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browsing 4487 items
displaying items 3101 to 3200
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 MORLAND, George engraved by Edward BELL
Fox Hunting, Going into Cover
London: Published by E. Bell, No. 45 Islington Road near Sadlers Wells, August 1, 1801. Mezzotint. Printed on laid paper. In good condition. Trimmed just outside the platemark on all sides. Faint printer's crease in upper right corner of plate. Image size: 20 x 25 1/2. Plate mark: 21 5/8 x 26 3/4 inches. Sheet size: 22 1/2 x 27 1/8 inches.
This lovely image is the second plate in a set of four hunting mezzotints engraved by Edward Bell after paintings by George Morland.
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. Morland 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. Morland is considered a master of genre, his beautiful paintings depict with insightful subtlety the tender side of English country life.
This beautiful print is the second plate in a set of four mezzotints engraved by Edward Bell in the spring of 1800. Primarily a genre painter, Morland only produced a few sporting paintings during his career and this beautiful set is considered some of his best work. The image depicts a group of hunters and their dogs in pursuit of the fox.
Siltzer, The Story of British Sporting Prints p. 190
#17045 $1,500.00  
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 MORLAND, George engraved by Edward BELL
Fox Hunting, The Death
London: Published by E. Bell, No. 45 Islington Road near Sadlers Wells, April 11, 1800. Mezzotint. Printed on wove paper. In good condition. Trimmed just outside the platemark on all sides. Faint printer's crease in upper right corner of plate. Tear along upper right corner of sheet has been expertly repaired. Another crease extending from the top edge of sheet. Image size: 20 x 25 1/2 inches. Plate mark: 21 5/8 x 26 3/4 inches. Sheet size: 22 1/8 x 27 1/8 inches.
This lovely image is the final plate in a set of four hunting mezzotints engraved by Edward Bell after paintings by George Morland.
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. Morland 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. Morland is considered a master of genre, his beautiful paintings depict with insightful subtlety the tender side of English country life.
This beautiful print is the last plate in a set of four mezzotints engraved by Edward Bell in the spring of 1800. Primarily a genre painter, Morland only produced a few sporting paintings during his career and this beautiful set is considered some of his best work. The image depicts the death of the fox in front of a small country cottage.
Siltzer, The Story of British Sporting Prints p. 190
#17046$500.00
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 MORRIS, E. (publisher)
A Political and Satirical History of the Years 1756 and 1757. In a series of seventy-five humorous and entertaining prints. Containing all the most remarkable transactions, characters and caricatures of those two remarkable years. To which is annexed an explanatory account or key to every print, which renders the whole full and significant
London: printed for E. Morris, [circa 1757]. 12mo (5 1/8 x 3 3/4 inches). 75 etched plates. Early 20th-century brown morocco, bound for Brentano's, covers with gilt double fillet border, spine gilt in six compartments with raised bands, lettered in the second and fourth, the other compartments with repeat decoration in gilt, gilt turn-ins, g.e.
Very rare and early collection of political caricatures covering a pivotal period in the history of Great Britain and the Americas
This fascinating selection reprints a series which recalls events at the start of what became the French and Indian war, particularly Henry Fox and William Pitt's struggle for power in late 1756. Abroad, the year had been a disastrous one for Great Britain with the loss of Minorca; the defeat of General Braddock at Fort Duquesne, the capture of Calcutta, and the horrors of the Black Hole, and it became clear that the armed forces were ill-prepared for war with France. By the end of 1757 the government had adopted the measures that were to lead eventually to the establishment of Britain as the dominant power in both India and the Americas.
NB old booksellers entry: "Rare especially in this fine condition. Most of the plates bear the imprint, "Darly & Edwards, at the Acorn facing Hungerford, Strand". Many of the caricatures include elaborate rebuses, and several have playing card motifs."
#20377$3,750.00
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 MORTIER, Pierre (1661-1711)
[Scotland] Carte de la Mer D'Ecosse Contendant les Isles et Costes Septentrionales et Occidentales D'Ecosse et les Costes Septentrionales D'Irlande
[Amsterdam: Mortier, 1693]. Copper-engraved map, with full original colour and gold embellishments, two inch repaired tear right margin, well away from image, small loss top margin, overall good condition. Sheet size: 24 1/2 x 37 1/4 inches.
Large, handsome coastal chart of northwestern Scotland, the Hebrides and northern Ireland
This large scale, beautifully coloured coastal chart of Scotland, Ireland and the Hebrides comes from Le Neptune François, a lavish collection of charts produced collaboratively by Hubert Jaillot and Pierre Mortier. As Koeman discovered in his research on this work (see P. Mortier, Atlantes Neerlandici, Maritime Atlases, p. 423-4), Mortier re-engraved the plates after the original French prototype Neptune François by Charles Pène and others in a richly coloured edition and added to the titles the words "Levée et Gravée par Ordre du Roy à Paris 1693" though they were in fact engraved, coloured and published in Amsterdam by Mortier. They were sold in France, we can assume, under the auspices of Hubert Jaillot, who had been appointed the first "Geographe du Roi" in 1678.
Pierre Mortier's grandparents were French refugees, who left France in about 1625 to live in Leiden. His parents settled in Amsterdam in 1661 or 1662. Pierre Mortier grew up in Amsterdam but lived in Paris from 1681 to about 1685 where he must have gotten into the book trade. Once he was in Amsterdam again he specialized in French books and maintained his relationships with Parisian publishers. Amsterdam was at this time the international marketplace for books, especially books forbidden by repressive governments.
He established himself in the field of cartographical publishing by offering editions of French maps, primarily Sanson's and Jaillot's to a public tired of the great but dated Dutch offerings. Working on a scale larger than the typical Dutch folio map and providing the new insights of French geography, he was immensely successful. The charts in his version of Le Neptune François are outstanding examples of cartographical art. They are among the most beautiful printed sea charts ever made.
This chart, which is oriented so that east is at the top of the page, encompasses the western coast of Scotland, the islands to the west and northwest of Scotland, the coast of Northern Ireland and the Faeroe Islands. The western half of the Shetland Islands is also depicted.
Koeman, Atlantes Neerlandici, M. Mor 1, #9.
#10290$1,750.00
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 MORTIER, Pierre (1661-1711)
[France] Carte Particuliere des Costes de Flandres, de Picardie et de Normandie, Depuis Nieuport jusqu'a Dieppe. Avec Les Costes D'Angleterre Aux Environs du Pas de Calais. Faitte Par Ordre Exprez du Roy de France.
