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browsing 4347 items
displaying items 1901 to 2000
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 FISHER, Richard S
Dinsmore's Complete Map Of The Railroads And Canals In The United States & Canada Carefully Compiled From Authentic Sources
New York: John G. Wells, 1856. Full period color, 25¼ x 30½ inches, folding into gilt-stamped red cloth covers.
#4199 $1,750.00  
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 FITTLER, James (1758-1835) after George ROBERTSON (1748-1788)
North West View of Windsor Castle, In the County of Berks
London: Published by John Boydell, 1782. Engraving, printed on fine laid paper. Very good condition apart from some overall light soiling, minor creasing in the bottom margin, and a few mild surface abrasions in the margins. Some faint writing in black pen is visible in the top right corner of the sheet.
One of a pair of views of Windsor Castle engraved by Fittler after the celebrated landscape painter George Robertson.
Towards the middle of the eighteenth century, a trend developed among English artists and printmakers who sought to visually record the natural beauties of England and Wales. Sparked by a sense of national confidence and patriotism, English printmakers began to publish topographical prints of the important sights in the British Isles. In addition to being a visual record of the countryside, they were meant to encourage public recognition of the beauty and history of England. They were aimed at English and foreign tourists who desired a memento of their travels, or at those armchair travelers who collected topographical prints instead of traveling.
Trained at the schools of the Royal Academy, James Fittler was a skilled etcher and engraver, who established his reputation with the numerous plates he executed, many of them portraits, after artists such as Delamotte, de Loutherbourg, and Lorraine. In addition to his engravings, he contributed copious book illustrations to publications such as Dibdin's Aeds Althorpianae (1822). In 1800, Fittler became an associate at the Royal Academy, where he regularly exhibited throughout his life.
Cf. Dictionary of National Biography; cf. Benezit, Dictionnaire Des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 5, p. 492.
#13705$2,000.00
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 FITTLER, James.
[Triumph of Britannia]
circa 1780. Engraving. Unfinished working proof. Printed on watermarked laid paper. In excellent condition with the exception of being trimmed within the platemark on all sides. Some creases in image. Image size: 15 1/8 x 20 ½ inches. Sheet size: 15 ¾ x 20 ¾ inches.
An extremely rare working proof of James Fittler's striking engraving of Britannia.
James Fittler was a skilled etcher and engraver, who established a reputation as an exceptional marine engraver. His oeuvre included portraits and book illustrations but he was best known for his appealing marine scenes. Trained at the Royal Academy schools, Fittler became an associate in 1800. He was a regular exhibitor at the Academy and was appointed "Marine Engraver" to George III. This stunning image of Britannia is an excellent example of his skill and a fascinating glimpse of the etching process. This intriguing print shows a unique step in the printmaking process before an image is ready for publication. Before the image is completed the engraver has printed a trial impression to view this stage of the engraved plate. It is incredibly rare to find prints in this unfinished experimental stage. Impressions which were pulled as working proofs are unique and were almost never duplicated
Dictionary of National Biography; Benezit, Dictionnaire Des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 5, p. 492.
#15341$800.00
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 [FLEMISH FLOWER MANUSCRIPT]
A bound collection of vellum sheets illuminated with original bodycolour paintings on 28 panels, the vellum sheets originally forming two continuous manuscript rolls, both relating to the De La Broye family, attested to by J. Simon, the chief clerk of the Chamber of Accounts of the city of Lille
Lille, Spanish Netherlands: 1630. Folio (17 1/2 x 12 inches approx). Mounted on guards throughout. Roll 1 (signed twice by J.Simon): 15 vellum sheets, the majority folded, with a total of 27 columns of text (with 9 original integral vignette bodycolour paintings), and 22 rectangular panels flanked on either side by a thick gold rule, each panel approx. 4 1/2 inches wide and containing an original bodycolour painting of flowers with a single figure of a man (in 19 panels) or a bird (in 3 panels) - the men variously dressed in costume of the period and involved in various pursuits: hunting, cooking, fencing, playing a drum, etc. Roll 2 (signed once by J. Simon): 4 vellum sheets, 3 folded, with a total of 6 columns of text and 1 wide horizontal area also bearing text (with 5 integral vignette bodycolour paintings), and 6 rectangular panels (three thick panels approx. 5 3/4 inches wide; three thinner panels approx 3 3/4 inches wide) flanked on either side by a thick gold rule and each containing an original bodycolour painting of flowers with a single bird (in 4 panels); a bird and a snail (1 panel) or a bird, a butterfly and flowers (1 panel). 18th-century vellum over pasteboard, early manuscript title to spine. Provenance: Louis-François Quarré-Reybourbon (Lille, 'Collection Quarré-Reybourbon' 19th-century bookplate); Paul Anatole Auguste Marie Denis du Péage (Lille, 1874-1952, armorial bookplate).
An important early series of original botanical paintings from the European tradition of celebrating wealth and status through a show of rare and expensive varieties of tulips and others exotic cultivars. Originally produced for the De La Broye family, this series was more recently in the collections of two the foremost historians of Lille and its great families.
