 |
|
|
|
browsing 4487 items
displaying items 2101 to 2200
| |
|
Results Page:
(total 45 pages)
| |
|
|
|
|
|
|
|
 GARNERAY, Ambroise Louis (1783-1857, artist). - LEROUGE (engraver)
Promenades Aeriennes, Jardin Baujon. Honoré de la Présence de Sa Majesté, le 2 Août 1817 [The Aerial Walk-ways, Baujon Garden, Honoured by the Presence of His Majesty, August 2, 1817]
Paris: au Jardin Baujon, & chez Ch. Bance, [no date but circa 1817-1818]. Hand-coloured copper-engraved plate by Lerouge after Garneray. In fine condition apart from some expert repairs to tears to blank margins
. Image size (including text): 11 1/2 x 17 3/4 inches. Sheet size: 14 1/4 x 19 5/8 inches.
A snap-shot view of the visit of King Louis XVIII to the Baujon pleasure gardens and the 'Aerial Walk-ways' in particular
This precursor of the modern roller-coaster was opened in Paris in 1817. As the view shows, it had two separate but continuous tracks. The tracks led out from the central tower with the walk-ways and tracks running in parallel. Particpiants could either walk down along the walk-ways or travel along the the track in the specially constructed 'cars' which were locked onto the track and reached speeds of up to 40 mph. The central tower could be reached by going up the central incline along one of the parallel tracks in one of the 'cars'.
#18812 $700.00  
|
|
|
|
|
|
|
|
|
 GARNERAY, Ambroise-Louis (1783-1857)
Vue de Dieppe prise du fond du Port
Paris: chez Basset, 1825. Hand-coloured aquatint engraving with roulette-work by and after Garneray. Sheet size: 16 15/16 x 21 inches .
A fine lively view, with fascinating detail, of the important French port of Dieppe, one of the safest and deepest harbours on the Channel coast.
The scene is suffused with life: numerous ships come and go in the harbour, meanwhile, in the foreground on the harbour wall a stevedore wheels a bail of merchandise, shipwrights work on the repair of a `beached' vessel, some fishermen stand discussing business and the seamanship of one of their colleagues, a fashionable family group gather, perhaps in excited preparation for a sea-voyage across the channel, a stack of wood is loaded aboard , a carter delivers a final trunk, water-sellers stand by their barrels discussing the day, a cloaked old lady examines the fish on the stall before buying.
Garneray (1783-1857), the eldest son of the painter Jean-François Garneray, and one of three brothers who all made their living as artists. He studied under his father and the engraver Debucourt, but early in his life decided on a life of adventure and travel, including a period as `un authentique corsair' (Benezit). Returning to France, he settled into a more conventional artistic life, exhibiting at the Paris Salon between 1817 and 1857. He specialized in a wide range of subject matter, but he is perhaps best known for his marine painting, and in most cases, as can be seen here, his compositions are full of life.
#2621$1,500.00
|
|
|
|
|
|
|
|
|
 GARNERAY, Ambroise
Les Modes Anglaise A Paris: Le Supreme Bon Ton, No. 22
Paris: Published by Chez Martinet, Libraire, rue du Coq St. Honore, circa 1810-1815. Engraving with superb original colour. Printed on laid watermarked paper. In excellent condition. Image size: 6 7/8 x 11 inches. Plate mark: 8 ¼ x 11 5/8 inches. Sheet size: 10 ¼ x 14 7/8 inches.
This witty caricature, satirizing two English tourists in Paris, comes from a series of extremely rare prints entitled "Le Supreme Bon Ton," which chronicle the fashions and pursuits of the Parisian elite at the beginning of the nineteenth century.
This fascinating French caricature comes from a series of thirty satires entitled "Le Supreme Bon Ton." This magnificent suite was published in Paris by Martinet between 1810 and 1815 and is one of the earliest series of prints to document the social trends and leisure activities of contemporary Parisians. Early impressions of these fine engravings are extremely rare, and Colas mentions only seeing examples of these images in a later reprint. For the most part, it is unclear who engraved these subtle caricatures since the majority of the plates bear no reference to an engraver. For all but two of the suite, which are signed A. G. implying they were engraved by Ambroise Garneray, it is likely that Martinet prepared the plates for publication.
