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Another print from Jenkins The Martial achievements of Great Britain and Her Allies from 1799 to 1815. Below the print is a short excerpt from the original written account as published with the print.
The Battle of Grijó (10–11 May 1809) was a battle that ended in victory for the Anglo-Portuguese Army commanded by Sir Arthur Wellesley (the future Duke of Wellington) over the French army commanded by Marshal Nicolas Soult, during the second French invasion of Portugal in the Peninsular War.
The Battle of Grijó (10–11 May 1809) was a battle that ended in victory for the Anglo-Portuguese Army commanded by Sir Arthur Wellesley (the future Duke of Wellington) over the French army commanded by Marshal Nicolas Soult, during the second French invasion of Portugal in the Peninsular War.
Above: Battle of Grijó May 11th 1809. London Published Nov 1st 1815 by J. Jenkins, 48 Strand. From The Martial achievements of Great Britain and Her Allies from 1799 to 1815 by James Jenkins
Excerpt from the written account as published:
THE BATTLE OF GRIG0, MAY 11, 1809.
THE British army which remained in Portugal after the retreat of Sir John Moore, did not exceed 10,000 men, independently of detachments and the brigade under Brigadier-General Cameron. Such was the force the enemy would have had to encounter, had he advanced rapidly to the invasion of. Portugal in 1809, immediately after the affair at Corunna: so much indeed was an attack anticipated, that Sir J. Craddock, who commanded at Lisbon, embarked the heavy baggage, and made the necessary dispositions in case of being obliged to evacuate the country. The French army was continually victorious over the Portuguese; they had taken Oporto, had succeeded in Spain, and the whole Peninsula appeared to be fast approaching to a mere province of France, when Sir Arthur Wellesley was appointed commander in chief of the British army in Portugal. He landed at Lisbon 28th April, 1809; and such was the joy throughout the kingdom, that every town, not in the possession of the French, put forth illuminations on the occasion, which continued for three successive nights. On the 2d May, Sir Arthur, who had been appointed marshal-general of the Portuguese troops by the Prince Regent of Portugal, arrived at Coimbra, to take the command of the combined army. On the 6th he reviewed the whole of the troops, and on the 7th they began their march. The first object was to rescue Oporto from the do minion of the enemy. On the 10th, the cavalry and the advance of the army crossed the Vouga, and defeated a considerable body of the enemy's cavalry and infantry.
Extract of a Dispatch from Sir A. WELLESLEY, dated Oporto, May 12, 1809.
On the 11th, the advanced guard and cavalry continued to move on the high road towards Oporto, with Major-General Hills division on a parallel road which leads from Ovar to Oporto....
How to Identify the Prints:
The original prints from The Martial achievements of Great Britain and Her Allies from 1799 to 1815 are aquatint engravings on a medium weight wove paper. Plates also exist that were printed on India Paper. They should clearly identify bottom left W. Heath (delt) who did the drawings and bottom right T. Sutherland (sculpt) who produced most of the aquatint engravings with some by D. Havell, M. Dubourg and J. Hill. Each plate has the date of publication and the name of the publisher beneath the engraved title. The approx engraved area of the plates are 8.5" x 7.75" (215mm x 195mm) including the engraved title text. Engraved plate mark area is approx 8.5 x 11.75 (215mm x 300mm). The large sheet size is approx 11.5" x 14" (290mm x 355mm).
You can see more prints from Jenkins The Martial achievements of Great Britain and Her Allies from 1799 to 1815 HERE. If you're interested in a specific print and you cannot see it on my website please feel free to message me.
Excerpt from the written account as published:
THE BATTLE OF GRIG0, MAY 11, 1809.
