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browsing 4487 items
displaying items 2301 to 2400
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 GOULD, John (1804-1881)
The Birds of Europe
London: printed by Richard and John E. Taylor, published by the Author, [1832-] 1837. 5 volumes, folio (21 1/4 x 14 1/4 inches). 2pp. list of subscribers in vol.I. 448 fine hand-coloured lithographed plates (68 drawn and lithographed by Edward Lear, 380 drawn and lithographed by Elizabeth Gould from sketches and designs by John Gould), printed by Charles Hullmandel, a few small expertly repaired marginal tears, plate 354 (Domestic Swan) in vol.V oxidized and with small section of lower outer corner torn away. Contemporary tan half morocco over marbled paper-covered boards by Rowbottom of Derby, spines gilt in six compartments with wide raised bands, the bands tooled in gilt and flanked by fillets in gilt and blind, lettered gilt in the second and fourth compartments, marbled endpapers (extremities lightly rubbed, inner hinges reinforced).
First edition: a fine copy of Gould's first multi-volume ornithological work and the first of his works to feature plates by Edward Lear: one of the greatest ornithological artists of all time. Lear's contributions included the most eye-catching subjects in the book: eagles, owls, cranes, pelicans, geese, swans, and flamingos
Lear's plates are from bird drawings that "are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm" (Hyman).
"Lear's participation transformed the work of Mrs. Gould. ... [H]e propelled her limited sense of perspective into the third dimension. He encouraged movement, vigor, and a sense of character in her birds; he instilled an idea of composition in which the subject related to its background instead of perching in midair like a cardboard cutout. He introduced a sense of subtlety and freedom into her drawings where previously she had only mimicked the technique used in etching or engraving. There is no doubt that Edward Lear was the first person to understand the art of lithography and to use it to its fullest potential. It was a legacy that made the works of Gould into a success and took them into the forefront of nineteenth-century illustration" (Tree).
Balis Merveilleux plumages 101; Fine Bird Books p.101; Hyman Lear's Birds 45; Nissen IVB 371; Sauer 2; Tree Ruling Passion 45; Zimmer p.251
#20214 $250,000.00  
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 GOULD, John (1804-1881)
Lesbia Gouldi [Bogota Trainbearer]
[London: by the Author, 1849-1887]. Hand-coloured lithograph by H.C. Richter, printed by Hullmandel & Walton. Heightened with gum arabic. Wove paper. Very good condition. Sheet size: 20 7/8 x 14 3/8 inches.
A beautiful image, heightened with gold iridescence, from 'A Monograph of the Trochilidae or Family of Humming-Birds', John Gould's 'masterpiece, [which]... must ever remain a feast of beauty and a source of wonder... an incomparable catalogue and compendium of beauty' ('Fine Bird Books').
'There is no one appreciative of the beauties of nature who will not recall... with delight the time when a live humming-bird first met his gaze. The suddenness of the apparition, even when expected, and its brief duration, are alone enough to fix the fluttering vision on the mind's eye.... The beautiful nests of humming-birds... will be found on examination to be very solidly and tenaciously built, though the materials are generally of the slightest - cotton-wool or some vegetable down and spider's webs' (Alfred Newton in 'The Encyclopedia Britannica 1911, vol. 13, p.887). The Hummingbird family includes members that are the smallest birds in the world. The largest measures no more than 8 1/2 inches and the smallest 2 3/8 inches in length. They are confined to the American continent and its islands, but are wide ranging within this limitation, with over 400 different species covering an area from the fuchias of Tierra del Fuego in the south to the althaea bushes of Toronto gardens in the north.
The present image is from the work of which Gould himself was most proud. Hummingbirds remained a fascination for him throughout his professional life, as evidenced by his collection of 1500 mounted specimens, which were exhibited in the Royal Zoological Gardens in Regent's Park, London, in 1851 as part of the festivities surrounding the Great Exhibition. The exhibit proved a great success, with Queen Victoria and Prince Albert numbering among the 75,000 visitors.
Cf. Anker 177; cf. Fine Bird Books (1990), p.101; cf. Nissen IVB 380; cf. Sauer 16 & 29; cf. Wood p. 365; cf. Zimmer p. 258.
#21007$1,500.00
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 GOULD, John (1804-1881)
Lophornis Regulus [Great-Crested Coquette]
[London: by the Author, 1849-1887]. Hand-coloured lithograph by H.C. Richter, printed by Hullmandel & Walton. Heightened with gum arabic. Wove paper. Very good condition. Sheet size: 20 7/8 x 14 1/4 inches.
A beautiful image, heightened with gold iridescence, from 'A Monograph of the Trochilidae or Family of Humming-Birds', John Gould's 'masterpiece, [which]... must ever remain a feast of beauty and a source of wonder... an incomparable catalogue and compendium of beauty' ('Fine Bird Books').
'There is no one appreciative of the beauties of nature who will not recall... with delight the time when a live humming-bird first met his gaze. The suddenness of the apparition, even when expected, and its brief duration, are alone enough to fix the fluttering vision on the mind's eye.... The beautiful nests of humming-birds... will be found on examination to be very solidly and tenaciously built, though the materials are generally of the slightest - cotton-wool or some vegetable down and spider's webs' (Alfred Newton in 'The Encyclopedia Britannica 1911, vol. 13, p.887). The Hummingbird family includes members that are the smallest birds in the world. The largest measures no more than 8 1/2 inches and the smallest 2 3/8 inches in length. They are confined to the American continent and its islands, but are wide ranging within this limitation, with over 400 different species covering an area from the fuchias of Tierra del Fuego in the south to the althaea bushes of Toronto gardens in the north.
