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browsing 4347 items
displaying items 2001 to 2100
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 GENICK, Albert (d. 1906)
Flaschen / Becher [Pl. XXXVIII]
[Pl. XXXVIII]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition apart from a few skillfully repaired tears in the top margin and several minor remnants of an ink stamp in the top left corner of the sheet. Image size (including text): 20 3/4 x 11 5/8 inches. Sheet size: 26 1/8 x 17 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics. This beautiful plate depicts several bottles and cups of various sizes and shapes.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#10464 $950.00  
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 GENICK, Albert (d. 1906)
Kannen [XXXIII]
[XXXIII]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition apart from a skillfully repaired tear in the top margin, skilfully repaired tears at the left and right edges, some marginal soiling, and several minor remnants of an ink stamp in the top left corner of the sheet. Sheet size: 26 1/8 x 17 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#16882$950.00
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 GENICK, Albert (d. 1906)
Kannen [XXXIV]
[XXXIV]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition apart from a few surface abrasions in the corners and faint remnants of an ink stamp in the top left corner of the sheet. Sheet size: 26 1/8 x 17 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#16883$950.00
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 GENICK, Albert (d. 1906)
Lekythen [XL]
[XL]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition apart from several minor remnants of an ink stamp in the top left corner of the sheet and some soiling. Sheet size: 26 1/8 x 17 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1769. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#16884$950.00
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 GENICK, Albert (d. 1906)
Schalen (Kylix) [XXVIII]
[XXVIII]. Berlin: Ernst Wasmuth, 1883. Colour-printed lithograph by Ernst Wasmuth. Very good condition apart from yellowing at margins where it was matted and wave-like pattern of rippling in paper on the right half of the print. Sheet size: 26 1/8 x 17 inches.
From "Griechische Keramik", Genick's superb work on Greek ceramics.
The revival of interest in Greek ceramics was led by the travellers and cognoscenti who visited Greece and southern Italy in the mid to late-18th century. The Greek vase as an art form was first brought to the attention of an appreciative wider audience with the publication of a number of well-illustrated works on the collections of these dilettantes. The most notable of this group was Sir William Hamilton (1730-1803), whose collection catalogue was published over a number of years starting in 1766. However, it was not until a century later that art historians felt they understood the full scope and history of ancient Greek ceramics in general and the superb work produced using the red-figure technique in particular. Genick was one of the leading authorities of his day on the red-figure vases: an architect by training, he had a passionate love for and deep understanding of this great Athenian pottery. His study, brought to realization by Wasmuth's superb chromolithographs, illustrates for the first time these masterpieces of the potter's life-size art.
#16886$950.00
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 GERARD, John (1545-1612)
The Herball or Generall Historie of Plantes... very much enlarged and amended by Thomas Johnson
London: Adam Islip, Joice Norton & Richard Whitakers, 1633. Folio (13 3/4 x 8 3/4 inches). Engraved architectural title by John Payne showing Theophrastus and Dioscorides, Ceres and Pomona (Johnson, 'Title-pages', p. 50; Payne no. 9), approximately 2,760 woodcuts in text, numerous woodcut initials. (Title mounted, single wormtrack affecting about 35 leaves at the beginning). Expertly rebacked incorporating old calf panels, covers within triple fillet borders, spine in seven compartments with raised bands, red morocco lettering piece in the second, the other compartments with overall repeat decoration in gilt made up from various stylized flower and foliage tools in gilt.
The preferred second edition of Gerard's "Herbal," the first edition of Thomas Johnson's expanded version with over 2,760 woodcuts.
Gerard was superintendent of the gardens of William Cecil, Lord Burghley, one of the most influential members of the court of Elizabeth I. In addition to his work for Lord Burghley, Gerard also raised many exotic plants in his own gardens and travelled extensively in search of new specimens. The first edition of the present work, published in 1597, was much praised for the elegance of the descriptions, but Johnson's re-editing of the work after Gerard's death greatly improved the accuracy and breadth of the original work. It is almost half as long again as the first edition of 1597 and is, in every respect, superior to its predecessor. Johnson was commissioned by the publishers to produce this amended and enlarged edition at short notice in order to forestall Parkinson's Theatrum Botanicum, believed to be imminent, (it finally appeared in 1640), and he complains bitterly in his preface that he "was forced to perform this task within the compasse of a year", - an almost superhuman effort.
