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browsing 4487 items
displaying items 3301 to 3400
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 POITEAU, Antoine (1766-1854) and Pierre-Jean-François TURPIN (1775-1840)
Galande [Peach] [Pl. 139]
[Pl. 139]. Paris and Strasbourg: Levrault, [1807-] 1835. Stipple-engraving, printed in colours and finished by hand with water-colour, engraved by Bouquet. Very good condition apart from some overall light soiling and creasing, minor foxing, and several small light brown spots in the margins. Plate mark: 12 5/8 x 9 5/8 inches. Sheet size: 15 3/4 x 11 1/8 inches.
A masterpiece of pomological illustration by one of the greatest fruit painters of the 19th century, from Duhamel du Monceau's 'Traité des arbres fruitiers', a work that is rightly described by Dunthorne as 'one of the finest and rarest books on fruit'.
The production of these delightful and beautifully coloured plates involved a team of over twenty engravers, while the colour-printing was done solely by Langlois, the great French colour-printer who supervised Redouté's work. They skillfully capture the beauty and subtle richness of colour of the original watercolour paintings. The use of the coloured stipple engraving is here seen at its peak.
Poiteau, a pupil of Redouté, trained as a botanist and was employed at the Jardin des Plantes in Paris. Turpin, a self-taught artist, went on to illustrate a number of his own works.
Cf. Nissen BBI 551; cf. Great Flower Books (1990), p. 93; cf. Dunthorne 101; cf. Pritzel 2467; cf. Stafleu & Cowan TL2 1548.
#8745 $475.00  
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 POITEAU, Antoine (1766-1854) and Pierre-Jean-François TURPIN (1775-1840)
Pomme Princesse [Apple] [Pl. 8]
[Pl. 8]. Paris and Strasbourg: Levrault, [1807-] 1835. Stipple-engraving, printed in colours and finished by hand with water-colour, engraved by Bouquet after Turpin. Very good condition apart from some overall light soiling. Plate mark: 12 3/8 x 9 1/2 inches. Sheet size: 20 1/4 x 12 7/8 inches.
A masterpiece of pomological illustration by one of the greatest fruit painters of the 19th century, from Duhamel du Monceau's 'Traité des arbres fruitiers', a work that is rightly described by Dunthorne as 'one of the finest and rarest books on fruit'.
The production of these delightful and beautifully coloured plates involved a team of over twenty engravers, while the colour-printing was done solely by Langlois, the great French colour-printer who supervised Redouté's work. They skillfully capture the beauty and subtle richness of colour of the original watercolour paintings. The use of the coloured stipple engraving is here seen at its peak.
Poiteau, a pupil of Redouté, trained as a botanist and was employed at the Jardin des Plantes in Paris. Turpin, a self-taught artist, went on to illustrate a number of his own works.
Cf. Nissen BBI 551; cf. Great Flower Books (1990), p. 93; cf. Dunthorne 101; cf. Pritzel 2467; cf. Stafleu & Cowan TL2 1548.
#8748$475.00
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 POITEAU, Antoine (1766-1854) and Pierre-Jean-François TURPIN (1775-1840)
Doux-juvigny [Apple] [Pl. 278]
[Pl. 278]. Paris and Strasbourg: Levrault, [1807-] 1835. Stipple-engraving, printed in colours and finished by hand with water-colour, engraved by Gabriel after Turpin. Very good condition apart from some overall light soiling, minor foxing, and slight creasing. Plate mark: 12 1/2 x 9 3/4 inches. Sheet size: 17 3/4 x 12 1/2 inches.
A masterpiece of pomological illustration by one of the greatest fruit painters of the 19th century, from Duhamel du Monceau's 'Traité des arbres fruitiers', a work that is rightly described by Dunthorne as 'one of the finest and rarest books on fruit'.
The production of these delightful and beautifully coloured plates involved a team of over twenty engravers, while the colour-printing was done solely by Langlois, the great French colour-printer who supervised Redouté's work. They skillfully capture the beauty and subtle richness of colour of the original watercolour paintings. The use of the coloured stipple engraving is here seen at its peak.
Poiteau, a pupil of Redouté, trained as a botanist and was employed at the Jardin des Plantes in Paris. Turpin, a self-taught artist, went on to illustrate a number of his own works.
Cf. Nissen BBI 551; cf. Great Flower Books (1990), p. 93; cf. Dunthorne 101; cf. Pritzel 2467; cf. Stafleu & Cowan TL2 1548.
#8751$475.00
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 POITEAU, Antoine (1766-1854) and Pierre-Jean-François TURPIN (1775-1840)
Gros Pigeonnet [Apple] [Pl. 193]
[Pl. 193]. Paris and Strasbourg: Levrault, [1807-] 1835. Stipple-engraving, printed in colours and finished by hand with water-colour, engraved by Bouquet after Turpin. Very good condition apart from some overall light soiling and minor foxing. Plate mark: 12 3/4 x 9 1/2 inches. Sheet size: 17 7/8 x 13 3/8 inches.
A masterpiece of pomological illustration by one of the greatest fruit painters of the 19th century, from Duhamel du Monceau's 'Traité des arbres fruitiers', a work that is rightly described by Dunthorne as 'one of the finest and rarest books on fruit'.
The production of these delightful and beautifully coloured plates involved a team of over twenty engravers, while the colour-printing was done solely by Langlois, the great French colour-printer who supervised Redouté's work. They skillfully capture the beauty and subtle richness of colour of the original watercolour paintings. The use of the coloured stipple engraving is here seen at its peak.
Poiteau, a pupil of Redouté, trained as a botanist and was employed at the Jardin des Plantes in Paris. Turpin, a self-taught artist, went on to illustrate a number of his own works.
Cf. Nissen BBI 551; cf. Great Flower Books (1990), p. 93; cf. Dunthorne 101; cf. Pritzel 2467; cf. Stafleu & Cowan TL2 1548.
