Johann Baptist Homann

EARLY MAP OF THE MOON - Foundation map

1704-42

"Tempio Della Pace" is an original engraving by Israel Silvestre. The title is printed below the miniature image. It shows a frontal view of the remains of the Temple of Peace in Rom...

"Harbour Scene" is an engraving by Claude Gellee (Le Lorrain). The artist signed the piece in plate lower left. 7 3/4" x 9 5/8" art 18 1/8" x 20 1/4" frame Biography Claude Lorra...

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Shere Mill Pond, No. II (large plate). 1860. Etching and drypoint. Schneiderman 37.v/ix. 7 x 13 1/8 (sheet 10 3/4 x 16 3/8). This state is prior to publication in Études à l'Eau-Forte. Illustrated: Keppel The Golden Age of Engraving; Print Collector's Quarterly 1 (1911): 18; : Guichard, British Etchers, 1850-1940. A rich, brilliant proof with drypoint burr printed on white laid paper. Signed in pencil. ------------------------------------------------------------------------------------------- Shere Mill Pond, No. II was one of the most highly praised landscape prints of the etching revival. An impression was exhibited at the Royal Academy in 1861 under Haden’s pseudonym, H. Dean. Francis Seymour Haden used this anagram of his own name early in his career as an artist, in order to retain his anonymity and preserve his professional reputation as a surgeon. Biography: Sir Francis Seymour Haden (16 September 1818 - 1 June 1910), was an English surgeon, best known as an etcher. He was born in London, his father, Charles Thomas Haden, being a well-known doctor and lover of music. He was educated at Derby School, Christ's Hospital, and University College, London, and also studied at the Sorbonne, Paris, where he took his degree in 1840. He was admitted as a member of the College of Surgeons in London in 1842. In 1843-1844, with his friends Duval, Le Cannes and Colonel Guibout, he travelled in Italy and made his first sketches from nature. Haden attended no art school and had no art teachers, but between 1845 and 1848 he studied portfolios of prints belonging to a second-hand dealer named Love, who had a shop in Bunhill Row, the old Quaker quarter of London. Arranging the prints in chronological order, he studied the works of the great original engravers, Albrecht Dürer, Lucas van Leyden and Rembrandt. These studies, besides influencing his original work, led to his important monograph on the etched work of Rembrandt. By lecture and book, and with the aid of the memorable exhibition at the Burlington Fine Arts Club in 1877, he tried to give a true reflection of Rembrandt's work, giving a nobler idea of the master's mind by taking away from the list of his works many dull and unseemly plates that had long been included in the lists. His reasons were founded upon the results of a study of the master's works in chronological order, and are clearly expressed in his monograph, The Etched Work of Rembrandt critically reconsidered, privately printed in 1877, and in The Etched Work of Rembrandt True and False (1895). Haden's printmaking was invigorated by his much younger brother-in-law, James Whistler, at the Haden home in Sloane Street in 1855. A press was installed there and for a while Haden and Whistler collaborated on a series of etchings of the Thames. The relationship and project did not last. Haden followed the art of original etching with such vigour that he became not only the foremost British exponent of that art but brought about its revival in England. His strenuous efforts and perseverance, aided by the secretarial ability of Sir WR Drake, resulted in the foundation of the Royal Society of Painter-Etchers and Engravers. As president he ruled the society with a strong hand from its first beginnings in 1880. Notwithstanding his study of the old masters of his art, Haden's own plates were very individual, and are particularly noticeable for a fine original treatment of landscape subjects, free and open in line, clear and well divided in mass, and full of a noble and dignified style of his own. Even when working from a picture his personality dominates the plate, as for example in the large plate he etched after J.M.W. Turner's "Calais Pier," which is a classical example of what interpretative work can do in black and white. Of his original plates, more than 250 in number, one of the most notable was the large "Breaking up of the Agamemnon." An early plate, rare and most beautiful, is "Thames Fisherman". "Mytton Hall" is broad in treatment, and a fine rendering of a shady avenue of yew trees leading to an old manor-house in sunlight. "Sub Tegmine" was etched in Greenwich Park in 1859; and "Early Morning--Richmond", full of the poetry and freshness of the hour, was done, according to Haden, actually at sunrise. One of the rarest and most beautiful of his plates is "A By-Road in Tipperary"; "Combe Bottom" is another; and "Shere Mill Pond" (both the small study and the larger plate), "Sunset in Ireland," "Penton Hook," "Grim Spain" and "Evening Fishing, Longparish," are also notable examples of his genius. A catalogue of his works was begun by Sir William Drake and completed by Harrington in 1880. During later years Haden began to practise the sister art...