Along with Le Bon Genre, "Le Supreme Bon Ton" is one of the most important visual records of Parisian life at the dawn of the nineteenth century. These delicate images are as much fashion prints as they are social caricatures, and they chart the rise of Paris as a modern metropolis. Reflected in these images we see Paris's bourgeois fashions, its leisure pursuits, and its dating customs. This series not only influenced the fashion journals that became so popular in France at mid-century, but also the caricature albums that became so prolific. With delicacy and beauty, "Le Supreme Bon Ton" bears witness to the colourful episodes of Paris's social life at the end of the French Revolution and at the rise of the new Republic. These compelling images are an invaluable record of Parisian life, documenting the tastes and pursuits of its citizens with a sensitivity and humor that is truly unique. The subject of the Englishman in Paris or the equivalent Frenchman in London was a favorite subject of caricature on both sides of the channel. In these humorous images the visiting tourist always appears ridiculous and out of place, their clothes out of fashion and their mannerisms bizarre. This wonderfully stylized image follows this popular theme by depicting an awkward group of British travelers in Paris. Their postures and dress appear rigid and staid in comparison to their Parisian counterparts, who stare in bewildered amusement at their odd visitors.
Colas, Bibliographie generale du costume et de la mode, p. 1010-1011, no. 2837, no. 22.
#14618$450.00
|
|
|
|
|
|
|
|
|
 GARNIER, Marie Joseph Francis (1839-1873)
Voyage d'exploration en Indo-Chine effectué pendant les années 1866, 1867, et 1868 par une Commission Française présidée par M. le Capitaine de Frégate Doudart de Lagrée...
Paris: Librarie Hachette, 1873. 4 volumes in three (text: 2 vols., large 4to [12 3/4 x 9 1/2 inches]; atlas: 2 volumes in one, folio [20 1/8 x 15 1/2 inches]). Text: titles in red and black, half-titles. Portrait frontispiece, 1 plate of medals, 12 maps and charts (8 coloured), numerous illustrations (39 full-page); atlas: 12 maps, (2 double-page); 9 plans (2 double-page); 1 tinted lithographic aerial view; 48 plates on 40 sheets (6 double page, 2 engraved, 10 hand-coloured lithographs, 1 chromolithograph, 27 tinted lithographs). Expertly bound to style (the text:) in crimson morocco-backed original pebble-grained cloth, [the atlas:] in crimson half morocco over original pebble-grained crimson cloth-covered boards, the spines of all three volumes gilt in six compartments with raised bands, lettered in gilt in the second and fourth compartments, the others with repeat decoration in gilt, marbled endpapers, the atlas with t.e.g.
Rare complete set of the first edition of the official printed record of the most important 19th-century exploratory expedition into Indochina.
The first edition of a work which was limited to only 800 copies. The maps are after Garnier himself, whilst the views are taken from sketches by the expedition artist Louis Delaporte. These views, especially when viewed in conjunction with the fine illustrations in the text volumes, form a valuable and remarkably wide-ranging visual record of Indochina as a whole, with the views of the ancient capital of Laos at Viet Chan and Angkor in Cambodia being particularly important.
Garnier was part of the French expedition under Captain Ernest Doudard de Lagrée which set out from Saigon in 1866 to explore the valley of the Mekong River in the hopes of finding a navigable route into south-western China. Garnier had to take command of the mission when de Lagrée died and he safely led the expedition to the Chinese coast via the Yangtze River. The expedition traversed almost 5,400 miles travelling through Vietnam, Cambodia, and Laos, mapping over 3,600 miles of terrain previously unknown to Europeans, and becoming the first westerners to enter Yunnan by a southern route.
Subsequently, Garnier returned to France a hero, fought in the Franco-Prussian war, and finished the present account of the expedition before eventually returning to Indo-China to establish a colony in Tonkin.
Cordier Sinica 329; Cordier Indosinica 1012
#18660$67,500.00
|
|
|
|
|
|
|
|
|
 GARY, Judge Elbert H
Notable Paintings by Masters of the English XVII Century. The Barbizon and Old Dutch Schools together with several Important Examples by XIX Century Artists. Collection of the Estate of the Late Judge Elbert H. Gary
New York: American Art Association, 1928. 4to (13 3/8 x 10 1/4 inches). Paper Boards, lettered in gilt.
