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browsing 4487 items
displaying items 2601 to 2700
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 JONES, Owen (1809-74)
Indian No. 1 [Pl. XLIX]
[Pl. XLIX]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition apart from a 3/4" tear in the right margin and a few light water stains. Image size (including text): 19 5/8 x 12 7/8 inches. Sheet size: 21 7/8 x 14 1/8 inches.
A fine image from Owen Jones' "The Grammar of Ornament", universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones' wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones' work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851 which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed. Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#9933 $240.00  
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 JONES, Owen (1809-74)
Middle Ages No. 2 [Pl. LXVII]
[Pl. LXVII]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition. Image size (including text): 19 3/4 x 13 inches. Sheet size: 21 7/8 x 14 1/8 inches.
A fine image from Owen Jones' "The Grammar of Ornament", universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones' wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones' work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851 which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed. Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#9936$240.00
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 JONES, Owen (1809-74)
Greek No. 3 [Pl. XVII]
[Pl. XVII]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition. Image size (including text): 19 1/2 x 12 3/4 inches. Sheet size: 21 3/4 x 14 3/8 inches.
A fine image from Owen Jones' "The Grammar of Ornament", universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones' wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones' work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851 which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed. Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#9937$240.00
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 JONES, Owen (1809-74)
Greek No. 4 [Pl. XVIII]
[Pl. XVIII]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition apart from some very light foxing in the top margin. Image size (including text): 20 x 12 7/8 inches. Sheet size: 21 3/8 x 14 1/4 inches.
A fine image from Owen Jones' "The Grammar of Ornament", universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones' wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones' work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851 which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed. Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#9938$240.00
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 JONES, Owen (1809-74)
Byzantine No. 2 [Pl. XXIX]
[Pl. XXIX]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition. Image size (including text): 19 3/4 x 12 1/2 inches. Sheet size: 21 7/8 x 14 1/8 inches.
A fine image from Owen Jones' "The Grammar of Ornament", universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones' wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones' work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851 which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed. Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#9944$240.00
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 JONES, Owen (1809-74)
Egyptian No. 8 [Pl. XI]
[Pl. XI]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition apart from a few tears in the right margin. Image size (including text): 19 5/8 x 12 5/8 inches. Sheet size: 21 7/8 x 14 1/8 inches.
A fine image from Owen Jones' "The Grammar of Ornament", universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones' wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones' work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851 which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed. Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#9946$240.00
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 JONES, Owen (1809-74)
Indian No. 4 [Pl. LII]
[Pl. LII]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition apart from a few mild surface abrasions in the top margin. Image size (including text): 19 3/4 x 12 3/8 inches. Sheet size: 21 1/4 x 14 1/8 inches.
A fine image from Owen Jones' "The Grammar of Ornament", universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones' wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones' work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851 which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed. Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#9948$240.00
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 JONES, Owen (1809-74)
Moresque No. 3 [Pl. XLI]
[Pl. XLI]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition. Image size (including text): 20 1/8 x 12 3/4 inches. Sheet size: 22 x 14 5/8 inches.
A fine image from Owen Jones's "The Grammar of Ornament," universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones's wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones's work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851, which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed., Pattern and Design: Designs for the Decorative Arts, 1480-1980).
Cf. Ray England 228.
#10069$240.00
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 JONES, Owen (1809-74)
Moresque No. 4 [Pl. XLII]
[Pl. XLII]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition. Image size (including text): 19 7/8 x 12 5/8 inches. Sheet size: 22 x 14 5/8 inches.
A fine image from Owen Jones's "The Grammar of Ornament," universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones's wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones's work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851, which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed., Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#10070$240.00
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 JONES, Owen (1809-74)
Turkish No. 1 [Pl. XXXVI]
[Pl. XXXVI]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition. Image size (including text): 20 1/8 x 12 5/8 inches. Sheet size: 22 x 14 5/8 inches.
A fine image from Owen Jones's "The Grammar of Ornament," universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones's wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones's work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851, which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed., Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#10071$240.00
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 JONES, Owen (1809-74)
Arabian No. 4 [Pl. XXXIV]
[Pl. XXXIV]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition apart from some light foxing in the bottom margin. Image size (including text): 19 3/4 x 13 inches. Sheet size: 22 x 14 3/8 inches.
