Thursday, 20 December 2012

Mapping Britain's Coastline - Captain Greenville Collins

Our latest acquisition is this fascinating map of the Dartmouth estuary from Captain Greenville Collins' Great Britain's Coasting Pilot.

Dartmouth To the Right Honorable George Lord Dartmouth, Mr Generall of his Majesty's Ordnance &c. This Map humbly Dedicated, and Presented, by G. Collins Hydrographer to the King.
F. Lamb after Captain Greenville Collins
Copper engraved with hand colouring
c. 1750
472 x 567 mm

Captain Greenville Collins (1669-1696) began his career as an Officer in the Royal Navy. He is first recognised for an expedition to the coasts of South America with Sir John Narborough, later he commanded the frigate "Charles" and went on to be appointed as Hydrographer to the King.

In 1676 he was commissioned by Charles II and appointed by Samuel Pepys to survey the coastline of Britain. His Great Britain's Coasting Pilot was the first work of this kind to survey the British coastline. A significant achievement, taking about eight years, Collins' charts replaced the out of date Dutch charts on which Britain had been previously reliant. In the century to follow Collins' charts were re-issued over twenty times without revision.

Tuesday, 18 December 2012

The Oxford Rose

This curious looking object, known as "The Oxford Rose" was printed by C. Adler in Hamburg as part of a series for Joseph Myers in London. One of many "Roses" of important world cities, this example shows 32 steel engraved vignettes of Oxford printed on both sides of a delicate folding sheet.  The die cut sheet folds neatly into a fan shape where the views are concealed and only the outer covers of a chromolithographed rose are visible.

A rare ephemeral item, "The Oxford Rose" forms part of our collection of weird and wonderful curiousities relating to Oxford and beyond.

The Oxford Rose
C. Adler
Steel engraving and chromolithograph
From C. Adler's Printing Establishment, Hamburg for London Joseph Myers & Co. 144 Leadenhall Street c. 1860
230 x 230 mm

Monday, 17 December 2012

Headline News!

With the festive shopping season in full swing Sanders were delighted to be featured in The Oxford Mail last week. 

Our Christmas window display was highlighted alongside the Shop at the Old Fire Station and Bridget Wheatley Jewellery as the pick of the City's Christmas displays.

To read the full article please click here

Wednesday, 12 December 2012

Christmas Market this weekend

With Christmas just around the corner we will be exhibiting a small selection of prints and maps this weekend at the Rosendale Parade Christmas Market. If you are struggling for that unique gift idea head down to see our fantastic 18th and 19th Century London maps, beautiful Japanese woodblock prints and much more.

Alongside the market stalls, the All Saints Church choir and local singers will be providing music & Carols, so get in the festive spirit and help raise some money for two great Charities, Norwood Foodbank and L'Arche.

Rosendale Parade Christmas Market in front of the parade of shops, 92 -114 Rosendale Road, West Dulwich, SE21 8EZ.

Saturday, 15 December

Tuesday, 11 December 2012

Mediaeval Oxford

This lithograph, published as a supplement to "The Builder" in 1891 depicts the city in the middle ages as imagined by the artist H. W. Brewer.

The image show Oxford from the west and includes the magnificent, and long since demolished, Osney Abbey. Other features that now cease to exist are the castle and the legendary Friar Bacon's Study.

Mediaeval Oxford A.D. XX
H. W. Brewer
Lithograph with tint stone
Image 330 x 850 mm 

Friday, 7 December 2012

Joseph Winkelman - Contemporary Prints

If you are looking for an Oxford view with a difference then look no further than this fantastic woodcut by contemporary artist Joseph Winkelman.

Primarily an etcher, Winkelman's work is both evocative and technically brilliant. Currently interested in "imagery based on the natural and man-made environment" his renderings of both architectural and natural subjects can not help but impress.

Please feel free to browse our website to view a range of Winkelman prints including views of Oxford, London and much more.

The High
Joseph Winkelman
Image 380 x 505 mm, Sheet 490 x 610 mm
Artists proof

Thursday, 6 December 2012

Japanese Woodblock Prints - New Acquisitions

Just incase you missed it the first time there are still some fine woodblock prints available as part of our catalogue of Japanese woodblock prints released last month.  

Please click here to download a copy of the catalogue.

Koume hikibune-bori yuki geshiki: Snow at Hikibune
Image 206 x 320 mm
Series: Views of Japan
Publisher: Fukuda Kumajiro

Tuesday, 4 December 2012

Print du Jour

This delightful caricature seemed an apt choice as temperatures plunge, the mornings frost over and we see snow fall across Britain.  Lets hope we all manage to keep our balance!

In addition to this seasonal etching we have a range of satirical prints for sale in the gallery. Caricatures offer an interesting and humorous insight into the socio-historical trends of the day and can depict subjects ranging from current political opinion to the latest fashions.

Skaiting - Dandies, Shewing Off
Charles Williams
Etching with hand colouring
Pub.d by Tho.s Tegg, 111 Cheapside London. c.1818
Image 220 x 329 mm

Plate numbered 332 in top right corner.

Ladies stand on a snow-covered bank in the middle distance watching the skaters. In the foreground are four skaters in absurd positions. A dandy lies on his back, trying to ward off with one leg another who reels backward striking him on the chin with the point of his skate; the former says: "What are you at there! you'll put my wig out of Buckle." The other exclaims: "O Lord! how they are laughing at us!" A third dandy has collided with a fat man whom he clasps round the waist; both are about to fall heavily on the prostrate skater. He says: "Pon honor Sir I beg pardon! you must thank the Ladies!" Men in the distance skate with ease; some play (?) hockey with sticks and a cork.
(Description from M. Dorothy George, 'Catalogue of Political and Personal Satires in the British Museum', IX, 1949)

BM Satires 13074

Thursday, 29 November 2012

Ready for Christmas - William Nicholson's Square Book of Animals

We currently have the whole set of William Nicholson's classic lithographs from his The Square Book of Animals on display in the gallery. All framed and ready for Christmas each print comes with cataloguing information detailing the accompanying poem by Arthur Waugh.