[Amsterdam: Mortier], 1693. Engraved with full, period colouring and gold embellishment. Small loss in bottom edge, about 1/4". Image size (including text): 22 3/4 x 31 1/2 inches. Sheet size: 24 1/2 x 37 1/4 inches.
Large, richly coloured chart of Picardy and the English Channel.
This large scale, beautifully coloured coastal chart of the northwest coast of France and the English Channel comes from Le Neptune François, a lavish collection of charts produced collaboratively by Hubert Jaillot and Pierre Mortier. As Koeman discovered in his research on this work (see P. Mortier, Atlantes Neerlandici, Maritime Atlases, p. 423-4), Mortier re-engraved the plates after the original French prototype Neptune François by Charles Pène and others in a richly coloured edition and added to the titles the words, in this case, "Faite par Ordre Exprez du Roy de France 1693" though they were in fact engraved, coloured and published in Amsterdam by Mortier. The Netherlands and France were fighting each other in the War of the Grand Alliance at this time.
Pierre Mortier's grandparents were French refugees, who left France in about 1625 to live in Leiden. His parents settled in Amsterdam in 1661 or 1662. Mortier grew up in Amsterdam but lived in Paris from 1681 to about 1685 where he must have gotten into the book trade. Once he was in Amsterdam again he specialized in French books and maintained his relationships with Parisian publishers. Amsterdam was at this time the international marketplace for books, especially books forbidden by repressive governments.
He established himself in the field of cartographical publishing by offering editions of French maps, primarily Sanson's and Jaillot's to a public tired of the dated Dutch offerings. Working on a scale larger than the typical Dutch folio map and providing the new insights of French geography, he was immensely successful. The charts in his version of Le Neptune François are outstanding examples of cartographical art.
This chart documents the French coast from Dieppe in Normandy to Nieuwport in Flanders. Folkstone, Dover and Ramsgate are found across the Channel. The Channel itself is carefully documented.
Koeman, M. Mor 1, #15
#10320$1,500.00
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 MORTIER, Pierre (1661-1711)
[Denmark] Carte de Detroit du Sond Contenant les Costes de L'Isle de Zélande Comprises ente Nicopen et L'Isle de Meun, et Celles du Schonen Depuis la Pointe de Kol, jusqu'a Valsterbon. Levée et Gravée Par Ordre du Roy. A Paris 1693
Paris [Amsterdam: Pierre Mortier], 1693. Engraved with full, period colour and gold embellishment. Image size (including text): 22 3/4 x 34 3/4 inches. Sheet size: 24 1/4 x 37 1/2 inches.
A magnificent 17th century sea chart of Copenhagen and surrounding regions.
This large scale, beautifully coloured coastal chart of the coast of Sjaelland (Zéland), Denmark and the south-western tip of Sweden comes from Le Neptune François, a lavish collection of charts produced collaboratively by Hubert Jaillot and Pierre Mortier. As Koeman discovered in his research on this work (see P. Mortier, Atlantes Neerlandici, Maritime Atlases, p. 423-4), Mortier re-engraved the plates after the original French prototype Neptune François by Charles Pène and others in a richly coloured version and added to the titles the words "Levée et Gravée par Ordre du Roy à Paris 1693. though they were in fact engraved, coloured and published in Amsterdam by Mortier. The Netherlands and France were engaged in the War of the Grand Alliance at this time.
Pierre Mortier's grandparents were French refugees, who left France in about 1625 to live in Leiden. His parents settled in Amsterdam in 1661 or 1662. Mortier grew up in Amsterdam but lived in Paris from 1681 to about 1685 where he must have gotten into the book trade. Once he was in Amsterdam again he specialized in French books and maintained his relationships with Parisian publishers. Amsterdam was at this time the international marketplace for books, especially books forbidden by repressive governments.
He established himself in the field of cartographical publishing by offering editions of French maps, primarily Sanson's and Jaillot's to a public tired of the great but dated Dutch offerings. Working on a scale larger than the typical Dutch folio map and providing the new insights of French geography, he was immensely successful. The charts in his version of Le Neptune François are outstanding examples of cartographical art, indeed, among the most beautiful printed sea charts ever made.
This chart, which is oriented so that the west is at the top of the page, shows the north-eastern island of Denmark, Sjaelland on which is located Copenhagen and the neightboring shore of south-western Sweden, then called Schonen. There is an inset map showing Copenhagen in greater detail.
Koeman, M.Mor 1, #4
#10330$1,250.00
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 MORTIER, Pierre (1661-1711)
[Western Europe and the North Atlantic] Carte Generale Des Costes De L'Europe Sur L'Ocean Comprises depuis Drontheim en Norvege Jusques au Detroit de Gibraltar. Levée et Gravée par Ordre du Roy à Paris 1693
Paris [but Amsterdam]: Mortier, 1693. Copper-engraved sea chart, with full original colour and gold embellishments, a minor split at centerfold skilfully repaired, overall in very good condition. Sheet size: 24 1/2 x 37 inches.
A magnificent seventeenth-century sea chart of Western Europe, with gilt embellishments.
This large scale, beautifully coloured coastal chart of Western Europe comes from Le Neptune François, a lavish collection of charts produced collaboratively by Hubert Jaillot and Pierre Mortier. As Koeman discovered in his research on this work (see P. Mortier, Atlantes Neerlandici, Maritime Atlases, p. 423-4), Mortier re-engraved the plates after the original French prototype Neptune François by Charles Pène and others in a richly coloured version and added to the titles the words "Levée et Gravée par Ordre du Roy à Paris 1693", though they were in fact engraved, coloured and published in Amsterdam by Mortier. The Netherlands and France were engaged in the War of the Grand Alliance at this time.
Pierre Mortier's grandparents were French refugees, who left France in about 1625 to live in Leiden. His parents settled in Amsterdam in 1661 or 1662. Pierre Mortier grew up in Amsterdam but lived in Paris from 1681 to about 1685 where he must have gotten into the book trade. Once he was in Amsterdam again he specialized in French books and maintained his relationships with Parisian publishers. Amsterdam was at this time the international marketplace for books, especially books forbidden by repressive governments.
