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browsing 4487 items
displaying items 101 to 200
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 ANONYMOUS
[PORTLAND OREGON]
[19th century]. Oil on canvas, 18 x 24 inches. Unsigned. Titled and dated on Kennedy Galleries labels. Provenance: Kennedy Galleries; Collection of Edward Eberstadt & Sons. Expertly conserved: relined, short tear in sky neatly repaired and inpainted; otherwise in excellent displayable condition, brightly colored and nicely varnished. Period-style softly gilt American exhibition frame.
A charming American folk painting depicting life on a bright sunny day in the forested foothills above Portland, Oregon, at the time of its first settlement. The picture shows a newly constructed two-story house (or possibly an inn) on a wide dirt roadway, a mounted rider leading a draught-horse, a well dressed man and woman walking toward the building, and an idler lounging on the side of the road. Plainly visible in the near distance, at the point called "The Clearing" in early maps of the area, and straddling both banks of the Willamette River, are the buildings of the nascent city of Portland. Mount Hood and the Cascade Mountain Range rise in the background.
Professional artists were scarce in the early days of Portland, first settled in 1845, and the graphic record is predominately based on government surveys. This beautiful picture, probably made in the late 19th century by a talented folk artist, is a handsome representation of early Portland, accurately depicting the topography and beginnings of the city.
William H. Gerdts, Art Across America: The Plains States and the West (New York, London, Paris: Abbeville Press, 1990), pp.183-198.
#18554 $5,000.00  
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 ANONYMOUS
Halifax
New York: Charles Magnus & Co. 12 Frankfurt St., circa 1860. Lithographic transfer with original hand-colour. Mounted onto original black and gold border with printed title. Image size: 4 ¾ x 7 inches. Sheet size: 8 ½ x 11 ½ inches.
A rare birds-eye view of Halifax, Nova Scotia by Charles Magnus, the industrious New York publisher.
Bird's-eye views and sweeping panoramas of North American cities became extremely popular at mid-century. Examples were eagerly collected and could be seen in every print shop and bookseller across the country. Town views were originally issued in large format, but entrepreneurial publishers such as Charles Magnus, soon realized that there was a market for smaller format views. Magnus, who was a prolific publisher of games and stationary, made a name for himself by publishing a wealth of smaller city views of prominent American and Canadian cities. These lithographs were typically octavo size and came with a decorative black and gold border. They are all extremely detailed and today are considered quite rare. This charming view of Halifax is a wonderful example of Magnus's fine work and a stunning impression with nice early colour and an original black and gold border.
#20182$250.00
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 ANONYMOUS after Alex CAMPBELL
George Washington, Esqr.
1775. Mezzotint. In fair condition with the exception of extensive creases throughout the image. Skilfully re-backed.Trimmed at platemark, and under title on lower margin. Paper in lower right corner is skinned. Two creases running through center of image. Image size: 12 3/4 x 9 5/16 inches. Sheet size: 13 3/4 x 9 5/16 inches.
A fascinating example of this extremely early print of George Washington.
Public curiosity for prints of George Washington was not limited to America but spread to the English and European print shops, where an inquisitive audience clamored for a glimpse at the notorious American hero. Interest in this great man reached such a frenzy that European publishers, eager to please a demanding market, published fictitious portraits of the general before they had an accurate likeness. Thus the first English and European prints of Washington were completely invented, and varied in likeness as much with each other as they did with Washington's own countenance. London publishers, using the names C. Shepard, Thomas Hart, and John Morris, issued a series of mezzotints of the officers of the American Revolution, none of which are copied from accurate portraits but rather, were constructed on a visual formula and bear no resemblance to the individuals they claim to be representing. This stunning print of Washington is exactly one of these invented English portraits, and therefore one of the earliest prints of the General. In fact, upon closer study it has come to light that there is no record of the artist Alex Campbell and that Washington never sat for these portraits. This amazing print is a fascinating example of the ingenious and devious ploys of the eighteenth century print trade as well as an extremely early print of one of our greatest founding fathers.
Hart, Catalogue of Engraved Portraits of Washington 730; Wick, George Washington an American Icon 18-22; Cresswell, The American Revolution in Drawings and Prints 206
#8931$2,750.00
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 ANSDELL, After Richard (1815-1885)
Black Game [From the original Picture in the possession of J.B. Neilson Esqre. Liverpool]
London: Owen Bailey, 1 March 1852. Engraving, coloured by hand, by W.J. Davey (lower margin shaved with loss to title). Image size (including text): 11 7/8 x 22 1/4 inches. Sheet size: 15 5/8 x 25 1/2 inches.
A fine image of shooting on the moors: a keeper calls back a pointer and a retreiver who are approaching a wounded Blackcock.
One from a series of six prints after Ansdell, all dealing with the shooting of various types of game, and all from original pictures owned by J.B. Neilson. Richard Ansdell was born in Liverpool "He was educated at the Bluecoat school, Liverpool, and, although attracted by art in youth, did not devote himself to it with a view to making it his profession till he was twenty-one. While in Liverpool he studied animal life in the country-side. His first appearance in London was in 1840, when two of his pictures, Grouse Shooting and Galloway Farm, were exhibited at the Royal Academy. There followed in 1842 an important historical picture, The Death of Sir William Lambton... His paintings from this time forward were very numerous. His success made it possible for him to travel, and between 1857 and 1860 his subjects were found in Spain. His earlier paintings show traces of Landseer's influence, and there are works of that period produced by Ansdell and Creswick together, the latter supplying the landscape, in which he excelled. His other collaborators were Mr. W. P. Frith, with whom he painted The Keeper's Daughter, and John Phillip, who helped with the Spanish pictures.