#8752$475.00
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 POITEAU, Antoine (1766-1854) and Pierre-Jean-François TURPIN (1775-1840)
Pomme de rosée [Apple] [Pl. 234]
[Pl. 234]. Paris and Strasbourg: Levrault, [1807-] 1835. Stipple-engraving, printed in colours and finished by hand with water-colour, engraved by Bouquet after Turpin. Good condition apart from some overall light soiling and minor foxing. Plate mark: 12 3/8 x 9 1/4 inches. Sheet size: 20 1/8 x 14 1/8 inches.
A masterpiece of pomological illustration by one of the greatest fruit painters of the 19th century, from Duhamel du Monceau's 'Traité des arbres fruitiers', a work that is rightly described by Dunthorne as 'one of the finest and rarest books on fruit'.
The production of these delightful and beautifully coloured plates involved a team of over twenty engravers, while the colour-printing was done solely by Langlois, the great French colour-printer who supervised Redouté's work. They skillfully capture the beauty and subtle richness of colour of the original watercolour paintings. The use of the coloured stipple engraving is here seen at its peak.
Poiteau, a pupil of Redouté, trained as a botanist and was employed at the Jardin des Plantes in Paris. Turpin, a self-taught artist, went on to illustrate a number of his own works.
Cf. Nissen BBI 551; cf. Great Flower Books (1990), p. 93; cf. Dunthorne 101; cf. Pritzel 2467; cf. Stafleu & Cowan TL2 1548.
#8759$475.00
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 [POLIDORI, John William (1795-1821)]
The Vampyre; A Tale
London: printed [by Gillet] for Sherwood, Neely, and Jones, 1819. 8vo (8 7/8 x 5 3/8 inches). Collation: A-E.8 F.4 (pp.[i-] xxv [26-]84). Half-title. Original drab grey/brown paper wrappers, uncut (backstrip split, some discolouration to the upper cover, later cloth chemise, brown morocco-backed slipcase.
A fine unsophisticated copy of the first edition, third issue of this classic early Gothic fantasy: "Although by no means the first appearance of the vampire in European literature, Polidori's tale established the prototype" (ODNB).
Polidori, Lord Byron's personal physician, accompanied him during a period of self-imposed exile from Britain and was present at the Villa Diodati near Geneva on the summer evening in 1816 when, after recounting ghost stories, Byron suggested that each of those present should compose a supernatural tale. The two best-known results were Mary Shelley's "Frankenstein" and the present work. In an effort to generate interest (and revenue) Henry Colburn added the subtitle "A Tale by Lord Byron" , when he first published The Vampyre in the 1 April 1819 issue of his New Monthly Magazine. The first issue in book form (published by Sherwood, Neely and Jones) also included Byron's name on the title. Byron subsequently denied authorship and published, by way of a disclaimer, his vampire fragment (conceived on the same evening) with Mazeppa .
In this issue the first gathering has been reset: the title and half-title no longer include Lord Byron's name, and the text leaves have 23 lines per page (Viet IV). In addition the word 'almost' is incorrectly spelt 'lmost' in the last line of p. 36. This copy is particularly noteworthy for its untouched condition.
Chew p.176; NCBEL III, 757; Summers p. 542; Viets, "The London editions of Polidori's The Vampyre," in PBSA vol.LXIII, pp. 83-103; Wise II, p71; Wolff 5577
#20670$4,500.00
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 POLLARD, After James (1792-1867)
Epsom Races. Here they come. To the Noblemen and Gentlemen of the Turf, and the Subscribers this print representing the Horses passing Tattenham Corner for the Derby Stakes is most respectfully dedicated by their obedient and most obliged Servants, S. and J. Fuller
London: S. & J. Fuller, 2 June 1834. Aquatint, printed in colours and finished by hand, by R.W. Smart and C. Hunt. Image size (including text): 14 x 23 1/2 inches. Sheet size: 19 3/4 x 29 1/2 inches.
Early issue on Whatman paper. A fine image capturing the excitement of the moment during the running of the most famous classic race in the world of racing. Lane notes that this is one of a pair of prints, Siltzer and Selway both record a series of four.
Pollard here shows the scene as the runners turn into the finishing straight. The crowd is cheering and spectators on horseback urge their mounts on as they dash across towards the inside rails in an effort to get a view of the finish of the race.
James Pollard was the youngest son of the London engraver and print-seller Robert Pollard. He began work at the age of fifteen as a painter but quickly turned to engraving as well. In the 1820s his coaching scenes became both fashionable and lucrative. "A stream of coaching paintings followed, many of which he engraved himself. From 1821 he exhibited a small number of pictures at the Royal Academy and the British Institution which brought him more patrons. Between 1830 and 1840, Pollard also painted a number of racing pictures and some of the earliest scenes of steeplechasing on purpose-made courses, many recording the prowess of the few professional and more amateur riders of the day... [In all his work Pollard took great pains over accuracy, this is particularly true of his large scale works and] it is Pollard's large racing scenes which really take off and into which one can gaze and discover a microcosm of the turf" (Charles Lane British Racing Prints p.146)
Lane British Racing Prints p.150 (2 prints in the series); cf. SelwayJames Pollard 1792-1867 p.46 (variant title); Siltzer p.221 (4 prints in the series)
#5173$4,750.00
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 POLLARD, After James (1792-1867)
A North East View of the new General Post Office, With the Royal Mails (& Carts) preparing to Start
London: Messrs. Fores, 31 December 1852. Aquatint, coloured by hand, by H. Pyall. Image size (including text): 14 7/8 x 22 7/8 inches. Sheet size: 19 1/2 x 25 1/8 inches.
A fine quality image, a re-issue of a print first published in 1832.
