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browsing 4641 items
displaying items 4501 to 4600
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 WATERHOUSE HAWKINS, Benjamin
Mule. Hemionus & Burchell's Zebra. Mule - by a Mule & Bay Mare.
London: Printed by McLean & Co., circa 1850. Lithograph by Waterhouse Hawkins. Sheet size: 14 3/4 x 22 inches.
A fine plate from John Edward Gray's "Gleanings from the Menagerie at Knowsley," a comprehensive visual survey of one of the largest private menagerie's in Victorian England.
Edward Smith Stanley, 13th Earl of Derby (1775-1851) was a learned naturalist, who pursued his avid interest in zoology after a brief and unfulfilling political career. In addition to his frequent contributions to the Zoological Society's journal Proceedings, Stanley served as president of the Linnaean Society from 1828 to 1833 and, towards the end of his life, as president of the Zoological Society. He is probably best known, however, for the extensive menagerie of birds, quadrupeds, reptiles, and fish that he founded on his family estate of Knowsley outside of Liverpool.
Stanley invested a significant amount of his fortune maintaining the menagerie and adding to the impressive collection of specimens housed in its zoological museum. He enlisted the help of two great 19th-century natural history artists to visually record aspects of his sizeable menagerie in its hey-day: Edward Lear (1812-1888) to record the birds and Benjamin Waterhouse Hawkins the "Hoofed Quadrupeds." These remarkable images were published between 1846 and 1850 in J. E. Gray's Gleanings from the Knowsley Menagerie and Aviary at Knowsley Hall.
Benjamin Waterhouse Hawkins was a distinguished natural history artist and sculptor, who was primarily known for the popular full-sized replicas of dinosaurs and prehistoric reptiles that he created with Richard Owen for the Crystal Palace exhibition of 1853-4. He later moved to New York to produce similar life-like models for the American Museum of National History.Edward Smith Stanley, 13th Earl of Derby (1775-1851) was a learned naturalist, who pursued his avid interest in zoology after a brief and unfulfilling political career. In addition to his frequent contributions to the Zoological Society's journal Proceedings, Stanley served as president of the Linnaean Society from 1828 to 1833 and, towards the end of his life, as president of the Zoological Society. He is probably best known, however, for the extensive menagerie of birds, quadrupeds, reptiles, and fish that he founded on his family estate of Knowsley outside of Liverpool.
Cf. Dictionary of National Biography; cf. Nissen ZBI 1691.
#18758 $400.00  
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 WATERHOUSE HAWKINS, Benjamin
AEquetoon Damalis
London: Printed by McLean & Co., circa 1850. Lithograph by Waterhouse Hawkins. Very good condition. . Sheet size: 14 3/4 x 22 inches.
A fine plate from John Edward Gray's "Gleanings from the Menagerie at Knowsley," a comprehensive visual survey of one of the largest private menagerie's in Victorian England.
Edward Smith Stanley, 13th Earl of Derby (1775-1851) was a learned naturalist, who pursued his avid interest in zoology after a brief and unfulfilling political career. In addition to his frequent contributions to the Zoological Society's journal Proceedings, Stanley served as president of the Linnaean Society from 1828 to 1833 and, towards the end of his life, as president of the Zoological Society. He is probably best known, however, for the extensive menagerie of birds, quadrupeds, reptiles, and fish that he founded on his family estate of Knowsley outside of Liverpool.
Stanley invested a significant amount of his fortune maintaining the menagerie and adding to the impressive collection of specimens housed in its zoological museum. He enlisted the help of two great 19th-century natural history artists to visually record aspects of his sizeable menagerie in its hey-day: Edward Lear (1812-1888) to record the birds and Benjamin Waterhouse Hawkins the "Hoofed Quadrupeds." These remarkable images were published between 1846 and 1850 in J. E. Gray's Gleanings from the Knowsley Menagerie and Aviary at Knowsley Hall.
Benjamin Waterhouse Hawkins was a distinguished natural history artist and sculptor, who was primarily known for the popular full-sized replicas of dinosaurs and prehistoric reptiles that he created with Richard Owen for the Crystal Palace exhibition of 1853-4. He later moved to New York to produce similar life-like models for the American Museum of National History.Edward Smith Stanley, 13th Earl of Derby (1775-1851) was a learned naturalist, who pursued his avid interest in zoology after a brief and unfulfilling political career. In addition to his frequent contributions to the Zoological Society's journal Proceedings, Stanley served as president of the Linnaean Society from 1828 to 1833 and, towards the end of his life, as president of the Zoological Society. He is probably best known, however, for the extensive menagerie of birds, quadrupeds, reptiles, and fish that he founded on his family estate of Knowsley outside of Liverpool.
Cf. Dictionary of National Biography; cf. Nissen ZBI 1691.
#18760$400.00
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 WATERHOUSE HAWKINS, Benjamin
Corrigum - Damalis Senegalensis
London: Printed by McLean & Co., circa 1850. Lithograph by Waterhouse Hawkins. Very good condition, except for a repaired tear in the left side and a waterstain lower left corner. Sheet size: 14 3/4 x 22 inches.
A fine plate from John Edward Gray's "Gleanings from the Menagerie at Knowsley," a comprehensive visual survey of one of the largest private menagerie's in Victorian England.