THE British army which remained in Portugal after the retreat of Sir John Moore, did not exceed 10,000 men, independently of detachments and the brigade under Brigadier-General Cameron. Such was the force the enemy would have had to encounter, had he advanced rapidly to the invasion of. Portugal in 1809, immediately after the affair at Corunna: so much indeed was an attack anticipated, that Sir J. Craddock, who commanded at Lisbon, embarked the heavy baggage, and made the necessary dispositions in case of being obliged to evacuate the country. The French army was continually victorious over the Portuguese; they had taken Oporto, had succeeded in Spain, and the whole Peninsula appeared to be fast approaching to a mere province of France, when Sir Arthur Wellesley was appointed commander in chief of the British army in Portugal. He landed at Lisbon 28th April, 1809; and such was the joy throughout the kingdom, that every town, not in the possession of the French, put forth illuminations on the occasion, which continued for three successive nights. On the 2d May, Sir Arthur, who had been appointed marshal-general of the Portuguese troops by the Prince Regent of Portugal, arrived at Coimbra, to take the command of the combined army. On the 6th he reviewed the whole of the troops, and on the 7th they began their march. The first object was to rescue Oporto from the do minion of the enemy. On the 10th, the cavalry and the advance of the army crossed the Vouga, and defeated a considerable body of the enemy's cavalry and infantry.
Extract of a Dispatch from Sir A. WELLESLEY, dated Oporto, May 12, 1809.
On the 11th, the advanced guard and cavalry continued to move on the high road towards Oporto, with Major-General Hills division on a parallel road which leads from Ovar to Oporto....
How to Identify the Prints:
The original prints from The Martial achievements of Great Britain and Her Allies from 1799 to 1815 are aquatint engravings on a medium weight wove paper. Plates also exist that were printed on India Paper. They should clearly identify bottom left W. Heath (delt) who did the drawings and bottom right T. Sutherland (sculpt) who produced most of the aquatint engravings with some by D. Havell, M. Dubourg and J. Hill. Each plate has the date of publication and the name of the publisher beneath the engraved title. The approx engraved area of the plates are 8.5" x 7.75" (215mm x 195mm) including the engraved title text. Engraved plate mark area is approx 8.5 x 11.75 (215mm x 300mm). The large sheet size is approx 11.5" x 14" (290mm x 355mm).
You can see more prints from Jenkins The Martial achievements of Great Britain and Her Allies from 1799 to 1815 HERE. If you're interested in a specific print and you cannot see it on my website please feel free to message me.
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I mentioned a couple of weeks back I'd start to highlight some of the excellent reference works that have crossed my path. They continue to provide a wealth of information helping to understand, contextualise, and interpret the maps focused on. If you're new to collecting I recommend developing a reference library geared towards your subject of interest. The benefits are many and the knowledge you gain will help you with the decision making process when it comes to future investments for your map collection.
Above: Arabia in Early Maps by Tibbetts, G R. Publisher: Falcon Oleander, Cambridge, 1978. Size: 10" x 8.5" (255mm x 215mm). Hardcover.
This is a bibliography of maps covering the Peninsula of Arabia printed in western Europe from the invention of printing to the year 1751. Arabia in Early Maps begins with the invention of printing and the production of maps to illustrate Ptolemy's Geography and ends in 1751 with D' Anville's famous map of Asia. It was the production of D'Anville's map which emphasised to the West its ignorance of inland Arabia and led ultimately to the first Scientific expedition to Arabia (that of Niebuhr in 1761-4) and the opening of European interest in the Peninsula.
If you're new to collecting antique maps you've probably realised the need for a reference library. These books are a critical resource when it comes to understanding about maps and learning about your subject of interest. If Arabia is your thing . . .
More info on Arabia in Early Maps by Tibbetts, G R. can be found HERE
Happy Reference Book Hunting!
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Another exceptional aquatint print from James Jenkins The Naval Achievements of Great Britain. To give you even more of an insight into the event recorded I've shared a brief excerpt from the original written account published below this print.
'La Pique', a French 40-gun frigate, was captured by 'Blanche', a Royal Navy frigate of 32 guns, after several hours of fierce fighting in the early hours of 5 January 1795, off Guadeloupe, during which 'Blanche''s captain Robert Faulknor was fatally wounded by musket-ball shot. 'Blanche', with only her foremast intact, is shown on the right of the picture in starboard-broadside view, just ahead of, and firing her stern guns at, 'La Pique', whose toppling mizzen is about to leave her completely dismasted.