As was the case with the first edition, the woodblocks were acquired from abroad, this time from Plantin, who had used them for his editions of Dodoens, de l'Écluse, and Lobel (a few of the smaller woodcuts may thus have in fact originated in England, with Thomas Purfoot's edition of Pena and Lobel's Stirpium adversaria nova, Plantin having purchased the woodblocks in 1580). Some of the figures Johnson drew himself, notably the bunch of bananas on page 1516. This had been given to him on 10th April 1633 by Dr. Argent, President of the College of Physicians of London, who had received it from Bermuda. Johnson's drawing is the first illustration of bananas to be published in England. Having drawn and described them, he says - "the stalke with the fruit thereon I hanged up in my shop, where it became ripe about the beginning of May, and lasted until June".
Arber p. 282; Brunet II, 1548; Hunt 223; Nissen BBI 698; STC 11751.
#13527$6,250.00
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 GIGAULT de la Salle, Achille-Etienne (1772-1840)
Vue d'Agrigente, prise des Hauteurs
Paris: [peint par Coignet d'après Michalon; Gravé par S.Himely; Imprimé par Sauniée], 1822. Aquatint engraving, coloured by hand. India paper mounted. Image size (including text): 11 3/4 x 17 inches (approximately). Sheet size: 18 3/8 x 24 1/4 inches (approximately).
From `Voyage pittoresque en Sicile': a very rare series of sublime views of some of the best preserved Greek temples in the world, beautifully hand-coloured and here in the rarest state with the plate on india paper mounted.
Published in Paris between 1822 and 1826, Achille-Etienne Gigault de la Salle's `Voyage pittoresque en Sicile', was published in three forms: coloured, coloured before letters or, as here, on india paper, coloured and mounted. The work can now be seen as a showcase for the talents of the best landscape artists and aquatint engravers of the period.
Agrigento is the capital of Agrigento provincia, near the southern coast of Sicily. The plateau site of the ancient city is extraordinarily rich in Greek remains. A wall, with remnants of eight gates, can be traced from the two northern peaks (the Rock of Athena and the hill of Girgenti) to the ridge that carried the south line of the city's defenses. An almost continuous sacred area along this ridge has been excavated to reveal Agrigento's most famous remains, its seven Doric temples.
Cf. Abbey Travel I, 262, pl. 30; cf. Brunet V, 1379.
#9842$950.00
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 GIGAULT de la Salle, Achille-Etienne (1772-1840)
Vue des Ruines des Temples de Jupiter Olympien et d'Hercule à Agrigente
Paris: [peint par Remond d'après l'equisse de Cassas; Gravé par Thales Fielding; Imprimé par Rémond], 1822. Aquatint engraving, coloured by hand. India paper mounted. Image size (including text): 11 3/4 x 17 inches (approximately). Sheet size: 18 3/8 x 24 1/4 inches (approximately).
From `Voyage pittoresque en Sicile': a very rare series of sublime views of some of the best preserved Greek temples in the world, beautifully hand-coloured and here in the rarest state with the plate on india paper mounted.
Published in Paris between 1822 and 1826, Achille-Etienne Gigault de la Salle's `Voyage pittoresque en Sicile', was published in three forms: coloured, coloured before letters or, as here, on india paper, coloured and mounted. The work can now be seen as a showcase for the talents of the best landscape artists and aquatint engravers of the period.
Agrigento is the capital of Agrigento provincia, near the southern coast of Sicily. The plateau site of the ancient city is extraordinarily rich in Greek remains. A wall, with remnants of eight gates, can be traced from the two northern peaks (the Rock of Athena and the hill of Girgenti) to the ridge that carried the south line of the city's defenses. An almost continuous sacred area along this ridge has been excavated to reveal Agrigento's most famous remains, its seven Doric temples.
Cf. Abbey Travel I, 262, pl. 32; cf. Brunet V, 1379.
