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browsing 4347 items
displaying items 101 to 200
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 ANONYMOUS
Les Nageurs: Le Supreme Bon Ton, No. 15
Paris: Published by Chez Martinet, Libraire, rue du Coq St. Honore, circa 1810-1815. Engraving with superb original colour. Printed on laid. In excellent condition. Image size: 6 ¾ x 9 ¾ inches. Plate mark: 8 ¼ x 10 1/8 inches. Sheet size: 10 ½ x 14 1/8 inches.
This witty caricature of Parisians swimming, comes from a series of extremely rare prints entitled "Le Supreme Bon Ton," which chronicle the fashions and pursuits of the Parisian elite at the beginning of the nineteenth century.
This fascinating French caricature comes from a series of thirty satires entitled "Le Supreme Bon Ton." This magnificent suite was published in Paris by Martinet between 1810 and 1815 and is one of the earliest series of prints to document the social trends and leisure activities of contemporary Parisians. Early impressions of these fine engravings are extremely rare, and Colas mentions only seeing examples of these images in a later reprint. For the most part, it is unclear who engraved these subtle caricatures since the majority of the plates bear no reference to an engraver. For all but two of the suite, which are signed A. G. implying they were engraved by Ambroise Garneray, it is likely that Martinet prepared the plates for publication.
Along with Le Bon Genre, "Le Supreme Bon Ton" is one of the most important visual records of Parisian life at the dawn of the nineteenth century. These delicate images are as much fashion prints as they are social caricatures, and they chart the rise of Paris as a modern metropolis. Reflected in these images we see Paris's bourgeois fashions, its leisure pursuits, and its dating customs. This series not only influenced the fashion journals that became so popular in France at mid-century, but also the caricature albums that became so prolific. With delicacy and beauty, "Le Supreme Bon Ton" bears witness to the colourful episodes of Paris's social life at the end of the French Revolution and at the rise of the new Republic. These compelling images are an invaluable record of Parisian life, documenting the tastes and pursuits of its citizens with a sensitivity and humor that is truly unique.
Colas, Bibliographie generale du costume et de la mode, p. 1010-1011, no. 2837, no. 15.
#14616 $575.00  
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 ANONYMOUS
Suffer the Children to come unto Me
circa 1820. Watercolour, heightened with india ink, on wove paper, some discoloration noticable on the front in the margins. On the verso, framing directions in pencil with a title "Christ Blessing Little Children" and a name, perhaps the owner, Mrs. Pollard. Image size (including text): 33 1/2 x 25 1/2 inches. Sheet size: 35 3/4 x 16 3/8 inches.
Christ sits with five apostles standing behind Him, and blesses seven children attended by five women; a bearded man stands behind them.
#14767$3,000.00
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 ANONYMOUS
Vué Interieure de la Bourse Royale à Londres
Paris: Chez Daumont rue St. Martin, circa 1770. Engraving with beautiful early colour. Printed on watermarked laid paper. In excellent condition with the exception of being trimmed within the platemark on the lower margin. Small tear on upper margin. Small puncture mark on left margin. Image size: 10 1/8 x 16 1/8 inches. Sheet size: 12 x 18 ¼ inches.
This is a beautiful perspective view of the courtyard of the Royal Stock Exchange in London published by a Parisian printseller at the close of the eighteenth century.
During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views, which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print, creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views, and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring, so as to show the tints when viewed through the lens. In their heyday, optical prints were a technical revolution; they could be seen in almost every fashionable drawing room, and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted, hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare, especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking.
Clayton, The English Print 1688-1802, 140-141
#15059$450.00
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 ANONYMOUS
"The Flight into Egypt" & "The Return from Egypt" (A pair)
London: Published by John Fairburn, Map Chart & Printseller, No. 146 Minories, Feb. 16th, 1795. Mezzotints with thick early colour. Printed on later wove paper. Later impressions in good condition. [The Flight into Egypt] Trimmed just within the platemark on lower margin. A number of tiny tears along the outer margins. Backed on verso of sheet with conservation paper. Image size: 12 ¼ x 9 5/8 inches. Sheet size: 13 ¾ x 9 7/8 inches. [The Return from Egypt] Crease along lower right corner, and similar crease along upper right corner. A few tiny tears on outer margins. Image size: 12 ¼ x 9 5/8 inches. Platemark: 13 7/8 x 9 7/8 inches.
A charming pair of religious drolls, with handsome early colour, depicting the Holy Family's flight into Egypt.
The mezzotint droll is typically a humorous or satirical print produced by English printsellers during the latter part of the eighteenth century. Drolls were always produced in mezzotint and almost always created in a 10 x 14 inch format. Whether a print is considered to be droll is based on its medium and format rather than its content. Fancy pictures, portraits, religious scenes, and satires all fall under the droll classification and were often seen advertised together in contemporary print catalogues. The creation of the droll format as a marketing piece represents the cunning with which engravers and printsellers responded to a growing market for attractive affordable prints. The droll format allowed for a print to be both pleasing to the eye at the same time as being small enough to be conveniently handled. Drolls could fit easily into a print shop window or slip into a portfolio, and because of the choice of subjects they could just as easily decorate the walls of a tavern as they could adorn a kitchen. Drolls depicting religious scenes were often engraved as a pair or series, and became extremely popular at the close of the century. They typically depicted scenes from the Old Testament or from the life of Jesus, and were eagerly produced by printsellers across England. This handsome pair depicts the Holy Family's flight from Egypt and their joyful return. It is a superb example of English religious drolls and rare find with thick early colour.