The present image is from the work of which Gould himself was most proud. Hummingbirds remained a fascination for him throughout his professional life, as evidenced by his collection of 1500 mounted specimens, which were exhibited in the Royal Zoological Gardens in Regent's Park, London, in 1851 as part of the festivities surrounding the Great Exhibition. The exhibit proved a great success, with Queen Victoria and Prince Albert numbering among the 75,000 visitors.
Cf. Anker 177; cf. Fine Bird Books (1990), p.101; cf. Nissen IVB 380; cf. Sauer 16 & 29; cf. Wood p. 365; cf. Zimmer p. 258.
#21008$1,500.00
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 GOULD, John (1804-1881)
Chlorostilbon Angustipennis [Columbian Emerald]
[London: by the Author, 1849-1887]. Hand-coloured lithograph by H.C. Richter, printed by Hullmandel & Walton. Heightened with gum arabic. Wove paper. Very good condition. Sheet size: 20 7/8 x 14 1/2 inches.
A beautiful image, heightened with gold iridescence, from 'A Monograph of the Trochilidae or Family of Humming-Birds', John Gould's 'masterpiece, [which]... must ever remain a feast of beauty and a source of wonder... an incomparable catalogue and compendium of beauty' ('Fine Bird Books').
'There is no one appreciative of the beauties of nature who will not recall... with delight the time when a live humming-bird first met his gaze. The suddenness of the apparition, even when expected, and its brief duration, are alone enough to fix the fluttering vision on the mind's eye.... The beautiful nests of humming-birds... will be found on examination to be very solidly and tenaciously built, though the materials are generally of the slightest - cotton-wool or some vegetable down and spider's webs' (Alfred Newton in 'The Encyclopedia Britannica 1911, vol. 13, p.887). The Hummingbird family includes members that are the smallest birds in the world. The largest measures no more than 8 1/2 inches and the smallest 2 3/8 inches in length. They are confined to the American continent and its islands, but are wide ranging within this limitation, with over 400 different species covering an area from the fuchias of Tierra del Fuego in the south to the althaea bushes of Toronto gardens in the north.
The present image is from the work of which Gould himself was most proud. Hummingbirds remained a fascination for him throughout his professional life, as evidenced by his collection of 1500 mounted specimens, which were exhibited in the Royal Zoological Gardens in Regent's Park, London, in 1851 as part of the festivities surrounding the Great Exhibition. The exhibit proved a great success, with Queen Victoria and Prince Albert numbering among the 75,000 visitors.
Cf. Anker 177; cf. Fine Bird Books (1990), p.101; cf. Nissen IVB 380; cf. Sauer 16 & 29; cf. Wood p. 365; cf. Zimmer p. 258.
#21009$1,000.00
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 GRAHAM, After John (1754-1817)
A Lioness that Whelp'd in the Tower of London
London: published by Philip Dawe, October 2, 1796. Coloured mezzotint by George Dawe. Image size (including text): 18 13/16 x 23½ inches. Sheet size: 20½ x 25 1/3 inches.
A fine example of this very rare image, which provides a reminder of the fact that for much of its history the Tower of London housed a royal menagerie
John Graham is known chiefly as a history painter: he attended the Royal Academy schools, and exhibited there between 1780 and 1797. The following year he accepted a post as head of the Trustees Academy in Edinburgh, where he died in 1817. George Dawe (1781-1829) was the son of Philip Dawe (the publisher of the present work) who taught him mezzotint engraving. He continued to concentrate on engraving (mostly portraits) from when he entered the Royal Academy Schools in London in 1796 until 1802, when he turned to history painting. In 1803 he won a gold medal and the following year made his dèbut at the Royal Academy, where he exhibited until 1818, often showing anecdotal and literary works. He was elected an ARA in 1809 and an RA in 1814 and soon afterwards returned to portrait painting. The practice of keeping exotic animals in the Tower was established during the reign of King John, there were lions in the the collection by 1243, the first elephant arrived in 1255, and animals were kept at the Tower continously until the collection was merged with the Regent's Park Zoo in the 1830's. Towards the end of the 18th century Lions bred quite successfully in the Tower and there was a tradition of naming the cubs after famous people or royalty: the two cubs in the present image were apparently named 'Miss Fany Howe' and 'Miss Howe' because they were born on 1 June 1794, the date of Earl Howe's great sea victory over the French
Cf. G. Parnell The Royal Menagerie at the Tower of London (1999) pp.18-19 (illustration)
#3918$12,000.00
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 GRANT, After Sir Francis (1803-1878)
The Shooting Party - Ranton Abbey
[London]: [circa 1840]. Mixed-method engraving, coloured by hand, by William Henry Simmons. Image size (including text): 19 3/4 x 28 inches. Sheet size: 22 1/4 x 31 inches.
A fine image recalling one of the first great Victorian shooting estates.
Ranton Abbey estate in Staffordshire, England, was owned by the Earl of Lichfield. In the early part of the rich 19th-century, landowners vied with each other to create preserves for game, improve their coverts and produce ever large bags at shooting parties. The Earl spent large sums of money on improving his estate and during the 1830s held a series of great shooting parties which made Ranton a centre for Liberal sporting hospitality. Sir Francis Grant (who was to go on to become President of the Royal Academy) often shot with the Earl and the original from which this print is taken still hangs in the present Earl of Lichfield's house at Shugborough. The people pictured include the first Earl of Lichfield, Lord Melbourne, then Prime Minister, Lord Sefton and the Earl of Uxbridge.
Siltzer p.131.
#5266$2,750.00
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 GRAY, William
Social Contrasts Portrayed in a Series of Twenty Two Coloured Litho-graphic Plates from Pen and Ink Sketches.
