28 résultats
1748372021Printed for T. Osborne in Gray's Inn; A. Miller in the Strand; and J. Osborn in Paternoster Row London 1748. Unframed Print. Very Good Condition. This 1748 engraving provides a detailed depiction of ancient Carthage along with neighbouring cities such as Utica and Tunis and the Carthaginian Gulf. Carthage originally founded by the Phoenicians in the 9th century BC became a powerful city-state and later an empire known for its maritime dominance and conflicts with Rome during the Punic Wars1 folding plate. Ancient Carthage was a Semitic civilization located in North Africa. Originally established as a settlement in what is now Tunisia it evolved into a city-state and subsequently an empire. Founded by the Phoenicians in the ninth century BC Carthage attained its peak in the fourth century BC becoming one of the largest cities in the world at that time. Size: 18 x 30 cms. Category: Universal History; PRINTS : Antiquarian Interest; Printed before 1800; Special Features. This item may require more postage than the rates shown for delivery outside the UK. If extra postage is required we will contact you before processing your order and you will be given the details and option to decline the extra cost. Printed for T. Osborne, in Gray's Inn; A. Miller, in the Strand; and J. Osborn, in Paternoster Row unknown
1790373371Undated c.1790. Unframed Print. Good Condition. The printed area measures 17 x 22.5 cms on a sheet measuring 20 x 25 cms. The print shows some foxing more notable in the plain margins than the printed area. Category: PRINTS : Antiquarian Interest; PRINTS : Historic Interest; Printed before 1800; Special Features. This item may require more postage than the rates shown for delivery outside the UK. If extra postage is required we will contact you before processing your order and you will be given the details and option to decline the extra cost. unknown
1790373368Undated c.1790. Unframed Print. Very Good Condition. The printed area measures 20 x 29.5 cms on a sheet measuring 23 x 35 cms. Category: PRINTS : Antiquarian Interest; PRINTS : Historic Interest; Printed before 1800; Special Features. This item may require more postage than the rates shown for delivery outside the UK. If extra postage is required we will contact you before processing your order and you will be given the details and option to decline the extra cost. unknown
1782373418Undated c.1782. Unframed Print. Very Good Condition. Close trimmed without margins. The sheet measures 18 x 23 cms. The paper is in good condition without creases or tears There is a tiny worm hole 4mm wide about 5 cms up from bottom edge 8 cms from right edge. Invisible to the eye once mounted. Category: PRINTS : Antiquarian Interest; PRINTS : Historic Interest; Printed before 1800; Special Features. This item may require more postage than the rates shown for delivery outside the UK. If extra postage is required we will contact you before processing your order and you will be given the details and option to decline the extra cost. unknown
176627966London: Wichnyther 1766. Print. Good overall. A view of Westminster prior to the great fire of 1834. The Palace was not rebuilt on the site but was used for the present Houses of Parliament. 16 1/2 x 10" on paper 19 1/4 x 12 1/2". Hand colored. Wichnyther unknown
176618808London and Paris: a Londres ches Wichnyther A Paris chez J. Chereau rue St. Jacques au dessus de la Fontaine St. Severin aux 2 Colonnes No. 257 1766. Engraving with original colour. Printed on laid paper. In good condition with mild soiling and creasing. A beautiful Vue d'Optique with strong early colour depicting the old Palace of Westminster where the Lords and Commons met.<br/> <br/> An interesting late 18th century view of Westminster prior to the great fire of 1834 which brought into being the present Houses of Parliament. Westminster had been a royal residence until Henry VIII left it after a fire to reside at Whitehall. After that the Houses of Parliament met there. During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking.<br/> <br/> Clayton The English Print 1688-1802 140-141. a Londres ches Wichnyther (?) A Paris chez J. Chereau rue St. Jacques au dessus de la Fontaine St. Severin aux 2 Colonnes No. 25 unknown
