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browsing 4487 items
displaying items 801 to 900
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 BIBLIOGRAPHY. - Folke DAHL
A Bibliography of English Corantos and Periodical Notebooks 1620-1642
London: The Bibliographical Society, 1952. Small 4to (8 1/2 x 6 1/2 inches). Occasional full-page illustration. Original cloth-backed boards, spine lettered in black.
A fine copy of the "Bibliographical Society Publication for the year 1951 issued 1952".
#20501 $50.00  
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 BIBLIOGRAPHY. - J. Payne COLLIER
A Bibliographical and Critical Account of the Rarest Books in the English Language, alphabetically arranged, which during the Last Fifty Years have come under the Observation of J. Payne Collier F.S.A
New York: David G. Francis and Charles Scribner, 1866. 4 volumes, small 8vo (7 5/8 x 5 inches). Half-titles. . Contemporary half calf over marbled paper-covered boards, spines gilt, t.e.g. (spines and joints dry and split or chipped, corners rubbed).
First American edition.
The core of this bibliography, the first edition of which had appeared in London in two volumes in 1865, is the work that Collier had carried out whilst working on his 1837 catalogue of the Earl of Ellesmere's collection (the "Bridgewater catalogue"), and lists about 750 works from the 16th and 17th centuries. The short-title bibliographic descriptions are accompanied by informative and lengthy annotations which often include short excerpts.
Cf. Besterman 917; cf. Sabin p.xxxvi.
#20502$300.00
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 BIBLIOGRAPHY. - Michael SADLEIR
Archdeacon Francis Wrangham 1769-1842
[Oxford]: printed at the Oxford University Press for the Bibliographical Society, 1937. 4to (8 5/8 x 6 7/8 inches). Half-title. Portrait frontispiece, plates, illustrations. Original wrappers.
A fine copy, issued as "Supplement to the Bibliographical Society's Transactions. No.12".
#20504$30.00
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 BICKHAM, George after CHATELAIN
A View from Nelson's Seat in the Gardens of Earl Temple at Stow, in Buckinghamshire: Vüe prise a Coté du Pavillon de Nelson's Seat
London: Printed for T. Bowles in St. Pauls Church Yd. Robt Sayer at the Golden Buck in Fleet Street. & John Bowles & Son. at the Black Horse in Cornhil, 1750. Engraving with lovely original colour. Later publication by Bowles and Sayer circa 1755. Printed on watermarked laid paper. In excellent condition, with the exception of three small puncture marks on left margin where it was bound. Small tear on upper margin. Image size: 9 1/16 x 15 1/16 inches. Plate mark: 10 3/8 x 15 3/4 inches. Sheet size: 12 7/8 x 18 inches.
A view from Nelson's Seat in Stow garden from George Bickham's famous series of garden prints "The Beauties of Stow".
Towards the middle of the eighteenth century a trend developed amongst English artists and printmakers, which sought to visually record the natural beauties of England and Wales. Sparked by a sense of national confidence and patriotism, English printmakers began to publish topographical prints of the important sights in the British Isles. Prints and guidebooks of famous gardens were particularly popular at this period and many contemporary engravers produced beautiful sets of prints illustrating the most famous estates in the country. These views were aimed at English and foreign tourists who desired a memento of their travels, or at those vicarious tourists who collected topographical prints instead of traveling.
According to Clayton, print buying garden tourists were becoming far more common at mid-century which encouraged a number of illustrated guidebooks and decorative suites. In 1750 George Bickham joined this trend and produced an illustrated guide of Viscount Cobham's gardens at Stowe. The series of 16 prints, which illustrates the major views and features of this famous garden, was described when published as "a necessary Pocket Companion for such as Visit those Gardens". Stowe was one of the most famous gardens in England, boasting designs by some of the most celebrated English gardeners. Charles Bridgeman, Richard Kent, and Capability Brown all had a hand in designing the garden, and it opened its doors to a flurry of eager tourists. Bickham's guidebook would have been published to help visitors appreciate and understand the garden's complicated design, and explain the philosophical and historical meaning imbued in the landscape.
Clayton, The English Print 1688-1802 p. 155-160
#10687$750.00
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 BICKHAM, George after CHATELAIN
A View from Lord Cobham's Pillar to the Lady's & Grecian Temples, in the Garden of Earl Temple at Stow, in Buckinghamshire: Vue prise depuis la Colomne de Milord Cobham jusqu au Temples grec & cilui des Dames.
London: Printed for John Bowles & Son, at the Black Horse in Cornhil; Robt. Sayer, at the Golden Buck in Fleet Street, & T. Bowles in St. Pauls Church Yard, 1750. Engraving with lovely original colour. Later publication by Bowles and Sayer circa 1755. Printed on watermarked laid paper. In excellent condition, with the exception of a 1 7/8 inch tear on the bottom margin extending into the title space. Image size: 8 7/8 x 15 1/8 inches. Plate mark: 10 1/4 x 15 7/8 inches. Sheet size: 13 x 18 1/8 inches.
A view of the Grecian and Lady's temples at Stow from George Bickham's famous series of garden prints "The Beauties of Stow".
Towards the middle of the eighteenth century a trend developed amongst English artists and printmakers, which sought to visually record the natural beauties of England and Wales. Sparked by a sense of national confidence and patriotism, English printmakers began to publish topographical prints of the important sights in the British Isles. Prints and guidebooks of famous gardens were particularly popular at this period and many contemporary engravers produced beautiful sets of prints illustrating the most famous estates in the country. These views were aimed at English and foreign tourists who desired a memento of their travels, or at those vicarious tourists who collected topographical prints instead of traveling.
According to Clayton, print buying garden tourists were becoming far more common at mid-century which encouraged a number of illustrated guidebooks and decorative suites. In 1750 George Bickham joined this trend and produced an illustrated guide of Viscount Cobham's gardens at Stowe. The series of 16 prints, which illustrates the major views and features of this famous garden, was described when published as "a necessary Pocket Companion for such as Visit those Gardens". Stowe was one of the most famous gardens in England, boasting designs by some of the most celebrated English gardeners. Charles Bridgeman, Richard Kent, and Capability Brown all had a hand in designing the garden, and it opened its doors to a flurry of eager tourists. Bickham's guidebook would have been published to help visitors appreciate and understand the garden's complicated design, and explain the philosophical and historical meaning imbued in the landscape.