London: William Oliver, [no date but circa 1865]. Oblong folio (10 5/8 x 14 inches). Letterpress list of plates, otherwise lithographed throughout. Lithographed title printed in colours, 22 lithographic plates finished by hand and heightened with gum arabic, printed on 12 leaves (20 plates printed side-by-side two to a leaf on 10 leaves, 2 plates full-page facing each other on two consecutive leaves). Original pebble-grained cloth, the upper cover blocked in gilt with outer rules surrounding a large central panel with elaborate arabesque cornerpieces and a central rounded lozenge shape containing the title, the lower cover with the same in blind (expertly rebacked). Provenance: J.M. Leeder (signature).
A rare work offering a view of the financial and moral divisions within the lives of women in Victorian England
Little is known about the genesis of this charming and thought-provoking work. The author/artist appears to be otherwise unknown and even the date of publication is based to a degree on guesswork: the fifth leaf ('St. Giles and St. James's") includes a "To Be Raffled" notice within the left hand image which is apparently dated '1865' and the assumption is that this is also the date of the publication (OCLC concur with this date). All the main protagonists in the scenes are women, mostly young pretty women in what must have been shockingly short dresses for 1865? There are also a number of dancers in tutus. The images follow in the honorable tradition established by William Hogarth and George Cruikshank whilst also offering a keyhole onto the social and moral life of London in the second half of the 19th century.
A closer examination of one pair of plates suggests that this is a work which would repay careful study and research: the first leaf with the single title "In Luck and Out of Luck" shows a healthy attractive young woman, fashionably-dressed, pausing before entering a doorway. The sign to the left shows that she was entering the Argyll Rooms in London: a location known at the time as a haunt of women of loose virtue ("the femmes libres of society" London Saturday Review, reprinted in the New York Times of 11 November 1858). This reference would have been understood by a contemporary audience, and adds particular poignancy to the second "Out of Luck" image: the same woman is seen pale and wan, down at heel, pausing again, this time at the entrance to the pawnbroker that she hopes will give her at least the price of a meal for the bundle she clutches in her arms. The clear sub-title: see the results of a moral lapse.
#20697$2,000.00
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 GREEN, Valentine after Benjamin WEST
Their Royal Highnesses..
London: Published by John Boydell, Cheapside, Sept. 29, 1778. Mezzotint. Scratch lettered impression. State i/ii with inscription in open and scratched letters. In good condition apart from three small tears in the bottom margin. Image size: 18 5/8 x 22 3/4 inches. Plate mark: 19 7/8 x 22 7/8 inches. Sheet size: 20 7/8 x 23 7/8 inches.
A stunning portrait of the Children of George III, by the master engraver Valentine Green.
In the history of engraving, no printmaker has achieved such depth and precision as Valentine Green. He is considered the father of the English mezzotint because through his example we can see the pinnacle of mezzotint engraving. During his career, Green produced some of the most beautiful and sought after 18th century mezzotints. At an early age Green apprenticed himself to Robert Hancock of Worcester, where he produced his first published work 'A Survey of the City of Worcester'. In 1765 Green moved to London where his excellent scraping soon earned him a much celebrated reputation. He soon became mezzotint engraver to George III, and a member of the Royal Academy. Throughout his industrious career Green, scratched over 400 plates working from portraits by Benjamin West and Sir Joshua Reynolds.
Whitman, Valentine Green 70,i/ii; Chaloner Smith, British Mezzotinto Portraits 50, i/ii; Russell, English Mezzotint Portraits, and their States i/ii
#7265$1,850.00
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 GREEN after SMITH
Governor Hill
circa 1804. Etching with aquatint. Printed on wove paper, watermarked 1804. In excellent condition. Image size: 7 3/4 x 6 inches. Plate mark: 9 1/8 x 6 3/4 inches. Sheet size: 9 1/2 x 7 3/16 inches.
A fascinating novelty portrait of Governor Hill.
This quirky little portrait is an intriguing example of separately published novelty prints produced in England at the beginning of the nineteenth century. Obscure printed portraits of unusual figures or local celebrities became popular at this period, appearing in print shops throughout the countryside. Unlike traditional portraiture, which was the product of a specific commission, these novelty prints recorded the likeness of a specific person who achieved local notoriety. From depicting professional walkers and sportsmen to local hermits and showmen, these intriguing prints reveal a host of curious characters, which would be forever lost to history. This sweet portrait of Governor Hill is a wonderful example of his genre of popular English portraiture.
O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 1.
#14222$350.00
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 GROBON, Anthelme Eugène (1820-1878)
Tulipe plurifolia double. Roi de bleu
[circa 1870]. Watercolour and bodycolour on thin card, titled on verso, signed 'E. Grobon'. Sheet size: 11 x 8 1/16 inches. Framed.
A very fine, sophisticated image of a small group of purple-flowering double tulips.
Recalling the work of the Grobon's illustrious predecessors, Pierre Joseph Redouté, Jean Louis Prevost and Gerrit van Spaendonck, the present image is one of elegant simplicity. Grobon, confident in his ability to capture the fleeting moment of perfection in nature, feels no need to resort to the artifice of an overcrowded or overcomplicated design. The beauty of the subject is enough.
François Frédéric Grobon (1815-1901/1902) and Anthelme Eugène Grobon (1820-1878), brothers who both studied in Lyons, are recorded as having produced a number of very fine published collections of hand-coloured prints of flowers between about 1844 and 1850. They also published an excellent instruction manual for flower painters, Méthode Grobon frères, études progressives de Fleurs et de Fruits, depuis les premiers éléments jusqu' à la composition des groupes. (Paris, 1850) In addition to this published work, the artist of the present work, A. E. Grobon, is recorded as having exhibited at both the Lyons Salon (from 1838) and the Paris Salon (between 1852 and 1870). His elder brother exhibited in Paris between 1842 and 1862 and in Lyons from 1842 to 1880.