A fine image from Owen Jones's "The Grammar of Ornament," universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones's wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones's work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851, which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed., Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#10072$240.00
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 JONES, Owen (1809-74)
Pompeian No. 3 [Pl. XXV]
[Pl. XXV]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition apart from some very light foxing in the left margin. Image size (including text): 19 3/4 x 12 3/4 inches. Sheet size: 21 7/8 x 14 1/4 inches.
A fine image from Owen Jones's "The Grammar of Ornament," universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones's wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones's work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851, which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed., Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#10076$240.00
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 JONES, Owen (1809-74)
Leaves and Flowers from Nature No. 8 [Pl. XCVIII]
[Pl. XCVIII]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition. Image size (including text): 19 3/8 x 12 1/2 inches. Sheet size: 22 x 14 1/2 inches.
A fine image from Owen Jones' "The Grammar of Ornament", universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones' wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones' work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851 which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed. Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#10212$240.00
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 JONES, Owen (1809-74)
Persian No. 1 / From Mss. of the 16th & 17th Centuries [Pl. XLIV]
[Pl. XLIV]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition. Image size (including text): 20 x 12 7/8 inches. Sheet size: 22 x 14 1/2 inches.
A fine image from Owen Jones' "The Grammar of Ornament", universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones' wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones' work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851 which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed. Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#10215$240.00
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 JONES, Owen (1809-74)
Indian No. 7 [Pl. LV]
[Pl. LV]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition. Image size (including text): 19 3/4 x 12 5/8 inches. Sheet size: 22 x 14 5/8 inches.
A fine image from Owen Jones' "The Grammar of Ornament", universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones' wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones' work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851 which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed. Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#10216$240.00
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 JONES, Owen (1809-74)
Persian No. 4 [Pl. XLVII]
[Pl. XLVII]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition. Image size (including text): 19 7/8 x 12 3/4 inches. Sheet size: 22 x 14 5/8 inches.
A fine image from Owen Jones' "The Grammar of Ornament", universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones' wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones' work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851 which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed. Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#10219$240.00
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 JONES, Owen (1809-74)
Byzantine No. 3 [Pl. XXX]
[Pl. XXX]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition. Image size (including text): 20 1/4 x 13 1/4 inches. Sheet size: 22 x 14 5/8 inches.
A fine image from Owen Jones' "The Grammar of Ornament", universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones' wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones' work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851 which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed. Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#10221$240.00
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 JONES, Owen (1809-74)
Leaves from Nature No. 5 / Vine; Holly; Oak; Turkey Oak; Laburnum [Pl. XCV]
[Pl. XCV]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition apart from some mild creasing. Image size (including text): 20 1/8 x 12 7/8 inches. Sheet size: 22 x 14 5/8 inches.
A fine image from Owen Jones' "The Grammar of Ornament", universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones' wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones' work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851 which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed. Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#10224$240.00
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 JONES, Owen (1809-74)
Renaissance No. 4 / Enamels & c. Metal Work from the Louvre & Hotel Cluny [Pl. LXXVII]
[Pl. LXXVII]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition apart from a 4 1/8" tear in the center of the image. Image size (including text): 20 1/8 x 13 inches. Sheet size: 22 x 14 1/2 inches.
A fine image from Owen Jones' "The Grammar of Ornament", universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones' wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones' work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851 which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed. Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#10228$240.00
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 JONES, Owen (1809-74)
Renaissance No. 6 [Pl. LXXIX]
[Pl. LXXIX]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition. Image size (including text): 20 x 12 5/8 inches. Sheet size: 22 x 14 5/8 inches.
A fine image from Owen Jones' "The Grammar of Ornament", universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones' wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones' work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851 which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed. Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#10230$240.00
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 JONES, Owen (1809-74)
Illuminated Mss. No. 1 [Pl. LXXI]
[Pl. LXXI]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition apart from a light water stain in the right margin. Image size (including text): 19 7/8 x 12 1/2 inches. Sheet size: 22 1/8 x 14 5/8 inches.
