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browsing 4347 items
displaying items 1701 to 1800
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 DU CREUX, François (1596?-1666)
Historiae Canadensis, seu Novæ-Franciæ libri decem, ad annum usque Christi MDCLVI
Paris: Apud Sebastianum Cramoisy, et Sebast. Mabre-Cramoisy, 1664. Quarto (8 7/8 x 6 3/4 inches). [28],810,[6]pp. Engraved vignette incorporating the publisher's device on the title, 1 folding engraved map, 13 engraved plates (1 folding). (Old repairs to the folding plate, some old dampstaining). Late 18th century French red morocco, marbled endpapers, expertly rebacked to style, spine richly gilt in compartments.
A classic history of Canada: one of the most important ever published, including powerful images of 17th century Canada and the very rare map.
Du Creux, a Jesuit from Bordeaux, compiled this history from conversations with missionaries such as fathers Brebeuf, Lalemant, le Jeune, and Bressani. He also used previously published Jesuit Relations and other records. Du Creux entered the Society of Jesus in 1614. The present work was prepared by him from the various Jesuit 'Relations' (or reports from the overseas missions). A careful researcher, du Creux did much 'to clarify and supplement' (Streeter) the information in the 'Relations' using oral and manuscript reports from missionaries newly returned from the New World. The wonderful plates depict Indian families, customs and manners, beavers at work on a dam, birds, and other natural history subjects. The folding plate is a composite plate by Huret showing several Jesuit martyrdoms. The plates of Hurons are among the most important and best executed illustrations of North American Indians of the 17th century. 'The origin of the illustrations of animal and native life and of the map is unknown; the latter is not merely a reproduction from Sanson' (TPL).
The very handsome folding map of 'Nova Franca' is dated 1660 and shows most of northeastern North America, including the Great Lakes region and Hudson's Bay. Philip Burden describes some important aspects of the map: "The outline of the map largely draws upon those of Sanson's Le Canada, 1656, and Bressani's Novae Franciae, 1657. There are some important additions with the earliest depiction of a complicated river system feeding into the Hudson and James Bay. This is most probably an attempt to illustrate the various routes recounted by Father Gabriel Roulettes in the Jesuit Relations of 1657-58, published in Paris, 1659. One of these routes was that of the Corers de Bois, Raison and Grovellers, leading through Lake Nipigon and the Albany River to the Milestones for furs. Part of this intricate network introduces the name Spiritualises Fl. for the first time; it would later be associated with a number of lakes in Manitoba...The east coast colonies are identified, including the by now defeated Swedish ones. Many new tribes are recognised, particularly in the north."
Arents 288; Bell Jesuit Relations p.249; cf. Burden 349 (map only); European Americana 664/64; Lande 199; Harrisse 120; JCB III:109; Sabin 21072; Streeter Sale 96; TPL 54.
#17673 $35,000.00  
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 DUBOIS after COURVOISIER
Fontaine ou Chateau d'Eau au Boulevard Saint Martin
Paris: Chez Basset, Md. D'Estampes, rue St. Jacques, No. 64, circa 1785. Hand-coloured line engraving. Printed on laid paper. In excellent condition with the exception of a mended tear on the bottom margin. Image size: 9 ¾ x 16 1/8 inches. Plate mark: 13 x 18 ¼ inches. Sheet size: 16 3/16 x 21 ¾ inches.
A fine view of the fountain along the Boulevard Saint Martin in Paris.
This fascinating view of the boulevard St. Martin is typical of eighteenth century perspective prints produced in England and France at the close of the eighteenth century. Although it was not meant to be viewed through an optical device, this picturesque image employs the same coloring and composition of other contemporary vue d'optiques. As well as being a beautiful image, this lovely view provides a fascinating glimpse of Parisian life. While the gentry enjoy themselves strolling along the tree-lined pavements, a street cleaner is hard at work cleaning the cobbled road with a large movable barrel of water. The sides of the road have been cleared for faster traffic while the center of the roadway is dotted with slower moving carriages. This charming image was most likely produced as part of a suite of views of Paris and its environs. Basset was a prolific publisher who printed a vast array of different material from views to decorative genre prints.
#14730$650.00
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 DUDLEY, Robert (1574-1649)
[California & the Pacific Northwest] Carta particolare dello stretto di Iezo fra l'America e L'Isola Iezo.
[Florence: Guiseppi Cocchini, 1661]. Copper-engraved map, in excellent condition. Sheet size: 21 3/8 x 16 7/8 inches.
The rare chart of California and the Pacific Northwest from the second edition of Dudley's 'Arcano del Mare,' the first sea atlas by an Englishman; and the first atlas with all the charts based on Mercator's Projection.
Sir Robert Dudley was the son of Robert Dudley, Earl of Leicester, the paramour of Queen Elizabeth I. His desire to marry the Queen led the elder Dudley to have his marriage declared invalid, and his children, thus, illegitimate. The younger Dudley was nevertheless one of the richest men in England when James I came to the throne. A prolonged quarrel in court led to Dudley's leaving for Florence, where he spent the rest of his life as a leading member of the Medici court. It was in Florence over a twelve year period that he prepared his great Arcano del Mare. This chart of the Pacific Northwest is typical of the high quality of the work in the atlas. The quality of the engraving and lettering is of the highest order.
The chart shows all of the American Pacific coast from San Francisco Bay north to the Arctic. Several of the California place names, such as Po(r)to di Nueva Albion for San Francisco, are taken from the voyage of Sir Francis Drake. C. Mendocino is clearly marked. Further north, much of the detail is conjectural, as these regions were little-known in Dudley's day. Costa Brava di Quivera is shown. Nevertheless, the chart is a fascinating look at 17th century geographical thought concerning the present areas of Oregon, Washington State, British Columbia, and Alaska.
Burden, The Mapping of North America I, 284
#15366$6,000.00
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 DUFF, Joseph
Traveler's Guide. A Map of the Ohio and Mississippi Rivers, Extending from Pittsburg [Sic] to the Gulf of Mexico...
Cincinnati: Geo. Conclin, 1836. Black and white, 7 x 44 inches, dissected, cloth backed, and folding into brown cloth covers.
Lengthy table of distances. Karrow, Checklist of Printed Maps of the Middle West to 1900 (1, 1231), lists an 1833 edition, but no 1836 edition.