Cock O’ the North! The dawn is young, Grey-glimmering the pane; Yet you, with your discordant tongue, Have woken me again! Good beasts are silent in their pens. Hush! Leave the boasting to the hens.

Cock O' The North
William Nicholson
Published by William Heinemann 1898 
Image 128 x 128 mm
From The Square Book of Animals

Sir William Newzam Prior Nicholson (1872 - 1949) was a British artist. A painter of landscapes, still life, and portraits most notably, he is also remembered for his distinctive illustrative work and for his creative partnership with his brother-in-law, James Pryde.

Nicholson studied at Hubert von Herkomer's art school and it was here that he met James Pryde and his sister Mabel, whom Nicholson later married. The pair collaborated under the pseudonym "Beggarstaff" producing fine graphical works and posters. Their work was influential in its design and had an important impact on the poster art movement of the late 19th and early 20th centuries.

Tuesday, 27 November 2012

Christ Church Meadow in Flood

This charming miniature etching by Wilfred Ball shows the flooded Christ Church Meadow over 120 years ago.

A familiar scene today after many of us battled to get to work this morning with flood warnings and road closures across the city.

For those of you who are stuck at home due to the weather why not browse our website for some Christmas inspiration? Alternatively, if you can brave the miserable journey into town, we have a fantastic display of new stock at the gallery including a range of stunning Japanese woodblock prints that can't help but cheer you up!

Christ Ch. Meadow in Flood
Wilfred Ball 
c. 1880
Image & Plate 65 x 105 mm
Signed in plate

Wilfred Ball (1853-1917) was a London based watercolourist and etcher specialising in landscapes and river scenes. He contributed plates to 'The Etcher' from 1880 to 1883 and exhibited paintings and etchings at the Royal Academy from 1877 to 1903.

Wednesday, 21 November 2012

Who needs good weather to play tennis?

Real tennis, from which the more commonly known lawn tennis derived, has its origins as far back as the 12th century. Evolving over the centuries from the French jeu de paume (a reference to the earlier sport played without a racquet), to the game we are familiar today, real tennis, or, court tennis as it is sometimes known, was a prominent force in Europe during the 16th to 19th centuries. It was exceedingly popular with Royals in Britain and France, including Henry VIII, and in the late 19th century courts were built in Australia and America.

Real tennis is still played today and of the 47 remaining courts, the Merton court in Oxford is the second oldest in the world.

 A perfect rainy day activity!

Games With The Ball - Tennis , The Court at Lords
R.S. Groom, Wilkinson & Co
Lithograph with hand colour
London: Henry Lea & Co 125, Fleet Street. 1863
Image 165 x 251 mm

A lovely print illustrating real tennis from The Sportsman's Companion by Henry Downes Miles, Esqr

Tuesday, 13 November 2012

Print du Jour

Durham Castle. A post-card to the Castle, Durham will bring you a free booklet further illustrating its beauty

Fred Taylor
Published by the London & North eastern Railway. John Waddington Ltd Leeds & London. 1925
Image 990 x 1240 mm

A stunning original 1920's Rail Poster of Durham Castle.

The story of railways in Britain is reflected in the development of the railway poster. This commercial art form illustrates the major changes that have occurred in British society over the years and captures the spirit and character of British life. They are social documents of British culture, illustrating the changing styles of art, patterns of holidaymaking, urban and rural landscapes, architecture and fashion. They also reflect the development of railway companies and their design and advertising standards. It is hardly surprising that the "Golden Age" of British railway posters coincided with the quarter-century following the amalgamation in 1923 of almost all of the numerous small independent companies into what came to be known as the "Big Four"railways: the Great Western (GWR); the London, Midland, and Scottish (LMS); the London and North East (LNER); and the Southern (SR). The end of the Great War saw Britain with a public eager to travel - and possessing a well-developed taste for the poster as a medium of advertising. In the latter case the war itself provided continuity for initiatives that began in peacetime, for the recruiting and saving and funding campaigns needed to vanquish the Hun were waged largely on the hoardings.

Nor is it surprising that the main visual thrust of the railway poster campaigns during these years was directed towards the anticipated delights of journey's end, and copies of posters were routinely offered to - and eagerly purchased by the public, some of whom might indeed have to settle more often for an idyllic image of Britain's coasts or mountains in their rooms than for the real thing.

Fred Taylor was born in London on March 22 1875, the son of William Taylor. Taylor studied briefly at Goldsmith's College, London, where he won a gold medal for his posters, and a travelling scholarship to study in Italy. At some point working in the Waring and Gillow Studio, Taylor was a poster artist, illustrator, decorator and a watercolourist. Particularly noted as a poster artist from 1908 to the 1940s, and was regularly commissioned by the LNER, EMB and shipping companies. Taylor also exhibited regularly at the Royal Academy, and other provincial societies. Taylor's designs frequently referred to architectural subjects.

During the Second World War, Taylor was employed on naval camouflage. He also executed commissions for London Transport, including 'Back Room Boys', where the underlying concept and use of central image with a surrounding border were probably taken from A S Hartrick's series of lithographs on war work called Playing the Game, 1918, although 'their finely balanced colouring and their superb draughtsmanship are peculiar to Taylor at his best'. Married to Florence R Sarg, with a son and a daughter, Taylor is also remembered for his decorating work, most notably for ceilings for the former Underwriter's Room at Lloyds of London, and murals for Austin Reed's red laquer room in 1930. He was also the author of a number of publications.

Information from: Livingston, A. and Livingston, I., Dictionary of Graphic Design and Designers, 1992, p.187, London Transport Museum Database, February 2000, quoting Riddell, 1994, Darracott, J. and Loftus, B., Second World War Posters, 1981 (1972), p.55

Condition: In excellent condition with minor creases and repaired tears to left and right edges of sheet, professionally laid to linen. Framed with perspex front.