James Pollard was the youngest son of the London engraver and print-seller Robert Pollard. He began work at the age of fifteen as a painter but quickly turned to engraving as well. In the 1820s his coaching scenes became both fashionable and lucrative. From 1821 he exhibited a small number of pictures at the Royal Academy and the British Institution which brought him more patrons. Between 1830 and 1840, Pollard also painted a number of racing pictures and some of the earliest scenes of steeplechasing. In all his work he took great pains over accuracy, this is particularly true of his large scale works, such as the present busy London scene, the people are all individuals going about their daily lives, and the coaches, carts and cabs have all been very carefully observed: a true microcosm of London.
Selway James Pollard p.38
#5279$2,750.00
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 POLLARD, James (1792-1867)
Tiresias Was bred by His Grace the Duke of Portland in 1816 was got by Soothsayer out of Sledge... At Epsom he won the Derby Stakes beating 15 others among whom were Sultan, Euphrates, The Dominic, &c
London: R. Pollard & Sons, 6 July 1819. Aquatint, coloured by hand, by James Pollard (Expert repairs to margins, one to a 2" tear touching image area). Image size (including text): 12 3/8 x 17 3/4 inches. Sheet size: 14 3/8 x 18 13/16 inches.
A fine portrait of the winner of the 1819 Epsom Derby, engraved by James Pollard from his own original drawing.
Tiresias is shown just before a race: his groom administers a last minute tonic (!) whilst his jockey (W. Clift) takes off an overcoat in preparation to mount, and his trainer looks on proudly. In the background can be seen the grand-stand of the race course (possibly Epsom).
James Pollard was the youngest son of the London engraver and print-seller Robert Pollard. He began work at the age of fifteen as a painter but quickly turned to engraving as well. In the 1820s his coaching scenes became both fashionable and lucrative. "A stream of coaching paintings followed, many of which he engraved himself. From 1821 he exhibited a small number of pictures at the Royal Academy and the British Institution which brought him more patrons. Between 1830 and 1840, Pollard also painted a number of racing pictures and some of the earliest scenes of steeplechasing on purpose-made courses, many recording the prowess of the few professional and more amateur riders of the day... [In all his work Pollard took great pains over accuracy, this is particularly true of his large scale works and] it is Pollard's large racing scenes which really take off and into which one can gaze and discover a microcosm of the turf" (Charles Lane British Racing Prints p.146)
Lane British Racing Prints p.146; cf. Selway James Pollard 1792-1867 p.47 (variant title); Siltzer p.214.
#5206$3,500.00
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 POLLARD, James (1792-1867)
Moses Bred by His Royal Highness the Duke of York in 1819, got by Whalebone, his dam by Gohanna... In 1822 he won.. the Derby Stakes at Epsom beating Figaro, Hamden, Stamford, Marcellus, Mystic Wanton & five others... In 1823 at the Newmarket Craven Meeting won the Claret Stakes of 200Gs. each
London: R. Pollard & Sons, 22 June 1822 [but 1823]. Aquatint, printed in colours and finished by hand, by James Pollard. Image size (including text): 12 1/8 x 17 1/2 inches. Sheet size: 15 3/8 x 19 3/16 inches.
A fine portrait of the winner of the 1822 Epsom Derby, engraved by James Pollard from his own original drawing.
Moses is shown as preparations for the race get under way: the jockey (T. Goodisson) brings over the saddle to the bare-backed horse who is held by his groom. Moses' blankets have just been removed and a stable lad folds them neatly.
James Pollard was the youngest son of the London engraver and print-seller Robert Pollard. He began work at the age of fifteen as a painter but quickly turned to engraving as well. In the 1820s his coaching scenes became both fashionable and lucrative. "A stream of coaching paintings followed, many of which he engraved himself. From 1821 he exhibited a small number of pictures at the Royal Academy and the British Institution which brought him more patrons. Between 1830 and 1840, Pollard also painted a number of racing pictures and some of the earliest scenes of steeplechasing on purpose-made courses, many recording the prowess of the few professional and more amateur riders of the day... [In all his work Pollard took great pains over accuracy, this is particularly true of his large scale works and] it is Pollard's large racing scenes which really take off and into which one can gaze and discover a microcosm of the turf" (Charles Lane British Racing Prints p.146)
Lane British Racing Prints p.146; Selway James Pollard 1792-1867 p.48; Siltzer p.214.
#5207$3,500.00
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 POLLARD, James (1792-1867)
G. Osbaldeston Esqr. extraordinary match of 200 miles against time
London: B. Moss, 31 December 1852. Aquatint, coloured by hand, by James Pollard . Image size (including text): 12 1/2 x 17 1/4 inches. Sheet size: 17 3/8 x 21 1/4 inches.
A fine quality image, engraved by James Pollard from his own drawing.
Re-issue of a plate first published by T. Helme in 1831 and depicting the famous sportsman George Osbaldeston (1787-1866), "at the Newmarket Houghton meeting [of 1831, where] he performed an extraordinary feat. He undertook to ride two hundred miles in ten consecutive hours for a bet of a thousand guineas, the number and choice of horses being unlimited. He divided the distance to be covered into heats of four miles each, changing his horse at the conclusion of each heat, and he accomplished his task one hour and eighteen minutes within the time specified, having ridden, allowing for stoppages, at the rate of twenty-six miles an hour." (DNB).
James Pollard was the youngest son of the London engraver and print-seller Robert Pollard. He began work at the age of fifteen as a painter but quickly turned to engraving as well. In the 1820s his coaching scenes became both fashionable and lucrative. "A stream of coaching paintings followed, many of which he engraved himself. From 1821 he exhibited a small number of pictures at the Royal Academy and the British Institution which brought him more patrons. Between 1830 and 1840, Pollard also painted a number of racing pictures and some of the earliest scenes of steeplechasing on purpose-made courses, many recording the prowess of the few professional and more amateur riders of the day... [In all his work Pollard took great pains over accuracy, this is particularly true of his large scale works and] it is Pollard's large racing scenes which really take off and into which one can gaze and discover a microcosm of the turf" (Charles Lane British Racing Prints p.146)
Lane British Racing Prints p.149; cf. Selway James Pollard 1792-1867 p.45 (1831 issue); Siltzer p.220.
