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First Published:  May 2007
Revised (substantive):  10 September 2014

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A Note on fair use of visual and verbal content in the She-philosopher.com Gallery: She-philosopher.com GALLERY facsimiles and exhibits are not to be used for any purpose other than individual and/or group study, scholarship, and research, in accord with the Fair Use provisions of U.S. copyright law. Suggested citation formats are given on the Conditions of Use page.

She-philosopher.com Gallery images are organized by posting date, with new items added at the end of the Catalog. The multi-page HTML Catalog is supplemented by a separate Subject Index on the top-level Gallery page, with a summary list of subject index Categories here. Click/tap on any image thumbnail in the Gallery Catalog to access the exhibit in which it is included.

She-philosopher.com GALLERY CATALOG pages:
PAGE 1  (Cat. Nos. 1–20)  |  PAGE 2  (Cat. Nos. 21–40)  |  PAGE 3  (Cat. Nos. 41–60)  |
PAGE 4  (Cat. Nos. 61–80)  |  PAGE 5  (Cat. Nos. 81–100)  |  PAGE 6  (Cat. Nos. 101–120) |
PAGE 7  (Cat. Nos. 121–140) |  PAGE 8  (Cat. Nos. 141–160)

 

gallery catalog  (continued)


 
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CAT. 101.  Portrait of John Dunton (1659–1732). Frontispiece for Dunton’s autobiography, The Life and Errors of John Dunton. Line engraving by M. Van der Gucht, after E. Knight, with verses at bottom. 6½ x 7¼ in. 1705.
     Facsimile of printed image in The life and errors of John Dunton, late citizen of London: written by himself in solitude. With an idea of a new life; wherein is shewn how he’d think, speak, and act, might he live over his days again: intermix’d with the new discoveries the author has made in his travels abroad, and in his private conversation at home. Together with the lives and characters of a thousand persons now living in London, &c. Digested into seven stages, with their respective ideas. He that has all his own mistakes confest, stands next to him that never has transgrest, and will be censur’d for a fool by none, but they who see no errors of their own. Foe’s satyr upon himself, P.6. London: Printed for S. Malthus, 1705.

   
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CAT. 102.  The Athenian Society. Letterpress title-page for the Society’s publication, The Young-Students-Library, edited by the bookseller, John Dunton (1659–1732). 1692.
     Facsimile of printed image in The young-students-library. Containing, extracts and abridgments of the most valuable books printed in England, and in the forreign journals, from the year sixty five, to this time. To which is added, a new essay upon all sorts of learning; wherein the use of the sciences is distinctly treated on. By the Athenian Society. Also, a large alphabetical table, comprehending the contents of this volume. And of all the Athenian Mercuries and supplements, &c. printed in the year 1691. London: Printed for John Dunton, at the Raven in the Poultry ..., 1692.

 
   
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CAT. 103.  Portrait of Achille Bocchi (1488–1562). Frontispiece engraving. Plate retouched for the 2nd edn. of Bocchi’s Symbolicae Quaestiones by Agostino Carracci. 1574.
     Facsimile of printed image in Achillis Bocchii Bonon. Symbolicarum quæstionum, de universo genere, quas serio ludebat, libri quinque. Bononiæ: Apud Societatem Typographiæ Bononiensis, 1574.

 
   
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CAT. 104.  Portrait of Johann Amos Comenius (1592–1670), at age 50. Engraved by Thomas Cross (fl. 1644–1682). 1642.
     Facsimile of frontispiece engraving to Joh. Amos Commenii, Orbis sensualium pictus. Hoc est, omnium fundamentalium in mundo rerum, & in vitâ actionum, pictura & nomenclatura. Joh. Amos Commenius’s Visible world. Or, a picture and nomenclature of all the chief things that are in the world; and of mens employments therein. A work newly written by the author in Latine, and High-Dutch (being one of his last essays, and the most suitable to children’s capacities of any that he hath hitherto made) & translated into English, by Charles Hoole, teacher of a private grammar-school in Lothbury, London. For the use of young Latine-scholars. London: Printed for J. Kirton, at the Kings-Arms, in Saint Paules Church-yard, 1659.