1760103861760. Engraving with original colour. Printed on laid paper. In good condition with the exception of some creases within the image. Sides have been remargined with laid paper and bottom edge is trimmed within the platemark. Surface soiling within image. Image size: 11 x 16 1/4 inches. A wonderful "vue d'optique" of Somerset House on the Strand in London.<br/> <br/> During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking.<br/> <br/> Clayton The English Print 1688-1802 140-141. unknown
176010384Paris: chez Daumont rue St. Martin 1760. Engraving with original colour. Printed on watermarked laid paper. In excellent condition with the exception of some surface soiling in the upper section of the image. Image size: 8 7/8 x 15 13/16 inches. A wonderful "vue d'optique" of St. Mary's Church in London<br/> <br/> During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking.<br/> <br/> Clayton The English Print 1688-1802 140-141. chez Daumont rue St. Martin unknown
180010694London: Printed for Bowles & Carver No. 69 St. Pauls Church Yard 1800. Engraving with beautiful hand-colour. In excellent condition with the exception of tape on the verso of sheet. Image size: 9 3/8 x 15 3/4 inches. Vue d'Optique of the Royal Palace in St. James' Park in London<br/> <br/> During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking.<br/> <br/> Clayton The English Print 1688-1802 140-141. Printed for Bowles & Carver, No. 69 St. Pauls Church Yard unknown
178010559Paris: Chez. Daumont rue St. Martin. Presentement chés Lachaussée rue S. Jacques 1780. Engraving with original colour. Printed on wove paper. This is a later copy of the earlier print of St. James' published by Daumont. In good condition with the exception of some scattered brown marks. Trimmed within the platemark. Image size: 9 1/4 x 14 1/2 inches. Vue d'Optique of St. James' Park in London<br/> <br/> During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking.<br/> <br/> Clayton The English Print 1688-1802 140-141. Chez. Daumont rue St. Martin. Presentement chés Lachaussée rue S. Jacques unknown
177015059Paris: Chez Daumont rue St. Martin 1770. Engraving with beautiful early colour. Printed on watermarked laid paper. In excellent condition with the exception of being trimmed within the platemark on the lower margin. Small tear on upper margin. Small puncture mark on left margin. Image size: 10 1/8 x 16 1/8 inches. This is a beautiful perspective view of the courtyard of the Royal Stock Exchange in London published by a Parisian printseller at the close of the eighteenth century.<br/> <br/> During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking.<br/> <br/> Clayton The English Print 1688-1802 140-141. Chez Daumont rue St. Martin unknown
176114002London & Paris: Wichnyther y Cherenau 1761. 315x445mm. 12½x17½". Grabado. London chés Wichnyther et à Paris chés Chereau 1761. 275 x 400mm. Grabado al cobre en talla dulce. Coloreado a mano de época. Vista óptica del Palacio Real de Aranjuez en Madrid. Copia invertida de una estampa publicada en París por Jacques-Gabriel Huquier. Aquí la leyenda está equivocada ya que la vista corresponde al palacio de Aranjuez y no al monasterio de los Jerónimos de Madrid. Wichnyther y Cherenau unknown
1760281001760. Print. Very good overall. St. Paul's Cathedral dominates the engraving with tree dotted hills in the distance. River and foreground packed with vessels. Hand colored copper engraving trimmed with fabulous hand color. 16 3/8 x 10" mark in upper left corner otherwise very pleasant. unknown
176027965Augsburg: L'Academic Imperiale des Arts 1760. Print. Otherwise very good condition. A view of Westminster over the water with the bridge and many vessels in the foreground. Fine original hand color. 11.5 x 15.75" some rusted pin holes in the margin where the print was hung. L'Academic Imperiale des Arts unknown
175014000Paris 1750. 315x445mm. 12½x17½". Grabado. Paris 1750. 315 x 445mm. Grabado al cobre. Coloreado a mano de época. Vista óptica del conjunto arquitectónico que mandó construir el Conde Duque de Olivares para retiro de Felipe IV y como un lugar de recreo para la corte. Compuesto por más de 20 pabellones bellos jardines suntuosas fuentes y un gran estanque hoy sólo se conserva el Salón de Baile Casón del Buen Retiro el Salón de Reinos Museo del Ejército y parte de los jardines Parque del Retiro. unknown
17605888London c. 1760. Copper engraving 25 x 40 cms bilingual title in English and French with Dutch translation in a contemporary hand beneath original hand-colour copyright date given under Hogarths Act as 1760 trivial soiling blank verso. Print unknown