Unpaginated, 34 monochrome gravure illustrations. Number 253 of an edition limited to 500. Spine worn, else very good
#751$55.00
|
|
|
|
|
|
|
|
|
 GASCOIGNE, John and William FADEN (1750-1836)
[Hilton Head, South Carolina] A Plan of Port Royal in South Carolina. Survey'd by Capn. John Gascoigne
London: William Faden, [1776]. Copper-engraved sea chart on a full untrimmed sheet, in excellent condition. Sheet size: 32 1/2 x 25 2/3 inches.
A very rare and highly detailed sea chart, the most important map of South Carolina's Port Royal Sound and Hilton Head made in the early days of the Revolutionary War, in the first state
This very finely engraved and immensely detailed chart was superior to all other maps printed of the region, and the most important portrayal of the Port Royal Sound available in the early days of the Revolutionary War. The map embraces today's Beaufort County, with the Sound's excellent natural harbour, formed by the numerous Sea Islands, which are separated from each other by an elaborate web of tidal channels. The Broad River enters from the north, and the sound is bordered by Port Royal, Parris, and Trench's (Hilton Head) Island, and Lady's and Saint Helena Islands. In the upper-center of the image is the town of Beaufort, and numerous plantations are individually labeled.
This sea chart was one of the most detailed and accurate of any such map of the American coastline. The immense detail of the hydrography was the result of surveys conducted by Captain John Gascoigne, assisted by his brother James. In 1728, aboard the HMS Alborough, he employed the most sophisticated and modern techniques with exacting attention to detail to produce a manuscript chart. The next year, this chart was altered by Francis Swaine, and it would appear that Swaine's manuscript, or a close copy of it, found its way to the London workshop of William Faden. Faden, the successor to the great Thomas Jefferys, was already one of Britain's leading cartographers and this map, present here in the first state, although undated, was printed in 1776.
The Port Royal Sound region has one of the most diverse and fascinating histories of any part of the American South. The region was originally the domain of the Yamasee native tribe, and was known to Europeans since 1521, when it was encountered by a Spanish expedition led by Francisco Cordillo. In 1562, Jean Ribaut led a party of Huguenot colonists to found Charlesfort on Parris Island. The French presence soon proved too close for comfort for the Spanish, who had established a base at St. Augustine in 1565. The Spanish commander, Pedro Ménendez de Avilés succeeded in crushing the French colony, establishing his own outpost of Santa Elena nearby in 1566. Santa Elena became the capital of Spanish Florida and an important Jesuit mission that sought to convert the natives to Christianity. It was finally abandoned in 1587. For a brief period in the 1680s, the area was also home to a Stuart Town, the first Scottish settlement in the Americas. In 1663, Captain William Hilton, sailing from the Barbados in the Adventure, conducted a reconnaissance of the region, newly claimed by England. It was on this trip that he named "Hilton Head" after himself. In the 1670s, the first governor of Carolina, William Sayle led a party of Bermudian colonists to found the town of Port Royal. The English settlement of the region proved to be successful and enduring, and what was to become the most important town in the region, Beaufort, was founded in 1710.
This chart was the finest and most detailed map available in the early days of the Revolutionary War, and would most certainly have been used by commanders in formulating their battle plans. This is significant, as Port Royal Sound was one of the South's finest harbours, both sides in the conflict believed that possession of the area was of great strategic importance. Early in the war, the region had fallen under the control of the American patriots, however, in December, 1778 the British seized control of nearby Savannah, Georgia. As the new year of 1779 dawned, the British commander there, General Augustin Prevost was determined to further his gains. Taking advantage of Britain's naval superiority, Prevost dispatched the HMS George Germaine with 200 marines aboard, commanded by Major Valentine Gardiner. On February 1st, they first engaged American forces at Hilton Head, who then decided to strategically withdraw up the Broad River, with the British in close pursuit. A fierce battle occurred at Bull's Plantation, forcing the Americans to retreat to the shelter of the surrounding forested swamps. Emboldened by his success, on February 2nd, Gardiner decided to attack Beaufort, which was defended by General William Moultrie. A pitched battle ensued, in which Moultrie managed to disable some of the British guns, which neutralized the British advantage. The next day, Gardiner was forced to retreat with heavy losses. On September 24th of the same year, in what was to become known as the Battle of Hilton Head, three British ships were set upon by a trio of French ships, allied to the American cause. After a dramatic chase and intense exchange of cannon fire, the principal British ship, the HMS Experiment, was forced to surrender. The area remained an important base for the American cause, and although the British conducted isolated raids along the coast, it generally remained in the possession the American forces for the duration of the war.
