Pierre Mortier More Prints

A 17th century hand-colored map entitled "Guineae Nova Descriptio" by Gerard Mercator and Jodocus Hondius, published in their 'Atlas Minor' in Amsterdam in 1635. It is focused on the...

"A Canoe of the Sandwich Islands, the Rowers Masked" is an engraving created by Charles Grignion, from a drawing by John Webber (1752-1793), who was the artist on Captain James Cook's 3rd and final voyage of discovery. It is Plate 65 in the atlas of "A Voyage to the Pacific Ocean Undertaken by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere", the official British Admiralty sanctioned journal published upon completion of the voyage in London in 1784 by Strahan & Cadell. This famous image of ten Hawaiian rowers transporting a priest who is carrying a feather-covered image of Kukailimoku, the Hawaiian god of war. The priests and paddlers are all wearing gourd masks in their double-hulled canoe with an upright lateen woven sail. Each hull was shaped from a single large Koa log harvested from island rainforests, where they were carved before being transported to the coast. This engraving is presented in a Koa wood frame and a white mat. There are occasional faint spots, but the print is otherwise in very good condition. Koa is the same wood as was used to make the canoe. Koa wood is legendary in Hawaii. Not only is this amazing wood native to Hawaii, but it is known for the deep rich colors and varied grain pattern. Koa has an honored heritage in Hawaii and is highly revered and sacred. The word “koa” means “warrior” in Hawaiian. The warriors of King Kamehameha the Great, created canoes and weapons from a wood plentiful on the Big Island of Hawaii. This wood became synonymous with the warriors themselves, and it became known as koa. The frame measures 20.75" high, 26.75" wide and 0.88" deep. There are three other engravings listed from the official journal of Captain Cook's 3rd voyage available that are presented in identical Koa wood frames and mat (LU117324682022, LU117324684052, LU117324684062). They would make a wonderful grouping for a display of 2, 3 or 4 prints. A discount is available for a grouping depending on the number of items included. Hawaii was discovered by Captain Cook (1728-1779) during this voyage. Hawaii was originally called The Sandwich Islands in honor of The Earl of Sandwich...

This is an early 19th century map of ancient Syria and Egypt entitled "Carte de la Syrie et de l'Egypte anciennes/dressée par M. Lapie, Colonel d'Etat M...

This is an 18th century hand-colored map of the western portions of North America entitled "Carte de la Californie et des Pays Nord-Ouest separés de l'Asie par le détroit d'Anian, ex...

The four plates in this "Four Times of the Day" set were created utilizing both engraving and etching techniques by William Hogarth in 1738. Hogarth's original copper plates were refurbished where needed by James Heath and these engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's original copper plates were used for printing. Most were melted down during World War I for the construction of bombs. Printed upon early nineteenth century wove paper and with large, full margins as published by William Heath in 1822. The inscription below each print reads "Invented Painted & Engraved by Wm. Hogarth & Publish'd March 25. 1738 according to Act of Parliament". These large folio sized "Four Times of the Day" engravings/etchings are presented in complex gold-colored wood frames with black bands and scalloped gold inner trim. A majority of each thick impressive frame is covered with glass applied near the outer edge. Each frame measures 25.75" high, 22.25" wide and 1.88" deep. There are a few small dents in the edge of these frames, which are otherwise in very good condition. "Morning" has two focal areas of discoloration in the upper margin and some discoloration in the right margin, a short tear in the left margin and a short tear or crease in the right margin. "Noon" has a spot in the upper margin that extends into the upper image, but it is otherwise in very good condition. "Evening" has a faint spot in the upper margin, but it is otherwise in very good condition. "Night" is in excellent condition. The "Four Times of the Day" series is in the collection of many major museums, including: The British Museum, The Metropolitan Museum of Art, The Tate Museum, The Chicago Art Institute and The Victoria and Albert Museum. Through this series Hogarth is portraying early 18th century London street life at "Four Times of the Day". His characters are exhibiting their personalities, quircks, strange activities, but he also wants to draw attention the disparities between the wealthy aristocracy and the common working class. Plate 1, "Morning" depicts morning in Covent Garden in the winter in front of Tom King...

This beautiful 18th century hand-colored copper plate engraved map is entitled "Carte de l'Isle de Taiti, par le Lieutenant J. Cook" was created by Jacques Nicolas Bellin and publish...

This original hand-colored copperplate engraved map of Africa entitled "Africa Vetus, Nicolai Sanson Christianiss Galliar Regis Geographi" was originally created by Nicholas Sanson d...

