-BUTTERFLY-1765-SET2","price":225.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/french-butterflies-buffon-histoire-naturelle-des-insectes-17651785-3728753.jpg?v=1767488712"},{"product_id":"bertuch-marine-engravings-set-octopus-jellyfish-shell","title":"Bertuch Marine Life Engravings Set (1792–1810) Hand-Coloured Octopus, Jellyfish \u0026 Shell Plates","description":"\u003cp data-start=\"680\" data-end=\"855\"\u003eA rare and visually striking set of three original hand-coloured engravings from Friedrich Justin Bertuch’s \u003cem data-start=\"216\" data-end=\"239\"\u003eBilderbuch für Kinder\u003c\/em\u003e, published in Weimar between 1792 and 1810. Originally issued as separate engraved plates and later bound into volumes, their survival as individual prints reflects both their method of production and long-standing collecting practice, where such works are valued and presented independently.\u003c\/p\u003e\n\u003cp data-start=\"857\" data-end=\"1231\"\u003eThis curated group brings together three complementary studies of marine life: a dynamic cephalopod plate (octopus and squid forms), a delicate jellyfish study, and a shell composition. When viewed together, the set captures the full range of late 18th-century natural history illustration, from structural precision to early attempts at depicting movement and translucency.\u003c\/p\u003e\n\u003cp data-start=\"1233\" data-end=\"1598\"\u003eThe cephalopod plate is the strongest visually, with its symmetrical compositions and distinctive red-accented eyes giving it an almost ornamental quality. The jellyfish engraving offers a softer, more minimal aesthetic, while the shell plate provides balance through detailed surface texture and form. Together, they form a cohesive and highly decorative grouping.\u003c\/p\u003e\n\u003cp data-start=\"1600\" data-end=\"1959\"\u003eProduced under the direction of Melchior Kraus and Johann Heinrich Lips, and engraved by a team of accomplished artists, Bertuch’s work represents one of the earliest large-scale attempts to visualise knowledge for a broad audience. With over 1,100 plates, the \u003cem data-start=\"1861\" data-end=\"1884\"\u003eBilderbuch für Kinder\u003c\/em\u003e stands as a landmark in the development of modern illustrated non-fiction.\u003c\/p\u003e\n\u003cp data-start=\"1961\" data-end=\"2089\"\u003eThis set is particularly well suited to framing as a trio and works equally well in both traditional and contemporary interiors.\u003c\/p\u003e\n\u003cp data-start=\"2107\" data-end=\"2154\"\u003eArtist\u003cbr data-start=\"2113\" data-end=\"2116\"\u003eFriedrich Justin Bertuch (1747–1822)\u003c\/p\u003e\n\u003cp data-start=\"2156\" data-end=\"2207\"\u003eTitle\u003cbr data-start=\"2161\" data-end=\"2164\"\u003eMarine Life Studies (Set of Three Plates)\u003c\/p\u003e\n\u003cp data-start=\"2209\" data-end=\"2227\"\u003eDate\u003cbr data-start=\"2213\" data-end=\"2216\"\u003e1792–1810\u003c\/p\u003e\n\u003cp data-start=\"2229\" data-end=\"2264\"\u003eMedium\u003cbr data-start=\"2235\" data-end=\"2238\"\u003eHand-coloured engravings\u003c\/p\u003e\n\u003cp data-start=\"2266\" data-end=\"2363\"\u003eDimensions\u003cbr data-start=\"2276\" data-end=\"2279\"\u003eSheet: approx. 20.3 × 24.1 cm (8 × 9½ in) each\u003cbr data-start=\"2325\" data-end=\"2328\"\u003eImage: variable within plate mark\u003c\/p\u003e\n\u003cp data-start=\"2365\" data-end=\"2391\"\u003eOrigin\u003cbr data-start=\"2371\" data-end=\"2374\"\u003eWeimar, Germany\u003c\/p\u003e\n\u003cp data-start=\"2393\" data-end=\"2596\"\u003eCondition\u003cbr data-start=\"2402\" data-end=\"2405\"\u003eVery good overall. Light age toning, occasional minor spotting and edge wear consistent with late 18th-century paper. Colours remain strong and well preserved. Please review images carefully.\u003c\/p\u003e\n\u003cp data-start=\"4518\" data-end=\"4769\"\u003e \u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":57167180169599,"sku":"LR-BER-MARINE-1800-SET3","price":285.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/bertuch-marine-life-engravings-set-1792-1810-hand-coloured-octopus-jellyfish-shell-plates-5152503.jpg?v=1774064836"},{"product_id":"mercator-russia-map-1634-hondius","title":"Mercator–Hondius Map of Russia 1634","description":"\u003cp data-start=\"402\" data-end=\"412\"\u003eA rare and historically significant 17th-century map of Russia and surrounding regions, drawn from the Mercator–Hondius atlas tradition and published in the 1634 Dutch edition of \u003cem data-start=\"593\" data-end=\"641\"\u003eAtlas ofte Afbeeldinghe vande gantsche weerldt\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp data-start=\"646\" data-end=\"903\"\u003eThis work represents one of the earliest systematic European attempts to map Muscovy and the vast territories of Eastern Europe and Asia, combining Mercator’s original geographic framework with the refined engraving and commercial reach of Henricus Hondius.\u003c\/p\u003e\n\u003chr data-start=\"905\" data-end=\"908\"\u003e\n\u003cp data-start=\"910\" data-end=\"923\"\u003eKey Details\u003c\/p\u003e\n\u003cp data-start=\"925\" data-end=\"1221\"\u003eTitle: Russia cum confinijs\u003cbr data-start=\"952\" data-end=\"955\"\u003eCartographer: Gerard Mercator (1512–1594)\u003cbr data-start=\"996\" data-end=\"999\"\u003ePublisher: Henricus Hondius (1597–1651)\u003cbr data-start=\"1038\" data-end=\"1041\"\u003eDate: 1634\u003cbr data-start=\"1051\" data-end=\"1054\"\u003eOrigin: Amsterdam\u003cbr data-start=\"1071\" data-end=\"1074\"\u003eMedium: Hand-coloured copperplate engraving\u003cbr data-start=\"1117\" data-end=\"1120\"\u003eFormat: Original atlas folio, centre fold as issued\u003cbr data-start=\"1171\" data-end=\"1174\"\u003eDimensions: approx. 18.5 × 21 inches (fold-out)\u003c\/p\u003e\n\u003chr data-start=\"1223\" data-end=\"1226\"\u003e\n\u003cp data-start=\"1228\" data-end=\"1244\"\u003eScholarly Note\u003c\/p\u003e\n\u003cp data-start=\"1246\" data-end=\"1570\"\u003eThis map belongs to the first generation of true atlases, a term introduced by Mercator himself. Unlike many contemporary mapmakers who compiled existing material, Mercator’s approach was rooted in original geographic synthesis. Hondius later republished and expanded these works, bringing them to a wider European audience.\u003c\/p\u003e\n\u003cp data-start=\"1572\" data-end=\"1917\"\u003eThe present map captures a transitional understanding of Eurasia. “Moscovia” is shown as the dominant political identity, while vast eastern regions remain labelled as “Tartaria,” reflecting the limits of Western geographic knowledge at the time. River systems are emphasised, underscoring their importance in early trade and exploration routes.\u003c\/p\u003e\n\u003cp data-start=\"1919\" data-end=\"2069\"\u003eThe inclusion of a regional inset further distinguishes this plate, providing enhanced detail and demonstrating editorial refinement within the atlas.\u003c\/p\u003e\n\u003chr data-start=\"2071\" data-end=\"2074\"\u003e\n\u003cp data-start=\"2076\" data-end=\"2087\"\u003eCondition\u003c\/p\u003e\n\u003cp data-start=\"2089\" data-end=\"2311\"\u003eGood overall condition for a 17th-century atlas map.\u003cbr data-start=\"2141\" data-end=\"2144\"\u003eExpected centre fold.\u003cbr data-start=\"2165\" data-end=\"2168\"\u003eLight age toning and occasional foxing.\u003cbr data-start=\"2207\" data-end=\"2210\"\u003eMinor signs of handling consistent with a fold-out plate.\u003cbr data-start=\"2267\" data-end=\"2270\"\u003eColours remain strong and well preserved.\u003c\/p\u003e\n\u003cp data-start=\"2313\" data-end=\"2344\"\u003ePlease review images carefully.\u003c\/p\u003e\n\u003chr data-start=\"2346\" data-end=\"2349\"\u003e\n\u003cp data-start=\"2351\" data-end=\"2363\"\u003eProvenance\u003c\/p\u003e\n\u003cp data-start=\"2365\" data-end=\"2559\"\u003eFrom the 1634 Dutch edition of Mercator’s atlas, published by Henricus Hondius in Amsterdam.\u003cbr data-start=\"2457\" data-end=\"2460\"\u003eThis edition represents one of the earliest and most influential printed atlases of the modern era.\u003c\/p\u003e\n\u003chr data-start=\"2561\" data-end=\"2564\"\u003e\n\u003cp data-start=\"2566\" data-end=\"2589\"\u003eCollector Positioning\u003c\/p\u003e\n\u003cp data-start=\"2591\" data-end=\"2793\"\u003eThis is not a decorative reproduction or later derivative. It is a foundational cartographic work from the Mercator–Hondius lineage, widely regarded as one of the cornerstones of early modern mapmaking.\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":57168477880703,"sku":"LR-MH-RUSSIA-1634","price":995.