#5208$2,400.00
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 POLLARD, James (1792-1867)
Tiresias Was bred by His Grace the Duke of Portland in 1816 was got by Soothsayer out of Sledge... At Epsom he won the Derby Stakes beating 15 others among whom were Sultan, Euphrates, The Dominic, &c
London: R. Pollard & Sons, July 6, 1819. Coloured aquatint. Framed in a lovely birds-eye maple frame with gold slip. Mounted in fine washline mount. In excellent condition with the exception of a minor scuff in the upper left corner of image. . Image size (including text): 12 1/4 x 17 1/2 inches. 23 x 27 1/8 x 1 1/8 inches.
A fine portrait of the winner of the 1819 Epsom Derby, engraved by James Pollard from his own original drawing.
Tiresias is shown just before a race: his groom administers a last minute tonic (!) while his jockey (W. Clift) takes off an overcoat in preparation to mount, and his trainer looks on proudly. In the background can be seen the grand-stand of the race course (possibly Epsom).
James Pollard was the youngest son of the London engraver and print-seller Robert Pollard. He began work at the age of fifteen as a painter but quickly turned to engraving as well. In the 1820s his coaching scenes became both fashionable and lucrative. "A stream of coaching paintings followed, many of which he engraved himself. From 1821, he exhibited a small number of pictures at the Royal Academy and the British Institution, which brought him more patrons. Between 1830 and 1840, Pollard also painted a number of racing pictures and some of the earliest scenes of steeple chasing on purpose-made courses, many recording the prowess of the few professional and more amateur riders of the day...[In all his work Pollard took great pains over accuracy, this is particularly true of his large scale works and] it is Pollard's large racing scenes which really take off and into which one can gaze and discover a microcosm of the turf" (Charles Lane, British Racing Prints, p.146).
Lane, British Racing Prints, p.146; cf. Selway, James Pollard 1792-1867, p.47 (variant title); Siltzer p. 214.
#13656$3,250.00
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 POLLARD, R. after Nathaniel HONE
General Elliot
London: Published by Thomas Macklin, No 39 Fleet Street & by R. Pollard, No. 15 Brains Row, Spaw Fields, Oct. 29, 1782. Stipple engraving printed in sepia. In excellent condition. Image size: 9 3/4 x 6 7/8 inches. Plate mark: 11 1/2 x 7 1/2 inches. Sheet size: 12 3/4 x 8 3/4 inches.
An intricate portrait of General Elliot, who defended England's possession of Gibraltar
A charming portrait of General Elliot, who garnered a reputation for extreme valor and ceaseless dedication. He was a much admired leader by both the men who served under him and monarchs of the English throne. Throughout his distinguished career Elliot participated in a number of military engagements traveling as far away as Cuba for the capture of Havana and as close to home as Ireland as commander-in-chief of His Majesty's forces. Elliot is best remembered as the defender of Gibraltar, when, in 1779, he successfully defended the English fortress of Gibraltar against a Spanish land and sea invasion. The siege, which lasted three years, reduced Elliot's force to the utmost extremity of famine, but with the aid of Lord Howe they managed to break the blockade and keep control of Gibraltar. Elliot's victory at Gibraltar established him as an English hero. (DNB)
Not in O'Donoghue.
#8154$450.00
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 POMEL, Claude Joseph (1781-1839) after S. LEROY
Īle Guam: Travaux D'Agriculture [Pl. 70]
[Pl. 70]. Paris: 1824-37. Hand-coloured and colour-printed line and stipple engraving. Good condition apart from some overall light soiling and foxing. Plate mark: 9 x 12 3/4 inches. Sheet size: 12 1/4 x 18 3/4.
A striking plate depicting agricultural laborers hard at work on the island of Guam, from Freycinet's important publication "Voyage autour du monde."
Louis Claude Desaulces de Freycinet (1779-1842) was a French marine officer and explorer, who participated in several significant early 19th-century expeditions to relatively unknown areas in the southern hemisphere. In 1800, he joined one of the most important early explorations of Australia, which was commissioned by the French government and commanded by Nicholas Baudin (1754-1803). On this voyage, which included stops in Mauritius and Tasmania, Freycinet served as a surveyor and was responsible for conducting a thorough cartographic survey of the Australian coast. Upon returning to France years later, he completed a detailed account of the journey begun by the naturalist Françis Péron that was published as Voyage de decouvertes aux Terres Australes between 1807 and 1816.
In 1817, Freycinet embarked on the Uranie on a major scientific expedition around the world to record information regarding the geography, meteorology, terrestrial magnetism, ethnology, and indigenous flora and fauna of various locations in the southern hemisphere. Accompanied by the talented artist Jacques Arago, he explored the Sandwich Islands, the Hawaii Islands as well as Rio de Janeiro, the Cape of Good Hope, Tonga, Gibraltar, Tenerife, Mauritius, Timor, Tierra del Fuego, Montevideo, Mauritius, New South Wales, and the Caroline Islands. After being shipwrecked near the Falklands, Freycinet eventually returned to Paris on the Physicienne in 1820, where he published a comprehensive illustrated account of the expedition in a colossal thirteen-volume work entitled Voyage Autor de Monde.
The Columbia Encyclopedia, second edition (1950), p. 728; Ferguson 2906b; Hill, p.10 (ref).
#14021$550.00
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 PONERT, Dietmar J
Willi Baumeister Werkverzeichnis der Zeichnungen, Gouachen und Collagen. Catalogue Raisonne
Cologne: Dumont, 1988. Large 4to. Cloth, Dust jacket, Slipcase.
808 pages, 2285 black and white plates, 16 large color illustrations.
