If you're new to collecting antique maps size does matter!  Well you may take the view that your budget is the real deciding factor and that does have merit. However new or novice collectors often lack knowledge on the subject so do well to start small.  Yes I do mean literally 'small' not just a smaller budget. There's lots of advantages to collecting small.  For one thing you don't have a problem with storage space.  You can also mount frame and provide wall space easily with a collection of smaller maps, before you decide to go big.
 
IMPORTANT: Also it's less of a shock for your partner when they return home from shopping only to discover that large artwork now taking pride of place on your office wall or even the lounge wall!  They then ask  "How much did you pay for that thing?"

So starting small on most fronts gives you time to find your feet, get a feel for the market and get some experience under your belt, all without spending big!  Here's an example of one kind of miniature map. Notice this map carry's big names in the map collectors world even though this is a small map!

Mapmaker: Mercator, G. / Hondius, J. (Cloppenburgh) from " Atlas Minor Gerardi Mercatoris...Ioannis Cloppenburgij, 1630" The fourth and final series of reduced versions of Mercator's atlas was published by the Amsterdam bookseller Johan Cloppenburgh in 1630. Maps engraved by Pieter Van Den Keere.  The maps include decorative cartouches, latitudinal and longitudinal lines, coats of arms, compass rose and show political boundaries, cities, towns, topography, vegetation, waterways and landmarks.
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​This is an excellent map of the British Isles and Ireland showing the major cities. Large strap work title cartouche. Blank to Verso (Ref: R W Shirley Early Printed Maps of The British Isles 1477-1650 Revised Edition p 123) Approx engraved area 5.5" X 8" (140mm x 200mm).

There are plenty of maps like this example and others to choose from that fall into the miniature or pocket size category.  Maps of the world, country and county maps, town plans, road maps, rivers, planispheres, hemispheres, celestial charts, even geographical playing cards with maps on them, to name a few.  As a new collector why not investigate what's available and of interest to you in miniature maps  Starting small is never a bad thing. . . .enjoy the hunt.

You can find out more about this map HERE

If paintings, drawings or prints inspired by the sea interest you then the marine and coastal painter Edward William Cooke is worthy of consideration.  He was one of the great marine artists of the 19th century.  Born in Pentonville, London, the son of well-known line engraver George Cooke; his uncle, William Bernard Cooke, was also a line engraver of note, and Edward was raised in the company of artists.
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He was a precocious draughtsman and a skilled engraver from an early age, displayed an equal preference for marine subjects, a specialist in sailing ships and published his "Shipping and Craft" – a series of accomplished engravings – when he was just 18 years of age in 1829.

Above:  A FRIGATE Under All Sail by marine artist Edward William Cooke from his published work "Fifty Plates of Shipping and Craft Drawn and Etched by Edward Cooke" c1829-31. (Expanded to 65 Plates) Drawn & Etched by William Cooke.

​Cooke was "particularly attracted by the Isle of Wight, and on his formative visit of 1835 he made a thorough study of its fishing boats and lobster pots; above all he delighted in the beaches strewn with rocks of various kinds, fishing tackle, breakwaters and small timber-propped jetties."

As one of the great marine artists of the 19th century his friends and collaborators included several prominent artists including Clarkson Stanfield, Samuel Prout, Augustus Callcott and John Sell Cotman.

Edward William Cooke (27 March 1811 – 4 January 1880).  You can see more etched plates from  "Fifty Plates of Shipping and Craft " currently in my ETSY Shop catagory Military & Naval including  "Mackerel Boats", "Sailing Barges at Battersea", "Prawn Boats at Brighton Beach" and "Lobster Boat at Rottingdean Sussex"

As you've probably gathered by now especially if you've read the previous posts in this short series the discussion has been pretty much about the paper, more than the map.  In part two we looked at identifying maps produced on wove paper and I hinted that next we would get down to looking at whats on the paper!  Well what's on the paper in terms of helping you with identification is a lot, but before we jump into that boat and head upstream there's one other consideration.

If you're new to collecting maps its likely you may be interested in maps from anywhere between the 17th century and 20th century.  This provides a wide range of possibilities where the majority tend to pitch their collecting tent.  Before moving on I'm going to share with you one other area back downstream as it were. You may be interested in starting to collect maps pre 17th century?