He established himself in the field of cartographical publishing by offering editions of French maps, primarily Sanson's and Jaillot's to a public tired of the great but dated Dutch offerings. Working on a scale larger than the typical Dutch folio map and providing the new insights of French geography, he was immensely successful. The charts in his version of Le Neptune François are outstanding examples of cartographical art. They are among the most beautiful printed sea charts ever made.
This general chart of the coast of Western Europe extends from the region west of Tronheim, Norway to about where Casablanca is on the coast of North Africa. It includes all of the British Isles and the coasts of, Denmark, northwestern Germany, Holland, France, Spain and Portugal. The map is oriented so that east is at the top of the page.
Koeman, Atlantes Neerlandici, M. Mor 1
#10376$3,500.00
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 MORTIER, Pierre (1661-1711)
[English Coast - The Thames and East Anglia] Carte de l'Entrèe de la Tamise Avec les Bancs, Passes, Isles et Costes comprises entre Sandwich et Clay. Levée et Gravée par ordre du Roy. A PARIS 1693. [with] Carte de la Tamise depuis L'Isle Greane jusques à Londres.
Paris [but Amsterdam: Mortier], 1693. Copper-engraved sea chart, with full original colour, printer's thumbprint lower left corner, overall in very good condition. Sheet size: 24 1/2 x 37 1/2 inches.
A beautiful coastal chart of the mouth of the Thames River and Suffolk, England, with inset map of the Thames to London.
This large scale, beautifully coloured coastal chart of the mouth of the Thames River and adjacent coasts comes from Le Neptune François, a lavish collection of charts produced collaboratively by Hubert Jaillot and Pierre Mortier. As Koeman discovered in his research on this work (see P. Mortier, Atlantes Neerlandici, Maritime Atlases, p. 423-4), Mortier re-engraved the plates after the original French prototype Neptune François by Charles Pène and others in a richly coloured edition and added to the titles the words "Levée et Gravée par ordre du Roy à Paris 1693" though they were in fact engraved, coloured and published in Amsterdam by Mortier.
Pierre Mortier's grandparents were French émigrés, who left France in about 1625 to live in Leiden. His parents settled in Amsterdam in 1661 or 1662. Pierre Mortier grew up in Amsterdam but lived in Paris from 1681 to about 1685 where he must have gotten into the book trade. Once he was in Amsterdam again he specialized in French books and maintained his relationships with Parisian publishers. Amsterdam was at this time the international marketplace for books, especially books forbidden by repressive governments.
He established himself in the field of cartographical publishing by offering editions of French maps, primarily Sanson's and Jaillot's to a public tired of the superb but dated Dutch offerings. Working on a scale larger than the typical Dutch folio map and providing the new insights of French geography, he was immensely successful. The charts in his version of Le Neptune François are outstanding examples of cartographical art. They are among the most beautiful printed sea charts ever made.
This chart gives the soundings, sandbars and shorelines for the entrance to the Thames River and adjacent coasts mostly to the north, in or including Suffolk and Norfolk. "Tamise" accords with the pronunciation and ancient form of "Thames", which was "Tamesis."
Koeman, Atlantes Neerlandici, Mor 1, 8.
#10483$2,000.00
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 MORTIER, Pierre (1661-1711)
[Morocco] Carte Particuliere des Costes de L'Afrique Qui comprend le Royaume de Maroc &c. Levée Par Ordre Expres des Roys de Portugal sous qui on en a Fait Decouverte.
Amsterdam: Pierre Mortier, [1700]. Copper-engraved map, with full original colour and gold embellishments, in excellent condition. Sheet size: 24 1/2 x 37 3/4 inches.
A highly decorative sea chart of the coast of Morocco, with exceptional original colour and highlights in gold
This large scale, beautifully coloured chart, which shows the northwest coast of Africa from Cape Spartel to a point in the Sahara adjacent to the Canary Islands, comes from the third part of Mortier's edition of Le Neptune François, or Suite du Neptune François, a lavish collection of charts derived from manuscripts in the Royal Portuguese archives. The Portuguese had of course been the first Europeans to explore the coasts of Africa. The coast from Gibraltar to the Canaries was well known during the Middle Ages, and had been known to the Romans. This chart is the most accurate and detailed of the African charts in the work, including as it does soundings and notes: historical and advisory. The place-names have changed radically of course.
Pierre Mortier's grandparents were French émigrés, who left France in about 1625 to live in Leiden. His parents settled in Amsterdam in 1661 or 1662. Mortier grew up in Amsterdam but lived in Paris from 1681 to about 1685 where he must have gotten into the book trade. Once he was in Amsterdam again he specialized in French books and maintained his relationships with Parisian publishers. Amsterdam was at this time the international marketplace for books, especially books forbidden by repressive governments.
He established himself in the field of cartographical publishing by offering editions of French maps, primarily Sanson's and Jaillot's to a public tired of the superb but dated Dutch offerings. Working on a scale larger than the typical Dutch folio map and providing the new insights of French geography, he was immensely successful. The charts in his version of Le Neptune François are outstanding examples of cartographical art. They are among the most beautiful printed sea charts ever made.
Koeman, Atlantes Neerlandici, Mor 7, # 9
#14842$1,850.00
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 MORTIER, Pierre (1661-1711)
[West African Coast] Carte des Costes de L'Afrique ou est compris une Partie de Guinée, Le Royaume de Benin, Isle de St. Thomas &c. Levée Par Ordre Expres des Roys de Portugal, sous quion en a Fiat Decouverte
Amsterdam: Pierre Mortier, [1700]. Copper-engraved map, with full original colour and gold embellishments, in very good condition. Sheet size: 24 1/2 x 37 3/4 inches.
A superb coastal chart of western Africa, with exquisite original colour and gold highlights
This large scale, beautifully coloured chart, which shows the west coast of Africa from the southern border of Morocco to the southern border of Gabon, comes from the third part of Mortier's edition of Le Neptune François, or Suite du Neptune François, a lavish collection of charts derived from manuscripts in the Royal Portuguese archives. The Portuguese had of course been the first Europeans to explore the coasts of Africa. The map includes two handsome vignettes of the historically important islands that lie somewhat outside the purview of this chart: Ascension Island and St. Helena.
Pierre Mortier's grandparents were French émigrés, who left France in about 1625 to live in Leiden. His parents settled in Amsterdam in 1661 or 1662. Mortier grew up in Amsterdam but lived in Paris from 1681 to about 1685 where he must have gotten into the book trade. Once he was in Amsterdam again he specialized in French books and maintained his relationships with Parisian publishers. Amsterdam was at this time the international marketplace for books, especially books forbidden by repressive governments.