Monday, 12 November 2012


If you are heading over to Oxford to see the new Meiji period textile show at the Ashmolean why not pop into to Sanders to see our fantastic collection of Meiji woodblock prints.

The Ashmolean exhibition promises to be a spectacular display: While it turns cold outside, the Ashmolean’s autumn-winter exhibition celebrates sumptuous interiors. Many of us are aware of the beauty of the traditional Japanese kimono. ‘Threads of Silk and Gold’ introduces the less well known but equally spectacular ornamental textiles that were made for western homes during Japan’s Meiji era (1868–1912). This was the famous period of Japonisme, which saw the European Impressionist painters exploring themes and styles taken from Japanese art, and Victorian rooms filled with Japanese decorative arts and crafts.

Winter Boat Ride  
Toyohara Kunichika (1835-1900)
Woodblock print (nishiki-e)
Ôban tate-e single sheet [9.5 x 14 inches]
Signature: Toyohara Kunichika hitsu
Publisher: Takegawa Seikichi
Series: Genji gojuyon jo: 54 Modern Feelings Compared with Genji-e.

Toyohara Kunichika (1835–1900) was talented as a child and at about thirteen he became a student of Tokyo's then-leading print maker, Utagawa Kunisada. His deep appreciation and knowledge of kabuki drama led to his production primarily of ukiyo-e actor-prints, woodblock prints of kabuki actors and scenes from popular plays of the time. An alcoholic and womanizer, Kunichika also portrayed beautiful women (bijin-ga), contemporary social life, and a few landscapes and historical scenes. He worked successfully in the Edo period, and carried those traditions into the Meiji period. To his contemporaries and now to some modern art historians, this has been seen as a significant achievement during a transitional period of great social and political change in Japan's history.

Tuesday, 6 November 2012

Japanese Woodblock Prints, New Acquisitions Catalogue

With Asian Art London on display in the capital we thought we would join in and provide you all with a welcome break from the mundane and everyday and invite you to view our latest mini-catalogue of beautiful and fascinating examples of Ukiyo-e printmaking depicting a world of fleeting beauty.

“…Living only for the moment, turning our full attention to the pleasures of the moon, the snow, the cherry blossom s and the maple leaves; singing songs, drinking wine, diverting ourselves in just floating, floating;… refusing to be disheartened, like a gourd floating along with the river current; this is what we call the floating world…”

Asai Ryoi, Ukiyo monogatari.

To download the catalogue click here

Saturday, 3 November 2012

An Explosive Print du Jour

Our explosive Print du Jour is Eric Ravilious' Fireworks, a chromolithograph published in  J. M. Richard’s and Eric Ravilious’ High Street by Country Life Books in 1938.

Eric Ravilious (1903-1942) was an English painter, wood-engraver and designer. He was born in Acton and was educated at Eastbourne School of Art and then at the Royal College of Art (1922–1925), where he was taught by Paul Nash and became close friends with Edward Bawden. He began teaching part-time at Eastbourne School of Art in 1925 and later that year was elected to the Society of Wood Engravers, having been proposed by Paul Nash. After leaving the RCA, he became a master of wood engraving and illustrated numerous books and produced patterned papers for the Curwen Press. In the 1930s he began painting larger compositions in a wider range of colour, and this led him to use lithography to illustrate High Street (1938). Later as a War Artist he produced a series of lithographs of submarines.

Please visit our website to see more of our extensive collection of Ravilious prints.

Have a great Guy Fawkes Night!!

Wednesday, 31 October 2012


Happy All Hallows' Eve

Démétrius Emmanuel Galanis
[The World]
London : Cresset Press, 1931. 
Image 248 x 188 mm

From a series of illustrations for John Milton's Paradise Lost and Paradise Regain'd which were published by the Cresset Press. Milton’s work was the last, and arguably greatest act of the publishing house, which operated between the years of 1927 and 1931 under the direction of Dennis M. Cohen and A. I. Myers. The prints stand as some of the most ornate illustrations of Miltonic verse; they are printed on vellum, and were created by Galanis, who at the time was close to the apex of his careers popularity. The printing was done by Bernard H. Newdigate whilst the title page and initials were designed by Anna Simons.

Démétrius Emmanuel Galanis (1879-1966) was a Greek illustrator, printmaker, and designer. He studied under Nikiforos Lytras at the Higher School of Fine Arts in Athens and later under Fernand Cormon at the Ecole des Beaux-Arts in Paris. Galanis earned a number of important commissions as an illustrator for private press books in France and elsewhere during the first few decades of the twentieth-century.

Friday, 26 October 2012

Revelations catalogue

There are still some absolutely awe inspiring pieces available for purchase from our epic Revelations catalogue.

To download the online catalogue please click here

[The Creation of Light] 
John Martin
Published by Septimus Prowett, 23 Old Bond Street 1824. Printed by Chatfield & Coleman. 
Image 192 x 278 mm, Plate 251 x 352 mm

In 1824, John Martin was contracted by the London publisher Septimus Prowett to produce mezzotint illustrations to John Milton's epic poem Paradise Lost. The project carried significant risk for Prowett was not a noted publisher, nor Martin a seasoned printmaker. Subjects from Milton's great work had also been portrayed by several renowned predecessors such as William Hogarth, William Blake, Richard Westall, and Henry Fuseli who had gone so far as to open a gallery dedicated to Milton in 1799. The series, however, was a critical and commerical triumph, and stands as one of the central achievements of Martin's oeuvre. In emphasising the preternatural vistas of the text, Martin's engravings of Hell, Paradise and Pandemonium infused Milton's verse with a boldness and grandeur previously unrealised.

The Creation of Light illustrates 'Book VII, line 339' of Paradise Lost, wherein the angel Raphael relates to Adam: 'And the almighty spake: Let there be lights/High in the expanse of Heaven to divide/The day from night.' In Martin's print, God is shown dividing night from day as his image is seen in the sky above the sea.

