A finely bound <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of The Tapestry hangings of the House of Lords by <a href="https://www.sothebys.com/en/search?query=John+Pine&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">John Pine</a>.<ul><li>John Pine (English).</li><li>The tapestry hangings of the House of Lords: Representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII. </li><li>London: John Pine, 1739.</li><li>Folio.</li><li>Engraved title, 18 engraved double-page plates, including five plates each with two engraved maps, one map of the British Isles showing the route of the Spanish Armada, 10 plates of sea battles printed in dark blue-green ink surrounded by engraved black-and-white borders, and two maps of Cornwall, Devon, and the Thames.</li><li>Bound in contemporary sprinkled calf expertly rebacked by James Brockman, spine gilt.</li></ul> One of the major productions of John Pine’s distinguished career, these magnificent plates reproduce tapestries commissioned in 1591 to commemorate the defeat of the Spanish Armada; in the words of Oxford Dictionary of National Biography, they are “of the greatest historical value,” since the original hangings were destroyed in the 1834 fire that decimated the Medieval parliamentary buildings where they had been displayed. Engraver and publisher Pine (1690-1756) recognized their worth from the beginning of the project, “since he used his influence to ensure that the Copyright Act of 1735 gave him the exclusive right to copy the tapestries.” The ten original tapestries were woven from designs by Dutch marine artist Hendrick Vroom (1563-1640), who documented the progress of the 1588 naval engagements that would lead to what is generally acknowledged as the greatest naval victory in British history. French artist Clement Lemprière (1683-1746) did the drawings from which these plates were engraved, and the renowned French illustrator Hubert Gravelot (1699-1773) created the elegant borders featuring oval portraits of the battle’s heroes, Sir Francis Drake and Lord Howard among them. The tapestry engravings are printed in dark ink with a blue-green tinge, and the contrast to the black ink of the borders increases the impact of the illustrations. McMurray informs that the maps here are taken from charts produced by Robert Adams, cartographer, engraver, and Queen Elizabeth’s Surveyor of Buildings. They were first published in the now very 1588-1590 Expeditionis Hispanorum. The original tapestries occupied a special place in the national imagination, symbolic of British power and strength, and depictions appear in the background of several historical works, including James Gillray’s “Consequences of a Successful French Invasion” (1798), which shows French troops desecrating the sacred artifacts. When plans were made for the Palace of Westminster following the 1834 fire, they included a scheme to replace the tapestries with paintings duplicating six of the original scenes. Although this vision did not come to completion until 2010, it would have been altogether impossible without Pine’s engravings, which were used by the artists involved as the source for their subjects.

The Tapestry Hangings of the House of Lords

The story of the Spanish Armada from the House of Lords tapestries.<ul><li>John Pine (English).</li><li>London: John Pine, 1739.</li><li>Printed from three plates.</li><li>Unframed.</li></ul> A pair of sea charts of the English Channel, printed in blue, within a decorative border printed from a third plate. The left plate shows the Spanish Armada of 1588 entering the Channel, blown by a delicately engraved wind head, watched by two putti and an allegorical figure of Britannia. The right plate shows the Armada in the famous crescent formation, with the English fleet behind them, pushing them up the Channel. In the center of the decorative border is a portrait of Elizabeth I. This is a plate from "The Tapestry Hangings of the House of Lords," drawn by Hubert-François Gravelot, engraved and published by John Pine. It depicts one of ten tapestries commissioned from the Dutch marine painter Hendrik Cornelisz Vroom by Lord Howard of Effingham in 1591 to commemorate the defeat of the Armada. Unfortunately they were destroyed when the Houses of Parliament burned down in 1834, leaving Pine's book as the only record. It is lucky that Pine worried that "Time, or Accident, or moths may deface these valuable shadows."