Guthorn, British Maps of the American Revolution, 150/17; Sellers & Van Ee, Maps & Charts of North America & West Indies, 1529; Stevens & Tree, "Comparative Cartography," 71(a), in Tooley, The Mapping of America; Cf. Cumming, British Maps of Colonial America, pp.47-49; Cumming,The Southeast in Early Maps, 204
#19687$12,000.00
|
|
|
|
|
|
|
|
|
 GASCOIGNE, John and William FADEN (1750-1836)
[Daufuskie Island, South Carolina] A Plan of the River and Sound of D'Awfoskee, in South Carolina, Survey'd by Captain John Gascoigne.
[London: Jefferys and Faden, 1776]. Copper-engraved sea chart, on a full, untrimmed sheet, in excellent condition. Sheet size: 30 x 21 3/4 inches.
A very rare and highly important sea chart of South Carolina's Hilton Head area, made towards the beginning of the Revolutionary War, in the first state
This finely engraved map was the finest sea chart of the area available in the early days of the Revolutionary War, and most certainly would have played an important role in the development of strategies by various commanders. It embraces the coastal region of South Carolina, from Port Royal Sound in the north, down past the mouth of the Savannah River and Tybee Island, Georgia, in the south. Prominently featured is Hilton Head Island (called "Trench's Island") and "D'Awfoskee Sound," which is today known as Calibogue Sound. The old name survives on "D'Awfoskee Island," but now spelled Daufuskie, located at the centre of the map.
The region has one of the most varied and fascinating histories of any in the American South. Originally inhabited by the Yamassee native tribe, the area first came to the attention of Europeans during the expedition of Francisco Cordillo in 1521. Parris Island, located in Port Royal Sound, in the upper part of the map, was home to two early settlements. In 1562, Jean Ribaut founded a Huguenot settlement, Charlesfort, but the Spaniards did not tolerate its presence and destroyed it in short order. The Spaniards then founded their own fort and Jesuit mission, Santa Elena, nearby in 1566. In 1661, the English formally staked claim to the region, naming it Carolina after Charles II. In 1663, Captain William Hilton sailed from Barbados aboard the Adventure, on a reconnaissance mission to explore his country's new claims. It was then that he encountered a beautiful island, featuring a prominent sandy cape, which he named "Hilton Head." Once ashore, he remarked that the island was blessed with "sweet water" and "clear sweet air." English settlers arrived in the region in the 1670s, but it was not until 1717 that the first Englishman, Col. John Barnwell settled on Hilton Head, having been given a grant of 100 acres in the northwest corner of the island. In the eighteenth-century, the region enjoyed a very successful economy based on plantations and maritime trade, although it was under threat from attacks by both the Spanish and pirates, most notoriously "Blackbeard."
This sea chart was one of the most detailed and accurate of any of the American coastline. The immense detail of the hydrography was the result of surveys conducted by Captain John Gascoigne, assisted by his brother James. In 1728, aboard the HMS Alborough he employed the most sophisticated and modern techniques with exacting attention to detail to produce a manuscript chart. The next year, this chart was altered by Francis Swaine, and it would appear that Swaine's manuscript, or a close copy of it, found its way to the London workshop of William Faden. Faden, the successor to the great Thomas Jefferys, adapted this map from a section of Swaine's manuscript, and the present first state was printed in 1776.
During the American Revolution, this area was an active military theatre. At the outbreak of the war, Hilton Head and most other areas sided with the Americans, however Daufuskie Island fell under British control. Britain's superior naval power allowed its ships to conduct frequent raids along the coast for the duration of the war, however the real threat to the American cause came in December, 1778, when British General Augustin Prevost seized Savannah, determined to use it as a base for further operations. The following February, he dispatched a team of marines to take control of Port Royal Sound. They initially engaged the Americans at Hilton Head before proceeding further up Port Royal Sound. However, the invasion was ultimately repelled by Gen. William Moultrie at Beaufort. On September 24th of the same year, in what was to become known as the Battle of Hilton Head, three British ships were set upon by a trio of French ships allied to the American cause. After a dramatic chase and an intense exchange of cannon fire, the principal British ship, the HMS Experiment, was forced to surrender.