Despite their obvious historical importance, the chief interest of these manuscripts to the modern eye is undoubtedly the exceptional illuminated panels which separate each column of text. The overall theme is floral: not wild flowers but the extremely expensive cultivated flowers that were coming to prominence at the beginning of the seventeenth century - made popular in courtly circles from about 1600 by works such as Pierre Vallet's Le Jardin du Roy, Basilius Besler's record of the Prince Bishop's garden at Eichstätt, and the Hortus Floridus of Crispijn van de Passe. This concentration on exotic blooms in the present manuscripts was a deliberate attempt to link the De La Broye family with the opulence that these flowers implied. The most obvious of these luxury plants was the tulip, and given the time and the place where these drawings were done it is no surprise to find various cultivars of the tulip predominating - it is interesting to note that all the varieties shown are of the most expensive 'bybloemen' group. The courtly interest of the 1600s, had by the 1620s become more widespread, and from 1634 to 1637 tulips like the multi-coloured varieties pictured here, were the flowers which fuelled the 'tulipomania' craze in the Netherlands. At its height sums equal to the cost of a good-sized house on the waterfront in Amsterdam were gambled on single bulbs. These manuscripts form one of the earliest known collections of images of a significant number of different varieties of tulips: at least twenty are pictured, and although they are not identified they form a rare and valuable record of the cultivars of the period. In addition to tulips, the images also include pinks, narcissi, irises, martagon lilies, roses and asters.
The majority of images are further enlivened by the addition of what are possibly various members of the De La Broye family, all men, all dressed in costume of the period, and all undertaking worthy pursuits. These include a preponderance of military actions: firing a gun, on horseback with sword drawn, on foot with sword drawn, etc., but they are also shown hunting and cooking. All of these figures are placed at the foot of each panel and are worked to a completely different scale to the flowers. The panels without figures have birds or other animals added that are more in scale with the flowers around them. There is a further group of illustrations that are used to decorate the columns of text: a number of these appear to have been used to mask out areas of the text that were not required (the original text can be made out under the paintings), whilst others are used to great decorative effect. The images used in this group include hunting, fishing, animals against a naturalistic background and two men on horseback.
The two documents, produced for the De La Broye family of Lille, can be dated to a golden period for the city of Lille when the city and a large area of what is now northern France was ruled over by Spain and formed part of what was then known as the Spanish Netherlands. An examination of what is now a bound collection of vellum sheets of various sizes reveals that they were originally glued together to form two document rolls with the illuminated panels acting as dividers between each vertical column of text. Internal evidence shows that both rolls were compiled for the De La Broye family as 'proofs of nobility'. To achieve the status of 'gentleman' it was necessary for an individual 'in trade' to prove that his family had in the past been of sufficient standing to warrant him being elevated once again. To provide this proof the De la Broye family apparently retained the services of J. Simon the 'premier greffier' or chief clerk of the Chamber of Accounts of Lille. He arranged for the archives to be searched for every reference to the good work or good standing of the family. These extracts (dating from the 13th to the 16th century) were then copied out by skilled scribes using various calligraphic and textual hands (apparently in imitation of the originals). Each extract was headed by a precis of what it was and a note about which original document it had been taken from, and each was attested to by J. Simon. An overall summary of the findings was added which was signed by J. Simon (roll 1: signed twice and dated once 26 October 1630; roll 2: signed once).
Literature:
Blunt & Stearn,The Art of Botanical Illustration (1994) pp.127-146
P. Denis du Péage,Recueil de généalogies Lilloises. (1906-1908)
A. Pavord,The Tulip (1999) pp.137-177
L. Tongiorgi Tomasi, An Oak Spring Flora (1997) pp.267-306
#15247$150,000.00
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 FLEURIAU, Aimé-Benjamin (1709-1787)
'Plan de l'habitation de Sr. Fleuriau depuis 1743 qu'il a commencé a l'Etablir, Jusq'en 1749 ... Suivant Le Nouveau Plan Tire par Mr. Delagrené En 1753 ....'
[No date, but circa 1753]. Manuscript, in black ink, with touches of colour, on laid paper, in very good condition. Sheet size: 20 1/2 x 28 1/4 inches.
A very rare early image from the Dominican Republic: a plan of the plantation which was the foundation of a colonial fortune built on sugar by La Rochelle-born, Aimé-Benjamin Fleuriau, with images of the house and sugar mill
A detailed plan of the "habitation de Mr. Fleuriau." The property is apparently divided into outlots, each measuring approx. 200 x 300 [metres?], and each devoted to a specific crop or purpose; for example, "orengere" (orange grove?), "citronniere" (lemon grove?), "Indigoterie" (Indigo?), etc. At the centre, the main house and outbuildings are carefully rendered to the front and right of the house is what appears to be a large outdoor sugar mill. A long canal and numerous regular roads crisscross the property. The various plans (those of 1749 and 1753, etc.) are superimposed upon each other.
Aimé-Benjamin Fleuriau was born in La Rochelle in 1709. In 1729, at the age of 20 he sailed to Santo Domingo (Hispaniola) to join his uncle, leaving behind family debts of more than 120,000 'livres'. He worked hard and prospered and impressed his uncle so much that he made him a beneficiary of his will. Aimé-Benjamin Fleuriau bought the property pictured here on 12 April 1743, less than a month after his uncle's death. It was described as a habitation, the property of 'Sieur Claude-Alexis Mathieu, sise à la Croix-des-Bouquets, canton de Bellevue, plaine de Cul-de-Sac', and it was apparently the first step leading quite rapidly to Fleuriau's accumulation of a fortune made from sugar. Fleuriau departed for France in 1755, and returned to La Rochelle where he cleared his families debts and lived in some splendour until his death in 1787, when his personal fortune was put at '4 millions de livres'. His main residence in La Rochelle is now the 'Musée du Nouveau Monde'.
#18498$9,750.00
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 FONTAINE, Gabrielle (19th century)
A still-life of flowers in an unglazed earthenware pot, fruit and flowers strewn on the ledge around the pot
Watercolour and gouache on vellum, signed 'Gablle Fontaine'. Composition frame. 27½ x 22 5/8 inches.