Ansdell was honoured no less than three times with the Heywood medal, a gift awarded to the best pictures shown at the exhibitions in Manchester. In 1855 he received a gold medal at the Great Exhibition in Paris, the pictures which won it being The Wolf Slayer and Taming the Drove. He was elected A.R.A. in 1861, and R.A. in 1870. He exhibited in London galleries, mostly at the Royal Academy, as many as 181 works." (DNB).
Mellon British Sporting and Animal Prints p.42
#5254$1,750.00
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 ANSELIN, Jean Louis (1754-1823) after Nicolas Andre MONSIAU (1754-1837)
Molière Lisant son Tartufe chez Ninon de L'Enclos
Paris: chez l'auteur rue de Savoie, circa 1810. Engraving. Printed on wove paper. State ii/ii. In good condition with the exception of being trimmed within the platemark. Image size: 18 1/2 x 27 3/4 inches. Sheet size: 22 1/2 x 30 inches.
This fascinating print, by the Parisian engraver Jean Louis Anselin, depicts Molière reading his famous comedy Tartuffe at Ninon de l'Enclos' celebrated salon.
Molière is one of the world's great comic playwrights. His ingenious plays influenced all subsequent French comedy, giving birth to a new genre of satirical comedy.
Originally known as Jean Baptiste Poquelin, he adopted Molière as his stage name when he joined the Bejart acting troupe. Madeleine Bejart was his long-standing mistress until he scandalously married Armande Bejart. Armande was either Madeleine's younger sister or her daughter, and it was rumored that Molière may have been her father. After establishing itself in Paris the company spent thirteen years traveling the provinces until they came under royal patronage and returned to the capital. Influenced by the commedia dell'arte, Molière wrote farces, comedies, masques, and ballets on short notice for the entertainment of the court. He is best known for his comedies of character in which he ridicules a vice or a type of excess by caricaturing a person who is its incarnation. His brilliant works remain some the most cherished dramas of the age, and he is remembered for his true comic genius and dry satirical wit.
In this dramatic print, Moliere is depicted reading his celebrated play Tartuffe at Ninon de l'Enclos' renowned salon. A great French beauty and wit, Ninon de l'Enclos was one of the most influential courtesans of her day. She numbered among her lovers some of the most important men of the age, and was renowned as much for her wit and beauty as for her love affairs. The scene is depicted in her celebrated Salon which brought together some of the luminaries of the period.
Nicolas Andre Monsiau was a Parisian history painter. He studied under Peyron and exhibited his grand paintings at the Salon between 1787 and 1833. Jean Louis Anselin was an accomplished engraver who made a career out of engraving large historical paintings and genre scenes. He studied the art of engraving under Augustin de Saint-Aubin, but quickly made a name for himself as a skilled engraver.
Le Blanc, Manuel de L'Amateur D'Estampes, no. 5, state ii/ii; Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs.
#15076$1,200.00
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 [APPERLEY, Charles James (1777?-1843)]
Memoirs of the Life of the late John Mytton, Esq. of Halston, Shropshire... with notices of his hunting, shooting, driving, racing, eccentric and extravagant exploits. By Nimrod. With numerous illustrations by H. Alken and T.J. Rawlins. Second edition, reprinted (with considerable additions), from the New Sporting Magazine
London: Rudolph Ackermann, 1837. Octavo (9 3/8 x 5 3/4 inches). 8pp. publisher's advertisements at end. Engraved additional title with uncoloured aquatint vignette, 18 hand-coloured plates, drawn and etched by Henry Alken (10), T.J. Rawlins (1) or Alken and Rawlins (6), aquatinted by E. Duncan . Contemporary calf by Riviere & Son, covers with triple-fillet gilt border, spine in six compartments with raised bands, red morocco lettering-piece in the second compartment, the others with repeat decoration in gilt, gilt turn-ins, dark-green glazed endpapers, original green cloth bound in at back, gilt edges (hinges split).
The second and best edition of this classic hunting biography, with charming plates by Henry Alken and T.J. Rawlins.
The second edition includes six more plates than the first, and according to Schwerdt is therefore "more interesting". It has been said of the author that he created the profession of gentleman hunting correspondent: he certainly managed to get paid a considerable sum to do what he loved (hunting) and then write about it. "He earned the respect of sportsmen everywhere not only for his skilful and fearless riding but also for the knowledge and judgment he displayed in his writings and for his unrivalled experience of the hunting world. As Nimrod he held a unique position in his day and left an imperishable memory in sporting history." (Norman Gash in ODNB).
The present work, first published in 1835, is the biography of John Mytton, an eccentric whose life-style eventually killed him, but who retained the public's affection to the extent that there was a huge turn out at his funeral. 'As master of foxhounds from 1818 to 1821 Jack Mytton, as he was known, hunted a vast country extending from Halston into Staffordshire and including what was later the country of the Albrighton hunt. Both then and later in the 1820s, when he hunted around Halston with new hounds and harriers, he flouted many established hunting conventions ... He was a man of great physical strength and foolhardy courage, with a strong taste for practical jokes. He was a splendid shot and a daring horseman, and there are numberless stories of his recklessness. He is said to have galloped at full speed over a rabbit warren just to see if his horse would fall, which it did and rolled over him. Again, for a wager he drove a tandem at night across country, surmounting a sunk fence 3 yards wide, a broad deep drain, and two stiff quickset hedges. He would sometimes strip to his shirt to follow wildfowl in hard weather, and is said once to have stripped naked to follow some duck over the ice. One night he even set fire to his nightshirt to frighten away the hiccups. Inordinately convivial, Mytton drank from four to six bottles of port a day, beginning in the morning while shaving, and he eventually lived in a "nearly constant state of intoxication"' (G. F. R. Barker and George C. Baugh in ODNB).
Abbey Life 385; Schwerdt I,p.38; Tooley 67.
#20737$750.00
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 APPLETON, D.