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/mercator-hondius-map-of-russia-1634-1387683.jpg?v=1774064836"},{"product_id":"jacques-louis-engramelle-skipper-copper-butterflies-c1779-1792","title":"Jacques Louis Engramelle, Skipper and Copper Butterflies (Lycaenidae \u0026 Hesperiidae), c.1779-1792","description":"\u003ch3 data-start=\"139\" data-end=\"206\"\u003e\u003cstrong data-start=\"143\" data-end=\"204\"\u003eSkipper and Copper Butterflies (Lycaenidae \u0026amp; Hesperiidae)\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"207\" data-end=\"548\"\u003e\u003cem data-start=\"207\" data-end=\"250\"\u003eVarious species including Lycaena phlaeas\u003c\/em\u003e and \u003cem data-start=\"255\" data-end=\"271\"\u003eHesperia comma\u003c\/em\u003e\u003cbr data-start=\"271\" data-end=\"274\"\u003e\u003cstrong data-start=\"274\" data-end=\"302\"\u003eJacques Louis Engramelle\u003c\/strong\u003e, \u003cem data-start=\"304\" data-end=\"324\"\u003ePapillons d’Europe\u003c\/em\u003e, Paris, 1779 to 1792\u003cbr data-start=\"345\" data-end=\"348\"\u003eOriginally hand colored copperplate engraving on chain linked, watermarked laid paper\u003cbr data-start=\"433\" data-end=\"436\"\u003eIllustrated by Poirier, engraved by J. J. Juillet\u003cbr data-start=\"485\" data-end=\"488\"\u003e\u003cstrong data-start=\"488\" data-end=\"503\"\u003ePaper size:\u003c\/strong\u003e approximately 11 ¾ × 9 inches (30 × 23 cm)\u003c\/p\u003e\n\u003cp data-start=\"550\" data-end=\"958\"\u003eThis finely detailed eighteenth century engraving from \u003cem data-start=\"605\" data-end=\"625\"\u003ePapillons d’Europe\u003c\/em\u003e features several species of small butterflies from the Lycaenidae and Hesperiidae families, commonly known as coppers and skippers. Their rich orange and tawny wings, spotted underwings, and slender antennae are rendered with exquisite precision, reflecting the Enlightenment’s fascination with the diversity of the natural world.\u003c\/p\u003e\n\u003cp data-start=\"883\" data-end=\"1226\"\u003eEngramelle’s \u003cem data-start=\"896\" data-end=\"916\"\u003ePapillons d’Europe\u003c\/em\u003e was among the grandest natural history works of the Enlightenment, issued in only 250 hand colored copies. It was created under royal patronage and subscribed to by Louis XVI, Marie Antoinette, and Buffon. Early impressions on chain linked paper with fresh color and full plate marks are now extremely rare.\u003c\/p\u003e\n\u003cp data-start=\"1228\" data-end=\"1414\"\u003ePlate condition: Very good to excellent overall with only light age marks.\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":57413081268607,"sku":"LR-ENG-SKIPPER-1779","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/jacques-louis-engramelle-skipper-and-copper-butterflies-lycaenidae-hesperiidae-c1779-to-1792-copy-3267977.jpg?v=1763486401"},{"product_id":"francisco-de-goya-ensayos-plate-60-los-caprichos-c1900","title":"Francisco de Goya y Lucientes - Ensayos (Trials) - Plate 60 - c1900","description":"\u003cp data-end=\"540\" data-start=\"345\"\u003e\u003cem data-end=\"459\" data-start=\"441\"\u003e\u003cstrong\u003eEnsayos\u003c\/strong\u003e \u003c\/em\u003e\u003cbr data-end=\"365\" data-start=\"362\"\u003eAuthentic Calcografía Nacional impression of Goya’s \u003cem data-end=\"459\" data-start=\"441\"\u003eEnsayos (Trials)\u003c\/em\u003e, a haunting satire of superstition and cruelty. Etching c. 1878–1900.\u003cbr data-end=\"436\" data-start=\"433\"\u003eEtching, aquatint, drypoint, and burin\u003cbr data-end=\"477\" data-start=\"474\"\u003ePosthumous Calcografía Nacional edition, Madrid, c. 1878–1900 - from Goya’s original copper plate.\u003c\/p\u003e\n\u003cp data-end=\"540\" data-start=\"345\"\u003e\u003ca href=\"https:\/\/www.nationalgalleries.org\/art-and-artists\/113695\"\u003eAquatint\u003c\/a\u003e: The grainy tone has been achieved using a powdered rosin (called aquatint) applied in a fine layer on selected areas of the metal etching plate. The plate is immersed in acid, which bites around the rosin to create a roughened surface. Goya’s use of aquatint is considered the most accomplished by any historical artist.\u003c\/p\u003e\n\u003cp data-end=\"540\" data-start=\"345\"\u003e\u003cstrong\u003eOverview:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-end=\"540\" data-start=\"345\"\u003e\u003cspan class=\"fontstyle0\"\u003e\"Little by little she is making progress. She is already making her first steps and in time she will know as much as her teacher.\" A young witch learns how to torment a human in the presence of her fiendish teacher, a giant ram, and its acolytes, two infernal cats. \u003cbr\u003e (reference \u003ca href=\"https:\/\/ucm.academia.edu\/MiguelOrozco%20\"\u003eMiguel Orozco 2021\u003c\/a\u003e)\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-end=\"1385\" data-start=\"1000\"\u003e\u003cstrong data-end=\"1022\" data-start=\"1000\"\u003eHistorical Context\u003c\/strong\u003e\u003cbr data-end=\"1025\" data-start=\"1022\"\u003e\u003cem data-end=\"1042\" data-start=\"1025\"\u003eLos Chinchillas\u003c\/em\u003e belongs to Goya’s 1799 series \u003cem data-end=\"1088\" data-start=\"1073\"\u003eLos Caprichos\u003c\/em\u003e, his Enlightenment-era critique of superstition, greed, and moral decay. Printed here from the original copper plate by the Calcografía Nacional around 1900, this impression preserves the bold linework and haunting tonal contrasts that made \u003cem data-end=\"1341\" data-start=\"1330\"\u003eCaprichos\u003c\/em\u003e a turning point in the history of satire.\u003c\/p\u003e\n\u003cp data-end=\"1409\" data-start=\"1387\"\u003e\u003cstrong data-end=\"1407\" data-start=\"1387\"\u003eCollector’s Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul data-end=\"1783\" data-start=\"1410\"\u003e\n\u003cli data-end=\"1498\" data-start=\"1410\"\u003e\n\u003cp data-end=\"1498\" data-start=\"1412\"\u003eEdition: Late 19th-century Calcografía Nacional restrike from Goya’s original plate.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"1545\" data-start=\"1499\"\u003e\n\u003cp data-end=\"1545\" data-start=\"1501\"\u003ePaper: Wove ivory stock without watermark.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-end=\"1690\" data-start=\"1546\"\u003e\n\u003cp data-end=\"1690\" data-start=\"1548\"\u003eRarity: Later impressions from this edition remain desirable for their authentic connection to Goya’s plates and their strong visual impact.\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-end=\"2152\" data-start=\"1785\"\u003e\u003cstrong data-end=\"1803\" data-start=\"1785\"\u003eInterpretation\u003c\/strong\u003e\u003cbr data-end=\"1806\" data-start=\"1803\"\u003eA chilling allegory of complacency, \u003cem data-end=\"1859\" data-start=\"1842\"\u003eLos Chinchillas\u003c\/em\u003e transcends its period. Goya’s commentary on the burden of ignorance could easily describe today’s willful blindness to inequality and manipulation of power. His figures stumble beneath invisible weight—much as modern societies still struggle under the pressures of misinformation and greed.\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":57413081301375,"sku":"LR-GOYA-CAP60-1900","price":545.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/francisco-de-goya-y-lucientes-ensayos-trials-plate-60-c1900-5153287.jpg?v=1774004472"},{"product_id":"schedel-nuremberg-chronicle-paris-munich-leaf-1493","title":"Schedel, View of Paris with View of Mainz to verso — Liber Chronicarum, 1493","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003eAn original woodcut leaf from the first Latin edition of Hartmann Schedel's Liber Chronicarum, more commonly known as the Nuremberg Chronicle, printed in Nuremberg by Anton Koberger and published in July 1493. The recto carries the View of Paris (Parisius) on folio XXXIX, accompanied by Schedel's Latin account of the city's foundation by Trojan refugees and its development under the Frankish kings. The verso bears the View of Mainz (Maguncia) with its associated text on the metropolitan see of Germany, the Rhine, and the nearby commercial fair at Frankfurt.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003eThe Liber Chronicarum is one of the most important illustrated incunables ever produced. Compiled by the Nuremberg physician and humanist Hartmann Schedel (1440–1514), it traces world history from the Creation to the present and is illustrated with more than 1,800 woodcuts cut by the workshop of Michael Wolgemut and his stepson Wilhelm Pleydenwurff. Wolgemut's apprentice at the time was the young Albrecht Dürer, and many scholars accept that Dürer contributed designs to the project before leaving for his Wanderjahre. The book was financed by the Nuremberg merchants Sebald Schreyer and Sebastian Kammermeister and printed in an edition believed to be limited to around 1,400 to 1,500 Latin copies, with the German translation following in December of the same year.