This large hand-colored map entitled "Estats de L'Empire des Turqs en Europe, ou sont les Beglerbeglicz our Gouvernements" was originally created by Nicholas Sanson d'Abbeville and this version was published by Hubert Jaillot in "Atlas Nouveau" in Paris in 1692. It depicts the territories of the Ottoman Empire in Europe, predominantly Eastern Europe. Highlights include, the Mediterranean Sea, the Adriatic Sea, the Black Sea, the Dalmation Coast including present day Croatia, Bosnia and Herzegovina, Montenegro, Serbia, Slovenia, Italy, Greece, North Macedonia, Turkey, Romania, Hungary, Albania, Kosovo, Bulgaria, Transylvania, Moldova and southern portions of France, Switzerland, Germany, and Poland.. The map consists of two sheets joined as one along a vertical joint. The map has original hand-coloring. It is printed on antique hand-made laid, chain-linked paper with wide margins. The sheet measures 24.88" high and 38" wide. There is a central vertical joint, as issued. The map is in very good condition. Nicholas Sanson d'Abbeville (1600-1667) was one of the greatest French cartographather of French cartography. Sanson opened his first printing business in Paris in 1638. The king recognized his skill and knowledge and made him the official geographer to the court. He eventually served two kings in this capacity. Sanson was succeeded by his sons and son...

A set of three hand-colored engravings from "Metropolitan Improvements; or London in the Nineteenth Century", published in London, England in 1828. The scenes were drawn by Thomas Ho...

This is a framed 16th century hand-colored copperplate map of northern Italy entitled "Veronae Urbis Territorium a Bernardo Bragnolo Descriptium" by Abraham Ortelius from his atlas "Theatrum Orbis Terrarum", which was the first modern atlas of the world, with the first volume published in 1570. This map was part of a subsequent volume, published in Antwerp in 1584. It was based on an earlier map by Bernardo Brognoli. This beautiful map of northern Italy is focussed on Verona and its environs, including Mantua. Lake Garda and the South Tyrol mountains are prominently depicted. There is a very large striking cartouche in the upper left and a decorative distance scale in the lower right. This striking hand-colored map of northern Italy is presented in a gold-colored wood frame and an olive green-colored mat. It is glazed with UV conservation glass. All mounting materials used are archival. The frame measures 21.5" high by 28" wide by 0.75" deep. There is a central vertical fold, as issued, with slight separation of the lower portion of the fold. There are faint spots in the upper and right margins, but the map is otherwise in very good condition. Abraham Ortelius (also known as Ortels, Orthellius, and Wortels) (1527-1598) was a Dutch cartographer, geographer, and cosmographer. He began his career as a map colorist. In 1547 he entered the Antwerp guild of St Luke as an "illuminator of maps". He had an affinity for business from an early age and most of his journeys before 1560, were for business. He was a dealer in antiques, coins, maps, and books. 
His business income allowed him to acquire an extensive collection of medals, coins, and antiques, as well as a large library of books...

This is an early 18th century map of Spain and Portugal, with attractive original hand-coloring, entitled "Hispaniae et Portugalliae Regna per Nicolaum Visscher cum Privilegio Ordinum Hollandiae et Westfrisiae" first published by Nicolaes Visscher II (1649-1702) in 1688, and later re-published from Visscher's original copper plate by Peter Schenk, Junior in Amsterdam in 1725. The cartouche in the right lower corner depicts a coat of arms representing one combined kingdom of Spain and Portugal before their break-up. Putti hold up the coat-of-arms of Phillip II on the right and a queen reaches for it on the left. There is a scale cartouche in the lower left corner surmounted by two putti and a wheel. This is an outstanding depiction of the Iberian peninsula, showing Spain and Portugal and Balearic Islands. The map includes portions of North Africa and the Strait of Gibralter. This copperplate engraved map is presented in a cream-colored mat. It is printed on fine chain-linked, laid paper. The mat measures 26.5" high by 30" wide and the sheet measures 21.75" high by 26.375" wide. There is a central fold, as issued. The lower portion of the fold is reinforced on the verso. There is a small paper defect at the lower edge of the fold and another at the edge of the right corner, as well as a few small tears along the lower edge; none affecting the map and all covered by the mat. There are a few small faint spots in the upper margin and on the left. The map is otherwise in very good condition. The Visscher family were one of the great art and cartographic printing families of the 17th century. Begun by Claes Jansz Visscher...

A very detailed drypoint etching of a Pine tree printed onto gampi Japanese tissue and backed onto Hahnemule printmaking paper. This print considers how we view the contemporary sublime landscape and how easy it can be to experience when we take the time to look. We often don’t have to travel far: parks in cities, the coastline and stars in the night sky. The mature Scots Pine tree pictured...