Georgia, Caucasus is Nicolas Sanson’s authoritative vision of the mountain world between the Black and Caspian seas, first engraved in 1667 and later issued by his son, Guillaume Sanson. Revered as the father of French cartography, Nicolas recast European geography with a new, rigorously sourced precision; here, his method yields a lucid portrait of Colchis, Iberia, and Albania—the classical predecessors of modern Georgia, Armenia, and Azerbaijan. The map’s highly ornate cartouche frames the title with late-17th-century flourish, while the crisp delineation of territories reflects Sanson’s commitment to analytical, rather than decorative, mapping. The plate would continue its life in atlases with a title page dated 1697 and updates extending to 1709, underscoring the enduring authority of Sanson’s Caucasian template.

Sanson’s geography dramatizes the natural theater of the Caucasus through carefully engraved mountain chains, terraced valleys, and coursing river systems. The topographic relief brings the Greater and Lesser Caucasus into sharp focus, the ridges acting as both barriers and corridors that explain settlement patterns and historical frontiers. The Caspian Sea anchors the eastern horizon, a vast inland basin set against a crenelated skyline of peaks. Outline color articulates the political tapestry, while the engraved symbols guide the eye from the coastal littoral to highland interiors. Across this terrain, Sanson reconciles classical nomenclature with contemporary intelligence, allowing viewers to trace how ancient ethnographies and Renaissance reports converged in a single, coherent image.

Borders are not mere lines here; they narrate a 17th-century balance of power at the crossroads of empires. The map isolates the historical polities of Colchis and Iberia and sets them against neighbors to the south and east, clarifying the shifting spheres that defined the Caucasus between Ottoman and Safavid influence. Passes and river valleys appear as natural frontiers, their paths suggesting how armies, merchants, and pilgrims threaded the ridges. By visualizing these limits with such reserve and clarity, Sanson anticipates the Enlightenment habit of treating space as a system—one in which geography explains politics as much as politics reshapes geography.

Cities crystallize that story. Tbilisi (Tiflis) stands astride the Kura, a strategic fulcrum binding highlands to lowlands; Kutaisi recalls the rich legacy of western Georgia and classical Colchis. Eastward, Yerevan (Erivan) punctuates the Armenian plateau, while Baku commands the Caspian shore, a maritime emporium long tied to steppe and Persian markets. On the Black Sea, Trabzon (Trebizond) signals enduring coastal exchange and Byzantine afterlives. Sanson’s labels balance antique resonances with the usage of his day, allowing readers to place familiar names within an older historical frame. The resulting urban constellation is not merely locational—it is interpretive, sketching trade routes, cultural corridors, and strategic nodes across an exacting terrain.

The artistry is unmistakable. Sanson’s restrained engraving, enlivened by outline color, emphasizes structure over ornament, yet he crowns the composition with an exuberant cartouche—a late-career signature that Guillaume would preserve in subsequent issues. Pictorial relief conveys altitude without clutter, while hydrography and coastal profiles establish orientation at a glance. This synthesis—classical learning, field reports, and courtly intelligence—made Sanson’s maps the standard by which others were judged. Georgia, Caucasus stands as both a scholarly monument and a geopolitical key, offering a rare, lucid snapshot of a region whose topography and politics have always been inseparable.

Cities and towns on this map

• Tbilisi (Georgia)
• Kutaisi (Georgia)
• Yerevan (Armenia)
• Baku (Azerbaijan)
• Trabzon (Turkey)

Notable Features & Landmarks

• Cartouche: Ornate title and publisher design, richly embellished
• Topographic relief: Engraved elevation and terrain variations
• Borders: Clearly outlined political boundaries of historical regions
• Bodies of water: Includes the Caspian Sea and other significant waters
• Mountains and valleys: Illustrated to represent topographical changes

Historical and design context

• Created by Nicolas Sanson in 1667; published by his son, Guillaume Sanson
• Dating: 1667 creation; title page dated 1697; atlas updates extend to 1709
• Nicolas Sanson: Pioneering French cartographer, often called the father of French cartography; foundational to modern mapping
• Subject and scope: Depicts Colchis, Iberia, and Albania; covers parts of present-day Georgia, Armenia, Azerbaijan, and Turkey; emphasizes political and geographic detail
• Design and style: Outline coloring, engraved relief illustrations, and a highly ornate cartouche typical of Sanson’s late-career style
• Historical significance: Illuminates 17th-century Caucasus geopolitics and reflects advanced cartographic practices of the era

Please double check the images to make sure that a specific town or place is shown on this map. You can also get in touch and ask us to check the map for you.

This map looks great at every size, but I always recommend going for a larger size if you have space. That way you can easily make out all of the details.

This map looks amazing at sizes all the way up to 50in (125cm). If you are looking for a larger map, please get in touch.

The model in the listing images is holding the 18x24in (45x60cm) version of this map.

The fifth listing image shows an example of my map personalisation service.

If you’re looking for something slightly different, check out my collection of the best old maps to see if something else catches your eye.

Please contact me to check if a certain location, landmark or feature is shown on this map.

This would make a wonderful birthday, Christmas, Father's Day, work leaving, anniversary or housewarming gift for someone from the areas covered by this map.

This map is available as a giclée print on acid free archival matte paper, or you can buy it framed. The frame is a nice, simple black frame that suits most aesthetics. Please get in touch if you'd like a different frame colour or material. My frames are glazed with super-clear museum-grade acrylic (perspex/acrylite), which is significantly less reflective than glass, safer, and will always arrive in perfect condition.

This map is also available as a float framed canvas, sometimes known as a shadow gap framed canvas or canvas floater. The map is printed on artist's cotton canvas and then stretched over a handmade box frame. We then "float" the canvas inside a wooden frame, which is available in a range of colours (black, dark brown, oak, antique gold and white). This is a wonderful way to present a map without glazing in front. See some examples of float framed canvas maps and explore the differences between my different finishes.

For something truly unique, this map is also available in "Unique 3D", our trademarked process that dramatically transforms the map so that it has a wonderful sense of depth. We combine the original map with detailed topography and elevation data, so that mountains and the terrain really "pop". For more info and examples of 3D maps, check my Unique 3D page.