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003eThis leaf carries two cities of unusual significance for the history of European printing. Mainz is the city of Johannes Gutenberg, where the printing press itself was invented around 1450, only forty-three years before this leaf was struck. Paris by 1493 had become the largest city of northern Europe and a major centre of manuscript and early print production. To find the two on a single 1493 sheet from the Koberger press, illustrated by the workshop that trained Dürer, makes this a particularly resonant document of the first half-century of European printing.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003eA note on the woodcut blocks. Schedel and Wolgemut economised across the Chronicle by using a number of generic city blocks for cities the workshop had not seen, and re-using them under different captions. The Paris and Mainz views here are imaginative compositions in the late Gothic manner, not topographically accurate views of either city. Their value lies in the typography, the woodblock impression, and the historical importance of the book itself, not in any claim to documentary record.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003e \u003c\/p\u003e\n\u003ch2 style=\"margin: 10.0pt 0cm 5.0pt 0cm;\"\u003eCondition\u003c\/h2\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003eVery good. Strong, clear impression on Schedel's heavy laid paper with bright Gothic typeface and crisp blackletter. Light scattered foxing in the lower margin and a small marginal stain to the recto, well outside the woodblock area. Some faint show-through of the verso text and image, as is normal and expected for a 1493 incunable leaf printed on both sides. No tears, no repairs, no losses to the printed area. [CONFIRM dimensions: full sheet approximately 30 × 44 cm, woodcut approximately 19 × 22 cm — please measure.]\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003e \u003c\/p\u003e\n\u003ch2 style=\"margin: 10.0pt 0cm 5.0pt 0cm;\"\u003eRarity\u003c\/h2\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003eThe Latin first edition of 1493 is the desirable issue, printed six months before the German translation and in a slightly larger run on better paper. While leaves from broken copies appear in the trade with some regularity, recto-verso city pairs of this calibre are less common, and the Mainz–Paris combination is unusually rich in printing-history significance. Complete copies of the Latin edition trade at six figures; intact double-page spreads at low five figures; single double-sided city leaves of this quality typically retail in the £600–£900 range at established dealers.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003e \u003c\/p\u003e\n\u003ch2 style=\"margin: 10.0pt 0cm 5.0pt 0cm;\"\u003eSpecifications\u003c\/h2\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003eTitle: \u003c\/b\u003eView of Paris (Parisius) with View of Mainz (Maguncia) to verso, folio XXXIX\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003eArtist \/ workshop: \u003c\/b\u003eMichael Wolgemut (1434–1519) and Wilhelm Pleydenwurff (c.1450–1494), with possible contributions from the young Albrecht Dürer\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003eAuthor: \u003c\/b\u003eHartmann Schedel (1440–1514)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003ePublication: \u003c\/b\u003eLiber Chronicarum (the Nuremberg Chronicle), Latin first edition\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003ePrinter \/ publisher: \u003c\/b\u003eAnton Koberger, Nuremberg, for Sebald Schreyer and Sebastian Kammermeister, July 1493\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003eMedium: \u003c\/b\u003eWoodcut on laid paper, with letterpress text in Gothic type\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003eDimensions: \u003c\/b\u003e[] approximately 30 × 44 cm full sheet\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":57413081596287,"sku":"LR-SCH-1493-PARMUN","price":625.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/schedel-view-of-paris-with-view-of-mainz-to-verso-liber-chronicarum-1493-9700709.jpg?v=1779616458"},{"product_id":"schenk-view-of-nuremberg-hecatompolis-1702","title":"Schenk, View of Nuremberg (Nuremberga) — Hecatompolis, c.1702","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003eAn original copperplate engraving of Nuremberg by Pieter Schenk the Elder, plate 28 from his Hecatompolis sive Totius Orbis Terrarum Oppida Nobiliora Centum — the Hundred Cities — published in Amsterdam at the very beginning of the eighteenth century. The plate is signed in the lower margin Pet. Schenk and Amstel. C.P. (cum privilegio), with bilingual Dutch and Latin captions describing Nuremberg as an ancient and renowned city of Germany, famed for its handsome buildings and its commerce, and praising it in the Latin as urbs nobilissima, turris quasi Germaniae centrum, aedificiis et mercimoniis praestans — a most noble city, a tower as it were at the centre of Germany, distinguished in its buildings and its trade.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003ePieter Schenk the Elder (1660–1711) was a German-born engraver and publisher who settled in Amsterdam in the 1670s, where he trained under and later partnered with Gerard Valck. The two firms together dominated the Dutch print trade in the late seventeenth and early eighteenth centuries, taking over a substantial part of the Visscher and Hondius copperplate stock when those houses contracted. The Hecatompolis was Schenk's most ambitious city-view project, conceived as a single-volume world atlas of urban subjects and ranging from the major capitals of Europe through Constantinople, Jerusalem, and Algiers to the New World. The plates are uniformly elegant in execution, with foreground figures, framing trees, and skylines arranged in the precise Dutch topographical manner of the period.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003eNuremberg held a particular place in the Dutch imagination as one of the great printing cities of Germany — the home of Albrecht Dürer, of Anton Koberger's press, and of the Liber Chronicarum of 1493. Schenk's view across the river to the densely-built town with its towers and church spires renders the city in the early-Enlightenment topographical idiom: orderly, prosperous, and open to inspection.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003e \u003c\/p\u003e\n\u003ch2 style=\"margin: 10.0pt 0cm 5.0pt 0cm;\"\u003eCondition\u003c\/h2\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003eVery good. Clean, well-inked impression with strong contrast in the foliage and the architectural detail of the skyline. Wide margins on all sides with the platemark and signature lines fully present. Light age-toning consistent with early eighteenth-century laid paper; no foxing of consequence, no tears, no repairs. [CONFIRM dimensions once measured.]\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003e \u003c\/p\u003e\n\u003ch2 style=\"margin: 10.0pt 0cm 5.0pt 0cm;\"\u003eRarity\u003c\/h2\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003eSingle plates from the Hecatompolis appear in the trade with some regularity, but Nuremberg is one of the more sought-after subjects in the series, drawing both German-market collectors and a strong international following on the strength of the city's place in the history of printing and of Dürer's career. Plates retain particular value when, as here, the bilingual Dutch–Latin caption and the Schenk signature are clean and fully legible.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003e \u003c\/p\u003e\n\u003ch2 style=\"margin: 10.0pt 0cm 5.0pt 0cm;\"\u003eSpecifications\u003c\/h2\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003eTitle: \u003c\/b\u003eView of Nuremberg (Nureberg \/ Nuremberga), plate 28\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003eArtist \/ engraver: \u003c\/b\u003ePieter Schenk the Elder (1660–1711)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003ePublication: \u003c\/b\u003eHecatompolis sive Totius Orbis Terrarum Oppida Nobiliora Centum\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003ePublisher: \u003c\/b\u003ePieter Schenk, Amsterdam, c.1702\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003eMedium: \u003c\/b\u003eCopperplate engraving on laid paper\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003eDimensions: \u003c\/b\u003eapproximately 24 × 30 cm sheet\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003eSignature: \u003c\/b\u003eSigned in plate lower left Pet. Schenk and lower right Amstel. C.P., plate number 78 lower right\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":57413081629055,"sku":"LR-SCHK-NUR-1702","price":285.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/schenk-view-of-nuremberg-nuremberga-hecatompolis-c1702-1274570.jpg?v=1779616455"},{"product_id":"schenk-view-of-alexandria-egypt-hecatompolis-1702","title":"Schenk, View of Alexandria, Egypt - Hecatompolis, 1702","description":"\u003cp\u003eAn original engraved view of Alexandria, Egypt, from Pieter Schenk's \u003cem\u003eHecatompolis, sive Totius orbis Terrarum Oppida Nobiliora Centum\u003c\/em\u003e, published in Holland in 1702. Plate 78 in the series.