#9844$950.00
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 GIGAULT de la Salle, Achille-Etienne (1772-1840)
Vue Latérale du Temple de la Concorde, à Agrigente
Paris: [peint par Robson d'après Cockerell, architecte; Gravé par F.Salathé; Imprimé par Sauniée], 1822. Aquatint engraving, coloured by hand. India paper mounted. Image size (including text): 11 3/4 x 17 inches (approximately). Sheet size: 18 3/8 x 24 1/4 inches (approximately).
From `Voyage pittoresque en Sicile': a very rare series of sublime views of some of the best preserved Greek temples in the world, beautifully hand-coloured and here in the rarest state with the plate on india paper mounted.
Published in Paris between 1822 and 1826, Achille-Etienne Gigault de la Salle's `Voyage pittoresque en Sicile', was published in three forms: coloured, coloured before letters or, as here, on india paper, coloured and mounted. The work can now be seen as a showcase for the talents of the best landscape artists and aquatint engravers of the period.
Agrigento is the capital of Agrigento provincia, near the southern coast of Sicily. The plateau site of the ancient city is extraordinarily rich in Greek remains. A wall, with remnants of eight gates, can be traced from the two northern peaks (the Rock of Athena and the hill of Girgenti) to the ridge that carried the south line of the city's defenses. An almost continuous sacred area along this ridge has been excavated to reveal Agrigento's most famous remains, its seven Doric temples.
Cf. Abbey Travel I, 262, pl. 38; cf. Brunet V, 1379.
#9847$950.00
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 GIGAULT de la Salle, Achille-Etienne (1772-1840)
Vue du Temple de Junon-Lucine et des Débris des anciens Murs d'Agrigente
Paris: [peint par Mr le Cte Turpin de Crissé d'après l'equisse de Mr le Cte de Forbin; Gravé par Himely; Imprimé par Rémond], 1822. Aquatint engraving, coloured by hand. India paper mounted. Image size (including text): 11 3/4 x 17 inches (approximately). Sheet size: 18 3/8 x 24 1/4 inches (approximately).
From `Voyage pittoresque en Sicile': a very rare series of sublime views of some of the best preserved Greek temples in the world, beautifully hand-coloured and here in the rarest state with the plate on india paper mounted.
Published in Paris between 1822 and 1826, Achille-Etienne Gigault de la Salle's `Voyage pittoresque en Sicile', was published in three forms: coloured, coloured before letters or, as here, on india paper, coloured and mounted. The work can now be seen as a showcase for the talents of the best landscape artists and aquatint engravers of the period.
Agrigento is the capital of Agrigento provincia, near the southern coast of Sicily. The plateau site of the ancient city is extraordinarily rich in Greek remains. A wall, with remnants of eight gates, can be traced from the two northern peaks (the Rock of Athena and the hill of Girgenti) to the ridge that carried the south line of the city's defenses. An almost continuous sacred area along this ridge has been excavated to reveal Agrigento's most famous remains, its seven Doric temples.
Cf. Abbey Travel I, 262, pl. 41; cf. Brunet V, 1379.
#9849$950.00
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 GILES, After Major Godfrey Douglas (1857-1941)
"The Derby 1896. on by H.R.H. The Prince of Wales' Persimmon. J. Watts. up. Second. Mr L. de Rothschild's St. Frusquin T. Loates. Won by a neck, amid the wildest enthusiasm. 11 started"
Paris, London & New York: Boussod, Valadon & Co., 1897. Photo-lithograph, coloured by hand, on thin paper, mounted, with autograph manuscript title beneath (as above) with further inscription "To Miss B.K. Lambert from G.D. Giles. Aug 21st 1897". Image size (including text): 16 3/8 x 23 3/4 inches. Sheet size: 26 x 33 3/4 inches.
A rare inscribed copy of Douglas's spirited image of the famous victory of the Prince of Wales's horse Persimmon.