An exceptionally large scale work by this talented but apparently unrecorded artist, probably executed in the 1830s or early 1840s. The composition includes roses, bi-colour pinks/carnations, morning glory, dahlias, auriculas, flowering quince or prunus, hollyhock, plums and peaches. In addition a clouded yellow and two red admiral butterflies are shown.
#3892$24,000.00
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 FORD, Richard and Philip LEA (fl.1666-1700)
[Barbados] A New Map of the Island of Barbadoes wherein every Parish, Plantation, Watermill, Windmill & Cattlemill, is described with the name of the Present Possesor, and all things els Remarkable according to a Late Exact Survey thereof.
London: Philip Lea & John Seller, [1682]. Copper-engraved map, with original outline colour, in excellent condition. Sheet size: 20 x 24 3/4 inches.
An extremely rare map, the finest and most detailed early map of Barbados
This very elegant map is the largest and most detailed early map of Barbados. Tony Campbell describes it as "the first systematic map of the island". It is the product of detailed surveys conducted by a Quaker planter, Richard Ford, in the 1670s. The roughly triangular island is shown in a remarkably large scale, and its various attributes are pictorially conveyed in immense detail. Every individual plantation that covers the bountiful island is marked with its proprietor's name, and the various types of mills, including the island's celebrated windmills are marked with symbols. In homage to Barbados' agrarian bounty, the map is embellished with miniature illustrations of various plants such as the "Pawpaw Tree," "Bennawno" (banana), "Indian Corn," and the "Cabage Tree." The island's main towns, such as "The Bridge Toun." "Ostines Toun," 'Speights Toun" and "The Hale Toun" are outlined, and a series of cartographic insets details their respective prospects. Each of the island's eleven parishes, as demarcated in 1645, are labeled and a line of crosses surrounds the island's coastline, indicating the presence of reefs.
An extremely elaborate cartouche, of great artistic virtuosity adorns the lower right portion of the map. Surmounted by the allegorical figure of Britannia, accompanied by the English coat of arms and Ceres, the Roman goddess of agriculture, the cartouche is also joined by the figure of Neptune, with a mermaid to his left side. Featured within is a "New Description of the Island of Barbados" which details aspects of the island's geography, history and economic development. At the lower right of the map is a beautiful distance scale adorned with two cherubs. The present example is the second state of three recorded states of this map, with all states being rare.
Barbados, one of the most fertile islands of the Caribbean chain, was first settled by the English in 1627, when a party led by Sir William Courteen landed on the island. Sugarcane, introduced from Guyana, flourished,and by the time Richard Ford surveyed Barbados, the former dense forest had completely given way to thriving plantations. The present map far supersedes all other early maps of the island, in both its depiction of detail and its artistic expression, a superlative that would not be challenged until the publication of William Mayo's map in 1722.
Campbell, "The Printed Maps of Barbados," Map Collectors' Circle, Vol. III, no.21, map 9; Phillips, A List of Maps of America, p.135; Stevens & Tree, "Comparative Cartography," 6(a), in Tooley, The Mapping of America
#19740$17,500.00
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 FORTIER, Claude-François (1775-1835) after COURVOISSIER
Vue de la 2eme Entrée du Grant Trianon
Paris: Published by chez Basset, circa 1800. Hand-coloured engraving heightened with touches of gum arabic. Printed on laid paper. Very good condition. Good condition apart from some overall light soiling, minor foxing, and a few small tears in the margins. Plate mark: 13 5/8 x 18 5/8 inches. Sheet size: 16 1/2 x 21 3/4 inches.
A broad view of the opulent lodge and landscaped grounds of the Grand Trianon at Versailles.
Built in 1678 by the royal architect Jules Hardouin-Mansart (1646-1708), the palatial Grand Trianon was erected on the site of the former Trianon of Porcelain, a small pavilion constructed for Louis XIV by Louis Le Vau (1612-1670) in 1670. It was primarily intended as a country retreat and was a sprawling Italianate edifice with a colonnaded portico designed under the specific direction of the Sun King. The landscape architect André Le Notre (1613-1700) laid out the extensive gardens surrounding it. Adjacent to the Grand Trianon, though not visible in this fine print, is the more modest Greek-style Petit Trianon, another country retreat that was later constructed in 1760s at the behest of Louis XV for his mistress, Madame de Pompadour.
#14518$750.00
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 FORTIER, Claude-François (1775-1835) after COURVOISIER
Vue du Chateau de Versailles, du côté des Jardins
Paris: Published by chez Basset, circa 1800. Hand-coloured engraving heightened with touches of gum arabic. Printed on laid paper. Very good condition apart from some overall light soiling and minor foxing, two skillfully repaired small tears in the top margin, a couple of mild water stains in the left margin, and a few tiny nicks at the edges of the sheet. Plate mark: 13 5/8 x 18 1/4 inches. Sheet size: 16 3/8 x 22 inches.
A stunning view of the impressive grand facade of the chateau of Versailles as seen from the garden.
Originally a modest hunting lodge built by King Louis XIII in 1623, Versailles was transformed into one of the largest and most extravagant palaces in the world during the reign of Louis XIV (1643-1715). Also known as the self-professed Sun King, Louis XIV wanted to remodel Versailles so that it adequately symbolized his absolute power as monarch. He enlisted the services of architects Jules Hardouin-Mansart (1646-1708), Louis Le Vau (1612-1670), and Charles Le Brun (1619-1690), and the extensive project of expansion and renovation commenced in 1661. The landscape architect André Le Notre (1613-1700) was responsible for redesigning the chateau's luxuriant park. In 1682, Versailles became the Sun King's official residence.
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#14539$750.00
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 FRANCIA, François-Louis-Thomas
Calais
Paris: chez l'Editeur.. Imprime par Sauniée, 1832. Sheet size: 19 5/16 x 23 ½ inches .