\u003c\/p\u003e\n\n\u003cp\u003eThe Hecatompolis was an ambitious survey of one hundred important cities and ports across the world, including London, Constantinople, Jerusalem, Algiers, New Amsterdam, and Havana. Pieter Schenk the Elder (1660-1711) was a German-born cartographer, engraver, and publisher working in Amsterdam, where he and his partner Gerard Valck dominated the Dutch print trade in the early eighteenth century.\u003c\/p\u003e\n\n\u003cp\u003eThe Alexandria plate sits at the intersection of city views, classical antiquity, and Orientalist topography. Pompey's Pillar, the great granite Roman triumphal column erected in honour of Diocletian in 297 CE, is visible in the foreground, marking the city as both a contemporary port and a survival of the ancient Mediterranean world.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance.\u003c\/strong\u003e Name inked to title: Charles D. de Beaurieux. Family of William Henry Crocker I (1861-1937), founder of Crocker National Bank, San Francisco. Gift to manservant Louis Collaud (1893-1972) in 1932. Bequest to Nancy Meyer Kolmodin (proprietor of Friedrich's Gifts and Antiques, Lafayette, California). A fully documented hundred-year ownership history.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eImages shown are from the vendor pending our own high-resolution photography. Detailed condition photographs available on request.\u003c\/em\u003e\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":57413081661823,"sku":"LR-SCHK-ALX-1702","price":235.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/schenk-view-of-alexandria-egypt-hecatompolis-1702-7748236.png?v=1777793531"},{"product_id":"magini-ptolemy-sardinia-sicily-map-1596","title":"Magini, Italia and Sardinia et Sicilia — Geographiae Universae, Venice 1596 (pair, sold together)","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003eA pair of original copperplate engravings — Italia and Sardinia et Sicilia — from the modern atlas section of Giovanni Antonio Magini's Geographiae Universae tum Veteris tum Novae Absolutissimum Opus, the first edition of his major commentary on Ptolemy, published in two volumes at Venice in 1596 by the heirs of Simone Galignani de Karera. The two sheets are sold here as a pair: Italy and the islands together, on consistent paper from the same volume, with matching impression quality.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003eGiovanni Antonio Magini (1555–1617) was Professor of Mathematics at the University of Bologna — the post that Galileo had also sought and lost to Magini in 1588 — and one of the most influential cartographers of the late Cinquecento. His Geographiae Universae was conceived as a complete revision of Ptolemy in two parts: the first volume reproduces the twenty-seven antique tabulae of the classical Geography, the second presents thirty-seven modern tabulae representing the world as known to Magini's own age. The maps are engraved at a smaller, portable scale than the great Ortelius and Mercator atlases of the period, and the work was conceived as a serious scholarly tool rather than a luxury cabinet object — a working geography for the universities and the educated reader. The 1596 first edition is the desirable issue; later Latin editions of 1597 and the Italian editions of 1598 and 1620 followed, but the 1596 sheets carry the cleanest impressions from fresh plates.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003eThe Italia plate covers the entire peninsula from the Alps to the Strait of Messina, with Corsica to the west and the Adriatic coast in fine detail; the verso carries the commentary on Scandia and Icaria with its account of the 1380 Zichmni voyage. The Sardinia et Sicilia plate treats the two great Mediterranean islands as a paired subject, an unusual editorial choice for the period — most general atlases bundled them with Italy on a single sheet — and its verso carries the chapter on Forum Iulii (Friuli) and Istria, page 144 of the volume. The two plates together make a coherent geographical statement on the Italian world, and would have been bound consecutively in their original volume.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003eA note on the title page. The pair is accompanied by a vendor-supplied photographic reference copy of the 1596 title page, retained as documentation of edition and provenance. The reference copy is filed with the maps and travels with them at sale; it is not itself an original printed sheet and is not part of the catalogued material.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003e \u003c\/p\u003e\n\u003ch2 style=\"margin: 10.0pt 0cm 5.0pt 0cm;\"\u003eCondition\u003c\/h2\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003eBoth plates very good. Clean, well-inked impressions with sharp engraving across the coastlines, lettering, and decorative cartouches. Wide margins on all sides, fully preserving the platemark and the verso text. Light age-toning consistent with late sixteenth-century laid paper. Neither sheet has tears, repairs, losses, or staining of consequence. The verso text on both sheets is clean and legible. [  — approximately 17 × 23 cm platemark.]\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003e \u003c\/p\u003e\n\u003ch2 style=\"margin: 10.0pt 0cm 5.0pt 0cm;\"\u003eRarity\u003c\/h2\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003eFirst-edition Magini sheets from the 1596 Venice issue are the desirable state of his Ptolemy. The Italia plate as a single-sheet modern map of the peninsula is an attractive subject for the home market and for general Renaissance map collectors. Sardinia et Sicilia as a paired Mediterranean map is genuinely scarce: most Cinquecento atlases treat the two islands separately or include them as inset cartouches on a larger Italy sheet, so a dedicated paired plate is unusual and has its own specialist collector base. Sold as a pair from the same volume with matching paper and impression, the two sheets carry a coherence that is hard to assemble after the fact, and which adds a small premium over the sum of their individual values.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 6.0pt;\"\u003e \u003c\/p\u003e\n\u003ch2 style=\"margin: 10.0pt 0cm 5.0pt 0cm;\"\u003eSpecifications\u003c\/h2\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003eTitles: \u003c\/b\u003eItalia and Sardinia et Sicilia (sold as a pair)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003eCartographer: \u003c\/b\u003eGiovanni Antonio Magini (1555–1617), Professor of Mathematics, University of Bologna\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003ePublication: \u003c\/b\u003eGeographiae Universae tum Veteris tum Novae Absolutissimum Opus, first edition\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003ePublisher: \u003c\/b\u003eHeirs of Simone Galignani de Karera, Venice, 1596\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003eMedium: \u003c\/b\u003eCopperplate engravings on laid paper, with letterpress text to verso\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003eDimensions: \u003c\/b\u003eeach plate approximately 17 × 23 cm platemark, on sheets approximately 22 × 29 cm\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 4.0pt;\"\u003e\u003cb\u003eDocumentation: \u003c\/b\u003eVendor-supplied photographic reference copy of the 1596 title page accompanies the pair\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":57413081727359,"sku":"LR-MAG-SARD-SIC-1596","price":775.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/magini-italia-and-sardinia-et-sicilia-geographiae-universae-venice-1596-pair-sold-together-4374354.jpg?v=1779616461"},{"product_id":"wolf-bock-six-quadruped-set-1818-1822","title":"Wolf \u0026 Bock — Six Quadruped Engravings (Llama, Antelope, Tapir, Hyena and others), Nuremberg 1818-1822","description":"\u003cp\u003eAn exceptional curated set of six original hand-coloured engravings from Johann Wolf's \u003cem\u003eAbbildungen und Beschreibungen merkwürdiger naturgeschichtlicher Gegenstände\u003c\/em\u003e (\u003cem\u003eIllustrations and Descriptions of Remarkable Natural History Objects\u003c\/em\u003e), published in Nuremberg between 1818 and 1822 by Conrad Throff'schen Wappen.\u003c\/p\u003e\u003cp\u003eThe plates were engraved by Johann Christoph Bock, with many drawn by Ambrosius Gabler. Subjects include the llama, antelope, tapir and hyena alongside two further quadrupeds, offering a sweep across South American, African and tropical New World mammals as understood by early 19th-century German natural history.