A fine image from Owen Jones' "The Grammar of Ornament", universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones' wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones' work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851 which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed. Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#10232$240.00
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 JONES, Owen (1809-74)
Savage Tribes No. 1 [Pl. I]
[Pl. I]. London: Day & Son, 1856. Colour-printed lithograph. Very good condition apart from some overall light soiling. Spot in right hand margin, see photo. Image size (including text): 19 5/8 x 11 inches. Sheet size: 21 3/4 x 14 1/4 inches.
A fine image from Owen Jones' "The Grammar of Ornament", universally regarded as the classic reference work on Victorian aesthetics, and a visual synopsis of the major forms of decoration from around the world.
It was Jones' wish to record for the future the artistic knowledge of the past in order to enrich the progress of Ornamental Art. Indeed, Jones' work was inspirational to William Morris and the Arts and Crafts movement in England and remains today an important source of decorative ornament. Not surprisingly, Jones "was among those who made the selection of objects from the Great Exhibition of 1851 which formed the foundation of the Victoria and Albert Museum's collections" (Susan Lambert ed. Pattern and Design: Designs for the Decorative Arts 1480-1980).
Cf. Ray England 228.
#15221$240.00
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 JONSTON, John (1603-1675) and Nicolas ROBERT (1614-1685)
Collection d'oiseaux les plus rares gravés et dessinés d'après nature, pour servir d'intelligence à l'histoire naturelle et raisonnée des différens oiseaux qui habitent le globe... Traduite du Latin de Jonston, considerablement augmentee... De laquelle on afait preceder l'Histoire particuliere des Oiseaux de la Menagerie du Roi... par... Robert... Pour servir de suite à l'histoire des insectes & plantes de Mademoiselle de Merian
Paris: Chez L.C. Desnos, 1772-1774. (19 9/16 x 13 inches). 2 parts in one volume, folio ( x inches). Engraved additional title and 85 engraved plates (the 23 in the second part by Nicolas Robert). Bound to style in 18th-century diced russia gilt, covers with triple fillet border with floral spray cornerpiece, spine in seven compartments with raised bands, red morocco lettering-piece in the second, the others with repeat decoration in gilt made up from various small tools.
A fine copy of Desnos' edition of Jonston's work bound with two selections of engravings by Robert: one of the greatest of all 17th century natural history artists.
The main part of the present work is a French edition of Jonston's work on birds. To this is added a reissue of most of the plates from two of Robert's works on the birds of the royal menagerie at Versailles: Receuil... and Suite des Oyseaux les plus rare, both originally published in Paris in 1676.
Jonston, the grandson of John Johnstone of Craigieburn, Nithsdale, Scotland, was born and raised in Poland. After studying botany and medicine at Cambridge, he travelled extensively before settling in Leiden, where he practiced medicine. Jonston is now seen chiefly as a "learned compilor" (Johnston) and published a very popular natural history (Historiae Naturalis), in 77 parts between 1650 and 1662. His sources were wide ranging, but probably the main influence was Aldrovandi (1522-1605). The first 62 plates in the present work are a reprint of the complete suite of plates from the De Avibus section of Aldrovandi's great work.
The remaining 23 plates are by Nicolas Robert. Robert is one of the two greatest French natural history artists of the 17th century. He made his name illustrating the Guirlande de Julie: a jewel of a manuscript, an album of flowers given as a gift from the baron de Saint-Maure to his fiancée. Robert subsequently worked most memorably on the vélins du Roi botanical drawings and the engravings for the Académie Royale des Sciences work Mémoires pour servir à l'Histoire des Plantes. Whilst working on these commissions for others he also produced his own plates, the present excellent engravings are fine examples of his work.
Anker 238; Fine Bird Books (1990) p.111; Nissen IVB 484; cf. Ronsil 1503; cf. Ronsil 2599 (1st edition of Robert plates); Wood p.410.
#17345$17,500.00
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 JONSTON, John (1603-75).
Historiae Naturalis de Arboribus et Plantis. Libri X.
