Thursday, 14 November 2013

Maps, Maps, Maps!

We are busy cataloguing some fantastic maps in the run up to Christmas, so keep an eye out on our website for our latest acquisitions.

If you are looking for a particular map or works by a particular map maker let us know and we can do the searching for you.

We currently have a great collection of English county maps from  the most famous of all English cartographers; John Speed.

Speed (1552-1629) is the most famous of all English cartographers primarily as a result of The Theatre of the Empire of Great Britaine, the first atlas of the British Isles. The maps from this atlas are the best known and most sought-after of all county maps. The maps were derived mainly from the earlier prototypes of Christopher Saxton and Robert Norden but with notable improvements including parish "Hundreds" and county boundaries, town plans and embellishments such as the coats of arms of local Earls, Dukes, and the Royal Household. The maps are famed for their borders consisting of local inhabitants in national costume and panoramic vignette views of major cities and towns. An added feature is that regular atlas copies have English text printed on the reverse, giving a charming description of life in the early seventeenth century of the region. The overall effect produced very decorative, attractive and informative maps.

For the publication of this prestigious atlas Speed turned to the most successful London print-sellers of the day, John Sudbury and George Humble. William Camden introduced the leading Flemish engraver, Jodocus Hondius Sr. to John Speed in 1607 because first choice engraver William Rogers had died a few years earlier. Work commenced with the printed proofs being sent back and forth between London and Amsterdam for correction and was finally sent to London in 1611 for publication. The work was an immediate success and the maps themselves being printed for the next 150 years.

Speed was born in 1552 at Farndon, Cheshire. Like his father before him he was a tailor by trade, but around 1582 he moved to London. During his spare time Speed pursued his interests of history and cartography and in 1595 his first map of Canaan was published in the "Biblical Times". This raised his profile and he soon came to the attention of poet and dramatist Sir Fulke Greville a prominent figure in the court of Queen Elizabeth. Greville as Treasurer of the Royal Navy gave Speed an appointment in the Customs Service giving him a steady income and time to pursue cartography.  Through his work he became a member of such learned societies as the Society of Antiquaries and associated with the likes of William Camden Robert Cotton and William Lambarde. He died in 1629 at the age of seventy-seven.

Thursday, 24 October 2013

A Catalogue of Recent Acquisitions

This October Sanders of Oxford are pleased to announce the release of a broad collection of recent acquisitions. Over the past few months we have been busy collating a selection of fine and decorative prints and maps spanning a diverse range of subjects, engravers and prices.

Whether you are a specialist or a generalist we hope that our current catalogue of rare and unusual material offers something of interest.

Click here to download the catalogue.

or browse the catalogue page by page.

Sunday, 22 September 2013

New James Brown Prints

It’s Good Here  
A three colour screen-print on off-white 270gsm paper.
Image 341 x 217 mm, Sheet 420 x 297 mm. 
From an edition of 200, signed and dated by James Brown.

We are excited to announce that we have just received a selection of James Brown prints that we have not previously had in stock before.  We are even lucky enough to get our hands on some of his most recent work!    

Make sure you have a look on our website, or better yet, pop into store, to check out these wonderful prints.

Tuesday, 27 August 2013

Etchings catalogue

Our latest mini-catalogue of Etchings, 17th to 21st Century is now available to view online.

A small collection of recent acquisitions etched and printed between 1645 and 2012 by some of the greatest etchers and printmakers of their day.

Click here to view the catalogue

or to browse page by page click here

Tuesday, 30 July 2013

Contemporary British Printmakers...

Over the past year or so we have been keeping an eye out for British printmakers who create contemporary works that sit well amongst our antiquarian material. This has drawn us towards a small collection of artists who hold the craft of printmaking close to their hearts and employ visual techniques that have been used in print for centuries, such as John Dilnot's interpretation of the classic entomology print:

Image 290 x 200 mm, Sheet 370 x 280 mm
Edition of 200.

Despite John's interest in printmaking, his work is led by ideas rather than process, in particular the human relationship with nature. A childhood spent playing and rooting about in his grandparent's large Kent garden left a lasting impression and remains the source of many ideas and work, such as the box 'Bad Apples' and the books 'Weeds and Pests' and 'With the Worms'.

Dilnot studied graphic Design at Canterbury College of Art, followed by Fine Art at Camberwell School of Art in the early 1980's. John focused on screen printing, exploring sequential imagery, which led to his first artists' books. He also made boxes at this time, which featured in his degree show installation. John's box works have since become very collectable.