 
   
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CAT. 105.  Portrait of Johann Amos Comenius (1592–1670), with his autograph. Copper-plate engraving. 1658.
     Facsimile of frontispiece engraving to Joh. Amos Commenii, Orbis sensualium pictus. Hoc est, omnium fundamentalium in mundo rerum & in vitâ actionum pictura & nomenclatura. Die sichtbare Welt .... Noribergæ: Typis & sumptibus Michaelis Endeteri, anno salutis [MDC]LVIII.

   
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CAT. 106.  John Evelyn (1620–1706). Title-page, embellished with an ornament bearing Evelyn’s monogram and motto, MELIORA RETINETE. 1662.
     Facsimile of title-page to Sculptura, or, the history, and art of chalcography and engraving in copper. With an ample enumeration of the most renowned masters and their works. To which is annexed a new manner of engraving, or mezzo tinto, communicated by His Highness Prince Rupert to the authour of this treatise. London: Printed by J. C. for G. Beedle and T. Collins, at the Middle-Temple Gate, and J. Crook in St. Pauls Church-yard, 1662.

 
   
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CAT. 107.  “Sculptura.” Frontispiece engraving by A. Hertochs (fl. 1652–61), after a design by John Evelyn. 1662.
     Facsimile of frontispiece to Sculptura, or, the history, and art of chalcography and engraving in copper. With an ample enumeration of the most renowned masters and their works. To which is annexed a new manner of engraving, or mezzo tinto, communicated by His Highness Prince Rupert to the authour of this treatise. London: Printed by J. C. for G. Beedle and T. Collins, at the Middle-Temple Gate, and J. Crook in St. Pauls Church-yard, 1662.

 
   
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CAT. 108.  Portrait of Anna Maria van Schurman (1607–1678), at age 52, with 2-line Latin inscription: “Cernitis hic picta nostros in imagine vultus: Si negat ars forma, gratia vestra dabit.” After one of Schurman’s engraved self-portraits. 1659.
     Facsimile of frontispiece engraving to The learned maid; or, Whether a maid may be a scholar? A logick exercise written in Latine by that incomparable virgin Anna Maria à Schurman of Utrecht. With some epistles to the famous Gassendus and others. London: Printed by John Redmayne, 1659.

 
   
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CAT. 109.  Portrait of Anna Maria van Schurman (1607–1678), grouped with two other famous Dutch painters, Rembrandt van Rijn and Jacob Bakker. After one of Schurman’s engraved self-portraits. 1729.
     Facsimile of engraving facing pg. 28 in Jacob Campo Weyerman’s De Levens-Beschryvingen der Nederlandsche Konst-Schilders en Konst-Schilderessen, met een uytbreyding over de schilder-konst der ouden, door Jacob Campo Weyerman, konst-schilder. Verrykt met de Konterfeytsels der Voornaamste Konst-Schilders en Konst-Schilderessen, cierlyk in koper gesnede door J. Houbraken. In ’s Gravenhage: By de Wed. E. Boucquet, H. Scheurleer, F. Boucquet, en J. de Jonghs, MDCCXXIX [1729].

 
   
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CAT. 110.  Johann Amos Comenius (1592–1670). No. XLIII, Anima Hominis [The Soul of Man]. 1659.
     Facsimile of spread (pp. 88–89) in Joh. Amos Commenii Orbis sensualium pictus. Hoc est, omnium fundamentalium in mundo rerum, & in vita actionum, pictura & nomenclatura. Joh. Amos Commenius’s Visible world, or, a picture and nomenclature of all the chief things that are in the world, and of mens employments therein. A work newly written by the author in Latine, and High-Dutch (being one of his last essays, and the most suitable to childrens capacities of any that he hath hitherto made) & translated into English, by Charles Hoole, teacher of a private grammar-school in Lothbury, London. For the use of young Latine-scholars. London: Printed for J. Kirton, at the Kings-Arms, in Saint Paules Church-yard, 1659.

   
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CAT. 111.  Johann Amos Comenius (1592–1670). No. IV, Coelum [The Heaven]. 1659.
     Facsimile of spread (pp. 10–11) in Joh. Amos Commenii Orbis sensualium pictus. Hoc est, omnium fundamentalium in mundo rerum, & in vita actionum, pictura & nomenclatura. Joh. Amos Commenius’s Visible world, or, a picture and nomenclature of all the chief things that are in the world, and of mens employments therein. A work newly written by the author in Latine, and High-Dutch (being one of his last essays, and the most suitable to childrens capacities of any that he hath hitherto made) & translated into English, by Charles Hoole, teacher of a private grammar-school in Lothbury, London. For the use of young Latine-scholars. London: Printed for J. Kirton, at the Kings-Arms, in Saint Paules Church-yard, 1659.