Clayton, The English Print 1688-1802 p. 155-160
#10692$750.00
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 BIERSTADT, Albert (1830-1902)
The Rocky Mountains (Lander's Peak)
New York: Edward Bierstadt, 1866. Steel engraving by James Smillie. Signed in pencil by James Smillie. After the painting, completed in 1863. Sheet size: 16 3/4 x 27 7/8 inches.
In 1859, Bierstadt joined an expedition to the West led by Colonel Frederick W. Lander. This work was painted four years later in New York as a tribute to Lander who died in 1862 after a distinguished military career. Bierstadt found it fitting to name the central summit in memory of his fallen friend.
The painting was a huge success and was quickly bought by the English railroad magnate James McHenry for $25,000. Its beauty lies in Bierstadt's faithful delineation of the Shoshone Indian village encampment and carefully rendered foliage in the foreground with a middle distance featuring a reflective body of water and the exaggerated snow-capped peak in the background towering over the entire scene. It perfectly embodies the idea of Manifest Destiny and appealed to the imaginations of most Americans who had only read about our untamed frontier. The oil painting is in The Metropolitan Museum of Art, New York.
Due to its huge popular success, Bierstadt immediately asked James Smillie, America's premier engraver, to produce an engraving. However, it was not until December 1866, after three laborious years in the making, that this engraving was published.
Nancy Anderson and Linda S. Ferber, Albert Bierstadt Art & Enterprise, pp. 272-273, number 77, illustrated figure 80.
#3311$15,000.00
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 BIERSTADT, Albert (1830-1902)
The Rocky Mountains (Lander's Peak)
London: Thomas McLean, 1869. Lithograph, printed in colours, by Jacob Lutz, printed by Kell Brothers. Sheet size: 19 x 32 inches. Gold leaf frame, silk mat, gold leaf bevel.
In 1859, Bierstadt joined an expedition to the West led by Colonel Frederick W. Lander. This work was painted four years later in New York as a tribute to Lander who died in 1862 after a distinguished military career. Bierstadt found it fitting to name the central summit in memory of his fallen friend.
The painting was a huge success and was quickly bought by the English railroad magnate James McHenry for $25,000. Its beauty lies in Bierstadt's faithful delineation of the Shoshone Indian village encampment and carefully rendered foliage in the foreground with a middle distance featuring a reflective body of water and the exaggerated snow-capped peak in the background towering over the entire scene. The chromolithograph, printed by the Kell Brothers, preserves Bierstadt's sumptuous palette.
This Western paradise immediately appealed to the imaginations of most Americans, who had only read about our untamed frontier. The painting was a huge success and is in the Metropolitan Museum of Art Collection.
Nancy Anderson and Linda S. Ferber, Albert Bierstadt Art & Enterprise, pp. 274-275, number 78, figure 90, illustrated in colour page 291.
#9797$37,500.00
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 BIERSTADT, Albert (1830-1902)
Storm in the Rocky Mountains, Mt. Rosalie
London: Thomas McLean, 1869. Lithograph, printed in colours, by H.M. Long. Sheet size: 18 1/2 x 32 1/4 inches.
Albert Bierstadt (1830-1902) was the nineteenth century chronicler par excellence of the American West. He undertook several expeditions to the Rocky Mountains and Yosemite Valley, where he made sketches of what would later become his most famous paintings.
This particular work depicts light breaking through a bank of thunderclouds above a valley. Indians on foot and on horseback dash down a mountainside toward an encampment of teepees on the valley floor. This image "epitomizes American nineteenth century landscape painting at its most intense and rapturous"
This chromolithograph was issued by Thomas McLean as a pair with The Rocky Mountains (Landers Peak). It was reported at the time that no fewer than twenty, and as many as thirty, stones were used to capture the rich, sumptuous palette of the original painting, which is now in the Brooklyn Museum of Art.
Nancy Anderson and Linda S. Ferber, Albert Bierstadt Art & Enterprise, pp. 274-275, number 79, figure 90, illustrated in colour page 292; Deak, Picturing America, number 811 illustrated.
#17588$37,500.00
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 BIGELOW, Jacob (1787-1879)
American Medical Botany, being a collection of the native medicinal plants of the United States, containing their botanical history and chemical analysis, and properties and uses....
Boston: Cummings and Hilliard, 1817-20. 3 volumes (9 11/16 x 6 3/8 inches). 60 coloured plates comprising 10 hand-coloured copper engravings and 50 aquatint plates printed in colours 'à la poupée' and occasionally finished by hand. Half title in second and third volume. Contemporary three quarter maroon calf and marbled boards, gilt-lettered spines. Minor wear to extremities. Scattered foxing. Bookplates on front pastedowns. Blindstamps on titlepages and some plates. Plates also with some minor foxing. Overall very good. In a half morocco box.
The first American book with color-printing, and also a foundation work in American botanical studies, notable for its fine plates.
Bigelow, a native of Massachusetts, attended medical school at the University of Pennsylvania, where he became keenly interested in botany as a student of Benjamin Smith Barton, then a professor of materia medica as well as the leading botanist in the United States. Following his graduation in 1810 he entered private practice in Boston, and himself became a professor of materia medica, at Harvard Medical School, in 1815. His botanizing had already produced his Florula Bostoniensis in 1814, and once installed at Harvard he began work on this, his best known publication.
According to Bigelow's own later account, he at first intended to produce the plates for his work by printing engravings and having them hand-colored. He decided that this would be too expensive, since he envisioned an edition of 1000 copies with sixty plates each. Ultimately he printed the plates using aquatint, with the ink applied to the plates "á la poupée", a method by which the different color inks are daubed onto the printing plates with a piece of cloth. Richard Wolfe, in his book on Bigelow, asserts that a process of creating plates by etching stone was used, but recent work by Philip Weimerskirch and others has established that the aquatint process was used, and in fact Bigelow has left us a very specific account of the book's production. Up to this time no one had printed plates by aquatint in the United States, although within a few years emigrant artists such as John Hill were to take the art to a very high standard. In any case, the medium served well, and the plates are very beautiful indeed.
Bigelow originally issued his work in six parts, intended to be bound in three volumes, between the fall of 1817 and the spring of 1821; however, the titlepages are dated 1817, 1818, and 1821. The book received favorable notices as it appeared, and one, Walter Channing's review in The North American Review, discussed the production of the plates in particular. Channing names William B. Annin and George Girdler Smith as the engravers and printers of the plates. Once they had become skilled in the printing technique they were able to produce 'several hundred' plates a day. At this rate it must have taken the two men about a year of work to produce all of the plates for the book. Annin is also notable for being one of the first American globe-makers.