Edward Smith Stanley, 13th Earl of Derby (1775-1851) was a learned naturalist, who pursued his avid interest in zoology after a brief and unfulfilling political career. In addition to his frequent contributions to the Zoological Society's journal Proceedings, Stanley served as president of the Linnaean Society from 1828 to 1833 and, towards the end of his life, as president of the Zoological Society. He is probably best known, however, for the extensive menagerie of birds, quadrupeds, reptiles, and fish that he founded on his family estate of Knowsley outside of Liverpool.
Stanley invested a significant amount of his fortune maintaining the menagerie and adding to the impressive collection of specimens housed in its zoological museum. He enlisted the help of two great 19th-century natural history artists to visually record aspects of his sizeable menagerie in its hey-day: Edward Lear (1812-1888) to record the birds and Benjamin Waterhouse Hawkins the "Hoofed Quadrupeds." These remarkable images were published between 1846 and 1850 in J. E. Gray's Gleanings from the Knowsley Menagerie and Aviary at Knowsley Hall.
Benjamin Waterhouse Hawkins was a distinguished natural history artist and sculptor, who was primarily known for the popular full-sized replicas of dinosaurs and prehistoric reptiles that he created with Richard Owen for the Crystal Palace exhibition of 1853-4. He later moved to New York to produce similar life-like models for the American Museum of National History.Edward Smith Stanley, 13th Earl of Derby (1775-1851) was a learned naturalist, who pursued his avid interest in zoology after a brief and unfulfilling political career. In addition to his frequent contributions to the Zoological Society's journal Proceedings, Stanley served as president of the Linnaean Society from 1828 to 1833 and, towards the end of his life, as president of the Zoological Society. He is probably best known, however, for the extensive menagerie of birds, quadrupeds, reptiles, and fish that he founded on his family estate of Knowsley outside of Liverpool.
Cf. Dictionary of National Biography; cf. Nissen ZBI 1691.
#18761$400.00
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 WATERHOUSE HAWKINS, Benjamin
Oryx_ Oryx Leucoryx (Young). Pasan_Oryx Gazella (Young)
London: Printed by McLean & Co., circa 1850. Lithograph by Waterhouse Hawkins. Very good condition, except for a repaired tear in the left side and a waterstain lower left corner. Sheet size: 14 3/4 x 22 inches.
A fine plate from John Edward Gray's "Gleanings from the Menagerie at Knowsley," a comprehensive visual survey of one of the largest private menagerie's in Victorian England.
Edward Smith Stanley, 13th Earl of Derby (1775-1851) was a learned naturalist, who pursued his avid interest in zoology after a brief and unfulfilling political career. In addition to his frequent contributions to the Zoological Society's journal Proceedings, Stanley served as president of the Linnaean Society from 1828 to 1833 and, towards the end of his life, as president of the Zoological Society. He is probably best known, however, for the extensive menagerie of birds, quadrupeds, reptiles, and fish that he founded on his family estate of Knowsley outside of Liverpool.
Stanley invested a significant amount of his fortune maintaining the menagerie and adding to the impressive collection of specimens housed in its zoological museum. He enlisted the help of two great 19th-century natural history artists to visually record aspects of his sizeable menagerie in its hey-day: Edward Lear (1812-1888) to record the birds and Benjamin Waterhouse Hawkins the "Hoofed Quadrupeds." These remarkable images were published between 1846 and 1850 in J. E. Gray's Gleanings from the Knowsley Menagerie and Aviary at Knowsley Hall.
Benjamin Waterhouse Hawkins was a distinguished natural history artist and sculptor, who was primarily known for the popular full-sized replicas of dinosaurs and prehistoric reptiles that he created with Richard Owen for the Crystal Palace exhibition of 1853-4. He later moved to New York to produce similar life-like models for the American Museum of National History.Edward Smith Stanley, 13th Earl of Derby (1775-1851) was a learned naturalist, who pursued his avid interest in zoology after a brief and unfulfilling political career. In addition to his frequent contributions to the Zoological Society's journal Proceedings, Stanley served as president of the Linnaean Society from 1828 to 1833 and, towards the end of his life, as president of the Zoological Society. He is probably best known, however, for the extensive menagerie of birds, quadrupeds, reptiles, and fish that he founded on his family estate of Knowsley outside of Liverpool.
Cf. Dictionary of National Biography; cf. Nissen ZBI 1691.
#18762$400.00
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 WATSON, James after Sir Joshua REYNOLDS
[Sir Jeffrey Amherst Knight of the most honourable Order of the Bath, Governor of Virginia... Commander in Chief of His Majesty's Forces in North America from 1758 to 1764]
London: Sold by Ryland and Bryer, 1766. Mezzotint. Printed on laid paper. Proof before letters, first state of five, before arms and lettering on map, artists' names in scratched lettering, before plate was cleaned. In good condition but trimmed within the plate mark on bottom margin. Three creases in bottom left corner, and a two inch tear into image. small tear extending into image on top left side of sheet. Image size: 16 3/8 x 13 inches. Plate mark: 18 1/16 x 13 inches. Sheet size: 18 1/4 x 13 3/8 inches.
A lovely impression of this rare first state depicting Sir Jeffrey Amherst, the great British hero who captured Montreal during the French and Indian War.
