Harrison, Richard Edes (sold)

This is a 1931 Richard Edes Harrison pictorial bird's eye view of New York City. Oriented towards the north, the map depicts the city from the Hudson River to Queens and from Westchester County to Thirtieth Street. Wonderfully illustrated with numerous buildings ... (more details)

This 1936 Richard Edes Harrison map of Japan - really, five separate maps of Japan on a single sheet – is one of the graphic artist Harrison's first published forays in cartography, and is a superb representation of his skill at the visual display of quantitative information. Accompanying an article describing Japan's pre-war industrial powerhouse, this combination of maps uses bright color in Harrison's inimitable style to clearly present a layered picture of Japan, her people, and her industries. The five maps fan out across the page in a visually arresting composition. (more details)

This 1938 Richard Edes Harrison map of New York City and Long Island focuses on the monumental works of the legendary and tempestuous Commissioner of Parks for New York City, Robert Moses. (more details)

This 1938 Richard Edes Harrison map of New York City and Long Island focuses on the monumental works of the legendary and tempestuous Commissioner of Parks for New York City, Robert Moses. (more details)

This 1939 Richard Edes Harrison map of New York City - published in conjunction with the New York World’s Fair – represents a triumph of the visual display of quantitative information. Its aesthetic impact is all the more impressive in its clear expression of municipal and demographic data, making this a map of the people of New York City, as much as of the physical city itself. All five boroughs are represented in the primary map. On it, Harrison’s masterful use of vivid color to distinguish between residential, commercial, industrial, and federal use of land is clear yet supple, able to make distinction (for example) of low-income housing projects using the same palette. Parks and cemeteries both appear as green spaces, with white spots - evoking headstones - indicating the difference between the two. The two major airports (Floyd Bennett Field and North Beach Airport) are given their own color as well. The city’s industrial areas, shown in black, dominate the East River and Hudson coastlines, a reminder of the centrality of trade to the city’s development and history. (more details)

This 1939 Richard Edes Harrison map of New York City - published in conjunction with the New York World’s Fair – represents a triumph of the visual display of quantitative information. Its aesthetic impact is all the more impressive in its clear expression of municipal and demographic data, making this a map of the people of New York City, as much as of the physical city itself. All five boroughs are represented in the primary map. On it, Harrison’s masterful use of vivid color to distinguish between residential, commercial, industrial, and federal use of land is clear yet supple, able to make distinction (for example) of low-income housing projects using the same palette. Parks and cemeteries both appear as green spaces, with white spots - evoking headstones - indicating the difference between the two. The two major airports (Floyd Bennett Field and North Beach Airport) are given their own color as well. The city’s industrial areas, shown in black, dominate the East River and Hudson coastlines, a reminder of the centrality of trade to the city’s development and history. (more details)

This 1939 Richard Edes Harrison map of New York City - published in conjunction with the New York World’s Fair – represents a triumph of the visual display of quantitative information. Its aesthetic impact is all the more impressive in its clear expression of municipal and demographic data, making this a map of the people of New York City, as much as of the physical city itself. All five boroughs are represented in the primary map. On it, Harrison’s masterful use of vivid color to distinguish between residential, commercial, industrial, and federal use of land is clear yet supple, able to make distinction (for example) of low-income housing projects using the same palette. Parks and cemeteries both appear as green spaces, with white spots - evoking headstones - indicating the difference between the two. The two major airports (Floyd Bennett Field and North Beach Airport) are given their own color as well. The city’s industrial areas, shown in black, dominate the East River and Hudson coastlines, a reminder of the centrality of trade to the city’s development and history. (more details)

This 1939 Richard Edes Harrison map of New York City - published in conjunction with the New York World’s Fair – represents a triumph of the visual display of quantitative information. Its aesthetic impact is all the more impressive in its clear expression of municipal and demographic data, making this a map of the people of New York City, as much as of the physical city itself. All five boroughs are represented in the primary map. On it, Harrison’s masterful use of vivid color to distinguish between residential, commercial, industrial, and federal use of land is clear yet supple, able to make distinction (for example) of low-income housing projects using the same palette. Parks and cemeteries both appear as green spaces, with white spots - evoking headstones - indicating the difference between the two. The two major airports (Floyd Bennett Field and North Beach Airport) are given their own color as well. The city’s industrial areas, shown in black, dominate the East River and Hudson coastlines, a reminder of the centrality of trade to the city’s development and history. (more details)