'La Pique', a French 40-gun frigate, was captured by 'Blanche', a Royal Navy frigate of 32 guns, after several hours of fierce fighting in the early hours of 5 January 1795, off Guadeloupe, during which 'Blanche''s captain Robert Faulknor was fatally wounded by musket-ball shot. 'Blanche', with only her foremast intact, is shown on the right of the picture in starboard-broadside view, just ahead of, and firing her stern guns at, 'La Pique', whose toppling mizzen is about to leave her completely dismasted.
Above: Capture of La Pique, January 5th 1795. Published Sept 1st 1816 at 48 Strand for J. Jenkins Navel Achievements. From The Naval achievements of Great Britain and Her Allies from 1793 to 1817 by J. Jenkins.
Excerpt from the written account as published:
Copy of a Letter from Lieutenant F. Watkins, First of the Blanche, to Vice-Admiral CALDWELL, Commander in Chief of his Majesty's Ships and Vessels in the West Indies, dated January 5, 1795.
I take the earliest opportunity of informing you of my arrival here with La Pique, a French frigate of 38 guns, belonging to the National Convention of France; which Captain Faulkner brought to action at a quarter-past twelve a.m. Mariegalante E. half S. three miles. It is with the utmost regret I have to inform you, that he fell in the action. In him his Majesty has lost a brave and gallant officer, whom I most sincerely lament, as must every one who knew his merit.
I cannot sufficiently express my thanks to Lieutenants Milne and Pricket, also to the other officers, and the ship's company, for their cool and determined bravery on this occasion; and am happy to add, that the enemy's ship struck her colours at a quarter-past five p.m. From the best information I have been able to obtain, she had 360 men on board when we brought her to action, and I have great reason to suppose her loss to be about 70 killed and 110 wounded.
Inclosed I have the honour to send you the return of killed and wounded on board his Majesty's ship Blanche.
(Signed)
F. WATKINS, First Lieutenant. Killed, eight (including Captain Faulkner); wounded, twenty.
How to Identify the Prints:
The original prints from "The Naval Achievements of Great Britain. From the Year 1793 to 1817" are aquatint engravings on a medium weight wove paper. All the plates identify at bottom left Painted by T. Whitcombe and bottom right T. Sutherland (sculpt) who produced the aquatint engravings. Some plates were engraved by Jeakes and Bailey after Whitcombe. Each plate is accompanied by text pages describing the action, often with lists of ships captured or sunk, and excerpts from contemporary bulletins, dispatches, letters, and speeches. The first edition appeared in 1817. Early issues have watermarks of J. Whatman with the undated watermark IIS&S on some plates. The vignette title page was uncoloured in the first issue. The approx engraved image area of the plates are 7" x 10.25" (175mm x 260mm). Engraved plate mark area is approx 8.5 x 11.75 (215mm x 300mm). The folio sheet size is approx 11.5" x 14" (290mm x 355mm).
You can see more prints from Jenkins The Naval Achievements of Great Britain, From the Year 1793 to 1817 HERE. If you're interested in a specific print and you cannot see it on my website please feel free to message me.
Excerpt from the written account as published:
Copy of a Letter from Lieutenant F. Watkins, First of the Blanche, to Vice-Admiral CALDWELL, Commander in Chief of his Majesty's Ships and Vessels in the West Indies, dated January 5, 1795.
I take the earliest opportunity of informing you of my arrival here with La Pique, a French frigate of 38 guns, belonging to the National Convention of France; which Captain Faulkner brought to action at a quarter-past twelve a.m. Mariegalante E. half S. three miles. It is with the utmost regret I have to inform you, that he fell in the action. In him his Majesty has lost a brave and gallant officer, whom I most sincerely lament, as must every one who knew his merit.