#15102$1,200.00
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 ANONYMOUS
Drawing Cover
London: Published by Haines & Son, No. 19 Rolls Buildings, Fetter Lane, Feb. 1, 1798. Mezzotint. Printed on wove paper. In excellent condition with the exception of some glue residue on the verso of the sheet. Four vertical creases in sheet. A small abrasion in image. Image size: 9 ¼ x 13 7/8 inches. Plate mark: 9 7/8 x 13 7/8 inches. Sheet size: 10 3/8 x 14 3/8 inches.
A bold hunting scene of a rider drawing cover.
This early hunting scene follows the tradition of James Seymour by presenting a small format sporting picture in a bold decisive style. The artist and engraver are not recorded on the plate, which was typical of works published at the period by Haines & Son. Haines & Son were prolific publishers and printsellers who catered to the decorative print market, they often republished earlier plates, which they acquired from other publishers, such as Carington Bowles and Robert Sayer. This image, which is listed as plate 2, is most likely the second plate in a set of six prints.
#15285$900.00
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 ANONYMOUS
Description of the Chase
London: Published by Haines & Son, No. 19 Rolls Buildings, Fetter Lane, Feb. 1, 1798. Mezzotint. Printed on wove paper. In excellent condition with the exception of some glue residue on the verso of the sheet. Faint vertical creases in sheet. Image size: 9 ¼ x 13 7/8 inches. Plate mark: 9 7/8 x 13 7/8 inches. Sheet size: 10 3/8 x 14 5/16 inches.
A bold hunting scene of a gentleman recounting the details of the hunt.
This early hunting scene follows the tradition of James Seymour by presenting a small format sporting picture in a bold decisive style. The artist and engraver are not recorded on the plate, which was typical of works published at the period by Haines & Son. Haines & Son were prolific publishers and printsellers who catered to the decorative print market, they often republished earlier plates, which they acquired from other publishers, such as Carington Bowles and Robert Sayer. This image, which is listed as plate 5, is most likely the fifth plate in a set of six prints.
#15286$900.00
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 ANONYMOUS
The Luxembourg or Palais du Senat with the Gardens and the Church of St. Sulpice on the left
London: Richard Phillips, 71 St. Pauls Church Yard, Oct. 1st, 1803. Engraving. Printed on wove paper. In excellent condition with the exception of two skillfully mended tears on the top margin outside the platemark. Top left corner has been expertly in-filled. Small mended tear on left margin outside platemark. Three tiny mended tears on bottom edge of sheet. Image size (including text): 10 9/16 x 19 ½ inches. Plate mark: 14 x 21 7/8 inches. Sheet size: 17 ½ x 24 ¾ inches.
A charming view of the Luxembourg Gardens in Paris published by Richard Phillips, the infamous Jacobite printseller.
Towards the middle of the eighteenth century a trend developed amongst English and European artists and printmakers, which sought to visually record their country's natural beauties. Sparked by a sense of national confidence and patriotism, artists and printmakers began to publish topographical prints of important sights and architectural attractions. In addition to being a visual record of the countryside they were meant to encourage public recognition of national treasures. These topographical prints 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. Published in both English and French this charming view is a superb example of the popular topographical prints, which Phillips sold in great quantity in his London shop.
A true jack-of-all-trades, Sir Richard Phillips (1767 - 1840), was one of the most fascinating men of his day. Born in London to a Leicestershire family, his original name was Philip Richard. He began his career as hosier, but in 1790 established himself as a publisher and bookseller in Leicester. In 1792 he founded the "Leicester Herald", which he used as a platform for his radical beliefs. An ardent Jacobite, Phillip's shop became a depot for radical literature of the revolutionary period. In 1795 he was imprisoned for selling Paines' "Rights of Man", but he continued to edit the Leicester Herald throughout his imprisonment. After his release he set up his business in London where he established the infamous, "Monthly" magazine. In 1807 he became a sheriff of the City of London and was knighted in 1808. His publications included a vast number of elementary class books and cheap manuals as well as fine art prints and maps.
Dictionary of National Biography
#16091$550.00
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 ANONYMOUS
Franz Hanfstaengl
Dresden & Leipzig: Published by C. Naumann & Rudolph Weigel., 1843. Lithograph. Printed on chine colle on large wove backing sheet. In excellent condition with the exception of some faint foxing in the margins. Two small tears on right margin of sheet. Faint creases along bottom margin of sheet. Image size (including text): 15 ½ x 13 inches. Sheet size: 27 ¾ x 20 5/8 inches.
A lovely portrait of the celebrated photographer Franz Hanfstengl.
Franz Hanfstaengl (1804-1877) was one of the most noted photographers in Europe. In addition to his celebrated photographs, Hanfstaengl was also a gifted lithographer and produced a wealth of excellent portraits of some of the most noted figures of the day. He worked primarily in Munich but executed likenesses of celebrities across Europe and England.
#16114$450.00
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 ANONYMOUS
[The Road to Heaven]
circa 1780. Watercolour. Laid onto early card backing board. In excellent condition with the exception of some scuffing in the upper section of image. Puncture mark on left side of sheet, and one in upper corner of sheet. Sheet size: 18 x 13 ½ inches.
A stunning watercolour depicting a soul's journey through purgatory to the palace of heaven.
Unfortunately we have not been able to discover any information concerning the artist of this intriguing watercolour. It bears no signature or date but appears to be painted on laid paper which would indicate that it was executed in the eighteenth century. It is obviously from the hand of an accomplished amateur painter who had a natural talent for composition and a flare for colour. The image appears to be a religious parable illustrating a soul's journey to heaven. Composed around a winding road, the artist has shown a man's spiritual journey, from a life of debauchery, and his time in purgatory, to his eventual ascension to heaven. In the bottom right corner of the watercolour the artist has depicted the hero within the mortal world, seated at a table amidst a rabble of drunken companions. He boisterously proposes a toast while his companions indulge in drink and food. After his death his soul is judged and found to be lacking. God points to the tablets of the Ten Commandments, while our hero cowers between the devil and a skeleton with a spear. The eye of god sheds light onto the scene while a sword; meant to symbolize the judgment of god, floats above the group of figures. Next, our hero is shown enduring the trials of purgatory at the hands of the devil who grapples with his soul. The culmination of the journey is represented as the soul's ascension to heaven, which is pictured by the man's arrival at the palace of heaven. This intriguing painting is not only a beautiful image but a true collector's piece for anyone interested in early religious painting.