Jeffrey Amherst (1717-1797) was a career military officer; he served in Europe during the Seven Years' War, but was soon sent to America. Amherst was extremely well connected socially, counting William Pitt among his closest friends. Pitt ensured that Amherst was promoted to major general and put in command of an expedition against Louisbourg. He captured the French stronghold and went on to take Montreal the following year, thus ending French control over Canada. As a result of these victories, in 1761, Amherst became Governor General of North America. In 1763 Amherst returned to England where he was made a Knight of the Order of the Bath and commander in chief of the British army.
Reynolds's stunning portrait celebrated Amherst's victories in the conquest of Canada, and reminded the English public that he, as well as the great hero Wolfe, had risked much to secure the North American continent. In this image Amherst is dressed in ceremonial armour and wears the Order of Bath pinned to his chest. Before him is a map of Montreal, and in the background, army boats descend the St. Lawrence River en-route to Montreal. The entire composition and mood of this striking portrait establishes Amherst as a true British hero and celebrates his victories in Canada. James Watson became one of the leading mezzotint engravers of his time. This stunning print of Amherst is a wonderful example of Watson's dramatic style. With a delicacy of finish and smooth velvety contours, Watson creates an image that is truly breathtaking.
Goodwin, Thomas Watson, James Watson, Elizabeth Judkins no.38, i/v; Cresswell, The American Revolution in Drawings and Prints 4; Chaloner Smith, British Mezzotinto Portraits 2, i/iv; Russell, English Mezzotint Portraits, and their States 2, i/v; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 2
#3704$2,250.00
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 WATSON, James after SCOUTER
Brigadier General Simon Fraser
London: Published by S. Hooper, Ludgate Hill & J. Watts, Charing Cross, 1 June, 1778. Mezzotint. Printed on laid paper with indistinct watermark. State iii/iii, with `Mrs. Robinson late Worlidge' substituted for `Wm. Robinson'. In good condition with the exception of some rubbed creases in upper section of image. A few isolated spots in lower left corner of image that have suffered paper loss. Small tear in middle of upper margin. Corners have all been masterfully in filled with contemporary paper. Small repair in middle of image. Crease running through lower section of image. Image size: 13 7/16 x 11 inches. Plate mark: 15 x 11 inches. Sheet size: 15 1/4 x 11 1/4 inches.
A striking portrait of General Simon Fraser, who distinguished himself in the Revolutionary War.
James Watson became one of the leading mezzotint engravers of his time. His precise style is distinguished by its delicacy of finish and smooth velvety contours. Watson was born in Ireland but soon immigrated to London where he learned the art of mezzotint engraving from James McArdell. He was a regular exhibitor at the Society of Artists, and even spent some time as a publisher, but he executed the majority of his work for Robert Sayer and John Boydell, the famous London printsellers. During his career, Watson scraped over two hundred plates, working from masters such as Van Dyck, Rubens, and Reynolds, to produce subtlety beautiful images which are still viewed as masterpieces. His delicate portraits are among his best work, and his beautiful images live on as a testimony to his talent.
This striking portrait of Brigadier General Simon Fraser is a wonderful example of Watson's masterful work. Fraser had a distinguished military career, serving with skill and valor during the French and Indian War and the American Revolution. He was also active in Germany, Ireland, and Gibraltar and was Captain-Lieutenant in the Fraser Highlanders. He accompanied General Burgoyne to Canada and fought a number of skirmishes in that region, but he lost his life in the Battle of Saratoga on October 7th, 1777.
Goodwin James Watson 117, iii/iii; Chaloner Smith, British Mezzotinto Portraits 56 state iii; Russell, English Mezzotint Portraits, and their States 56; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 1
#3712$850.00
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 WATSON, James after Sir Joshua REYNOLDS
[Elizabeth Dashwood, Duchess of Manchester, and her Son]
London: Printed for Robert Sayer at No. 53 in Fleet Street, circa 1770. Mezzotint. State iii/iii with the plate reworked. The artists names erased and re-engraved in cleared strips to either side of the publication line which is in a cleared strip in centre at base of image. Joseph Gulston's collectors mark in pencil on verso. In excellent condition. Image size: 24 3/16 x 16 1/16 inches. Plate mark: 24 3/16 x 16 1/16 inches. Sheet size: 25 3/16 x 16 11/16 inches.
A wonderful impression of this stunning portrait of Lady Dashwood and her son, by Sir Joshua Reynolds.
This is a rich early impression of this beautiful print with nice tonal range and a velvety texture. In this image, Elizabeth Dashwood is shown with her son, reenacting the classical myth of Diana disarming cupid. This stunning image displays a use of classicism which was extremely popular in English and European art during the eighteenth century. By representing Lady Dashwood and her son in the characters of Diana and Cupid, Reynolds links his portraiture with the roots of western art and immediately conveys the sentiment of maternal affection between mother and son. Reynolds' painting is a wonderful example of the classical tradition in English portraiture, the inclusion of a well known classical myth is used to remind the viewer of the concept of ideal art, and to link Reynolds' work with that of the classical masters.
This stunning print is from the collection of the eccentric collector Joseph Gulston. At a young age Gulston inherited a veritable fortune which he dissipated in collecting books and prints. Lack of funds necessitated that Gulston dispose of his unrivaled collection of prints and books which he sold in two sales in 1786. The vast collection contained eighteen thousand foreign and twenty-three thousand five hundred English portraits, eleven thousand caricatures and fourteen thousand topographical prints, this monumental sale lasted for forty days.