#2402$128.00
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 POPE, Alexander Jr. (1849-1924)
[Black Ducks]
New York: Charles Scribner's Sons, 1877-78. Colour-printed lithograph, finished by hand and heightened with gum arabic, on card mount. Very good condition apart from some very minor soiling in the margins. Image size (including text): 13 7/8 x 20 inches. Sheet size: (of mount) 18 1/2 x 24 inches.
From "Upland Game Birds and Water Fowl of the United States," a rare American series of prints with wonderful landscape backgrounds reminiscent of the Hudson River Portfolio.
Alexander Pope Jr. was a renowned American sporting artist who specialized in animal and still life paintings. Born in Dorchester, Massachusetts in 1849, he briefly studied sculpture with the prominent artist William Copley and essentially taught himself to paint. Although primarily lauded as a painter, he continued producing sculptures well into the 1880s and later became a member of the famed art association the Copley Society of Boston. In 1878 and 1882, he published two important portfolios of chromolithographs after his watercolours: Upland Game Birds and Water Fowl of the United States, from which this plate comes, and Celebrated Dogs of America respectively. In addition to his more conventional animal paintings, Pope was also known for his still-life compositions of dead animals hanging in the interior of wooden crates, which innovatively combined his avid interest in hunting and fishing with the trompe l'oeil style of painting. His works and those of the influential trompe l'oeil painter William Harnett (1848-1892) helped popularize the genre of still life in late nineteenth-century America.
Cf. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs vol. 11, p. 140.
#10490$750.00
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 POPE, Alexander Jr. (1849-1924)
[Pinneated Grouse]
New York: Charles Scribner's Sons, 1877-78. Colour-printed lithograph, finished by hand and heightened with gum arabic, on card mount. Very good condition apart from a chip to the bottom margin of the mount. Image size (including text): 14 x 20 inches. Sheet size: (of mount) 15 1/2 x 21 5/8 inches.
From "Upland Game Birds and Water Fowl of the United States," a rare American series of prints with wonderful landscape backgrounds reminiscent of the Hudson River Portfolio.
Alexander Pope Jr. was a renowned American sporting artist who specialized in animal and still life paintings. Born in Dorchester, Massachusetts in 1849, he briefly studied sculpture with the prominent artist William Copley and essentially taught himself to paint. Although primarily lauded as a painter, he continued producing sculptures well into the 1880s and later became a member of the famed art association the Copley Society of Boston. In 1878 and 1882, he published two important portfolios of chromolithographs after his watercolours: Upland Game Birds and Water Fowl of the United States, from which this plate comes, and Celebrated Dogs of America respectively. In addition to his more conventional animal paintings, Pope was also known for his still-life compositions of dead animals hanging in the interior of wooden crates, which innovatively combined his avid interest in hunting and fishing with the trompe l'oeil style of painting. His works and those of the influential trompe l'oeil painter William Harnett (1848-1892) helped popularize the genre of still life in late nineteenth-century America.
Cf. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs vol. 11, p. 140.
#10492$750.00
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 POPE, Alexander Jr. (1849-1924)
[Black Ducks]
New York: Charles Scribner's Sons, 1877-78. Colour-printed lithograph, finished by hand and heightened with gum arabic. Mounted on card as issued. Very good condition apart from some light soiling in the top right corner of the image and a 1/2" tear in the left margin. Image size (including text): 14 x 20 inches. Sheet size: 16 7/8 x 23 inches.
From "Upland Game Birds and Water Fowl of the United States," a rare American series of prints with wonderful landscape backgrounds reminiscent of the Hudson River Portfolio.
Alexander Pope Jr. was a renowned American sporting artist who specialized in animal and still life paintings. Born in Dorchester, Massachusetts in 1849, he briefly studied sculpture with the prominent artist William Copley and essentially taught himself to paint. Although primarily lauded as a painter, he continued to produce sculptures well into the 1880s and later became a member of the famed art association, the Copley Society of Boston. In 1878 and 1882, he published two important portfolios of chromolithographs after his watercolours: Upland Game Birds and Water Fowl of the United States, from which this plate comes, and Celebrated Dogs of America, respectively. In addition to his more conventional animal paintings, Pope was also known for his still life compositions of dead animals hanging in the interior of wooden crates, which innovatively combined his avid interest in hunting and fishing with the trompe l'oeil style of painting. His works and those of the influential trompe l'oeil painter William Harnett (1848-1892) helped popularize the genre of still life in late nineteenth-century America.
Cf. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs vol. 11, p. 140.
#13590$750.00
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 POPE, Alexander, Jr. (1849-1924) [and Ernest INGERSOLL (1852-1946)]
Upland Game Birds and Water Fowl of the United States
New York: Scribners, [1877-] 1878. 10 original parts in one volume, large folio (22 3/16 x 28 1/4 inches). 20 chromolithographic plates, some finished by hand and heightened with gum arabic, after Pope by Armstrong & Co., all mounted on card (expert repairs to plates and text). Unbound as issued within ten original pictorial cloth-backed paper wrappers (the wrappers with expert repairs), all contained within a single original half morocco portfolio which converts into a display easel, the upper cover blocked in gilt, light brown velvet pastedowns (ties lacking, skillful repairs to corners), contained within a modern blue morocco-backed box, spine gilt, by K. Gaebel & Sons, Holland, Pa.
First edition in the original parts of this scarce series of large-format plates, of equal interest to ornithologists and sportsmen - here housed within a very rare portfolio/easel, as issued by the publishers. Although only Pope's name appears on the title-page, the text is by Ingersoll.
Alexander Pope Jr. was a renowned American sporting artist who specialized in animal and still life paintings. Born in Dorchester, Massachusetts in 1849, he studied sculpture with the prominent artist William Copley and was self-taught as a painter. Although primarily lauded as a painter, he continued producing sculptures well into the 1880s and later became a member of the famed art association, the Copley Society of Boston.