A fine and rare separately issued view of the main French port on the north coast after `one of the earliest and most accomplished of English water-colourists' (DNB
Hand-coloured aquatint engraving by Paul Legrand after Francia, printed by Sauniée.
Francia (1772-1839) `was born at Calais…, and was brought early in life to London by his father, a refugee… He commenced to exhibit at the Royal Academy in 1795, and contributed from that year to 1821 (inclusive) eighty-five works in all to its exhibitions. He was one of the sketching society formed by Thomas Girtin about 1799… He was a member of the (now Royal) Society of Painters in Water-Colours, and for some time its secretary, but he resigned his membership, and became in 1816 an unsuccessful candidate for the associateship of the Royal Academy. The next year he retired to Calais, where he resided till his death on 6 Feb. 1839. Here he gave instruction to R. P. Bonington, whose coast scenes bear much resemblance to the later works of Francia. Francia's earlier drawings are broad and simple in execution, rich, but sombre in colour, like those of Girtin; but his later work, while still retaining its breadth and harmony, is brighter and lighter in tone, and more subtle in handling. Though he painted landscape of different kinds, his favourite subjects were shore scenes, which he executed with great truth and beauty of aerial effect. He was an excellent draughtsman of boats and shipping, and some of his drawings were engraved to illustrate a book of sketches of shipping by E. W. Cooke. He was one of the earliest and most accomplished of English water-colourists, and his works are distinguished by their fine colour and poetical feeling.' (DNB).
#2618$2,500.00
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 FRANKS, David
The New-York Directory, Containing, a Valuable and Well Calculated Almanack; - Tables of the Different Coins, Suitable for any State, and Digested in Such Order, as to Render an Exchange Between any of the United States Plain and Easy
New York: 1851. [2],82pp. plus folding map. Original cloth stamped in gilt and blind. Front hinge cracked, ex-library with bookplate on front pastedown. Text and map are very bright. Very good.
The first reprint edition of the extremely rare first New York directory of 1786. The folding map is a facsimile of one included with the directory of 1789.
Howes F338. Spear, p.231. Sabin 54456
#3281$250.00
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 FRENCH, John Homer (1824-1888)
The State of New York from New and Original Surveys under the direction of J.H. French
Syracuse: Robert Pearsall Smith, 1860. Hand-coloured lithographic wall map, backed with modern linen, full period color, trimmed in red cloth, on contemporary rollers. Two inset maps: "Geological and Land Patent Map of the State of New York" and "Meterological Map of the State of New York." Twelve inset city plans: Buffalo, Troy, Utica, Syracuse, Albany, Oswego, Schenectady, Hudson, Auburn, Poughkeepsie, Rochester, New York City. Twelve pictorial vignettes of New York State towns and scenery, and a decorative border of scrolling vines. In good condition except for occasional expert repairs and old repair evident along right edge. Sheet size: 67 x 73 3/4 inches. .
The second edition of the best map of any American state published to its time. Ristow devoted an entire chapter to the construction of this map, and pronounced it of a "higher quality than the maps of other states published prior to the Civil War." 'American Maps and Mapmakers', pp. 355-378.
Beginning in 1853, Robert Pearsall Smith contracted with a number of local surveyors to construct maps of New York counties. In 1855 he engaged John Homer French to compile a state map from the various county maps. Although the individual county maps were not all of uniform quality, they were far more consistent and comprehensive than the local surveys conducted for any other American state. French's general map of The State of New York, first published in 1859, supplanted Burr's Atlas of the State of New York (1829), as the definitive reference for the topography of the state. It remained so until two decades later, when the U.S. Geological Survey began published maps based on original triangulation.
This second edition was published in 1860. Despite the quality of the map, the number of copies sold was insufficient to offset costs, and in 1865 Smith sold his publication rights to H. H. Lloyd, who brought out new editions.
Cf. BMC Printed Maps X, col. 558; Journal of the American Geographical and Statistical Society 2 (1860), p. 135; Phillips, America, p. 513; Ristow, American Maps & Mapmakers, pp.355-78; not in Rumsey.
#18755$3,500.00
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 FRESHFIELD, Douglas William (1845-1934)
The Exploration of the Caucasus by ... Freshfield ... with illustrations by Vittorio Sella
London & New York: Edward Arnold, 1896. 2 volumes, 4to (11 x 7 1/2 inches). Half-titles, letterpress titles with half-tone vignettes. 80 plates (comprising: 1 folding line-drawn key-plate, 2 half-tone plates [1 folding] and 77 photogravures [including 3 folding panoramas]), 4 folding maps printed in colours (one in pocket at end of vol.II, as issued), numerous half-tone illustrations, most from photographs by Vittorio Sella, M. de Déchy, Hermann Woolley and Clinton Dent. Original two-tone green cloth, blocked and lettered in gilt, t.e.g.
First edition of a primary work on the Caucasus and the "magnum opus" of one of "the greatest mountain explorers... he was one of the most scholarly and sensitive of mountain writers and was twice Chairman of the Society of Authors" (Neate).
Freshfield was at various times in his life President of the Alpine Club, editor of the Alpine Journal, and Honorary Secretary of the Royal Geographical Society. "In the course of three journeys - in 1868 and again in 1887 and 1889 - ... [Freshfield traversed] the main chain of the Caucasus eleven times by eight different passes ... [and he] took part in the first ascent of three of the great peaks, Elbruz [5642m], Kasbek [5047m], and Tetnuld [4974m]" (preface p. x). The photogravures are particularly beautiful in this work, and as the preface makes clear, Freshfield was particularly pleased with them: "I know of no case where a region, hitherto mysterious, has been so suddenly and completely revealed in all its details as the Central Caucasus has been by Signor Vittorio Sella, by his predecessor in date, M. de Déchy and by his successors, Mr. Hermann Woolley and Mr. Clinton Dent." Sella's work, in particular, is spectacular: he was probably the greatest mountain photographer of his day and carried his camera and glass plates to above sixteen thousand feet in his efforts to capture the beauty of the high mountain landscapes.