Sellers & Van Ee, Maps & Charts of North America & the West Indies, 1525; Stevens & Tree, "Comparative Cartography," in Tooley, The Mapping of America, 16 (a); Cf. Cumming, British Maps of Colonial America, pp.47-49; Cumming,The Southeast in Early Maps, 204
#19756$12,000.00
|
|
|
|
|
|
|
|
|
 GASS, Patrick (1771-1870)
A Journal of the Voyages and Travels of a Corps of Discovery under the command of Capt. Lewis and Capt. Clarke of the army of the United States from the mouth of the river Missouri through the interior parts of North America to the Pacific ocean, during the years 1804, 1805 & 1806
Pittsburgh: Printed by Zadok Cramer, for David M'Keehan, Publisher and Proprietor, 1807. 12mo (6 5/8 x 4 inches). (Neatly repaired tear to upper margin of title, paper-fault tear to outer blank margin of 'A2', 1 1/2 inch repaired tear to H1). Expertly bound to style in half calf over contemporary marbled paper-covered boards, spine in six compartments with raised bands, the bands highlighted with gilt roll tool and flanked by double gilt fillets, red morocco label in the second compartment, the others with repeat decoration in gilt.
Rare first edition of the earliest published first-hand account of the Lewis and Clark expedition: - "...One of the essential books for an Americana collection" (Streeter)
Gass was a sergeant who, by order of Lewis and at the insistence of Thomas Jefferson, kept a journal of the expedition's activities, and this book seems closely based on that document. 'Patrick Gass was a rough reliable frontier soldier when he joined the Lewis and Clark expedition. He was made a sergeant when Sergeant Floyd died. He writes a terse soldier's narrative, exasperating in its brevity, but always with rugged honesty. His story was for many years the only true account of the expedition - the first real information the nation had of the Oregon country and of the Louisiana Purchase. It is a work of primary importance' (Webster A. Jones).
Graff 1516; Hill (2004) 685; Howes G77 'b'; Literature of the Lewis & Clark Expedition 3.1; Sabin 26741; Shaw & Shoemaker 12646; Smith 3465; Streeter Sale 3120; Wagner-Camp 6:1
#20824$20,000.00
|
|
|
|
|
|
|
|
|
 GATTEAUX, After Nicolas Marie (1751-1832)
[Trompe l'oeil of paper money and other printed financial ephemera]
circa 1792. Engraving, coloured by hand, by Tardieu, after Gatteaux. Sheet size: 22 7/8 x 19 5/16 inches.
Gatteaux was a sculptor and medallist; among his accomplishments was the invention of a machine for duplicating sculpture. He also designed and engraved paper money, lottery tickets, tax stamps and other official and legal paper, of the sort represented here, which may be examples of his work. Included are paper currency of various issues during the early years of the Republic, centered on an amusing engraving of a beggar, a symbolic warning to those who would put their trust in such ephemeral guarantors of wealth.
The trompe l'oeil theme, generally a casual arrangement of printed paper, letters, playing cards, drawings and watercolors (frequently against a specific background, with the whole occupying a very shallow pictorial space), enjoyed an enduring popularity in Europe as a sub-genre of still-life. There are examples from many countries in many media, watercolor being the most usual, though an important and early exception is Wallerant Vaillant's 1658 oil on canvas Letter Rack [now in the Staatliche Kunstsammlungen, Dresden]. In the United States, an early example in the genre was the architect Benjamin Latrobe's watercolor Breakfast Equipage of the "Eliza"(Maryland Historical Society), dated 1795, within a few years of the probable date of execution of the present work. The "letter-rack", developed in oils by William M. Harnett and John F. Peto, became the dominant theme of this genre in America.
The engraver could be any of several members of the Tardieu family, which spread over three generations of French 18th-century printmaking and were active in all areas of the industry. The most likely choices are: Jean Baptiste Tardieu (1768-1837), Jean Baptiste Pierre Tardieu (1746-1816) or Pierre Alexandre Tardieu (1756-1844).