Appleton's General Guide to the United States and Canada. Illustrated with Railway Maps, Plans of Cities, and Table of Railway and Steamboat Fares. Part I. New England and Middle States and Canada. Revised Each Year To Date of Issue.
New York: D. Appleton and Company, 1890.
This is one of the most extensive guides to eastern Canada, New England, and the mid-Atlantic states of the period. It is essentially a railroad guide, with time tables, and a description of the route along each rail line in the region. The town plans are of Baltimore, Boston, Montreal, New York, Philadelphia, Quebec, and Washington. Not in Howes nor Rumsey.
[with:] Appleton, D. Appleton's General Guide to the United States and Canada. Illustrated with Railway Maps, Plans of Cities, and Table of Railway and Steamboat Fares. Part II. Western and Southern States. Revised Each Year to Date of Issue. New York: D. Appleton and Company, 1891. 389 (numbered 277-566), 19pp. plus fourteen maps and plans and 24pp. of ads. Illus. 16mo. Black and gilt-stamped blue cloth.
The companion volume to the preceding. The part were sold together, or separately, and were also issued in a one-volume format. The second part contains extensive information on California and the western states. Pages 427-32 are devoted to Texas. The city plans are of Charleston, Chicago, Cincinnati, New Orleans, St. Louis, San Francisco, and Savannah. Not in Howes. Rumsey lists an 1887 edition of Part II.
Rumsey 3765
#3117$650.00
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 APPLETON, Thomas after Sir Thomas LAWRENCE
[Lady Greg and Children]
London: Published by Henry Graves & Co, 6 Pall Mall, 1903. Mezzotint. Proof before letters. Signed in pencil by engraver. Printsellers Association stamp in lower left corner. Fine india paper laid onto thick cream wove backing as issued. In excellent condition with the exception of a skillfully mended tear in the lower margin. Image size: 18 3/16 x 15 1/2 inches. Sheet size: 24 3/8 x 19 9/16 inches.
A signed copy of this truly charming portrait of Lady Greg and her children, from the captivating painting by Sir Thomas Lawrence.
Thomas Appleton continued the grand style of Samuel Cousins towards the end of the century. His dramatic use of light combines with a delicacy of execution to create beautiful images which echo the subtle effects of painting. His loose painterly approach has an ephemeral quality, which is extremely difficult to accomplish with mixed method engraving. When steel replaced copper during the early part of the century, Appleton adopted the heavy mixed method style of engraving as a means to deepen the contrast of his plates. The use of steel plates often produced rigid and one-dimensional images, but like Cousins before him, Appleton used stipple, etching, and mezzotint to produce a luxurious effect in his plates. This complex engraving process imbued his prints with rich tones and tangible textures. Appleton's delicate portraits are among his best work, and this beautiful image lives on as a testimony to his talent.
Not in O'Donoghue or Chaloner Smith
#7499$480.00
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 ARAGO, Jacques Etienne Victor (1790-1855)
Voyage autour du monde...édition illustrée de 61 belles estampes et enrichie de notes scientifiques
Brussels: Societe Typographique Belge, 1840. Octavo (9 7/8 x 6 1/2 inches). 6O lithographic plates only (of 61), some signed 'Mangioni' or 'Mangioni del.', all after Arago. (Lacking plate numbered 1, pp.343/344 with section of text torn away, repairs to tears and blank margins of six other leaves). Contemporary calf-backed cloth boards, spine gilt.
First Belgian edition, preceded by the Paris 1839-40 edition, of this important narrative of an expedition supported by the French government, written by the expedition's official artist.
The purpose of the expedition, which was commanded by Freycinet, was to make chronometric and magnetic observations in various latitudes. The voyage included a one month visit in the Sandwich Islands, with time spent in Hawaii, Maui and Oahu, as well as visits to Rio de Janeiro, Cape of Good Hope, Montevideo, Mauritius, New South Wales, and the Caroline Islands. "The Uranie, with a crew of 125 men, entered the Pacific from the West to make scientific observations on geography, magnetism, and meteorology. Arago was the artist of the expedition which visited most notably Australia, the Hawaiian Islands, Tonga, and Tierra del Fuego. The original ship, wrecked off the Falkland Islands, was replaced by the Physicienne which visited Rio de Janeiro...These entertaining letters, written in a lively and witty literary style, provide vivid descriptions of the topography and the inhabitants of the Pacific Islands" (Hill). The many handsome plates add greatly to the ethnographic aspect of the work. This edition not noted by Sabin.
Ferguson 2906b.
#2829$500.00
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 ARENA, Filippo
Hispanicus [Spanish Salsify]; Hyacinthus [Hyacinth] [Pl. 26]
[Pl. 26]. [Palermo, Sicily: 1767]. Copper engraving with modern hand-colouring. Very good condition apart from some overall light soiling and slight creasing. Plate mark: 7 5/8 x 11 3/4 inches. Sheet size: 9 1/4 x 14 inches.
A beautiful and vibrantly coloured print from Arena's rare work 'La Natura e Coltura de' Fiori'.
This elegantly composed botanical print is from Filippo Arena's La Natura e Coltura de' Fiori. Because Arena, a Jesuit professor of mathematics and philosophy in Palermo, was working 'far from the principal intellectual centers of Europe, his work became known only to a handful of contemporaries, and his significant contributions to the history of botany were never fully recognized' (Tomasi An Oak Spring Flora, 1997, p. 38).
The plants are carefully placed in a horizontal format with considerable aesthetic taste. Usually found uncoloured, the addition of expertly applied modern hand-colouring adds an extra dimension to the beauty of the image, and is in line with Arena's wishes for the plates: he `noted that the illustrations, which he intended to arrange to be colored by hand in some copies, would be of use not only to the botanist, but to painters, sculptors, embroiderers and weavers as well' (Tomasi).
Cf. Nissen BBI 48; cf. Pritzel 223; cf. Tomasi 38.