Bigelow took great care over the physical appearance of his book (many commentators have remarked on the beauty of its typography as well as the plates). In writing European correspondents he was apologetic about its appearance; he was familiar with what was being done in Europe and knew his pioneering American production was not on the same level. He told his friend James Edward Smith that he was "ashamed that the low state of the arts in this country does not suffer us to produce better engravings." Despite his misgivings, American Medical Botany is a beautiful and significant work in the history of American botany and color printing.
Bennett, p.11; Meisel III, p.378; Pritzel 773; BM Natural History 1:162; Nissen 164; Austin 205; Roylance, American Graphic Arts (Princeton, 1990), p.94; Wolfe, Jacob Bigelow's American Medical Botany (1979), passim; Reese, Stamped with a National Character 10.
#14346$7,500.00
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 BIGG, After William Redmore (1755-1828)
Saturday morning Favorite Chickens going to market; Saturday evening The Husbandman's return from labour
London: J. Brydone, 4 January 1797; 31 January 1795. Stipple engravings, printed in colours, by Thomas Burke (the first) or William Nutter, after Bigg. (Expert marginal repairs). Image size (including text): 18 1/2 x 22 1/2 inches approx. Sheet size: 20 7/8 x 24 1/4 inches and smaller.
A fine pair of colour-printed stipple engravings: rural idylls in 18th-century England.
In the first a family is seen outside the front door of their house set in a largely wooded landscape. The two eldest children prepare for the trip to market. The boy feeds the donkey, whilst his sister gestures to her younger sister to pass her the last of four chickens she is putting in a basket ready for the journey. The two youngest daughters are comforted by their mother as they mourn the imminent departure of their 'pets'. The second image shows a family outside the door of their cottage in a similar setting to the first image. The father has just returned from the field. His wife hands him his youngest child, who he kisses fondly. His other four children are gathered companionably to his left: the eldest daughter sits quietly darning some stockings, her younger sister washes a younger brother. A second brother watches attentively as a pair of piglets eat the scraps from a wicker basket.
William Bigg "was a pupil of Edward Penny, R.A., and by choice of his subjects at least a faithful follower of his master. In 1778 he entered the Academy schools. Bigg delighted in depicting... children. The first of many engaging works of this class was exhibited in 1778, 'Schoolboys giving Charity to a Blind Man.' It was followed a year later by one similar, 'A Lady and her Children relieving a Distressed Cottager.' Besides these his 'Palemon and Lavinia,' the 'Shipwrecked Sailor Boy,' and 'Youths relieving a Blind Man' were highly popular works, and were all engraved. Two good pictures from his easel are preserved in the Cottonian Museum at Plymouth.... by choice of subjects and general manner of treatment he would rightly be classed with Wheatley and Morland. He was highly popular in his day, and the best engravers were employed upon his work." (DNB)
#6496$3,750.00
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 BIGG, After William Redmore (1755-1828)
Saturday evening The Husbandman's return from labour
London: J. Brydone, 31 January 1795. Stipple-engraving, by William Nutter, after Bigg. Image size (including text): 18 1/2 x 22 1/2 inches. Sheet size: 20 7/8 x 24 5/16 inches.
A fine stipple engraving depicting a rural idyll in 18th-century England.
The image shows a family outside the door of their cottage. The father has just returned from the field. His wife hands him his youngest child, who he kisses fondly. His other four children are gathered companionably to his left: the eldest daughter sits quietly darning some stockings, her younger sister washes a younger brother. A second brother watches attentively as a pair of piglets eat the scraps from a wicker basket.
William Bigg "was a pupil of Edward Penny, R.A., and by choice of his subjects at least a faithful follower of his master. In 1778 he entered the Academy schools. Bigg delighted in depicting... children. The first of many engaging works of this class was exhibited in 1778, 'Schoolboys giving Charity to a Blind Man.' It was followed a year later by one similar, 'A Lady and her Children relieving a Distressed Cottager.' Besides these his 'Palemon and Lavinia,' the 'Shipwrecked Sailor Boy,' and 'Youths relieving a Blind Man' were highly popular works, and were all engraved. Two good pictures from his easel are preserved in the Cottonian Museum at Plymouth.... by choice of subjects and general manner of treatment he would rightly be classed with Wheatley and Morland. He was highly popular in his day, and the best engravers were employed upon his work." (DNB)
#6515$1,850.00
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 BIGG, After William Redmore (1755-1828)
Sunday morning A Cottage Family going to church
London: W.R. Bigg, 4 April 1795. Stipple engraving, by William Nutter, after Bigg. Image size (including text): 18 1/2 x 22 1/2 inches. Sheet size: 20 7/8 x 24 5/16 inches.
An excellent stipple engraving depicting rural piety in 18th-century England
The image shows a family outside the door of their cottage making last minute preparations before setting off for morning service at the local church. The wife makes sure that the grandmother is comfortable on the family donkey: the grandmother holds her youngest grandchild in front of her. The father bends to talk to two of his younger children. All are dressed in their 'best' and look slightly uncomfortable. Only the second youngest, a daughter, seems unconcerned as she concentrates on annoying the family dog with a short stick.
William Bigg "was a pupil of Edward Penny, R.A., and by choice of his subjects at least a faithful follower of his master. In 1778 he entered the Academy schools. Bigg delighted in depicting... children. The first of many engaging works of this class was exhibited in 1778, 'Schoolboys giving Charity to a Blind Man.' It was followed a year later by one similar, 'A Lady and her Children relieving a Distressed Cottager.' Besides these his 'Palemon and Lavinia,' the 'Shipwrecked Sailor Boy,' and 'Youths relieving a Blind Man' were highly popular works, and were all engraved. Two good pictures from his easel are preserved in the Cottonian Museum at Plymouth.... by choice of subjects and general manner of treatment he would rightly be classed with Wheatley and Morland. He was highly popular in his day, and the best engravers were employed upon his work." (DNB)
#6516$1,850.00
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 BINGHAM, After George Caleb (1811-1879)
Martial Law as exemplified in the destruction of border counties of Missouri, during the enforcement of military orders, issued by Brigadier General Ewing, of the Federal Army, ... Augt. 25th. 1863. Dedicated to the Friends of Civil Liberty by the Publishers
Columbia & Kansas City, Missouri: published by Geo C. Bingham, 1872. Mezzotint by John Sartain after Bingham, signed 'G.C. Bingham' in pencil to the lower left, marked 'Proof' to the lower right. Good condition. Sheet size: 26 3/4 x 35 1/2 inches.