\u003c\/p\u003e\u003cp\u003eJohann Wolf (1765-1824) was a Nuremberg schoolteacher who became one of Germany's pioneering ornithologists. His scholarly works on birds remain cited in the field today, and this lesser-known publication on remarkable natural objects is significantly scarcer than the better-known German natural histories of Bertuch or Brodtmann.\u003c\/p\u003e\u003cp\u003eThe plates are presented as a coherent set with consistent paper, hand colouring and condition. Sold as a unit of six. Suitable for a curated wall grouping or a study\/library installation.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Original hand-coloured engravings, ~7.5 by 9.25 inches each\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1818-1822\u003cbr\u003e\u003cstrong\u003ePlace of Publication:\u003c\/strong\u003e Nuremberg\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good to excellent throughout\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":57414078988671,"sku":"WB-QUAD-1818-SET6","price":445.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/wolf-bock-six-quadruped-engravings-llama-antelope-tapir-hyena-and-others-nuremberg-1818-1822-6399190.jpg?v=1777793544"},{"product_id":"aldrovandi-monstrorum-celestial-prodigies-1640","title":"Aldrovandi — Five Pages of Celestial and Atmospheric Prodigies from the Monstrorum Historia, Bologna 1642 - Huge Military Significance","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eFive folio leaves from Ulysses Aldrovandi's Monstrorum Historia (Bologna, 1642), drawn from the closing section of the work — the Admiranda Chasmatum Varietas, or \"Marvellous Variety of Atmospheric Chasms.\" Each leaf is printed on both sides, giving the buyer ten pages of original Latin text and woodcut illustration in total, with five major full-page figures.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThis set carries more weight than its size suggests. Among the five leaves are both the opening chapter of the celestial-prodigy section and the very last printed leaf of the entire Monstrorum Historia — the closing colophon page, with its printer's ornament, devotional inscription, and the magnificent final sentence in which Aldrovandi himself concedes the limits of human reasoning before the truly miraculous.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eThe Plates\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003ePage 734: Chasma cum diuersis effluuijs — a fiery atmospheric chasm with various flame-like emissions, labelled with the meteorological scheme A. Lucida exhalatio, B. Orizon, C. Locus sub Orizonte, D. Vinculum exhalationis (bright exhalation, horizon, place beneath horizon, bond of the exhalation).\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003ePage 736: Chasma cum effluuijs et crucibus — a chasm bearing twin crosses inscribed within solar discs, the visual record of a sky portent observed by the Flemish astronomer Cornelius Gemma during the imperial siege of Magdeburg.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003ePage 737: Chasma aliud — another chasm with bursting exhalations, labelled with its own meteorological scheme.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003ePage 740: Monstrosum Solis Schema — a diagrammatic figure of the sun (E) surrounded by parhelia (K, L, M, O) at the cardinal directions Oriens, Septentrio, Occidens, Meridies, with a small figure suspended above. Aldrovandi's attempt to render the geometry of a parhelic display.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003ePage 747: Admirabile Crucis signum in Luna — the appearance of a great cross in the moon, one of the most reproduced woodcuts in the entire history of celestial-prodigy literature.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eThe Closing Leaf\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003ePage 748 carries the final paragraph of the entire Monstrorum Historia, followed by the printed conclusion Historiae Monstrorum finis (End of the History of Monsters), the devotional abbreviation L.D.D.O.S.V., and the printer's typographic flourish that ends the volume. The substantive closing passage reads:\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\"Haec sunt quae quoad causas physicas de praedictis effectibus pronunciare possumus. Quando autem huiusmodi caelestia monstra à manu Divini Opificis immediatè prodeunt, eorum causas humani ingenij acumen penetrare, neque reddere potest.\"\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eIn English:\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\"These are the things which we are able to declare concerning the physical causes of the aforementioned effects. But when celestial monstrosities of this kind proceed immediately from the hand of the Divine Maker, the keenness of human wit can neither penetrate their causes nor account for them.\"\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThis is Aldrovandi's whole encyclopaedic project distilled into a single sentence. Natural philosophy explains the physical world up to a point; beyond that point sits the domain of the genuinely miraculous, where human reasoning runs out. After more than seven hundred pages cataloguing monsters of every kind, the work signs off with a confession of the limits of method.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eMilitary Historical Significance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe Latin text on these leaves names specific historical military events that the celestial signs were taken to portend:\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003e1568 September - \"before the inauspicious irruption of German troops into Belgium\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThis is \u003cstrong\u003eDuke of Alva's campaigns in the Eighty Years' War \/ Dutch Revolt\u003c\/strong\u003e. In April 1568 William the Silent's brother Louis of Nassau invaded the Netherlands from Germany. The decisive battle was the \u003cstrong\u003eBattle of Jemmingen on 21 July 1568\u003c\/strong\u003e, where Alva crushed Louis of Nassau's army. Aldrovandi places the celestial sign in September 1568, which would be the immediate aftermath - the period when Spanish forces under Alva consolidated their grip and when William of Orange's own invasion attempt across the Meuse failed in October 1568. The \"German troops\" reference fits this period of mercenary armies pouring into the Low Countries.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003e1569 September\/December - Cornelius Gemma's bloody cross\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThis sits in the \u003cstrong\u003eEighty Years' War\u003c\/strong\u003e during Alva's \"Council of Troubles\" reign of terror. Cornelius Gemma was a professor at Louvain (where his father Gemma Frisius had taught) and was an actual eyewitness to these events. The \"Spanish soldiers stationed in Belgium\" are \u003cstrong\u003eAlva's tercios\u003c\/strong\u003e - the elite Spanish infantry garrisoning the Spanish Netherlands during the bloodiest period of suppression. Gemma published his observations in his 1575 work De naturae divinis characterismis - so Aldrovandi is citing a real, datable astronomical-historical text, not folklore.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003e1571 September - \"another Chasma at Louvain in Belgium\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThis is the period leading up to and during the \u003cstrong\u003eSea Beggars' capture of Brielle on 1 April 1572\u003c\/strong\u003e, the spark that reignited the Dutch Revolt after the lull of 1569-1571. Late 1571 was also the year of \u003cstrong\u003eLepanto (7 October 1571)\u003c\/strong\u003e - the great naval battle against the Ottoman fleet. The \"another chasma\" near Louvain in September 1571 sits exactly in the build-up window before both these events.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003e1114 Easter - \"Henry V Emperor of the Romans, vast chasm at Easter\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eEaster 1114 was 19 April. Henry V was indeed Holy Roman Emperor (1111-1125). He spent most of 1114 at war - he was campaigning in Saxony against rebellious nobles (Lothair of Supplinburg, who would later succeed him) and dealing with the Saxon Rebellion. The \u003cstrong\u003eBattle of Welfesholz (11 February 1115)\u003c\/strong\u003e - where the Saxons under Lothair defeated Henry V's general Hoyer of Mansfeld - happened the following winter. So the Easter 1114 prodigy precedes a major military setback for the Imperial cause.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003e1583 conjunction in Leo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe Great Conjunction of 1583 was widely interpreted as a portent. Politically it sits at the start of the \u003cstrong\u003eWar of the Three Henrys\u003c\/strong\u003e in France (1585-1589) and during the run-up to the \u003cstrong\u003eSpanish Armada (1588)\u003c\/strong\u003e. Tycho Brahe wrote on it.