#9504$650.00
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 ARIZONA. - G. ANDERSON (19th century, American)
Camp Apache, Arizona,1876
[Camp Apache, Arizona]: August 5, 1876. Gray watercolour, highlighted with red, white, and blue watercolor, on paper. Image size: 16 1/4 x 21 inches, sheet size: 20 x 25 inches. Titled in block letters in the lower margin. Signed and dated lower mid-left image: 'G. Anderson / Aug. 5th 1876'. Excellent condition, three short marginal tears expertly repaired. Matted and glazed, in a modern decorated gilt frame.
A fine historical graphic record of one of the most storied of western forts: a panoramic view of Camp Apache, a U.S. Army stronghold in the Indian reservation established on the White Mountain River in southeastern ArizonaTerritory to control the White Mountain and Cibecue Apaches.
The Indian fighter General George Crook and his Apache Scouts (pacified Apaches who wore U.S.Army uniforms) operated from the base, attempting to control the marauding tendencies of the wild tribes. The fort was originally built in 1870 as Camp Ord under the supervision of Brevet Colonel John Green of the U.S. 1st Cavalry. It was renamed several times; first Camp Mogollon, then Camp Thomas, and then Camp Apache (its name when this drawing was done). It was not until 1879 that the post was finally called Fort Apache.
The camp is pictured in 1876, shortly after General August Valentine Kautz had taken command of the Department of Arizona. 'G. Anderson' is not a recorded artist. Possibly he was a soldier with some training in drawing stationed at Camp Apache. An American flag, painted, red, white, and blue (the only object in the painting not painted en grisaille) flies above the parade ground. The camp is shown in fine detail, in the valley of the White Mountain River, with canyons and mesas in the near distance. More than sixty buildings are depicted, including headquarters, the commanding officer's residence, junior officers' billets, enlisted men's barracks, squad huts, privies, and work sheds. At the camp entrance in the right foreground, functioning as a decorative cartouche for the picture, stands an Indian brave in a feathered head-dress, loincloth, and leggings, leaning on a long rifle.
In 1869, Green explained the strategic reasons for establishing the camp: 'I have selected a site for a military post on the White Mountain River which is the finest I ever saw. The climate is delicious, and said by the Indians to be perfectly healthy, free from all malaria. Excellently well wooded and watered. It seems as though this one corner of Arizona were almost its garden spot, the beauty of its scenery, the fertility of its soil and facilities for irrigation are not surpassed by any place that ever came under my observation. Building material of fine pine timber is available within eight miles of this site. There is also plenty of limestone within a reasonable distance. This post would be of the greatest advantage for the following reasons: It would compel the White Mountain Indians to live on their reservation or be driven from their beautiful country which they almost worship. It would stop their traffic in corn with the hostile tribes, they could not plant an acre of ground without our permission as we know every spot of it. It would make a good scouting post, being adjacent to hostile bands on either side. Also a good supply depot for Scouting expeditions from other posts, and in fact, I believe, would do more to end the Apache War than anything else'
Provenance: Kennedy Galleries (labels); Collection of Edward Eberstadt & Sons.
Howard R. Lamar (editor) New Encyclopedia of the American West (New Haven and London: Yale University Press, 1998), p.39.
#18551$15,000.00
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 ARROWSMITH, Aaron (1750-1823)
[Composite Atlas including large scale maps of India, the Middle East and Africa]
London: A. Arrowsmith, 1804-1814. Large folio (31 1/2 x 21 3/4 inches). Mounted on guards throughout. 6 engraved maps by Arrowsmith (2 hand-coloured, 3 hand-coloured in outline) on 25 sheets (21 double-page). Expertly bound to style in diced half russia over contemporary marbled paper-covered boards, the flat spine divided into eight compartments by double gilt fillets, red morocco lettering-piece in the second compartment.
A very fine composite atlas, including six of Aaron Arrowsmith's monumental maps, recalling the enormous importance of India to Britain and to the continued health of the British Empire during the 19th century
The huge actual and potential wealth of India at the beginning of the 19th century ensured that it was viewed in a very proprietorial way by Britain and by her agents in India: the East India Company. Queen Victoria, the first Empress of India, spoke of India as the 'jewel in the Crown of Empire' and fully recognized the pivotal role that India played in creating the largest empire the world has ever seen. Knowledge of, and the protection of the routes between Britain and India were of prime importance and the present atlas appears to have been compiled with this in mind. The first map provides the best available detailed information on India itself, the second map tracks the various overland routes to India from Constantinople, and incidentally via Egypt and the Red Sea. Sections of this more southerly route are also explored in the third map which gives details of the country between Aleppo and Jerusalem, and the fifth and sixth maps which show Egypt, the Nile and the overland route from the Mediterranean to the Red Sea. The fourth map, a large scale map of Africa, is a distillation of all the latest information needed for a successful sea-route journey to India via the Cape of Good Hope.
1. [India] -To Mark Wood ... Late Chief Engineer and Surveyor General, Bengal this Map of India compiled from various Interesting and Valuable Materials is inscribed ... [London:] A. Arrowsmith, 1804. Engraved map hand-coloured in outline, on 6 double-page sheets.
A truly spectacular map: the combined image area of 75 x 63 inches really does give some idea of the vast size of the Indian sub-continent. Arrowsmith's dedication of this map to Wood is probably more a reflection of the fact that Wood was in the public eye, having recently published two successful works on India and the route to India, than his work as a surveyor which had ended over ten years earlier. Sir Mark Wood (1747-1829), after a distinguished career in the East India Company, culminating with his appointment as surveyor-general in 1787 and chief engineer in Bengal in 1790, had returned to England in 1793. The Dictionary of National Biography notes that the British Library holds three manuscript surveys by Wood of Calcutta and its environs.