The diverse work of James Brown spans subjects from space to hats but his series of shop front prints are proving popular and can be viewed as a contemporary take on the famous High Street series by Eric Ravilious:

A two colour screen print on off-white 270gsm paper.  
Sheet 300 x 420 mm.  
From an edition of100, signed and dated by James Brown.

James Brown is an illustrator and printmaker living and working in London. Trained as a textile and surface print designer, James worked in the clothing industry for 10 years producing print designs for numerous fashion brands from Levis to Louis Vuitton. After two years at Hope & Glory menswear James embarked on a new career as an illustrator in 2007.

James has been commissioned to produce work by publishing houses, magazines and newspapers and advertising and design agencies. Recent clients include GQ, Random House, The Guardian and The Poetry Society .

Alongside his commercial practice James produces limited edition screen prints and linocuts. James' prints reflect his interest in the printed and typographic ephemera of pop culture. The traditional processes that go into the production of James' prints are very important.

Other artists that we have taken on-board include, Tom Frost, Chase and Wonder Kay Vincent and most recently Emma Lee Cheng

Wednesday, 12 June 2013

London Antiquarian Book Fair at Olympia

Sanders of Oxford will once again be exhibiting at this years London Antiquarian Book Fair at Olympia. We will have on display over five hundred prints and maps from the 16th to 20th Century. These include striking Japanese woodblock prints, early portraits, caricatures, maps and fine mezzotints. All items will be listed on our website shortly, but if there is anything in particular you would like us to bring along just let us know.

To view a catalogue of highlights that will be on display at the fair please click here .

The National Hall,
Olympia Exhibition Centre,
Hammersmith Road,

Opening Hours:
Thursday 13th June – 3pm – 8:30pm
Friday 14th June – 11am – 7pm
Saturday 15th June – 11am – 5:30pm

Lillian Lancaster 
Vincent Brooks, Day & Son, Lith. London W.C. 1871. 
Image 202 x 240 mm, Sheet 228 x 276 mm

This map derives from Dr. William Harvey’s ‘Geographical Fun. Being Humorous Outlines of Various Countries.’ It was a series of pictures in which the principal European countries were personified by a figure in keeping with the stereotypical character of its people. Harvey's publication first appeared in 1869, and was published by Hodder & Stoughton. A chromolithographic edition followed in 1871, which was printed by Vincent Brooks, Day & Son. It is believed that the maps were created by Lillian Lancaster; a fifteen year-old girl who envisaged them as a means to entertain her brother who, through illness, was confined to his bed. The works are a prodigious achievemnet for a girl so young. Her amusing draughtsmanship is accompanied by verse written by William Harvey, but accredited to his pseudonym ‘Aleph.’ The stanza for this map reads:

‘For Shakespeare’s Prince, and the Princess of Wales,
To England dear. Her royal spirit quails;
From skating faint, she rests upon the snow;
Shrinking from unclean beasts that grin below.’

Lancaster’s map of the Scandinavian country appears to be a thinly veiled representation of Alexandra of Denmark. ‘Shakespeare’s Prince’ is a reference to Prince Denmark of Hamlet, whilst the ‘Princess of Wales’ appellation alludes to the position that she held from 1863 until 1901; the longest period that anyone has ever possessed the courtesy title. The activity of ice-skating is also pertinent, for it was one of Alexandra’s foremost social activities in addition to dancing and tandem horseriding. 

The firm of Day & Haghe was one of the most prominent lithographic companies of the nineteenth-century. They were also amongst the foremost pioneers in the evolution of chromolithography. The firm was established in 1823 by William Day, but did not trade under the moniker of Day & Haghe until the arrival of Louis Haghe in 1831. In 1838, Day & Haghe were appointed as Lithographers to the Queen. However, and perhaps owing to the fact that there was never a formal partnership between the two, Haghe left the firm in the 1850’s to devote himself to watercolour painting. The firm continued as Day & Son under the guidance of William Day the younger (1823 - 1906) but, as a result of a scandal involving Lajos Kossuth, was forced into liquidation in 1867. Vincent Brookes bought the company in the same year, and would produce the caricatures for Gibson Bowles’ Vanity Fair magazine, as well as the illustrations for Cassells’s Poultry Book, amongst other commissions.

Friday, 10 May 2013

THE BICYCLE. Original posters and advertisements from the late 1800’s to the 1930’s.

Sanders of Oxford are pleased to present the first in a series of mini-exhibitions on subjects we are consistently asked for, but rarely have the material. This first instalment concentrates on cycling and the bicycle. With around 21,000 bikes in use in Oxford on a daily basis, the bicycle is a subject close to the heart of many Oxfordians. On display in the gallery from Wednesday 15th May will be a collection of striking original posters and advertisements depicting the bicycle from the late 1800’s to the 1930’s.