Godfrey Giles 'served in the army in Afghanistan and Egypt before leaving with the rank of Major in 1884. He had always sketched during his service career and took up painting seriously on resigning his commission. He studied under Carolus Duran in Paris. Giles worked in London, Newmarket and Edinburgh, where he died in February 1941. He provided illustrations for books and periodicals particularly on racing and polo. His paintings are often on a large scale with plenty of action' (Charles Lane British Racing Prints p.106).
Cf. Charles Lane British Racing Prints p.106 (chromolithographic version of the same scene)
#6347$2,750.00
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 GILES, J. Lawrence, engraved by G. E. PERINE
Abraham Lincoln
Chicago: Published by Rice & Allen, No. 90 State St., 1866. Mezzotint with engraving. Chine colle. In excellent condition with the exception of some foxing in the margins. Printer's creases in paper. Image size (including text): 15 x 12 inches. Plate mark: 18 ¼ x 14 inches. Sheet size: 24 x 18 5/8 inches.
This strong image is a wonderful impression of Perine's important portrait of Abraham Lincoln.
Following Lincoln's assignation, a wealth of portraits were produced memorialising the martyred president. As in portraits of Washington, Lincoln was shown as a national hero, and his face became the embodiment of the nation's ideals and values. This fascinating mezzotint by Perine, is a superb example of this type of portraiture. Lincoln is shown surrounded by the American flag. A copy of the Emancipation Proclamation rests upon a pair of broken shackles at the base of the image, representing Lincoln's greatest political achievement. He is crowned by a liberty cap and the words "Freedom for All", representing his role as the Great Emancipator. This strong portrait is a wonderful example of the visual legacy, which surrounds Lincoln, and a superb likeness of one our nation's greatest heroes.
Holzer, Boritt, Neely, The Lincoln Image: Abraham Lincoln and the Popular Print p. 149-216.
#16088$1,250.00
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 GILES, J.L.
[Steam-Ship Quaker City 1,800 Tons Regular U.S. Mail Line between New York and Charleston. W.H. West, Commander] (proof before letters)
[N.p. but New York: n.d. but circa 1860?]. Lithograph, proof before all letters, printed in colours by Macay & Herwig, drawn by J.L. Giles & Co., signed in the image 'J.L. Giles'. Good condition. Sheet size: 21 1/2 x 34 inches. Image size: 16 7/8 x 30 1/4 inches.
A very rare proof of this spectacular view, in Charleston Harbor, of the paddle steamer that took "Mark Twain" on an excursion to the Holy Land
The schooner-rigged ocean paddle-steamer Quaker City was built in Philadelphia "for the express pupose of running between Philadelphia and Charleston [where the current scene is set. She also made ] ... "trips to Havana and the Gulf ports during the early part of career. She was very well designed and strongly built and was always a popular vessel" (India House p.108). During the Civil War she was seconded to the U.S. navy for blockading service, and then in 1867 she "carried a large excursion group to the Mediterranean and Holy Land, one of the first examples of an ocean mail steamer being employed on a yachting cruise ... One of her passengers on this cruise was Mark Twain [aka. Samuel Clemens], and he wrote the greater part of "Innocents Abroad" on board her." (op.cit).
Cf. A Descriptive Catalogue of the Marine Collection to be found at India House (New York: 1935) item number 355; Parker & Bowen Mail and Passenger Steamships of the Nineteenth Century (London: 1928) p.245
#19923$3,000.00
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 [GILLRAY, James]
Going to Market
London: Published by William Holland, No. 50 Oxford Street, Nov. 21, 1791. Hand-coloured line engraving. With heavy early colour. Printed on laid paper. In excellent condition. Sheet size: 13 x 19 1/8 inches.
A witty satire by Gillray depicting George III as a yokel farmer, and mocking his mental instability.
This biting satire is one of many caricatures depicting George III and Queen Charlotte as a yokel farmer and his wife. George III took a keen interest in agriculture, in particular at Richmond and Windsor where he created a series of model farms. George's interest in agriculture earned him the nickname "Farmer George" and proved a source of continual amusement to England's witty satirists. Gillray depicts the King riding in a country cart, which is loaded with farm animals. He happily sings snatches of a song and his wife and soldiers join in. It was a well-known fact that during bouts of mental illness the King enjoyed singing songs with his family, and by cleverly alluding to this fondness Gillray mocks the Monarch's unstable mental state. Although no artist is listed for this caricature, Grego attributes this biting work to Gillray's pen.