Heilbronn: Franciscus Josephus Eckebrecht, 1768-1769. 2 volumes bound in three (2 vols containing text; 1 vol. containing the plates), folio (13 x 8 1/4 inches). 2 letterpress titles in red and black, text in double columns. 2 copies of the engraved allegorical frontispiece by Melchior Küsell after Matthaeus Merian (the first bound facing the title in vol.I, the second duplicate example is bound as the title to the volume containing the plates), 137 engraved plates after Matthaeus Merian, some light worming to duplicate frontispiece and first and last plate. Contemporary sheep, spines gilt in seven compartments with raised bands, morocco lettering-pieces to the second and third compartments, the others with repeat tooling in gilt, marbled pastedowns, blue stained edges.
A fine unsophisticated set of the second edition of this important 17th-century survey of the known botanical world.
The original edition was published in Frankfurt in 1662 under the title Dendrographiae sive Historiae Naturalis de Arboribus et Fructibus. The present edition was probably published by Eckebrecht in an effort to capitalise on the fact that he had acquired the complete set of the printing plates for the 1662 edition: these he reprinted and added what is the second edition of the text. It is interesting to note that the author's name is printed slightly smaller than Merian's: an indication the that illustrator's name had retained its lustre better than the author's text. Johnston notes that Jonston was a "Polish physician of Scottish extraction who wrote numerous works on medicine, natural history, and more miscellaneous subjects." The present copy is a particularly attractive set, bound in three volumes instead of the more usual two - this necessitated the inclusion of the duplicate frontispiece as a title to the 'plate volume' and offers independent evidence that this set is as it was when delivered to its original owner.
Cf. Johnston Cleveland 233 (1662 edition); cf. Nissen BBI 1007; Plesch Sale lot 409; cf. Stafleu & Cowan 3408.
#20718$12,000.00
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 JOSSELYN, John (c. 1608-1704)
New-Englands rarities discovered: in birds, beasts, fishes, serpents, and plants of that country. Together with the physical and chyrurgical remedies wherewith the natives constantly use to cure their distempers, wounds, and sores. Also a perfect description of an Indian squa, in all her bravery; with a poem not improperly conferr'd upon her. Lastly a chronological table of the most remarkable passages in that country amongst the English. Illustrated with cuts
London: printed for G. Widdowes at the Green Dragon, 1672. Small 8vo (5 3/4 x 3 1/2 inches). Collation: A-G8, H6 (- H6). With initial blank leaf, 2pp. publisher's advertisement. 1 woodcut plate of a "Hollow Leav'd lavender" i.e. a pitcher plant, 11 woodcut illustrations (5 full-page).(Lacking the last leaf H6 with printer's device). Contemporary speckled sheep, neatly rebacked to style with green morocco label.
First edition of this important early eye-witness record of the people, plants, animals and landscape of the burgeoning English colonies in America: this work is essentially the "earliest natural history of New England" (Sabin).
"This is Josselyn's first book on his two voyages to America in 1638 and 1663; the second [book], an elaboration on the first, was called An account of two voyages, London, 1674. Both books are justifiably famous for their record of New England life and customs in the 17th century ... His comments on every phase of the natural history around him, as well as the medical uses made of the plants, are cheerful and accurate, and showed wide learning for his day. Dr. Paul Sears, noted conservationist of Yale University, who wrote his thesis on the Dandelion, says that Josselyn's is the first reference to that flower in America." (Hunt).
The work is divided into six parts: 1.birds, 2. beasts, 3.fish, 4.serpents and insects, 5. plants (the lengthiest section which is broken down into five sub-sections), and 6. stones, minerals, metals and earths. Included are descriptions of the black bear, beaver, the rattlesnake, the sperm whale, the turkey, and many others. Some of the suggested cures are more fantastical than others: the author notes that an osprey's beak excels "for tooth-ach, picking the gums therewith till they bleed". The plant section includes descriptions of scores of plants, some that had been imported from Europe, others that seemed to the author to be the American equivalents of known species and also plants that were completely new to western eyes. The plate and the accompanying description are particularly interesting as early eye-witness reports of the American pitcher plant (sarracenia purpurea) in its natural habitat. The plant had been described earlier by Clusius from a dried specimen, but the author here assumes that his description was the first "I wonder where the knowledge of this plant hath slept all this while, i.e. above forty years" (p.55). It is also worth noting that in this copy of this work this plate has been bound in such a way as to do away with the necessity of folding the plate - a comparison with a second copy of this work has shown that the woodcut image is complete, and the letterpress title is easier to read as it is now at the foot of the page rather than in the gutter (as is the case with copies where the plate is folding). Not all the other plants pictured are now identifiable, but the fine full-page woodcut of the "Humming bird Tree" is clearly an image of what is now known as jewel-weed (impatiens capensis).