Goodwin, Thomas Watson, James Watson, Elizabeth Judkins 45, iii/iii; Penny, Reynolds 72; Chaloner Smith, British Mezzotinto Portraits 97, ii/ii; Russell, English Mezzotint Portraits, and their States 97, iii/iii; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 1, iii/iii; Lennox-Boyd & Stogdon, state iii/iii; Lugt, Les Marques de Collections 2986
#7398$1,800.00
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 WATSON, James after Charles GRIGNION
Sir Richard Pearson..
London: Published by John Boydell, Cheapside, Nov. 1st, 1780. Mezzotint. Collectors stamp on lower left corner of sheet. State ii/ii with the plate cut down and the engraved inscription on a separate plate. In excellent condition with wide margins. Image size: 13 15/16 x 11 inches. Plate mark: 13 15/16 x 11 inches (with separate text plate measuring 1 1/2 x 11 inches). Sheet size: 22 11/16 x 17 3/8 inches.
An elegant portrait of Sir Richard Pearce who battled John Paul Jones in one of the most famous sea battles in American naval history.
This lovely rich impression of James Watson's portrait of Sir Richard Pearson is filled with a dignified grace befitting the character of this noble gentleman. Although Pearson served on a vast array of ships and participated in numerous navel engagements he is best remembered for his confrontation with John Paul Jones, the founder of the American navy. In the autumn of 1779, Pearson was escorting a convoy of trade ships from the Baltic when he encountered Jones who was engaged in raiding English trade ships along the Channel. The desperate battle came to be Jones' most famous engagement, and resulted with the defeat of Pearsons' ship the Serapis. It was during this heated battle that Jones uttered his famous words "I have not begun to fight yet". In a close battle where both sides suffered heavy losses, Pearson's vessel was captured and he was returned to England.
From the collection of Ozias Humphry, the renowned miniaturist and Royal Academician. The collection was later inherited by his son William Upcott, the celebrated antiquarian and autograph collector. Later, part of the collection of the Museum der Bildenden Künste, Leipzig. Lugt states that the duplicates from this collection were sold by C.G Boerner in two sales occurring on the 2-5 and the 19-23 of May 1924. This print was one of the prints from the collection sold by Boerner's. (Lugt)
Goodwin, Thomas Watson, James Watson, Elizabeth Judkins 125, ii/ii; Chaloner Smith, British Mezzotinto Portraits 115, ii/ii; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 1, ii/ii; Lennox-Boyd & Stogdon, state ii/ii; Lugt, Les Marques de Collections 1284 and 1669e, 1669f
#8107$600.00
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 WATSON, Thomas after Nathaniel DANCE
Lord Apseley and his Brother
London: Published by Thomas Watson, No 142 New Bond Street, & W. Dickinson, Henrietta Street, Covent Garden, June 28, 1776. Mezzotint. State iv/v, with the title added, in thick and thin italics and closed thick and thin letters. In excellent condition. Image size: 18 7/8 x 14 inches. Plate mark: 20 1/8 x 14 1/4 inches. Sheet size: 21 5/8 x 15 3/8 inches.
A charming portrait of Lord Apseley and his brother, by the master engraver Thomas Watson.
Thomas Watson was considered a leader during the golden day of English mezzotint. His bold style focuses on the play between light and shade, forming a surface consistency that is a beauty to behold. He began his career in London where for a short time he worked as a printseller in New Bond Street with fellow engraver William Dickinson. Although Watson was an accomplished stipple engraver, he was renowned for his talents as a mezzotinter. He worked from pictures by the masters of his age, artists such as Reynolds, Dance and West, from which he created inspired beautiful images. This print is a wonderful example of Watson's skill; technique and composition combine to create a delicate image which immediately connects the viewer to the two young brothers in Dance's portrait.
Chaloner Smith, British Mezzotinto Portraits 1, ii/ii; Russell, English Mezzotint Portraits, and their States 1, iii/iii; Goodwin, Thomas Watson, James Watson, Elizabeth Judkins 28, iii/iii; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 1; Lennox-Boyd & Stogdon, state iv/v
#7268$1,200.00
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 WATSON, Thomas after Sir Joshua REYNOLDS
[Mrs. Hardinge]
London: Published for Watson & Dickinson, No. 158 New Bond Street, Feb. 10, 1780. Mezzotint. Published without title. State ii/vi, with the artists names and publication line only in engraved letters. Printed on laid paper. In good condition with the exception of being trimmed on the platemark. Tipped onto contemporary backing sheet, three small skillfully mended tears in title area. Image size: 16 1/8 x 12 15/16 inches. Sheet size: 17 7/8 x 13 inches.
An exquisite image of Mrs. Hardinge by the master engraver Thomas Watson.
In tone and texture Watson perfectly captures the fragile beauty of Reynolds' delicate portrait of Mrs. Hardinge. Thomas Watson was considered a leader during the golden day of English mezzotint. His bold style focuses on the play between light and shade, forming a surface consistency that is a beauty to behold. He began his career in London where, for a short time, he worked as a printseller in New Bond Street with fellow engraver William Dickinson. Although Watson was an accomplished stipple engraver, he was renowned for his talents as a mezzotinter. He worked from pictures by the masters of his age, artists such as Reynolds, Dance and West, from which he created inspired beautiful images.
This state appears to be the second out of six states, except that the inscription space is cleaned, which is not described by either Chaloner Smith, Russell, or Lennox-Boyd. States four, five, and six are later impressions.