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eMagdeburg under \"Maurice and Albert\" - the imperial siege\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThis is the \u003cstrong\u003eSiege of Magdeburg (November 1550 - November 1551)\u003c\/strong\u003e during the \u003cstrong\u003eSchmalkaldic War \/ Princes' Revolt against Charles V\u003c\/strong\u003e. Maurice of Saxony (the elector, then loyal to Charles V) and Albert Alcibiades of Brandenburg-Kulmbach jointly led Imperial forces against Magdeburg, which had refused the Augsburg Interim. The city held out for thirteen months under heavy bombardment before capitulating on terms in November 1551. Aldrovandi's \"fifteen months\" is close enough. This was a major turning point - immediately after Magdeburg fell, Maurice secretly switched sides and joined the Protestant Princes' Revolt in 1552 that drove Charles V from Innsbruck and led to the Peace of Passau and ultimately the Peace of Augsburg.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eWhy these pages matter:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe Admiranda Chasmatum Varietas is one of the earliest systematic European attempts to bring the long tradition of celestial-prodigy reportage under a single descriptive framework. Aldrovandi (or more precisely his editor Bartholomaeus Ambrosinus, who completed the volume after Aldrovandi's death) gathers Pliny, Plutarch, Aristotle, the medieval chroniclers, and the contemporary Flemish astronomers into a single ordered catalogue. The marginal headings throughout the section — Coelestium triplex discrimen, Monstra circa Solem, Cur Halo circa lunā frequentior, Causa physica — show the work's hybrid character: equal parts natural philosophy, historical reportage, and theological speculation.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe marginal note on page 743 (Cur Halo circa lunā frequentior) offers a piece of genuine physical reasoning: halos appear more often around the moon than the sun because solar heat dissipates the small clouds that would otherwise produce the mirror-like reflection, while lunar light, being weaker, allows them to persist. This is Aristotelian meteorology at work in the seventeenth century — the same intellectual current that would, within a generation, give way to Cartesian and then Newtonian explanations.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eKey Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-pre-wrap leading-[1.7]\"\u003eAuthor: Ulysses Aldrovandi (1522–1605) Edited by: Bartholomaeus Ambrosinus Published: Bologna, Nicolas Tebaldini, 1642 From: Monstrorum Historia cum Paralipomenis historiae omnium animalium Medium: Original 17th-century woodcuts on laid paper Format: Five folio leaves, each printed on both sides (recto and verso) Size: Approximately 24 × 36 cm (9.5\" × 14\") each Condition: Very good throughout, with crisp impressions and only light age toning consistent with the period\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eFrom a broken-up library copy of the 1642 Bologna edition, formerly in the collection of Eduardo Obejero Urquiza per ex libris evidence. The lithographed bookplate itself does not accompany these leaves.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eCollector Positioning\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eFive leaves from the closing section of the Monstrorum Historia, including the very last printed leaf of the volume. The combination of the cross-in-moon woodcut, the parhelion-diagram schema, the twin-crosses chasma plate, and the closing colophon makes this a particularly coherent set rather than a random scatter of leaves from across the work. For a buyer interested in the history of astronomy, the history of meteorology, or the history of the prodigy literature that flourished between the printing revolution and the Scientific Revolution, this is unusually well-chosen material.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe Aldrovandi monster volumes appear at auction in complete form only rarely, and the celestial section in particular tends to be cherrypicked by collectors interested in the cross-in-moon and the parhelion plates. To find these leaves together with the closing colophon is genuinely uncommon.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eTax \u0026amp; Buyer Protection\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-pre-wrap leading-[1.7]\"\u003eVAT-exempt: Over 100 years old, original print Tracked shipping, full insurance 28-day return policy PayPal Buyer Protection eligible\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":57414079119743,"sku":"ALD-MONS-CELESTIAL-1640-SET6","price":1450.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/aldrovandi-five-pages-of-celestial-and-atmospheric-prodigies-from-the-monstrorum-historia-bologna-1640-huge-military-significance-2493573.jpg?v=1778603213"},{"product_id":"aldrovandi-monstrorum-human-deformities-1640","title":"Aldrovandi — Seven Folio Leaves of Human Deformities and Monstrosities from the Monstrorum Historia, Bologna 1642","description":"\u003cp class=\"MsoPlainText\"\u003e\u003cspan style=\"font-family: 'Courier New';\"\u003eSeven folio leaves from Ulysses Aldrovandi's Monstrorum Historia (Bologna, 1642), drawn from the chapters on monstrous births, hairy children, hybrid creatures, and infants born with conditions that early modern medicine struggled to explain. Each leaf is printed on both sides, giving fourteen pages of original text and woodcut illustration in total.\u003cbr\u003e\u003cbr\u003eThis is the most powerful section of the entire Opera Omnia for collectors interested in the history of medicine, the early modern category of the \"monstrous,\" and the porous boundary between teratology and natural philosophy that defined the discipline before Linnaeus. The illustrations include some of the most reproduced images from any early scientific book.\u003cbr\u003e\u003cbr\u003e**Plates included**\u003cbr\u003e\u003cbr\u003ePage 127: Homo cornutus — the horned man\u003cbr\u003ePage 571: Infans canine — child with canine features\u003cbr\u003ePage 572: Hermaphrodite figure with eagle feet\u003cbr\u003ePage 579: Aethiops \u0026amp; Virgo villosa — depicting an Ethiopian child and the Hairy Maiden, the figure widely identified by historians of medicine as a member of the Gonsalvus family\u003cbr\u003ePage 586: Monstrum capitio carnoso — figure with a fleshy growth on the head\u003cbr\u003ePage 587: Homuncio cum substantia carnosa — figure with fleshy substance about the chest\u003cbr\u003ePage 589: Infans cute lacerata — infant with torn skin\u003cbr\u003ePage 590: Equus cute lacera — horse with torn skin (included as a comparative case)\u003cbr\u003e\u003cbr\u003ePlus accompanying letterpress on the verso of several leaves, including the discussion on page 580 that explicitly references \"Henricus, King of the Gauls, having a hairy man educated in Latin at Paris\" — a documented allusion to Petrus Gonsalvus of Tenerife, whose family is associated by some scholars with the development of the Animal Bridegroom folk tale tradition that includes Beauty and the Beast.\u003cbr\u003e\u003cbr\u003e**Key Details**\u003cbr\u003e\u003cbr\u003eAuthor: Ulysses Aldrovandi (1522–1605)\u003cbr\u003eEdited by: Bartholomaeus Ambrosinus\u003cbr\u003ePublished: Bologna, Nicolas Tebaldini, 1642\u003cbr\u003eFrom: Monstrorum Historia cum Paralipomenis historiae omnium animalium\u003cbr\u003eMedium: Original 17th-century woodcuts on laid paper\u003cbr\u003eFormat: Seven folio leaves, each printed both sides (recto and verso)\u003cbr\u003eSize: Approximately 24 × 36 cm (9.5\" × 14\") each\u003cbr\u003eCondition: Very good, with crisp impressions and only light age toning consistent with the period\u003cbr\u003e\u003cbr\u003e**Provenance**\u003cbr\u003e\u003cbr\u003eFrom a broken-up library copy of the 1642 Bologna edition, formerly in the collection of Eduardo Obejero Urquiza per ex libris evidence. The lithographed bookplate itself does not accompany these leaves.\u003cbr\u003e\u003cbr\u003e**Scholarly Note: The Hairy Maiden and the Gonsalvus Family**\u003cbr\u003e\u003cbr\u003eThe Virgo villosa on page 579 depicts a young woman with hypertrichosis universalis — a condition causing dense hair growth across the entire body. The accompanying Latin text on page 580 explicitly identifies the source: a hairy man brought to the French court of Henri II to be educated in Latin at Paris, and his children kept at the Farnese court at Parma. This documents the case of Petrus Gonsalvus, born in Tenerife in 1556, who lived at the French and Parmese courts and whose affected daughter Antonietta was painted by Lavinia Fontana around 1583 in a portrait now held at the Château de Blois.