175327967London 1753. Print. Very good condition. A very early view. The gatehouse of St. James's Palace is on the left. Finely hand colored with the sky in eggshell blue and the people's dress delicately filled in. <br /> 9 3/8 x 15 1/4" on paper 12 3/4 x 18 3/4" unknown
175110664London: Printed for & Sold by Rob. Sayer at the Golden Buck opposite Fetter Lane Fleet Street. & Hen. Overton at the White Horse without Newgate 1751. Engraved by N. Parr after Canaleti. Engraving with original colour. Printed on laid paper. In good condition with the exception of being trimmed within the platemark. Corners are stained. Image size: 9 3/16 x 15 3/16 inches. A beautiful Vue d'Optique of the Rotunda House at Ranelagh.<br/> <br/> During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking.<br/> <br/> Clayton The English Print 1688-1802 140-141. Printed for & Sold by Rob. Sayer at the Golden Buck, opposite Fetter Lane, Fleet Street. & Hen. Overton at the White Horse witho unknown
176014001London 1760. 315x445mm. 12½x17½". Grabado. London 1760. 287 x 448mm. Grabado al cobre. Coloreado a mano de época. Vista óptica de la ciudad de Lisboa Portugal desde el río. Publicado según acta del Parlamento en 1760. Se trata de la reedición de un grabado de Henry Overton II publicado originalmente en Londres por Robert Sayer en 1752. El mapa pertenece a una de las ediciones realizadas tras el terremoto de Lisboa de 1755. Suele identificarse como una edición londinense pero por sus características puede que haya sido impreso en París al estilo de Maillet de la misma época probablemente imitando las ediciones inglesas. Este mismo grabado fue copiado en muchas ediciones posteriores solo o en libros siendo una de las vistas más conocidas de Lisboa antes del Terremoto. unknown
178027937London: Robert Wilkinson 1780. First printing. Print. Very good condition. A vue optique view from a very high vantage point over Venice with period hand color featuring "eggshell" blue in the sky. Image 11 x 16" on paper 13 3/4 x 19". One small fox spot and the blue sky oxidized in one corner. Robert Wilkinson unknown
17703428Amsterdam 1770. Engraved view 21.5 x 36 cm with caption below the image. Nice bird's-eye view of Paramaribo and Fort Zelandia Surinam with several ships in the harbour. The view was published in Hartsinck's important Beschryving van Guiana of the Wilde Kust van Zuid-America Amsterdam 1770. With a manuscript note on Paramaribo on the back copied from De Aardbol. Magazijn van hedendaagsche land- en volkendekunde IX 1854 pp. 656-658.Some soiling and waterstaining. A good copy.l JCB Archive of Early American Images 34362; Klooster The Dutch in the Americas pl. 6.5; V. d. Krogt Advertenties 1292. unknown
178541977Helmstädt und Leipzig J.G. Müllerschen Budhhandlung 1785. Small 8vo. Orig. printed blue wrappers to both issues. no backstrip. In: "Chemische Annalen.von Lorenz Crell" 1785:1. Bd. 3. Stück. a. 1785: 1.Bd. Stück 4. 2 whole issues = Stück3-4. 2196-288 a. 2291-384 a. 1 engraved plate. - Scheele's papers: pp. 229-38 a. pp. 291-299. <br/><br/><em>First appearance of these importent papers by the discoverer of oxygen. "In 1785 Scheele revised his views on the nature of air and fire the papers offered as a result of Lavoisier's observations on the increase in weight on burning phosphorus in air. He says he had also often observed the formation of water on the explosion of a mixture of inflammable air hydrogen and fire air in a bottle but had thought that the moisture was in the gases as Priestly had done in 1781.Parkinson III:p.228. "It is only the exact observation of Lavoisier which had helped me out of the dream."Scheele. </em> unknown
1770241361770. A Coutances et se vend ˆ Paris chez Esnauts & Rapilly s.d. circa 1770. Dimensions ˆ vue : 528 x 352 mm passe-partout cadre. Rare et importante vue perspective - en coloris du temps - figurant l'ensemble de la citÂŽ. LÂŽgendes et adresse en marge infÂŽrieure. PrÂŽsentÂŽe sous cadre baguette dorÂŽ. Marges lÂŽgÂrement oxydÂŽes. DiscrÂtes plissures au centre de l'ÂŽpreuve. Encrage de la partie lÂŽgendÂŽe parfois un peu faible. Du reste belle condition. Rare. b42961 unknown
