A Reproduction Of Gerardus Mercator 1512 1594

Gerardus Mercator (1512–1594) reshaped how the world was drawn. His 1569 world map introduced the projection that still bears his name; his terrestrial and celestial globes and the posthumous Mercator atlas (1595) set standards for geography and engraving. That reputation has, inevitably, produced centuries of reissues, later states, facsimiles, and modern decorative copies.

For collectors and appraisers, “a reproduction of Mercator” can mean anything from a 17th-century printing from original copper plates to a 1970s offset poster. This guide explains the spectrum, diagnostic features to tell period prints from later reproductions, market values, and care.

Mercator’s originals and the long afterlife of his plates

Understanding what “original” means with Mercator is half the battle.

• Lifetime works: Mercator produced individual maps (e.g., Europe, Flanders), a 1541 terrestrial globe and 1551 celestial globe, and the monumental 1569 world map on 18 sheets. His atlas (Atlas sive Cosmographicae Meditationes de Fabrica Mundi et Fabricati Figura) appeared in 1595, edited and expanded by his son Rumold.

• Early 17th century continuation: In 1604 Jodocus Hondius acquired many of Mercator’s plates, reworked them, and published the Mercator-Hondius Atlas from 1606 onward. These are still intaglio prints from original or newly engraved copper plates—historical prints, not “reproductions” in the modern sense—though they may read Mercator-Hondius or later Janssonius.

• Later states and languages: The atlas maps were reissued in Latin, French, Dutch, German, and English throughout the 17th century. Changes include revised cartouches, place-names, hatching, and pagination, but printing remained copperplate engraving on laid paper.

• 18th–19th century facsimiles and reductions: Scholars and publishers issued photolithographic or heliogravure reductions of Mercator maps (e.g., in historical cartography compendia). These typically lack a plate impression, are often on wove paper, and may be smaller than originals.

• 20th century reproductions: Museums, map dealers, and décor publishers produced offset and photogravure reproductions of celebrated Mercator maps and globes. These range from high-quality limited facsimiles to inexpensive posters.

• Globes: Original 1541/1551 globes are vanishingly rare. Most “Mercator globes” encountered today are later decorative replicas or scholarly facsimiles.

When appraising, a crucial distinction is between:

1. 16th–17th century intaglio prints (original or near-contemporary),
2. 18th–19th century scholarly facsimiles,
3. 20th–21st century decorative reproductions.

Common types of “Mercator reproductions” you’re likely to see

• Offset-litho posters of the 1569 world map: Typically single-sheet reductions with a uniform dot pattern under magnification. Originals were 18 separate sheets roughly forming a wall map over two meters wide; any single-sheet “1569” world map is a later reduction.

• Facsimile atlas plates: Photolithographic reproductions of the 1595 or Mercator-Hondius atlas maps, often bound into modern compendia. Paper is wove (no chain lines), no plate impression, and modern fonts in any added title captions.

• Photogravure or heliogravure prints: High-quality tonal reproductions from the late 19th to mid 20th century, sometimes with a false “plate mark” printed rather than impressed.

• Decorative “parchment-style” prints: Tea-stained or artificially aged paper, sometimes with invented coloring and generic titles like “Mercator’s Map of the World.”

• Mercator-Hondius originals mis-captioned as reproductions: Many 17th-century atlas maps are mistakenly called “reproductions” because they were printed after Mercator’s lifetime. They are genuine early prints and carry significant value.

• Replica globes: Modern manufacturers produce “Mercator” globes inspired by 16th-century examples. These are decorative unless part of a scholarly limited edition.

Diagnostics: how to tell period intaglio from later reproduction

Use a methodical, non-destructive sequence. A 10x loupe and a safe light source are your best friends.

1. Format and scale

• 1569 world map: Original is on 18 separately printed sheets. If your “1569 Mercator world map” is a single sheet, it is a reduction—likely 19th or 20th century.
• Atlas plates: Typical image areas around 12–15 inches wide (30–38 cm), with a central vertical fold from binding. Margins often show stitch holes or guard remnants near the fold.