Neate 288
#20353$2,500.00
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 FRÉZIER, Amédée-François (1682-1773)
A Voyage to the South-Sea, and Along the Coasts of Chili and Peru, in the Years 1712, 1713, and 1714, particularly describing the genius and constitution of the inhabitants, as well Indians as Spaniards: their customs and manners; their natural history, mines, commodities, traffick with Europe, &c. ... With a postscript by Dr. Edmund Halley
London: Printed for Jonah Bowyer, 1717. 4to (9 3/8 x 7 inches). Title in red and black. 37 engraved maps and views (22 maps [15 folding], 13 plates [1 folding] and 2 folding profiles). Contemporary panelled calf (rebacked), modern dark blue shot silk-covered box.
First English edition of this important Pacific voyage, after the original French of the previous year.
This book is unusual in that, with the exception of the specially produced frontispiece/route map, all the maps and plates are printed from the same printing plates as were used for the engravings in the first edition (in French) which was published in Paris in 1716. According to Hill the present first edition in English "is preferred ... because it contains a postscript by Edmund Halley ... which corrects certain geographical errors made by Frézier." Other authorities agree: "This English edition is much sought after" (Borba de Moraes). "The relation of M. Frezier has always been highly esteemed from his character as an author of great truthfulness, as well as for the numerous exact maps with which it is illustrated" (Field). A "production of unrivaled interest and beauty" (Sabin).
The author, "a French Royal military engineer, was under contract to sail to Spanish possessions in South America to construct forts for defense against English and Dutch attacks. The French government also ordered him to chart the western coast of South America ... The first part of this book gives an interesting account of the voyage from France around Cape Horn ... The second part relates to the voyage along the coasts of Chile and Peru, describing the chief towns and cities. The observant Frézier brought back information of considerable geographical and scientific value. Much data is included about the native inhabitants ... Frézier introduced the ancestor of the modern strawberry to France from Chile." (Hill p.231)
The maps depict South America or the location of anchorages and cities visited during the voyage. The plates illustrate the natives and their customs.
Borba de Moraes, p.329; Cox II, 627; European Americana 717/66; Field 568; Hill (2004) 654; Sabin 25924; Spence 482.
#20395$5,750.00
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 FRIEND, Washington F. (circa 1820-1886)
Rapids above Niagara Falls, by Moonlight
Water-colour & gouache on paper, mounted to card. Inscribed in pencil, verso: "Rapids over the American Falls.". Sheet size: 14¼ x 21 inches.
Washington F. Friend (circa 1820-1886) was born in Washington, DC. In 1849 he set off on a journey, lasting three years and covering 5,000 miles, sketching scenery across the United States and Canada in water-colours. These he rendered into a panorama, painted on a gigantic canvas specially woven in New York, so that it could be scrolled between two poles before an audience. The moving panorama was a two-hour performance. It was augmented by a thirty-two page pamphlet and live commentary by the artist, including his performance of American and Canadian folk songs.
The production premiered in Quebec, then traveled to Montreal, Boston, New York and other North American cities, followed by an equally successful tour of England, where the purpose of the exhibition was "to give the reader and intending emigrant a complete account of the principal cities, rivers, and lakes of this wonderful continent…". He gave a performance at Buckingham Palace, thought to have been for Queen Victoria.
Friend returned to the United States to paint water-colours: a group depicting Niagara Falls (where he had lived for a time) was exhibited in Montreal in 1867. He died in England in 1886.
#6798$3,750.00
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 FRIEND, Washington F. (circa 1820-1886)
[Niagara Falls from Below]
Water-colour & gouache on paper, mounted to paper support. Signed lower right: "W F Friend". Sheet size: 22½ x 15½ inches.
Washington F. Friend (circa 1820-1886) was born in Washington, DC. In 1849 he set off on a journey lasting three years and covering 5,000 miles, sketching scenery across the United States and Canada in water-colours. These he rendered into a panorama, painted on a gigantic canvas specially woven in New York. The huge canvas was scrolled between two large poles before the audience, anticipating in a way the movies. The performance took two hours. It was augmented by a thirty-two page pamphlet and a live commentary by the artist, including his performance of American and Canadian folk songs.
The production premiered in Quebec, then traveled to Montreal, Boston, New York and other North American cities, followed by an equally successful tour of England, where the purpose of the exhibition was "to give the reader and intending emigrant a complete account of the principal cities, rivers, and lakes of this wonderful continent…". He gave a performance at Buckingham Palace, thought to have been for Queen Victoria.
Friend returned to the United States to paint water-colours: a group depicting Niagara Falls (where he had lived for a time) was exhibited in Montreal in 1867. He died in England in 1886.
#6799$3,850.00
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 FRITZSCH, C.F.
Le Kwagga [Pl. VI, Vol. V]
[Pl. VI, Vol. V]. Paris: Imprimerie Royale, 1749-1783. Engraving with original hand-colouring, printed on fine laid paper. Very good condition apart from some minor foxing. Plate mark: 8 1/4 x 7 1/2 inches. Sheet size: 10 3/4 x 9 1/8 inches.
A charming plate from "Histoire Naturelle, Générale et Particulière," Georges Louis Marie Leclerc, comte de Buffon's magnum opus and "the most celebrated treatise on animals ever produced" (Dibner).