A very rare signed proof of this important mezzotint engraving, one of the most publicized and politically sensitive Civil War images of its day. After Bingham's 1870 painting "Martial Law," now hanging at the State Historical Society of Missouri.
George Caleb Bingham self-published this engraving of his famous and controversial painting, "Martial Law," better known as "Order No.11," depicting the harsh enforcement of martial law by the United States Army in his home state of Missouri during the Civil War. His main purpose in distributing the print was to disparage the character of U.S. Brigadier General Thomas Ewing, Jr.
General Order No. 11, enacted August 25, 1863, by Ewing, demanded the eviction of almost all residents from three and a half counties along the Missouri-Kansas border in retaliation for having provided a safe base of operations for the Confederate guerrilla William Charles Quantrell's raid on Lawrence, Kansas. The large and remarkably detailed engraving shows General Ewing and his troops with Kansas Senator Jim Lane and his Redlegs, burning out and looting a Missouri village, forcing its citizens, deemed Confederate sympathizers by Ewing, to flee. Bingham, a resident of Independence, Mo., and, ironically, a strong Union supporter, protested the order directly to Ewing's superior officer, General John Schofield, arguing in vain that martial law would turn Missouri citizens sympathetic to the Union against it, and encourage Kansans to pillage the properties the evicted citizens were forced to leave behind. "This is, of course, exactly what happened. Avenging Kansans so thoroughly destroyed the farms and homesteads of the affected counties that for many generations thereafter the region was know simply as 'The Burnt District'" (Ayres). Told the order would stand, Bingham reportedly warned Schofield, '"If God spares my life, with pen and pencil, will make this order infamous in history." The painting and subsequent print of "Martial Law" was the result.
Upon publication, the engraving caused much furor and was denounced as being too sympathetic to the legacy of the Confederacy. Bingham denied the charge, explaining that the painting was meant to keep alive popular indignation at the arbitrary abuse of military power.
William Ayres Picturing history. American paintings 1770-1930 (New York: Rizzoli, 1992)p.123; Bender p.107 (no.4); Bloch P12; McDermott p.437 (no.11); Rusk p.84
#19057$9,500.00
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 BIRCH, William (1755-1834, artist). - Samuel SEYMOUR (engraver)
The City of New York in the State of New York, North America
Springland, near Bristol, PA: published by William Birch [and] William H. Morgan, 100 Arch Street, [Philadelphia], , "1st January 1803" [but circa 1820]. Ccpper engraving, handcoloured, expert repaired tears and restoration to blank margin. Sheet size: 21 7/8 x 28 5/8 inches.
A fine example of the third state of "the Birch View with the Picnic Party".
"This rendering of New York from across the East River is a companion to William Birch's view of Philadelphia ... and was issued by the artist to arouse interest in a projected series of views of New York, which never appeared. Birch explains in his unpublished autobiography ... that he visited New York frequently in his endeavor to prepare an iconography of the city ... 'I took many turns to New York where I met with friendly reception and politeness. I had nearly completed a sett of drawings of that city which I meant to publish as a companion Vollum to the Philadelphia; but found profits of the undertaking was not equal to the expence of travelling and the support of my family.'
'The Drawing of New-York,' wrote Birch in the promotional literature for the view, 'is from the opposite shore of the Sound, as it appears from a great eminence, forming a chaste and grand subject, very similar to the choice of subject made use of by the celebrated Salvator Rosa; the Bay is seen, and the opposite bank of the North River over the busy town at sunset, contrasting in the foreground with the quiet grazing of a horse under the wreck of an ancient tree, upon a sequestered lawn on Long-Island.' The description was included in a prospectus for the first edition of Birch's Philadelphia views.
In the second state of the engraving, a picnic party was substituted for the white horse, and other changes were made ... [The present example is from the third state], similar to the second, but with the imprint of William H. Morgan ... in this form the plate was reissued about 1820." (Deak).
The view shows a family enjoying a picnic on Brooklyn Heights at a place that gives a nice panoramic view of Manhattan from the southeast and which shows all the major buildings of the City in 1802, the date depicted, beginning with the south end of the Battery on the left. Visible through the masts of the ship on the river is the steeple of Trinity Church (at the west end of Wall Street). Farther to the right are St. Paul's, St. George's, the Dutch Reformed Church and numerous other prominent features.
Cf. Deak Picturing America 245; cf. Pyne Collection (1912) 29; Stauffer 2884; cf. Stokes I, plate 77 and pp.468-469
#19881$19,500.00
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 BIRD, William Hamilton (compiler, arranger and composer)
The Oriental Miscellany; being a collection of the most favourite Airs of Hindoostan, compiled and adapted for the harpsichord, &c.
Calcutta: printed by Joseph Cooper, 1789. Folio (14 5/8 x 9 3/8 inches). Letterpress title printed within a decorative etched surround incorporating the imprint and date (verso blank,) 1p. letterpress dedication by Bird to Warren Hastings dated 'May 20th, 1789' (verso blank), 4pp. letterpress 'Introduction', 4pp. list of subscribers, 1p. 'Index' with list of 34 pieces (30 of these with their names printed using both a western and arabic alphabet, verso blank,) 36 leaves printed with 70pp. of letterpress sheet music (numbered 1-45 [46 blank] 47-57 [58 blank] 59-72). Contemporary Indian light brown sheep, with overall zig-zag stippled patterning, paper label to spine with early inscription 'Collection of Hindoostan Airs', modern black cloth chemise, all within a modern black morocco-backed slipcase, titled in gilt on 'spine'.
A fine example of this rare work (the first 'from the early Calcutta presses to include music printing' Shaw,) signed by Bird and in a contemporary Indian binding. No copies of this work are listed as having sold at auction in the past thirty years, and in addition to the India Office Library copy, only four other copies are recorded by OCLC.
William Hamilton Bird, who is listed as a 'conductor of public amusements' in the Bengal calendar and register (Calcutta, 1790,) was amongst the first Westerner to attempt to transcribe Indian music. However, Bird's interesting four-page introduction to the present work makes it clear that he had difficulty in seeing beyond the walls formed by the structure of classical western music, indeed he seems to have failed to have understood most of the basic rules that define Indian classical music. For example, he writes that the 'Raagnies' 'are so devoid of meaning, and any degree of regularity, that it is impossible to bring them into a form for performance, by any fingers but those of their country (Hindostan;) and they appear to be the efforts of men enraptured by words, to which they have added notes as their fancy and amorous flights have dictated.' Having said this, he did record and adapt 30 pieces for 'harpsichord, &c.' from various traditional sources, as well as offering four of his own pieces to round off a rare, influential and beautifully-produced work that was available at 32 sicca rupees to subscribers (according to the list about 300 copies were sold), and 40 sicca rupees to non-subscribers (see the Calcutta Chronicle, 16th July 1789.) The title page is particularly successful, but the text also is very well printed - it is reminiscent of the work that William Baskerville produced in England in the 1750s and 1760s. The printer, Joseph Cooper, was active in Calcutta from November 1785 until about 1799.