Sea Chart Of The Spanish Armada Entering The English Channel

Books, Manuscripts & Music

Ian Fleming On Her Majesty's Secret Service. London: Jonathan Cape, 1963 8vo, FIRST EDITION, SIGNED BY THE AUTHOR, FROM RUSSIA WITH LOVE THEME SONG COMPOSER LIONEL BART AND SOUNDTRACK COMPOSER JOHN BARRY on front free endpaper, binding A, original dark-brown cloth, lettered in silver, design to upper cover in white, original dust-jacket by Richard Chopping, SIGNED BY RICHARD CHOPPING on front flap (dated 21st February 2001), housed in bespoke black cloth clamshell case with embossed dust-jacket design and dark blue sides, plastic wallet containing related ephemera loosely inserted in case (list of ephemera available upon request), dust-jacket slightly worn at extremities, with 2mm chips to spine ends The signatures in this copy bring together Bond in literature and on screen: not only is Fleming's name present, but also those of Lionel Bart (under his birth name "Lionel Begleiter"), and John Barry, plus a further unidentified signature. A probable occasion for the signing was the party held at Pinewood Studios on 1 April 1963 (at which all three were present) to celebrate the publication of On Her Majesty's Secret Service, and the first day's shooting of From Russia With Love, co-hosted by the Directors of Eon Productions and Jonathan Cape. Bart penned the lyrics for the From Russia With Love theme song, and Barry composed/arranged the rest of the soundtrack. A fourth indistinct autograph is also present, possibly that of Terence Churcher, present at the party in his capacity of Second Assistant Director of From Russia With Love. Chopping's signature was added to the dust-jacket later. LITERATURE: Gilbert A11a (1.1)

View 1 of Lot 121: Ian Fleming | On Her Majesty's Secret Service, 1963, first edition, signed by the author, Lionel Bart, John Barry, and Richard Chopping

ian fleming | on her majesty's secret service, 1963, first edition, signed by the author, lionel bart, john barry, and richard chopping

Fine Books & Manuscripts, Including Americana

Faden, William — Bernard Ratzer The Province of New Jersey, Divided into East and West, commonly called the Jerseys. London: Wm. Faden, December 1st, 1777 Engraved map (to sight: 806 x 578 mm), hand colored in outline, on 2 joined sheets; no visible defects, not examined out of frame. The first state of one of the finest and most celebrated maps of New Jersey, made during the Revolutionary War. This finely engraved map depicts New Jersey at a large scale of 7 miles to an inch. At the time of its publication, it was the largest and most detailed map of the state made up until that time. It includes the states topography, including the Jersey Highlands and the Palisades in the north and the broad Pine Barrens and coastal marshes in the south, as well as the county divisions, major roads and towns. The map also covers the Hudson Valley, most of Long Island, eastern Pennsylvania and all of Delaware Bay. Faden, based in London, engraved his map based largely off the manuscript surveys of Bernard Ratzer, a British military surveyor best known for his map of New York City. Ratzer’s surveys of the state were produced to revolve a bitter boundary dispute that had persisted for a century between New Jersey and New York. George III, in 1764, enlisted Samuel Holland and William De Brahm with demarcating the boundary, and Ratzer was enlisted as the surveyor. This newly decided border is noted on the map as "The boundary settled by commissioners in 1769." Another interesting feature on the map is the two lines bisecting the state, being the boundary lines between the earlier colonies of East and West Jersey. These boundaries were formed because, in 1664, after Charles II granted the New Jersey charter jointly to Lord Berkeley and Sir George Carteret, Berkeley sold his share to John Fenwick who passed it on to a consortium that included William Penn. In 1676, the king only renewed Carteret’s charter, and the already small province was split into two awkward colonies. One of the boundaries, "Keith's Line," refers to the 1687 demarcation by surveyor George Keith. After the two colonies were reunited under a royal governor in 1702, land ownership questions predicated on the partition necessitated that an internal line of division persist, which was re-demarcated as the "Lawrence Line" in 1743. The map’s cartouche features a pastoral scene with farmhouses and racoons. In the lower left corner, there is a table of astrological observations. This is an excellent example of an important map, attractively hand colored in outline. REFERENCES Guthorn, British Maps of the American Revolution 39; Degrees of Latitude 47; Schwartz & Ehrenberg, Mapping of America 193; Snyder, The Mapping of New Jersey 57-59

View 1 of Lot 1016: Faden, William — Bernard Ratzer | First state of this important map of New Jersey, 1777

Results for "John Pine"