#3206$4,250.00
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 DUKE, J. (publisher)
The Compleat Florist
London: printed for J. Duke and sold by J. Robinson, 1747. Octavo (8 7/8 x 5 1/4 inches). Engraved throughout. Hand-coloured emblematic frontispiece by John Carwitham, title with elaborate hand-coloured floral border, 100 hand-coloured numbered plates with integral text. Expertly rebacked to style using 18th-century russia, with contemporary marbled paper-covered boards, spines divided into seven compartments with raised bands, red morocco lettering piece. Provenance: Isaac Royall (early inscription dated 16 January 1754).
An excellent copy of the de luxe hand-coloured issue of the first edition, second issue of this beautiful and valuable work
Today, the word florist describes a profession: one who sells flowers, normally cut flowers and normally from retail premises. In the 18th-century the word "florist" had a more general meaning. Samuel Johnson, in 1757, defined a florist as a "cultivater [sic.] of flowers" in both a professional and amateur capacity. This work was aimed at both groups of flower growers, and was intended as an indicator of what was available, fashionable, and the "coming-thing", whilst also providing the necessary growing instructions. The work was first published in two parts in 1740, and re-issued in the present format in 1747. Each plate features a single variety. The first six plates include the names of the nurserymen/florists who grew the individual bloom: Messrs. Kingman, Giles (2), Sampson, Bowen and Fairchild. All of the plates include a note of when the variety flowers, and they all also include integral engraved text that either gives cultivation instructions, or refers back to a previous plate that features another variety of the same plant.
The work is not only beautifully engraved and printed, but also offers an important snap-shot of the varieties that were available to gardeners during the middle of the 18th century - an important time in the history of gardening when systematic classification was taking hold, but before the explosion of plants that were bought into cultivation from the late 18th century onwards. A surprising number of different species are shown, but there are multiple varieties of a number of species, including: 5 tulips; 5 anemone; 6 lillies; 8 carnations or pinks; 7 roses; 4 irises and 3 auriculas. A contemporary reference records that the work was available at 5s. uncoloured, or, as here, 15s. coloured.
Dunthorne 102; cf. The Gardening World (22 March 1890) 6, p.456; Henrey III, 568; Nissen BBI 554; cf. R. Weston Tracts on Practical Agriculture and Gardening ... Second edition (1773) 68.
#19641$15,000.00
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 DUNKARTON, Richard & William WARD, after William Redmore BIGG
The Soldier's Widow: or, school boys' collection... De jeunes ecolliers font une souscription en faveur de la Veuve d'un Soldat; The Sailor's Orphans; or, the young ladies subscription... De jeunes pensionnaires se cotisent pour assister les Enfans Orphelins d'un Matelot
London: Published by William Redmore Bigg, 2 August 1800, and 1 June 1800. A pair of mezzotints. (The Soldier's Widow) engraved by Richard Dunkarton, and (The Sailor's Orphans) engraved by William Ward. Both in good condition with the exception of small marginal tears. (The Soldier's Widow) has a skillfully repaired upper right corner. Image size (including text): 18 x 23 3/8 inches. Sheet size: 21 3/4 x 26 3/4 inches.
A pair of beautiful mezzotints after the sentimental genre paintings of William Redmore Bigg
William Redmore Bigg gained a reputation as an excellent genre painter, the sentimental morals and pretty appearance of his accomplished paintings made them extremely popular in their day. In subject and style Bigg echoed the work of his master Edward Penny, who also specialized in painting genre scenes with moralizing overtones. He was a regular exhibitor at the Royal Academy and the British Institution, and proved a continued source of inspiration for contemporary engravers. Bigg remains one of the most celebrated English genre painters whose, picturesque characterizations of the lower classes, express the sentiment and taste of his age. This pair of engravings is a wonderful example of Bigg's sentimental style of painting and his use of moral overtones to promote charitable behavior. In the first image, nine schoolboys are gathered round the soldier's widow and his child. They have stopped their game of cricket and kite flying, and having examined the soldier's sword are now in somber mood as they thoughtfully make a collection to give to the destitute family. In the second, a mother has brought her daughters and a group of their friends on a mission of mercy to the cottage of the sailor's mother and his three orphaned children. With universal looks of compassion, they offer their gifts to the grieving family.
#6507$4,750.00
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 DUNKARTON, Robert after A. VAN DYCK
Lady Philadelphia Wharton
London: John Boydell, in Cheapside, Jan. 1st, 1781. Mezzotint. State v/v, with the plate regrounded and reworked; face darker, details of rock-face obscured, inscription altered to previous state. In pristine condition. Image Size: 15 1/8 x 11 7/8 inches. Plate mark: 16 1/4 x 11 7/8 inches. Sheet size: 17 x 13 3/4 inches.
A breathtaking impression of this stunning print by Robert Dunkarton, the master of the English mezzotint.
Robert Dunkarton is considered to be a master of English mezzotint; his complicated images distinguish themselves with their rich detail and precise execution. His bold style focuses on the play between light and shade, forming a surface consistency which creates velvety tones and rich textures. Dunkarton practiced his trade in London during the close of the eighteenth century. He learned his skill as an engraver from the printmaker William Pether whose dark intimate style can be seen reflected in his pupil's work. Dunkarton began his career as a portrait painter, exhibiting at the Society of Artists and the Royal Academy between 1768 and 1779, after which he concentrated solely on printmaking. As an engraver he is known for his striking portraits after old master painters like Van Dyck, such as this stunning portrait of Lady Wharton from the Houghton Gallery, but some of his work at this period reproduces the works of contemporary painters like Reynolds and Copley. During the height of the English mezzotint, Dunkarton distinguished himself as an outstanding printmaker; his complicated images have a dramatic clarity which delights the eye and thrills the senses.
Chaloner Smith, British Mezzotinto Portraits 40, not described; Russell, English Mezzotint Portraits, and their States 40, not described; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 1; Lennox-Boyd & Stogdon, state v/v
#7572$350.00
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 DUNMORE, Attributed to Lord Alfred
[The Buffalo Hunt]
[?Manitoba, Canada: circa 1859-1862]. Watercolour on paper. Sheet size: 8 3/4 x 13 1/2 inches. Laid down onto a larger ruled sheet. Unsigned, title and attribution on Kennedy Galleries labels. In excellent condition, with bright colors and sharp detail. A short closed tear, neatly repaired, is in the grass at the very bottom of left-center foreground. Matted and glazed within a decorated gilt frame. Provenance: Kennedy Galleries; Collection of Edward Eberstadt & Sons.