George, Catalogue of Political and Personal Satires..in the British Museum Vol. VI, 7915
#9751$950.00
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 GILLRAY, James (1756-1815)
Lieut. Goverr. Gall-Stone, inspired by Alecto; or The Birth of Minerva
London: H. Humphrey, 15 February 1790. Hand-coloured etching and aquatint. Image size (including text): 19 3/8 x 15 1/8 inches. Sheet size: 21 3/4 x 16 3/16 inches.
One of Gillray's great images: a vituperative attack on the soldier and writer Philip Thicknesse
Philip Thicknesse was a general writer of some ability who produced a good number of books and pamphlets between about 1763 and, shortly before his death, 1793. He also served in the military (including 1753-1766 as Lieutenant-Governor of Landguard Fort in Suffolk), and, according to him, discovered the genius of Thomas Gainsborough. Contemporary opinions on Thicknesse were strongly divided: 'a man of probity and honour, whose heart and purse were always open to the unfortunate' (John Nichols in his Literary Anecdotes ), whilst Fulcher noted that Thicknesse 'had in a remarkable degree the faculty of lessening the number of his friends and increasing the number of his enemies. He was perpetually imagining insult, and would sniff an injury from afar.' It is clear from this print that Gillray was no friend of the subject: it is dedicated to a long list of Thicknesse's enemies, including in particular Lord Thurlow, the Earls of Camden, Bute, Bathurst, and Coventry, and Thicknesse's own sons: Baron Audley and Philip Thicknesse jnr. The image shows Minerva bursting from Thicknesse's head, on her shield are inscribed a damning list of Thicknesse's "Acts of Courage & Wisdom": "Running away" from his "Command in Jamaica", extorting money, refusing to fight after insulting Lord Orwell, "debauching " his own niece, horsewhipping his daughter to death (!) Gillray, in typical fashion, includes every vicious rumour about his victim but the events in Thicknesse's life, as recorded in the Dictionary of National Biography, do support the view that he was at best difficult to get on with, and his own autobiography (Memoirs and Anecdotes of Philip Thicknesse, late Lieutenant-Governor of Landguard Fort, and unfortunately father to George Touchet, Baron Audley ) demonstrate his ability to hold a grudge!
George Catalogue of Political and Personal Satires ... in the British Museum 7721; T. M'Lean Illustrative Descriptions of the genuine Works of Mr. James Gillray (Londoon: 1830) pp.12-14; ; Wright & Evans 50
#20091$7,500.00
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 GILPIN, Sawrey engraved by Robert POLLARD aquatinted by Francis JUKES
Dash
London: Published by S. Gilpin Knightsbridge, & R. Pollard, N. 15 Braynes Row Spa Fields, Feb. 11, 1788. Engraving and aquatint. With hand colour. Printed on laid paper. In excellent condition with the exception of some light scuffing in the margins. Image size (including text): 14 7/8 x 20 1/2 inches. Plate mark: 17 1/8 x 21 5/8 inches. Sheet size: 17 5/8 x 22 inches.
A dramatic portrait of Dash, Colonel Thornton's prized foxhound, after a painting by Sawrey Gilpin.
Sawrey Gilpin studied art under Samuel Scott, the well-known landscape painter. He devoted himself to sporting art and developed a keen eye and hand for horse portraiture. In 1773 he was made a Director of the Society of Artists, and in the following year he was elected President. Gilpin caught the eye of Colonel Thornton who became his chief patron, commissioning such noted paintings as "The Death of the Fox," which was exhibited at the Royal Academy in 1793. This striking image is a portrait of Colonel Thornton's treasured hound Modish, and is one of two portraits painted by Gilpin of Thornton's hunting dogs. Robert Pollard and Francis Jukes produced many prints together with Pollard doing the etching and Jukes the aquatinting.
Siltzer, The Story of British Sporting Prints, 124-125.