#6464$2,750.00
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 GRÖNLAND, After Theude (1817-1876)
Tableaux de Fleurs et de Fruits. Lithographiés aux deux Crayons par Napoleon Franco...D'après Theude Grönland
Paris & London: Goupil & Vibert, and E. Gambert, Junin & Co., [circa 1853]. Tinted lithograph, coloured by hand, by Franco, Goupil blindstamp beneath title. Image size (including text): 13 3/4 x 17 3/8 inches. Sheet size: 20 1/4 x 25 7/8 inches.
A very finely worked still-life of flowers and fruit after the artist Gronland.
A natural history lithograph of the highest quality, with great care paid to the hand-colouring of each individual fruit: the ripe peaches and grapes rest on a bed of vine leaves with a sprinkling of auriculas and azalea flowers, and one bemused black beetle: a tour-de-force from the great French publishing house of Goupil.
#5262$1,750.00
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 GROZER, J. after Sir Joshua REYNOLDS
[John Craufurd]
circa 1785. Mezzotint. Proof before letters. Alternate state i/iii, proof before letters with inscription space uncleaned and the image extremely dark. In excellent condition with the exception of being trimmed just outside the plate mark on right, left, and top margins. Image size: 12 7/8 x 10 3/4 inches. Plate mark: 14 7/8 x 10 7/8 inches. Sheet size: 15 3/16 x 11 inches.
This fascinating heavily inked working proof is a stunning example of the printmaking process.
This fascinating portrait of John Craufurd the British M.P and close friend of Charles James Fox, is a wonderful example of the stages of the printing process before publication. This intriguing print shows a unique step in the printmaking process before an image is ready for publication. Before adding title and publication details, the engraver tests the amount of inking needed to make an attractive image, hence we have this rather dark impression of Craufurd's portrait. It is incredibly rare to find prints in this unfinished experimental stage. Impressions which were pulled as working proofs are unique and were almost never duplicated.
This rare working proof is from the Royal Collection at Windsor.
Chaloner Smith, British Mezzotinto Portraits 7, this state not recorded; Russell, English Mezzotint Portraits, and their States, this state not recorded; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 1; Lennox-Boyd & Stogdon, state not recorded; Lugt, Les Marques de Collections, 2535
#8222$500.00
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 GROZER, J. after George MORLAND
Youth Diverting Age
London: circa 1789-1794. Colour-Printed mezzotint. Title space has rocker worker on it. In good condition with the exception of being trimmed on the plate mark on the lower margin. Laid onto supportive backing sheet. Surface soiling in margins. Image size: 18 x 13 9/16 inches. Sheet size: 19 5/8 x 14 3/8 inches.
A lovely colour printed impression of Morland's charming image showing children's amusements.
George Morland was one of the most successful genre painters of his time, creating, during his industrious career, some of England's most cherished paintings. At an early age Morland displayed his artistic genius, he learned to paint at three and exhibited his first work at the Royal Academy at the mere age of ten. He was a prodigious painter, producing more than 4000 paintings during the entirety of his career, and sometimes painting two or three works in a day. His beautiful idealistic scenes were a favorite source of inspiration for contemporary engravers, and as many as 250 separate engravings were done of his paintings during his lifetime. His brother-in-law, William Ward, engraved a great number of his paintings reproducing in print his endearing paintings of English country life. Ward's engravings after Morland are some of the most beautiful prints of the period; they combine fine technical skill and inspired artistic imagination to create enduring images that speak of the taste and beauty of the age.
Dawe, G. Morland p. 157
#9951$1,650.00
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 GUÉRARD, Eugène Charles François (1821-1866)
L'Auberge du Gros Coq a Schopfheim, (Duché de Bade) / No Room Left [Pl. 12]
[Pl. 12]. Paris: Published by Verlag von Goupil Cie., Berlin, Coupil et Co., New York, Goupil et Cie. Paris et London, 1854. Hand-coloured lithograph. Goupil Publishers blindstamp, Paris. Good condition apart from some overall light foxing and a 2" loss in the bottom right corner. Image size (including text): 17 1/8 x 17 5/8 inches. Sheet size: 19 3/8 x 26 1/4 inches.
A fine plate from the series 'Les Touristes', which chronicled Guérard's trip through Switzerland, Savoy and Bavaria. Set in a congested street of the German town of Schopfheim, this image depicts several weary travellers arriving at the Gros Coq hotel only to find out that no rooms are available.
Born in Nancy, France in 1821, Eugene Guérard was primarily known as a genre and landscape painter, draughtsman, and watercolourist. After briefly studying in the workshop of Pierre Dieudonné in Lorraine, he moved to Paris in 1838, where he trained at the École des Beaux-Arts with the renowned French history painter Paul Delaroche. He exhibited many of his paintings at the Salon and was a prolific draughtsman who published several series of lithographs depicting daily life including Les Parisiennes (c.1850), The Opera (1844), and Aspects of Paris. Guérard also regularly contributed images to the publishing house of Goupil, which issued the series from which this plate comes.
With the commencement of the 1848 revolution, Guérard was forced to leave Paris and embarked on a voyage to Switzerland, Savoy and Bavaria before returning to his hometown in 1849. It was on this two and a half month journey that he made the sketches on which his plates from 'Les Touristes' are derived. Rather than picturing the panoramic views and various historical monuments he undoubtedly observed on the trip, the vividly coloured plates in this series instead depict the tourists and locals Guérard encountered. Essentially genre scenes, they focus expressly on the experience of travel and tourism and frequently have a satirical undertone.
Cf. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, vol. 6, p. 530.
#12710$900.00
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 GUILDING, The Rev. Lansdown (1797-1831, artist)
A series of three views of the Botanic Garden on the island of St. Vincent, West Indies
[Glasgow: printed for R.Griffin & Company, 1825]. Set of three uncoloured lithographs, drawn on stone by J. Watson (?), from original drawings by L. Guilding, one cut to the edge of the image with loss to the artist's name, two cut to the edge of the image, all on early pink paper mounts within ink ruled borders. Sheet size: 6 1/4 x 8 7/8 inches, and smaller.