A dramatic watercolour of British 'dudes' hunting Buffalo: a superb depiction of the West at a very early date.
This graphic image of a buffalo hunt, probably near Fort Ellice, Manitoba, in western Canada, was painted by an English nobleman visiting the West on an exotic sporting adventure. A hunter, carrying a buffalo rifle, has dismounted from a horse to inspect a fallen buffalo bull, while behind him three mounted hunters pursue more buffalo, cut from a large herd seen grazing on the horizon, with a mountain range as a backdrop. Close attention is paid to the rather formal attire of the hunters, who sport buckskin jackets, stiff white shirts, and broad-brimmed hats. The buffalo and horses are drawn quite well, with their power and speed clearly delineated.
Kennedy Galleries attributed this painting to 'Lord Alfred Dunsmore' [sic], but it was actually executed by the Honourable Alfred Murray, who used the courtesy title Lord Alfred Dunmore. He was the younger brother of the 7th Earl of Dunmore, and first visited Canada with his future brother-in-law of James Carnegie, the ninth Earl of Southesk (1827-1905). 'In 1859 Southesk undertook in search of health a prolonged hunting expedition in Western Canada. He traversed some of the wildest and least known parts of the Rockies about the sources of the rivers Athabasca and Saskatchewan. He returned home in 1860' (DNB), marrying Dunmore's sister Lady Susan Murray on 29 November 1860.
'Lord Dunmore' whose great-grandfather had been the last colonial governor of Virginia, was in his late teens at the time of the expedition with Southesk. That he enjoyed the experience is confirmed by the fact that he was back in Canada again by the end of August 1862. According to Marshall Sprague in A Gallery of Dudes (Boston & Toronto: Little Brown, 1966), Dunmore delayed the expedition of fellow countrymen Viscount Milton and Dr. Walter Butler Cheadle, first by supposed illness and then by his sporting proclivities: 'It was August 23 when [Milton & Cheadle] … set out finally, up the lovely Assiniboine valley toward Fort Carlton... They dawdled two days later so that Milton could attend a country wedding ... Then Cheadle was summoned off their route by Lord Southesk's brother-in-law, Lord Dunmore, whose messenger said he was dying of jaundice. After two days of fatiguing forced march, Cheadle reached Fort Ellice, near the junction of Assiniboine and Qu'Appelle Rivers, to be told that his lordship felt very much better and was off hunting buffalo.'
Cf. James Carnegie, 9th Earl of Southesk. Saskatchewan and the Rocky Mountains (Edinburgh, 1875); Cf. A.G. Doughty & G. Lanctot (editors) Cheadle's Journal of a trip across Canada, 1862-1863 (Ottawa, 1931); cf. William Wentworth Fitzwilliam, Viscount Milton & Walter Butler CheadleThe North-West Passage by Land (London:1865); Marshall Sprague A Gallery of Dudes (Boston & Toronto: Little Brown, 1966), pp. 73.
#18555$19,500.00
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 DURAND, Asher after Thomas SULLY
John Quincy Adams, President of the United States
Philadelphia: W.H Morgan, 114 Chestnut Street, Oct. 6, 1826. Copper engraving. In excellent condition apart from minor occasional creasing in the sheet. Image size: 20 3/16 x 13 13/16 inches. Plate mark: 23 5/8 x 15 3/8 inches. Sheet size: 26 5/8 x 18 1/2 inches.
A magnificent example of this famous portrait of John Quincy Adams by Asher Durand, one of the best American engravers.
Asher Durand was hailed as "the most famous engraver in America" and "the father of American landscape painting". His bold clean style was an immediate success, and he consequently produced some of the most important engravings in American print history. His "Musidora" and his Presidential series, are among the most cherished prints of the period, and his contribution to American landscape painting helped form the nation's artistic identity. Durand's magnificent portrait of John Quincy Adams is the quintessential example of his superior technique. Its clean lines and meticulous attention to detail create a magnetic image which immediately captivates the viewer's attention. Surrounded by maps and books Adams is portrayed as the quintessential enlightened president. His portrait, in composition and execution, is a wonderful example of presidential portraiture, and it is no wonder that the public clamored to purchase this magnificent image.
John Quincy Adams (1767-1848) was a brilliant, independent minded man, who was perhaps the best prepared of all the Presidents, having had a superb education, a career as an ambassador and having been a Senator. Intellectually qualified, he lacked charisma and charm, rather like his father. He was not at all like a modern day politician. A few years after his one term presidency, he returned to Washington as congressman for his Massachusetts district, a position he held until the end of his life.
In this portrait, we sense the intellectual intensity of his truly formidable mind and knowledge, as well as the disinclination for personal contact in his preoccupied, averted gaze.
Stauffer, American Engravers on Copper and Steel vol. II 551, state i/ii, vol. I p. 72; Cunningham, Popular Images of the Presidency: From Washington to Lincoln p. 44-146
#8641$4,000.00
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 DÜRING, C. A. (American, fl. 1827)
Philadelphia von dem grossen Baum zu Kingston. [Philadelphia from the Great Tree of Kingston (i.e. Kensington)]
1827. Pen, watercolour and gouache on wove paper, with integral brown gouache border with ruled lines in black and white, signed, dated and titled beneah the image in white gouache in a cartographic hand "Pinx[it]: C:A: Düring.1827. / Berg Vernon in Virginien". (Old crease, some light surface damage). Sheet size: 18 3/4 x 23 3/4 inches; image size: 14 1/4 x 19 1/2 inches.
A beautiful painting of Philadelphia in the 1820s
This superb painting of Philadelphia by German artist C. A. During depicts the city from just beyond the great elm tree at Kensington on the Delaware.
Unfortunately we have been unable to discover any information regarding the artist of this magnificent view of Philadelphia. Obviously a German artist, the view is typical of German topographical paintings produced towards the middle of the nineteenth century. The heavy gray border and thick painterly technique was a common tool used by artists across Germany, and was particularly favored by landscape painters, who used this artistic framing device to create a sense of depth in their work. This superb view is obviously from the hand of a professional artist whose exquisite technique and meticulous attention to detail is nothing short of breathtaking.