The final four pages of the regular text contain a generalised description of native American women ("many of them have very good features ... handsome straight bodies and slender ... their limbs cleanly, straight, and of a convenient stature") as well as a poem by Josselyn that he says was "made sometime since upon the picture of a young and handsome gypsie" but which he supposes may equally well apply to "the Indian Squa, or female Indian, trick'd up in all her bravery" (p.99). The final sixteen pages are also interesting (and are often lacking): "A Chronological table of the most remarkable passages, in that part of America, known to us by the name New-England". This table traces the history of New England from the voyages of Cabot, but mostly devoted to New England from the founding of Plymouth and ending with an entry for 1672.
Cf. S. Bercovitch & C. R. K. Patell The Cambridge History of American Literature: 1590-1820 (Cambridge, 1997) pp.231-233; Brunet III, 574; Church 618; European Americana 672/156; Hunt 322; Howes J255; JCB (3)III:241; Johnston 247; Meisel III:333; cf. H.T. Meserole American Poetry of the Seventeenth Century 1985, pp.403-404; Pequot 389; Sabin 36674; Vail 160; Wing J1093.
#20745$25,000.00
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 JUKES, Francis after Charles Loraine SMITH (1751-1835)
[Set of eight prints featuring Dick Knight of the Pytchley Hunt]
London: Published by F. Jukes Engraver Howland Street, March 1790. Aquatints. Printed on wove Whatman paper, some with watermarks. In excellent condition with the exception of some minor surface soiling in the margins. [Plate 1: Pytchley Hunt] heavy surface soiling in margins. Image size: 7 7/8 x 9 1/4 inches. Plate mark: 9 7/8 x 10 3/8 inches. Sheet size: 12 1/8 x 15 5/8 inches. [Plate 2: Push him up Tomboy] Image size: 7 3/4 x 9 1/4 inches. Plate mark: 9 3/8 x 10 1/8 inches. Sheet size: 12 5/16 x 15 5/8 inches. [Plate 3: Now Contrast..] Image size: 7 5/8 x 9 3/8 inches. Plate mark: 9 5/16 x 10 inches. Sheet size: 12 5/16 x 15 3/8 inches. [Plate 4: A Check] Image size: 7 3/4 x 9 1/4 inches. Plate mark: 9 3/4 x 10 1/4 inches. Sheet size: 12 1/4 x 15 1/2 inches. [Plate 5: The Trick] Image size: 7 13/16 x 9 1/4 inches. Plate mark: 9 7/8 x 10 1/4 inches. Sheet size: 12 1/8 x 15 5/8 inches. [Plate 6: Proof of Bottom] Image size: 7 3/16 x 9 1/2 inches. Plate mark: 9 13/16 x 10 3/8 inches. Sheet size: 12 1/8 x 15 11/16 inches. .
A fascinating set of eight hunting prints depicting the great Pytchley hunt led by Dick Knight.
Loraine Smith was an amateur artist of high repute, and the present series is regarded as some of his best-known prints. This important set is the only visual record of the great Pytchley hunt led by the celebrated huntsmen Dick Knight. At the time of publication, there existed a great rivalry between the Quornites and the Pytchley followers, which is wittily referred to in this amusing series. The prints follow the various mishaps and eventual triumph of Dick Knight, and make a point to relate that Knight used three horses during the course of the run in order to achieve his victory. This set of eight prints by Jukes is intriguing since it appears that the series was originally published as a set of six. The present suite has an additional two plates, plate four entitled "The Check" and plate five entitled "The Trick," and has been hastily renumbered as a set of eight. If one examines the plate numbers carefully it is easy to see where the numbers have been doctored, indicating that the set was originally published as a set of six and not of eight as Siltzer suggests.