This 1939 Richard Edes Harrison map of New York City - published in conjunction with the New York World’s Fair – represents a triumph of the visual display of quantitative information. Its aesthetic impact is all the more impressive in its clear expression of municipal and demographic data, making this a map of the people of New York City, as much as of the physical city itself. All five boroughs are represented in the primary map. On it, Harrison’s masterful use of vivid color to distinguish between residential, commercial, industrial, and federal use of land is clear yet supple, able to make distinction (for example) of low-income housing projects using the same palette. Parks and cemeteries both appear as green spaces, with white spots - evoking headstones - indicating the difference between the two. The two major airports (Floyd Bennett Field and North Beach Airport) are given their own color as well. The city’s industrial areas, shown in black, dominate the East River and Hudson coastlines, a reminder of the centrality of trade to the city’s development and history. (more details)

This 1939 Richard Edes Harrison map of New York City - published in conjunction with the New York World’s Fair – represents a triumph of the visual display of quantitative information. Its aesthetic impact is all the more impressive in its clear expression of municipal and demographic data, making this a map of the people of New York City, as much as of the physical city itself. All five boroughs are represented in the primary map. On it, Harrison’s masterful use of vivid color to distinguish between residential, commercial, industrial, and federal use of land is clear yet supple, able to make distinction (for example) of low-income housing projects using the same palette. Parks and cemeteries both appear as green spaces, with white spots - evoking headstones - indicating the difference between the two. The two major airports (Floyd Bennett Field and North Beach Airport) are given their own color as well. The city’s industrial areas, shown in black, dominate the East River and Hudson coastlines, a reminder of the centrality of trade to the city’s development and history. (more details)

This 1939 Richard Edes Harrison map of New York City - published in conjunction with the New York World’s Fair – represents a triumph of the visual display of quantitative information. Its aesthetic impact is all the more impressive in its clear expression of municipal and demographic data, making this a map of the people of New York City, as much as of the physical city itself. All five boroughs are represented in the primary map. On it, Harrison’s masterful use of vivid color to distinguish between residential, commercial, industrial, and federal use of land is clear yet supple, able to make distinction (for example) of low-income housing projects using the same palette. Parks and cemeteries both appear as green spaces, with white spots - evoking headstones - indicating the difference between the two. The two major airports (Floyd Bennett Field and North Beach Airport) are given their own color as well. The city’s industrial areas, shown in black, dominate the East River and Hudson coastlines, a reminder of the centrality of trade to the city’s development and history. (more details)

This 1939 Richard Edes Harrison map of New York City - published in conjunction with the New York World’s Fair - represents a triumph of the visual display of quantitative information. Its aesthetic impact is all the more impressive in its clear expression of municipal and demographic data, making this a map of the people of New York City, as much as of the physical city itself. All five boroughs are represented in the primary map. On it, Harrison’s masterful use of vivid color to distinguish between residential, commercial, industrial, and federal use of land is clear yet supple, able to make distinction (for example) of low-income housing projects using the same palette. Parks and cemeteries both appear as green spaces, with white spots - evoking headstones - indicating the difference between the two. The two major airports (Floyd Bennett Field and North Beach Airport) are given their own color as well. The city’s industrial areas, shown in black, dominate the East River and Hudson coastlines, a reminder of the centrality of trade to the city’s development and history. (more details)

This 1939 Richard Edes Harrison map of New York City - published in conjunction with the New York World’s Fair – represents a triumph of the visual display of quantitative information. Its aesthetic impact is all the more impressive in its clear expression of municipal and demographic data, making this a map of the people of New York City, as much as of the physical city itself. All five boroughs are represented in the primary map. On it, Harrison’s masterful use of vivid color to distinguish between residential, commercial, industrial, and federal use of land is clear yet supple, able to make distinction (for example) of low-income housing projects using the same palette. Parks and cemeteries both appear as green spaces, with white spots - evoking headstones - indicating the difference between the two. The two major airports (Floyd Bennett Field and North Beach Airport) are given their own color as well. The city’s industrial areas, shown in black, dominate the East River and Hudson coastlines, a reminder of the centrality of trade to the city’s development and history. (more details)