Düring's work presents a familiar view of the city from the great elm at Kensington, under which William Penn concluded his treaty with the Indians in 1682. This view of Philadelphia was a favored vantage point for artists throughout the nineteenth century and was in fact sketched by Benjamin Franklin before he departed for the Continent in 1760. The view of Philadelphia from the Kensington elm is best known through the frontispiece of William and Thomas Birch's famous portfolio of Philadelphia views published in 1798, but it was in fact, used in an earlier view by John James Barralet in 1796. In contrast to the flat panoramic views that characterized early eighteenth century perspectives of American cities, this pastoral approach gained ascendancy toward the end of the century. It represented a more picturesque approach to landscape painting, which would come to characterize topographical views in the nineteenth century.
Düring's magnificent view most closely resembles an engraving of Philadelphia executed by the English engraver George Cooke. Cooke's work, entitled "Philadelphia from the great Tree Kensington, under which Penn made his treaty with the Indians" is almost identical, and was certainly used by During as a model for his view. Published in 1812, Cooke's view of Philadelphia was extremely popular and was widely available throughout Europe. It is highly conceivable that Düring came across this view and used it as a model for his charming painting. A true collector's item, this magnificent view is not only a superb example of German landscape painting, but also a truly unique view of Philadelphia.
Fowble, Two Centuries of Prints in America, 1680-1880, p. 373, no. 258; Snyder, City of Independence, View of Philadelphia before 1800, p. 197-198, p. 224-248.
#15243$12,000.00
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DÜRING, C.A. (American, fl. 1827)
Berg Vernon in Virginien (Mount Vernon in Virginia)
1827. Pen, watercolour and gouache on wove paper, with integral brown gouache border with ruled lines in black and white, signed, dated and titled beneath the image in white gouache in a calligraphic hand "Pinx[it]: C:A: Düring.1827. / Berg Vernon in Virginien". (Old crease, some light surface damage). Sheet size: 18 7/8 x 23 7/8 inches; image size: 14 1/2 x 20 inches.
An image from the National subconscious: the home of the "father of our nation"
In this superb painting of Washington's home, the German artist C. A. Düring has placed the house and out buildings at the centre of the picture, with the sweep of the Potomac River leading off into the hazy light of a perfect early summer evening in Virginia.
Unfortunately we have been unable to discover any information regarding the artist of this magnificent view of Virginia. Obviously a German artist, the view is typical of German topographical paintings produced in the first quarter of the nineteenth century. The heavy gray border and thick painterly technique was a tool used by artists across Germany, and was particularly favored by landscape painters, who used this artistic framing device to create a sense of depth in their work. This superb view is obviously from the hand of a professional artist whose exquisite technique and meticulous attention to detail is nothing short of breathtaking.
Düring's work presents a popular view of Washington's estate - now the most visited national monument in the country. It is evidently based on a print first published in London in 1800. This print (a hand-coloured aquatint, titled "Mount Vernon in Virginia /The Seat of the late Lieut. General George Washington") was engraved by Francis Jukes (1747-1812) after a drawing by Alexander Robertson (1772-1841). It was issued in March 1800 in London (and July of the same year in New York) in response to Washington's death in December of the previous year and proved very popular on both sides of the Atlantic: the image was used as a design source for numerous silk embroideries and watercolours as well as the present work. This magnificent view is not only a superb example of German landscape painting, but also a truly unique view of the Potomac, Mount vernon and Virginia.
Cf. Fowble Two Centuries of Prints in America 1680-1880, p.89 (refers to the Jukes/Robertson aquatint).
#20496$12,500.00
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 DUTCH SCHOOL (17th century)
Tulipa var.' (A red and yellow tulip and a white and rose-coloured tulip)
Pencil, bodycolour and brown ink, inscribed '90' (upper right). Sheet size: 12 1/8 x 7¾ inches.
An excellent double portrait of a 'bybloemen' and 'roesenblom' variety of tulip
The technique and pointed petals of the blooms (particularly of the 'Roesenbloom' variety) suggest that the drawing was executed during the early to mid-17th-century.
#3890$4,750.00
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 DUTCH SCHOOL (17th century)
Tulipa var. 'Orange van Thal' (Yellow and Rose-coloured Tulip)
Pencil, bodycolour and brown ink, inscribed '74' (upper right). Sheet size: 12 1/4 x 7 1/2 inches.
A fine image of a double-bloomed tulip
The technique and pointed petals of the blooms (particularly of the 'Roesenbloom' variety) suggest that the drawing was executed during the early to mid-17th-century.
#3891$6,000.00
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 DUTTON, Thomas Goldsworth (circa 1819 - 1891)
The Prince of Wales Yacht Dagmar in coastal waters off the Isle of Wight
Possibly published by Ackermann, circa 1865. Tinted lithograph with added hand colour. Artists monogram in lower right corner of image. Sheet size: 17 5/8 x 26 1/4 inches.
A fine ship portrait of the Royal cutter by Dutton, one of the greatest marine lithographers.
Thomas Dutton was one of the great nineteenth century maritime painters. His emotive works display a genuine love of the sea and his careful depiction of detail provides a wonderful record of the important vessels of the age.
This spectacular print depicts the 33-ton cutter Dagmar. This impressive ship was built for the Prince of Wales (later Edward VII) in Wivenhoe in Essex, by Thomas and John Harvey. The present view shows the vessel under full-sail off the coast of the Isle of Wight, with Osborne House, the favorite residence of Queen Victoria, outlined on the cliff tops.
#3538$2,750.00
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 DUTTON, Thomas Goldsworth (circa 1819 - 1891)
The Schooner Yacht "America", 170 Tons. (Formerly the Property of Commodore J.C. Stevens New York Yacht Club) To Captain The Honorable John de Blaquere This print is ... dedicated
London: Ackermann & Co., 5 September 1851. Tinted lithograph drawn on stone by Dutton, printed by Day & Son. Expert marginal repairs. Sheet size: 16 3/8 x 21 1/2 inches.
The great yacht whose humiliating defeat of all British rivals lead to the establishment of the greatest of all yachting challenge cup races: the "America's Cup".