See Raymond Head 'Corelli in Calcutta: Colonial Music-Making in India during the 17th and 18th Centuries' in Early Music, vol. 13, No. 4 , pp. 548-553; Graham Shaw Printing Calcutta to 1800 135 (title page illustrated on p.124: India Office Library copy, also signed by Bird).
#19264$13,500.00
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 BLACKSTONE, William
Commentaries on the Laws of England
Oxford: Printed at the Clarendon Press, 1765 - 1769. Four volumes, quarto. [4],iii,[4],473; [8],520,xix; [8],455,[1],xxvii; [8],436,vii,[40]pp. "Table of Consanguinity" and "Table of Descents" (folding) bound into second volume. Without the eight-page "Supplement to the First Edition," which was issued later and is generally absent in earlier copies. Contemporary calf, tooled in blind, gilt morocco spine labels. An occasional contemporary ink note, else internally quite clean and neat. Very good.
A handsome set of the first edition of this cornerstone work on English laws, which had an undeniable influence on the course of jurisprudence in the United States. "Blackstone's great work on the laws of England is the extreme example of justification of an existing state of affairs by virtue of its history....Until the Commentaries, the ordinary Englishman had viewed the law as a vast, unintelligible and unfriendly machine; nothing but trouble, even danger, was to be expected from contact with it. Blackstone's great achievement was to popularize the law and the traditions which had influenced its formation....If the English constitution survived the troubles of the next century, it was because the law had gained a new popular respect, and this was due in part to the enormous success of Blackstone's work" - PMM. Blackstone's work was immediately influential and successful - it was reprinted a dozen times in England over the ensuing two decades, and translated into French, German, Italian, and Russian. Robert Bell produced the first American edition in Philadelphia in 1771-1772.
Each volume of the present set has the bookplate on the front pastedown and ownership signature on the front free endpaper of William Danby, the English writer and book collector. Danby (1752-1833) served as High Sheriff of Yorkshire in the 1780s.
Printing and the Mind of Man 212; Rothschild 407; Grolier Club, English Books 52. DNB 5, pp.459-460 (for Danby).
#20916$22,500.00
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 BLAEU, Joan (1596-1673)
[Hertfordshire] Hertforida Comitatus, vernacule Hertfordshire
[Amsterdam: Blaeu, 1662]. Copper-engraved map, with full original colour and gilt embellishments, mild discolouration at center fold, overall very good condition. Sheet size: 20 1/4 x 26 inches.
A handsome example of Blaeu's English county map with exceptional original colour and highlights in gold
This beautifully presented county map of Hertfordshire from Johan Blaeu's Atlas Mayor, sino Cosmographia Blavania...is from the only Spanish edition of this great work.
The map itself is based on John Speed's map, published in 1612, though without the town plans. Blaeu's map includes the coats of arms of two prominent families. The title cartouche illustrates Hertfordshire's relationship to London in that the county supplied corn and hay to the pleading Londoners pictured on the right hand side of the title. Because of its proximity to London, Hertfordshire had many country houses, reflected in some of the placenames on the map: Waterford Hall, Aldbery Hall, Shingle Hall, and, of course, Waymer Castle.
Koeman, Atlantes Neerlandici, Bl 60A, #199
#13463$2,750.00
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 BLAEU, Willem (1571-1638) and Jan BLAEU (1596-1673)
Le Théâtre du monde, ou nouvel atlas....quatrieme partie [Theatrum, volume IV: England and Wales]
Amsterdam: 1648. Folio (20 ¾ x 13 inches). French text, letterpress title on slip within hand-coloured engraved architectural border, heightened in gilt, 60 engraved general and county maps (59 double page) including general maps of Scotland and Ireland preceded by a printed divisional half-title (not called for in the index at end), all finely coloured by a contemporary hand, 71 illustrations (3 hand-coloured). Contemporary red morocco, paneled in gilt with fillets and decorative rolls, the inner panel with elaborate blocked cornerpieces of stylized scrolling foliage, a blocked central oval of scrolling flowers and foliage enclosing a small blank oval, the spine gilt in eight compartments with raised bands, each compartment with a central rose flower-head tool and a small flower-spray tool at each corner, green cloth ties, gilt edges (ties defective), modern tan cloth box, brown morocco lettering-piece.
An unrecorded variant edition of Blaeu's atlas of England and Wales. Not in Koeman; not in Skelton.
The fifty-eight maps normally found in the French editions are supplemented by an appendix with a half-title and two new maps. These new maps are general maps of Scotland and Ireland, which were the first two maps completed for Blaeu's atlas of Scotland. The forthcoming publication of the Scotland atlas is announced on the half-title, but it did not appear on the market until 1654 (as volume 5 of the Theatrum). Neither Koeman nor Skelton mention a French edition with this appendix, which is normally found in the Dutch-text edition of 1647 (Koeman B145B). The ephemeral nature of this edition is confirmed by the fact that the supplement is not mentioned in the index at the end.
The present atlas is volume four of the six-volume French text edition of the Theatrum (or Théâtre du Monde). The volumes of the Theatrum were published separately from 1635 to 1655. Volume 4 was introduced with French text in 1645. In its completed form, the Theatrum was the finest and most accurate atlas yet to have been published. The Atlas of England and Wales consists of a series of lavishly ornamented maps, including a separate map for each county of England and Wales.