#16142$2,000.00
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 ANONYMOUS
Watercolour study of fish
circa 1834. Watercolour. Painted on Whatman paper dated 1834. In excellent condition with the exception of a few small tears on the left edge of sheet. Small section of missing paper on left edge. Two small tears on bottom edge. Sheet size: 19 7/8 x 15 ½ inches.
A stunning watercolour study of fish, including a large octopus, and a colourful sun-fish.
Unfortunately we have not been able to discover any information concerning the artist of this charming watercolour. It is numbered and titled within the image but it bears no signature or date. It is obviously from the hand of an accomplished amateur painter who had a natural talent design and keen eye for detail. Amateur animal and flower painting became extremely popular during the late eighteenth and early nineteenth century as a favored pursuit for aristocratic women. Painting was viewed as a necessary talent for young women, and was eagerly pursued and practiced by the upper classes. This skillful painting appears to be a watercolour study of an illustrated natural history text. Published scientific texts such as this were printed throughout the eighteenth and nineteenth century and commonly included illustrations of both flora and fauna specimens. The numbering and titles further confirm that this is a study from a printed source, since this method of identifying specimens was typically used in published volumes. Lovingly rendered and carefully painted, this skillful watercolour is a true work of art.
#16143$1,250.00
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 ANONYMOUS
Watercolour study of Roses and Birds.
circa 1834. Watercolour. Painted on Whatman paper dated 1834. In excellent condition with the exception of a small tear on the right edge of sheet. Small tear on bottom edge. Sheet size: 19 5/8 x 15 ¼ inches.
A stunning watercolour study of birds and roses, painted on both sides of the sheet.
Unfortunately we have not been able to discover any information concerning the artist of this charming watercolour. It is numbered and titled within the image but it bears no signature or date. It is obviously from the hand of an accomplished amateur painter who had a natural talent design and keen eye for detail. Amateur animal and flower painting became extremely popular during the late eighteenth and early nineteenth century as a favored pursuit for aristocratic women. Painting was viewed as a necessary talent for young women, and was eagerly pursued and practiced by the upper classes. This skillful painting appears to be a watercolour study of an illustrated natural history text. Published scientific texts such as this were printed throughout the eighteenth and nineteenth century and commonly included illustrations of both flora and fauna specimens. The numbering and titles further confirm that this is a study from a printed source, since this method of identifying specimens was typically used in published volumes. Lovingly rendered and carefully painted, this skillful watercolour is a true work of art. The artist has painted on both sides of this sheet.
#16144$1,500.00
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 ANONYMOUS
Watercolour study of Birds.
circa 1834. Watercolour. Painted on Whatman paper dated 1831. In excellent condition. Sheet size: 19 ¾ x 15 ¼ inches.
A stunning watercolour study of a Bird of Paradise, an Indian Dove, an African Pigeon, a Buzzard
Unfortunately we have not been able to discover any information concerning the artist of this charming watercolour. It is numbered and titled within the image but it bears no signature or date. It is obviously from the hand of an accomplished amateur painter who had a natural talent design and keen eye for detail. Amateur animal and flower painting became extremely popular during the late eighteenth and early nineteenth century as a favored pursuit for aristocratic women. Painting was viewed as a necessary talent for young women, and was eagerly pursued and practiced by the upper classes. This skillful painting appears to be a watercolour study of an illustrated natural history text. Published scientific texts such as this were printed throughout the eighteenth and nineteenth century and commonly included illustrations of both flora and fauna specimens. The numbering and titles further confirm that this is a study from a printed source, since this method of identifying specimens was typically used in published volumes. Lovingly rendered and carefully painted, this skillful watercolour is a true work of art.
#16145$1,750.00
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 ANONYMOUS
Watercolour study of Birds.
circa 1834. Watercolour. Painted on Whatman paper dated 1831. Paintings of both sides of the sheet. In excellent condition. Sheet size: 19 ¾ x 15 ¼ inches.
A stunning watercolour study of a demoiselle crane, curmoor, a crow, various thrushes
Unfortunately we have not been able to discover any information concerning the artist of this charming watercolour. It is numbered and titled within the image but it bears no signature or date. It is obviously from the hand of an accomplished amateur painter who had a natural talent design and keen eye for detail. Amateur animal and flower painting became extremely popular during the late eighteenth and early nineteenth century as a favored pursuit for aristocratic women. Painting was viewed as a necessary talent for young women, and was eagerly pursued and practiced by the upper classes. This skillful painting appears to be a watercolour study of an illustrated natural history text. Published scientific texts such as this were printed throughout the eighteenth and nineteenth century and commonly included illustrations of both flora and fauna specimens. The numbering and titles further confirm that this is a study from a printed source, since this method of identifying specimens was typically used in published volumes. Lovingly rendered and carefully painted, this skillful watercolour is a true work of art.
#16709$1,750.00
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 ANONYMOUS
Erica Grandiflora, Octandra Monogynia
circa 1810. Pencil and watercolour. Painted on wove paper. Title in ink at bottom of sheet. In perfect condition. Sheet has been remargined and given an artificial platemark. Image size: 16 x 10 inches. Sheet size: 22 x 17 3/8 inches.