\u003cbr\u003e\u003cbr\u003eThe Gonsalvus family is associated by some historians of folklore with the development of the Animal Bridegroom story type that culminated in Madame de Villeneuve's 1740 tale of Beauty and the Beast. This Aldrovandi leaf is therefore not simply a medical illustration but a documented sixteenth-century witness to one of the most consequential cases in the history of human variation — a case that left traces in court portraiture, in Latin natural history, and arguably in European fairy tale tradition.\u003cbr\u003e\u003cbr\u003e**Tax \u0026amp; Buyer Protection**\u003cbr\u003e\u003cbr\u003eVAT-exempt: Over 100 years old, original print\u003cbr\u003eTracked shipping, full insurance\u003cbr\u003e28-day return policy\u003cbr\u003ePayPal Buyer Protection eligible\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":57414079185279,"sku":"ALD-MONS-DEFORMITIES-1640-SET7","price":1195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/aldrovandi-seven-folio-leaves-of-human-deformities-and-monstrosities-from-the-monstrorum-historia-bologna-1640-8603170.jpg?v=1778604961"},{"product_id":"aldrovandi-monstrous-fowl-ornithology-1640","title":"Aldrovandi — Monstrous Fowl Engraving from the Ornithologiae, Bologna 1640","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eA remarkable teratological woodcut from Ulisse Aldrovandi's \u003cem\u003eSerpentum, et Draconum Historiae Libri Duo\u003c\/em\u003e (History of Serpents and Dragons), published posthumously in Bologna in 1640. The principal image — \u003cem\u003eGallus monstruosus cauda anguina\u003c\/em\u003e, the \"monstrous cock with a serpent's tail\" — depicts a horned, bearded rooster suspended by its feet from a perch, its long scaled tail coiling away and terminating in a small tubercle. Aldrovandi presents the creature in his accompanying text as a reported monstrous birth \"observed near a tropic,\" not as a mythological beast — though the figure sits unmistakably in the visual lineage that produced the basilisk and the cockatrice.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe leaf is printed on both sides. The verso carries a second striking woodcut, \u003cem\u003eBufo monstrificus cauda anguina\u003c\/em\u003e — the \"monstrous toad with a serpent's tail\" — together with two smaller subsidiary figures: a caterpillar with a serpentine tail, gifted to Aldrovandi by the Bolognese naturalist Ovidio Montalbano, and a broad-bodied serpent with a compressed tail.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eA note on display:\u003c\/strong\u003e as the leaf is printed on both sides, only one face can be framed at a time. Buyers framing the cock as the principal display will be supplied free of charge with a high-resolution archival print of the toad verso, allowing both subjects to be enjoyed together.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eTranslation of plate text:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul class=\"[li_\u0026amp;]:mb-0 [li_\u0026amp;]:mt-1 [li_\u0026amp;]:gap-1 [\u0026amp;:not(:last-child)_ul]:pb-1 [\u0026amp;:not(:last-child)_ol]:pb-1 list-disc flex flex-col gap-1 pl-8 mb-3\"\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cem\u003eGallus monstruosus cauda anguina\u003c\/em\u003e — \"Monstrous cock with a serpent's tail.\"\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cem\u003eBufo monstrificus cauda anguina\u003c\/em\u003e — \"Monstrous toad with a serpent's tail.\"\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cem\u003eEruca cauda anguina, prona \u0026amp; supinè picta, ab Excellentiss. D. Ouidio Montalbano inuenta, \u0026amp; nobis dono data\u003c\/em\u003e — \"A caterpillar with a serpent's tail, depicted from above and below, discovered by the most excellent Don Ovidio Montalbano and given to us as a gift.\"\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cem\u003eSerpens latissimi corporis cauda compressa\u003c\/em\u003e — \"A serpent of very broad body, with a compressed tail.\"\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe accompanying Latin text (translated): \"If any animal in any part is to be reckoned among monsters, doubtless this is to be counted — a cock, horned, bearded, with a serpentine tail, at the extremity of which is a kind of tubercle, observed near a tropic, where the tail adheres to the body.\"\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eAldrovandi (1522–1605) was among the most influential naturalists of the late Renaissance, and his \u003cem\u003eSerpentum et Draconum Historiae\u003c\/em\u003e remains a cornerstone of early herpetological and teratological literature — a work where empirical observation, hearsay, and the marvellous still sit on the same page.\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":57414079283583,"sku":"ALD-FOWL-ORNITH-1640","price":375.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/aldrovandi-monstrous-fowl-engraving-from-the-ornithologiae-bologna-1640-8346399.jpg?v=1777793536"},{"product_id":"dublin-illustrated-graphic-supplement-1878","title":"Dublin Illustrated — Complete 14-Page Supplement from The Graphic, 17 August 1878","description":"\u003cdiv\u003e\n\u003cdiv class=\"standard-markdown grid-cols-1 grid [\u0026amp;_\u0026gt;_*]:min-w-0 gap-3\"\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eA complete 14-page illustrated supplement on Dublin from \u003cem\u003eThe Graphic\u003c\/em\u003e, the leading London illustrated weekly newspaper, dated 17 August 1878. Issued as a stitched self-contained section comprising pages 169 to 184, with the title \"DUBLIN ILLUSTRATED\" running across multiple double-page spreads.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"standard-markdown grid-cols-1 grid [\u0026amp;_\u0026gt;_*]:min-w-0 gap-3\"\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThis is a substantial Victorian-era documentary record of Dublin captured at a pivotal moment in its history — just before the major late 19th-century upheavals of the Land War, the Home Rule crisis, and the Gaelic Revival. Many of the buildings, statues and views depicted have since been altered, demolished, or destroyed, including Nelson's Pillar (blown up in 1966), the Old Parliament House (long since transformed into the Bank of Ireland headquarters), and the birthplace of Dean Swift at Hoey's Court (already noted as demolished in the 1878 captions).\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"standard-markdown grid-cols-1 grid [\u0026amp;_\u0026gt;_*]:min-w-0 gap-3\"\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eContents include:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"standard-markdown grid-cols-1 grid [\u0026amp;_\u0026gt;_*]:min-w-0 gap-3\"\u003e\n\u003cul class=\"[li_\u0026amp;]:mb-0 [li_\u0026amp;]:mt-1 [li_\u0026amp;]:gap-1 [\u0026amp;:not(:last-child)_ul]:pb-1 [\u0026amp;:not(:last-child)_ol]:pb-1 list-disc flex flex-col gap-1 pl-8 mb-3\"\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eCover page (p. 169) with elaborate engraved \"DUBLIN\" title block bearing the city motto \u003cem\u003eObedientia Civium Urbis Felicitas\u003c\/em\u003e, a Howth Castle vignette, and a full view of the Custom House on the Liffey\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eArchitecture spread: Trinity College, Bank of Ireland, Christ Church Cathedral, St Patrick's Cathedral, Dublin Castle, Phoenix Park\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eInterior views: St Patrick's nave, Old Parliament House, Trinity College Library, Chapel Royal, Christ Church crypt\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eFull-page bird's-eye view from the summit of Nelson's Pillar showing the GPO, Sackville Street, the Four Courts, and the Wicklow Hills beyond\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eStatues and Antiquities page (p. 184): birthplaces of Thomas Moore, Dean Swift (Hoey's Court, then already demolished), and the Duke of Wellington (Mornington House); statues of Edmund Burke, the Earl of Carlisle, Henry Grattan, William III, and the Prince Consort Memorial; the O'Connell Monument at Glasnevin; the Tombs of Strongbow and his son at Christ Church; St Michan's Church; and Burke's House on Arran Quay\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\"Views in the City\" spread: Sackville Street from Carlisle Bridge, Grafton Street, St Stephen's Green, Kingstown Pier, the new tunnel under Phoenix Park, the New Railway Bridge over the Liffey\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eMultiple pages of accompanying letterpress on Dublin's history, public institutions, the College of Science, the Royal Irish Academy, the Royal Hibernian Academy, the Dublin stage, and \"The Character of the People\" by George Wheeler\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"standard-markdown grid-cols-1 grid [\u0026amp;_\u0026gt;_*]:min-w-0 gap-3\"\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eArtists and engravers:\u003c\/strong\u003e As was standard practice for \u003cem\u003eThe Graphic\u003c\/em\u003e, the supplement is the work of multiple uncredited Special Artists and wood-engravers rather than a single hand. Most plates are unsigned, but at least two bear marks: the Howth Castle vignette on p. 169 carries an interlaced artist's monogram (resembling \"AK\") in the lower right of the riverbank, and the Prince Consort Memorial on p. 184 bears the cursive signature \"H. Johnson sc.