Cf. Koeman I, Bl-42 C; cf.Skelton 43. (Neither calling for the Scotland or Ireland maps)
#2590$45,000.00
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 BLAEU, Willem (1571-1638) and Jan BLAEU (1596-1673)
Atlas major, sive cosmographia Blaviana
Amsterdam: labore & sumptibus Ioannis Blaeu, 1665 [vol.I], 1662 [vols.II-XI] . 11 volumes, folio (21 1/2 x 14 inches). 10 engraved titles or frontispieces, 594 maps, plans and plates, all hand-coloured by a contemporary hand, some heightened with gold. Illustrations, some hand-coloured. Publisher's vellum over pasteboard, covers elaborately panelled in gilt with decorative rolls, large elaborate inner cornerpieces of stylized scrolling foliage, central lozenge of stylized scrolling foliage around a central blank oval, the flat spines divided into eight compartments by horizontal rolls, lettered in the second, but with repeat decoration of small fleur-de-lys tools used as cornerpieces around a small central rose tool, gilt edges, each volume within a fine modern black morocco-backed cloth box, the 'spines' richly decorated in gilt, with lettering in the second and third compartments. Provenance: The Earls of Lonsdale (Lowther Castle, oval armorial booklabel).
Large paper copy of "the greatest and finest atlas ever published" (Koeman): the very fine Lonsdale copy. Second edition of volume I; first editions of volumes II-XI
The Atlas Major in its various editions was the largest atlas ever published. It was justly famed for its production values, its high typographic standard, the quality of its engraving, ornamentation, binding and colouring. The atlas frequently served as the official gift of the Dutch Republic to princes and other authorities. It is one of the most lavish and highly prized of all seventeenth century illustrated books.
The maps are embellished in the Baroque style, and many rank among the most beautiful ever made. Of particular note are the famous side-paneled maps of the continents, the 58 maps devoted to England and Wales (vol. 4), Martini's Atlas of China, the first atlas of China published in Europe (vol. 9), and a series of 25 maps of America that includes important early maps of Virginia and New England (vol. 8).
Volume I: Geographia, quae est Cosmographiae Blauianae pars prima, quea orbis terrae tabulis ante oculis ponitur, et descrptionibus illustratur. 61 maps and plates (world map, 14 plates devoted to the observatory of the great Renaissance astronomer, Tycho Brahe, on the Danish island of Ven (Hven), 46 maps of the Arctic, Scandinavia, northern Germany), includes an additional dedication leaf to Christian Albert.
Volume II: Geographiae Blauianae volumen secundum, quo lib. III, IV, V, VI, VII, Europae continentur. 39 maps and plans of Scandinavia, Russia, Poland, Ukraine, Balkans, Transylvania, Greece, Crete and the Aegean islands. (Lacks the dedication to `liber IV')
Volume III: Geographiae Blauianae volumen tertium, quo Germania, quae est Europae liber octavius, continentur. 96 maps of Germany and Alsace.
Volume IV: Geographiae Blauianae volumen quartum, quo liber IX, X, Europae continentur. 63 maps of the Netherlands, Belgium, Luxembourg and France.
Volume V: Geographiae Blauianae volumen quantum, quo Anglia, quae est Europae liber undecimus, continentur. 58 maps of England.
Volume VI: Geographiae Blauianae volumen sextum, quo liber XII, XIII, Europae continentur. 55 maps of Scotland and Ireland.
Volume VII: Geographiae Blauianae volumen septimum, quo liber XIV, XV, Europae continentur. 70 maps of France and Switzerland.
Volume VIII: Geographiae Blauianae volumen octavum, quo Italia, quae est Europae liber decimus sextus, continentur. 60 maps of Italy.
Volume IX: Geographiae Blauianae volumen nonum, quo Europae liber XVII, et Africa continentur. 41 maps and plates (34 maps of Spain, Portugal, Azores, Africa, Egypt, Malta, Canary islands, Cape Verde Islands, Madagascar; 7 plates of architectural drawings of the Escorial, the monastic palace of Phillip II of Spain).
Volume X: Asia, quae est Geographiae Blauianae pars Quarta, libri duo, volumen decimum. 28 maps of Middle East, Asia, Cyprus, India, Southeast Asia, Indonesia, China and Japan.
Volume XI: America, quae est Geographiae Blauianae pars Quinta, liber unus, volumen undecimum. 23 maps of North America (including the Canadian maritime provinces, Chesapeake Bay, northeast and southeast United States), central America (including Mexico, the West Indies, Bermuda) and South America.
Koeman I, Bl 56 (pp.203-227); Phillips 3430
#2916$750,000.00
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 BLAEU, Willem (1571-1638) & Jan BLAEU (1596-1673)
Le Théâtre du monde, ou nouvel atlas....quatrieme partie [Theatrum, volume IV: England and Wales]
Amsterdam: 1646. Folio (20 x 13 3/8 inches). Mounted on guards throughout. French text, letterpress title on slip within hand-coloured engraved architectural border, heightened in gilt, 60 engraved general and county maps (59 double-page) including general maps of Scotland and Ireland preceded by a printed divisional half-title (not called for in the index at end), all finely coloured by a contemporary hand, 71 illustrations, (3 hand-coloured.) (L1 browned at inner margin, some light marginal damp-staining). Publisher's vellum gilt with yapp fore-edges, covers paneled with stylized foliage roll, and large central and corner arabesques, spine in eight compartments with repeat tooling in gilt, gilt edges (ties lacking as usual. covers scuffed), modern black morocco-backed cloth box, "spine" gilt.
An unrecorded variant edition of Blaeu's atlas of England and Wales. Not in Koeman; not in Skelton
The fifty-eight maps normally found in the French editions are supplemented by an appendix with a half-title and two new maps. These new maps are general maps of Scotland and Ireland, which were the first two maps completed for Blaeu's atlas of Scotland. The forthcoming publication of the Scotland atlas is announced on the half-title, but it did not appear on the market until 1654 (as volume 5 of the Theatrum ). Neither Koeman nor Skelton mention a French edition with this appendix, which is normally found in the Dutch-text edition of 1647 (Koeman B145B). The ephemeral nature of this edition is confirmed by the fact that the supplement is not mentioned in the index at the end.
The present atlas is volume four of the six-volume French text edition of the Theatrum (or Théâtre du Monde). The volumes of the Theatrum were published separately from 1635 to 1655. Volume 4 was introduced with French text in 1645. In its completed form, the Theatrum was the finest and most accurate atlas yet to have been published. The Atlas of England and Wales consists of a series of lavishly ornamented maps, including a separate map for each county of England and Wales.