John Martin (1789-1854) was an English painter, illustrator and mezzotint engraver. He achieved huge popular acclaim with his historical landscape paintings which featured melodramatic scenes of apocalyptic events taken from the Bible and other mythological sources. Influenced by the work of J.M.W. Turner (1775-1851) as well as Theodore Gericault (1791–1824), Eugene Delacroix (1798–1863) and Paul Delaroche (1797–1856), his paintings are characterised by dramatic lighting and vast architectural settings. Most of his pictures were reproduced in the form of engravings, and book engravings, from which he derived his fortune. Despite his popularity, Martin's work was spurned by the critics, notably John Ruskin, and he was not elected to the Royal Academy. His fame declined rapidly after his death, although three of his best known works of religious art toured Britain and America in the 1870s: The Great Day of his Wrath (1853, Tate, London), The Last Judgment (1853, Tate) and The Plains of Heaven (1851-3, Tate). A great contributor to English landscape painting, Martin was a key influence on Thomas Cole (1801-48), one of the founding members of the Hudson River School.

CW 65; Campbell, Visionary Printmaker, p. 81.

Condition: Very strong impression. Trimmed outside of platemark. 

Wednesday, 24 October 2012

Print du Jour

Our favourite print today is this stunning kacho-e woodblock by Japanese artist Ohara Koson [Shoson; Hoson] (1877-1945).

Defining the representations of birds or flowers in Japanese art, kacho-e images can be some of the most compositionally sublime of the various genres within Japanese printmaking.  These stunning graphic prints have a timeless quality and seem as contemporary today as they did during the last century.

We stock a range of original kacho-e woodblock prints with prices starting at just £35 alongside an ever expanding collection of  Japanese prints from as early as c. 1810.

Please visit our website to browse through the varying sections.

Crow and Cherry Blossoms
Ohara Koson [Shoson; Hoson] (1877-1945)
n.d. c. 1910

Seal: Artist's seal Koson
Publisher: Daikokuya.

Refrence: Newland, Amy R.; Jan Perrée & Robert Schaap, "Crows, cranes & camellias: The Natural World of Ohara Koson", Leiden: Hotei Publishing, 2001, ISBN 90-74822-38-x, - pg. 70. Pl.46.

Ohara Koson [Shoson; Hoson] (1877-1945) was born in Kanazawa in Ishikawa Prefecture in the North of Japan with the given name Ohara Matao. He had studied painting as a student of Suzuki Koson. He is best known for his kacho-e or wildlife prints, of which his designs were produced in prolific numbers for a primarily Western market and range from images of haunting realism to humorous depictions of animals at play.

Condition: Excellent. Full sheet with margins

Monday, 22 October 2012

Eric Ravilious High Street Prints

Sanders are pleased to report the recent acquisition of several rare prints from Eric Ravilious' and J. M. Richard’s High Street, published in London by Country Life Books.

This unusual publication is a book of descriptive accounts of high street shops and businesses trading during the 1930's. Each chapter was accompanied by  a full page lithographic illustration by Eric Ravilious, many of which we currently have listed on our website.  The now much sought after prints are evocative of everyday life in early 20th century London.

Pharmaceutical Chemist
Eric Ravilious
Curwen Press, 1938
Image 210 x 140 mm
From J. M. Richard's and Eric Ravilious' High Street, Country Life Books.

Eric Ravilious, 1903-1942. English painter, wood-engraver and designer. He was born in Acton and was educated at Eastbourne School of Art and then at the Royal College of Art (1922–1925), where he was taught by Paul Nash and became close friends with Edward Bawden. He began teaching part-time at Eastbourne School of Art in 1925 and later that year was elected to the Society of Wood Engravers, having been proposed by Paul Nash. After leaving the RCA, he became a master of wood engraving and illustrated numerous books and produced patterned papers for the Curwen Press. In the 1930s he began painting larger compositions in a wider range of colour, and this led him to use lithography to illustrate High Street (1938). Later as a War Artist he produced a series of lithographs of submarines.

Friday, 19 October 2012

Exhibition Now Open!

Our latest exhibition, Revelations, The Apocalyptic print in Nineteentth -century Britain is now on display in the gallery.

Please click here to download the catalogue.

The Last Man
Alfred Martin after John Martin

R. Ackermann, 96 Strand, London, 1836.
Image 110 x 179 mm, Plate 171 x 252 mm

John Martin's The Last Man is based on a short poem by Thomas Campbell first published in 1823. The poem, which bears the same name, narrates a vision of the end of the world as witnessed by a sole survivor who watches the sun set for the final time. Envisioning the apocalypse was a growing literary trend, and Martin created a succession of images which responded to this. He exhibited An Ideal Design of the Last Man with the Society of British Painters in 1826; the watercolour of which this mezzotint is based on in 1833; and a further watercolour of the same subject at the Royal Academy in 1839. This print is exceedingly rare.

Alfred Martin (1835 - 1844; fl.) was an English printmaker; and son of the painter John Martin. He produced many engravings after his father's designs, including those for Thomas Hawkins's The Wars of Jehovah, Heaven, Earth and Hell, published in 1844.

John Martin (1789-1854) was an English painter, illustrator and mezzotint engraver. He achieved huge popular acclaim with his historical landscape paintings which featured melodramatic scenes of apocalyptic events taken from the Bible and other mythological sources. Influenced by the work of J.M.W. Turner (1775-1851) as well as Theodore Gericault (1791-1824), Eugene Delacroix (1798-1863) and Paul Delaroche (1797-1856), his paintings are characterised by dramatic lighting and vast architectural settings. Most of his pictures were reproduced in the form of engravings, and book engravings, from which he derived his fortune. Despite his popularity, Martin's work was spurned by the critics, notably John Ruskin, and he was not elected to the Royal Academy. His fame declined rapidly after his death, although three of his best known works of religious art toured Britain and America in the 1870s: The Great Day of his Wrath (1853, Tate, London), The Last Judgment (1853, Tate) and The Plains of Heaven (1851-3, Tate). A great contributor to English landscape painting, Martin was a key influence on Thomas Cole (1801-48), one of the founding members of the Hudson River School. 