The landscape is an engraving on ivory-colored paper realized by Charles Amand Durand after an etching by Rembrandt. This wonderful piece of art belongs t...

Landscape with an Obelisk is an engraving on ivory-colored paper realized after an etching by Rembrandt dated 1650 ca. This wonderful piece of art belongs to an edition of the late 1...

This is a 17th century hand-colored map entitled "Insula Gaditana Isla de Cadiz" from Johannes (Joan) Blaeu's Atlas Maior, published in Amsterdam in 1662. The map provides an excellent plan of Cadiz Island on the southwest coast of Spain, with its harbor, fortifications, agricultural fields and several surrounding salt processing areas. Numerous sailing ships of various sizes are included in and around the harbor and bay, including five large sailing ships, as well as twenty-four smaller ships. There is a small compass rose overlying the bay. The bridge to the mainland from the island is shown on the right. There is an extremely ornate and colorful title cartouche in the lower left, with its mythological figures reminiscent of Raphael’s Galatea fresco at the Villa Farnesina in Rome. The vibrant colors are vividly preserved. The master colorist tried to emulate a painting by using various tones to create a three-dimensional effect.
 Blaeu's name is present in the plate in the lower right. Blaeu stated in his description of Cadiz: “The main wealth of the islanders consists of salt, which they harvest, and
 the tuna fisheries.” 
 This 17th century hand-colored map is framed in an ornate, partially textured bronze-colored wood frame and glazed with UV protected conservation glass. There is a vertical center fold, as issued. There is a faint crease in the lower right and faint color offset on the left from the right side of the map, resulting from having been in an atlas for hundreds of years. Small foci of paint are present in the upper portion of the left margin and in the left corner margin. The map is otherwise in very good condition. Due in large part to their powerful trade empire, the Dutch became known for cartography in the seventeenth century. This period is considered the Golden Age of Dutch cartography. Their publishing houses produced the highest quality work in Europe, particularly those maps and charts of foreign lands, and Dutch map-making set the bar for cartographic accuracy and artistry into the early-eighteenth century. Some of the most well-known cartographers worked in Amsterdam during this period. Perhaps the most famous of these was the Blaeu family. Willem Janszoon Blaeu, set up shop in Amsterdam. His son, Johannes (Joan), succeeded him upon his death in 1638, continuing in his father’s position as Hydrographer to the Dutch East India Company and selling maps to the public. The Blaeu map presses, located near Amsterdam’s Dam Square...

This is an early 17th century map entitled "Nova Famigerabilis Insulae Ac Ducatus Rugiae Desciptio" (Map of Rugen Island, Germany) by Gerard Mercator and Henricus and Joducus Hondiu...

This richly engraved map of Rome and its environs entitled "Urbis Cum Vicis Seu Pagis Adiacentibus Dissertationi III De Aq et Aqueaed Veteris Promae Praemissa Authore Raph Fabretto G...

This colorful and detailed early 18th century copperplate map by John Cary entitled "A New Map of Persia from the Latest Authorities" was published in London in 1801. It depicts Persia, the region of modern day Afghanistan, the Caspian Sea, the Sea of Aral, the Persian Gulf...