#14015$3,500.00
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 GILPIN, Sawrey (1733-1807) and BARRET, figures by Francesco BARTOLOZZI and landscape by T. MORRIS
Fox Hunting
London: Published by A. Torre and J. Shene at the Antient and Modern Print Warehouse, No. 28 in the Hay Market., Jan. 1st, 1783. Hand coloured engraving. Printed on laid paper. State iv/iv. In fair condition. Trimmed within platemark on all sides. Numerous repaired tears and infill work across sheet. Image size: 14 1/2 x 20 inches. Sheet size: 17 3/4 x 20 15/16 inches.
An impressive engraving depicting the Prince of Wales fox hunting, by the noted animal painter Sawrey Gilpin.
Sawrey Gilpin studied art under Samuel Scott, the well-known landscape painter. He devoted himself to sporting art and developed a keen eye and hand for horse portraiture. In 1773 he was made a Director of the Society of Artists, and in the following year he was elected President. Gilpin caught the eye of Colonel Thornton who became his chief patron, commissioning such noted paintings as "The Death of the Fox," which was exhibited at the Royal Academy in 1793.
This striking image is an elegant engraving after a painting in Colonel Thornton's collection. A true collective effort, the work was painted by Gilpin and Barret and the engraving was completed by Bartolozzi, who etched the figures, and Morris, who engraved the landscape. The image depicts a lively hunt scene in the heat of the chase. The Prince of Wales and the Duc de Chartres can be seen in the foreground of the image seated upon their mounts.
Siltzer, The Story of British Sporting Prints 124-125; Vesme & Calabi, Francesco Bartolozzi 2509 iv/iv
#16817$1,500.00
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 GLINES & GEORGE (photographers)
A panoramic group portrait photograph, titled in the negative '101 RANCH / REAL WILD WEST SHOW / Opening Date April 8th Season 1911 / BOSTON ARENA'
Boston, Mass.: Glines & George, 1911. Original photograph, 6 1/2 x 46 inches (six old thumb-tack pinholes).
A fascinating image providing a link between the reality of Old West and the fantasy of the Hollywood Wild West
A highly evocative image taken just before the start of the 8th touring season of 101 Ranch Real Wild West Show.
"The number of talented personalities that the legitimate stage and vaudeville gave to early film was easily matched by the Miller Brother's 101 Ranch. The 101 was a training ground and showcase for cowboys, cowgirls, Indians and an active wellspring that preserved the old West. [alumni included: Will Rogers (who only passed through, but remained a good friend of the Millers), cowboy/stuntman Tom Mix, Black cowboy star Bill Pickett, Hoot Gibson, Buck Jones, Yakima Canutt, Ken Maynard and Jack Hoxie. Native American performers who left the ranch for the movies included William Eagleshirt, Chief Standing Bear and Charles Stevens (Geronimo's grandson)]. Most folks have heard of Buffalo Bill Cody's Wild West Show. However, most haven't heard of the Miller brothers (Joe, Zach and George) and their 101 Ranch. The working ranch, founded in 1893 by their father Colonel George Washington Miller, was the eventual springboard for the Millers touring Wild West Shows which debuted in the fall of 1905. The Miller's shows were just as exciting and spectacular as Cody's. Heck, even Buffalo Bill himself lent his presence to the 101 pageantry joining up with the ranch in 1916, the year before his death.
Touring was a competitive business and Millers took note of all the different Western Shows in the U.S. and abroad, making sure their 101, at least on the surface, remained the cream of the crop. The Millers weren't snobs. It didn't matter what a prospective employee's background was as long as they worked hard:
'Although the Millers insisted on having skilled hire hands, they were not as selective about the backgrounds of the people they hired. They could not afford to be. A few of those who showed up at the ranch looking for jobs as working cowboys or show performers sported checkered pasts. That never stopped the Millers from hiring anyone, including cold-blooded killers and thieves. Neither Joe Miller, a convicted felon, nor his brothers ever forgot that they and their family, including their father, had occasionally crossed the line of legality. Sometimes, if good help was short, the Millers even put convicts to work on the ranch.