Cf.Koeman Bl-42 B; Skelton 43. (Neither calling for the Scotland and Ireland maps)
#5869$38,500.00
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 BLAEU, Willem (1571-1638), and Jan BLAEU (1596-1673)
Tooneel des aedriicx, ofte Neivwe Atlas Dat is Beschryving van alle Landen [Theatrum orbis terrarum, sive atlas novus; in quo tabular et descriptiones omnium regionum]
Amsterdam: J. Blaeu, 1649-1650. Volume I only (in two parts), folio (21 1/4 x 14 3/4 inches). Half title, title to second part and text in Latin, title to first part in Dutch. Letterpress titles within elaborate hand-coloured engraved surrounds, heightened in gilt, 6 illustrations (5 woodcut, 1 copper engraving), 3 hand-coloured, 120 hand-coloured engraved maps (6 folding, 113 double-page, 1 three-quarter page). (Half-title re-margined at inner margin and with some areas reinforced on verso, title to vol.I supplied from a Dutch language edition, cut to within platemark and inlaid to size, about 20 maps [including the world map and the map of Europe] with neat marginal repairs, occasionally just affecting plate area). Publisher's vellum over pasteboard, covers panelled in gilt, the inner panels with elaborate blocked cornerpieces of stylized flowers and foliage, all surrounding a large centrally-placed arabesque of stylized flowers and foliage, spine in eight compartments delineated by horizontal roll tool, the compartments with repeat decoration in gilt of flower-head and foliage tools, remnants of green cloth ties, gilt edges.
A fine copy with full contemporary hand-colouring.
Although in every other respect this volume corresponds with Koeman Bl 23B, at some earlier date a title page from the Dutch language edition (Koeman Bl 29C] has been supplied instead of the Latin title. This first volume of the six-volume Theatrum Orbis Terrarum includes an excellent Mercator-projection world map with multiple vignettes in the surrounding panels, and other fine maps of Scandinavia, Eastern Europe, Russia, Germany and Holland.
Cf. Koeman Bl 23B
#6764$90,000.00
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 BLAEU, Willem (1571-1638) and Jan BLAEU (1596-1673)
Le Theatre du Monde ou Nouvel Atlas Contenant Les Chartes et Descriptions de tous les Pais de la Terre Mis en lumiere
Amsterdam: 1645-46. 4 volumes, folio (20 x 13 1/2 inches). 334 copper-engraved maps with very fine period hand-colouring. Original publisher's vellum, panelled in gilt with central gilt arabesques and corner pieces, cloth ties, modern black morocco-backed cloth boxes, gilt "spines".
An early edition of the greatest world atlas ever produced. The 'Theatrum Orbis Terrarum' (or Theatre du Monde) marks the intermediary stage in the development of the "greatest and finest atlas ever published" (Koeman).
In 1630, Willem Janzzon Blaeu, the official cartographer of the Dutch East India Company, published his first world atlas, the Atlantis Appendix, with 60 maps. The second expanded edition, with 99 maps, appeared in the following year. Blaeu continued to produce new maps at such a rate that by 1634, he abandoned the single volume format, and announced his intention to publish a new world atlas, entitled the Theatrum. This atlas, which originally incorporated most of the maps from Blaeu's Appendix, was expanded so rapidly that by 1646, when this version appeared, it consisted of four volumes with 334 maps.
The acclaim that Blaeu's atlas has always received is based primarily upon its extremely high production standards. The quality of the engraving, the paper, and colouring are of the highest order, and place it in the first rank among seventeenth century illustrated books.
The maps are embellished in the Baroque style, and many rank among the most beautiful ever made. Of particular note are the famous side-panelled maps of the world and four continents, sixty devoted to Great Britain (Volume IV), the map of the environs of Frankfurt (Volume I), a fine map of China and Japan (Volume III), and a series of thirteen maps of America (Volume III) that includes early and important maps of New England and the Chesapeake Bay.
Volume I. Le Theatre du Monde, ou Nouvel Atlas Contenant Les Chartes et Descriptions de tous les Pais de la Terre Mis en Lumiere Par Guillaume et Jean Blaeu. Amsterdam, Johannem Guiljemi F. Blaeu:1645. Folio, two title pages, 120 maps (Koeman Bl 19B). The number and order of the maps is the same as in the French edition of 1638 (Koeman B1 16A), but with altered signatures and page numbers. Part I: World map, plus 83 maps of Germany, Scandinavia, the Arctic and eastern Europe, several oversized and folding. Part II: 36 maps of the Lowlands.
Volume II. Le Theatre du Monde, ou Nouvel Atlas Mis en lumiere par Guillaume & Jean Blaeu. Seconde Partie. Amsterdam, chez Jean Blaeu: 1645. Large folio, two engraved title-pages with each title printed on slip of paper, laid down, 92 maps. (Koeman B1 18C) Collation is the same as in the French edition of 1640 (Koeman B1 17), but with altered (corrected) signatures and page numbers: Part I: 48 maps of France; Part II: 14 maps of Spain and Portugal, 12 maps of Asia, 5 maps of Africa, 13 maps of America.
Volume III. Le Theatre du Monde, ou Nouvel Atlas mis en lumiere par Guillaume & Jean Blaeu. Troisieme Partie. Amsterdam, Chez Jean Blaeu: 1645. Folio, 62 maps, engraved title-page with title printed on separate slip of paper, laid down. (Koeman Bl 35F) Collation is the same as the first French edition of 1640 (Koeman Bl 35A): 58 maps of Italy and four maps of Greece. The register at the end calls for an additional four maps of Great Britain, which had been added as a supplement to the second French edition (also 1640). With the introduction in 1645 of volume IV, devoted solely to Great Britain, they were removed.
Volume IV. Guil. et Joannis Blaeu Theatrum Orbis Terrarum, sive Atlas Novus, pars quarta. Amsterdam, apud Johannem Blaeu: 1646. Folio, 60 maps, several engravings of British antiquities interspersed throughout the text, engraved title page with title printed on separate slip of paper, laid down. (Koeman B1 42B) "This edition of 1646 is identical with the former [first] edition of 1645" (Koeman Bl 42A). In point of fact, this volume contains two maps, one of Scotland, the other of Ireland, that are not called for in the index. It also varies in that the inlaid title slip is in Latin rather than in French.
Koeman Bl 19B; 18C; 35A; 42B
#6850$240,000.00
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 BLAEU, Willem (1571-1638)
Moluccæ Insulæ Celeberrimæ
Amsterdam: Blaeu. Engraved with period outline colour. Latin text. Mild soiling. Time toned.
The Dutch finally succeeded in dislodging the Portuguese from the Spice Islands in 1605 after six years of struggle. Blaeu's map, which first appeared in 1630 in the Atlantis Appendix., was the first large-scale, detailed map of the now Dutch-controlled islands. It shows the heavily forested nature of the islands and the recently constructed forts. The inset map shows the island of Batjan. The border decoration of the inset has on one side mariner's instruments and on the other instruments of war: both essential to the Dutch mission. There are several ships both European and Asian as well as a couple of sea monsters. There is a sea battle near Ternate where the Dutch defeated the Portuguese.