​The very earliest maps are referred to as Manuscript, drawn by hand. Most all early maps and navigational charts were manuscripts, often the work of explorers.  This is the place of experts when it comes to  authenticity so best advice I can give is, leave it to the experts or certainly get an experts advice if you want to delve into manuscript maps.

From mid 15th century to late 16th century the earliest printed maps were produced using the Relief printing process.  In the map world, relief or woodcut/woodblock maps were common since printing first began.  A map could be produced by pressing paper against a raised inked surface that had been carved out on wood. Having carved the image into the wood, ink was rolled onto the raised image, then paper pressed onto the raised area transferring the image to the paper.

When you look at the examples here, again produced by having a bright light behind the paper you can see in the enlarged image above the typical lines of this kind of printing.  The lines are simple, heavy and have blunt ends.  The text in woodcut was achieved by inserting movable type as it was easier to make changes. Observe that the paper is laid paper, in keeping with how paper was being produced at the time. Remember the laid lines and chain lines we looked at in Part One?  Have fun!
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Click the link to continue to Part 4 in the Series Collecting Antique Maps

You can find this map over on my Etsy shop site:  ANGLIA c1578 from Munsters Cosmographia

The work of John Kay is truly original.  If you look closely at his miniature portrait work, it will bring a smile to your face. In the example below the attention to detail is second to none and even the horse appears to be smiling! Also the additional fine hand colour makes for a very special collectors print. If you don't know his work I recommend you investigate.

John Kay (1742 - 1826) was born near Dalkeith, Midlothian in 1742. The son of a mason, he was apprenticed at the age of thirteen to George Heriot, a barber in Dalkeith. Six years later he moved to Edinburgh where he continued to work as a journeyman barber.  In 1771 he was enrolled a member of the Society of Surgeon-Barbers and set up in business on his own account. In his spare time he began to produce highly original portrait sketches and caricatures of Edinburgh characters, despite having no formal training in drawing.
 
He attracted the patronage of William Nisbet of Dirleton, who settled an annuity upon him, and in 1785 was finally able to give up his trade for art. Kay opened a shop in Parliament Close where he sold his etchings and from 1784 - 1822 he is calculated to have etched nearly nine hundred plates portraying many of the most notable Scotsmen of the day. Within twelve years of his death his caricatures were published in a two-volume book,  'A series of original portraits and caricature etchings by the late John Kay',  with a second edition following four years later.

Caricature of General Sir Ralph Abercromby K.B. by John Kay 1801 with gold mount & frame. General Sir Ralph Abercromby K.B Viewing the Army encamped on the plains of Egypt. c1801.

Kay's portraits were collected by Hugh Paton and published under the title A series of original portraits and caricature etchings by the late John Kay, with biographical sketches and illustrative anecdotes (Edinburgh, 2 vols. 4to, 1838; 8vo ed., 4 vols., 1842; new 4to ed., with additional plates, 2 vols., 1877), forming a unique record of the social life and popular habits of Edinburgh at its most interesting epoch.
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Take a look at some  more delightful John Kay caricatures HERE Every one is its own little comedy!

The name Arrowsmith is well known in map circles. Arron Arrowsmith (1750-1823) was the founder of one of the leading London map publishing houses in the early nineteenth century. He worked as a surveyor for John Cary, working on various road surveys which appeared in Cary's Travellers Companion in 1790. Having established his own business his reputation became widespread internationally as he specialised in compiling maps recording the discoveries made in different parts of the world. Arrowsmith was also diligent in revising and improving his maps to keep them current, and served as an inspiration for the next generation of surveyors.

​When Arron died in 1823 the business and title of Hydrographer to the King passed to his sons, Aaron (1802-1854) and Samuel (1805-1839) who worked as partners from 1823 to 1832, when Aaron resigned to join the church. While the partners never achieved the heights of their father, in addition to reprinting from his stock, they produced numbers of important maps for the Parliamentary Papers, a school atlas, a bible atlas and a series of wall maps of classical history.  Samuel died at age 34 in 1839; his brother presided over his funeral. The remaining stock and copper plates were bought at auction by John Arrowsmith, their cousin.