Ernest Ingersoll was ideally qualified to write the text for the present work: he grew up 'ranging the fields and marshes in search of natural-history objects', he was educated at Oberlin college and the Harvard museum of comparative zoology, and studied under Louis Agassiz. After the death of Agassiz, Ingersoll served as naturalist and collector on Ferdinand V. Hayden's famous geological survey expedition of 1874, and he made a second trip to the west in 1877. His publications included a number of other ornithological works including A Natural History of the Nests and Eggs of American Birds (Salem, 1879) and Birds' Nesting (1881).
Fine Bird Books 101; Gee 80; Nissen, IVB 737; Phillips p. 298; Wood 522; Zimmer 494
#17300$22,500.00
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 PORTER, Sir Robert Kerr (1777-1842)
The Loyal Associated and Volunteer Corps of the City of Westminster
London: Niccolo and Luigi Schiavonetti, March 30, 1799. Stipple engraving with etching, hand-coloured, by M. Place. Image size (including text): 17 3/4 x 24 3/8 inches, plus inscriptions.
Volunteer militias were revived (after being disbanded in 1783) out of concern for the dangers posed by the French Revolution and Napoleon's ascendancy. The City of Westminster Corps was the most stylish of them all, constituted as it was by young men from the nation's wealthiest and most fashion-conscious district, including many artists and bon-vivants.
Robert Kerr Porter may have been among them. The son of an army surgeon, he was associated with the military all his life. His career as an artist began auspiciously when, at age 13, he was admitted to study at the Royal Academy under the aegis of Benjamin West. Two years later, he was exhibiting there. Soon he was taking commissions for important projects: large altarpieces and mural panoramas of military campaigns, including the interior decoration of public buildings in St. Petersburg. This career was however perpetually interrupted by his own passion for military adventure, which led him all over Europe, and on to Persia and the Caucasus. Knighted by kings and princes of many countries, and linked romantically with princesses, Porter's life would seem to be the ideal envisioned by the dashing young men depicted in the engraving.
#3406$3,750.00
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 POWNALL, After Thomas (1722-1805)
A view of the city of Boston, the capital of New England, in North America. Vue de la Ville de Boston, Capitale de la Nouvelle Angleterre, dans l'Amérique Septentrionale. Drawn on the Spot by his Excellency, Governor Pownal
London: printed for John Bowles, Robert Sayer, Thomas Jefferys, Carington Bowles and Henry Parker, [No date but c.1761]. Copper engraving by P.C. Canot after a painting by Pugh from a design by Pownall. Expert repairs, trimmed to the plate mark. Sheet size: 14 1/4 x 20 3/8 inches.
An important image of colonial Boston from the famous and very rare "Scenographia Americana" series
Pownall's drawing of Boston, here ably engraved by Peter Charles Canot (1710-1777), was one of six prints in the Scenographia Americana series that were based on Pownall's sketches. This particular image was worked up into a painting by Pugh and it was from this that the engraving was made by Canot. The complete Scenographia Americana (with a total of 28 plates) is a legendary rarity: no copies are listed as having sold at auction in the past thirty years. Individual prints are therefore all that the collector can hope for, and the present image is one of the most important.
Governor Thomas Pownall, one of the few sympathetic colonial governors in North America, was also an artist, author and mapmaker. He first came to America as secretary of the governor of New York, Sir Danvers Osborn, in 1753, who committed suicide a few days after arriving. Pownall stayed on in America and became deeply involved in colonial politics during these critical years (the French and Indian War). He contributed to and supported Pitt's strategy in the war against the French and was appointed governor of Massachusetts, replacing Shirley, in August of 1757. He was at first very popular, energetically raising troops and prosecuting the war with the French, but political rivalry and objections to his own rather free lifestyle and manners led to his retirement from the position at his own request, returning to England in 1760. He remained a staunch supporter of the American causes as they arose in the 1760s. Interestingly, he was very much in favor of emancipation of the slaves in America. Pownall was a long time friend of Benjamin Franklin.
Deak, 106
#19870$12,000.00
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 PRATTENT, Thomas
Almeida
London: Published by Prattent, 46 Cloth Fair West Smithfield, & Whitaker, 12 New Street Covent Garden, June 1787. Colour-printed stipple. Printed on watermarked laid paper. In good condition with the exception of a tear along the bottom right corner. Section of the right platemark has been repaired where it has cracked. Paper has some surface dirt. Image size: . Plate mark: 10 7/8 x 8 3/8 inches. Sheet size: 13 1/2 x 10 7/8 inches.
A pretty colour-printed stipple depicting Almeida, by the London engraver Thomas Prattent.
This delicate image by the London printmaker Thomas Prattent recalls the style of the celebrated engraver John Raphael Smith. Prattent, who had premises in Cloth Fair, made a name for himself as an architectural engraver producing many attractive views of London and the surrounding boroughs. This pretty picture represents a deviation from Prattent's usual images and directly recalls the ornate portraits executed by Smith. Like Smith's images, Prattent's "Almeida" is subtly suggestive. An ornately dressed young woman sits alone in the open countryside. Her fashionable attire makes her appear out of place in her rural environment, and yet her contemplative, serene countenance has an alluring effect. The image is accompanied by two lines of poetry by William Shenstone, which inform the viewer of her beauty as well as her virtue.
Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs.
#13311$600.00
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 PRESTELE, Joseph (1796-1867)
The Beurre Giffard Pear
Ebenezer, Buffalo: circa 1850. Hand-coloured lithograph. Very good condition. Image size (including text): 6 3/4 x 6 inches. Sheet size: 11 1/2 x 8 7/8 inches.
A fine print by one of the most prolific and esteemed nineteenth-century professional botanical illustrators in America.
Born in Bavaria, Joseph Prestele immigrated to the United States in 1843 with a Lutheran religious group called the Community of True Inspiration, which established a settlement near Buffalo in Ebenezar, New York. He completed many illustrations of flowers and fruit for the Smithsonian Institution and U.S. government and was frequently assisted by his sons Gottlieb and Henry. A number of his works appeared in contemporary horticulture periodicals, and his colour lithographs were also used as advertisements for various commercial nurseries in his community. In addition to his countless original illustrations, Prestele engraved the drawings of Isaac Sprague for several prominent botanists including John Torrey.