Siltzer, The Story of British Sporting Prints, p. 251-256.
#5234$3,500.00
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 JUKES, Francis (1745-1812) after Edward DAYES (1763-1804)
View of Hereford [Pl. 1]
[Pl. 1]. London: Published by F. Jukes, 1797. Hand-coloured aquatint. Very good condition apart from several light water stains in the right and left margins. Plate mark: 14 1/8 x 17 7/8 inches. Sheet size: 18 x 24 3/8 inches.
A fine view of the ancient market town of Hereford, near the Welsh border, from "Series of Views on the River Wye" by Francis Jukes, one of the greatest English exponents of the art of aquatint, after a work by the landscape painter Edward Dayes.
Francis Jukes was a prolific engraver, who was chiefly known for his topographical prints, the bulk of which he executed in aquatint. He contributed numerous plates to various publications including Walmsley's Views in North Wales (1792-4) and Campbell's A Journey in Scotland (1802) and collaborated on several projects with the engraver and publisher Robert Pollard.
Cf. Dictionary of National Biography; cf. Abbey, Scenery of Great Britain and Ireland 545.
#13484$1,200.00
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 JUKES, Francis (1745-1812) after Edward DAYES (1763-1804)
View of Goodrich Castle on the River Wye [Pl. 5]
[Pl. 5]. London: Published by F. Jukes, 1799. Hand-coloured aquatint. Very good condition apart from some light soiling and a few tiny foxing marks in the left margin. Plate mark: 14 3/8 x 18 1/8 inches. Sheet size: 18 1/8 x 24 1/2 inches.
A fine view of the 12th-century red sandstone Goodrich Castle, from "Series of Views on the River Wye" by Francis Jukes, one of the greatest English exponents of the art of aquatint, after a work by the landscape painter Edward Dayes.
Francis Jukes was a prolific engraver, who was chiefly known for his topographical prints, the bulk of which he executed in aquatint. He contributed numerous plates to various publications including Walmsley's Views in North Wales (1792-4) and Campbell's A Journey in Scotland (1802) and collaborated on several projects with the engraver and publisher Robert Pollard.
Cf. Dictionary of National Biography; cf. Abbey, Scenery of Great Britain and Ireland 545.
#13485$1,200.00
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 JUKES, Francis (1745-1812) after Edward DAYES (1763-1804)
View of the Cathedral
London: Published by F. Jukes, 1798. Hand-coloured aquatint, printed on wove paper. The plate is inscribed: "To the Right Rev. John, Lord Bishop of Salisbury." Very good condition apart from some overall light soiling and mild creasing. Tape on verso is slightly visible at the edge of bottom margin. Plate mark: 15 x 19 5/8 inches. Sheet size: 17 1/2 x 22 inches.
One of a pair of views of the historic town of Salisbury by Francis Jukes, one of the greatest English exponents of the art of aquatint, after a work by the landscape painter Edward Dayes.
Francis Jukes was a prolific engraver, who was chiefly known for his topographical prints, the bulk of which he executed in aquatint. He contributed numerous plates to various publications including Walmsley's Views in North Wales (1792-4) and Campbell's A Journey in Scotland (1802) and collaborated on several projects with the engraver and publisher Robert Pollard.
Cf. Dictionary of National Biography.
#13486$1,100.00
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 JUKES, Francis (1745-1812) after Edward DAYES (1763-1804)
View of the New Council House, Salisbury
London: Published by F. Jukes, 1798. Hand-coloured aquatint, printed on wove paper. The plate is inscribed: "To the Right Honble. Earl of Radnor." Very good condition apart from some minor foxing, a skillfully repaired tear in the left margin, and slight yellowing of the paper due to age. Plate mark: 14 7/8 x 19 7/8 inches. Sheet size: 15 3/4 x 20 7/8 inches.
One of a pair of views of the historic town of Salisbury by Francis Jukes, one of the greatest English exponents of the art of aquatint, after a work by the landscape painter Edward Dayes.
Francis Jukes was a prolific engraver, who was chiefly known for his topographical prints, the bulk of which he executed in aquatint. He contributed numerous plates to various publications including Walmsley's Views in North Wales (1792-4) and Campbell's A Journey in Scotland (1802) and collaborated on several projects with the engraver and publisher Robert Pollard.