A possibly unique series of three very early lithographic proofs of views of the island of St. Vincent in the West Indies.
These fine views, after original drawings by the naturalist Lansdown Guilding, are uncoloured proofs of the three views that were published, hand-coloured, in Guilding's An Account of the Botanic Garden in the Island of St. Vincent, published in Glasgow in 1825. The fourth plate, a plan of the gardens rather than a view, was also included in the published work according to Abbey.
Only one of the present images is captioned but, according to Abbey, the images are as follows:
1. House of the Superintendent [of the Botanic Garden]
2. [View of the Botanic Garden St. Vincent. / Taken from the Superintendent's House]
3. [Botanic Garden, / from the bottom of the Central Walk]
Abbey quotes from a contemporary prospectus concerning the distribution of the work on the island, which notes that `only a few copies have been sent out for sale, but Mr. Draper will receive at the Gazette Office the names of those who are disposed to encourage the Bookseller who printed it'
BM (NH) II, p.750; Cf. Abbey Travel II, 691; not in Sabin
#15110$1,500.00
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 GUILLEMIN (artist) & JACOT (lithographer)
Le Marchand d'Images [The Printseller]
Paris: Lemercier, ca. 1835. Lithograph by Jacot after a painting by Guillemin. Printed on wove paper with thick wove backing for support. Very good condition apart from some light soiling, mild rippling and a few minor foxing marks in the margins. Image size (including text): 18 1/8 x 13 3/8 inches. Sheet size: 19 x 14 1/4 inches.
This charming print represents a print seller attempting to sell his wares to a middle-class couple in a domestic interior. Most likely having spotted the only print in the sparsely furnished room, a faded religious subject hung over the armoire, the vendor selects a small image of the Madonna and Child from his portfolio, which he thinks might interest his potential clients.
During the nineteenth century, prints were extremely popular among members of the middle-class. They were an inexpensive and consequently affordable way for people to own reproductions of works of art. Lithographs, which were invented in the late eighteenth-century, were particularly popular. Produced through a relatively easy process, they were the ideal medium through which images could be widely disseminated. Lemercier was one of the most prominent printers and publishers of lithographs in nineteenth-century Paris.
#12762$750.00
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 GÜSSEFELD, Franz Ludwig (1744-1807)
[West Indies] Charte von West Indien Nach Edwards, De La Rochette, und den neusten Astronomischen Beobachtungen entworfen von F. L. Güssefeld.
Weimar: Industrie Comptoirs, 1800. Copper-engraved map, with original outline colour, in excellent condition. Sheet size: 21 1/4 x 27 1/8 inches.
A highly attractive and finely engraved map of the West Indies.
This very fine map depicts the West Indies, Florida, Central America, and the Spanish Main during an exciting period in history. The map is beautifully colour-coded to illustrate the political situation as it existed in the years following the American Revolution. While the British cause did not prevail in America, it had succeeded in gaining control of additional territory in the Windward Islands from France. This was added to their empire which already included their long-established colonies of Jamaica and Barbados. Spain is shown to control Cuba, Santo Domingo, Puerto Rico, Florida, Mexico and most of the coasts of Central and South America. France still possessed Guadaloupe and Martinique, however, its most prized colony, Haiti, was soon to be engulfed in a rebellion that would establish the first independent state in the Americas governed by citizens of African descent. This map is based on Bryan Edward's highly popular A New Map of the West Indies of 1794 and L.S. de La Rochette's A General Chart of the West Indies of 1796.
Cf. Rumsey Collection, 2104.055
#19719$1,250.00
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 GUYOT, Laurent (1756-1806) after Louis BÉLANGER (1736-1816)
A View of part of Blackfriars Bridge of the Tower and of the Manufacture for Cartridge Balls taken from the Terrace over Somerset House / Vue d'une partie du port de Blackfriars, de la Cour & de la Manufacture de Balles à Cartouche, prise de la Terrasse au dessus de Somerset House
London and Paris: Published by Molteno Colnaghi & Co. and chez Guyot, 1792. Aquatint printed in colours on laid paper. Very good condition apart from some overall light soiling, minor foxing, and mild rippling. Four registration marks visible in the margins. Trimmed on all sides. Plate mark: 9 x 12 inches. Sheet size: 9 1/2 x 12 5/8 inches.
A charming, beautifully coloured view of Blackfriars Bridge and Watt's Shot Tower on the Lambeth bank of the River Thames from a small series of prints of London and its environs.
Laurent Guyot was an extremely prolific draughtsman and engraver whose topographical, allegorical, and genre scenes enjoyed tremendous success and are still highly admired today. A pupil of Jean Baptiste Tilliard, he exhibited his skillfully rendered views of Rome after Pernet and Hubert Robert at the Salons of 1793 and 1795 respectively. Having firmly established a widespread reputation as an accomplished engraver, he produced numerous plates, many of them printed in colours, after many of the celebrated artists of his daysuch as Belanger, Mallet, and Vernet. He also exhibited at the Salon de l'Elysee in 1797.
Cf. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 6, p. 619.
#13439$550.00
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 HACKERT, After Jakob Philipp (1737-1807)
Vue des Ruines du Pont d'Auguste sur la Nera a Narni
Naples: chez l'Auteur, 1779. Engraving, coloured by hand, by Georg Abraham Hackert. (Small chips to outer blank margins). Image size (including text): 14 7/8 x 21 1/4 inches. Sheet size: 20 11/16 x 26 9/16 inches.
A fine view of the Nera Valley in Umbria, southern Italy.
The view shows the ruins of the bridge of Augustus over the River Nera with the hill-top town of Narni visible in the background.