2. Paper

• Laid vs wove: 16th–17th century maps are on laid paper with horizontal wire lines and vertical chain lines ~25–35 mm apart, visible when backlit. Wove paper (a homogeneous texture without lines) appears from the late 18th century onward.
• Watermarks: Period papers often carry watermarks (fleur-de-lis, initials, Strasbourg bend, etc.) typically in the side margins. A watermark consistent with 16th–17th century practice supports authenticity; the absence doesn’t disprove it.
• Optical brighteners: Under UV light, modern papers with brighteners fluoresce bright blue-white. Pre-20th century laid papers tend to remain dull or slightly yellow-green.

3. Printing process

• Plate impression: Intaglio prints show a beveled plate mark—a rectangular depression around the image—and a slight “bruise” where ink was pressed into the paper. Reproductions may simulate this with printed borders but lack true indentation.
• Line quality: Engraved lines have slightly irregular edges and tapering ends where the burin lifted; cross-hatching is crisp and ink is slightly tactile in heavier strokes. Offset and photolitho show dot rosettes; photogravure shows fine grain under magnification.
• Ink sit: Intaglio ink sinks into the fibers and can be slightly raised in the darkest areas. Litho inks sit flat and uniform.

4. Text on the verso

• Many Mercator-Hondius atlas maps have descriptive text on the back in Latin, French, Dutch, German, or English. Typography with the long s (ſ), irregular spacing, and period ligatures indicates early printing. Reproductions may have a blank verso or modern typography.
• Page numbers or signatures (e.g., “Pag. 123”) near the margin can help attribute an edition and date.

5. Coloring

• Period hand-color: Transparent washes bound with gum arabic; verdigris (green copper pigment) may cause slight browning, cracking, or haloing; colors may be subtly uneven with brush pooling at edges.
• Modern hand-color: Bright, opaque, even. Acrylics and aniline dyes can look too flat and clean; no age-related oxidation.
• Uncolored originals exist; do not assume color is required for authenticity.

6. Margins and centerfold

• Atlas maps were folded; a vertical centerfold and occasional sewing holes near the lower margin are normal. Reinforcement with old paper on the verso is common.
• Excessive trimming into the neatline reduces value but does not automatically imply reproduction.

7. Imprints and cartouches

• Mercator/Hondius names often appear in the title cartouche or scale bar area (e.g., “G. Mercator” or “Iudocus Hondius”). Later publishers like “Janssonius” indicate a 17th-century continuation.
• Modern publisher imprints or copyright lines in the lower margins are a giveaway for reproductions.

8. Smell and surface

• Aged rag paper smells neutral to slightly musty; cheap modern paper can smell acidic or of lignin. Surface on old paper is sized (gelatin/alum) and slightly hard.

No single test is decisive; weigh the evidence collectively. When in doubt, compare with known examples and consult an experienced map specialist.

Values: what reproductions and originals typically bring

Market ranges fluctuate by subject, language, color, and condition. These broad bands are for orientation only.

• 16th–17th century atlas maps (Mercator-Hondius/Janssonius):

  • Common regions (small European countries, generic continental maps): roughly $400–1,500 uncolored; $800–3,000 with attractive old color.
  • Scarcer subjects or decorative compositions (elaborate cartouches, sea monsters, polar regions): $1,500–5,000+.
  • The 1569 world map (complete 18-sheet set): institutional-level rarity; six to seven figures in exceptional cases. Individual sheets are highly valuable.

• 18th–19th century facsimiles (photolitho/heliogravure):

  • Portfolio plates and scholarly reductions: $100–600 depending on quality, size, and publisher.

• 20th–21st century reproductions:

  • Museum-shop or decorator prints: $20–300, depending on size, paper, and presentation.
  • Limited-edition fine facsimiles (archival paper, certificate): $200–1,500.

• Globes:

  • Original 16th-century Mercator globes: museum-grade rarities.
  • Quality scholarly replicas: $500–5,000.
  • Decorative modern globes “in the style of Mercator”: $50–500.

Condition can swing value drastically. A scarce 17th-century map with worming, stains, and heavy trimming may sell below $500; the same map in clean condition with original color can bring many multiples.

Condition, conservation, and framing choices

• Common issues: Foxing, tide marks, wormholes, offsetting, centerfold splits, repaired tears, marginal losses, plate crack artifacts, and verdigris degradation of green areas.