I cannot sufficiently express my thanks to Lieutenants Milne and Pricket, also to the other officers, and the ship's company, for their cool and determined bravery on this occasion; and am happy to add, that the enemy's ship struck her colours at a quarter-past five p.m. From the best information I have been able to obtain, she had 360 men on board when we brought her to action, and I have great reason to suppose her loss to be about 70 killed and 110 wounded.
Inclosed I have the honour to send you the return of killed and wounded on board his Majesty's ship Blanche.
(Signed)
F. WATKINS, First Lieutenant. Killed, eight (including Captain Faulkner); wounded, twenty.
How to Identify the Prints:
The original prints from "The Naval Achievements of Great Britain. From the Year 1793 to 1817" are aquatint engravings on a medium weight wove paper. All the plates identify at bottom left Painted by T. Whitcombe and bottom right T. Sutherland (sculpt) who produced the aquatint engravings. Some plates were engraved by Jeakes and Bailey after Whitcombe. Each plate is accompanied by text pages describing the action, often with lists of ships captured or sunk, and excerpts from contemporary bulletins, dispatches, letters, and speeches. The first edition appeared in 1817. Early issues have watermarks of J. Whatman with the undated watermark IIS&S on some plates. The vignette title page was uncoloured in the first issue. The approx engraved image area of the plates are 7" x 10.25" (175mm x 260mm). Engraved plate mark area is approx 8.5 x 11.75 (215mm x 300mm). The folio sheet size is approx 11.5" x 14" (290mm x 355mm).
You can see more prints from Jenkins The Naval Achievements of Great Britain, From the Year 1793 to 1817 HERE. If you're interested in a specific print and you cannot see it on my website please feel free to message me.
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Affordable portrait prints remain popular. They tell us something about the subject and about how the subject wanted to be depicted. I regularly have buyers purchase small engraved portraits and sometimes memoirs produced of eminent personages of Great Britain. These engravings were engraved from authentic pictures in the galleries of the nobility and public collections of the country. Portraiture is such a vast genre, that there is bound to be something within it that you might like. It could be some historic family connection, military interest or simply an artistic appreciation for the portrait.
Above: Portrait of Sir Rufane Shaw Donkin, with facsimile signature and later hand colour. After Henry Meyer a prominent early 19th-century artist and here engraved by William Holl. Lieutenant General Sir Rufane Shaw Donkin GCH KCB FRS FRGS, was a British army officer of the Napoleonic era and later Member of Parliament. Henry Meyer (12 June 1780 - 28 May 1847) was an English portrait painter, more known as a stipple and mezzotint engraver. His first published engravings appeared in the early 19th century. His painting of Charles Lamb was hung in the India Office for many years. He was a founding member of the Society of British Artists, exhibiting many of his works with this association between 1824 and 1830, and acting as its president in 1828/9
Some collectors prefer prints in their original, often uncoloured state, as issued. On the other hand, there are others who follow the argument that these prints as decorative items look more attractive coloured. The choice is yours to make. Many people love to collect engraved prints that have been painted with additional watercolour after the engraving was produced. Because the approach of each water colourist in a sense produces a unique 'new work' its fair to say that the addition of colour gives the buyer a very special print or gift.
Happy Hunting!
The above engraved print is set within a 10" x 8" mount ready for framing.
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If you're new to collecting antique maps you've probably realised the need for a reference library even if its just a few volumes. Reference books are a critical resource when it comes to understanding about maps and learning more about the subject. There are literally hundreds of reference works on maps along with previously published books, magazines and journals on the subject of cartography. Many of these specialist titles are no longer produced so you may have to do a bit of digging to find a publication on your special area of interest.
Over the coming weeks I'll highlight some of the excellent reference works that have crossed my path. They continue to provide a wealth of information helping to understand, contextualise, and interpret the maps focused on. I recommend developing a reference library geared towards your subject of interest. The benefits are many and the knowledge you gain will help you with the decision making process when it comes to future investments for your own map collection.
Over the coming weeks I'll highlight some of the excellent reference works that have crossed my path. They continue to provide a wealth of information helping to understand, contextualise, and interpret the maps focused on. I recommend developing a reference library geared towards your subject of interest. The benefits are many and the knowledge you gain will help you with the decision making process when it comes to future investments for your own map collection.