Comprised of a total of 44 volumes, the encyclopedic Histoire Naturelle, Générale et Particulière revolutionized the study of natural history and was instrumental in both popularizing and elevating the field to the status of a serious discipline. With its comprehensive descriptions, exhaustive theories on botany, geography, zoology, and geology, and innovative approach to topics such as species classification and evolution, Buffon's publication was regarded as the seminal work on natural science. Issued in numerous successive editions in multiple languages, Histoire Naturelle was an overwhelming success that "rivaled Diderot's Encyclopedie in prestige and circulation, and ranks with that Enlightenment classic as an apotheosis of an age which sought to set down and explain everything" (Kestner, p.122). The publication of this monumental work established Buffon's reputation as the chief authority on natural history and as one of the most prominent figures of the Enlightenment.
Cf. Dibner, Heralds of Science 193; cf. Kastner, A Species of Eternity (1977); cf. Benezit, Dictionnaire de Peintres, Sculpteurs, Dessinateurs et Graveurs, vol. 12, p. 713.
#13625$250.00
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 FROST, Arthur Burdett (1851-1928)
Summer Woodcock
New York: Charles Scribner's Sons, 1895-1896. Chromolithograph. In excellent condition. Sheet size: 12 13/16 x 19 7/8 inches.
A stunning hunting print from one of America's most celebrated sporting artists.
Arthur Burdett Frost (1851-1928) is remembered as one of America's best-loved sporting artists. His evocative hunting and shooting prints capture the drama of the sport and provide an invaluable visual record of rural America. Frost was an incredibly successful artist, he illustrated more than ninety books and produced thousands of illustrations for Harper's Weekly, Scribner's and Life magazines. Although born in Philadelphia, he spent the majority of his working career in New Jersey where he produced some of his most noted work. Frost's most desirable and rare prints are the twelve chromolithographs from the portfolio entitled "Shooting Pictures", depicting various shooting scenes from upland gunning to waterfowling. The portfolio, which was printed on separate sheet and tipped onto card backing boards, was reproduced by Charles Scribner's Sons in 1895. This dramatic image is a wonderful example from this famous series and demonstrates why Frost is considered one of America's most celebrated sporting artists.
#9888$1,500.00
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 FROST, Arthur Burdett (1851-1928)
Duck Shooting from a Battery
New York: Charles Scribner's Sons, 1895-1896. Chromolithograph, laid onto original backing board. In good condition with the exception of a few nicks within the image. Sheet size: 12 15/16 x 19 15/16 inches.
This is a fascinating shooting print by one of America's most celebrated sporting artists, of a hunter surrounded by decoys taking aim at his quarry
Arthur Burdett Frost (1851-1928) is remembered as one of America's best-loved sporting artists. His evocative hunting and shooting prints capture the drama of the sport and provide an invaluable visual record of rural America. Frost was an incredibly successful artist, he illustrated more than ninety books and produced thousands of illustrations for Harper's Weekly, Scribner's and Life magazines. Although born in Philadelphia, he spent the majority of his working career in New Jersey where he produced some of his most noted work. Frost's most desirable and rare prints are the twelve chromolithographs from the portfolio entitled "Shooting Pictures", depicting various shooting scenes from upland gunning to waterfowling. The portfolio, which was printed on separate sheet and tipped onto card backing boards, was reproduced by Charles Scribner's Sons in 1895. This dramatic image is a wonderful example from this famous series and demonstrates why Frost is considered one of America's most celebrated sporting artists.
#10150$1,500.00
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 FROST, Arthur Burdett (1851-1928)
English Snipe
New York: Charles Scribner's Sons, 1895-1896. Chromolithograph. In excellent condition with the exception of a small tear in upper right margin. Sheet size: 12 9/16 x 19 7/8 inches.
A stunning hunting print from one of America's most celebrated sporting artists.
Arthur Burdett Frost (1851-1928) is remembered as one of America's best-loved sporting artists. His evocative hunting and shooting prints capture the drama of the sport and provide an invaluable visual record of rural America. Frost was an incredibly successful artist, he illustrated more than ninety books and produced thousands of illustrations for Harper's Weekly, Scribner's and Life magazines. Although born in Philadelphia, he spent the majority of his working career in New Jersey where he produced some of his most noted work. Frost's most desirable and rare prints are the twelve chromolithographs from the portfolio entitled "Shooting Pictures", depicting various shooting scenes from upland gunning to waterfowling. The portfolio, which was printed on separate sheet and tipped onto card backing boards, was reproduced by Charles Scribner's Sons in 1895. This dramatic image is a wonderful example from this famous series and demonstrates why Frost is considered one of America's most celebrated sporting artists.
#10153$1,500.00
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 FROST, Arthur Burdett (1851-1928)
Prairie Chickens
New York: Charles Scribner's Sons, 1895-1896. Chromolithograph. In good condition. Sheet size: 12 3/4 x 20 inches.
A stunning hunting print from one of America's most celebrated sporting artists.
Arthur Burdett Frost (1851-1928) is remembered as one of America's best-loved sporting artists. His evocative hunting and shooting prints capture the drama of the sport and provide an invaluable visual record of rural America. Frost was an incredibly successful artist, he illustrated more than ninety books and produced thousands of illustrations for Harper's Weekly, Scribner's and Life magazines. Although born in Philadelphia, he spent the majority of his working career in New Jersey where he produced some of his most noted work. Frost's most desirable and rarest prints are the twelve chromolithographs from the portfolio entitled Shooting Pictures, depicting various shooting scenes from upland shooting to waterfowling. The portfolio, with each image printed on a separate sheet and tipped onto a card backing board, was published by Charles Scribner's Sons in 1895. This dramatic image is a wonderful example from this famous series and demonstrates why Frost is considered one of America's most celebrated sporting artists.