#3365$3,500.00
|
|
|
|
|
|
|
|
|
 GAY, John (1685-1732)
Poems on Several Occasions
London: for Jacob Tonson and Bernard Lintot, 1720. 2 volumes in one, quarto (10 7/8 x 8 3/4 inches). Titles in red and black, 6 page list of subscribers. Etched frontispiece and 2 plates by and after William Kent, without the final blank 4A2. Expertly bound to style in half 18th-century russia over contemporary marbled paper-covered boards, the spine divided into six compartments by gilt fillets and roll tools, red morocco lettering-piece in the second compartment, the others with repeat decoration in gilt.
First edition of this exceptional collection of English poetry.
In 1720 John Gay published Poems on Several Occasions by subscription and it proved to be his most successful early work (raising 1000 pounds or more). A deservedly popular work which according to ESTC was published in 24 different editions during the 18th century. At the time of its publication he could claim a number of influential and affluent friends and patrons, most of whom appear in list of subscribers (sometimes subscribing for multiple copies): In that year James Craggs, the Secretary of State, subscribed for ten copies and presented Gay with some South Sea Stock. Gay, disregarding the advice of [Alexander] Pope and others of his friends, invested all his money in South Sea stock, and, holding on to the end of the South Sea Bubble, he lost everything. The shock is said to have made him dangerously ill. His friends did not fail him at this juncture. He had patrons in William Pulteney [subscribed for twenty-five copies], afterwards Earl of Bath, in the third Earl of Burlington [subscribed for fifty copies], who constantly entertained him at Chiswick or at Burlington House, and in the third Duke of Queensberry [who, with the Duchess, subscribed for six copies]. He was a frequent visitor with Pope, and received unvarying kindness from William Congreve and Arbuthnot [one copy each] (Wikipedia).
CBEL II:292; ESTC T13893; Foxon, p. 295; Ashley Catalogue II, p. 136.
#19288$400.00
|
|
|
|
|
|
|
|
|
 GEAR, John William (1806-1866)
Their Majesties King Rheo; Queen Tamehamalu; Madame Poki; of the Sandwich Islands, and Suite. As they appeared at the Theatre Royal Drury Lane, June 4th 1824
[London]: printed by Charles Hullmandel, [no date but 1824]. Lithograph 'drawn and engraved [sic.] from the life by J.W. Gear,' 'printed by C. Hullmandel'. In good condition.Sheet size: 11 1/2 x 12 1/2 inches.
A fascinating eye-witness record of the King of Hawaii, Kamehameha II, his queen and their entourage in the royal box at the New Theatre Royal, Drury Lane in London
A rare image, drawn by Gear from life, showing the Hawaiian Royal couple on the night of Friday, 4 June 1824, watching the opera 'Roob Roy Macgregor' and 'Zoroaster' (billed as a 'new grand Egyptian tale of enchantment').
'Kamehameha II, King of Hawaii (1797 - 1824) was the second king of the Kingdom of Hawaii. Born Liholiho in Hilo, Hawaii, the eldest son of Kamehameha I and his highest-ranking wife Queen Keopuolani, he was groomed to be heir to the throne from age five. Liholiho succeeded to the throne upon Kamehameha I's death in May 1819, but among other conditions, he was forced to take on merely a ceremonial role; administrative power was to be vested in Kaahumanu, his father's favorite wife, who was given the title of kuhina nui, the rough equivalent of a prime minister.
Kamehameha II is best remembered for ordering that the ancient kapu (taboo) system of religious laws be abolished six months into his reign. It was also during his reign that the first Christian missionaries arrived in the Hawaiian Islands. In November 1823 Kamehameha II and his queen traveled to London seeking to complete negotiations for an alliance between Hawaii and Great Britain. However, before he could meet with King George IV, he and his queen caught measles, to which they had no immunity. Kamehameha II died on July 14, 1824.
J.W. Gear, born in England in 1806, established a reputation for his lithographic portraits of London theatrical figures: some of which are in the National Portrait Gallery collection in London. He was also responsible for a number of the lithographs in the London edition of Mckenney and Hall's History of the Indian Tribes of North America, before emigrating to the United States, where he died in Boston in 1866.
Rex Nan Kivell & Sydney Spence Portraits of the Famous and Infamous. Australia, New Zealand and the Pacific 1492-1970. (london: 1970), p.274.