Cf. Dictionary of National Biography.
#13487$1,100.00
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 JUKES, Francis (1745-1812) after Charles ANSELL (b. 1752)
As a Colt in Training [Pl. III]
[Pl. III]. London: Published by John Walker Carver & Printseller, 1784. Aquatint. Very good condition apart from some overall light soiling, minor foxing, and a small dark brown spot in the top left margin. Image size (including text): 10 7/8 x 11 3/8 inches. Sheet size: 12 1/8 x 13 5/8 inches.
A charming plate depicting a foal at the beginning of its racing career, from a suite of six prints after Ansell entitled "Life of a Race Horse."
The animal and genre painter and draughtsman Charles Ansell was renowned for his graceful images of horses. This beautiful plate comes from his most celebrated work, Life of a Racehorse, which was published in 1784.
Francis Jukes was a prolific engraver who was chiefly known for his topographical prints, the bulk of which he executed in aquatint. He contributed numerous plates to various publications including Walmsley's Views in North Wales (1792-4) and Campbell's A Journey in Scotland (1802) and collaborated on several projects with the engraver and publisher Robert Pollard.
Cf. Dictionary of National Biography; cf. Le Blanc, Manuel de l'Amateur Destampes, p. 438, no. 1-6; cf. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, vol. 1, p. 353; cf. Siltzer, The Story of British Sporting Prints, p. 76.
#13879$475.00
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 JUKES, Francis (1745-1812) after Charles ANSELL (b. 1752)
As a Hunter going out with Hounds [Pl. IV]
[Pl. IV]. London: Published by John Walker Carver & Printseller, 1784. Aquatint. Very good condition apart from some overall light soiling and minor foxing. Image size (including text): 10 7/8 x 11 3/8 inches. Sheet size: 10 7/8 x 11 5/8 inches.
A charming plate depicting a mature horse riding on a hunt, from a suite of six prints after Ansell entitled "Life of a Race Horse."
The animal and genre painter and draughtsman Charles Ansell was renowned for his graceful images of horses. This beautiful plate comes from his most celebrated work, Life of a Race Horse, which was published in 1784.
Francis Jukes was a prolific engraver who was chiefly known for his topographical prints, the bulk of which he executed in aquatint. He contributed numerous plates to various publications including Walmsley's Views in North Wales (1792-4) and Campbell's A Journey in Scotland (1802) and collaborated on several projects with the engraver and publisher Robert Pollard.
Cf. Dictionary of National Biography; cf. Le Blanc, Manuel de l'Amateur Destampes, p. 438, no. 1-6; cf. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, vol. 1, p. 353; cf. Siltzer, The Story of British Sporting Prints, p. 76.
#13881$475.00
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 JUKES, Francis (1745-1812) after Charles ANSELL (b. 1752)
As a Racer after Running [Pl. III]
[Pl. III]. London: Published by John Walker Carver & Printseller, 1784. Aquatint. Very good condition apart from some overall light soiling and minor foxing, mild creasing, and a few small black spots in the lower left corner of the sheet. Image size (including text): 10 7/8 x 11 3/8 inches. Sheet size: 12 1/8 x 13 5/8 inches.
A charming plate depicting a mature horse being groomed after participating in a race, from a suite of six prints after Ansell entitled "Life of a Race Horse."
The animal and genre painter and draughtsman Charles Ansell was renowned for his graceful images of horses. This beautiful plate comes from his most celebrated work, Life of a Race Horse, which was published in 1784.
Francis Jukes was a prolific engraver who was chiefly known for his topographical prints, the bulk of which he executed in aquatint. He contributed numerous plates to various publications including Walmsley's Views in North Wales (1792-4) and Campbell's A Journey in Scotland (1802) and collaborated on several projects with the engraver and publisher Robert Pollard.
Cf. Dictionary of National Biography; cf. Le Blanc, Manuel de l'Amateur Destampes, p. 438, no. 1-6; cf. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, vol. 1, p. 353; cf. Siltzer, The Story of British Sporting Prints, p. 76.
#13882$475.00 | | | |