Goodwin, Thomas Watson, James Watson, Elizabeth Judkins 39, ii/iii; Chaloner Smith, British Mezzotinto Portraits 18ii/ii; Russell, English Mezzotint Portraits, and their States 18, ii/iv; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 3; Lennox-Boyd & Stogdon, state ii/vi
#7953$950.00
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 WATSON, Thomas after Sir Joshua REYNOLDS
[Mrs. Lucy Hardinge]
London: Published by Colnaghi & Co. 13 & 14 Pall Mall East, Nov. 1, 1907. Mezzotint. Later impression of Watson's print first published in 1780, with Colnaghi & Co stamp in lower left corner. Proof before letters. On fine india paper mounted onto thick white wove as issued. In excellent condition. Image size: 16 1/8 x 12 1/2 inches. Plate mark: 18 x 13 inches. Sheet size: 24 3/4 x 17 1/2 inches.
An exquisite image of Mrs. Hardinge by the master engraver Thomas Watson.
In tone and texture Watson perfectly captures the fragile beauty of Reynolds' delicate portrait of Mrs. Hardinge. Thomas Watson was considered a leader during the golden day of English mezzotint. His bold style focuses on the play between light and shade, forming a surface consistency that is beautiful to behold. He began his career in London where, for a short time, he worked as a print seller in New Bond Street with fellow engraver William Dickinson. Although Watson was an accomplished stipple engraver, he was renowned for his talents as a mezzotinter. He worked from pictures by the masters of his age, artists such as Reynolds, Dance, and West, from which he created inspired beautiful images.
Goodwin, Thomas Watson, James Watson, Elizabeth Judkins 39; Chaloner Smith, British Mezzotinto Portraits 18; O'Donoghue, Catalogue of Engraved British Portraits...in the British Museum 3.
#8606$450.00
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 WATTS, John after Abraham HONDIUS (circa 1625-1691)
A Pair: [Morning], [Evening]
London: Published by J. Watts, Dealer in Prints & Drawings opposite the Mews Gate Charing Cross, 1 June 1778. Mezzotints. Printed on laid watermarked paper. In excellent condition. [Morning] Image size: 9 1/2 x 13 7/8 inches. Plate mark: 10 x 13 7/8 inches. Sheet size: 10 5/8 x 14 7/8 inches. [Evening] Image size: 9 3/8 x 13 7/8. Plate mark: 9 7/8 x 13 7/8. Sheet size: 10 3/4 x 15 1/8 inches.
This is a stunning pair of mezzotints of two hunting dogs catching their quarry, by John Watts after paintings by Abraham Hondius.
Watts was a successful printmaker and publisher who was active in London during the second half of the eighteenth century. He was famed for his rich mezzotints, which he exhibited in London between 1766 and 1778. Watts scraped mezzotints after some of the most renowned artists of his day, but he had a special penchant for works by the Dutch masters, such as this handsome pair after Abraham Hondius, the celebrated Dutch animal painter. These rich mezzotints are a superb example of Watts's luxurious style of engraving, translating the energy and fluidity of Hondius's beautiful paintings into a dramatic example of superior mezzotint engraving.
Benezit, Dictionnaire Des Peintres, Sculpteurs, Dessinateurs et Graveurs.
#14190$650.00
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 WEAVER, Thomas (c. 1774-1843), engraved by William WARD (1766-1826)
A Short Horned Heifer, 7 Years Old. Bred and Fed by Mr. Robert Colling, of Barmpton, near Darlington in the County of Durham
Darlington: Published by William Robinson, December 13, 1811. Mezzotint. Sheet size: 21 x 26 inches.
A charming print of this prize heifer by the famous engraver William Ward.
This is a wonderful example of English livestock engraving, a craze that swept throughout the country and occupied the talents and imaginations of many of England's best artists. Paintings and prints of prize livestock were not only used to advertise the sale of an animal but were also commissioned by the owners to boast about a particularly fine breed of livestock in their possession. Boalch states that "It is often asked whether some of the cattle appearing in the prints were as monstrously fat as they were portrayed. The answer must be that in many cases they were, since their dimensions can be checked from the figures given in the descriptive legend at the foot of the print. On the other hand some owners, when seeking to advertise a beast by means of a print, deliberately had some of its features exaggerated... The craze for indiscriminate fattening reached such a pitch that the unfortunate beasts sometimes became too heavy for their own legs and had to be propped up with sticks in order to stand." (Boalch xvii]
Mellon pp. 199; Boalch, Prints and Painting of British Farm Livestock 1780-1910, no. 28
#3077$3,500.00
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 WEBBER, Charles Wilkins (1819-1856)
The Hunter-Naturalist. [Vol.I] Romance of Sporting; or, Wild scenes and Wild Hunters
Philadelphia: J.W. Bradley, [N.d. but copyright notice dated 1851]. [Volume I (all published)], large 8vo (10 5/8 x 7 inches). Letter-press title with wood-engraved double portrait of the author and his wife, 10 chromolithographic plates (5 after Alfred Miller and printed by L. Rosenthal, the others unsigned but including the “additional” plate of elephants), 3 full-page wood-engravings, 32 wood-engraved vignettes. Original brown cloth, covers blocked in blind, spines in gilt and blind. Provenance: William Sprague (1830-1915, U.S. Senator, inscription "William, Sprague / Providence / R.I.") .