The Golden Age of Cycling reached its pinnacle in the late 1800’s, during the Belle Epoque era1.  This was also a period when poster art was at its height, with artists such as Alphonse Mucha and Toulouse-Lautrec
producing graphic masterpieces. However few artists concentrated purely on the subject of the bicycle, some of the most notable poster artists of the age such as Jules Chéret and Lautrec produced advertisements for the likes of ‘Cycles Humber’ and ‘La Chaine Simpson’ (No 6), though unknown artists produced many spectacular posters as well.

With a boom in bicycle sales in the 1890’s there was ample funding available to the major bicycle
manufacturers to commission more extravagant and impressive posters and advertisements, particularly in America. By 1900 the bicycle boom was over in the United States, but advertising was still dominant, this time due to a more competitive market. American advertisements of the period had a unique style, with catchy marketing slogans. This is in contrast to the elegant and artistic style of French poster designs that promoted a lifestyle as much as a product (No 1). However, British bicycles sales were, in this period, decidedly upmarket, resulting in a more conservative ‘gentlemanly’ approach. What can be seen towards the end of the nineteenth and the start of the twentieth century, is British bicycle advertising directed toward women (No 4). In this era in Great Britain, for the first time, the bicycle allowed women a freedom of movement previously denied.2

The primary printing method of these posters was multi-colour stone lithography, invented by Jules Cheret at the end of the nineteenth century.  For each colour printed, a separate lithographic stone/plate had to be drawn, with precise registration of the paper each time the stones were put through the press. These original posters are printed on very thin paper, similar to newsprint. Acting as the billboards of the day they were only expected to survive for a limited period of time, pasted in public places to advertise a product or event. Their artists and printers knew that they would be rained on, torn down and covered up; therefore it is extremely rare to find them in perfect condition. The process of stone lithography limited the number of posters that could be created; a run of approximately 2,000 was standard. However because they were not created as collectable artworks, or intended to last for more than a month or so, they were not numbered and often they were not signed.3

Click here to download the catalogue.

1.The Belle Époque or La Belle Époque, French for “Beautiful Era” was a period in French history that is commonly dated as starting in 1871 and ending at the outbreak of World War I. Occurring during the era of the Third French Republic, it was a period characterized by optimism and peace both at home and in Europe. The peace and prosperity in Paris allowed the arts to flourish, and many masterpieces of literature, music, theatre, and visual art gained recognition. The Belle Époque was named, in retrospect, when it began to be considered a “golden age” in contrast to the horrors of World War I.
2.Old Bike.Eu. Vintage Bicycle Adverts 1900-1920. [Online]. Available: Accessed 30th April 2013.
3. IVPDA. (2006). Starting Your Collection. [Online]. Available: Accessed 30th April 2013.

Monday, 15 April 2013

Oxford Book Fair

The PBFA Oxford Book Fair returns this weekend to the Main Hall at Oxford Brookes University, ourselves alongside nearly 100 other antiquarian book, print and map dealers will exhibiting a diverse range of material from modern first editions through to 16th Century Bibles.

Oxford Book Fair
Main Hall,
Gipsy Lane,
Oxford Brookes University

Saturday 20th April, Noon-6pm
Sunday 21st April, 10am-4pm

Pop into the shop to pick up your free tickets.

If you are intending to visit the fair and would like us to bring anything in particular with us for you to view just let us know by emailing:

Alternatively jump on the bus or walk down the hill and visit our shop on the High Street, with over 30,000 items available to browse.

Wednesday, 3 April 2013

'Fat Beasts and 23 Fat Sheep'

We are pleased to present our second specialist catalogue of the year, 'Fat Beasts and 23 Fat Sheep' A Catalogue of Agriculture Prints.

This catalogue is dedicated to Hon. Christopher Lennox-Boyd (1941 – 2012), without whose extensive knowledge and collection it could not have been compiled.

Click here to download the catalogue,

or browse the catalogue page by page.

Tuesday, 26 March 2013

The Boat Race

The annual Boat Race between Oxford and Cambridge universities is this weekend. The Race takes place close to Easter each year on the River Thames in West London between Putney and Mortlake.

The first race took place in 1829 in Henley on Thames following a challenge between old school friends. Since the second race in 1836 the contest has taken place in London.

The 2013 Race on Easter Sunday March 31st will be the 159th contest; Cambridge lead the series with 81 victories to Oxford's 76, with one dead-heat in 1877.