Above: Collecting Old Maps. Revised and Expanded Edition by Marti Griggs & Curt Griggs. Clarkdale, AZ: Old Maps Press, 2015. Hardback, cloth & illus. dustwrapper; pp. 352, illustrated throughout.
I'm going to kick off with this more general reference work simply because I can recommend no better place as a starting point. The book includes everything that the novice map collector needs to know and lots more. You can see a short video review of the book HERE at the top of my resources page.
Lastly you can see a small collection of more specialist map reference books HERE on my Reference Books page.
I'm going to kick off with this more general reference work simply because I can recommend no better place as a starting point. The book includes everything that the novice map collector needs to know and lots more. You can see a short video review of the book HERE at the top of my resources page.
Lastly you can see a small collection of more specialist map reference books HERE on my Reference Books page.
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The hand colouring of antique etchings and engravings is obviously a skilled task. When this colouring is performed in a manner sympathetic to the period of the print and the colourist works closely with the printed detail of an etching the result can be very desirable. Many people love to collect hand coloured prints. Because the approach of each colourist in a sense produces a unique 'new work' its fair to say that the addition of colour gives the buyer a very special unique print.
But colour is not always desirable. Some collectors prefer prints in their original, often uncoloured state, as issued. On the other hand, there are others who follow the argument that these prints as decorative items look more attractive coloured, and that if the colouring is well done it further enhances the work and value of the print. In the end it really is a matter of personal taste. In my own collection I have both coloured and uncoloured prints.
But colour is not always desirable. Some collectors prefer prints in their original, often uncoloured state, as issued. On the other hand, there are others who follow the argument that these prints as decorative items look more attractive coloured, and that if the colouring is well done it further enhances the work and value of the print. In the end it really is a matter of personal taste. In my own collection I have both coloured and uncoloured prints.
Above: "Leaving Home" by Francis Montague (Frank) Holl c1873 Steel engraving published in the Art Journal c1879. After the painting by F. Holl A.R.A. and engraved by C.H. Jeens.
Francis Montague (Frank) Holl was a painter and illustrator. He received his first art instruction from his father, Francis Holl. At the age of fifteen Holl entered the Royal Academy schools, where in 1862 he was awarded a silver medal for drawing and in 1863 the gold medal for a religious subject, Abraham about to Sacrifice Isaac. In 1864 he exhibited two paintings at the Royal Academy, where he continued to show his work regularly until his death. Holl was elected an Academician of the Royal Academy in 1878 and RA in 1883.
On 10 Feb. 1872 he produced, as a double-page illustration for the ‘Graphic,’ At a Railway Station—A Study.’ He subsequently painted this subject both in oil and water-colour, and called it ‘Leaving Home.’
This is an example of hand colour applied to an original fine steel engraving making this a unique version of the print which has been coloured sympathetic to the original painting.
This print is available for sale HERE
Francis Montague (Frank) Holl was a painter and illustrator. He received his first art instruction from his father, Francis Holl. At the age of fifteen Holl entered the Royal Academy schools, where in 1862 he was awarded a silver medal for drawing and in 1863 the gold medal for a religious subject, Abraham about to Sacrifice Isaac. In 1864 he exhibited two paintings at the Royal Academy, where he continued to show his work regularly until his death. Holl was elected an Academician of the Royal Academy in 1878 and RA in 1883.
On 10 Feb. 1872 he produced, as a double-page illustration for the ‘Graphic,’ At a Railway Station—A Study.’ He subsequently painted this subject both in oil and water-colour, and called it ‘Leaving Home.’
This is an example of hand colour applied to an original fine steel engraving making this a unique version of the print which has been coloured sympathetic to the original painting.
This print is available for sale HERE
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We've all been fighting with the whole Covid-19 Pandemic in one way or another over the last year. If you're interested in a bit of light relief, you like maps and want to have a good laugh, join us on Giggle Maps for some geographical fun and banter. Sense of humour is essential!