He established himself in the field of cartographical publishing by offering editions of French maps, primarily Sanson's and Jaillot's to a public tired of the superb but dated Dutch offerings. Working on a scale larger than the typical Dutch folio map and providing the new insights of French geography, he was immensely successful. The charts in his version of Le Neptune François are outstanding examples of cartographical art. They are among the most beautiful printed sea charts ever made.
Koeman, Atlantes Neerlandici, M. Mor 7, #5
#14844$1,500.00
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 MORTIER, Pierre (1661-1711)
[France] I. Carte Particuliere des Costes de Normandie Depuis Dieppe jusqu'a la pointe de la Percée en Bessin Faitte Par Ordre Exprez du Roy de France
Mortier: Amsterdam, 1693. Engraving with full, period color. Heavy oxidation causing splits at some boundary lines that have been re-enforced, and in the lower left portion of the chart, otherwise excellent. Image size (including text): 23 x 33 1/2 inches. Sheet size: 24 1/2 x 37 1/2 inches.
This large scale, beautifully coloured chart which shows the coast of Normandy in the region of Le Havre, comes from Le Neptune François, a lavish collection of charts produced collaboratively by Hubert Jaillot and Pierre Mortier. As Koeman discovered in his research on this work (see P. Mortier, Atlantes Neerlandici, Maritime Atlases, p. 423-4), Mortier re-engraved the plates after the original French prototype Neptune François by Charles Pène and others in a richly coloured edition and added to the titles the words "Faitte Par Ordre Exprez du Roy de France." The Netherlands and France were engaged in the War of the Grand Alliance at this time.
Pierre Mortier's grandparents were French émigrés, who left France in about 1625 to live in Leiden. His parents settled in Amsterdam in 1661 or 1662. Pierre Mortier grew up in Amsterdam but lived in Paris from 1681 to about 1685 where he must have gotten into the book trade. Once he was in Amsterdam again he specialized in French books and maintained his relationships with Parisian publishers. Amsterdam was at this time the international marketplace for books, especially books forbidden by repressive governments.
He established himself in the field of cartographical publishing by offering editions of French maps, primarily Sanson's and Jaillot's to a public tired of the superb but dated Dutch offerings. Working on a scale larger than the typical Dutch folio map and providing the new insights of French geography, he was immensely successful. The charts in his version of Le Neptune François are outstanding examples of cartographical art. They are among the most beautiful printed sea charts ever made.
This chart gives the soundings and coastal details from Pointe de la Percée to (near Isigny) to a point northeast of Dieppe.
Koeman, M. Mor 1 (16)
#16086$1,500.00
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 MORTIER, Pierre (1661-1711)
[North and South Carolina] Carte General de la Caroline. Dresse sur les Memoires le plus Nouveaux par le Sieua [sic.] S**
Amsterdam: P. Mortier, [1700]. Copper-engraved map, with full original colour. Sheet size: 23 3/4 x 19 1/2 inches.
A fine copy of the first map of the Carolinas to be printed outside of England, including an inset of Charleston with the names and positions of early plantations along the Ashley and Cooper Rivers, present here in the first state
This is the first map of the Carolinas to be printed outside of England, and was included as part of Pierre Mortier's Suite de Neptune François, published in Amsterdam in 1700, and often incorrectly attributed to Nicolas Sanson. It is directly derived from the extremely rare A New Map of Carolina of 1685 by John Thornton, Robert Morden and Philip Lea. All topographical details are identical to those of its antecedent, however most of the place names have been Gallicized. Also, "The table of settlers" has been omitted in favour of the title caption. Amusingly a "Charle Ville ou Charles Towne" appears written in large letters near Cape Fear, while the actual Charles Towne is labeled in small letters further down the coast. The present map includes an inset detail of Charleston and the Cooper and Ashley Rivers with the names and positions of various early plantations marked along their banks.
'Carolina was established in 1663 when Charles II granted the province to eight favorites, known as the Lord Proprietors, who had helped him regain the throne of England. The original grant included the territory between the 31st degree to 36 1/2 degrees north latitude, from Jekyll Island, Georgia, to Curritiuck Inlet, North Carolina. Two years later, the tract was enlarged to include the land between the 29th and the 31st degrees north latitude, thus adding a large portion of Florida. The grant extended west to the Pacific Ocean' (Degrees of Latitude, p.93).
Burden, The Mapping of North America II, 767; Cumming, The Southeast in Early Maps, 120; Koeman, Atlantes Neerlandici IV, M.Mor 7-33
#19785$6,500.00
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 MORTIER, Pierre (1661-1711)
[South Carolina] Carte Particulière de la Caroline dressé sur les Memoires le plus nouveaux par le Sieur S***
Amsterdam: P. Mortier, [1700]. Copper-engraved map, with original outline colour, in very good condition. Sheet size: 19 1/3 x 24 1/3 inches.
The first map of South Carolina to be printed outside of England, with the names and positions of early plantations, present here in the first state
This is the first map of South Carolina to be printed outside of England, and was included as part of Pierre Mortier's Suite de Neptune François, published in Amsterdam in 1700, and often incorrectly attributed to Nicolas Sanson. The map embraces most of South Carolina from the Santee River in the north, to the South Edisto river in the south. It is directly derived from the extremely rare A New Map [of] South Carolina of 1695 by John Thornton and Robert Morden. All topographical details are identical to those of its antecedent, however most of the place names have been Gallicized. Importantly, however, Mortier labelled over 250 plantations with their proprietor's names, far more than any previous map. The street grid of Charleston is outlined, and the network of roads connecting the various settlements is delineated.
"Carolina was established in 1663 when Charles II granted the province to eight favorites, known as the Lord Proprietors, who had helped him regain the throne of England. The original grant included the territory between the 31st degree to 36 1/2 degrees north latitude, from Jekyll Island, Georgia, to Curritiuck Inlet, North Carolina. Two years later, the tract was enlarged to include the land between the 29th and the 31st degree north latitude, thus adding a large portion of Florida. The grant extended west to the Pacific Ocean" (Degrees of Latitude, p.93). Carolina was divided into two separate colonies in 1712, and South Carolina received its royal charter in 1729.