We currently have a good selection of rowing prints in stock depicting not only the boat race but also rowing in Oxford and Eton.

With it set to be one of the coldest March days on record for the boat race, this picture of rowing practice on a frozen Thames may not be as far fetched as it looks

Tuesday, 12 March 2013

The Jacobites

The Jacobites.
A Catalogue of engraved portraits & satires

Oxford was a stronghold of the Jacobite movement. In the 18th century, Oxford printsellers were providing prints of the exiled Royal Family for the large Jacobite customer base within the University. In fact, it was once said by Willaim Pitt that, “Oxford is paved with Jacobites,” so it is somewhat appropriate that Sanders of Oxford is doing their bit to continue the tradition of selling Jacobite prints in Oxford.

The following work contains a few extremely rare, and in some cases unrecorded prints. This material derives from the library of Viscount Strathallan, whose family were Jacobite supporters. When the chance came to acquire the collection, we could not resist, especially given the success of our previous Jacobite catalogue of 2005. We at Sanders of Oxford hope that you enjoy it. 

Click here to browse the catalogue

Tuesday, 26 February 2013

Catalogue of recent acquisitions

This February Sanders of Oxford are pleased to announce the release of a broad collection of recent acquisitions. Over the past few months we have been busy collating a selection of fine and decorative prints and maps spanning a diverse range of subjects, engravers and prices.

Whether you are a specialist or a generalist we hope that our current catalogue of rare and unusual material offers something of interest.

Click here to download the catalogue.

or browse the catalogue page by page.

Thursday, 14 February 2013

Will you be my Valentine?

 Happy Valentine's day!  For all of you romantics out there there is still time to get something special for your someone special.

We have a fantastic collection of original Edwardian and Victorian Valentines cards. Pop down to the shop to view our selection of nineteenth century Valentine cards, from the sentimental to the comic.

Valentine's Day is a holiday with a long history. Though it bears a saint's name, its origins seem more firmly rooted in pagan celebrations of the beginning of spring than in the history of its martyred namesakes. Valentine's Day traditions are wide-ranging, but have long involved the exchange of some love token or small gift with one's valentine. In 18th century England and North America, these exchanges often took the form of hand-made valentine cards. By the 19th century, these traditions expanded. Home-made cards were widely replaced by commercially produced valentine cards, and the cards were sent not only to one special valentine, but often to a wider circle of friends and relations. For more information on this history of the Valentine card visit this fantastic site by the University of Indiana.

Monday, 4 February 2013

Catalogue of Sale Prints

Alongside our in-store sale we have put together a mini-catalogue of over 100 items in our February sale, offering everyone a chance to snap up a bargain before the end of February.

Click here to download the sale catalogue.

or browse the catalogue page by page.

Wednesday, 30 January 2013

February sale

Although on a much smaller scale than previous years there will still be plenty bargains to be had, with up to 75% off selected prints, reductions on framed stock and hundreds of prints from £1 to £5. Subjects including Caricatures, Flora & Fauna, Portraits, Topography, Decorative and many more.

All sale prints will be on display in the gallery from Monday 4th February.

The sale is in-store only until the end of February.

Friday, 25 January 2013

Last weekend of our Pre-Rapahelites in Print exhibition

If you haven't seen  our Pre-Rapahelites exhibition you have until the end of the month to get yourself down to the gallery to take a look and surround yourself with one of the best collections of Pre-Raphaelite prints ever to be offered for sale.

The Pre-Raphaelite Brotherhood was established in 1848; an era now referred to as the Year of Revolutions. It was the year in which Louis Philippe abdicated from his throne, and the French Second Republic was later declared. The Palermo rising erupted in Sicily, whilst Denmark and Germany were rooted in conflict surrounding the Schleswig-Holstein Question.

Rebellion, however, was not restricted to the continent, and London became something of a nucleus for it during this time. The Communist Manifesto of Marx and Engels was published in the capital and serialised in the Deutsche Londoner Zeitung. Kennington Common was also the site of the Chartist demonstration as 150,000 people marched in support of political reform. William Holman Hunt and John Everett Millais were amongst the protesters, and a month later, at the house of Millais’ parents in Bloomsbury, they launched their movement. Like the year in which it was formed, the approach of Pre-Raphaelitism to the world of art can be read in terms of revolution.  