This 1939 Richard Edes Harrison map of New York City - published in conjunction with the New York World’s Fair – represents a triumph of the visual display of quantitative information. Its aesthetic impact is all the more impressive in its clear expression of municipal and demographic data, making this a map of the people of New York City, as much as of the physical city itself. All five boroughs are represented in the primary map. On it, Harrison’s masterful use of vivid color to distinguish between residential, commercial, industrial, and federal use of land is clear yet supple, able to make distinction (for example) of low-income housing projects using the same palette. Parks and cemeteries both appear as green spaces, with white spots - evoking headstones - indicating the difference between the two. The two major airports (Floyd Bennett Field and North Beach Airport) are given their own color as well. The city’s industrial areas, shown in black, dominate the East River and Hudson coastlines, a reminder of the centrality of trade to the city’s development and history. (more details)

This 1939 Richard Edes Harrison map of New York City - published in conjunction with the New York World’s Fair – represents a triumph of the visual display of quantitative information. Its aesthetic impact is all the more impressive in its clear expression of municipal and demographic data, making this a map of the people of New York City, as much as of the physical city itself. All five boroughs are represented in the primary map. On it, Harrison’s masterful use of vivid color to distinguish between residential, commercial, industrial, and federal use of land is clear yet supple, able to make distinction (for example) of low-income housing projects using the same palette. Parks and cemeteries both appear as green spaces, with white spots - evoking headstones - indicating the difference between the two. The two major airports (Floyd Bennett Field and North Beach Airport) are given their own color as well. The city’s industrial areas, shown in black, dominate the East River and Hudson coastlines, a reminder of the centrality of trade to the city’s development and history. (more details)

This 1939 Richard Edes Harrison map of New York City - published in conjunction with the New York World’s Fair - represents a triumph of the visual display of quantitative information. Its aesthetic impact is all the more impressive in its clear expression of municipal and demographic data, making this a map of the people of New York City, as much as of the physical city itself. All five boroughs are represented in the primary map. On it, Harrison’s masterful use of vivid color to distinguish between residential, commercial, industrial, and federal use of land is clear yet supple, able to make distinction (for example) of low-income housing projects using the same palette. Parks and cemeteries both appear as green spaces, with white spots - evoking headstones - indicating the difference between the two. The two major airports (Floyd Bennett Field and North Beach Airport) are given their own color as well. The city’s industrial areas, shown in black, dominate the East River and Hudson coastlines, a reminder of the centrality of trade to the city’s development and history. (more details)

This 1939 Richard Edes Harrison map of New York City - published in conjunction with the New York World’s Fair - represents a triumph of the visual display of quantitative information. Its aesthetic impact is all the more impressive in its clear expression of municipal and demographic data, making this a map of the people of New York City, as much as of the physical city itself. All five boroughs are represented in the primary map. On it, Harrison’s masterful use of vivid color to distinguish between residential, commercial, industrial, and federal use of land is clear yet supple, able to make distinction (for example) of low-income housing projects using the same palette. Parks and cemeteries both appear as green spaces, with white spots - evoking headstones - indicating the difference between the two. The two major airports (Floyd Bennett Field and North Beach Airport) are given their own color as well. The city’s industrial areas, shown in black, dominate the East River and Hudson coastlines, a reminder of the centrality of trade to the city’s development and history. (more details)

This is an inscribed example of Richard Edes Harrison's 1939 map of New York City. Published in conjunction with the New York World’s Fair, his work represents a triumph of the visual display of quantitative information. Its aesthetic impact is all the more impressive in its clear expression of municipal and demographic data, making this a map of the people of New York City, as much as of the physical city itself. All five boroughs are represented in the primary map. On it, Harrison’s masterful use of vivid color to distinguish between residential, commercial, industrial, and federal use of land is clear yet supple, able to make distinction (for example) of low-income housing projects using the same palette. Parks and cemeteries both appear as green spaces, with white spots - evoking headstones - indicating the difference between the two. The two major airports (Floyd Bennett Field and North Beach Airport) are given their own color as well. The city’s industrial areas, shown in black, dominate the East River and Hudson coastlines, a reminder of the city’s past as a factory and shipping center. (more details)

This is a May 1940 Richard Edes Harrison map of the world, illustrating the international operations of Standard Oil and its partners in the opening year of the Second World War and the oil corporation's continuance of trade with all combatants. (more details)