Burden, The Mapping of North America II, 768; Cumming, The Southeast in Early Maps, 121; Koeman, Atlantes Neerlandici IV, M.Mor 7-34
#19793$9,500.00
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 MOSKOWITZ, Ira (illustrator). - Isaac Bashevis SINGER (1902-1991)
Satan in Goray ... With a new introductory essay by the author The Making of a First Book
New York: Sweetwater Editions, 1981. 4to (11 1/2 x 8 3/4 inches). Frontispiece and illustrations after Moskowitz, 10 etched plates by Moskowitz, each signed in pencil by the artist. Purple morocco, the upper cover and spine tooled in gilt.
Limited edition of 475 copies, this copy out-of-series and un-numbered, with the limitation leaf signed by the author and artist, and all the etchings signed by the artist.
"For this edition ... the author has made certain revisions in the English language text. He also wrote a new, introductory essay ... Ira Moskowitz has created ten original copperplate etchings and forty drawings for the text. The etchings have been pulled at the Emiliano Sorini studio, New York, on Arches paper. The text and the drawings have been printed by the Meridien Gravure Company, Meridien, Connencticut on Linweave text" (limitation leaf).
"I. B. Singer's first novel was Satan in Goray which he first published in installments in a literary magazine, Globus, which he had founded with his life-long friend, the Yiddish poet Aaron Zeitlin in 1935. It tells the story of the events in the village of Goraj (close to Bilgoraj), after the terrible catastrophe of 1648, where the Jews of Poland lost a third of their population in a cruel uprising by Cossacks and the effects of the seventeenth century faraway false messiah Shabbatai Zvi on the local population. Its last chapter is written in the style imitative of medieval Yiddish chronicle. In its stark depiction of innocence crushed by circumstance it appears like a foreboding of the coming danger." (Wikipedia)
#20373$950.00
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 MOUZON, Henry (d.1777)
[North and South Carolina] An Accurate Map of North and South Carolina, with their Indian Frontiers, Shewing in a distinct manner all the Mountains, Rivers, Swamps, Marshes, Bays, Creeks, Harbours, Sandbanks and Soundings on the Coasts, with the Roads and Indian Paths as well as the Boundary or Provincial Lines, the Several Townships and other divisions of the land in both the Provinces; the whole from Actual Surveys by Henry Mouzon and others.
London: R. Sayer & J. Bennet, May 30th, 1775 [but 1776]. Copper-engraved map, engraved by Samuel Turner Sparrow, on four sheets of two joined pairs, each pair measuring 21 1/2 x 55 7/8 inches, and if joined, would measure 43 x 55 7/8 inches, with original outline colour, in very good condition.
A rare monumental work, one of the finest and most important maps of the Carolinas, which "appeared on the eve of the American Revolution, and its up-to-date geography made it the most widely consulted map of the area used in the war effort" (Degrees of Latitude, p.209).
The present map was so detailed and geographically advanced that it remained the seminal map of the Carolinas for the following two generations. Its appearance in the days leading up to the American Revolution ensured that it was the primary map used by field commanders on both sides as the dramatic events of the conflict unfolded in the Carolinas. This is evinced by the fact that the very copies used by three of the most important commanders are today preserved in libraries. George Washington's copy, folded and mounted on cloth, resides in the collections of The American Geographical Society. The French commander, the Comte de Rochambeau's copy belongs to the collections of the Library of Congress; and British commander, Sir Henry Clinton's copy is housed in the William L. Clements Library at the University of Michigan.
Henry Mouzon produced a map that was one of the finest expressions of American cartography in the years leading up to the Revolution; however, he remains one of the most enigmatic of all the mapmakers of this period. All that is known of him is that this masterly work was devised by Henry Mouzon of Craven County, who was a professional surveyor, and was described as having left "Sundry maps and two copper plates" in the inventory of his estate after his death in April, 1777. Mouzon first announced his intention to publish a map depicting just South Carolina in an advertisement in The South Carolina and American General Advertiser in the Spring of 1774. However, as Mouzon proceeded he clearly elected to undertake a much greater endeavour that would cover both of the Carolinas, which had been officially divided into the two separate colonies of North and South Carolina in 1730.
Mouzon's great work was first published by the leading London firm of Sayer & Bennett in 1775. Up until its publication, it was clear that Mouzon had surpassed all of his antecedents in terms of both the scope and accuracy of the region depicted. He largely derived his portrayal of South Carolina on the two excellent recent maps by the military engineer James Cook, A Map of South Carolina (1771) and A Map of the Province of South Carolina (1773). He was also well apprised of William De Brahm's monumental Map of South Carolina and a Part of Georgia (1757). Mouzon importantly improved upon these sources by providing greater definition of the rivers and more detail regarding the native settlements located to the west of the Cherokee Line. With regards to his depiction of North Carolina, Mouzon used John Abraham Collets' magnificent A Compleat Map of North-Carolina (1770) as a basis, but superceded it by adding the delineation of more counties and far more advanced delineation of the Catawba River and its tributaries. It would also seem that Mouzon consulted an alternate source for the depth soundings noted off of the coastline, as the hydrographic information is decidedly different from that used by Collet.
This map exists in three states, of which the present copy represents the second state, which is distinguished from the former by the addition of "Fort Sullivan" to the inset of Charleston Harbour in the map's lower right. It was included in the 1776 edition of Thomas Jefferys's American Atlas, one of the most important works in the history of American cartography.
Cumming, North Carolina in Maps, pp.21-22; Cumming, Southeast in Early Maps, 450; Guthorn, British Maps of the American Revolution, 83/1 & 150/13; Degrees of Latitude, 44; Schwartz & Ehrenberg, Mapping of America, p.187; Sellers & Van Ee, Maps & Charts of North America & West Indies, p.298; Stevens & Tree, 'Comparative Cartography,' 11 (citing only the first and third states), in Tooley, The Mapping of America.
#19721$35,000.00
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 MOYREAU, Jean (1690-1762) after Jean-Antoine WATTEAU (1684-1721)
La Cause Badine
Paris: chez Gersaint et chez Surugue, [1747]. Engraving, printed on laid paper. Very good condition with the exception of some repair in the bottom right hand corner of sheet. Image size: 13 7/8 x 19 inches. Plate mark: 14 1/2 x 19 5/8 inches. Sheet size: 16 1/2 x 21 1/4 inches.