A stunningly executed watercolour of the "Erica Grandiflora" plant, native to the Cape province of South Africa.
From the end of the eighteenth century until the early decades of the nineteenth century, England was swept up in a horticultural craze known as "ericamania". Interest in the genus "Erica" was being stimulated by the apparently endless stream of plants being discovered and shipped back from South Africa. Nurserymen specialized in cultivating the new arrivals and at the height of 'ericamania' large numbers of different varieties were available across the whole of England. At one time there were over 228 different varieties of "ericas" under cultivation by one London grower alone.
This stunning drawing is a wonderful example of the Erica Grandiflora plant with its fetching yellow blossoms. Unfortunately we have not been able to discover any information concerning the artist of this charming botanical watercolour. It is obviously from the hand of an accomplished amateur painter who had a natural talent for composition and keen eye for detail. Amateur flower painting became extremely popular during the late eighteenth and early nineteenth century as a favored pursuit for aristocratic women. Painting was viewed as a necessary talent for young women, and was eagerly pursued and practiced by the upper classes. This skillful painting is a beautiful botanical study and speaks to the skill of the artist. It is finely executed and delicately coloured and is a charming depiction of this rare South African flower.
#17061$600.00
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 ANONYMOUS
[PORTLAND OREGON]
[19th century]. Oil on canvas, 18 x 24 inches. Unsigned. Titled and dated on Kennedy Galleries labels. Provenance: Kennedy Galleries; Collection of Edward Eberstadt & Sons. Expertly conserved: relined, short tear in sky neatly repaired and inpainted; otherwise in excellent displayable condition, brightly colored and nicely varnished. Period-style softly gilt American exhibition frame.
A charming American folk painting depicting life on a bright sunny day in the forested foothills above Portland, Oregon, at the time of its first settlement. The picture shows a newly constructed two-story house (or possibly an inn) on a wide dirt roadway, a mounted rider leading a draught-horse, a well dressed man and woman walking toward the building, and an idler lounging on the side of the road. Plainly visible in the near distance, at the point called "The Clearing" in early maps of the area, and straddling both banks of the Willamette River, are the buildings of the nascent city of Portland. Mount Hood and the Cascade Mountain Range rise in the background.
Professional artists were scarce in the early days of Portland, first settled in 1845, and the graphic record is predominately based on government surveys. This beautiful picture, probably made in the late 19th century by a talented folk artist, is a handsome representation of early Portland, accurately depicting the topography and beginnings of the city.
William H. Gerdts, Art Across America: The Plains States and the West (New York, London, Paris: Abbeville Press, 1990), pp.183-198.
#18554$5,000.00
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 ANONYMOUS
Halifax
New York: Charles Magnus & Co. 12 Frankfurt St., circa 1860. Lithographic transfer with original hand-colour. Mounted onto original black and gold border with printed title. Image size: 4 ¾ x 7 inches. Sheet size: 8 ½ x 11 ½ inches.
A rare birds-eye view of Halifax, Nova Scotia by Charles Magnus, the industrious New York publisher.
Bird's-eye views and sweeping panoramas of North American cities became extremely popular at mid-century. Examples were eagerly collected and could be seen in every print shop and bookseller across the country. Town views were originally issued in large format, but entrepreneurial publishers such as Charles Magnus, soon realized that there was a market for smaller format views. Magnus, who was a prolific publisher of games and stationary, made a name for himself by publishing a wealth of smaller city views of prominent American and Canadian cities. These lithographs were typically octavo size and came with a decorative black and gold border. They are all extremely detailed and today are considered quite rare. This charming view of Halifax is a wonderful example of Magnus's fine work and a stunning impression with nice early colour and an original black and gold border.
#20182$250.00
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 ANONYMOUS after Alex CAMPBELL
George Washington, Esqr.
1775. Mezzotint. In fair condition with the exception of extensive creases throughout the image. Skilfully re-backed.Trimmed at platemark, and under title on lower margin. Paper in lower right corner is skinned. Two creases running through center of image. Image size: 12 3/4 x 9 5/16 inches. Sheet size: 13 3/4 x 9 5/16 inches.
A fascinating example of this extremely early print of George Washington.
Public curiosity for prints of George Washington was not limited to America but spread to the English and European print shops, where an inquisitive audience clamored for a glimpse at the notorious American hero. Interest in this great man reached such a frenzy that European publishers, eager to please a demanding market, published fictitious portraits of the general before they had an accurate likeness. Thus the first English and European prints of Washington were completely invented, and varied in likeness as much with each other as they did with Washington's own countenance. London publishers, using the names C. Shepard, Thomas Hart, and John Morris, issued a series of mezzotints of the officers of the American Revolution, none of which are copied from accurate portraits but rather, were constructed on a visual formula and bear no resemblance to the individuals they claim to be representing. This stunning print of Washington is exactly one of these invented English portraits, and therefore one of the earliest prints of the General. In fact, upon closer study it has come to light that there is no record of the artist Alex Campbell and that Washington never sat for these portraits. This amazing print is a fascinating example of the ingenious and devious ploys of the eighteenth century print trade as well as an extremely early print of one of our greatest founding fathers.
Hart, Catalogue of Engraved Portraits of Washington 730; Wick, George Washington an American Icon 18-22; Cresswell, The American Revolution in Drawings and Prints 206
#8931$2,750.00
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 ANONYMOUS after Gilbert STUART
General Washington, Late President of the United States of America
London: Haines & Son, No. 19 Rolls Buildings, Fetter Lane, March 21, 1801. Mezzotint. Printed on wove paper. In good condition with the exception of being laid down onto an archival wove backing sheet. Trimmed just outside the platemark on all sides as usual. Plate is worn and there is a crease along the bottom right corner. Image size: 12 x 9 ¾ inches. Sheet size: 13 ¾ x 9 ¾ inches.