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Anatomy is the study of the structure of an object, in this case the human body. Human anatomy deals with the way the parts of humans, from molecules to bones, interact to form a functional unit. Original anatomy prints remain very collectable and a now sought after guide by a Doctor J. Fau is well worth looking out for.
The works title is "The Anatomy of the External Forms of Man, Intended for the use of Artists, Painters and Sculptures by Doctor J. Fau". This extremely rare 'Atlas' guide from 1849 contained twenty eight drawings from nature, lithographed by M. Leveille, Pupil of M Jacob. Published by Méquignon Marvis fils, and printed by Lemercier, Paris. Additional Plates by William Norris. Published: Bailliere, Tindall, & Cox, 20 King William Street, Strand.
These are large highly detailed and finely executed black-and-white lithographs. The realistic and meticulously accurate drawings illustrate form as well as function, offering artists a mastery of anatomy through careful, knowledgeable articulation of the muscles and bones beneath the skin.
The works title is "The Anatomy of the External Forms of Man, Intended for the use of Artists, Painters and Sculptures by Doctor J. Fau". This extremely rare 'Atlas' guide from 1849 contained twenty eight drawings from nature, lithographed by M. Leveille, Pupil of M Jacob. Published by Méquignon Marvis fils, and printed by Lemercier, Paris. Additional Plates by William Norris. Published: Bailliere, Tindall, & Cox, 20 King William Street, Strand.
These are large highly detailed and finely executed black-and-white lithographs. The realistic and meticulously accurate drawings illustrate form as well as function, offering artists a mastery of anatomy through careful, knowledgeable articulation of the muscles and bones beneath the skin.
Above: Plate 3 from Anatomy of External Forms of Man. Interestingly each plate was accompanied by a text plate identifying in great detail all elements of the drawn figures. An interesting note to plate above commented:
"The student will do well to study the exact position of the male head on the neck, and to contrast it with the female. The ear is placed further forward in the female than in the male, and this holds, as Julio Romano has well shown, even in the heads of children. The balance of the female head on the neck presents in women much more graceful forms than in the finest male proportions. On the other hand, the head and neck of the true athlete differs from the usual forms and proportions on the ordinary male figure; and the dark races have their peculiarities".
If the study of anatomy is your passion or you just want some fascinating anatomy prints for decoration purposes the work of Doctor Fau is one to look out for.
Happy Hunting!
Drop me an email if you're interested in more anatomy plates by Doctor Fau. Email: kevin@raremapsandprints.co.uk
"The student will do well to study the exact position of the male head on the neck, and to contrast it with the female. The ear is placed further forward in the female than in the male, and this holds, as Julio Romano has well shown, even in the heads of children. The balance of the female head on the neck presents in women much more graceful forms than in the finest male proportions. On the other hand, the head and neck of the true athlete differs from the usual forms and proportions on the ordinary male figure; and the dark races have their peculiarities".
If the study of anatomy is your passion or you just want some fascinating anatomy prints for decoration purposes the work of Doctor Fau is one to look out for.
Happy Hunting!
Drop me an email if you're interested in more anatomy plates by Doctor Fau. Email: kevin@raremapsandprints.co.uk
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It’s unlikely you’re totally new to buying online, who doesn’t use Amazon? But would you be confident about buying a rare map or print and parting with several hundred dollars online?
The great thing about the online world is you can find many highly respected map and print dealers just a click away. Plus you can buy without even getting off your sofa! You just need to know what you’re doing and be confident about it.
It’s also possible to find ‘Little Gems’ as I call them being sold on various online platforms by people who sometimes simply don’t know what they’ve got! I’m not just talking about on sites like eBay here. You’d be surprised what you can find when you know where to look. One of the keys is knowing what to look for.
If you’re lucky enough to find the elusive ‘little gem’ then the next step is all the more important for you. The information in this ebook will help you avoid some basic mistakes still made by the unwary on the verge of buying a rare map or collectable print online.