A charming decorative plate depicting a group of children playfully engaged in an argument, from Moyreau's "Oeuvres Des Estampes Gravées d'après Les Tableaux & Desseins de feu Antoine Watteau."
Born in Valenciennes in 1684, the versatile artist Jean-Antoine Watteau was primarily renowned for his fête galante paintings depicting aristocratic men and women amorously conversing in the outdoors. Following a brief apprenticeship to the local painter Jacques-Albert Gérin, Watteau moved to Paris in 1702 where he later studied with Claude Gillot, scene painter for the comédie italienne, who introduced him to the commedia dell'arte, which later became a recurrent theme in his work. In 1708, he began to work with the decorator Claude Audran, under whose tutelage he produced several innovative ornamental decorations that were for porcelain, furniture, and textiles. Watteau was also a prolific draughtsman and his varied and substantial oeuvre includes military, genre, religious, mythological, and theatrical scenes as well as tapestry cartoons. After Watteau's death in 1721, his friend Jean de Jullienne commissioned a comprehensive body of engravings after the artist's drawings and paintings, which further solidified his reputation as one of the most influential and prominent artists of the Rococo period.
Cf. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, vol 14, p. 473-6; cf. Dacier & Vuaflart Jean de Jullienne et Les Graveurs de Watteau au XVIIIeime Siècle, 119.
#16913$900.00
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 MÜLLER, Walter
Anemone nemorosa [Wood Anemone] [Taf. 3]
[Taf. 3]. Braunschweig: Friedrich Viewig & Sons, circa 1895. Colour-printed lithograph. Discrete ink stamp in the lower right corner of the plate. Good condition apart from some minor soiling. Image size (including text): 27 x 19 1/8 inches. Sheet size: 29 3/4 x 22 5/8 inches.
A rare, vividly coloured plate from 'Anschauungstafeln fuer den Unterricht in der Pflanzenkunde', Friedrich Oskar Pilling's detailed series of botanical teaching posters.
Botanical posters such as this were primarily used by German university instructors during the nineteenth and twentieth centuries to teach courses in botany and phytopharmacy. They were also sometimes used in high school biology classes. Typically, they were hung on the walls of a classroom or lecture hall where the teacher could refer to them during the course of a lecture. The particular series from which this plate comes most likely illustrates the complete system of flowering plants as well as the most common and significant species of the major plant families. Although occasionally printed as a series and issued by a major publisher such as Viewig & Sons, these didactic posters were frequently individually hand-made and hand-painted. They are rarely used today, and can usually only be found in university archives, libraries, and botanical museums.
#12406$650.00
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 MÜLLER, Walter
Chrysanthemum leucanthemum [Chrysanthemum] [Taf. 23]
[Taf. 23]. Braunschweig: Friedrich Viewig & Sons, circa 1895. Colour-printed lithograph. Discrete ink stamp in the lower right corner of the plate. Good condition apart from some overall light soiling, mild rippling. Image size (including text): 26 3/4 x 19 1/4 inches. Sheet size: 30 x 22 5/8 inches.
A rare, vividly coloured plate from 'Anschauungstafeln fuer den Unterricht in der Pflanzenkunde', Friedrich Oskar Pilling's detailed series of botanical teaching posters.
Botanical posters such as this were primarily used by German university instructors during the nineteenth and twentieth centuries to teach courses in botany and phytopharmacy. They were also sometimes used in high school biology classes. Typically, they were hung on the walls of a classroom or lecture hall where the teacher could refer to them during the course of a lecture. The particular series from which this plate comes most likely illustrates the complete system of flowering plants as well as the most common and significant species of the major plant families. Although occasionally printed as a series and issued by a major publisher such as Viewig & Sons, these didactic posters were frequently individually hand-made and hand-painted. They are rarely used today, and can usually only be found in university archives, libraries, and botanical museums.
#12586$650.00
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 MÜNSTER, Sebastian (1488-1552)
Cosmographiae Universalis Lib. VI. in quibus iuxta certioris fidei scriptores, sine omni ciuscunq[u]e molestia, vel læsione, describuntur
Basel: Heinrich Petri, March 1572. Folio (12 3/8 x 7 3/4 inches). Woodcut portrait of Münster on verso of title-page, 25 double-page woodcut maps with printed text on versos, numerous woodcut illustrations (including maps and fifty-two double-page town views). (View of Genoa slightly frayed at edges, a few town views shaved close). Contemporary blind-stamped calf, covers with double fillet outer border, surrounding a large centrally-placed blind-stamped arabesque medallion, spine in seven compartments with raised bands flanked by fillets in blind, neat repair to the head of the spine, modern black morocco-backed cloth box, "spine" gilt. Provenance: Earls of Macclesfield (early shelf mark, engraved armorial bookplate dated 1860, small blind-stamp to upper margins of title and first leaf of text).
A fine copy of the fifth, and most comprehensive, Latin edition of Sebastian Münster's landmark work: an important edition of his comprehensive geography, including an important world map. This is the first edition to include the plan of Cusco and the map of Cuba.
The most significant map in the volume is a woodcut world map originally prepared for the 1550 edition, to replace an earlier world map first published in the author's 1540 edition of Ptolemy's Geographia. "The new world map is on an oval projection, similar in many respects to the previous map, but with the woodcutter's initials 'DK,' identified as those of David Kandel, in the lower left-hand corner. The titles of the windheads are now in banners and the east and west winds (unlike the 1540 version) do not protrude inside the oval circumference. North America still retains its unusual shape almost bisected by water" (Shirley).
The first edition of the German cartographer and geographer's Cosmographia was published in German in 1544, following his publications based on the work of Solinus, Mela, and Ptolemy. The first edition in Latin was published in 1550 and proved to be the template on which many subsequent editions (including the present edition) were based. Karrow writes that the "1550 Cosmographia, with [concurrent] editions in both Latin and German, constitutes the full fruition of Münster's dream of a comprehensive geography. It was much larger...and, according to [Gerald] Strauss, 'was practically an entirely new work." Among its glories are dozens of city views." Descriptions, maps, and city views representing all areas of the known world at the time are included. The section devoted to the New World is found on pp.1260-1277 and includes descriptions of the various voyages of Columbus, Vespucci, and Magellan. References to, and small woodcut illustrations of, the region's cannibals are also included. The two-page city plan of Cusco, portrayed as a walled and symmetrical European metropolis situated in rolling hills, was taken from the image found in Ramusio's Terzo volume delle navigatione et viaggi (Venice, 1556). The map of Cuba, measuring 3 x 5 inches, is printed in the section devoted to Columbus. The map of the city of Mexico is based on the famous map which first appeared in the 1524 Second Cortes Letter.
