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First Published:  June 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. 141.  Rota of the Five Sevens and quadripartite historical schema. Drawing from medieval French MS. Early 13th century.
     Facsimile of Figure 24 (p. 48) in Michael Evans’ “The Geometry of the Mind.” Architectural Association Quarterly 12.4 (1980): 32–55.

   
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CAT. 142.  Rota of the Five Sevens and quadripartite historical schema. Drawing from medieval French MS. 12th century.
     Facsimile of Figure 25 (p. 49) in Michael Evans’ “The Geometry of the Mind.” Architectural Association Quarterly 12.4 (1980): 32–55.

 
   
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CAT. 143.  Medallion portrait of engraver, William Marshall (fl. 1617–1649). 19th-century engraving by J. W. Cook, after a design by Lewis. 1862.
     Facsimile of medallion from plate facing page 839 in vol. 3 of Anecdotes of painting in England; with some account of the principal artists; and incidental notes on other arts. Also, A catalogue of engravers who have been born or resided in England. Collected by the late George Vertue; digested and published from his original mss. by Horace Walpole; with additions by the Rev. James Dallaway. A new edition, revised, with additional notes. By Ralph N. Wornum. London: Henry G. Bohn, York Street, Covent Garden, 1862.

 
   
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CAT. 144.  Portrait of draftsman and engraver, Robert White (1645–1703). 19th-century engraving by W. H. Worthington. 1862.
     Facsimile of plate facing page 948 in vol. 3 of Anecdotes of painting in England; with some account of the principal artists; and incidental notes on other arts. Also, A catalogue of engravers who have been born or resided in England. Collected by the late George Vertue; digested and published from his original mss. by Horace Walpole; with additions by the Rev. James Dallaway. A new edition, revised, with additional notes. By Ralph N. Wornum. London: Henry G. Bohn, York Street, Covent Garden, 1862.

 
   
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CAT. 145.  Medallion portrait of engraver, A. Hertochs (fl. 1652–61). 19th-century engraving by J. W. Cook, after a design by Lewis. 1862.
     Facsimile of medallion from plate facing page 839 in vol. 3 of Anecdotes of painting in England; with some account of the principal artists; and incidental notes on other arts. Also, A catalogue of engravers who have been born or resided in England. Collected by the late George Vertue; digested and published from his original mss. by Horace Walpole; with additions by the Rev. James Dallaway. A new edition, revised, with additional notes. By Ralph N. Wornum. London: Henry G. Bohn, York Street, Covent Garden, 1862.

   
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CAT. 146.  Self-Portrait as a Gypsy. By Princess Louise Hollandine of Bohemia (1622–1709). 1641.
     Facsimile of original oil painting on wood. 73.3 x 59 cm.

 
   
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CAT. 147.  Simon van de Passe (c.1595–1647). Portrait engraving of Simon’s sister, Magdalena van de Passe (1600-c.1638), at age 30. On a pedestal, in a lettered oval in cartouche with background drapery, held open on left by the goddess Athena, and on right by a female personification of the graphic arts (Sculptura?). The lettering in the oval’s border reads “MAGDALENA DE PAS [·] CRISPIANI FILIA [·] SCULPTRIX CELEBERRIMA: Æt 30.” The engraving is dated 1630 and signed on the bottom edge of the drapery “Simon de Pas sculpsit.” 1630.
     Facsimile of engraving.

 
   
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CAT. 148.  Lower left section of the “Velasco Map” of 1610/11, which depicts the east coast of North America from Cape Fear to Labrador. The English surveyor by whom the original map of 1610 was made is unknown; Captains Robert Tyndall or Nathaniel Powell, and the “well-known chart- or ‘plat’-maker” John Daniell, have all been suggested. Several scholars now believe that “the Velasco Map” is a fake. ?1610/11.
     Facsimile of the MS. map held by the Archivo General de Simancas, Valladolid, Spain, copied by Velasco c.1611. Modern grayscale reproduction, Fig. 30, p. 108) in Emerson D. Fite and Archibald Freeman, A book of old maps, delineating American history from the earliest days down to the close of the revolutionary war, compiled and edited by Emerson D. Fite & Archibald Freeman. Cambridge: Harvard University Press, 1926.

 
       
       
       
       
       
       
       
       
       
       
       
       
       
       
 

Gallery Catalog Pages:   1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |

 

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