Though recent exhibitions and publications have stressed the avant-garde aspects of the movement, their involvement in the shifting climate of printmaking is seldom discussed. The Pre-Raphaelite’s played an important role in the etching revival. They also contributed to the burgeoning culture of book and magazine illustration, as copies of their works were reproduced in Edward Moxon’s edition of Tennyson’s poems and the evangelical periodical Good Words. Nonetheless, it was in the advancements made to photographic reproduction in the latter half of the nineteenth-century, and the Brotherhood’s endorsement of them, that truly marked their innovation. 

Dante Gabriel Rossetti was an early advocate of this, and commissioned a daguerreotype of his painting The Girlhood of Mary in 1853. His act was exceedingly prophetic. Horace Vernet and Eugène Delacroix opted to have works translated in Louis Daguerre’s native France a few years prior, but Rossetti was amongst the first Englishmen to experiment with the print, and in doing so, anticipated the flourishing of the medium in the coming years. Although the daguerreotype became quickly outmoded, Rossetti and the Pre-Raphaelites continued to subscribe to similar photographic devices. Because of this, a mutually beneficial relationship arose between the method and the movement. 

The invention of photography, and the reproductive potentials which came with it, radicalised the field of printmaking. It allowed for greater quantities of images to be reproduced at increasing speeds, whilst freeing publishers from the process of engraving. But herein lay the problem. In his Dictionary of Accepted Ideas, 1872, Gustave Flaubert inquired about the purpose of art when it could be replaced by mechanical processes which did the job faster and more exceptionally?[1] Art and photography were often viewed as separate entities. However, the symbiotic relationship enjoyed by Pre-Raphaelitism and photgraphic reproduction acted to dispel this notion. 

Fidelity to nature was one of the foremost doctrines of the Pre-Raphaelite movement. What was the use of Holman Hunt fastidiously capturing the atmospheric effects upon the architecture of Magdalen Tower (Page no. 20), if the detail would get lost in translation. The Brotherhood understood that the photographic print, more than any other method, could convey the physical qualities of painting, and in their continued endorsement of the technique, they in turn legitimised the status of photography as a fine art. The movement’s repeated employment of photogravure is especially pertinent. The technique combined tradition and innovation, as the gelatin tissue of the photographic negative was subjected to the etching process. Quattrocento conventions were given an innovative twist. The parallels to Pre-Raphaelitism are clear, but the results of the relationship are spectacular.

To take a look at the entire colletion please click here to download the exhibition catalogue

[1] Flaubert, Gustave  (2005). Bouvard et Pécuchet. 2nd ed. London: Dalkey Archive Press. 286.

Monday, 7 January 2013

Forthcoming Exhibition...

Pre-Raphaelites in Print

Thursday 17th January, 

5:30 – 7:30 pm
All welcome

Sanders of Oxford are pleased to present an exhibition of original prints by the leading Pre-Raphaelite artists.

Following the success of our first Pre –Raphaelite print exhibition in 2010 and with the recent exhibitions at the Ashmolean Museum and Tate Britain bringing the work of the Pre-Raphaelites to fore of public attention, there has been a resurgence of interest in what is regarded as the first British modern art movement.

Pre –Raphaelites in Print brings together a fine collection of etched and engraved works by distinguished artists of the Pre-Raphaelite Brotherhood and their followers.  Including work by Edward Burne-Jones, William Holman Hunt and Dante Gabriel Rossetti.

This exhibition provides a rare opportunity to view and purchase scarce printed works by some of the most pre-eminent English artists of the nineteenth Century.

Highlights of the exhibition include a very scarce photogravure by Holman Hunt of the May Day choir singing from the top of Magdalen College Tower, a highly detailed etching by Jules Simon Payrau after Sir Edward Coley Burne-Jones’ The Garden of Hesperides alongside a Berlin Photographic Company impression of Dante Gabriel Rossetti’s Dante’s Dream at the Time of the Death of Beatrice.

An accompanying catalogue will be available to download from our website from the 17th of January:

Preview: Thursday 17th January 2013, 5:30 – 7:30pm.  All welcome

Exhibition continues: 18th  - 31st January, 2013.

Opening times:
Monday – Saturday  10:00am – 6:00pm

Sanders of Oxford
104 High Street
Oxford. OX1 4BW

For further information please email us at info@sa

Friday, 4 January 2013


Form now until the end of January we are offering a 15% discount on all items bought via the website.

It is easy to browse our extensive collection online, varying from British Topography to Mythological.  We carry  Portraits, Decorative, Sporting, Caricatures, Maritime, Military, Medical, and Fine Art prints.

If there is anything that takes your fancy just click on the purchase/reserve tab next to the image and we will get back to you as soon as possible with payment options. Alternatively give us a ring on 01865 242590

Please visit our website for further details