A superb early portrait of George Washington published in London by the celebrated printsellers Haines & Son.
Public curiosity for prints of George Washington swept though Europe and America at a staggering rate. Print shops and booksellers were crowded with images of this great American patriot, and his countenance continued to be reproduced until the onset of the twentieth century. The artist and engraver of this bold portrait of Washington are not recorded on the plate, which was typical of works published at the period by Haines & Son. Haines & Son were prolific publishers and printsellers who catered to the decorative print market, they often republished earlier plates, which they acquired from other publishers, such as Carington Bowles and Robert Sayer. This image reproduces Gilbert Stuart's famous portrait known as the "Athenaeum" likeness, because the painting was owned by the Boston Athenaeum. The "Athenaeum" likeness established an inexorable hold on public consciousness and became one of the best-known representations of Washington. A myriad of printmakers became fascinated with Stuart's portrait, making it a widely recognized image and ensuring its place in history as one of the best-loved likenesses of this founding father. As Wick states "Stuart's enduring, patriarchal image was to have an extraordinary influence, eventually dominating the visual conception of Washington almost to the exclusion of any other likeness" (Wick, 58).
Wick, George Washington an American Icon pp. 58-63; Hart, Catalogue of Engraved Portraits of Washington 802, Baker, 369
#16169$1,500.00
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 ANSDELL, After Richard (1815-1885)
Black Game [From the original Picture in the possession of J.B. Neilson Esqre. Liverpool]
London: Owen Bailey, 1 March 1852. Engraving, coloured by hand, by W.J. Davey (lower margin shaved with loss to title). Image size (including text): 11 7/8 x 22 1/4 inches. Sheet size: 15 5/8 x 25 1/2 inches.
A fine image of shooting on the moors: a keeper calls back a pointer and a retreiver who are approaching a wounded Blackcock.
One from a series of six prints after Ansdell, all dealing with the shooting of various types of game, and all from original pictures owned by J.B. Neilson. Richard Ansdell was born in Liverpool "He was educated at the Bluecoat school, Liverpool, and, although attracted by art in youth, did not devote himself to it with a view to making it his profession till he was twenty-one. While in Liverpool he studied animal life in the country-side. His first appearance in London was in 1840, when two of his pictures, Grouse Shooting and Galloway Farm, were exhibited at the Royal Academy. There followed in 1842 an important historical picture, The Death of Sir William Lambton... His paintings from this time forward were very numerous. His success made it possible for him to travel, and between 1857 and 1860 his subjects were found in Spain. His earlier paintings show traces of Landseer's influence, and there are works of that period produced by Ansdell and Creswick together, the latter supplying the landscape, in which he excelled. His other collaborators were Mr. W. P. Frith, with whom he painted The Keeper's Daughter, and John Phillip, who helped with the Spanish pictures.
Ansdell was honoured no less than three times with the Heywood medal, a gift awarded to the best pictures shown at the exhibitions in Manchester. In 1855 he received a gold medal at the Great Exhibition in Paris, the pictures which won it being The Wolf Slayer and Taming the Drove. He was elected A.R.A. in 1861, and R.A. in 1870. He exhibited in London galleries, mostly at the Royal Academy, as many as 181 works." (DNB).
Mellon British Sporting and Animal Prints p.42
#5254$1,750.00
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 ANSELIN, Jean Louis (1754-1823) after Nicolas Andre MONSIAU (1754-1837)
Molière Lisant son Tartufe chez Ninon de L'Enclos
Paris: chez l'auteur rue de Savoie, circa 1810. Engraving. Printed on wove paper. State ii/ii. In good condition with the exception of being trimmed within the platemark. Image size: 18 1/2 x 27 3/4 inches. Sheet size: 22 1/2 x 30 inches.
This fascinating print, by the Parisian engraver Jean Louis Anselin, depicts Molière reading his famous comedy Tartuffe at Ninon de l'Enclos' celebrated salon.
Molière is one of the world's great comic playwrights. His ingenious plays influenced all subsequent French comedy, giving birth to a new genre of satirical comedy.
Originally known as Jean Baptiste Poquelin, he adopted Molière as his stage name when he joined the Bejart acting troupe. Madeleine Bejart was his long-standing mistress until he scandalously married Armande Bejart. Armande was either Madeleine's younger sister or her daughter, and it was rumored that Molière may have been her father. After establishing itself in Paris the company spent thirteen years traveling the provinces until they came under royal patronage and returned to the capital. Influenced by the commedia dell'arte, Molière wrote farces, comedies, masques, and ballets on short notice for the entertainment of the court. He is best known for his comedies of character in which he ridicules a vice or a type of excess by caricaturing a person who is its incarnation. His brilliant works remain some the most cherished dramas of the age, and he is remembered for his true comic genius and dry satirical wit.
In this dramatic print, Moliere is depicted reading his celebrated play Tartuffe at Ninon de l'Enclos' renowned salon. A great French beauty and wit, Ninon de l'Enclos was one of the most influential courtesans of her day. She numbered among her lovers some of the most important men of the age, and was renowned as much for her wit and beauty as for her love affairs. The scene is depicted in her celebrated Salon which brought together some of the luminaries of the period.
Nicolas Andre Monsiau was a Parisian history painter. He studied under Peyron and exhibited his grand paintings at the Salon between 1787 and 1833. Jean Louis Anselin was an accomplished engraver who made a career out of engraving large historical paintings and genre scenes. He studied the art of engraving under Augustin de Saint-Aubin, but quickly made a name for himself as a skilled engraver.
Le Blanc, Manuel de L'Amateur D'Estampes, no. 5, state ii/ii; Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs.
#15076$1,200.00
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 APPLETON, D.