First edition of a fine large copy of the first American book with chromolithographic plates, including images after Alfred Jacob Miller. This copy includes the plate of Elephants (after p.537), not mentioned by Howes and often missing.
This lively work includes chapters on the authors friends J.J. Audubon and Daniel Boone, but one of the chief attractions is the fact that it includes one of Alfred Jacob Millers very rare ventures into the realm of book illustration. The author heaps praise on the work of the first artist of the Rockies: "How splendidly he has accomplished his mission those who may not be familiar with his former work will at once comprehend, in looking over the five first Lithographs in this volume. I say with perfect confidence that it remains yet for Art in this country, to approach the amazing fidelity and spirit of these Drawings - and his glorious portfolio is but yet just opened!" (introduction pp.5-7).
This work is also the earliest American book to be illustrated with chromolithographs: again, Webber waxes eloquent "I hope so far to perfect, through the skill of my Lithographer, Mr. Rosenthall, the processes by which he has produced these unparalleled specimens of the art of Printing in colors on stone, as to be able to present [in the projected future volumes] all the figures of animal life in color and at a cost which will come within the limit of the present volume. This I shall regard as indeed a triumph ... I scarcely think that any specimens of that mysterious art can be produced in England ... that will compare with my first five lithographs by Rosenthall and Kramer, from Miller - at least I am very well content to abide the issue of public sentiment with regard to this first experiment in a novel field!" (introduction, p.7).
Bennett p.110; Henderson p.187; Howes W196
#20345$2,500.00
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 WEBSTER, James
Map of the United States
New York: Webster, 1835. Outline period color, 16½ x 19¼ inches. Population table 1830. Portrait of George Washington. With a second sheet of accompanying text entitled "Travellers Guide and Statistical View of the United States." 17¾ x 22 inches. Folding into stiff paper covers.
First edition of a rare early travellers' guide to the United States. Rumsey 3450 lists only an 1836 edition and believes it to be a "very scarce work…probably a one shot issue…The map is from a discarded plate of H. Phelps' U.S. [1832]…The index is largely stolen from Mitchell's Traveller's Guide index sheet for 1832, however the information on roads and distances is taken from someone else." The map still bears Henry Phelps' copyright date of 1832.
Rumsey 2442
#3195$2,250.00
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 WEIGEL, Johann Christian (1654-1726)
[Peter the Great] Petrus Alexewitz Czar et Magnus Dux Moscoviæ
[Augsburg: Published by Martin Engelbrecht, c. 1720, issued c. 1745]. Engraving with thick early colour with gold highlights. Printed on laid paper. Sheet has been re-backed. There is a stain in the bottom margin. Mild creasing and soiling. . Image size (including text): 10 5/8 x 7 inches. Sheet size: 14 1/8 x 8 3/4 inches.
Early 18th century print of Peter the Great
Peter the Great (1672-1725) was one of the dominant figures of the period and the most famous Czar. He greatly increased Russia's political significance and her territory, at the same time endeavored, with mixed results, to transplant western European cultural values and ways. His beardlessness was an example, and his tax on beards aroused considerable resentment.
Johann Christoph Weigel (1654-1726) was a Nuremberg engraver, who provided images of public figures, costume prints, landscapes and maps. Peter's pose and attire was a popular way to represent rulers: i.e. in full armour under a red velvet, ermine lined robe.
#15094$750.00
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 [WEILAND, Carl Ferdinand (1782-1847)
Geografische statistichen Atlas einingen amerikanischen Staaten in 45 Plattern von geografischen Institute en Weimar
Weimar: geografischen Institute en Weimar, 1824 - 1829]. Folio (21 1/2 x 13 3/4 inches). Mounted on guards throughout. 45 double-page hand-coloured engraved maps, each surrounded by letterpress text, without title as issued. Expertly bound to style in speckled half calf over contemporary marbled paper-covered boards, spine in six compartments with wide semi-raised bands, the band flanked by gilt roll tooling.
A very rare German composite atlas of America, a complete set including several important early maps of the United States
From 1824 to 1829, C. F. Wieland was engaged in creating a series of maps of America for the Geographical Institute of Weimar. According to Phillips, the maps were "published separately," but were occasionally collected and bound as a composite atlas. No general title page was ever issued but these rare composites are now universally known by the title given above. Very few have the same collation, and even fewer have the 45 maps that, according to Phillips, constitute a complete set. The present atlas is exceptional in that it contains this maximum number: by way of comparison, the Library of Congress has an example with thirty maps.
The maps are frequently described as copies of Jean-Alexandre Buchon's 1825 French language versions of the maps from Carey & Lea's American Atlas (Philadelphia, 1822). However, as production began as early as 1824, we can assume that the Philadelphia edition was the true inspiration. Like its predecessors, each map is accompanied by detailed text explaining geographical and political aspects of the jurisdiction featured. A large number of the maps are original productions that are distinct improvements on both Carey & Lea's and Buchon's maps. These include the maps of Arkansas Territory, Michigan Territory, Florida, Missouri & Oregon Territories, Canada and the Polar Regions. Several of these have no parallel in the atlases of Carey & Lea or Buchon. Twenty-eight of the maps focus solely on locations within the United States of America.