2. [Delhi to Constantinople] - Outlines of the countries between Delhi and Constantinople. London: A. Arrowsmith, 1st January 1814. Engraved map hand-coloured in outline, on 8 sheets (4 double page and 4 single page).
First issue of one of the finest early nineteenth century maps of the Middle East, which if assembled would have an image area of 60 x 112 inches. It was specifically constructed to show the overland routes between Constantinople, the capital of the Ottoman Empire, and Delhi, capital of British India. The inspiration for the map may be found in Napoleon's campaigns in Egypt, which led to a concern in Britain that the overland passage to India might be cut, or that it might need to be defended. In such an event, an accurate, large-scale map of the region would be invaluable. Arrowsmith was the most conscientious and scientific mapmaker working in England at the time, and the logical candidate to construct such a map. The map was evidently well received as at least one further issue was published (with additions to 1816).
The present-day nations of Turkey, Georgia, Armenia, Syria, Lebanon, Israel, Iraq, Iran, Afghanistan, Pakistan, Tibet, the Central Asian republics, much of Egypt, northern India, and northern Saudi Arabia are shown on a grand scale. The Persian Gulf, and the Caspian and Aral seas are shown in entirety. Each of these areas are shown in the finest possible detail, but many were still little-known in western Europe. While the Nile Valley, Asia Minor, and Palestine are well-formed, other regions, such as Afghanistan, Tibet and the Central Asian Republics, are largely blank. Arrowsmith has made a valiant effort to map the mountain spine of Asia: the Himalayas and Hindu Kush. Interesting legends and notations concerning the country, explorers and travelers, and so forth, cover the face of the map.
3. [Jerusalem to Aleppo] - A Sketch of the Countries between Jerusalem and Aleppo. London: A. Arrowsmith, 15th January 1814. Engraved map, on two double-page sheets.
A fine large scale map (which if assembled would have an image area of 52 x 30 1/2 inches) covering the overland route between Aleppo in northern Syria to Jerusalem in the Holy Land. As usual, Arrowsmith is scrupulous in his attempts to include all the latest information gathered from travellers from all parts of Europe.
4. [Africa] - Africa. London: A. Arrowsmith, 1811. Engraved map on four double-page sheets, hand-coloured in outline.
A later issue of a map first issued in 1802, but here with considerable information added. The map (image area 50 x 57 inches if assembled) is dedicated to the British Association for Discovering the Interior of Africa, and includes a fine emblematic vignette title
5. [Lower Egypt] - A Map of Lower Egypt from various surveys communicated by Major Bryce and other Officers. London: A. Arrowsmith, 10th November 1807. Hand-coloured engraved map on four double-page sheets.
Excellent fully coloured map with an image area of 48 x 62 inches if assembled, and including an inset of a plan of the battle of the Nile.
6. [Upper Egypt] - Map of Upper Egypt drawn from various documents. London: A. Arrowsmith, 20th November, 1807. Double-page hand-coloured engraved map.
A fully coloured map (image area 38 1/2 x 26 inches) showing the course of the Nile from Cairo south to Aswan, and including a cut through route from about three quarters of the way down the Nile across country to the bay of 'Cosire' on the Red Sea coast, with an enlarged view of the bay.
#15854$38,000.00
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 ARROWSMITH, Aaron (1750-1823)
Chart of the West Indies and Spanish Dominions in North America
London: Published by A. Arrowsmith, '1810' [but circa 1819]. Engraved map, hand-coloured in outline, on four sheets, joined to form two sheets. Fine condition. Joined sheet sizes: 58 x 25 5/8 inches .
A fine example of the second edition of Arrowsmith's sweeping survey of the Caribbean, this a rare issue with an additional detail panel.
Second edition of Arrowsmith's four sheet map of Florida, the Gulf Coast, West Indies and Central America, this issue including the inset of the Isthmus of Darien. Arrowsmirth evidently had access to the best available information when drawing up this spectacular large scale work: for instance, it is based in part on the pre-Revolutionary War surveys of De Brahm and Bernard Romans. According to Streeter the coast line follows generally the Carta Esferica of 1799, but with the longitude of Sabine Pass nearly correct. This edition (approximately 58 inches wide) only continues as far as 96 degrees west, as opposed to the first edition of 1803 (approximately 74 inches wide) which goes as far as 108 degrees west. This was probably because Arrowsmith had issued a separate map of Mexico in 1810, but what is lost in terms of the area covered is more than made up for by the inclusion of considerably more detail than in the earlier map.
Aaron Arrowsmith was the founder of one of the leading London map publishing houses in the early part of the nineteenth century. He came to London about 1770 from Durham, his birthplace, and worked as a surveyor for John Cary. In 1790 he set up his own business in Long Acre and soon established an international reputation as a specialist in compiling maps recording the latest discoveries in all parts of the world. He produced, and constantly revised, a great number of large-scale maps, many issued singly as well as in atlas form. After his death the business passed to his sons, Aaron and Samuel, and later to his nephew John who maintained his uncle's reputation, becoming a founder member of the Royal Geographical Society.
Cf. Phillips Maps 1061; cf. Stevens & Tree 89(b); cf. Rumsey 4121; Tooley "Printed Maps of America", part I, #186-190 in Map Collector's Circle ... vol.VII, (1971).
#20623$15,000.00
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 ARROWSMITH, John (1790-1873)
The Maritime Portion of South Australia, from Capt. Flinders & from more recent surveys made by the Surv'r. Gen'l [Coastal chart of South Australia]
London: John Arrowsmith, Feb. 5, 1840. Engraved, with period outline colour. Discoloration at centerfold. Paper toned overall. Plate mark: 20 1/4 x 25 1/2 inches. Sheet size: 21 3/4 x 25 1/8 inches.
John Arrowsmith's greatest contributions to cartography were primarily in his maps of Australia and of South Africa.