This is a quick step by step guide to buying online with practical suggestions and 'real life' examples of what can be achieved. Get your copy today!
The great thing about the online world is you can find many highly respected map and print dealers just a click away. Plus you can buy without even getting off your sofa! You just need to know what you’re doing and be confident about it.
It’s also possible to find ‘Little Gems’ as I call them being sold on various online platforms by people who sometimes simply don’t know what they’ve got! I’m not just talking about on sites like eBay here. You’d be surprised what you can find when you know where to look. One of the keys is knowing what to look for.
If you’re lucky enough to find the elusive ‘little gem’ then the next step is all the more important for you. The information in this ebook will help you avoid some basic mistakes still made by the unwary on the verge of buying a rare map or collectable print online.
This is a quick step by step guide to buying online with practical suggestions and 'real life' examples of what can be achieved. Get your copy today!
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Back in December I shared with you Plate I from Lord Howes Victory for James Jenkins The Naval Achievements of Great Britain. Below is Plate II and below the print is the brief excerpt from the original written account as published with the aquatint plate.
The French fleet of twenty-five sail of the line and fifteen frigates had sailed out of Brest in order to bring in homeward bound merchant ships. The fleet was discovered by the British on 28 May and battle was given on the 29th. The action was interrupted by fog and battle was not re-engaged until 1 June when the British fleet prevailed and captured seven vessels.
Known as 'The Glorious First of June', this action was also known as the 'Third Battle of Ushant'. The British were commanded by Admiral Richard Howe, 1st Earl Howe (1726-99), and the French were commanded by Admiral Louis-Thomas Villaret de Joyeuse (1747-1812). The British defeat of the French was only a tactical victory, the objective of capturing a French grain convoy was not achieved.
The French fleet of twenty-five sail of the line and fifteen frigates had sailed out of Brest in order to bring in homeward bound merchant ships. The fleet was discovered by the British on 28 May and battle was given on the 29th. The action was interrupted by fog and battle was not re-engaged until 1 June when the British fleet prevailed and captured seven vessels.
Known as 'The Glorious First of June', this action was also known as the 'Third Battle of Ushant'. The British were commanded by Admiral Richard Howe, 1st Earl Howe (1726-99), and the French were commanded by Admiral Louis-Thomas Villaret de Joyeuse (1747-1812). The British defeat of the French was only a tactical victory, the objective of capturing a French grain convoy was not achieved.
Above: Plate II: Lord Howe's Victory, June 1st 1794. Published Apr 1st 1816 at 48 Strand for J. Jenkins Navel Achievements. From The Naval achievements of Great Britain and Her Allies from 1793 to 1817 by J. Jenkins.
Excerpt from the written account as published:
PL A T E II From the 29th May till the afternoon of the 31st, the fog continued with little intermission. About half-past one on the latter day, the enemy was discovered in a line about seven miles to leeward. Lord Howe immediately formed his line, but not being able to close with the enemy that day, he hauled his wind on the larboard tack; and the French admiral, following the example, brought the van of the British squadron abreast of the French centre: in this situation they remained the whole night. At five a. m. his lordship made the signal to bear up; at seven the two fleets were within three miles of each other. Lord Howe, after making the signal that he intended to pass through the enemy's line and engage to leeward, and that each ship was to steer for and engage the ship immediately opposite in the French line, bore away for the Montagne.
The annexed view represents the Vengeur sinking, which, after having en gaged the Brunswick from the commencement of the action, was obliged to hoist the British jack as a token of submission, and implored assistance; but the boats of the Brunswick being shot away, she could afford them no aid.
The Brunswick having lost her mizen-mast in the action, and drifted to leeward of the French retreating ships, was obliged to put away large to the northward from them; not seeing her chased by the enemy in that predicament, I flatter myself that she may arrive in safety at Ply mouth. All the other twenty-four ships of his Majesty's fleet re-assembled later in the day; and I am preparing to return with them, as soon as the captured ships of the enemy are secured, to Spithead.