#15088$450.00
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 PREVOST, Jean Louis (active circa 1760-circa 1810)
Etude d'Olivier, Rose jaune, et Mahonille ou Giroflee de Mahon [Pl. 39]
[Pl. 39]. Paris: Vilquin, 1805. Stipple engraving, printed in colours and finished by hand by Ruotte. Sheet size: 21 1/4 x 14 inches.
An exquisite plate of a yellow rose, a purple stock or gillyflower and a sprig of 'Mahonille' from arguably the most beautiful botanical work ever produced: "a work of outstanding importance and interest".
Contemporary with the work of Redouté, 'Collection des Fleurs et des Fruits' is one of the earliest examples of stipple engraved and colour-printed botanical illustration. Published in 12 cahiers (or parts) of 4 plates each, the work was compiled to assist designers of porcelain and fabric, with the plates often showing flowers grouped together, usually matched according to their flowering season.
The greatest collection of flower books to be sold at auction in the 20th century was the de Belder collection, sold by Sotheby's in 1987. The catalogue was intended as a true reflection of the uniqueness of the collection, and the cover illustration selected to represent the best of the best was an image from Prevost's 'Collection des Fleurs et des Fruits'.
Dunthorne describes it as, "a work of outstanding importance and interest...issued for the specific purpose of maintaining the great French tradition for excellence of design and draughtsmanship. Perhaps no other prints are more worthy of carrying on the tradition of Jean Baptiste and van Spaendonck than these fine examples of Prévost. Whether bouquets or sprays of flowers or fruit, they possess a splendour and freshness amounting almost to fragrance, which is largely due to the quality of the colour printing" (Dunthorne, p. 33).
Cf. Dunthorne p. 229; cf. Great Flower Books (1990), p. 127; cf. Nissen BBI 1568; cf. Pritzel 7332; cf. Stafleu & Cowan TL2 8319.
#4407$2,500.00
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 PREVOST, Jean Louis (active circa 1760-circa 1810)
Etudes de Daufinel ou Pie-d'Alouette [Pl. 6]
[Pl. 6]. Paris: Vilquin, 1805. Stipple engraving, printed in colours and finished by hand by Ruotte. Sheet size: 20 7/8 x 13 3/4 inches.
An exquisite plate of two delphinium sprays from arguably the most beautiful botanical work ever produced: "a work of outstanding importance and interest".
Contemporary with the work of Redouté, 'Collection des Fleurs et des Fruits' is one of the earliest examples of stipple engraved and colour-printed botanical illustration. Published in 12 cahiers (or parts) of 4 plates each, the work was compiled to assist designers of porcelain and fabric, with the plates often showing flowers grouped together, usually matched according to their flowering season.
The greatest collection of flower books to be sold at auction in the 20th century was the de Belder collection, sold by Sotheby's in 1987. The catalogue was intended as a true reflection of the uniqueness of the collection, and the cover illustration selected to represent the best of the best was an image from Prevost's 'Collection des Fleurs et des Fruits'.
Dunthorne describes it as, "a work of outstanding importance and interest...issued for the specific purpose of maintaining the great French tradition for excellence of design and draughtsmanship. Perhaps no other prints are more worthy of carrying on the tradition of Jean Baptiste and van Spaendonck than these fine examples of Prévost. Whether bouquets or sprays of flowers or fruit, they possess a splendour and freshness amounting almost to fragrance, which is largely due to the quality of the colour printing" (Dunthorne, p. 33).
Cf. Dunthorne p. 229; cf. Great Flower Books (1990), p. 127; cf. Nissen BBI 1568; cf. Pritzel 7332; cf. Stafleu & Cowan TL2 8319.
#4408$3,500.00
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 PREVOST, Jean Louis (active circa 1760-circa 1810)
Bouquet de Jacinte, Narcises divers, Anemones, Pensees, Primevere, Muguet et Giroflee jaune [Pl. 2]
[Pl. 2]. Paris: Vilquin, 1805. Stipple engraving, printed in colours and finished by hand by Ruotte. Sheet size: 20 3/4 x 13 3/4 inches.
An exquisite plate of anemones, pansies, primroses, lily-of-the-valley, hyacinths and narcissi from arguably the most beautiful botanical work ever produced: "a work of outstanding importance and interest".
Contemporary with the work of Redouté, 'Collection des Fleurs et des Fruits' is one of the earliest examples of stipple engraved and colour-printed botanical illustration. Published in 12 cahiers (or parts) of 4 plates each, the work was compiled to assist designers of porcelain and fabric, with the plates often showing flowers grouped together, usually matched according to their flowering season.
The greatest collection of flower books to be sold at auction in the 20th century was the de Belder collection, sold by Sotheby's in 1987. The catalogue was intended as a true reflection of the uniqueness of the collection, and the cover illustration selected to represent the best of the best was an image from Prevost's 'Collection des Fleurs et des Fruits'.
Dunthorne describes it as, "a work of outstanding importance and interest...issued for the specific purpose of maintaining the great French tradition for excellence of design and draughtsmanship. Perhaps no other prints are more worthy of carrying on the tradition of Jean Baptiste and van Spaendonck than these fine examples of Prévost. Whether bouquets or sprays of flowers or fruit, they possess a splendour and freshness amounting almost to fragrance, which is largely due to the quality of the colour printing" (Dunthorne, p. 33).
Cf. Dunthorne p. 229; cf. Great Flower Books (1990), p. 127; cf. Nissen BBI 1568; cf. Pritzel 7332; cf. Stafleu & Cowan TL2 8319.