Cf. Henry M. Reed The A.B. Frost Book (1993) p. 90 (illustration) and p.158
#19123$1,500.00
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 FROST, Arthur Burdett (1851-1928)
Quail - A Dead Stand
New York: Charles Scribner's Sons, 1895-1896. Chromolithograph, on later mount. In good condition apart from small repaired tears to upper left corner and lower margin. Image size: 13 x 19 3/4 inches.
A stunning hunting print from one of America's most celebrated sporting artists.
Arthur Burdett Frost (1851-1928) is remembered as one of America's best-loved sporting artists. His evocative hunting and shooting prints capture the drama of the sport and provide an invaluable visual record of rural America. Frost was an incredibly successful artist, he illustrated more than ninety books and produced thousands of illustrations for Harper's Weekly, Scribner's and Life magazines. Although born in Philadelphia, he spent the majority of his working career in New Jersey where he produced some of his most noted work. Frost's most desirable and rarest prints are the twelve chromolithographs from the portfolio entitled Shooting Pictures, depicting various shooting scenes from upland shooting to waterfowling. The portfolio, with each image printed on a separate sheet and tipped onto a card backing board, was published by Charles Scribner's Sons in 1895. This dramatic image is a wonderful example from this famous series and demonstrates why Frost is considered one of America's most celebrated sporting artists.
Cf. Henry M. Reed The A.B. Frost Book (1993) p. 88 (illustration) and p.158
#19124$1,500.00
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 FROST, Arthur Burdett (1851-1928)
Ducks from a Blind
New York: Charles Scribner's Sons, 1895-1896. Chromolithograph. In good condition. Image size: 13 x 20 inches, mount size: 18 7/8 x 26 inches.
A stunning hunting print from one of America's most celebrated sporting artists.
Arthur Burdett Frost (1851-1928) is remembered as one of America's best-loved sporting artists. His evocative hunting and shooting prints capture the drama of the sport and provide an invaluable visual record of rural America. Frost was an incredibly successful artist, he illustrated more than ninety books and produced thousands of illustrations for Harper's Weekly, Scribner's and Life magazines. Although born in Philadelphia, he spent the majority of his working career in New Jersey where he produced some of his most noted work. Frost's most desirable and rare prints are the twelve chromolithographs from the portfolio entitled "Shooting Pictures", depicting various shooting scenes from upland gunning to waterfowling. The portfolio, which was printed on separate sheet and tipped onto card backing boards, was reproduced by Charles Scribner's Sons in 1895. This dramatic image is a wonderful example from this famous series and demonstrates why Frost is considered one of America's most celebrated sporting artists.
Cf. Henry M. Reed The A.B. Frost Book (1993) p. 92 (illustration) and p.158
#19128$1,500.00
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 FURBER, Robert (circa 1674-1756, publisher) - After Pieter CASTEELS (1684-1749)
June
London: Robert Furber, 1730. Engraving, coloured by hand, by Henry Fletcher. Image size (including text): 14 x 11 3/8 inches. Sheet size: 18 1/2 x 14 1/8 inches.
A fine example of this celebrated image from Furber's renowned series titled "Twelve Months of Flowers", here with excellent contemporary hand colouring.
From the first edition of "a celebrated flower catalogue published by Robert Furber, a nurseryman from Kensington, then on the outskirts of London. Twelve Months of Flowers presented almost 400 different flowering species, grouped according to the month in which they flower. Reflecting in style the grand manner of the Baroque period, the flowers are arranged in elaborate bouquets and placed in elegant urns. Next to each flower appears a number, which corresponds to a name in the key printed at the bottom of the plate on either side of a cartouche inscribed with the name of one of the months of the year.
Twelve Months was conceived as a flower catalogue, but its commercial function was adroitly veiled and the artistic quality of its illustrations distinguishes it from the more modest pamphlets generally produced by floriculturalists, including Furber himself, in this period. For the work Furber sought the collaboration of Pieter Casteels (1684-1749), an artist from Antwerp who had achieved great renown throughout England for his paintings of birds and flowers, which decorated the walls of many aristocratic homes. Casteels designed the plates, which were then engraved by Henry Fletcher.
Dunthorne 113;Great Flower Books (1990) p.95; Henrey II, pp.343-346 & III.733; Nissen BBI 674; Oak Spring Flora 37
#5378$7,500.00
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 FURBER, Robert (circa 1674-1756, publisher) - After Pieter CASTEELS (1684-1749)
December
London: Robert Furber, 1730. Engraving, coloured by hand, by Henry Fletcher (expert small repairs to right margin). Image size (including text): 14 1/4 x 11 1/2 inches. Sheet size: 18 1/2 x 14 inches.
A fine example of this celebrated image from Furber's renowned series titled "Twelve Months of Flowers", here with excellent contemporary hand colouring.
From the first edition of "a celebrated flower catalogue published by Robert Furber, a nurseryman from Kensington, then on the outskirts of London. Twelve Months of Flowers presented almost 400 different flowering species, grouped according to the month in which they flower. Reflecting in style the grand manner of the Baroque period, the flowers are arranged in elaborate bouquets and placed in elegant urns. Next to each flower appears a number, which corresponds to a name in the key printed at the bottom of the plate on either side of a cartouche inscribed with the name of one of the months of the year.
Twelve Months was conceived as a flower catalogue, but its commercial function was adroitly veiled and the artistic quality of its illustrations distinguishes it from the more modest pamphlets generally produced by floriculturalists, including Furber himself, in this period. For the work Furber sought the collaboration of Pieter Casteels (1684-1749), an artist from Antwerp who had achieved great renown throughout England for his paintings of birds and flowers, which decorated the walls of many aristocratic homes. Casteels designed the plates, which were then engraved by Henry Fletcher.