Campbell, Visionary Printmaker, p. 161. 

Condition: Very strong impression. Light surface dirt to sheet; otherwise excellent.

Wednesday, 17 October 2012

Exhibition Opens Tomorrow!


The Apocalyptic print in Nineteenth-century Britain

This October Sanders of Oxford presents a collection of spectacular and visionary prints. Featuring depictions of the final days, extreme natural events, divine wrath and human disater by John Martin, Gustave Doré, Francis Danby &c.

All welcome at the Private View: Thursday 18th October, 2012. 5:30 - 7:30pm.

The exhibition continues until Thursday 1st November, 2012.

An accompanying online catalogue will be available to download from our website shortly.

Tuesday, 9 October 2012

New Work from Local Printmakers

We have recently updated our stock of work by Contemporary Oxford Printmakers.

Check out our website to view a carefully selected range of work from local printmakers, such as Morna Rhys, Susan Wheeler (left), Jonathan Brett and Ben Pritchard.

Along the Thames
Susan Wheeler
Image and Plate 290 x 655 mm

Signed and inscribed in pencil.
Artists Proof

Friday, 5 October 2012

Welcome Back!

As a new term begins Sanders would like to send a warm welcome, or a welcome back, to all freshers and to those returning to the city after a well deserved break.

If your student digs are looking a little drab, and your bored of what the annual poster sale at the union has on offer, then we have a huge range of prints and maps in the gallery that could brighten things up a bit.

A piece of history doesn't have to cost the earth and with sale prints beggining at less than £1 anyone can own and enjoy a genuine antique without breaking the bank.

Pop into the gallery to have a rummage through our sale items or browse the website via section to see the range of stock on offer.

Scholars at a Lecture
after William Hogarth
Image 201 x 169 mm, Plate 215 x 177 mm

'Datur Vacuum' ('Leisure time is given for..') is a pun on 'vacuum', carried out in the expressions of the various auditors. These are scholars at Oxford, wearing square topped, round cloth and felt hats. Alfred D.Godley (Oxford in theEighteenth Century, London 1908, p.164) explains that 'all undergraduates on the foundation of Colleges and all graduates except Doctors of Law, Medicine and Music, wear square trencher caps like our own, but in the case of undergraduates without the tuft of "apex", which has now become a tassel. Commoners and servitors have a round cap with a limp crown; the same kind of headgear, but with a higher crown and more elaborately pleated, is worn by Doctors of Law, Medicine and Music, also by "nobelmen", ...' The reader is supposed to be William Fisher (d.1761) of Jesus College, Oxford, registrar of the University.

Tuesday, 2 October 2012

Impressions of Oxford

Catalogue of Artist’s prints & drawings of the University city, 1880 -1950.

Since print making began in England, there has been a market for views of Oxford, whether it be separately published views and vue d’optiques or the copious amount of prints produced for the histories and guide books. The first prints of Oxford were made by John Bereblock in 1566 for a small pamphlet for Queen Elizabeth’s visit. Since these initial prints Oxford has been a popular subject. There was a demand within the town and around the world for views to be used in alamanacks, postcards and books, and as printmaking was the only means of reproducing images for publication prior to the invention of the camera, the amount of printed views of Oxford is vast. Depictions of the city created before the invention of the camera were for the large part representational rather than artistic expressions. They had to be representational in order to epitomise and convey the city’s architectural highlight.

As a group of prints, this collection illustrates the progressive shift from “straight” and popular views of Oxford to dominance of the artist’s print. In the late nineteenth and early twentieth century we enter a prolific and varied period of English printmaking. Whilst artist are making prints for financial gain, the introduction of the camera and various photomechanical processes freed printmakers from their association with making only reproductive views. There was a resurgence of artists experimenting with different printing methods including woodcut and linocut. The end result is that printmaking in various styles came to be seen as an accredited way of making art. The prints were limited in number, handcrafted or a combination, focusing not on making an exact view but imbuing it with a personal style.

To download the catalogue click here


Wednesday, 26 September 2012

British Empire Throughout the World Exhibited in One View

Antique maps are not only highly attractive decorative objects but also important records documenting history and our ever changing perceptions of the globe.  We have an continuously expanding collection of antique maps available to view and purchase at the gallery, with examples covering every county and continent, and price ranges to suit widely differing budgets.

Its easy to browse our website by area, or pop into the gallery to view first hand.

Fullarton's map of the British Empire, pictured left, is a wonderful example of a map which is both informative and highly decorative.

British Empire Throughout the World Exhibited in One View.
Fullarton, Archibald
Copper engraved with hand colouring
London and Edinburgh: A. Fullarton & Co., c.1872
425 x 530 mm

This double page map is titled British Empire Throughout The World Exhibited In One View. The British possessions are coloured in red as was typical of maps of the period showing the British Empire. It is highly decorative and it appeared in Fullarton's Royal Illustrated Atlas which was first published in 1864 after being issued in 27 parts from 1854-62. Map surrounded by drawings of the inhabitants of each dominion. Tables include size and population of nations around the world.

The date of 1872 is estimated by the Australia map; all the maps are undated and probably date throughout the period 1864 to 1872:

Wednesday, 12 September 2012

The Light of Science

There are still some fascinating prints available as part of our Light of Science catalogue release.

Please click here to download a copy of the catalogue.

The Light of Science dispelling the Darkness which Covered the World
Henry Thomas De la Beche
Image 207 x 315 mm, Sheet 226 x 330 mm

Allegorical illustration showing the figure of a woman wearing an elaborate hat, standing in clouds, shining a gas lamp on the world. The caricature depicts Lady Murchinson, wife of Sir Roderick Impey Murchinson.