#19006$6,500.00
|
|
|
|
|
|
|
|
|
 GELLER, W.O. after Sir Joshua REYNOLDS
[John Hunter]
London: Published by H. Benham, printed by S.H. Hawkins, Jan. 21, 1841. Hand-coloured mezzotint. Facsimile signature in lower right margin. Alternate state with the inscription as follows: "Engraved by W.O. Geller, From the Original Picture by Sir Joshua Reynolds, in the Royal College of Surgeons./ John Hunter in facsimile signature/ Printed by S. Hawkins/ London Published Jan 21st (date partially erased) by H. Benham". In good condition with the exception of a skillfully mended tear in upper margin extending within plate mark but not image. Small whitening to paper in left margin outside plate mark. Image size: 16 3/4 x 13 1/2 inches. Plate mark: 20 x 15 inches. Sheet size: 22 3/4 x 18 3/8 inches.
An extremely rare portrait of John Hunter, one of the three greatest surgeons in medical history.
John Hunter is considered, with Ambroise Paré and Joseph Lister, to be one of the three greatest surgeons of all time. After studying medicine, he spent the next twenty-five years as an anatomy and surgery instructor at St. Georges Hospital. It was here that Edward Jenner, the discoverer of vaccination, became one of his most prized students. He also served as a surgeon with the British army during the Seven Years' War. Hunter is credited with having raised English surgery from a mere "technical trade" to a skilled medical art. He rejected academic speculation and insisted on experimentation and direct observation. Hunter's most famous expression "Don't think, try" is an expression of this basic tenet. In addition to his medical achievements, Hunter was a prolific writer. He wrote important works on teeth (he coined the terms cuspids, bicuspids, molars, and incisors), sexually transmitted disease, and inflammation.
Burgess, Portraits in the Wellcome Institute 1475/8; Not in O'Donoghue; Lennox-Boyd & Stogdon record three states of this print, but this state is not listed.
#4819$950.00
|
|
|
|
|
|
|
|
|
 GENICK, Albert (d. 1906)
Trinkgefässe / Schöpfkelle [Pl. XXV]
[Pl. XXV]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition. Image size (including text): 16 1/4 x 21 7/8 inches. Sheet size: 17 3/8 x 26 1/8 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics. This beautiful plate depicts five drinking vessels and a ladel.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#10454$950.00
|
|
|
|
|
|
|
|
|
 GENICK, Albert (d. 1906)
Hydrien / Giessgefässe [Pl. XXXII]
[Pl. XXXII]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition apart from some mild rippling and a skillfully repaired 1/2" tear in the left margin. Image size (including text): 16 x 21 7/8 inches. Sheet size: 17 5/8 x 26 3/8 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics. This beautiful plate depicts a two hydria, flared-lip water jars with three handles, and three types of pouring vessels.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#10457$950.00
|
|
|
|
|
|
|
|
|
 GENICK, Albert (d. 1906)
Flaschen und Kännchen [Pl. XXXVII]
[Pl. XXXVII]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition apart from a few skillfully repaired small tears at the edge of the bottom margin. Image size (including text): 13 3/4 x 22 inches. Sheet size: 17 1/2 x 26 1/4 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics. This beautiful plate depicts several red-figure bottles and jugs of various sizes and shapes.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#10460$950.00
|
|
|
|
|
|
|
|
|
 GENICK, Albert (d. 1906)
Kannen [Pl. XXXVI]
[Pl. XXXVI]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition apart from a few minor remnants of an ink stamp in the top margin and a skillfully repaired 1/2" tear at the edge of the bottom margin. Image size (including text): 24 1/8 x 15 1/4 inches. Sheet size: 25 3/4 x 17 5/8 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics. This beautiful plate depicts several jugs of various sizes and shapes.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#10463$950.00
|
|
|
|
|
|
|
|
|
 GENICK, Albert (d. 1906)
Flaschen / Becher [Pl. XXXVIII]
[Pl. XXXVIII]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition apart from a few skillfully repaired tears in the top margin and several minor remnants of an ink stamp in the top left corner of the sheet. Image size (including text): 20 3/4 x 11 5/8 inches. Sheet size: 26 1/8 x 17 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics. This beautiful plate depicts several bottles and cups of various sizes and shapes.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#10464$950.00
|
|
|
|
|
|
|
|
|
 GENICK, Albert (d. 1906)
Kannen (XXXIII) [XXXIII]
[XXXIII]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition apart from a skillfully repaired tear in the top margin, skilfully repaired tears at the left and right edges, some marginal soiling, and several minor remnants of an ink stamp in the top left corner of the sheet. Sheet size: 26 1/8 x 17 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#16882$950.00