Owned by Commodore John C. Stevens and five other members of the New York Yacht Club, the America was built in New York to the revolutionary design of George Steers. Launched in May 1851, in June of the same year she sailed to challenge the English yachting establishment. After having two challenges for races turned down, Commodore Stevens entered America in the Royal Yacht Squadron Regatta and under the brilliant captainship of Richard Brown (a highly skilled member of the Sandy Hook Pilots) she beat the best of the British yachts "with great ease" (India House Collection, p.62). The syndicate returned to New York with their prize: a trophy that was to become the America's Cup. The America herself was sold to John, Lord de Blaquiere on 1st September 1851, and four days later the present image was published.
In July 1857, the original owners of the America donated their prize through a Deed of Gift to the New York Yacht Club: the deed stipulated that the cup was to be held in trust as a 'challenge' trophy to promote friendly competition. "Stung by this blow to contemporary perceptions of invincible British sea power, a succession of British syndicates attempted to win back the cup, but the New York Yacht Club remained unbeaten for 25 challenges over 113 years, the longest winning streak in the history of sport. Matches were held in the vicinity of New York City from 1870 to 1920, ... From 1930 to 1983, the races were sailed off Newport, Rhode Island for the rest of the NYYCs reign." (Wikipedia).
A Descriptive Catalogue of the Marine Collection to be found at India House (New York: 1935) item number 252
#19899$3,000.00
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 DUTTON, Thomas Goldsworth (circa 1819 - 1891) after Sir Oswald W. BRIERLEY (1817-1894)
The "America" Winning the Match at Cowes for the [Club Cup] ... open to Yachts of all Classes, and Nations from the original sketch taken [on] the spo[t b]y Oswald W. Brierj[ey]
London: Ackermann & Co, October 22nd 1851. Tinted lithograph drawn on stone by Dutton after Brierley, printed by Day & Son. Small expert repairs. Sheet size: 17/8 x 27 1/8 inches.
The great yacht whose humiliating defeat of all British rivals lead to the establishment of the greatest of all yachting challenge cup races: the "America's Cup".
Owned by Commodore John C. Stevens and five other members of the New York Yacht Club, the America was built in New York to the revolutionary design of George Steers. Launched in May 1851, in June of the same year she sailed to challenge the English yachting establishment. After having two challenges for races turned down, Commodore Stevens entered America in the Royal Yacht Squadron Regatta and under the brilliant captainship of Richard Brown (a highly skilled member of the Sandy Hook Pilots) she beat the best of the British yachts "with great ease" (India House Collection, p.62). The syndicate returned to New York with their prize: a trophy that was to become the America's Cup. The America herself was sold to John, Lord de Blaquiere on 1st September 1851, and four days later the present image was published.
In July 1857, the original owners of the America donated their prize through a Deed of Gift to the New York Yacht Club: the deed stipulated that the cup was to be held in trust as a 'challenge' trophy to promote friendly competition. "Stung by this blow to contemporary perceptions of invincible British sea power, a succession of British syndicates attempted to win back the cup, but the New York Yacht Club remained unbeaten for 25 challenges over 113 years, the longest winning streak in the history of sport. Matches were held in the vicinity of New York City from 1870 to 1920, ... From 1930 to 1983, the races were sailed off Newport, Rhode Island for the rest of the NYYCs reign." (Wikipedia).
Cf. A Descriptive Catalogue of the Marine Collection to be found at India House (New York: 1935) item number 252 (includes a lengthy note on the subsequent history of the America).
#19900$3,750.00
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 DUTTON, Thomas Goldsworth (circa 1819 - 1891)
United States Frigate St Lawrence 50 Guns Sailing off Osborne, Isle of Wight
London: Ackermann & Co, May 5th 1851. Hand-coloured lithograph by Dutton, printed by Day & Son. Small expert repairs. Sheet size: 21 1/4 x 27 2/8 inches.
Beautiful portrait of United States Frigate "St. Lawrence" saluting off Osbourne, Isle of Wight, summer residence of Queen Victoria.
The St. Lawrence was laid out in the 1820s by the Norfolk Navy Yard, but she remained uncompleted on the ways until work on her, interrupted by a shortage of funds, was resumed during the Mexican War and she was finally launched in late 1847 or early in 1848. She bore 8 VIII-inch guns and 42 32 pounders. A beautiful sailing ship, she represents an ideal of the pre-steamship days, superbly rendered by Dutton, who was probably the best printmaker of marine subjects during this period. Thomas Goldsworth Dutton (d. 1891) worked for Day & Haghe and Day & Son, producing refined lithographs of the great British ships of the period, as well as visiting battleships of other nations, as here.
With Commander Joshua Sands in command, the St .Lawrence departed New York on the 20th February 1851, partially on a good-will visit but also carrying to England the exhibits from the United States for the Great Exhibition in London, the first modern world's fair which opened on 1st May, 1851. At some point before May 5th (the date this print was published) she evidently visited the Isle of Wight, where as a diplomatic courtesy she fired a salute to Queen Victoria. Her return voyage was made via Lisbon and she arrived back in New York on 11 August, 1851.
Cf. A Descriptive Catalogue of the Marine Collection to be found at India House (New York: 1935) item number 363
#19922$2,750.00
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 DUVAL, Pierre (1618-1683)
[The Americas and the Western Hemisphere] L'Amerique Suivant les dernieres Relations avec les Routes que l'on tient pour Les Indes Occidentales
Paris: M[ademois]elle DuVal, dated 1679 [but 1688]. Copper-engraved wall map, with original outline colour, from Duval's "Carte de Geographie," on four unjoined sheets, expertly re-margined with laid paper on two sides of each sheet, compensating margins at the places where the maps were previously joined. Each sheet 19 1/8 x 23 5/8 inches, if joined the sheets would form a map measuring 34 x 45 inches.
A magnificent seventeenth century wall map of the Americas and the Western Hemisphere by one of the greatest French cartographers
This superb map of the New World evinces mid-seventeenth century French geographical knowledge, based largely upon the work of the great French cartographer, Nicolas Sanson, Duval's father-in-law. It is also an excellent example of the French cartographic aesthetic, exalting clarity and classical elegance. Duval, with some geographical modernizations, based this map on his smaller 1655 rendering of the same subject.