Lady Cahrlotte [née Hugonin] Murchison (1788–1869), geologist. She married Roderick Murchison in 1815 and was a partner in his geological researches. She was a lielong friend with the geologist Mary Anning.

Sir Henry Thomas De la Beche FRS (10 February 1796 – 13 April 1855) was an English geologist and palaeontologist who helped pioneer early geological survey methods.

Friday, 7 September 2012

William Nicholson Prints

We currently have a wonderful collection of William Nicholson lithographs, from his famous An Alphabet series (pictured left), to a selection of prints from his An Almanac of Tweleve Sports (below). We also have in stock some of his views of  Oxford, aswell as a stunning graphic advertisement from Les Maitres de l'Affiche and a rare original woodcut.

P for Publican
William Nicholson
1898 [William Heinemann]
Image 247 x 197 mm
Condition: Excellent impression.

Sir William Newzam Prior Nicholson (1872 – 1949) was an English painter, also known for his work as an illustrator and author of children's books.

A student at Hubert von Herkomer's art school, Nicholson is well known for his partnership with his brother-in-law James Pryde. Known as the Beggarstaff Brothers they produced striking graphical work and woodcuts, their poster work being particularly significant historically.

Ahead of his time in his distinctive graphic style, Nicholson's prints are instantly recognisable and can appear as contemporary today as when they first appeared on the market.

Boxing (November)
William Nicholson
Popular edition 1897 (post-dated 1898) William Heinemann
Image 196 x 198 mm

Tuesday, 4 September 2012

Mapping the Stars

This fascinating celestial map forms part of a collection of magnificent stellar maps from Jamieson’s Celestial Atlas.

Alexander Jamieson’s Celestial Atlas was an attempt to produce a British version of the highly popular atlases of Jean Fortin in France and Johann Bode in Germany. Unlike his predecessors Jamieson allowed himself more artistic freedom in the depiction of his figures and his illustrations are notibly more realistic and pleasing to the eye.

These scarce maps depict the constellations and the allergorical figures associated with them in incredible detail. In the substantial accompanying text Jamieson includes descriptions of the constellations and their orgins in ancient mythology as well as lists of the main stars with positions for the year 1820 and exercises for students.

Cancer. Plate XVI.
Jamieson, Alexander
Copper engraved
Image 179 x 224 mm, Plate 210 x 265 mm, Sheet 230 x 290 mm
Published, February 1, 1822, by G & W Whittakers, Ave Maria Lane, London

Cancer, the Crab, is the first of the Summer signs. According to the Greeks, Jupiter placed this crab among the signs of the zodiac; and it is further represented as the same which Juno sent to bite Hercules while he fought the Hydra in the lake of Lerna, in the Peloponnessus. In the zodiacs of Dendera we find Scarabaeus, or Beetle. In copying the Greeks have given us a crab.

(Description taken from the accompanying text in publication.)  

Wednesday, 29 August 2012

The Light of Science

In our latest mini-catalogue we present a selection of weird and wonderful prints of scientific interest. The catalogue includes caricatures satirising some of the monumental scientific breakthroughs of the 19th century alongside portraits of significant academic figures and other curiosities.

Please click here to download a copy of the catalogue.

Duria Antiquior
Georg Scharf after Henry Thomas de la Beche
Image 228 x 319 mm, Sheet 301 x 377 mm

Duria Antiquior, or a more ancient Dorsetshire, is the first print to illustrate prehistoric life, drawn by Georg Scharf after the water colour by the geologist and paleontologist Henry Thomas De la Beche. There is no publication line but it is thought to date to 1830 or soon thereafter.

A great supporter of the work and importance of Mary Anning, of Lyme Regis, De la Beche drew a sketch, in 1830, entitled Duria Antiquior - A More Ancient Dorset, which showed Mary Anning's finds: (three types of Ichthyosaur, a Plesiosaur and Dimorphodon). It even appears to show the production of coprolites, from a terrified plesiosaur. De la Beche assisted Anning, who was having financial difficulties, by having a lithographic print made from his watercolour, and donating the proceeds from the sale of the prints to her. This became the first such scene from deep time to be widely circulated.

CW 128

Refrences: Campbell, Michael J. John Martin, 1789-1854 Creation of Light Prints and Drawing from the Campbell Collection. Valencia Madrid and Bibao, 2006.

Rudwick, Martin. Scenes from Deep Time (1992) pp. 42-47

Friday, 24 August 2012

The first and most important derivative of the Ralph Agas Oxford city plan of 1578

Printed by E.Butler and dedicated to Henry Duke of Beaufort, this elaborate and highly detailed plan was the first and most important derivative of a plan of the city by Ralph Agas in 1578 and known only from a unique example in the Bodleian Library. It is surrounded by seventeen views of the Oxford colleges taken from drawings made by John Bereblock in 1566 for the occasion f the visit of Queen Elizabeth to Oxford, and apparently much admired by the sovereign. These views were the earliest of their kind and the originals having been lost, a copy of them was presented to the Bodleian in 1630.

Whittlesey, Robert
Oxonia Antiqua Instaurata Sive Urbis & Academiae Oxoniensis Topographica...
Copper engraved
660 x 955 mm on two sheets

Wednesday, 1 August 2012

Celebrating 116 years of the Olympic Games

This week Sanders pays homage to the history of the modern Olympic Games with a informative window display celebrating not only the sports which we all still know to be included in the Games such as Boxing, Rowing & Horse Riding, but also those which no longer have a place in the Olympics.

It may be surprising that in the last century sports such as Cricket, Golf, Polo and even an Art Competition all featured in the Olympic Games.

If you are in Oxford then why not pop down to 104 High Street to brush up on your Olympic history, alternatively you can view our collection of Sporting Prints online.