17893750<p><b>Contemporary Image of the First Capitol of the United States</b></p><p>In September 1788 Congress selected New York City as the temporary site of the new government. "The citizens of New York desirous of testifying their attachment to the new national government and of making their city the place of permanent residence of the Federal Legislature have enlarged and repaired their city Hall and made it a convenient and elegant structure worthy of the respectable body for whose use it is designed." <i>Columbian Magazine</i> p. 473. <br /></p><p> The conversion of City Hall to the "Federal Edifice" or Federal Hall was directed by L'Enfant at a cost of $65000. The Executive offices the Senate and House chambers and the Supreme Court were all housed in this building. It was the nation's first Capitol under the Constitution. Although New York City's tenure as the new nation's capital was brief lasting only until 1790 Federal Hall was the site of several highly significant historic events. Washington's inauguration was held on the balcony of Federal Hall and he gave his inaugural address in the Senate chambers. Also the Hall was the meeting place of the first Congress; it was here that Congress adopted the Bill of Rights. <br /></p><p>There is no engraver noted on the image but several other engravings in <i>The</i><i>Columbian Magazine</i> from this time period have been ascribed to James Trenchard the <i>Magazine's</i> publisher. The image appeared a year before Amos Doolittle's famous and virtually unobtainable engraving which portrays Washington's inauguration on the balcony of Federal Hall. <br /></p><p><b>References:</b> Cresswell <i>The American Revolution in Drawings and Prints</i>: 554 illustrated p. 203. Lewis <i>Guide to Engravings in American Magazines 1741-1810</i>: p. 6. For the Doolittle engraving see Deak <i>Picturing America 1497-1899</i>: 181. <br /></p><b>Condition: </b> A strong clean image with original fold lines present. Lower half of left margin replaced with a portion of the inner and outer neat lines and a tiny portion of the image manually recreated. Otherwise very good. <p>ICN 3112. <br /></p><br /> From the August, 1789 issue of The Columbian Magazine.
17883741<p><strong>Harvard College -- "the earliest engraving of the College</strong><strong> which one may reasonably hope to obtain"</strong></p><p>This engraving entitled "View of the ancient Buildings belonging to Harvard College Cambridge New-England" appeared in the December 1788 issue of <em>The Columbian Magazine.</em> Bail notes that the view is based on the Burgis-Price print of 1743 which in turn was a slight modification of the Burgis view of 1726. The view taken from a point in front of the present Johnston Gate shows three College buildings in 1726 from left to right: the second Harvard College the first Stoughton Hall and the still-standing Massachusetts Hall. Although unsigned the engraving is undoubtedly the work of James Trenchard a co-owner of <em>The Columbian</em> <em>Magazine </em>and the engraver of nearly all the plates which appeared in it. <br /><br />Of the<em> Columbian</em> <em>Magazine</em> view Bail states: "In spite of the fact that the print is solely an adaptation it is important because of its early appearance and relative scarcity. This is the earliest engraving of the College which one may reasonably hope to obtain."</p><p>The engraving is accompanied by a disbound example of the December 1788 <em>Columbian Magazine</em> in which it appeared. It includes a 5-page "An Account of the ancient Colleges of Cambridge in New-England." Most of this is a republication of material from "a very scarce and valuable pamphlet" printed in London in 1642. In addition to a description of the College "The edifice is very fair and comely within and without." the rules and curriculum of the College are provided.</p><p>A very desirable engraving of Harvard with an example of the magazine in which it originally appeared.</p><p><strong>References:</strong> For the engraving: Bail <em>Views of Harvard</em>: 13; Plate XVII illustrated. Fielding <em>American Engravers upon Copper and Steel</em>: 1819. <br /><br /><strong>Condition: </strong>Image is age-toned with some generally light foxing. Darkening to margins outside of platemark where previously matted; remnant of strip of masking tape at upper margin on verso. The <em>Magazine</em> is complete and quite bright and clean although several pages are detached from the balance of the text.<br /><br />ICN 3431. <br /><br /><br /><br /></p> Printed for the Proprietors by W. Spotswood.