The list of maps in this atlas includes:
1. Vermont, based on Carey & Lea
2. Tennessee, based on Carey & Lea
3. Arkansas Territory, this rare map is one of the first depicting Arkansas alone. Carey & Lea and Buchon had included a map of Arkansas Territory, based on Stephen Long's famous map. However, that map extended north to Canada and west to the Rocky Mountains, while this map focuses exclusively on Arkansas and neighboring Oklahoma. Arkansas is here divided into ten counties. The few existing towns are almost all located along the Arkansas River.
4. North Carolina, based on Carey & Lea
5. Pennsylvania, based on Carey & Lea
6. Ohio, based on Carey & Lea
7. Florida, a rare early map of the State of Florida. It is one of the finest maps in the atlas, and an entirely new map, with the coastline and interior detail for Florida completely redrawn. While Buchon had shown Florida divided into just two counties, this map shows seven. Among the additions is the new city of Jacksonville. Tampa Bay, which was called "Espiritu Santo" by Buchon is here named "Espiritu Santo oder Tampa Bay." The Florida Keys have been entirely redrawn, and there are many new roads in northern Florida.
8. Illinois, based on Carey & Lea, an early map that shows the northern two thirds of the state to be largely uninhabited.
9. New Hampshire, based on Carey & Lea
10. New Jersey, based on Carey & Lea
11. Indiana, based on Carey & Lea, an early map that shows the central and northern parts of the state to be largely uninhabited.
12. Kentucky, based on Carey & Lea
13. New York, based on Carey & Lea
14. Mississippi, based on Carey & Lea, still shows the northern two-thirds of the state to be inhabited by the Choctaw and Chickasaw Indians.
15. Maryland, based on Carey & Lea
16. Michigan & Northwest Territory, an entirely new map, as the corresponding map in the Buchon atlas focused only on Michigan. This map extends westward to include present-day Wisconsin and eastern Minnesota, the "Northwest Territory," a vast and largely uninhabited realm extending to the Mississippi River and up to the Canadian border. The contour of Lake Michigan is more accurately drawn, and ten counties now appear in the lower peninsula of Michigan. Unlike Buchon's, this map shows the upper peninsula attached to the Northwest Territory.
17. Massachusetts, after Carey & Lea, but with different topography
18. Georgia, based on Carey & Lea, showing the northwestern portion of the state still occupied by the Cherokee Indians before their expulsion in 1828 by President Jackson.
19. Maine, based on Carey & Lea, an early map of this state that was admitted into the Union in 1820, is shown with exaggerated boundaries extending north of the St. John River, representing the extreme American claims in the unresolved boundary dispute with Great Britain.
20. Missouri, based on Carey & Lea, an early map that shows the western Ozark portion of the state to still be inhabited by the Osage Indians.
21. Delaware, based on Carey & Lea
22. South Carolina, based on Carey & Lea
23. Rhode Island, based on Carey & Lea
24. Virginia, closely adapted from the corresponding map in Buchon's atlas, shows what later became West Virginia as an integral part of the state.
25. District of Columbia, closely adapted from the map in Buchon's atlas, shows the District as complete, including Alexandria, which was not returned to Virginia until 1839.
26. Missouri and Oregon Territories, a rare early map of the American northwest. The map shows the newly formed territories of Oregon and Missouri, which occupied the watersheds of the Columbia and Missouri Rivers respectively, not in Carey & Lea.
27. British North America, is a general map of Canada, and an entirely different map than those that appeared in the atlases of Carey & Lea and Buchon. While those maps had concentrated on eastern Canada, this example extends all the way to the Pacific, with an abundance of new detail and information for western Canada and the Arctic regions. American territory extends northward so that it includes the entire watershed of the upper Columbia River.
28. The Northern Polar Regions, no map of the subject appeared in Carey & Lea's or Buchon's atlases, this map shows the northernmost regions and the central Arctic Archipelago to be totally unexplored.
29. Alabama, based on Carey & Lea
30. Connecticut, based on Carey & Lea
31. Windward Islands, depicting the chain of islands from Puerto Rico to Grenada, not in Carey & Lea.
32. Leeward Islands, shows the islands off the coast of Venezuela from Aruba to Trinidad, (not in Carey & Lea, who had a different interpretation of the definition of the "Leeward Islands")
33. Chile, shows a country much smaller than the modern Chile, before the settlement of its Patagonian territories and the conquest of its northern provinces, similar to Carey & Lea, but with different topography.
34. Brazil, not in Carey & Lea
35. Colombia, is shown as a unified state embracing Colombia, Equador and Venezuela, similar to Carey & Lea, but with different topography.
36. Cuba & The Bahamas, similar to Carey & Lea, but here with the Cuban provinces outlined.
37. Guatemala, is shown as a unified state embracing all of the central American countries north of Panama, not in Carey & Lea
38. Haiti, is depicted with the entire island of Hispaniola, similar to Carey & Lea, but with different topography.
39. Jamaica, similar to Carey & Lea, but with different topography.
40. Peru, similar to Carey & Lea, but with different topography.
41. Patagonia, an entirely new map, as no map of Patagonia appeared in Carey & Lea's or Buchon's atlases.
42. La Plata, a new map depicts the regions within the basin of the River Plate, not in Carey & Lea
43. United Provinces of South America, map depicts northern Argentina, Uruguay, Paraguay and Bolivia, when they were briefly united into one nation after their collective independence, similar to Carey & Lea, but with different topography.