This is a June 1942 Richard Edes Harrison orthographic map of the Atlantic theatre of World War II, intended to reinforce American support for actively prosecuting the war in Europe. Centered on the North Atlantic, the map shows all of North America and the Atlantic coastlines of South America, Africa, and Europe. The map's intent is to emphasize the growing importance of the Atlantic theatre to an American public whose attention had been held by the Pacific theatre of the war. A key entitled 'The Line-Up on May 10, 1942' indicates how color is used on the map to identify the affiliation the nations shown. Red for the Allies and black for the Axis, gradations of those colors to indicate occupied countries, gold for pro-Ally nations and green for pro-Axis. Yellow indicates neutral nations. While the sporting reference of 'The Line-Up' might be glib, the strong implication is not only that sides exist in the conflict, but that they are unavoidable: 'true neutral' nations are vastly outnumbered by active players in what can easily be seen is a World War. The depicted sea routes, with the distances between key cities serve to emphasize the immediacy of the European conflict for Americans. Despite the apparently great Atlantic distances, routes between New York and Europe are dwarfed by the vast expanses of ocean lying between the North American west coast and Japan. The immediacy of the European theatre is being emphasized here. These were important points to drive home: while America's war throughout 1942 had been primarily fought in the Pacific, change was in the air. In the Atlantic, the German U-Boat war was going through a disturbing period of success. Britain was fighting Germany and Italy in North Africa. But at the same time, the first American forces were finding their way east: Air Corps bases had by May been established in the UK, and the first U.S. ground forces (including the 1st Armored Division) had been committed to Ireland. While the United States had been galvanized for war against Japan following Pearl Harbor, public support for a European war was less sanguine. (more details)

Attempting to help viewers gain a new perspective on distances involved in fighting the Pacific front, this is a 1943 Army Orientation Branch Newsmap map of the Pacific Ocean and Asia. Using a map created by Richard Edes Harrison, this Newsmap places Japan at the center of a globe. (more details)

This is a 1943 Richard Edes Harrison and Fortune Magazine orthographic map of the Eastern Hemisphere, including Asia, Africa, and Europe, which they refer to as the 'World Island'. The map depicts the continents of Asia, Africa, and Europe as well as Indonesia, ... (more details)

An iconic American World War II propaganda broadside map by the cartographic innovator Richard Edes Harrison illustrating, as projected on the hemisphere, the expansion of the Japanese Empire. The broadside, Land of the Setting Sun , formally entitled Newsmap. ... (more details)

This 1943 Richard Edes Harrison map of the Pacific exemplifies his innovative spherical projection - successfully employed in countless WWII maps. Harrison uses the Pacific Ocean, an important World War II theater, to present his new cartographic paradigm. Here, Harisson exaggerates vertical topography to stand out prominently on land spherically projected to imitate a relief globe. The result leads the reader to interpret the often localized events on which he is focusing, from a global perspective. Today Google Earth and other mapping apps adopt a similar approach. Harrison's audience in 1943, obsessed with every detail about the global war, responded enthusiastically to his approach. (more details)

This 1943 Richard Edes Harrison map of the Pacific exemplifies his innovative spherical projection, which he employed to good effect in his maps produced leading up to and during the Second World War. Many of Harrison's wartime readers responded enthusiastically to his approach - although isolationist critics complained that his decision to abandon more familiar projections was a polemical choice intended to emphasize the proximity of various theatres of war to American interests - particularly in the maps he produced prior to America's entry into the war. This was less the case with this triple map, printed well into the conflict and focusing on the likely approaches to Japan that might be exploited by the United States. (more details)

This is a 1944 Army Information Branch double-sided Newsmap for the week of April 27 to May 4, 1944. It was issued in May 8, 1944. One side of the map features four Richard Edes Harrison maps or views depicting the four approaches to Japan. The other includes ... (more details)

This is a 1945 Army Orientation Branch Newsmap map of Japan in the scarce Overseas Edition. Published on Monday, May 14, 1945, this piece was distributed after Germany surrendered and the war in Europe had ended. The Army Orientation Branch utilizes the work of celebrated cartographer Richard Edes Harrison to highlight Japan, the only remaining Axis power, on the recto. On the verso, the historic linkup between the American Army and the Soviet Red Army is celebrated. (more details)