Jacob Philipp or Johann Philipp Hackert was born in Prenzlau. He travelled extensively within Europe and was one of a group of artists who achieved a notable degree of success with their images of picturesque landscapes. He spent a great deal of his time in Italy, particularly Rome, Florence and Naples. He worked both for Catherine the Great of Russia and for King Ferdinand of Naples. His brother Georg Hackert (1755-1805) accompanied him to Naples and set up as an engraver and print-seller in 1786
#5729$1,750.00
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 HACKERT, After Jakob Philipp (1737-1807)
Le Campanile anc. Mons Lucretilis Avec la Ravine par oû passe Fonte Bello une des Sources de la Digentia [Pl. VIII]
[Pl. VIII]. [Naples]: 1780. Etching by B. A. Dunker, with engraving, by G. Eichler, coloured by hand. Very good condition apart from some overall light soiling, minor foxing, and several tiny nicks and small losses at the edges of the top and bottom margins. Image size (including text): 15 x 18 3/8 inches. Sheet size: 16 1/2 x 20 1/2 inches.
A fine plate of the view enjoyed by the poet Horace from his villa.
The Campanile is a rock formation in Italy that blocks a valley through which the river Digentia runs; it is close to Licenza and about 25 miles northeast of Rome. The area is now renowned as the landscape that inspired ancient Rome's leading poet of lyric and satiric poetry Quintus Horatius Flaccus ("Horace" in English), who lived from 65 to 8 B.C. during the Golden Age of Roman literature under the Emperor Augustus. His villa near Licenza is the only house of a Roman writer of the Augustan Age that can be identified and visited today. Horace wrote that the property was "the fulfillment of all my hopes and prayers."
Jacob Philipp or Johann Philipp Hackert was born in Prenzlau. He travelled extensively within Europe and was one of a group of artists who achieved a notable degree of success with their images of picturesque landscapes. He spent a great deal of his time in Italy, particularly Rome, Florence and Naples. He worked for both Catherine the Great of Russia and King Ferdinand of Naples.
#5755$950.00
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 HACKERT, After Jakob Philipp (1737-1807)
Vüe du Couvent de St. Cosimato En venant de Vicovaro sur la Voie Valerienne anc. Via Valeria [Pl. II]
[Pl. II]. [Naples]: 1780. Etching by B. A. Dunker, with engraving, by G. Eichler, coloured by hand. Very good condition apart from some overall light soiling and minor foxing, mild mat burn, and a few skillfully repaired small tears in the bottom margin. Two minor water stains visible in the top margin. Image size (including text): 15 x 18 1/4 inches. Sheet size: 17 1/4 x 20 3/8 inches.
A fine view of the convent of San Cosimato near the town of Vicovaro in Italy.
Vicovaro is a town of about 4,000 inhabitants at the junction of the Anio and Licenza rivers and of the Via Licinese and the Via Tiburtina (ancient Via Valeria), situated at about 1000 feet above sea level and about 5 miles kilometers south of Licenza. In antiquity, its name was Varia, and it was inhabited as early as the sixth century B.C. by the Aequi, whom the Romans conquered in the fifth and fourth centuries B.C.. Vicovaro was abandoned in the ninth century A.D. and was revived in the twelfth with the name Vicus Variae. In 1191, it was granted by Celestine III to the Orsini family, by whom it was fortified. In 1672, the Orsini sold it to the Bolognetti family.
Jacob Philipp or Johann Philipp Hackert was born in Prenzlau. He travelled extensively within Europe and was one of a group of artists who achieved a notable degree of success with their images of picturesque landscapes. He spent a great deal of his time in Italy, particularly Rome, Florence and Naples. He worked for both Catherine the Great of Russia and King Ferdinand of Naples.
#5756$950.00
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 HAID, Johann Jacob (1704-1767), & Johann Elias (1730-1809), publishers
[A series of sixteen plates of ladies' hair-styles and millinery]
Augsburg: J.J.Haid et fils, [circa 1770]. Mezzotints. (Numbering or lettering erased from lower right corner of all plates but one, 8 with similar erasures from the lower left corner as well). Image size (including text): 11 1/2 x 7 3/4 inches approx. Sheet size: 17 1/8 x 10 3/8 inches approx.
A beautiful and extremely rare series of fashionable ladies' hats and hair-styles.
Of the standard bibiographies only Lipperheide mentions this series, but records it as being complete in only 10 plates.
The plates are titled as follows:
1. Bonnet au fichu
2. Baigneuse á la frivolité
3. La Caleche ordinaire
4. Chapeau Tigré
5. Bonnet aux Aigrettes
6. Bonnet á la Voltaire
7. Bonnet rond avec un mouchoir noué en marmote et un ruban noué en cocarde
8. Cornette retroussée à la laitiere
9. Bonnet rond avec un Serre-tete noué negligemment
10.Bonnet à la Dormeuse
11.Bonnet au Pouf
12.Bonnet à la fusse
13.Bonnet au Fichu (different image to plate 1, with letter 'l' in lower right corner of plate)
14.Bonnet à l'Herisson
15.Hérisson couvert d'une Caleche retroussée
16.Toque lisse avec trois boucles
Each plate shows a young woman, from just below the bust upwards, fashionably dressed with elaborately coiffured hair and wearing a variety of hats, bonnets and other adornments. The titles of the plates all refer to milinery that is being displayed.
Cf. Lipperheide Na 32 (10 plates).
#5677$24,000.00
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 HAID, Johann Jacob (1704-1767) after C. N. EBERLEIN
Albertus Haller
Augsburg: Published by Johann Jakob Haid, circa 1730. Mezzotint. Printed on laid paper. In good condition with the exception of some foxing across the margins. Small paper loss in upper left corner of sheet. Image size: 12 1/2 x 7 5/8 inches. Plate mark: 12 1/2 x 7 5/8 inches. Sheet size: 15 1/4 x 9 3/4 inches.