#4411$6,500.00
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 PREVOST, Jean Louis (active circa 1760-circa 1810)
Bouquet d'Oeillet, Ambrette, Daufinel, et Emerocalle [Pl. 3]
[Pl. 3]. Paris: Vilquin, 1805. Stipple engraving, printed in colours and finished by hand by Ruotte. Sheet size: 20 1/4 x 13 1/4 inches.
An exquisite plate of a small bouquet of a day-lily, delphinium, carnation and a yellow-flowered centaurea from arguably the most beautiful botanical work ever produced: "a work of outstanding importance and interest".
Contemporary with the work of Redouté, 'Collection des Fleurs et des Fruits' is one of the earliest examples of stipple engraved and colour-printed botanical illustration. Published in 12 cahiers (or parts) of 4 plates each, the work was compiled to assist designers of porcelain and fabric, with the plates often showing flowers grouped together, usually matched according to their flowering season.
The greatest collection of flower books to be sold at auction in the 20th century was the de Belder collection, sold by Sotheby's in 1987. The catalogue was intended as a true reflection of the uniqueness of the collection, and the cover illustration selected to represent the best of the best was an image from Prevost's 'Collection des Fleurs et des Fruits'.
Dunthorne describes it as, "a work of outstanding importance and interest...issued for the specific purpose of maintaining the great French tradition for excellence of design and draughtsmanship. Perhaps no other prints are more worthy of carrying on the tradition of Jean Baptiste and van Spaendonck than these fine examples of Prévost. Whether bouquets or sprays of flowers or fruit, they possess a splendour and freshness amounting almost to fragrance, which is largely due to the quality of the colour printing" (Dunthorne, p. 33).
Cf. Dunthorne p. 229; cf. Great Flower Books (1990), p. 127; cf. Nissen BBI 1568; cf. Pritzel 7332; cf. Stafleu & Cowan TL2 8319.
#4413$4,500.00
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 PREVOST, Jean Louis (active circa 1760-circa 1810)
Etudes de Giroflee a rameau, et Giroflee jaune [Pl. 8]
[Pl. 8]. Paris: Vilquin, 1805. Stipple engraving, printed in colours and finished by hand by Ruotte. Sheet size: 20 3/4 x 13 5/8 inches.
An exquisite plate of three sprays of variously coloured gillyflowers or stocks from arguably the most beautiful botanical work ever produced: "a work of outstanding importance and interest".
Contemporary with the work of Redouté, 'Collection des Fleurs et des Fruits' is one of the earliest examples of stipple engraved and colour-printed botanical illustration. Published in 12 cahiers (or parts) of 4 plates each, the work was compiled to assist designers of porcelain and fabric, with the plates often showing flowers grouped together, usually matched according to their flowering season.
The greatest collection of flower books to be sold at auction in the 20th century was the de Belder collection, sold by Sotheby's in 1987. The catalogue was intended as a true reflection of the uniqueness of the collection, and the cover illustration selected to represent the best of the best was an image from Prevost's 'Collection des Fleurs et des Fruits'.
Dunthorne describes it as, "a work of outstanding importance and interest...issued for the specific purpose of maintaining the great French tradition for excellence of design and draughtsmanship. Perhaps no other prints are more worthy of carrying on the tradition of Jean Baptiste and van Spaendonck than these fine examples of Prévost. Whether bouquets or sprays of flowers or fruit, they possess a splendour and freshness amounting almost to fragrance, which is largely due to the quality of the colour printing" (Dunthorne, p. 33).
Cf. Dunthorne p. 229; cf. Great Flower Books (1990), p. 127; cf. Nissen BBI 1568; cf. Pritzel 7332; cf. Stafleu & Cowan TL2 8319.
#4414$4,500.00
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 PREVOST, Jean Louis (active circa 1760-circa 1810)
Rameau de Laurose, ou Laurier rose [Pl. 10]
[Pl. 10]. Paris: Vilquin, 1805. Stipple engraving, printed in colours and finished by hand by Ruotte. Sheet size: 20 1/4 x 13 1/2 inches.
An exquisite plate of a pink-flowered oleander spray from arguably the most beautiful botanical work ever produced: "a work of outstanding importance and interest".
Contemporary with the work of Redouté, 'Collection des Fleurs et des Fruits' is one of the earliest examples of stipple engraved and colour-printed botanical illustration. Published in 12 cahiers (or parts) of 4 plates each, the work was compiled to assist designers of porcelain and fabric, with the plates often showing flowers grouped together, usually matched according to their flowering season.
The greatest collection of flower books to be sold at auction in the 20th century was the de Belder collection, sold by Sotheby's in 1987. The catalogue was intended as a true reflection of the uniqueness of the collection, and the cover illustration selected to represent the best of the best was an image from Prevost's 'Collection des Fleurs et des Fruits'.
Dunthorne describes it as, "a work of outstanding importance and interest...issued for the specific purpose of maintaining the great French tradition for excellence of design and draughtsmanship. Perhaps no other prints are more worthy of carrying on the tradition of Jean Baptiste and van Spaendonck than these fine examples of Prévost. Whether bouquets or sprays of flowers or fruit, they possess a splendour and freshness amounting almost to fragrance, which is largely due to the quality of the colour printing" (Dunthorne, p. 33).
Cf. Dunthorne p. 229; cf. Great Flower Books (1990), p. 127; cf. Nissen BBI 1568; cf. Pritzel 7332; cf. Stafleu & Cowan TL2 8319.
#4416$4,500.00
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 PREVOST, Jean Louis (active circa 1760-circa 1810)
Rameau de Passerose [Pl. 15]
[Pl. 15]. Paris: Vilquin, 1805. Stipple engraving, printed in colours and finished by hand by Ruotte. Sheet size: 20 3/4 x 13 3/4 inches.
An exquisite plate of a rose-pink flowered hollyhock spray from arguably the most beautiful botanical work ever produced: "a work of outstanding importance and interest".
Contemporary with the work of Red | | | |
