A wonderful and scarce pictorial map by the renowned White Mountains cartographer, adventurer and poet Franklin Leavitt. By the mid-19th century the transmission of the Romantic ethos across the Atlantic, the rise of a middle class with disposable income, and the development of rail links with coastal cities transformed the White Mountains into a major […]
The pictorial map style is one of the oldest—and one of the newest!—genres of mapmaking, and also one of the most collectible.
Arguably pictorial maps appeared even in the ancient world, for example on the Madaba mosaic map, which depicts the cities and village of ancient Palestine as tiny vignettes and includes a scattering of decorative flora and fauna. Likewise medieval mappaemundi, huge maps of the world (as then known!) drawn and painted on parchment, often feature pictorial elements such as cities and towns (with Jerusalem invariably at the center), the Garden of Eden, flags and/or tents representing kingdoms, and real and imaginary animals and mythic beasts. Some of these quasi-mythic elements were retained on early printed maps; for example, the world map in Hartman Schedel’s 1493 Liber Chronicarum (aka the Nuremburg Chronicle), features in the left border images of monstrous creatures first “described” by Herodotus, tiny heads representing the Winds, and three half-length profiles of Noah’s sons Shem, Ham and Japhet.
During the 18th-19th centuries pictorial elements, without disappearing entirely, fell out of fashion among many of the leading mapmakers in England, France, Germany and the Netherlands. Many maps came to have a relatively “stripped-down” aesthetic focusing almost solely on geographic data, with decorative elements, if any, confined to cartouches. Consider for example this map of the British capture of New York City in 1776, this navigation chart of Plymouth Bay from the Atlantic Neptune, and this 1857 map of Texas.
The pictorial map began to re-emerge as a genre in the late 19th century, as a new stream of “popular” (lowbrow?) mapmaking, intended to educate, influence opinion or simply entertain, diverged from the tradition of “empirical” or “scientific” map making. Some of the earliest examples was the comic map of Europe issued by Paul Hadol during in 1870 and the unforgettable Porcineograph produced here in the United States. By the 1920s pictorial map making was in full swing, both in the United States and abroad, with maps appearing in books, board games, magazines, newspapers and on matchbooks, menus and stamps, as well as being separately published.
For the collector pictorial maps have at least two great advantages: First, their variety is essentially infinite, with maps produced all over the world and extending to just about every conceivable area of human interest. Second, though prices have appreciated in recent years, they remain relatively affordable: even most of the “great” pictorial maps are priced at a fraction of the cost of iconic maps of earlier periods, and most maps of the genre are accessible to collectors at just about any price point.