Burmeister (Münster) 91; European Americana 572/39; JCB (3) I:249; JCB German Americana 572/2; Karrow Mapmakers of the sixteenth century pp.429-434; Sabin 51383; cf. Shirley 92 (1550 Basel ed).
#19334$50,000.00
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 MÜNSTER, Sebastian (1488-1552)
[Americas & Western Hemisphere] Novae Insulae XVII Nova Tabula
[Basel: Heinrich Petri in the 'Geographia Universalis', 1542]. Woodcut map, in excellent condition. Sheet size: 11 3/4 x 15 1/8 inches.
A very rare first-state example of Münster's highly-important map of the New World, from the second edition of his celebrated 'Geographia Universalis,' and an iconic masterpiece of Renaissance cartography
This map, Novae Insule XVII, Nova Tabula, which is of great epistemological importance, depicts the immense lands newly discovered in the Western Hemisphere during the preceding two generations. Sebastian Münster's use of the term "Americam" on the map, in addition to the hemisphere's designation as the "Novus Orbis" (New World), helped to solidify America as the name for the New World. This is also the earliest printed map to use the name "Mare Pacificum" for the Pacific Ocean, first discovered by Balboa in 1513. South America is much more clearly defined and accurately drawn than North America, as it was the object of greater European exploration. The Portuguese flag is shown flying over the South Atlantic and the Spanish banner flies over her possessions in the Caribbean, alluding to the papal Edict of Tordesillas (1494), which divided the world between the two Iberian powers. The Straits of Magellan are named and Magellan's ship, Victoria, is shown in the Pacific Ocean. A woodcut of a pyre with a leg hanging from a tree limb identifies the region where "Canibali" live in the eastern bulge of South America, now known as Brazil, in light of the vivid tales of Amerigo Vespucci. The area now encompassed by Argentina is called "Regio Gigantum" in honor of the gargantuan Patagonians that Magellan's men reported meeting there. Several islands are shown in the Caribbean, including Cuba, Hispaniola, and Jamaica, while the Yucatan Peninsula of Mexico is also shown as an island. The only place named in what is now the United States is "Terra Florida," having been discovered by Juan Ponce de Leon in 1513. The French territories in Canada, "Francisca," discovered by Jacques Cartier in 1534, is shown lying far to the east of the rest of North America. Münster showed North America narrowing into a slender isthmus in the area of modern North Carolina. This was due to Giovanni di Verrazzano's mis-identification of the Outer Banks of North Carolina as "Oriental Sea" that led to Cathay and the Spice Islands, and this led to greater interest in the exploration of the Atlantic Coast of North America. "Zipangri" (Japan) is located in the middle of the Pacific amidst 7,446 islands following the tales of Marco Polo.
Münster was a brilliant polymath and one of the most important intellectuals of the Renaissance era. Educated at Tübingen, his surviving college notebooks, Kollegienbuch, reveal a mind of insatiable curiosity, especially with regards to cosmography. Münster later became a professor of Hebrew at Heidelberg, and then from 1529 at the University of Basel. In the 1530s, he turned his attentions to translating Ptolemy's Geography, adding new material that related to the lands newly discovered in the Americas and Asia. The result was the publication of his highly regarded Geographia Universalis, first printed in 1540, of which the present map of the New World was by far its most celebrated component. The present map is from the second edition, but still represents the first-state of the map, as the same unaltered woodblock from the initial printing was employed in the production of the second edition. Münster was also a trend-setter in his ideas regarding design and layout of maps, and he was one of the first to create space on his woodblocks for the insertion of place names in metal type. Münster later published his Cosmographia (1544, revised 1550), a monumental encyclopedic book of contemporary knowledge and legend that became one of the most widely read books in Europe.
Burden, Mapping of North America I, 12 (Latin text, state 1): Kershaw, Early Printed Maps of Canada I, 1b; Suárez, Shedding the Veil, pp.81-85. pl.16. Cf. Schwartz & Ehrenberg, Mapping of America, p.45, pl.18; Cf. Skelton, Decorative Printed Maps, p.40; Suárez, Early Mapping of the Pacific, p.49; Tooley, Mapping & Mapmakers, p.112, pl.80.
#19856$15,000.00
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 MÜNSTER, Sebastian (1488-1552)
[Asia] India Extrema, XIX; Nova Tabula
[Basel: Heinrich Petri in the 'Geographia Universalis', 1542]. Woodcut map, in excellent condition. Sheet size: 11 3/4 x 15 1/8 inches.
The rare first state of Münster's highly important map of Asia, a veritable masterpiece of Renaissance cartography
Münster's India Extrema, XIX, Nova Tabula is a very elegant map, that embraces most of Asia, from the Persian Gulf to the Far East. Although largely based on Ptolemy's ancient template, it includes some advancements gleaned from recent Portuguese discoveries. The outlines of the Indian subcontinent, between the Indus and the Ganges rivers begins to take a recognizable form, with "Zaylon" (Sri Lanka) correctly appearing as its own island. The Portuguese outpost of Goa and Calicut, the first place where Vasco da Gama landed in 1497, are depicted. Further to the east "Taprobana" (the name Ptolemy gave to Sri Lanka) is also designated as "Sumatra.".On the adjacent Malay Peninsula is the important trading port of "Malaqua" (Malacca). Java is also portrayed, but is depicted as two separate islands. "Moloca" (The Moluccas), the Spice Islands that were a major point of contention between Spain and Portugal are shown. The resolution of the dispute was the official purpose of Magellan's epic circumnavigation. The depiction of "Cathay" (China) is shown to be largely predicated on Venetian lore. The seas to the south of the map are adorned with a large sea monster and a mermaid with a bifurcated tail.