California is depicted as an island, as rendered by contemporary Dutch cartographers such as Frederick de Wit and Carel Allard. A speculative aspect also dominates the portrayal of the rest of the American Southwest, such as the labelling of the mythical land of "Quivira" on the mainland, and the depiction of the Rio Grande as having its source in the fictitious "Lac de Conibas," and its terminus in the Gulf of California.
The depiction of the American Northeast is somewhat more progressive than that shown by Sanson. New York, Boston, Cape Cod, Virginia and Maryland are each specifically named. Up into the interior, Duval shows all five Great Lakes, however the boundaries of Lakes Superior and Michigan ("Lac des Puans") are left undetermined.
Most of the American Southeast is shown as a part of the great Spanish territory of "Floride," which extends north into the Carolinas. South Carolina is labeled "Floride Françoise," and "Charles-Fort," the abortive French settlement on Port Royal Sound from the 1560s, is labeled here.
Interestingly, this map seems to have been a rhetorical device intended to promote the idea of a Northwest Passage that runs through the Canadian Arctic and then through a supposed strait into the Pacific Ocean. Duval makes the case clearly by stating that "It is believed that this strait communicates between the Seas of the North and the South". Supporting this notion, the map features the track of a supposed 1665 voyage that headed through the Davis and Hudson's Straits, and over through the "Mer Glaciale," heading towards "Iesso," a mythical land located to the north of Japan. The South Pacific and Australasia are shown to be largely a mystery to the European consciousness, with New Zealand being connected to the mythical "Terre de Quir."
The map is beautifully embellished with two Baroque cartouches including allegorical and native figures, and sailing ships. Each mapsheet is also adorned with side panels of text that explain political and geographical details of the regions featured. This map is the second state of Duval's map of the New World, printed under the privilege of his daughter, who was one of the inheritors of his firm upon his death in 1683. The imprint in the general title is altered to read "Chez Mlle. Du Val, Fille de l' Auteur Sur le Quay de l'Orloge, proche le coin de la rue de Harlay a l'ancien Buis."
Each of the four sheets is separately titled, as follows: [upper left] "Le Nouveau Mexique et La Terre de Jesso"; [lower left] "La Mer de Sud dit autrement Mer Pacifique"; [upper right] "La Mer de Nort ou sont La Nle. France, La Floride [&c.]"; [lower right] "Le Perou, Le Chili, La Magellanique, La Plata, et Le Bresil".
Burden, The Mapping of North America II, 508; McLaughlin, California as an Island, 66; Pastoureau, Les Atlas Francais XVIe-XVIIe siecles, Duval II-F, maps: 10,11,13,14 (State 2); Wagner, Cartography of the Northwest Coast of America, 414; Wheat, Mapping the Transmississippi West, 60.
#6774$14,500.00
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 DUVAL, Pierre (1618-1683)
L'Asie/reveue et augmentée
Paris: 1684. Engraved with period outline colour. Mild toning due to age. Small crease lower left. Image size (including text): 16 1/4 x 20 3/4 inches. Sheet size: 18 x 24 inches.
Pierre Duval was Nicholas Sanson's nephew, and his work was primarily editing and augmenting Sanson's innovative cartography. He and Hubert Jaillot were most important in bringing Sanson's work to the world, both in improved editions and in bringing to print previously unpublished manuscripts.
This map of Asia bears the characteristic clarity and more "scientific" air of the 17th-century French map. Though many sites are mis-located, a vast amount of material has been examined and assessed. Most placenames represent geographical entities that currently exist or once existed. The rendition of the lower islands of Japan and the peninsula of Korea are improved over earlier studies. Details of the Great Wall of China are also visible.
This map, dated 1684, was issued by Pierre's daughter, "Mlle." Duval, the year after his death.
Pastoureau, Duval II E, (9).
#10286$2,000.00
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 [DWIGHT, Theodore, Jr.]
The Northern Traveller; Containing the Routes to Niagara, Quebec, and the Springs, with the Tour of New England, and the Route to the Coal Mines of Pennsylvania
New York: G. & C. Carville, 1828.
The third edition, revised and enlarged. The publisher is now Carville. The eighteen maps of the 1826 edition are supplemented by one new map, and there are three new plates, including "Travelling on the Erie Canal." The frontispiece shows "Catskill Falls." This edition is not listed in Rumsey.
Howes D143
#3233$275.00
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 EAGAR, William (c.1796-1839)
[Nova Scotia Illustrated in a series of views taken on the spot and on stone by William Eagar
Halifax: published for the proprietor by C.H. Belcher, no date but July 1839 - August 1840]. 4 parts in one volume, folio (16 1/4 x 11 inches). Title with lithographic vignette, 12 lithographic views after Eagar, 9 drawn on stone by the artist, 3 by Benjamin Champney, printed by Thomas Moore (11) or Thayer (1), both of Boston. Stab-sewn into contemporary sugar-paper wrappers, contained within a modern black morocco-backed cloth box, lettered gilt.
A very rare series of views by an artist who occupies an important place in the history of art in Nova Scotia.
Born in Ireland, by 1824 Eagar was living just outside St.John's, where he owned a 20 acre estate. In 1828, he sold the estate and moved into St. John's itself where he advertised his services as a silhouette maker and teacher of landscape painting. He finally moved to Nova Scotia in 1834, arriving in Halifax in July of that year where he opened a Drawing Academy. He became enthusiastically involved in the artistic and intellectual life of the city, painting many notable views of the surrounding scenery. The present work followed on from the success of his other published work: three steel-engraved views printed in Edinburgh, titled 'Illustrations of Scenery of Nova Scotia' (1837). William Eager travelled to Boston to arrange for the printing of his new series of lithographic views 'Nova Scotia Illustrated'. They were published periodically in four parts: part I in July 1839, part II in August 1839, and the two final parts (which were published posthumously) in May and August 1840. Each part contained three prints, with a lithographed title in part I (not included in the present set).