Appleton's General Guide to the United States and Canada. Illustrated with Railway Maps, Plans of Cities, and Table of Railway and Steamboat Fares. Part I. New England and Middle States and Canada. Revised Each Year To Date of Issue.
New York: D. Appleton and Company, 1890.
This is one of the most extensive guides to eastern Canada, New England, and the mid-Atlantic states of the period. It is essentially a railroad guide, with time tables, and a description of the route along each rail line in the region. The town plans are of Baltimore, Boston, Montreal, New York, Philadelphia, Quebec, and Washington. Not in Howes nor Rumsey.
[with:] Appleton, D. Appleton's General Guide to the United States and Canada. Illustrated with Railway Maps, Plans of Cities, and Table of Railway and Steamboat Fares. Part II. Western and Southern States. Revised Each Year to Date of Issue. New York: D. Appleton and Company, 1891. 389 (numbered 277-566), 19pp. plus fourteen maps and plans and 24pp. of ads. Illus. 16mo. Black and gilt-stamped blue cloth.
The companion volume to the preceding. The part were sold together, or separately, and were also issued in a one-volume format. The second part contains extensive information on California and the western states. Pages 427-32 are devoted to Texas. The city plans are of Charleston, Chicago, Cincinnati, New Orleans, St. Louis, San Francisco, and Savannah. Not in Howes. Rumsey lists an 1887 edition of Part II.
Rumsey 3765
#3117$650.00
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 APPLETON, Thomas after Sir Thomas LAWRENCE
[Lady Greg and Children]
London: Published by Henry Graves & Co, 6 Pall Mall, 1903. Mezzotint. Proof before letters. Signed in pencil by engraver. Printsellers Association stamp in lower left corner. Fine india paper laid onto thick cream wove backing as issued. In excellent condition with the exception of a skillfully mended tear in the lower margin. Image size: 18 3/16 x 15 1/2 inches. Sheet size: 24 3/8 x 19 9/16 inches.
A signed copy of this truly charming portrait of Lady Greg and her children, from the captivating painting by Sir Thomas Lawrence.
Thomas Appleton continued the grand style of Samuel Cousins towards the end of the century. His dramatic use of light combines with a delicacy of execution to create beautiful images which echo the subtle effects of painting. His loose painterly approach has an ephemeral quality, which is extremely difficult to accomplish with mixed method engraving. When steel replaced copper during the early part of the century, Appleton adopted the heavy mixed method style of engraving as a means to deepen the contrast of his plates. The use of steel plates often produced rigid and one-dimensional images, but like Cousins before him, Appleton used stipple, etching, and mezzotint to produce a luxurious effect in his plates. This complex engraving process imbued his prints with rich tones and tangible textures. Appleton's delicate portraits are among his best work, and this beautiful image lives on as a testimony to his talent.
Not in O'Donoghue or Chaloner Smith
#7499$480.00
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 ARIZONA. - G. ANDERSON (19th century, American)
Camp Apache, Arizona,1876
[Camp Apache, Arizona]: August 5, 1876. Gray watercolour, highlighted with red, white, and blue watercolor, on paper. Image size: 16 1/4 x 21 inches, sheet size: 20 x 25 inches. Titled in block letters in the lower margin. Signed and dated lower mid-left image: 'G. Anderson / Aug. 5th 1876'. Excellent condition, three short marginal tears expertly repaired. Matted and glazed, in a modern decorated gilt frame.
A fine historical graphic record of one of the most storied of western forts: a panoramic view of Camp Apache, a U.S. Army stronghold in the Indian reservation established on the White Mountain River in southeastern ArizonaTerritory to control the White Mountain and Cibecue Apaches.
The Indian fighter General George Crook and his Apache Scouts (pacified Apaches who wore U.S.Army uniforms) operated from the base, attempting to control the marauding tendencies of the wild tribes. The fort was originally built in 1870 as Camp Ord under the supervision of Brevet Colonel John Green of the U.S. 1st Cavalry. It was renamed several times; first Camp Mogollon, then Camp Thomas, and then Camp Apache (its name when this drawing was done). It was not until 1879 that the post was finally called Fort Apache.
The camp is pictured in 1876, shortly after General August Valentine Kautz had taken command of the Department of Arizona. 'G. Anderson' is not a recorded artist. Possibly he was a soldier with some training in drawing stationed at Camp Apache. An American flag, painted, red, white, and blue (the only object in the painting not painted en grisaille) flies above the parade ground. The camp is shown in fine detail, in the valley of the White Mountain River, with canyons and mesas in the near distance. More than sixty buildings are depicted, including headquarters, the commanding officer's residence, junior officers' billets, enlisted men's barracks, squad huts, privies, and work sheds. At the camp entrance in the right foreground, functioning as a decorative cartouche for the picture, stands an Indian brave in a feathered head-dress, loincloth, and leggings, leaning on a long rifle.
In 1869, Green explained the strategic reasons for establishing the camp: 'I have selected a site for a military post on the White Mountain River which is the finest I ever saw. The climate is delicious, and said by the Indians to be perfectly healthy, free from all malaria. Excellently well wooded and watered. It seems as though this one corner of Arizona were almost its garden spot, the beauty of its scenery, the fertility of its soil and facilities for irrigation are not surpassed by any place that ever came under my observation. Building material of fine pine timber is available within eight miles of this site. There is also plenty of limestone within a reasonable distance. This post would be of the greatest advantage for the following reasons: It would compel the White Mountain Indians to live on their reservation or be driven from their beautiful country which they almost worship. It would stop their traffic in corn with the hostile tribes, they could not plant an acre of ground without our permission as we know every spot of it. It would make a good scouting post, being adjacent to hostile bands on either side. Also a good supply depot for Scouting expeditions from other posts, and in fact, I believe, would do more to end the Apache War than anything else'
Provenance: Kennedy Galleries (labels); Collection of Edward Eberstadt & Sons.