Münster was a brilliant polymath and one of the most important intellectuals of the Renaissance era. Educated at Tübingen, his surviving college notebooks, Kollegienbuch, reveal a mind of insatiable curiosity, especially with regards to cosmography. Münster later became a professor of Hebrew at Heidelberg, and then from 1529 at the University of Basle. In the 1530s, he turned his attention to translating Ptolemy's Geography, adding new material that related to the lands newly discovered in the Americas and Asia. The result was the publication of his highly regarded Geographia Universalis, first printed in 1540. The present map is from the second edition, but still represents the first-state of the map, as the same unaltered woodblock from the initial printing was employed in the production of the second edition. Münster was also a trend-setter in his ideas regarding design and layout of maps, and he was one of the first to create space on his woodblocks for the insertion of place names in metal type. Münster later published his Cosmographia (1544, revised 1550), a monumental encyclopedic book of contemporary knowledge and legend that became one of the most widely read books in Europe.
Parry, The Cartography of the East Indian Islands, pp.65-68, pl. 3.8
#20040$4,800.00
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 MÜNSTER, Sebastian (1488-1552)
[Africa] Africa XVIII, Nova Tabula
[Basel: Heinrich Petri in the 'Geographia Universalis', 1542]. Woodcut map, in excellent condition. Sheet size: 11 3/4 x 15 1/8 inches.
The first state of the earliest reasonably obtainable map to focus on the depiction of the entire continent of Africa, and a veritable masterpiece of Renaissance cartography
This highly important map represents the earliest reasonably obtainable map to depict the entire continent of Africa. Africa XVIII, Nova Tabula, is a fantastic visual synergy of archaic imagination and recent exploration. The overall shape of the continent is quite well defined, having been extensively explored by the Portuguese since the time of Prince Henry the Navigator in the mid-fifteenth-century, a point highlighted by the appearance of a caravel in the lower part of the map. Africa's various kingdoms are denoted by pictorial symbols of a crown and sceptre. Following Ptolemaic tradition, the Nile has its source in a series of lakes that lie at the foot of the mysterious Mountains of the Moon. The land around the Cape of Good Hope in South Africa is embellished by the appearance of an elephant, and exotic parrots occupy trees in Angola. Most amusingly, near the coast of east Africa, the "Monoculi," or one-eyed man imagined by Classical writers sits in wait for some hypothetical European visitor.
Münster was a brilliant polymath and one of the most important intellectuals of the Renaissance era. Educated at Tübingen, his surviving college notebooks, Kollegienbuch, reveal a mind of insatiable curiosity, especially with regards to cosmography. Münster later became a professor of Hebrew at Heidelberg, and then from 1529 at the University of Basle. In the 1530s, he turned his attentions to translating Ptolemy's Geography, adding new material that related to the lands newly discovered in the Americas and Asia. The result was the publication of his highly regarded Geographia Universalis, first printed in 1540. The present map is from the second edition, but still represents the first-state of the map, as the same unaltered woodblock from the initial printing was employed in the production of the second edition. Münster was also a trend-setter in his ideas regarding design and layout of maps, and he was one of the first to create space on his woodblocks for the insertion of place names in metal type. Münster later published his Cosmographia (1544, revised 1550), a monumental encyclopedic book of contemporary knowledge and legend that became one of the most widely read books in Europe.
Norwich, Maps of Africa, 2; Tooley, The Printed Maps of the Whole of the Continent of Africa, Part 1 (1500-1600), 6
#20041$4,500.00
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 MÜNSTER, Sebastian (1488-1552)
[Europe] Europa Prima Nova Tabula
[Basel: Heinrich Petri in the 'Geographia Universalis', 1542]. Woodcut map, in excellent condition. Sheet size: 11 3/4 x 15 1/8 inches.
A very rare first-state example of Münster's very fine map of Europe, a veritable masterpiece of Renaissance cartography
Europa Prima XVII Nova Tabula, depicts the continent oriented to the south, an aspect common to many Renaissance maps of Europe. The continent is depicted from Iberia in the west to "Constantinopel" (Istanbul) in the east, and from Denmark and Scotland in the north to the Pillars of Hercules in the south. The map is quite geographically advanced, especially considering that it preceded the triangulated surveys conducted later in the century. All major cities are represented by pictorial symbols, and rivers, mountain ranges and forests are elegantly illustrated. A caravel graces the waters of the Bay of Biscay.
Münster was a brilliant polymath and one of the most important intellectuals of the Renaissance era. Educated at Tübingen, his surviving college notebooks, Kollegienbuch, reveal a mind of insatiable curiosity, especially with regards to cosmography. Münster later became a professor of Hebrew at Heidelberg, and then from 1529 at the University of Basle. In the 1530s, he turned his attentions to translating Ptolemy's Geography, adding new material that related to the lands newly discovered in the Americas and Asia. The result was the publication of his highly regarded Geographia Universalis, first printed in 1540. The present map is from the second edition, but still represents the first-state of the map, as the same unaltered woodblock from the initial printing was employed in the production of the second edition. Münster was also a trend-setter in his ideas regarding design and layout of maps, and he was one of the first to create space on his woodblocks for the insertion of place names in metal type. Münster later published his Cosmographia (1544, revised 1550), a monumental encyclopedic book of contemporary knowledge and legend that became one of the most widely read books in Europe.
Karrow, Mapmakers of the Sixteenth Century & Their Maps, 16 (a) 58/101
#20042$3,000.00
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 MUYBRIDGE, Eadweard (1830-1904)
Plate 507 from Animal Locomotion. An Electro-Photographic Investigation of Consecutive Phases of Animal Movements
Philadelphia: The University of Philadelphia, 1887. Collotype plate by Muybridge printed by the Photo-Gravure Company. In excellent condition, apart from a light dampstain to the right blank margin. Sheet size: 18 7/8 x 23 15/16 inches.
A fine print from Muybridge's chef-d'oeuvre, a work that -- like Stubbs' "Anatomy of the Horse" -- is as important in the field of science as it is in that of art.
Cf. Roosens and Salu 7236
#18100$1,500.00
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 MUYBRIDGE, Eadweard (1830-1904)
Plate 453 from Animal Locomotion. An Electro-Photographic Investigation of Consecutive Phases of Animal Movements
Philadelphia: The University of Philadelphia, 1887. Collotype plate by Muybridge printed by the Photo-Gravure Company. In excellent condition, apart from some light spotting and surface soiling to the blank margins. Sheet size: 18 3/4 x 23 7/8 inches.
A fine print from Muybridge's chef-d'oeuvre, a work that -- like Stubbs' "Anatomy of the Horse" -- is as important in the field of science as it is in that of art.
Cf. Roosens and Salu 7236
#18101$1,500.00
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