Dunthorne 113;Great Flower Books (1990) p.95; Henrey II, pp.343-346 & III.733; Nissen BBI 674; Oak Spring Flora 37
#5380$7,500.00
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 FURBER, Robert (circa 1674-1756, publisher) - After Pieter CASTEELS (1684-1749)
August
London: Robert Furber, 1730. Engraving, coloured by hand, by Henry Fletcher. Image size (including text): 14 x 11 1/2 inches. Sheet size: 21 5/8 x 17 inches.
A fine example of this celebrated image from Furber's renowned series titled "Twelve Months of Flowers", here with excellent contemporary hand colouring.
From the first edition of "a celebrated flower catalogue published by Robert Furber, a nurseryman from Kensington, then on the outskirts of London. Twelve Months of Flowers presented almost 400 different flowering species, grouped according to the month in which they flower. Reflecting in style the grand manner of the Baroque period, the flowers are arranged in elaborate bouquets and placed in elegant urns. Next to each flower appears a number, which corresponds to a name in the key printed at the bottom of the plate on either side of a cartouche inscribed with the name of one of the months of the year.
Twelve Months was conceived as a flower catalogue, but its commercial function was adroitly veiled and the artistic quality of its illustrations distinguishes it from the more modest pamphlets generally produced by floriculturalists, including Furber himself, in this period. For the work Furber sought the collaboration of Pieter Casteels (1684-1749), an artist from Antwerp who had achieved great renown throughout England for his paintings of birds and flowers, which decorated the walls of many aristocratic homes. Casteels designed the plates, which were then engraved by Henry Fletcher.
Dunthorne 113;Great Flower Books (1990) p.95; Henrey II, pp.343-346 & III.733; Nissen BBI 674; Oak Spring Flora 37
#5382$7,500.00
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 FURBER, Robert (circa 1674-1756, publisher) - After Pieter CASTEELS (1684-1749)
January
London: Robert Sayer and John King, circa 1770. Engraving, coloured by hand, by R. S.[heppard]. (Cut close to plate mark). Image size (including text): 13 1/2 x 9 3/8 inches. Sheet size: 14 x 9 7/8 inches.
A very rare image that is both a highly decorative botanical print and an important document in the history of gardening.
The plate comes from a very rare later issue of a series called 'Twelve Months of Flowers', originally issued by Robert Furber in 1730. Furber was a nurseryman with gardens near Hyde Park Gate in Kensington, London. The series was issued as a luxurious catalogue for his stock: over 400 flowers are illustrated, and each is identified in the key below the picture so that customers could easily order their requirements. These plates thus form an illustrated check-list of the varieties and forms of flowers that were popular with gardeners in the early 18th century. Furber later issued a small quarto book which contained reduced versions of the original plates. The present plate, published by Sayer, is from a very rare later version, re-engraved yet again, but to a size that is mid-way between the original and the quarto issue.
#5772$2,500.00
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 FURBER, Robert (circa 1674-1756, publisher) - After Pieter CASTEELS (1684-1749)
February
London: Robert Sayer and John King, circa 1770. Engraving, coloured by hand, by R. Sheppard. Image size (including text): 19 x 11 3/4 inches. Sheet size: 13 1/2 x 9 3/8 inches.
A very rare image that is both a highly decorative botanical print and an important document in the history of gardening.
The plate comes from a very rare later issue of a series called 'Twelve Months of Flowers', originally issued by Robert Furber in 1730. Furber was a nurseryman with gardens near Hyde Park Gate in Kensington, London. The series was issued as a luxurious catalogue for his stock: over 400 flowers are illustrated, and each is identified in the key below the picture so that customers could easily order their requirements. These plates thus form an illustrated check-list of the varieties and forms of flowers that were popular with gardeners in the early 18th century. Furber later issued a small quarto book which contained reduced versions of the original plates. The present plate, published by Sayer, is from a very rare later version, re-engraved yet again, but to a size that is mid-way between the original and the quarto issue.
#5773$2,500.00
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 FURBER, Robert (circa 1674-1756, publisher) - After Pieter CASTEELS (1684-1749)
January
London: Robert Furber, 1730. Engraving, coloured by hand, by Henry Fletcher. Image size (including text): 16 x 12 1/8 inches. Sheet size: 17 5/8 x 13 1/8 inches. Gold leaf frame.
A fine example of this celebrated image from Furber's renowned series titled "Twelve Months of Flowers", here with excellent contemporary hand colouring
From the first edition of "a celebrated flower catalogue published by Robert Furber, a nurseryman from Kensington, then on the outskirts of London. Twelve Months of Flowers presented almost 400 different flowering species, grouped according to the month in which they flower. Reflecting in style the grand manner of the Baroque period, the flowers are arranged in elaborate bouquets and placed in elegant urns. Next to each flower appears a number, which corresponds to a name in the key printed at the bottom of the plate on either side of a cartouche inscribed with the name of one of the months of the year.
Twelve Months was conceived as a flower catalogue, but its commercial function was adroitly veiled and the artistic quality of its illustrations distinguishes it from the more modest pamphlets generally produced by floriculturalists, including Furber himself, in this period. For the work Furber sought the collaboration of Pieter Casteels (1684-1749), an artist from Antwerp who had achieved great renown throughout England for his paintings of birds and flowers, which decorated the walls of many aristocratic homes. Casteels designed the plates, which were then engraved by Henry Fletcher.
Dunthorne 113; Great Flower Books (1990) p.95; Henrey II, pp.343-346 & III, 733; Nissen BBI 674; Oak Spring Flora 37
#6264$8,000.00
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