This interesting chart of the southern coast from Discovery Bay to Fowler Bay is the third edition of the map, in which a number of details have been corrected or added since the first issue two years before. There are 4 inset charts: the Gulf of St. Vincent; The City of Adelaide with the Acre Allotments; Nepean Bay and Kingscote Harbour; and Encounter Bay. The chart includes depth soundings for the entire stretch of coast and would have been an immense help to navigators.
John Arrowsmith was the nephew of Aaron Arrowsmith, who founded the firm in 1790 after having been a surveyor for several prominent map publishers. The Arrowsmith company established a very strong reputation for reliability and high quality in map production. After Aaron's death, John was the prime mover in maintaining the standards of the firm, constantly revising and augmenting maps with new discoveries.
Tooley, The Mapping of Australia, 110.
#4150$2,500.00
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 ARROWSMITH, John (1790-1873)
[Western Australia] The Colony of Western Australia from the Surveys of John Septimus Roe Esq. Surveyor Genl. And from other Official Documents in the Colonial Ofice and Admiralty.
London: John Arrowsmith, 1848-49. Copper-engraved map, with original outline colour, in excellent condition. Sheet size: 21 3/4 x 25 inches.
A very fine map of Western Australia, depicted it during an especially fascinating time in its development, by one of the great London mapmakers
From the London Atlas, Jan. 1, 1850. This fascinating map compiled by John Arrowsmith himself surveys the coastal settlements and explorations in south western Australia from Doubtful Island Bay (east of Kent) to a point north of Perth. Settlement was extremely sparse at the time this map was issued and the region developed quite differently in the event. Included are insets of a number of town maps divided into lots: Guildford, Fremantle, Perth, Augusta and Kelmscott.
This is the 8th state of the map (with several title changes), each revised by Arrowsmith.
John Septimus Roe (1797-1878), mentioned in the title, was Surveyor-General for the British Colony of Western Australia for 42 years, after having served in the Navy surveying northwestern Australia and in the Burmese War. His years as Surveyor-General were very active, as he explored the coasts and made journeys into the interior (one is indicated on the map). He selected the sites for Perth and Fremantle (included as insets in this map).
A very attractive and intriguing map of an exploration in progress.
Tooley, The Mapping of Australia, 130.
#4151$2,500.00
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 ARROWSMITH, John (1790-1873)
[Tasmania] Van Diemens Land
London: John Arrowsmith, February 15, 1842 [issued 1850]. Copper-engraved map, with original outline colour. Sheet size: 25 1/4 x 21 1/2 inches.
A very fine map of Tasmania, depicting the island during an especially fascinating period in its settlement, by one of the great London mapmakers
From the London Atlas, Jan. 1, 1850. Van Diemans Land became Tasmania in 1853, at the same time its last shipment of convicts arrived from England. Abel Tasman (1609? - 1659), a Dutch navigator, discovered the island in 1642 and named it Van Diemans Land.
Arrowsmith's map is characteristically handsome and intriguing, being copied from manuscript surveys. Vast portions of the island remained to be surveyed and continued to be for a very long time thereafter.
Tooley,The Printed Maps of Tasmania, 78; Printed Maps of Australia, 119.
#4152$2,500.00
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 ARROWSMITH, John (1790-1873)
Map of Texas, compiled from Surveys recorded in the Land Office of Texas and other Official Surveys.
London: Arrowsmith, 1841. Copper-engraved map, with original outline colour, in very good condition, but for an expertly repaired tear (with no loss) at upper right. Sheet size: 24 1/2 x 20 1/2 inches.
The great European map of the Republic of Texas.
Arrowsmith's map was probably the first to show the full extent of Texas's claim to the region of the upper Rio Grande, an area included within Texas's boundaries until the Compromise of 1850. The map includes two insets, one showing the geographical relationship of Mexico, Texas and the United States, and another inset showing Galveston Bay, with soundings illustrating for the traveler the best route to the new city of Houston. The popularity and general acceptance of the map was shown by the fact that many mapmakers copied liberally from Arrowsmith's map, including some of its errors. As one of the earliest maps to contain information from the General Land Office of Texas, the map located Indian tribes, major roadways, and included editorial comments for the benefit of the future traveler to Texas, such as "excellent land," "valuable land," "rich land," and "delightful country."
In spite of its few errors, the map was certainly the best information on Texas geography available in Europe during the decade in which the political fate of the new Republic was of international concern.
The present copy is the Kennedy state, from William Kennedy's The Rise, Progress and Prospects of the Republic of Texas. The imprint line gives the publication date as "17 April 1841." When the map is found in the London Atlas, it is usually the third state dated "8 June 1843."
Martin & Martin, Maps of Texas and the Southwest, 1513-1900; plate 32; Tooley, 'Printed Maps of America', in Map Collector's Circle 69, item 262.
#5901$27,500.00
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 ARROWSMITH, John (1790-1873)
[South Africa] Eastern Frontier of the Colony of the Cape of Good Hope, (and part of Kafirland) From Algoa Bay to the Great Kei River. Chiefly from M.S. Surveys & Sketches communicated by Lt. Col. Mitchell late Survr. Genl. of the Colony and Captn. Wm. F. Drummond Jervois Royl. Engrs
London: J. Arrowsmith, 4th June 1851. Copper-engraved map, with original outline colour, printed on wove wove paper, in excellent condition . Sheet size: 21 3/4 x 26 7/8 inches.
A beautiful map of the eastern coast of South Africa, by the celebrated English mapmaker, John Arrowsmith.