Monday, 23 July 2012

Exhibition of Oxford Stereoviews & Photographs

Over the past year we have been putting together one of the largest collections of unusual and early Stereoscopic views of the famous University City. The entire collection, alongside over 100 Victorian photographs will be on display in the gallery from the 27th of July. 

Private View: Thursday 26th July. 5:30-7:30pm 

Exhibition continues until Sunday 12th August, 2012. 10am - 6pm Monday -Saturday, 11am - 5pm Sunday.

For a sneak preview of the photographs and stereoviews to feature in the exhibition  
click here

Alfred R.Mowbray
Albumen Photograph
Photographed by Mowbray, 2, Corn Market Steet, Oxford.[n.d. c. 1865]
Image 67 x 127 mm

A stereoview of the Oxford skyline taken from a roof near Carfax looking across towards the Radcliffe Camera, the Bodliean, New College and All Souls.

Alfred R. Mowbray was a photographer and bookseller who operated from No. 2 Cornmarket Street, Oxford c. 1859-1867. A R Mowbray and Co
Founded in Oxford in 1858 by Alfred R Mowbray (1824-75) as religious booksellers and suppliers of ecclesiastical fittings and perquisites of all kinds (including glass), the firm’s works and shop were there. A London branch, opened in 1873, was for many years in Margaret Street. Their work continued almost unchanged well into the C20, as a catalogue of their wares of 1926 shows and they supplied mainly churches of an Anglo-Catholic persuasion. The ecclesiastical fittings business was taken over by J Wippell and Co in the 1970s, but the name survives as a separate entity for religious works within Hatchard's bookshop in Piccadilly, like Mowbray’s now part of the Waterstones chain. In later years they did not design the goods they sold, but commissioned others, though few can be credited to a name. Among designers of glass they used A L Ward.

Saturday, 14 July 2012

Shakespeare Prints

Published Decr. 1, 1803, by J & J Boydell, at the Shakespeare Gallery, Pall Mall,  &  No. 90 Cheapside, London
Image 442 x 590 mm, Pl. 491 x 633 mm
£1300 [The Pair]   

If you're enjoying the Hollow Crown series on BBC2 or have been to see the Creation Theatre's production of The Merchant of Venice at the Said Amphitheatre, then pop in and have a look at our stunning selection of Shakespeare prints. 

Such stuff as dreams are made on...

Wednesday, 11 July 2012

Print du Jour.

Todays print of the day is this fantastic view by the famous Japanese woodblock artist Andô Hiroshige (1797-1858).

Saijo in Iyo Province
Andô Hiroshige (1797-1858)
Nishiki-e woodblock
Publisher: Koshimuraya Heisuke. Date: 1855 [Hare 9]. First edition. 
Ôban tate-e [13 1/4 x 8 7/8 inches]

Carver: Hori Soji.

A flock of geese fly high above the rooftops of Saijo, a bustling castle town founded in 1636 by Hitotsuyanagi Naomori. Situated in Iyo province, Shikoku, now known as Ehime prefecture, the area was dominated by fishermen and sailors who played an important role in defending Japan against pirates and Mongol invasions.In the background is Mount Ishizuchi, one of the seven sacred mountains of Japan.

Hiroshige is usually connected with landscape and nature prints. Together with Hokusai he is considered as the dominant figure of printmaking in the first half of the nineteenth century.

Ando Hiroshige was born under the name of Ando Tokutaro. He was born in Edo (Tokyo) as the son of a samuri and fireman. At the age of twelve, both his parents died. Two years later, in 1811, the young Hiroshige received a chance to join the famous Utagawa painting school. At that time, the Ukiyo-e master Toyohiro Utagawa was the head of the studio. In 1812 he was formally allowed to take the name Utagawa. From then on he called himself Utagawa Hiroshige. In the Ukiyo-e literature he is usually referenced as Hiroshige Ando.

From 1830 onwards, Hiroshige Utagawa tried his luck with a new genre - landscape prints. One of his great masterpieces is the series Tokaido gojusan-tsugi no uchi created from 1833 to 1834 with 55 Hiroshige prints in Oban format. In the literature you will find slightly varying English translations such as “Fifty-three Stages of the Tokaido” or “From the Fifty-three Stations of the Tokaido”.

The Tokaido was a coastal highway connecting Edo with Kyoto, the residence of the emperor. The stations must be imagined as a kind of turn-pikes where tolls had to be paid. The stations had lodges and simple restaurants where travelers could spend the night and get a meal.

The Fifty-three Stations of the Tokaido became the basis of Hiroshige's fame and commercial success. For the next twenty years he concentrated his efforts on landscape prints.

Ukiyo-e publishing in the last century was not a cultural institution subsidized by public funds, but rather a commercial business like book publishing or film production in our own time.  Similarly to such modern day industries print publishing in the Edo period was linked very much to the demand for prints and their popularity within the public realm.  Hiroshige’s previous success therefore led him on to produce more series of the Tokaido.

His last great series Meisho Edo Hyakkei, One Hundred Famous Views of Edo is considered as one of his greatest masterpieces.

During his lifetime Ando Hiroshige was well known and commercially successful but  Japanese society did not take too much notice of him. Comparable to Utamaro, his real reputation started with his discovery in Europe. Hiroshige Utagawa died at the age of 62 of cholera on October 12, 1858 in Edo. With an output of an estimated 5,400 prints, Ando Hiroshige was one of the most prolific artists of Ukiyo-e.


Monday, 9 July 2012

Contemporary Oxford Printmakers

Our stock of contemporary works by local artists has just been replenished! You can view these via our website or just pop into the shop and have a browse through the new additions.

Under the Ice
Josephine Sumner
Image 300 x 293 mm
Signed and inscribed in pencil.
Edition: 12/50

Saturday, 7 July 2012

A Typical British Summer

Why not escape the typical British summer weather by taking shelter at Sanders of Oxford. Luckily the High Street isn't looking like this just yet...!