Howard R. Lamar (editor) New Encyclopedia of the American West (New Haven and London: Yale University Press, 1998), p.39.
#18551$15,000.00
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 ARROWSMITH, Aaron (1750-1823)
[Composite Atlas including large scale maps of India, the Middle East and Africa]
London: A. Arrowsmith, 1804-1814. Large folio (31 1/2 x 21 3/4 inches). Mounted on guards throughout. 6 engraved maps by Arrowsmith (2 hand-coloured, 3 hand-coloured in outline) on 25 sheets (21 double-page). Expertly bound to style in diced half russia over contemporary marbled paper-covered boards, the flat spine divided into eight compartments by double gilt fillets, red morocco lettering-piece in the second compartment.
A very fine composite atlas, including six of Aaron Arrowsmith's monumental maps, recalling the enormous importance of India to Britain and to the continued health of the British Empire during the 19th century
The huge actual and potential wealth of India at the beginning of the 19th century ensured that it was viewed in a very proprietorial way by Britain and by her agents in India: the East India Company. Queen Victoria, the first Empress of India, spoke of India as the 'jewel in the Crown of Empire' and fully recognized the pivotal role that India played in creating the largest empire the world has ever seen. Knowledge of, and the protection of the routes between Britain and India were of prime importance and the present atlas appears to have been compiled with this in mind. The first map provides the best available detailed information on India itself, the second map tracks the various overland routes to India from Constantinople, and incidentally via Egypt and the Red Sea. Sections of this more southerly route are also explored in the third map which gives details of the country between Aleppo and Jerusalem, and the fifth and sixth maps which show Egypt, the Nile and the overland route from the Mediterranean to the Red Sea. The fourth map, a large scale map of Africa, is a distillation of all the latest information needed for a successful sea-route journey to India via the Cape of Good Hope.
1. [India] -To Mark Wood ... Late Chief Engineer and Surveyor General, Bengal this Map of India compiled from various Interesting and Valuable Materials is inscribed ... [London:] A. Arrowsmith, 1804. Engraved map hand-coloured in outline, on 6 double-page sheets.
A truly spectacular map: the combined image area of 75 x 63 inches really does give some idea of the vast size of the Indian sub-continent. Arrowsmith's dedication of this map to Wood is probably more a reflection of the fact that Wood was in the public eye, having recently published two successful works on India and the route to India, than his work as a surveyor which had ended over ten years earlier. Sir Mark Wood (1747-1829), after a distinguished career in the East India Company, culminating with his appointment as surveyor-general in 1787 and chief engineer in Bengal in 1790, had returned to England in 1793. The Dictionary of National Biography notes that the British Library holds three manuscript surveys by Wood of Calcutta and its environs.
2. [Delhi to Constantinople] - Outlines of the countries between Delhi and Constantinople. London: A. Arrowsmith, 1st January 1814. Engraved map hand-coloured in outline, on 8 sheets (4 double page and 4 single page).
First issue of one of the finest early nineteenth century maps of the Middle East, which if assembled would have an image area of 60 x 112 inches. It was specifically constructed to show the overland routes between Constantinople, the capital of the Ottoman Empire, and Delhi, capital of British India. The inspiration for the map may be found in Napoleon's campaigns in Egypt, which led to a concern in Britain that the overland passage to India might be cut, or that it might need to be defended. In such an event, an accurate, large-scale map of the region would be invaluable. Arrowsmith was the most conscientious and scientific mapmaker working in England at the time, and the logical candidate to construct such a map. The map was evidently well received as at least one further issue was published (with additions to 1816).
The present-day nations of Turkey, Georgia, Armenia, Syria, Lebanon, Israel, Iraq, Iran, Afghanistan, Pakistan, Tibet, the Central Asian republics, much of Egypt, northern India, and northern Saudi Arabia are shown on a grand scale. The Persian Gulf, and the Caspian and Aral seas are shown in entirety. Each of these areas are shown in the finest possible detail, but many were still little-known in western Europe. While the Nile Valley, Asia Minor, and Palestine are well-formed, other regions, such as Afghanistan, Tibet and the Central Asian Republics, are largely blank. Arrowsmith has made a valiant effort to map the mountain spine of Asia: the Himalayas and Hindu Kush. Interesting legends and notations concerning the country, explorers and travelers, and so forth, cover the face of the map.
3. [Jerusalem to Aleppo] - A Sketch of the Countries between Jerusalem and Aleppo. London: A. Arrowsmith, 15th January 1814. Engraved map, on two double-page sheets.
A fine large scale map (which if assembled would have an image area of 52 x 30 1/2 inches) covering the overland route between Aleppo in northern Syria to Jerusalem in the Holy Land. As usual, Arrowsmith is scrupulous in his attempts to include all the latest information gathered from travellers from all parts of Europe.
4. [Africa] - Africa. London: A. Arrowsmith, 1811. Engraved map on four double-page sheets, hand-coloured in outline.
A later issue of a map first issued in 1802, but here with considerable information added. The map (image area 50 x 57 inches if assembled) is dedicated to the British Association for Discovering the Interior of Africa, and includes a fine emblematic vignette title
5. [Lower Egypt] - A Map of Lower Egypt from various surveys communicated by Major Bryce and other Officers. London: A. Arrowsmith, 10th November 1807. Hand-coloured engraved map on four double-page sheets.
Excellent fully coloured map with an image area of 48 x 62 inches if assembled, and including an inset of a plan of the battle of the Nile.
6. [Upper Egypt] - Map of Upper Egypt drawn from various documents. London: A. Arrowsmith, 20th November, 1807. Double-page hand-coloured engraved map.