This map is an example from the school atlas: A Comparative Atlas of Ancient And Modern Geography, From original Authorities, and upon a New Plan For The Use Of Eton School, By A. Arrowsmith, Hydrographer to His Majesty. 1828. London, Published by the Author, 10, Soho Square, Sold also by E. Williams, Eton, and at the Eton Warehouse, 10, Red Lion Court, Fleet Street. This edition Published Jany. 2, 1828 by S. Arrowsmith Hydrographer to His Majesty, No. 10, Soho Square.

​What's your favourite English Country House or Stately Home? Visiting these monuments remains a delight for lovers of history, architecture, formal gardens and the great English landscape. They've starred in everything from period sagas and Jane Austen stories to Star Wars and James Bond thrillers.  Maybe you have a favourite?

Rare antique engraved birds-eye views of such country houses are significantly important as they show the entire estate, grounds and formal gardens in fine detail and accuracy as they were at that time. Here's an example showing a view of Chipstead Place near Westerham Sevenoaks in Kent c1719 showing the house, gardens and the avenues.

Title: Chepsted Place one of ye Seats of David Polhill Esq.... c1719. Excellent View of Chipstead Place, Kent: T. Badslade Delin. I Kip Sculp. (London: D. Midwinter, 1719.) Copper Engraving, very fine impression.

A delightful bird's eye view of Chepsted Place engraved by Johannes Kip showing the house, gardens and the avenues of trees stretching out into the surrounding park. Engraved by Johannes Kip after Thomas Badeslade for John Harris's 'History of Kent in Five Parts'. The title is on a scroll at the top of the plate, along with Polhill's armorial. David Polhill of Chipstead, Kent, was an English landowner and Whig politician who sat in the House of Commons at various times between 1710 and 1754. He was one of the signatories of the Kentish petition in 1701.

Harris was a Doctor of Divinity, author and a Fellow of the Royal Society. For his History, he commissioned Badeslade, an artistically inclined surveyor, to illustrate his work. These drawings were then engraved by Johannes Kip (1652/3-1722), a Dutch draughtsman and engraver who moved to England, and who, together with Leonard Knyff, specialised in engraved views of English country houses.

Birds-eye views are popular with print collectors, if you have a favourite Country House or Stately Home these are worth considering for your collection if you can find the antique engraved print.

Happy Hunting!

You can find out more about this original engraving HERE Chipstead Place 

If you're new to collecting antique maps one of the first things that confuses the novice is the term 'original map'. This was explained in part one of these posts. I also gave you a basic description of the intaglio print process resulting in the maps image being transferred to the paper. Also in part one I gave you some visual example images of 'laid paper' so you know what you're looking for.  As explained all maps were printed on laid paper up until around the end of the 18th century.

As map making entered the start of the 19th century a shift took place towards using paper produced on a new mold called WOVE.  This wove paper had been invented by James Whatman in 1757.  The development of ‘wove’ paper, producing paper on a smooth, regular-surfaced, woven mesh material that was pioneered by James Whatman at his Turkey Mill in Maidstone, Kent. It resulted in a sheet with a much smoother, less irregular surface than previously found in 'laid' paper

Like many other crafts, paper making by hand on a commercial basis eventually became non viable. The new technique quickly spread throughout Europe and America and soon it dominated the paper making industry. In time machines were developed that made paper on a continuous roll, no more individual sheets!  As we entered the first half of the 19th century this wove paper was most common, hence most original maps were produced on wove paper, sometimes watermarked sometimes not.

Again the place to start is with the paper but as explained you're now looking for a different set of clues because over time the paper making process changed. The images above are the result of shining a bright light behind the paper.  Often it is sufficient to hold the paper up to the light to see the kind of paper the map has been printed on.  Getting a little bit of an understanding of this subject is really valuable to you.  Being able to recognise paper in this way will help you greatly when it comes to identify if a map is original or a reproduction produced using modern paper processes.

In the next post on this subject I'll share with you what to look out for on the paper itself!  

Click the link to continue to Part 3 in the Series Collecting Antique Maps

What is it about living by a river?  For me I love being 'far from the madding crowd' I love the peace and tranquility that comes with walking in open countryside by the river. Having time to gather your thoughts, or clear you head, whichever is required. Maybe you feel the same about being by a river?

I'm a bit of a nomad so I tend to move home often. My wife says to me 'you're a Sagittarius' what do you expect?  In the last 50 years I've lived close to the River Thames three times. Way back in the mid 70's I used to live in Goring on Thames, beautiful part of the river. I've lived in Richmond, London right on the river and Marble Hill Park in a beautiful conservation area.  Now I live near Marlow in Buckinghamshire and walk the river as often as I can.