These highly-skilled and evocative views are now very scarce: the Abbey set included only nine of the twelve views, and Spendlove noted that the prints were 'quite rare' in 1958. They were enthusiastically received. J.S. Thompson, a local newspaperman, wrote: 'Mr. Eagar's first number of 'Illustrations of Nova Scotia...' has appeared. Its reception has given much pleasure both for the beauty of the drawings, and the degree of success which has attended Mr. Eagar's persevering efforts to get his work well-lithographed... We hail Mr. Eagar's work, for its own sake, and the artist's; - and also, because it tends to demonstrate how much beauty and interest lie within easy walk of Halifax, - it will help also to increase taste in this delightful department of intellectual effort, and to make the province better known, and more respected'.
We would like to thank Diane O'Neill for her valuable help in cataloguing this item.
Abbey Travel II, 620 (title and 9 plates only); J. Russell Harper, Early Painters and Engravers in Canada , p.100; Spendlove, The Face of Early Canada , p.33 (incorrectly listing title and number of plate, conflates Eagar's 3 steel-engravings with the 12 lithographs and includes one print by another artist)
#12950$15,000.00
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 EARLOM, Richard (1743-1822)
The Rich Man Being Led To Hell
John Boydell, 1786. Proof before letters. Mezzotint, after David Teniers the Younger (1610-1690). Not in Wessely.
. Sheet size: 20 1/8 x 28 1/2".
The painting by Teniers the Younger had been acquired by Sir Robert Peel in 1784 and brought to England. It is now in the National Gallery, London. The composition illustrates, in a very imaginative way, a parable related in the Gospel of Luke: a rich man, dying, sees a beggar named Lazarus ascending to Heaven as he is dragged toward Hell. In this image we don't see Lazarus, but there is a very memorable representation of the rich man.
David Teniers the Younger (1610-1690) was the last of the great Flemish masters. He was very well known during his lifetime and is still highly regarded for his technical capabilites but, rightly, overshadowed by more innovative contemporaries, most notably of course Rembrandt. Here he borrowed from the Hieronymus Bosch (d. 1516) and Pieter Brueghel (1525-1569) tradition of Hell as inhabited by ingeniously malformed demons, who delight in new victims. But in contrast to the Bosch-Brueghel precedent of panoramic views with multiple examples, Teniers gives us one and manages to create a more moving image by depicting a not unsympathetic rich man who doesn't display any exaggerated emotions in the face of all the clamor. It is a little morality play for all of us, who for the moment, stand outside the gates of Hell.
Richard Earlom (1743 - 1822) was one of the best mezzotint engravers in England. His reputation rests primarily on renditions of Old Master paintings, like this one, which is an excellent example of his mastery of tone and light.
#3400$2,750.00
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 EARLOM, Richard after J. ZOFFANY
John Heaviside, Esq, Surgeon Extraordinary to the King...
London: Published by Laurie & Whittle, 53 Fleet Street, Aug. 25, 1803. Mezzotint. State ii/ii with engraved inscription in closed letters. Image size: 17 3/4 x 13 7/8 inches. Plate mark: 19 3/4 x 13 ¾ inches. Sheet size: 20 3/8 x 14 ¼ inches .
A lovely impression of this intriguing print of John Heaviside the Royal surgeon.
This stunning portrait of George III surgeon demonstrates Earlom's skill as an engraver. Although Earlom studied under Cipriani and Boydell, he taught himself the art of mezzotint engraving. His meticulous yet delicate technique managed to accomplish new levels of technical superiority not thought possible in mezzotint. Earlom's unique style manages to create intricate details and textures that allowed him to produce some truly outstanding images. In this captivating print, Earlom employs his refined style and painterly use of texture to produce a complex and appealing image. In inspiration and execution Earlom is a master of his art, and this portrait is a testimony to his skill and imagination as an engraver. Unfortunately the Dictionary of National Biography does not have any record of John Heaviside, therefore the particulars of his life and achievements are not readily available, but if this fascinating portrait is any indication he was an intriguing and accomplished individual. According to the text on the print Heaviside is described as George III surgeon. He is shown pointing to a human heart with a skeletal spine in a glass jar in the background.
Chaloner Smith, British Mezzotinto Portraits 22, ii/ii; Russell, English Mezzotint Portraits, and their States 22; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 3
#4818$900.00
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 EARLOM, Richard (1743-1822) after Franz SNYDERS (1579-1657)
A Herb Market
London: Published by John Boydell, [1779]. Mezzotint printed on laid paper. Very good condition apart from some overall light foxing and a small water stain in the right margin. Top of sheet is slight trimmed. Plate mark: 16 1/4 x 22 5/8 inches. Sheet size: 19 1/8 x 26 5/8 inches.
A beautifully rendered print after the Dutch master of still life Franz Snyders, from John Boydell's 'Houghton Gallery' series.
This stunning print, reflects Earlom's skill as an engraver as well as Snyder's genius as a painter. Although Earlom studied under the engraver Cipriani, he was essentially self-taught in the art of mezzotint engraving. His meticulous yet delicate technique managed to accomplish new levels of technical superiority not thought possible in mezzotint, and his unique style of creating intricate details and textures allowed him to produce some truly outstanding images. Earlom began a close working relationship with John Boydell in 1774, and he contributed hundreds of engravings to the publisher's Shakespeare Gallery and Liber Veritas series after the drawings of Claude Lorrain.
One of several market scenes by Snyders, the painting on which this fine plate is based was once part of Sir Robert Walpole's celebrated collection of Old Masters at his Gallery at Houghton. In 1779, Walpole's grandson sold the majority of the gallery's contents to Catherine the Great, Empress of Russia. In an effort to preserve a national record of this important collection, the eminent publisher and print seller John Boydell commissioned several prominent engravers including Earlom to produce a series of mezzotints of Houghton's key works. Known as the Collection of Prints Engraved after the most Capital Paintings in England, Boydell's elaborate two-volume publication of engravings after artists like Van Dyck, Teniers and Rubens was begun in 1781 and eventually completed in 1788. Its finely detailed one hundred and twenty-eight plates were highly regarded, and the project was instrumental in solidifying Boydell's reputation as a preeminent print publisher.
One of the most influential figures in the history of English printmaking, John Boydell was instrumental in re-establishing England's flagging reputation as a creative nucleus of printmaking. He was not only an accomplished engraver and an industrious publisher, but as a print seller, he came to dominate the English print trade. He is probably best known as the originator of The Shakespeare Gallery, which made him one of the most successful print-sellers of his time.
Clayton, The English Print 1688-1802, p. 115-116, 209 & 230.