The material injury to his Majesty's ships is, I understand, confined principally to their masts and yards, which I conclude will be speedily replaced.
I have not yet been able to collect regular accounts of the killed and wounded in the different ships. Captain Montague is the only officer of his rank who fell in the action. . . .
How to Identify the Prints:
The original prints from "The Naval Achievements of Great Britain. From the Year 1793 to 1817" are aquatint engravings on a medium weight wove paper. All the plates identify at bottom left Painted by T. Whitcombe and bottom right T. Sutherland (sculpt) who produced the aquatint engravings. Some plates were engraved by Jeakes and Bailey after Whitcombe. Each plate is accompanied by text pages describing the action, often with lists of ships captured or sunk, and excerpts from contemporary bulletins, dispatches, letters, and speeches. The first edition appeared in 1817. Early issues have watermarks of J. Whatman with the undated watermark IIS&S on some plates. The vignette title page was uncoloured in the first issue. The approx engraved image area of the plates are 7" x 10.25" (175mm x 260mm). Engraved plate mark area is approx 8.5 x 11.75 (215mm x 300mm). The folio sheet size is approx 11.5" x 14" (290mm x 355mm).
You can see more prints from Jenkins The Naval Achievements of Great Britain, From the Year 1793 to 1817 HERE. If you're interested in a specific print and you cannot see it on my website please feel free to message me.
Excerpt from the written account as published:
PL A T E II From the 29th May till the afternoon of the 31st, the fog continued with little intermission. About half-past one on the latter day, the enemy was discovered in a line about seven miles to leeward. Lord Howe immediately formed his line, but not being able to close with the enemy that day, he hauled his wind on the larboard tack; and the French admiral, following the example, brought the van of the British squadron abreast of the French centre: in this situation they remained the whole night. At five a. m. his lordship made the signal to bear up; at seven the two fleets were within three miles of each other. Lord Howe, after making the signal that he intended to pass through the enemy's line and engage to leeward, and that each ship was to steer for and engage the ship immediately opposite in the French line, bore away for the Montagne.
The annexed view represents the Vengeur sinking, which, after having en gaged the Brunswick from the commencement of the action, was obliged to hoist the British jack as a token of submission, and implored assistance; but the boats of the Brunswick being shot away, she could afford them no aid.
The Brunswick having lost her mizen-mast in the action, and drifted to leeward of the French retreating ships, was obliged to put away large to the northward from them; not seeing her chased by the enemy in that predicament, I flatter myself that she may arrive in safety at Ply mouth. All the other twenty-four ships of his Majesty's fleet re-assembled later in the day; and I am preparing to return with them, as soon as the captured ships of the enemy are secured, to Spithead.
The material injury to his Majesty's ships is, I understand, confined principally to their masts and yards, which I conclude will be speedily replaced.
I have not yet been able to collect regular accounts of the killed and wounded in the different ships. Captain Montague is the only officer of his rank who fell in the action. . . .
How to Identify the Prints:
The original prints from "The Naval Achievements of Great Britain. From the Year 1793 to 1817" are aquatint engravings on a medium weight wove paper. All the plates identify at bottom left Painted by T. Whitcombe and bottom right T. Sutherland (sculpt) who produced the aquatint engravings. Some plates were engraved by Jeakes and Bailey after Whitcombe. Each plate is accompanied by text pages describing the action, often with lists of ships captured or sunk, and excerpts from contemporary bulletins, dispatches, letters, and speeches. The first edition appeared in 1817. Early issues have watermarks of J. Whatman with the undated watermark IIS&S on some plates. The vignette title page was uncoloured in the first issue. The approx engraved image area of the plates are 7" x 10.25" (175mm x 260mm). Engraved plate mark area is approx 8.5 x 11.75 (215mm x 300mm). The folio sheet size is approx 11.5" x 14" (290mm x 355mm).
You can see more prints from Jenkins The Naval Achievements of Great Britain, From the Year 1793 to 1817 HERE. If you're interested in a specific print and you cannot see it on my website please feel free to message me.