\" on the plinth — \u003cem\u003esc.\u003c\/em\u003e (\u003cem\u003esculpsit\u003c\/em\u003e, \"engraved by\") identifying H. Johnson as the wood-engraver. \u003cem\u003eThe Graphic\u003c\/em\u003e in this period drew on a stable of illustrators that included Luke Fildes, Hubert Herkomer, Charles Green, Sydney P. Hall, and many others.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"standard-markdown grid-cols-1 grid [\u0026amp;_\u0026gt;_*]:min-w-0 gap-3\"\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Complete 14-page supplement, original wood-engraved illustrations and letterpress text\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 17 August 1878\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003ePublication:\u003c\/strong\u003e \u003cem\u003eThe Graphic\u003c\/em\u003e, London\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"standard-markdown grid-cols-1 grid [\u0026amp;_\u0026gt;_*]:min-w-0 gap-3\"\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eComplete supplements with all leaves present are notably scarcer than individual plates, which have commonly been broken out and sold separately over the past century — particularly the Statues and Antiquities page and the Howth Castle \/ Custom House cover, which appear most often as detached single sheets.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"standard-markdown grid-cols-1 grid [\u0026amp;_\u0026gt;_*]:min-w-0 gap-3\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":57414079414655,"sku":"DUBLIN-GRAPHIC-1878","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/dublin-illustrated-complete-14-page-supplement-from-the-graphic-17-august-1878-2017340.jpg?v=1777793533"},{"product_id":"shaw-nodder-vellum-marine-invertebrates-suite","title":"Shaw \u0026 Nodder — Marine Invertebrates Suite of Four Plates on Vellum, Naturalist's Miscellany, 1789-1798","description":"\u003cp\u003eAn exceptional curated suite of four original hand-coloured engravings on \u003cstrong\u003egenuine vellum\u003c\/strong\u003e from George Shaw and Frederick Polydore Nodder's \u003cem\u003eThe Naturalist's Miscellany\u003c\/em\u003e, published in London between 1789 and 1798.\u003c\/p\u003e\u003cp\u003eThis is the rare deluxe vellum issue of the Naturalist's Miscellany. The original 1789 subscription notice invited \"the nobility and gentry, who may wish to have the plates taken on vellum, are requested to signify their pleasure to Mr. Nodder.\" Very few subscribers chose this premium option, and complete vellum suites of any kind from the Naturalist's Miscellany are essentially unobtainable on the modern market — Trillium Antique Prints, Franklin TN, who have specialised in the publication for decades, describe the appearance of vellum impressions as the first they have seen in 30 years in the business.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe four plates in this suite:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eVenus Coral\u003c\/strong\u003e (Plate 14, December 1789) — The fan-shaped gorgonian coral specimen in deep magenta, with starfish detail. From one of the very first issues of the entire 24-year publication run.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eKidney-Shaped Pennatula\u003c\/strong\u003e (Plate 139, 1798) — Two specimens of sea pen shown in dorsal and ventral aspect\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSea Life\u003c\/strong\u003e (Plate 215, 1798) — Holothurian (sea cucumber) with the radial tentacle crown extended\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEsculent Echinus\u003c\/strong\u003e (Plate 223, 1798) — A spectacular pairing of a spined sea urchin and its denuded test, with reference to Horace and the Roman epicurean tradition\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eAll plates retain their original hand colouring with the exceptional saturation that vellum permits — the colours sit on the surface rather than absorbing in, producing a depth and luminosity unattainable on paper. Accompanying multilingual descriptive text leaves are included on standard paper, as was the convention for the deluxe vellum issue.\u003c\/p\u003e\u003cp\u003eGeorge Shaw (1751-1813) was Fellow of the Royal Society, co-founder of the Linnean Society, and zoologist of the British Museum. Frederick Polydore Nodder (1770-1801) was an English illustrator, engraver, painter, and publisher, contributing also to Joseph Banks's \u003cem\u003eFlorilegium\u003c\/em\u003e and Thomas Martyn's \u003cem\u003eFlora Rustica\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Four engravings on vellum with separate text leaves on paper, approximately 5.5 by 9 inches each\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1789 and 1798\u003cbr\u003e\u003cstrong\u003ePlace of Publication:\u003c\/strong\u003e London (F. P. Nodder, 15 Brewer Street)\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good to excellent. Vellum causes natural rippling inherent to the medium.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eThis is a museum-grade institutional-tier acquisition. Accompanying documentation available on request.\u003c\/em\u003e\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":57414079480191,"sku":"SN-VELLUM-MARINE-SUITE-4","price":2150.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/shaw-nodder-marine-invertebrates-suite-of-four-plates-on-vellum-naturalists-miscellany-1789-1798-3998619.jpg?v=1777793611"},{"product_id":"shaw-nodder-vellum-birds-suite","title":"Shaw \u0026 Nodder — V Rare Vellum Birds Suite of Three Plates, Naturalist's Miscellany, c.1791-1799","description":"\u003cp\u003eA curated suite of three original hand-coloured engravings on \u003cstrong\u003egenuine vellum\u003c\/strong\u003e from George Shaw and Frederick Polydore Nodder's \u003cem\u003eThe Naturalist's Miscellany\u003c\/em\u003e, published in London between approximately 1791 and 1799.\u003c\/p\u003e\u003cp\u003eThis is the rare deluxe vellum issue of the Naturalist's Miscellany. The original subscription notice invited \"the nobility and gentry, who may wish to have the plates taken on vellum, are requested to signify their pleasure to Mr. Nodder.\" Very few subscribers chose this premium option, and surviving vellum impressions are essentially unobtainable on the modern market.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe three plates in this suite:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003ePurple-Throated Flycatcher\u003c\/strong\u003e (1792) — A pinkish-grey passerine bird perched on a delicate branch\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRed-Shouldered Tanager\u003c\/strong\u003e (1793) — A black bird with vivid red shoulder and yellow wing accents\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMalimbic Bee-Eater\u003c\/strong\u003e (1799) — The black African bee-eater (\u003cem\u003eMerops malimbicus\u003c\/em\u003e) with crimson throat patch\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eAll three plates retain their original hand colouring with the saturation that vellum permits. Accompanying descriptive text leaves on standard paper are included as was the convention for the deluxe vellum issue.\u003c\/p\u003e\u003cp\u003eGeorge Shaw (1751-1813) was Fellow of the Royal Society, co-founder of the Linnean Society, and zoologist of the British Museum. Frederick Polydore Nodder (1770-1801) was an English illustrator, engraver, painter, and publisher.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Three engravings on vellum with separate text leaves, approximately 5.5 by 9 inches each\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e c.1791-1799\u003cbr\u003e\u003cstrong\u003ePlace of Publication:\u003c\/strong\u003e London (F. P. Nodder, 15 Brewer Street)\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good to excellent. Vellum causes natural rippling inherent to the medium.\u003c\/p\u003e","brand":"Lumenrare Antique Prints \u0026 Maps","offers":[{"title":"Default Title","offer_id":57414079545727,"sku":"SN-VELLUM-BIRDS-SUITE-3","price":1495.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0951\/8356\/9279\/files\/2025-09-29-14-04-47-01.jpg?v=1777718054"}],"url":"https:\/\/lumenrare.com\/collections\/sale.oembed","provider":"Lumenrare Antique Prints \u0026 Maps","version":"1.0","type":"link"}