• Stabilization:

  • Surface clean with a soft brush only; avoid erasers on printed areas.
  • Humidification, flattening, washing, and deacidification should be done by a paper conservator.
  • Repairs: Japanese tissue and wheat starch paste are reversible and preferred.

• Framing:

  • Use 100% cotton rag mats and acid-free, lignin-free backings.
  • Hinges: Japanese tissue and wheat starch paste; avoid pressure-sensitive tapes and dry mounting.
  • Glazing: UV-filtering acrylic or glass (97–99% UV block).
  • Environment: 40–55% RH, 18–22°C, out of direct sunlight and away from heat sources.

• Handling:

  • Clean, dry hands or nitrile gloves; support with both hands; avoid flexing folded areas.
  • Store flat in archival folders or plenty of interleaving if kept in a portfolio.

Appraisal strategy and documentation

• Identify the exact map: Title, region, language of text, publisher credit (Mercator/Hondius/Janssonius), edition clues (page numbers, cartouche variations).

• Measure image and sheet sizes carefully: Match against known atlas formats to avoid confusing reductions for originals.

• Record paper, watermark, and printing diagnostics: Laid vs wove, plate impression, verso text, color type.

• Note provenance: Bookplates, old dealer labels, old auctions, or collection marks add confidence.

• Photograph front, back, and details: Cartouches, centerfold, watermark backlit, plate mark corners, and any defects.

• Compare with reference examples: Differences in spelling, cartouche shape, or decorative elements can pinpoint the edition.

• Be precise in descriptions: “Engraved map by Mercator, printed by Jodocus Hondius, Amsterdam, c. 1610, Latin text verso, hand-colored” is far more informative (and valuable) than “Mercator reproduction.”

Practical checklist: is your Mercator a period print or a later reproduction?

• Is it on laid paper with visible chain lines when backlit?
• Do you see a genuine indented plate mark around the image?
• Does a loupe show engraved lines (not offset dots or photogravure grain)?
• Is there period text printed on the verso (with long s and ligatures)?
• Is there a centerfold consistent with atlas binding?
• Are margins adequate, with no modern copyright imprint?
• Does the paper remain dull under UV (no optical brighteners)?
• Is hand-color consistent with period pigments (subtle, with possible verdigris effects)?
• Are publisher names/cartouches consistent with Mercator-Hondius/Janssonius conventions?
• For the 1569 world map: is it constructed from multiple sheets (original) or a later single-sheet reduction?

If most answers align with the first option in each pair (laid paper, plate mark, engraved lines, etc.), you likely have a 16th–17th century intaglio print. Mixed signals suggest a later facsimile; all “modern” signals indicate a reproduction.

FAQ

Q: My “1569 Mercator world map” is one large sheet. Could it be original? A: No. The 1569 map was issued on 18 separate sheets. Any single-sheet version is a later reduction or reproduction, though some 19th- and 20th-century reductions are collectible in their own right.

Q: Do atlas page folds and small wormholes ruin value? A: Centerfolds are normal and expected. Minor worming, small tears, and typical age toning are acceptable if professionally stabilized. Excessive trimming, heavy staining, or aggressive bleaching reduce value more significantly.

Q: How can I tell “old color” from modern hand-color? A: Old color is usually transparent with subtle modulation and occasional oxidation (especially green verdigris). Modern color tends to be bright, opaque, and uniform. A loupe often reveals modern brush edges over printed lines with no age-related sink or halo.

Q: Is a Mercator-Hondius map an “original Mercator”? A: It’s an early 17th-century continuation using Mercator’s plates and style, printed by Hondius or successors. It is a genuine early map, not a modern reproduction, and is valued as such, though a lifetime Mercator state commands a premium.

Q: Should I clean foxing myself? A: No. Foxing and stains are best addressed by a qualified paper conservator. DIY bleaching or chemical treatments can permanently damage paper and inks and will harm value.

By applying the diagnostics above and documenting your findings, you can place a “reproduction of Gerardus Mercator” on the right point of the spectrum—from scholarly facsimile to valuable early intaglio—and make sound decisions on appraisal, conservation, and presentation.