John Arrowsmith was the nephew of Aaron Arrowsmith, the founder of the great British cartographical firm. It was John who energetically continued the company's forward position in the world of new geography and maintained the firm's reputation for handsome, elegant maps. John first came to London in 1810 and immediately joined his uncle's cartographic firm. His first publication was his celebrated London Atlas, which became one of the most admired atlases of the period. In the tradition of the great Dutch mapmakers, Arrowsmith republished his London Atlas in three editions, each with added improvements and corrections. His maps of Texas and Australia are amongst the most important of his publications and record some of the earliest delineations of those regions. He was one of the founders of the Royal Geographical Society and served on the council until he retired. In 1863 he received the patron's gold medal for his contribution to geographic sciences.
This elegant map of South Africa is a wonderful example of Arrowsmith's meticulous style and remains one of the finest nineteenth century maps of the area. This is a fantastic early map of South Africa's eastern coast, stretching from Port Elizabeth to the mouth of the Great Kei River. In the lower right corner is an inset map of the whole country, showing the county divisions and the principal towns. There are a wealth of topographical detail as well as geographical comments and tribe locations.
Dictionary of National Biography.
#14852$1,200.00
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 ARROWSMITH, John (1790-1873, publisher)
The London Atlas of Universal Geography, exhibiting the physical & political divisions of the various countries of the world, constructed from original materials
London: J. Arrowsmith, 1842 [- 1854]. Large folio (26 3/8 x 21 1/2 inches). Engraved throughout: title, preface/contents leaf, 67 engraved maps, hand-coloured or hand-coloured in outline (3 with folding strips, 1 folding). Contemporary calf, covers with border of multiple gilt fillets, expertly rebacked to style, lettered in gilt in the second compartment, expert repairs to outer corners, gilt edges. Provenance: Vice-Admiral the Hon. Charles Orlando Bridgeman (1791-1860, presentation inscription on front free endpaper "C.O. Bridgeman from his affectionate daughter, Ursula [Countess] Londesborough, May 8th. 1854").
A unique copy of Arrowsmith's famous atlas: here with all but four of the maps 'in plano' with no folds. This is one of the finest 19th-century English atlases, including Arrowsmith's highly important map of Texas.
Arrowsmith first published his famous map of the Republic of Texas on 16 November 1841, shortly after the Republic was officially recognized by Great Britain. The present example is in the second state, dated 8 June 1843. Arrowsmith's map of Texas `was probably the first to show the full extent of Texas's claim to the region of the upper Rio Grande, an area included within Texas's boundaries until the Compromise of 1850... the map certainly was the best information on Texas geography available in Europe' (Martin & Martin Maps of Texas and the Southwest, 32; see also Streeter Bibliography of Texas, 1373).
This work as a whole is one of the finest examples of English 19th century atlases by one of its greatest geographers, John Arrowsmith, the nephew of Aaron Arrowsmith (1750-1833). The younger Arrowsmith introduced The London Atlas in 1834 and subsequent editions appeared with title pages dated 1840, 1842 and 1858, but as Arrowsmith was continually adding new maps, there is no firm collation for any edition. The contents sheet for this copy, for example, calls for fifty maps, but it has been supplemented with an additional seventeen maps bound in at the end. The maps were also continuously updated and corrected, so that most appear in several states. This example contains no maps in states copyrighted earlier than 1840. The maps are based upon documents supplied by `The Colonial Office, the Hydrographical Office of the Admiralty, the East India Company, the Royal Asiatic Society, the Royal Geographical Society', and numerous other `Offices, Companies, and Societies'.
The later editions of the atlas are the most valuable, as they include a larger number of maps, and many new ones of great importance, such as those in the present example of Texas and also Australia. The Library of Congress, for example, has an 1834 edition, which contains just two maps relating to Australia. The present example has a total of seven maps devoted to Australia and New Zealand and includes some of the most important for the region published during the 19th century.
Phillips Atlases lists the first edition of 1834[-46] with 50 maps (764), an 1840 edition with 61 maps (4322), an 1842[-50] edition with 67 maps (789), an 1842[-53] edition, also with 67 maps (790), and an 1858 edition with 68 maps (4339).
Phillips Atlases 790 (a comparable edition with title dated 1842, containing the additional 17 map sheets dated to 1853).
#17540$57,500.00
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 ARROWSMITH, John (1790-1873)
Map of Texas, compiled from Surveys recorded in the Land Office of Texas and other Official Surveys.
London: Arrowsmith, 1858. Copper-engraved map, with original outline colour. Sheet size: 26 1/2 x 21 5/8 inches.
The great European map of the Republic of Texas.
Arrowsmith's map was probably the first to show the full extent of the Texas claim to the region of the upper Rio Grande, an area included within Texas borders until the Compromise of 1850. The map includes two insets, one showing the geographical relationship of Mexico, Texas and the United States (prior to the Mexican War), and another inset showing Galveston Bay, with soundings illustrating for the traveler safe routes to Houston and Galveston. The popularity and general acceptance of the map was shown by the fact that many mapmakers copied liberally from Arrowsmith's map, including some of its errors. As one of the earliest maps to contain information from the General Land Office of Texas, the map located Indian tribes, major roadways, and included editorial comments for the benefit of the future traveler to Texas, such as "excellent land," "valuable land," "rich land," and "delightful country."
This issue of the map extends the outline colouring to include the recently formed southeastern counties.
Martin & Martin, Maps of Texas and the Southwest, 1513-1900; plate 32; Tooley, 'Printed Maps of America', in Map Collector's Circle 69, item 262.
#20131$27,500.00
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 [Asian Art]
Jubilaumsband
Tokyo: Taiheiyosha, 1933. 8vo (9 3/4 x 7 1/4 inches). Cloth backed boards, Vol. 1 with paper dust jacket.
2 volumes. Vol. I, 409 plus xxii. Vol. II, 388 pp. Illustrated in color and black and white. Text in German. Illustrated with photographs, maps and old Japanese prints. Faint waterstains. Good condition, wear to spines, Vol. II a bit loose in its casing
#2093$100.00
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 [Asian Art] ADDIS, J.M., C. Locsin and C. Grau-Abaya
Manila Trade Pottery Seminar
Manila: Research Foundation in Philippine Anthropology and Archaeology, Inc., 1976. Square 8vo (9 x 9 inches). Paper Wrappers, excellent condition, slipcase with some wear to edges.