|
|
|
|
|
|
|
|
|
 GENICK, Albert (d. 1906)
Kannen [XXXIV]
[XXXIV]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition apart from a few surface abrasions in the corners and faint remnants of an ink stamp in the top left corner of the sheet. Sheet size: 26 1/8 x 17 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#16883$950.00
|
|
|
|
|
|
|
|
|
 GENICK, Albert (d. 1906)
Lekythen [XL]
[XL]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition apart from several minor remnants of an ink stamp in the top left corner of the sheet and some soiling. Sheet size: 26 1/8 x 17 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#16884$950.00
|
|
|
|
|
|
|
|
|
 GENICK, Albert (d. 1906)
Schalen (Kylix) [XXVIII]
[XXVIII]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition apart from yellowing at margins where it was matted and wave-like pattern of rippling in paper on the right half of the print. Sheet size: 26 1/8 x 17 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1766. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#16886$950.00
|
|
|
|
|
|
|
|
|
 GENICK, Albert (d. 1906)
Amphora (I) [Pl. I]
[Pl. I]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition . Image size (including text): 20 x 14 1/2 inches. Sheet size: 26 1/2 x 17 1/2 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#21012$950.00
|
|
|
|
|
|
|
|
|
 GENICK, Albert (d. 1906)
Amphora (II) [PI. II]
[PI. II]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition . Image size (including text): 20 x 14 1/2. Sheet size: 26 1/2 x 20 3/4.
From "Griechische Keramik", Genick's superb work on Greek ceramics.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#21013$950.00
|
|
|
|
|
|
|
|
|
 GENICK, Albert (d. 1906)
Amphora (III) [Pl. III]
[Pl. III]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition . Image size (including text): 24 3/4 x 13 inches. Sheet size: 26 1/2 x 17 1/2 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#21014$950.00
|
|
|
|
|
|
|
|
|
 GENICK, Albert (d. 1906)
Amphoren (IV) [PI. IV]
[PI. IV]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition . Image size (including text): 16 x 22 inches. Sheet size: 17 1/2 x 26 1/2 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics.
The revival of interest in Greek ceramics was led by the travellers and cogniscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilletants. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, these early pioneers, working with a relatively small number of examples and using primitive techniques, were only able to begin to piece together the intricate story of this unique art form. It was not until a century later that art historians felt that they were understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. The red-figure technique first came into use in about 530 B.C. and was the dominant type by about 500 B.C. With this technique, images are traced in outline and the background filled in with black glaze. Details are then drawn in by the painter with a black or brownish glaze. Red figure vases continued to be produced in Athens until about 320 B.C. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#21015$950.00
|
|
|
|
|
|
|
|
|
 GENICK, Albert (d. 1906)
Amphoren (V) [Pl. V]
[Pl. V]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition . Image size (including text): 14 x 22 inches. Sheet size: 17 1/2 x 26 1/2 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics.
The revival of interest in Greek ceramics was led by the travellers and cogniscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilletants. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, these early pioneers, working with a relatively small number of examples and using primitive techniques, were only able to begin to piece together the intricate story of this unique art form. It was not until a century later that art historians felt that they were understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. The red-figure technique first came into use in about 530 B.C. and was the dominant type by about 500 B.C. With this technique, images are traced in outline and the background filled in with black glaze. Details are then drawn in by the painter with a black or brownish glaze. Red figure vases continued to be produced in Athens until about 320 B.C. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#21016$950.00
|
|
|
|
|
|
|
|
|
 GENICK, Albert (d. 1906)
Amphora (VI) [Pl. VI]
[Pl. VI]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition . Image size (including text): 24 1/2 x 14 1/2 inches. Sheet size: 26 1/2 x 17 3/4 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#21017$950.00
|
|
|
|
|
|
|
|
|
 GENICK, Albert (d. 1906)
Amphora (VII) [PI. VII]
[PI. VII]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition . Image size (including text): 23 1/4 x 13 1/2 inches. Sheet size: 26 1/2 x 17 3/4 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#21018 | | | |