44. Guyana, not in Carey & Lea
45. Mexico, includes the states of New Mexico and Texas, based on Carey & Lea.
Espenhorst A Guide to German Handatlases P1225, 1.6.3; Phillips Atlases 1225; Tooley Dictionary of Mapmakers (1979 ed.) p.658
#19359$35,000.00
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 WEILAND, Carl Ferdinand (1782-1847)
[Arkansas] Geographische-statistisch und historische Charte von Arkansas.
Weimar: im Verlage des geographischen Instituts, 1828. Copper-engraved map, with original outline colour, in excellent condition. Sheet size: 19 1/8 x 23 3/8 inches.
The highly important first printed map to focus on Arkansas
This map depicts the Arkansas Territory, formed in 1819, as one of the jurisdictions carved out of the massive Louisiana Purchase. It includes all of the lands making up the modern state of Arkansas, as well as the Indian Lands that now form the main portion of Oklahoma. The Indian Lands were not divided from Arkansas Territory until 1828, the same year that this map was printed. The present map is remarkable in that it is the first ever printed map to focus on Arkansas itself. The portrayal of the territory is far more advanced and of a larger scale than that depicted on the map that appeared in Carey & Lea's American Atlas (Philadelphia, 1822) that relegated the depiction of Arkansas to a small lower portion of the map. The present map is also an important document of the early development of Arkansas, showing the fledgling settlements that hug the Arkansas and Mississippi Rivers, such as Helena and Little Rock, the future state capitol. The territory features nine named and one unnamed county while the vast Indian Lands to the west are inhabited by the indigenous Choctaw nation and the Cherokee peoples who were exiled there from their native lands in the southern Appalachians.
#19600$2,750.00
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 WEILAND, Carl Ferdinand (1782-1847)
[Missouri] Geographische-statistisch und historische Charte von Missury.
Weimar: im Verlage des geographischen Instituts, 1826. Copper-engraved map, with original outline colour, in excellent condition. Sheet size: 19 1/8 x 23 3/8 inches.
A highly important map, one of the earliest state maps of Missouri
This very attractive map is a fascinating historical document depicting the early development of the state of Missouri. The state was admitted into the Union as part of the Missouri Compromise in 1821, having been carved out the territory of the same name that was part of the Louisiana Purchase. Finely coloured in outline are fourteen named counties. Most of the settlement still hugs the Mississippi River, and is centered on the bustling river port of St. Louis, which was founded by French fur traders in 1763. The western counties maintain a large size, suggesting their sparse population and undeveloped nature. The map features the 'Osage Line' that runs vertically south from Fort Osage on the Missouri River, marking the border between lands ceded to the U.S. government by the Osage nation in 1808. Featured in the center of the state on the Missouri River is the newly-founded state capitol, Jefferson City. Notably, the map depicts the state before the 1835 'Platte Purchase', that extended its northern boundary west to the Missouri River. The map is surrounded by statistics and text that describes the physical, political and demographic profile of the state during an especially critical period in its development. This map is advanced from the one that appeared in Carey & Lea's American Atlas, printed in Philadelphia in 1822.
#19601$700.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Hyacinthus Indicus tuberosus, Tubereuse [Indian hyacinth]; Hyacinthus Indicus tuberosus flore pleno [Indian hyacinth]; Hycaninthus Belgarum flore coeruleo pleno [Hyacinth] ; Hyacinthus mascimus Belgarum flore albo pleno, Iacente [Hyacinth] [Pl. 584]
[Pl. 584]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 5/8 x 8 1/4 inches. Sheet size: 15 1/2 x 10 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6854$400.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Fraxinus, Fresne [Ash]; Fritillaria alba [White Fritillary]; Fritillaria, Fritillaire [Fritillary] [Pl. 515]
[Pl. 515]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 3/4 x 8 3/8 inches. Sheet size: 15 1/2 x 10 inches.
A fine image from the one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates also represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6856$400.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Lilium Martagon polyanthos flore albo [Martagon lily with white flowers]; Lilium Martagon floribus reflexis polyanthos album punctatum [Martagon lily with spotted white flowers] ; Lilium Martagon floribus reflexis rubris punctatum [Martagon lily with red spotted flowers] [Pl. 657]
[Pl. 657]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 1/4 x 8 1/4 inches. Sheet size: 15 1/2 x 10 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6861$600.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Mirabilis Peruviana flore minore rubro, Jalappe vel Gialappa vera ['Marvel of Peru' with small red flowers]; Mirabilis Peruviana flore majore rubro, Merveille du Peru ['Marvel of Peru' with large red flowers]; Mirabilis Peruviana, belle de nuit ['Beauty of the Night'] [Pl. 732]
[Pl. 732]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 3/4 x 8 1/2 inches. Sheet size: 15 1/2 x 10 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6876$400.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Aloe Ceylanica pumila foliis variegatis [Aloe plant with small, variegated leaves] [Pl. 74]
[Pl. 74]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 1/4 x 8 1/4 inches. Sheet size: 15 1/4 x 9 5/8 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6880$750.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Cereus erectus longissimis alglaucaus spinis bis armatus [Long, thorny erect cactus] [Pl. 357]
[Pl. 357]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 5/8 x 8 1/4 inches. Sheet size: 15 5/8 x 9 7/8 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6881$600.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Ananas sylvestris. Ananas sauvage [Wild pineapples] [Pl. 110]
[Pl. 110]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 3/8 x 8 1/4 inches. Sheet size: 15 3/8 x 9 1/2 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6886$600.00
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