​My love of the river mixed with my love of aquatint prints leads me to sharing these landscape views with you. These aquatint plates were produced for the Boydells' major colour publication 'History of the River Thames'.  The two volumes originally published in 1794-6 contained sevent-six plates aquatinted by J.C. Stadler after the watercolours of Joseph Farington.

John Boydell, a land surveyor in the employment of his father, was inspired by an engraving by W.H. Toms to leave his home in Shropshire about 1750 and walk to London to apprentice himself to Toms. After six years, Boydell set up his own shop and thus began his career as one of the greatest of print publishers.  One of John's later projects, published with Josiah his brother, was this series of views of the Thames River Valley. These prints are excellent examples of the art of aquatinting, and they provide an intimate look at the heart of England during the late eighteenth century.

Enjoy!  If you're fortunate to live near a river, don't leave it to long before you take your next walk . . . .
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You can see more from the series of prints HERE Where a selection of the plates are available.

Maps are prized from around the world for all kinds of reasons, their beauty, historical significance, the stories they tell even the mapmaker or cartographer can play a role in an individuals reason for collecting! If Welsh map engravers are your thing then the work of Thomas Bowen will be of interest.

This map is of the "United States of North America. Including the British and Spanish Territories, carefully laid down agreeable to the Treaty of 1784." the work of Welshman Thomas Bowen. Engraved for Bankes's New system of universal geography, published by royal authority.

Thomas Bowen (1749-1790) was a Welsh engraver of maps and charts. He was the son of Emanuel Bowen (1720-17670) the map engraver to George II of England and Louis XV of France. Bowen is highly regarded for producing some of the largest, most detailed and accurate maps of his era. These highly attractive maps were also worked on by his son Thomas.

In spite of his royal patronage and renown,  Emanuel Bowen like many cartographers of his day, died in poverty. His son Thomas continued on the business however a similar outcome befell him and he died in Clerkenwell Workhouse in 1790.
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Finding maps with the name of Welshman Thomas Bowen noted as engraver or geographer is not impossible but finding this edition of the United states of North America is a little bit special.  So if maps of North America are of interest to you or you have a hankering for Welsh mapmakers this may just be what you're looking for!

iechyd da
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This map is currently available, more info HERE

Collecting rare landscape prints remains popular for many even in a tech filled world.  These topographical prints appeal to a wide range of interests, they remain collectors items, make wonderful decorative gifts and for some are an investment.

Aquatint may be something new to you, you may be surprised to hear it actually dates back to the mid-seventeenth century but really became a popular technique in around 1770. At the time aquatint was the perfect solution to reproducing landscape images, all in keeping with the popularity of watercolour painting at the time. 

Beauty is in the eye of the beholder the saying goes. The truth is you the observer get to decide what is beautiful, so see what you think of Daniell's work.  It's widely accepted one of the most impressive figures in the history of aquatinted topography is William Daniell.  Born in 1769, William was the eldest son of the landlord of the Swan Inn at Chertsey, Surrey. By the time he was 15 years of age Daniell's uncle Thomas took him to India where they spent years touring, painting and sketching.

​Prints more easy to find and popular are from his work "Voyage around Great Britain." All the illustrations were hand coloured aquatints, drawn and engraved by Daniell. The aquatints were initially printed in brown and grey-blue and the rest of the colouring was added by hand by a team employed by William Timms of Hampstead Road, London. The work took eleven years to complete. Starting at Land's End travelling up the northern coast of Cornwall, the coastline of Wales, north west England, Scotland, some of the islands and back down the east coast of England and then on back along the south coast returning to Land's End.

​The 308 hand-coloured aquatints were accompanied by a descriptive text written for the first two volumes by Richard Ayton.  A set of the Entire 'Voyage' sold for £60 or one and a half times what a fisherman or a sailor aboard a merchant ship could expect to earn in a year at the time!  The quality of colouring is exceptional on original plates, delicate and restrained.  If the coast of Great Britain is of interest to you then I can recommend none better than William Daniell aquatints.  His now very scarce superb views of London,  produced in larger folio size are very collectable, when you can find them!  Enjoy the hunt!
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The scarce aquatint print of Somerset House is available  HERE