 
   
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CAT. 112.  Abraham Bosse (1602–1676). La Galerie du Palais. Etching, 9.75 x 12.375 inches. c.1640.
     Facsimile of original etching.

 
   
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CAT. 113.  Wenceslaus Hollar (1607–1677). Byrsa Londinensis, vulgo The Royall Exchange of London. Etching, 11.625 x 15.5 inches. With descriptive letter-press by Henry Peacham. 1644.
     Facsimile of original print (second state of three).

 
   
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CAT. 113a.  Wenceslaus Hollar (1607–1677). Detail from etching, Byrsa Londinensis, vulgo The Royall Exchange of London, showing an English woman selling broadsheets to a cosmopolitan crowd. 1644.
     Facsimile of original print (first state of three).

 
   
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CAT. 113b.  Wenceslaus Hollar (1607–1677). Detail from etching, Byrsa Londinensis, vulgo The Royall Exchange of London, showing two Muscovite merchants in their furred caps within the cosmopolitan crowd. 1644.
     Facsimile of original print (first state of three).

 
   
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CAT. 113c.  Wenceslaus Hollar (1607–1677). Detail from etching, Byrsa Londinensis, vulgo The Royall Exchange of London, showing two turbaned Turks within the cosmopolitan crowd. 1644.
     Facsimile of original print (first state of three).

 
   
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CAT. 114.  Title-page for vol. 12, no. 4 of the journal, Architectural Association Quarterly. 1980.
     Journal design by: Anthony Favell, plus Ivor Kamlish and Associates (both of London).
     Printed by Lonsdale Universal Printing, Ltd. (of Bath), in “small crown quarto format.” Of note, this was the last issue of the small-format journal. Beginning with the first issue of 1981, AAQ switched to “a larger, squarer format” and was “completely redesigned,” in order “to keep abreast with the changes that have occurred in architectural publishing over the past few years, to expand the readership of the journal (particularly through international bookshops) and to take advantage of more economic printing methods.”

 
   
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CAT. 115.  Schema of the spheres (an astronomical diagram showing the earth and heavens). From a French copy of the medieval MS. handbook, Liber floridus, by Lambert of S Omer. Late 13th century.
     Facsimile of Figure 1 (p. 33) in Michael Evans’ “The Geometry of the Mind.” Architectural Association Quarterly 12.4 (1980): 32–55.

   
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CAT. 116.  Rota of the Five Sevens and quadripartite historical schema. Wash drawing appended as a colophon to a medieval roll containing the Arbor historiæ of Peter of Poitiers. c.1270.
     Facsimile of Figure 2 (p. 33) in Michael Evans’ “The Geometry of the Mind.” Architectural Association Quarterly 12.4 (1980): 32–55.

 
   
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CAT. 117.  Graphic textual layout, describing the division of the soul into three faculties: intellect, memory and will. MS. page from Electorium magnum, by Thomas le Myésier. c.1323.
     Facsimile of Figure 3 (p. 34) in Michael Evans’ “The Geometry of the Mind.” Architectural Association Quarterly 12.4 (1980): 32–55.

 
   
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CAT. 118.  Stemmatic analysis of “being” (ens reale). MS. page from Electorium magnum, by Thomas le Myésier. c.1323.
     Facsimile of Figure 4 (p. 34) in Michael Evans’ “The Geometry of the Mind.” Architectural Association Quarterly 12.4 (1980): 32–55.

 
   
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CAT. 119.  Divisio scientiæ, setting out the parts of learning. Appended to a medieval MS. copy of the Bible. Late 14th century.
     Facsimile of Figure 5 (p. 36) in Michael Evans’ “The Geometry of the Mind.” Architectural Association Quarterly 12.4 (1980): 32–55.

 
   
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CAT. 120.  Tree of consanguinity. From a Flemish copy of the medieval MS. handbook, Liber floridus, by Lambert of S Omer. 1460.

       
       
 

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