#12836$1,750.00
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 ECOLE DES BEAUX-ARTS - J. LITOUR (architect)
Original detailed architectural technical-drawing of floor constructions, titled 'Feuille 1. Planchers'
[Paris: circa 1850]. Pencil, pen and wash drawing, with numerous sub-titles in ink, signed (in pencil) lower right 'J. Litour élève de M. Questel'. Sheet size: 22 x 35 3/4 inches.
A fascinating and beautiful architectural drawing - or 'rendu' - giving details of floor construction.
A fine drawing from an architectural student at the Ecole des Beaux-Arts in Paris, the most influential architectural school in existence during much of the 18th century, the whole of the 19th century and the first part of the 20th century. 'Students were eligible for the Ecole if they were at least fifteen years old, or under thirty. They began with the seconde classe, in which they competed in the concours d'émulation. These alternated between an esquisse - a rough sketch for which up to twelve hours was allowed - and a rendu - the large-scale finished drawing for which one to three months were allowed... Two to four years were usually required for a student to accumulate enough credits to enter the première classe. The same system was followed again, usually for two to three years, after which the student should have accumulated enough credits to compete for the Grand Prix de Rome. The winner of the Grand Prix was entitled to five years study under the auspices of the French Academy in Rome... For each of his first three years he was required to submit an analytical study of an ancient monument. For his fourth year he had to submit a complete reconstruction of a major classical work. For his fifth year he was required to submit an original work designed to a program of his own invention...
In the seconde classe the student was required to attend a variety of lectures in theory, history, and construction, and learned to prepare construction drawings...
Work was done at ateliers located outside the precincts of the Ecole des Beaux-Arts. These were rented and organized by the students themselves, and the students had the right to invite a teacher of their own choice to serve as their maître. The teacher himself did not have to be a member of the faculty of the Ecole, nor - at least in principle - did he have to be a practicing architect.' (Arthur Drexler. The Architecture of the Ecole des Beaux-Arts. New York, MoMA, 1977, p.8-9)
Arthur Drexler, The Architecture of the Ecole des Beaux-Arts. New York, MoMA, 1977
#5711$2,250.00
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 ECOLE DES BEAUX-ARTS - [J. LITOUR (architect)]
Original detailed architectural technical-drawing of door and gate constructions, titled 'Portes Feuille V. Pans de Bois'
[Paris: circa 1850]. Pencil, pen and wash drawing, with numerous sub-titles in ink, unsigned. Sheet size: 22 x 36 inches.
A fascinating and beautiful architectural drawing - or 'rendu' - giving details of door and gate construction.
A fine drawing from an architectural student at the Ecole des Beaux-Arts in Paris, the most influential architectural school in existence during much of the 18th century, the whole of the 19th century and the first part of the 20th century. 'Students were eligible for the Ecole if they were at least fifteen years old, or under thirty. They began with the seconde classe, in which they competed in the concours d'émulation. These alternated between an esquisse - a rough sketch for which up to twelve hours was allowed - and a rendu - the large-scale finished drawing for which one to three months were allowed... Two to four years were usually required for a student to accumulate enough credits to enter the première classe. The same system was followed again, usually for two to three years, after which the student should have accumulated enough credits to compete for the Grand Prix de Rome. The winner of the Grand Prix was entitled to five years study under the auspices of the French Academy in Rome... For each of his first three years he was required to submit an analytical study of an ancient monument. For his fourth year he had to submit a complete reconstruction of a major classical work. For his fifth year he was required to submit an original work designed to a program of his own invention...
In the seconde classe the student was required to attend a variety of lectures in theory, history, and construction, and learned to prepare construction drawings...
Work was done at ateliers located outside the precincts of the Ecole des Beaux-Arts. These were rented and organized by the students themselves, and the students had the right to invite a teacher of their own choice to serve as their maître. The teacher himself did not have to be a member of the faculty of the Ecole, nor - at least in principle - did he have to be a practicing architect.' (Arthur Drexler. The Architecture of the Ecole des Beaux-Arts. New York, MoMA, 1977, p.8-9)
Arthur Drexler, The Architecture of the Ecole des Beaux-Arts. New York, MoMA, 1977
#5712$2,250.00
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 ECOLE DES BEAUX-ARTS
Original detailed architectural drawing of the detail of the corner of a classical building, titled 'Temple d'Hercule à Cori'
[Paris: circa 1850]. Pencil, pen and gray and red wash drawing, titled (in ink) at foot of drawing. Sheet size: 20 1/4 x 26 3/4 inches.
A fascinating and beautiful architectural drawing - or 'rendu' - showing a doorway and some detailing from the Temple of Hercules, built in the late 2nd century B.C. at Cori.
A fine drawing from an architectural student at the Ecole des Beaux-Arts in Paris, the most influential architectural school in existence during much of the 18th century, the whole of the 19th century and the first part of the 20th century. 'Students were eligible for the Ecole if they were at least fifteen years old, or under thirty. They began with the seconde classe, in which they competed in the concours d'émulation. These alternated between an esquisse - a rough sketch for which up to twelve hours was allowed - and a rendu - the large-scale finished drawing for which one to three months were allowed... Two to four years were usually required for a student to accumulate enough credits to enter the première classe. The same system was followed again, usually for two to three years, after which the student should have accumulated enough credits to compete for the Grand Prix de Rome. The winner of the Grand Prix was entitled to five years study under the auspices of the French Academy in Rome... For each of his first three years he was required to submit an analytical study of an ancient monument. For his fourth year he had to submit a complete reconstruction of a major classical work. For his fifth year he was required to submit an original work designed to a program of his own invention...
In the seconde classe the student was required to attend a variety of lectures in theory, history, and construction, and learned to prepare construction drawings...
Work was done at ateliers located outside the precincts of the Ecole des Beaux-Arts. These were rented and organized by the students themselves, and the students had the right to invite a teacher of their own choice to serve as their maître. The teacher himself did not have to be a member of the faculty of the Ecole, nor - at least in principle - did he have to be a practicing architect.' (Arthur Drexler. The Architecture of the Ecole des Beaux-Arts. New York, MoMA, 1977, p.8-9)
Arthur Drexler, The Architecture of the Ecole des Beaux-Arts. New York, MoMA, 1977
#5725$2,750.00 | | | |
