Aquila and Antinous, Scutum Sobieski, Taurus Poniatowski, Sagitta, Vulpecula and Anser, Delphinus Antique world maps HQ

The work presents a celestial chart, meticulously rendered in a style characteristic of late nineteenth or early twentieth-century astronomical illustration. The composition is dominated by a complex arrangement of constellations, identified through precise labeling and depicted with varying degrees of detail. Here we see a central figure – a composite animal form – constructed from the outlines of several constellations: Aquila, Antinous, Scutum Sobieski, Taurus Poniatowski, Sagitta, Vulpecula, and Anser, Delphinus. The artist has superimposed these celestial groupings to create a singular, chimeric creature; its body is primarily formed by Aquila, with Antinous contributing the lower portion and Scutum Sobieski acting as a shield-like element on its flank. Taurus Poniatowski appears as a prominent horn or antler extending from the animal’s head.
The surrounding constellations are indicated by smaller star groupings, each labeled in an elegant script. A grid system of coordinates – declination and right ascension – is overlaid upon the chart, providing a framework for astronomical positioning. Numerical values are placed near individual stars, presumably denoting their magnitude or catalog number. The overall effect is one of scientific precision combined with artistic representation.
Beyond its purely descriptive function as an astronomical map, the work carries subtle subtexts related to the history of astronomy and cartography. The inclusion of names like Sobieski and Poniatowski suggests a connection to historical figures or events – likely Polish nobility – implying that these constellations were named in their honor at some point. This layering of personal and political significance onto the impersonal vastness of space hints at humanity’s ongoing attempt to impose order and meaning upon the cosmos. The deliberate construction of the composite animal form, while ostensibly a visual device for grouping constellations, also suggests an element of artistic license and imaginative interpretation within the scientific endeavor. It is not merely a map but a constructed narrative about the heavens.

The text at the bottom indicates that it was published in London, suggesting its intended audience was likely educated individuals interested in science and exploration during that period.