A collection of 9 articles, each by a different author and each concentrating on a specific aspect of Philippine pottery, each 30 pp. approximately. All profusely illustrated. Includes Buddhist motifs as a clue to the dating, Shu Fu type wares, Chin Pai and white wares, early blue and white, underglaze red, painted wares from Chi-Chou, white wares from Te-Hua, lead glazed wares and brown wares.
#2349$98.00
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 [Asian Art] ARAKAWA, Hirokazu
Ch'iang-chin, Chinkin and Zonsei Lacquerware
Tokyo: Tokyo National Museum, 1974. 8vo (10 1/4 x 7 inches). Paper Wrappers, Dust Jacket.
175 pp. 159 pages of illustrations, some in color, with many examples per page. With text in English and Japanese. Exhibition catalogue from the Tokyo National Museum of Ch'iang-chin, chinkin and zonzei, methods of surface decoration in lacquer art. Very good condition, some wear to dust jacket
#2315$60.00
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 [Asian Art] JOLY, Henri and Tomita, Kumasaku
Japanese Art and Handicraft
London: Yamanaka and Company, 1916. Two parts bound in one, folio (12 1/2 x 9 3/4 inches). 214pp. text, 162 black & white plates, 8 in colour, with lettered tissue guards. Contemporary half morocco gilt, some dampstaining and wrinkling along top edge of contents, affecting mostly margins in center portion of block, scattered discreet owner's pencil notations.
One of 175 numbered copies of this catalogue created for the seminal 1915 British Red Cross Exhibit. 2415 artifacts or sets of objects were displayed at this exhibition held during the height of World War I, most here illustrated including examples of netsuke, lacquer, swords, prints, drawings, ceramics, tsuba, bronze, and other metalwork. An important and scarce early text on Japanese arts and crafts.
#6979$4,500.00
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 [Asian Art] KATO, Koji
Glassware of the Edo Period
Tokyo: Tokuma Shoten Publishing Co., 1972. 4to. Cloth with Slip Case.
413 pp. 110 color plus 126 black and white plates plus numerous illustrations in text. With bibliography, index, history of Japanese glass and each item annotated in both Japanese and English.
#2146$350.00
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 [Asian Art] KRAUSS, Prof. Friedrich and Tamio Satow
Das Geschlechtsleben des Japanischen Volkes
Hanau am Main: Karl Schustek, 1965. 8vo (9 x 6 inches). Embossed Cloth, Dust Jacket.
16 black and white plates and 300 line illustrations. Very good condition, some wear and creasing to dust jacket
#2233$38.00
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 [Asian Art] LEVY, Howard S.
Japanese Sex Jokes in Traditional Times
Washington D.C.: The Warm-Soft Village Press, 1973. 8vo (10 1/4 x 7 inches). Paper Wrappers.
265 pp. With index, bibliography, author's notes. Chapters by various subjects and themes, with a cross-index in the back of the book, and consistent notes by the author explaining the cultural meaning of the humor. Very good condition. some wear to cover, clear tape on spine
#2257$59.00
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 [Asian Art] SIEGEL, H. W
Forme Und Farbe, Chinesiche Bronzen Und Fruhkeramik
Koln: 1972. Square 8vo (9 x 7 1/4 inches). Stiff Wrapper, Dust Jacket. Excellent condition.
Unpaginated. Over 218 illustrations, with many in color. Chinese bronze and ceramic work, with text in German.
#2309$45.00
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 AUDEBERT, Jean Baptiste (1759-1800) & Louis Jean Pierre VIELLOT (1748-1831)
Oiseaux dorés ou à reflets métalliques
Paris: Crapelet for Desray, [1800-]1802. 2 volumes, folio (20 x 13 inches). Half-titles, section titles, 2pp. list of subscribers. 190 fine engraved plates, printed in colours, by and after Audebert, printed by Langlois (all with the plate captions printed in gold, most with gold highlights to the birds, 1 plate double-page). Contemporary diced russia, expertly rebacked to style, spines in seven compartments with raised bands, black morocco lettering-piece in the second compartment, red morocco in the fourth, the others with elegant repeat neo-classical design, gilt turn-ins.
First edition, de luxe folio issue with the plate captions printed in gold: limited to 200 copies. A fine copy of 'one of the most beautiful books of its era' ('Fine Bird Books') and the best early work on humming-birds, jacamars, promerops, tree-creepers and birds-of-paradise
The 'colours of the birds and their handsome appearance have evidently been the cause of their selection for inclusion in the book. The plates ... are in beautiful colours ... [and] are among the best colour prints found in ornithology' (Anker). They were etched by Audebert from his own designs and those of the 'very best painters of Paris and London.' He received help with colouring from Louis Bouquet and with the printing in oil-colours from Langlois. The exact method used in the printing of the plates was of Audebert's own invention and envolved the extensive use of gold for both the captions and the highlights. As Fine Bird Books points out, it is these 'gold reflections of the plumage that renders this book unique and wonderful.' The plates include three plates of details, 19 of 'Colibris'; 50 of 'Oiseaux-Mouches'; 6 'Jacamars'; 9 'Pomerops'; 88 'Grimpereaux' and 15 'Oiseaux de Paradis'. The text is largely by Vieillot who saw the work through to completion using Audebert's notes following the latter's death in 1800
Anker 14; BM (NH) I, p.71; Balis 52; Buchanan Nature into Art 105; Cottrell 19; Ellis/Mengel 93; Fine Bird Books (1990) p.73; Nissen IVB 47; Ronsil 103; Zimmer 17
#18740$75,000.00
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