Thursday, 5 July 2012

David Roberts Prints

Sanders are pleased to announce some striking  new additions to our collection of David Roberts lithographs.

Born in Scotland in 1796 David Roberts is especially known for a prolific series of detailed prints of Egypt and the Near East produced during the 1840s from sketches made during long tours of the region (1838-1840).

The lithographs were published in a six volume set, in which all 248 prints were hand colored. The first three volumes depicted Egypt and Nubia; the second three, the Holy Land. The set, which was sold by subscription, was an immediate success.

As a predecessor to photography lithographs such as these provided some of the most accurate depictions of foreign lands available to the masses at the time. These aspirational destinations depicted in such incredible atmospheric detail by Roberts would have been the first glimpses many westerners would have ever seen of the East.

Elected as a Royal Academician in 1841 his paintings are still the most beloved and popular illustrations of Egypt and are highly sought after by collectors.

Great Hall at Karnac. Thebes
David Roberts
Lithograph with later hand colouring
London Published by F. G. Moon, 20 Threadneedle St Aug1st 1846
Image 342 x 529 mm

Monday, 25 June 2012

Wall Maps and Medical Posters

This June Sanders are pleased to present a mini-catalogue of printed items intended to inform, educate and entertain. The catalogue contains a series of large scale wall maps published by the Oxford University Press alongside German medical posters both intended for use in schools. In addition to these are a small collection of curiosities such as complete anatomical pop up books and jigsaw puzzle maps.

To download a copy of the catalogue please click here:

Wednesday, 20 June 2012

Oxford College Prints

As the worlds largest seller of Oxford related material Sanders of Oxford is the ideal place to find that much deserved graduation present.

This photogravure of Christ Church College engraved by Emery Walker after Edmund Hort New is a striking example of a souvenier that lasts a life time.

We have thousands of images depicting town and gown, from General and High Street views, Individual Colleges, Academic Dress and Oxford Maps.

With prints of the famous University city starting at just £1 we cater for all budgets enabling customers to make a gesture that doesn't break the bank.

You can easily browse through our online catalogue or pop into the shop to rummage for a bargain.

Christi Church, Oxford
Emery Walker after Edmund Hort New
Published by Edmund Hort New, 17 Worcester Place, Oxford, AD 1916
Image 640 x 410 mm

Edmund Hort New, known as E.H. New, was born in Evesham in 1871. He was the son of an important lawyer. He attended the Birmingham Municipal School of Art. He began painting landscape and later he devoted himself to illustration. Early in his career he worked with Ruskin and other associated Arts and Crafts artists. He latter went on to work for William Morris's Kelmscott Press. The influence of these experiences is evident in his prints - the decorative boarders, armorials, etc.

Over a period of years New did a series of prints of the Oxford Colleges based on the David Loggan's 1675 aerial perspectives. New took Loggan's format and enriched his prints with many fine details of and abut the colleges and they are valued today by many collectors because of the high level of detail and the fact that they represent the colleges in their present state.

These prints were made through a relatively new process at the time - photo engraving. Like photogravures the print is made by transferring a photo to a copper plate and then printing it. With the E.H. New prints, a contact print of New's pen and ink drawing was made and the large negative attached to a plate which was then exposed in an acid bath, the acid only biting where the negative was clear; thus, creating and engraved plate of New's drawing. The prints were available separately at shops in Oxford such as Ryman's in the early part of the 20th century. 

Wednesday, 13 June 2012

Jonathan Brett Giclee Prints

This contemporary Giclee print by local artist Jonathan Brett is a wonderfully quirky play on traditional Oxford life.  Trained as a photographer, Brett makes merticulously detailed drawings in pen and ink and then creates a limited number of high quality Giclee prints from the original.

We stock a range of Jonathan Brett prints relating to Oxford as well as a very limited number of original drawings.

Peloton, pictured here is one of an edition of just 25.

Giclee print
Image 100 x 440 mm, Sheet 224 x 595 mm
Signed, numbered and inscribed in pencil

Wednesday, 6 June 2012

Stunning Dr Hooker Mezzotint featured on the BBC!

Nature lovers may have seen this spectacular mezzotint featured recently on the BBCs Natural World episode The Himilayas.  

This extremely rare engraving documents Dr. Joseph Dalton Hooker's famous expedition into the Himalayas.

A hugely important figure in the history of botanic science, and a close friend of Charles Darwin, Dr Hooker was the first European ever to collect plants from the Himalayas. He was Director of the Royal Botanic Gardens, Kew for twenty years and during his exploration of the Himilayas he sent back many previously unknown species of rhododendron, some of which can be seen in Kew's Rhododendron Dell. His book The Rhododendrons of Sikkim-Himalaya was followed by two volumes of Himalayan Journals and The Flora of British India.

[Dr. Joseph Dalton Hooker, F.R.S. in the Rhododendron Region of the Himalaya Mountains]

William Walker after Frank Stone
Image 567 x 479 mm, Plate 682 x 560 mm, Sheet 780 x 610 mm

Finished proof before all letters.

Dr. Hooker seated and looking to the left, is offered gifts of Rhododendrons by the kneeling female figures surrounding him. A man stands to the right surveying the scene, whilst in the distance the Himalayas can be seen.

Sir Joseph Dalton Hooker (1817 - 1911) was a British botanist. The son of Sir William Jackson Hooker, he became director of the Royal Botanic Gardens, Kew (1865-1885) following the death of his father.

William Walker the Younger (1791 - 1867) was an engraver, mezzotinter and publisher. Born in Scotland and trained in Edinburgh, Walker moved to London to work for Thomas Wollnoth. In 1829 he married Elizabeth Reynolds, the daughter of Samuel William Reynolds I. They had a son who was also named William Walker. It is thought that the Alexander Walker publishing from 3 King Street is also related.

O’Donoghue (not recorded)

Ex. Col.: Hon. Christopher Lennox-Boyd