A striking scientific portrait of Albrecht von Haller, from Johann Jakob Haid's celebrated series of mezzotint portraits.
Johan Jakob Haid came from a German family of artists and printmakers. Haid worked initially with the animal painter Johann Elias Ridinger, but he soon went on to found a well-known publishing house in Augsburg. He became known primarily for his celebrated series of large mezzotint portraits of illustrious individuals. This attractive portrait of Albertus Haller is a wonderful example of Haid's noted series. As in this fine image, all of Haid's portraits are highly decorative; the sitter is always surrounded by a decorative frame and the image rests on an ornate descriptive plaque. This is a lovely impression and a fine example of Haid's accomplished series. As in many scientific portraits, Haller is shown holding a book, symbolizing his important work as a writer.
Albrecht von Haller (1708-1777) was a celebrated Swiss anatomist and physiologist. After pursuing an education in medicine and mathematics, Haller devoted himself to the study of botany. He began a collection of plants, which formed the basis of his great work on the flora of Switzerland. In 1729 he returned to Bern and began to practice as a physician, and was soon appointed the chair of medicine, at the University of Gottingen.
Commonly called "the Great", Haller was an illustrious scholar and prolific writer. His academic interests included poetry, botany, biography and medicine, and he produced a huge quantity of texts devoted to these diverse subjects. He is best remembered for his twenty volumes of biographies on anatomy, botany, surgery, and medicine, and for his revolutionary contributions to the field of physiology. He proved the concept of tissue "irritability", and distinguished between nerve impulse and muscular contraction.
Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs.
#16449$450.00
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 HALFORD, Frederic M
Modern Development of the Dry Fly: The New Dry Fly Patterns, the Manipulation of Dressing them, and Practical Experiences of their Use
New York: E.P. Dutton, [1910]. 2 volumes, quarto (10 13/16 x inches). Half-titles, titles printed in red and black. Photogravure frontispiece portrait of Edgar Williamson on mounted india paper, 9 chromolithographic plates of fishing flies, 18 colour charts, 16 photogravures of fish and fishing spots on india paper mounted, 22 text illustrations; second volume with 33 actual fishing flies displayed in sunken compartments on nine heavy board mounts. Maroon half morocco gilt to style, marbled endpapers, top edges gilt .
First American edition, edition de luxe limited to 50 copies signed by the author, this set numbered 18.
A total of 125 copies of this de luxe edition were produced: 50 for sale in the United States, and 75 for sale in the British Empire. The de luxe edition of this classic work is to be preferred over the regular edition for a number of reasons. The first and most obvious is the presence of a second volume including the 33 specimens of actual flies, tied by Hardy Brothers and/or C. Farlow's according to the author's very specific instructions, with careful attention paid to the colour and form of each fly. The second reason is the fact that the text is printed on fine quality Whatman laid paper that is also considerably larger than the paper used in the regular edition. Thirdly the plates, particularly those on india paper, are of a much higher quality that those in the regular edition.
This work was aimed quite specifically at those who fished the chalk streams of southern England, but its central message, that the artificial flies should match their living counterparts as closely as possible, was understood to be applicable around the world. This dictum, together with the author's skills in conveying the joys and tribulations of fishing have combined to produce a work that is much in demand today.
Litchfield 73.
#19606$8,750.00
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 HALL, After Harry (1815-1882)
The Merry Monarch. The Winner of the Derby Stakes at Epsom 1845. 138 Subscribers - 31 Started. Bred by Mr. Gratwicke got by Col: Peel's Slane (by Royal Oak, dam by Orville) out of the Margravine (Sister to Frederick; Winner of the Derby in 1829) bred in 1830, by Little John, her dam by Phantom out of Sister to Elector by Gohanna. The Property of Mr. Gratwicker. To whom this Print by permission is most respectfully dedicated by the Publishers
London: S. & J. Fuller, July 1845. Aquatint, coloured by hand, by C. Hunt, 'Minerva head' blindstamp, marked 'Proof' lower left. Image size (including text): 12 1/4 x 16 1/2 inches. Sheet size: 17 5/8 x 22 inches.
A very fine and rare proof print from the 'Winners of the Derby Stakes at Epsom Series', started by John Frederick Herring and ably continued here: "as a recorder of horses and the turf between 1840 and 1882, Harry Hall had no equal" (Charles Lane)
Harry Hall "lived at Newmarket throughout his life having a small stable-studio off the High Street... He is probably best known for the engravings of Derby, St Leger and Gold Cup winners published by a succession of London print publishers. The first was Fuller, followed by Moore and then Baily.... Hall was familiar with every level of the eccentric strata of the turf during his lifetime.... [and] all made their pilgrimage to his Newmarket studio to discover his views on racehorses of the day. In his own behaviour he was a quiet man, devoted to his wife and children... At the end of his life, photography was beginning to take the place of the portrait artist, but as a recorder of horses and the turf between 1840 and 1882, Harry Hall had no equal." (Charles Lane British Racing Prints pp.108-109)
Lane British Racing Prints p.109.
#5195$3,000.00
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 HALL, J. after Sir Joshua REYNOLDS
Richard Brinsley Sheridan Esq.
London: J. Hall, No. 83 Berwick Street, April 30, 1791. Copper engraving. In excellent condition. Image size: 17 7/8 x 13 7/8 inches. Plate mark: 20 1/2 x 15 inches. Sheet size: 24 1/2 x 18 3/16 inches.
A lovely copy of Reynolds' distinguished portrait of Richard Sheridan, the famous politician and dramatist.