A fully coloured map (image area 38 1/2 x 26 inches) showing the course of the Nile from Cairo south to Aswan, and including a cut through route from about three quarters of the way down the Nile across country to the bay of 'Cosire' on the Red Sea coast, with an enlarged view of the bay.
#15854$38,000.00
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 ARROWSMITH, John (1790-1873)
The Maritime Portion of South Australia, from Capt. Flinders & from more recent surveys made by the Surv'r. Gen'l [Coastal chart of South Australia]
London: John Arrowsmith, Feb. 5, 1840. Engraved, with period outline colour. Discoloration at centerfold. Paper toned overall. Plate mark: 20 1/4 x 25 1/2 inches. Sheet size: 21 3/4 x 25 1/8 inches.
John Arrowsmith's greatest contributions to cartography were primarily in his maps of Australia and of South Africa.
This interesting chart of the southern coast from Discovery Bay to Fowler Bay is the third edition of the map, in which a number of details have been corrected or added since the first issue two years before. There are 4 inset charts: the Gulf of St. Vincent; The City of Adelaide with the Acre Allotments; Nepean Bay and Kingscote Harbour; and Encounter Bay. The chart includes depth soundings for the entire stretch of coast and would have been an immense help to navigators.
John Arrowsmith was the nephew of Aaron Arrowsmith, who founded the firm in 1790 after having been a surveyor for several prominent map publishers. The Arrowsmith company established a very strong reputation for reliability and high quality in map production. After Aaron's death, John was the prime mover in maintaining the standards of the firm, constantly revising and augmenting maps with new discoveries.
Tooley, The Mapping of Australia, 110.
#4150$2,500.00
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 ARROWSMITH, John (1790-1873)
[Western Australia] The Colony of Western Australia from the Surveys of John Septimus Roe Esq. Surveyor Genl. And from other Official Documents in the Colonial Ofice and Admiralty.
London: John Arrowsmith, 1848-49. Copper-engraved map, with original outline colour, in excellent condition. Sheet size: 21 3/4 x 25 inches.
A very fine map of Western Australia, depicted it during an especially fascinating time in its development, by one of the great London mapmakers
From the London Atlas, Jan. 1, 1850. This fascinating map compiled by John Arrowsmith himself surveys the coastal settlements and explorations in south western Australia from Doubtful Island Bay (east of Kent) to a point north of Perth. Settlement was extremely sparse at the time this map was issued and the region developed quite differently in the event. Included are insets of a number of town maps divided into lots: Guildford, Fremantle, Perth, Augusta and Kelmscott.
This is the 8th state of the map (with several title changes), each revised by Arrowsmith.
John Septimus Roe (1797-1878), mentioned in the title, was Surveyor-General for the British Colony of Western Australia for 42 years, after having served in the Navy surveying northwestern Australia and in the Burmese War. His years as Surveyor-General were very active, as he explored the coasts and made journeys into the interior (one is indicated on the map). He selected the sites for Perth and Fremantle (included as insets in this map).
A very attractive and intriguing map of an exploration in progress.
Tooley, The Mapping of Australia, 130.
#4151$2,500.00
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 ARROWSMITH, John (1790-1873)
[Tasmania] Van Diemens Land
London: John Arrowsmith, February 15, 1842 [issued 1850]. Copper-engraved map, with original outline colour. Sheet size: 25 1/4 x 21 1/2 inches.
A very fine map of Tasmania, depicting the island during an especially fascinating period in its settlement, by one of the great London mapmakers
From the London Atlas, Jan. 1, 1850. Van Diemans Land became Tasmania in 1853, at the same time its last shipment of convicts arrived from England. Abel Tasman (1609? - 1659), a Dutch navigator, discovered the island in 1642 and named it Van Diemans Land.
Arrowsmith's map is characteristically handsome and intriguing, being copied from manuscript surveys. Vast portions of the island remained to be surveyed and continued to be for a very long time thereafter.
Tooley,The Printed Maps of Tasmania, 78; Printed Maps of Australia, 119.
#4152$2,500.00
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 ARROWSMITH, John (1790-1873)
Map of Texas, compiled from Surveys recorded in the Land Office of Texas and other Official Surveys.
London: Arrowsmith, 1841. Copper-engraved map, with original outline colour, in very good condition, but for an expertly repaired tear (with no loss) at upper right. Sheet size: 24 1/2 x 20 1/2 inches.
The great European map of the Republic of Texas.
Arrowsmith's map was probably the first to show the full extent of Texas's claim to the region of the upper Rio Grande, an area included within Texas's boundaries until the Compromise of 1850. The map includes two insets, one showing the geographical relationship of Mexico, Texas and the United States, and another inset showing Galveston Bay, with soundings illustrating for the traveler the best route to the new city of Houston. The popularity and general acceptance of the map was shown by the fact that many mapmakers copied liberally from Arrowsmith's map, including some of its errors. As one of the earliest maps to contain information from the General Land Office of Texas, the map located Indian tribes, major roadways, and included editorial comments for the benefit of the future traveler to Texas, such as "excellent land," "valuable land," "rich land," and "delightful country."
In spite of its few errors, the map was certainly the best information on Texas geography available in Europe during the decade in which the political fate of the new Republic was of international concern.
The present copy is the Kennedy state, from William Kennedy's The Rise, Progress and Prospects of the Republic of Texas. The imprint line gives the publication date as "17 April 1841." When the map is found in the London Atlas, it is usually the third state dated "8 June 1843."
Martin & Martin, Maps of Texas and the Southwest, 1513-1900; plate 32; Tooley, 'Printed Maps of America', in Map Collector's Circle 69, item 262.
#5901$27,500.00 | | | |