Koeman, Bl 22, (64); Goss, Blaeu's The Grand Atlas of the 17th Century, p. 196-197.
#12772$1,500.00
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 BLAEU, Willem (1571-1638)
Insulæ Americanæ in Oceano Septentrionali, cum Terris adiacentibus
Amsterdam: Blaeu, 1640. Engraved with period outline colour. French text. Mild soiling more evident at the edges. Repaired split at base of center fold. Image size (including text): 15 x 20 3/4 inches. Sheet size: 18 x 23 3/8 inches.
This attractive map called the American Islands is essentially a coastal chart of the eastern seaboard from the Chesapeake to Florida, all of the Gulf of Mexico to the Orinoco River in Venezuela, and part of the Pacific coast of Central America.
The map was based upon the Hessel Gerritz map of circa 1631, which was separately published and is extremely rare. Gerritz was the cartographer for the Dutch West India Company, working under Johannes de Laet, who was in charge of Dutch interests in the Americas and Africa. The new material for this map was gathered in 1628 during a voyage through the region that may have included Chesapeake Bay and certainly included all the places from the Bahamas south and southwest depicted in the map.
Koeman, Bl 17, #81; Goss, Blaeu's The Grand Atlas of the 17th Century, p. 124-125; Burden, #242 and #236.
#13895$2,500.00
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 BLAEU, Willem Janszoon, and Johannes BLAEU
Theatrum orbis terrarum, sive atlas novus in quo tabulae et descriptiones omnium regionum
Amsterdam: G. & J. Blaeu: 1649-[n.d.]-[n.d.]-1646-1654-[n.d]. 6 volumes, folio (20 3/8 x 14 1/8 inches). Letterpress half-title in volume one, 7 engraved titles or divisional titles (vol. I with printed overslip, volumes II-V blank, vol.V with integral engraved title, only volumes I, IV and V dated), 405 engraved maps (3 half-page, 3 single-page, 392 double-page, 6 folding), all finely coloured by a contemporary hand, occasional woodcut or engraved illustrations (some hand-coloured). Early 19th-century calf, covers panelled in blind with fillets and roll tools, the spines in seven compartments with raised bands, blue/green morocco lettering-pieces in the second and fifth compartments, the third compartment with volume number in gilt, the others with repeat overall tooling in blind, the first compartments additionally tooled in gilt with the gilt coroneted monogram of the Dukes of Devonshire, gilt turn-ins, marbled endpapers, marbled edges. Provenance: Dukes of Devonshire (18th century engraved armorial bookplates, by descent to:); Richard Cavendish (Holker Hall, Cark-in-Cartmel, Lancs., sale, Christie’s 28 May 1957, lot 86, Charles W. Traylen, Guildford, Surrey, for Lord Wardington).
A beautifully coloured large paper issue of this fascinating and very rare late edition of Blaeu's landmark work, from the library of the Dukes of Devonshire.
Blaeu's Appendix was followed by the German edition of the Novus atlas in two volumes in 1634/5 and the French, Dutch and Latin edition - the Theatrum orbis terrarum - in 1635. The third volume came out in 1640 while the fourth (England and Wales) first appeared in 1645. The fifth volume (of Scotland) was the first separate atlas of Scotland ever published. The sixth volume, the atlas of China or Novus Atlas Chinensis, compiled by Martino Martini, with a map of Japan, came out in 1655. "So during the thirty odd years leading up to the publication of his Atlas Major, we see that Blaeu published two volume, three, four and six volume atlases, each increasing in size and geographical knowledge" (Wardington Catalogue).
The set comprises:
Volume I, [Part 1: World, Scandinavia and Germany; Part 2: Netherlands]. 1649. Letterpress half-title. Letterpress general title with hand-coloured engraved surround, letterpress title to part II with hand-coloured engraved surround, 121 hand-coloured engraved maps (1 half-page map, 114 double-page, 6 folding [one of these on two folding sheets]), 1 hand-coloured engraved illustration, 5 woodcut illustrations (4 hand-coloured), repaired tear to folding map of the Rhine 'Rhenus Fluviorum'
Includes an additional double-page map 'Caroli magni imperium' belonging to volume II, with its counterpart.
Volume II [Part 1. France; Part 2: Spain, Asia, Africa and America]. Title leaf at front with hand-coloured engraved surround but area for letterpress title left blank, 92 hand-coloured double-page engraved maps only, lacking engraved title to part 2, Koeman's map 65 ('China veteribus'), and signature G (pp. 6-7, with text on 'Iapon Insula'),
The 92 maps include an additional map or sheet from a larger map of Europe during the Dark Ages
Volume III. [Italy and Greece] Title leaf at front with hand-coloured engraved surround but area for letterpress title left blank, 62 hand-coloured engraved maps (58 double-page, 1 single-page, 2 half-page).
Without the Scotia section mentioned in the index (as usual)
Volume IV. [England and Wales]. 1646. Title leaf at front with hand-coloured engraved surround but area for letterpress title left blank, 58 hand-coloured engraved maps (57 double-page, 1 single page).
Volume V. [Scotland and Ireland]. 1654. Title leaf at front with hand-coloured engraved surround but area for letterpress title left blank, 55 hand-coloured engraved maps (54 double-page, 1 single page).
Volume VI. [China and Japan]. Hand-coloured engraved title 'Novus Atlas Sinensis', 17 double-page hand-coloured engraved maps.
Cf. van der Krogt, 2:203, 302, 401 (describing this copy, under *Oxon PC); consistent with Koeman 23B and 21A, 24B, 37A & 36A, 44, 49 (variant C) and 53; Shirley, British Library T.BLA; Wardington Catalogue 60
#18895$495,000.00
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 BLAGDON, Francis William after Colonel Francis Swain WARD
Multura Fort
London: Edward Orme, 1 January 1803 [watermarked 1804]. Aquatint engraving, coloured by hand, after a watercolour by William Orme from a drawing by Colonel Ward. Image size (including text): 11 1/2 x 16 1/2 inches. Sheet size: 17 1/4 x 20 13/16 inches.
An excellent view from Blagdon's 'A Brief History of Ancient and Modern India'.
The original watercolour by William Orme after Ward, from which the present image was worked by Stadler, is now in the Victoria and Albert Museum in London.
Cf. Abbey Travel II, 424
#6321$750.00
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