Richard Brinsley Sheridan (1751-1816) was a renowned British dramatist and politician. His witty plays exhibit the finest development of the comedy of manners in 18th-century England, and he was one of the most admired playwrights of his day. At a young age Sheridan purchased the Drury Lane Theatre in London, which he owned until it was destroyed by fire in 1809. Among his best known works are 'The School for Scandal', and 'The Critic' which are both witty satires on fashionable society. Sheridan became a member of parliament in 1780, and went on to lead a distinguished and influential parliamentary career. As a politician Sheridan was best remembered for his eloquent speeches in opposition to the British war against the American colonies. As a young man, he was acquainted with Samuel Johnson, and was later friends with George, Prince of Wales.
O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 3.
#7718$650.00
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 HAM, Thomas
Ham's Squatting Map of Victoria, (Port Phillip District, New South Wales) Carefully Corrected to this Date from the Colonial Government Surveys, Crown Lands Commissioners & Explorers Maps, Private Surveys &C
Melbourne: 1851. Period outline color, 18 x 28¼ inches. Dedication to "His Excellency Sir Chas. A. Fitz Roy, Knt., Governor of New South Wales." Cloth backed and folding into green cloth covers.
A rare early separate map of Victoria and the neighboring Port Phillip District of New South Wales. The map is filled with a great wealth of detail. Settlement and counties are almost completely confined to the southwestern portion of Victoria, with many parts still completely unknown. Southeastern Victoria is labeled "Unsurveyed Country," for example; and a part of neighboring New South Wales is described as "Supposed Hilly County." Topographical notations are given throughout: "Dense Mallee Scrub," "Forest & Scrubby Country," "Extensive Grassy Plains," "Unsurveyed Country High Ranges & Scrub," and so forth. A lengthy reference at lower left identifies "Rivers Surveyed by Government," "Rivers Unsurveyed by Government," "Lands Purchased from the Crown," "Lands open for location," "Road-side Inns," "Squatting Stations," and much more.
#3124$3,000.00
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 HAMBLE, J.R.
Newark Castle & Bridge Nottinghamshire
London: Published by J. Deeley, 95 Bewick St. Soho, Feb. 1, 1812. Coloured aquatint. Printed on wove paper watermarked J. Whatman. In excellent condition with the exception of two small mended tears on the right margin. Two small mended tears on upper margin. Crease along left corner. Tiny skillfully mended tear on left margin. Image size: 12 7/8 x 19 1/8 inches. Plate mark: 14 1/4 x 20 1/2 inches. Sheet size: 16 1/8 x 22 3/8 inches.
A dramatic view of Newark Castle in Nottinghamshire.
The site became a fortified castle during the 12th century when Henry I gave Alexander, Bishop of Lincoln, permission to build ramparts and a moat. The castle was appropriated in 1139 by King Stephen but was reinstated to Lincoln in 1173. In 1216 King John died at the castle and thereafter it was seized by a group of barons. In 1218 Henry III besieged the castle and, after being bombarded in it for eight days, the barons surrendered. Restored and rebuilt in red sandstone by the end of the 13th century, it had become a magnificent fortified mansion. In Tudor times Henry VIII took the castle from Bishop Henry Holbeach and after that it remained in royal hands. During the Civil War, Newark was a Royalist stronghold. It was besieged four times by the Parliamentarians. King Charles I took refuge at the castle before retreating to Oxford, and the town finally surrendered its stronghold.
Benezit mentions a British landscape painter by the name J. R. Hamble who was active in London during the early decades of the nineteenth century. He exhibited at rare intervals at the Royal Academy between 1803 and 1824, and was mentioned as an accomplished landscape painter. There is some confusion surrounding an engraver named J. Hamble who executed numerous topographical prints of the English countryside, and it is queried whether these artists are in fact the same person. Le Blanc mentions an engraver by the name of J. Hamble, but fails to list his works.
Le Blanc, Manuel de L'Amateur D'Estampes I, p. 340; Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, vol. 6, p. 703.
#13543$1,250.00
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 HAMILTON, Sir William (1730-1803) - [After Johann Heinrich Wilhelm TISCHBEIN (1751-1829)]
Painting from a Grecian vase [Pl. 41, vol. III]
[Pl. 41, vol. III]. [Florence: Société Chalcographique, circa 1800-1803]. Hand-coloured engraving, after Tischbein, on laid paper. Very good condition apart from some overall light soiling. Image size (including text): 10 1/2 x 14 inches. Sheet size: 13 1/2 x 21 inches.
A spectacularly beautiful image from a highly important work which remains a unique record of Sir William Hamilton's great collection of classical antiquites.
This plate is from the scarce Florence edition of Tischbein's famous work on Sir William Hamilton's second and greatest collection of antique vases. His first had been sold to the British Museum in 1772, the second nearly did not make it to Britain (about a third were lost in a shipwreck), but the collection was eventually brought by Thomas Hope, one of the great champions of the neo-classical style. The present image is both a technically brilliant record of a priceless object and a highly-pleasing graphic image that has as much appeal today as when it was produced in Florence two hundred years ago.
Sir William Hamilton was the British ambassador to Naples from 1764 to 1800, during the city's golden age. An avid antiquarian, Hamilton assembled one of the world's finest collections of Greek and Roman antiquities. In addition to his duties as ambassador, Hamilton was also renowned as a knowledgeable guide and congenial host to the visiting English 'Grand Tourists'. With infectious enthusiasm he would extol the wonders of Naples and the beauties of arts of the ancient world, inspiring in many of his aristocratic visitors a genuine love of the antique. This new-found enthusiasm found its expression in the new style of neo-classicism and in the collections of antiquites which found their way to many of the stately homes of England.
Cf. Brunet IV, 469
#9040$650.00
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 HAMILTON, Sir William (1730-1803) - [After Johann Heinrich Wilhelm TISCHBEIN (1751-1829)]
Painting from a Grecian vase [Pl. 10, vol. IIII]
[Pl. 10, vol. IIII]. [Florence: Socié | | | |