Of the hundreds of men and women who at one time worked for the Millers - as common laborers, cooks, roustabouts, cowhands, animal trainers, or entertainers - many were veterans of frontier life. Some of them remained with the 101 for their entire careers, but others did not last until the first paycheck.' [Michael Wallis, The Real Wild West, St. Martin's Press 1999]
The 101 Ranch was more than just a touring show. It had been a real working ranch (and remained so) before the 101 re-enacted the old West in the same vein as a travelling circus. Filmmaking became a part of the business in 1911 when they stared working with Thomas Ince and the New York Motion Picture Co.'s Bison Studio unit. This partnership between the Millers and the NYMP was called Bison 101. Like the travelling shows, the competition in filmmaking was cutthroat. For example, Carl Laemmle's Universal highly coveted and, after a fierce struggle, finally acquired the 101 Ranch land in Southern California to film their Westerns.
When the Hollywood stars of the 10s and 20s witnessed the fantastic feats of the cowboy-stuntmen, they wanted their authenticity in their pictures - and they got them. The cowboys that punched cows on the 101 eventually appeared in films shot in the corrals, pastures and chaparral on the spread that was the 101 Ranch in Oklahoma."
#6574$1,750.00
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 GORDON DUFF, Edward - SOTHEBY & Co. (auctioneers)
Catalogue of the Library of the late Edward Gordon Duff ... 293, Woodstock Road, Oxford, sometime sandars Reader in Bibliography at the University of Cambridge
London: Sotheby's & Co, 1925. 2 volumes in one, 8vo (9 7/16 x 7 1/4 inches). Plates (some tinted). Later blue cloth, original wrappers bound in. Provenance: Eric Sexton.
Part I includes Gordon Duff's collection of early stamped bindings, the second part his general library. In 1945, E.P. Goldschmidt wrote that the first part, compiled by G.D. Hobson, was "one of the most valuable reference works on early English binding".
#20118$500.00
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 GORI, Antonio Francisco (1691-1757), and others
Museum Florentinum
Florence: Francisco Moücke [and others], 1731-1766. 12 volumes, folio (18 x 13 1/2 inches). 5 half-titles, 9 series titles printed in red and black with an engraved vignette, 12 volume titles printed in black with engraved vignettes, 740 engraved plates only (of 741) after Giovanni Battista Campiglia, Giovanni Domenico Ferretti, Antonio Pazzi and others, by Pazzi and others, numerous head- and tail-pieces and initials. (Lacking plate VIIII in vol.II). Late 18th-century diced russia gilt, the covers with outer border decorated with an attractive floral roll, the flat spines divided into seven compartments with multiple roll tools, lettered in the second, third and fourth compartments, the others decorated with the same roll tool as used on the covers, marbled endpapers. Provenance: John Jefferys Pratt, 2nd Earl Camden (1759-1840, armorial bookplate).
Rarely found complete: a valuable early record of antiquities in Florence.
The majority of this work is taken up with descriptions of pictures and objects in the great Medici collections, which are here described with precision for the first time. It was published over a thirty-five year period, and is presented in four distinct parts. The first is on antique cameos and portraits (Gemmae antiquae ex Thesauro Mediceo et privatorum dactyliothecis florentiae ... Imagines virorum illustrium et deorum. 1731-1732. 2 volumes, with 199 of 200 plates); the second is on antique statues and monuments (Statuae antiquae dorum et virorum illustrium. 1734. 1 volume, with 100 plates); the third is on gold and silver coins (Antiqua numismata aurea et argentea. 1740-1740-1742. 3 volumes, with 121 plates); the fourth consists of biographies of well-known artists, architects, sculptors and engravers (Serie di ritratti degli eccellenti pittori. 1752-1754-1756-1762-1764-1765-1766. 6 volumes [including two supplementary volumes], with 320 portrait plates, the majority after self-portraits).
(including the two supplementary volumes).
Francesco Gori was an antiquary who was particularly well-known for his work on early Etruscan remains. He established the Societa Columbara in Florence, and all his work is distinguished by his conscientious attention to detail. His working methods were influential in the establishment of the science of Archaeology, and in this and other works he presented to a wider audience information about objects that had previously been seen by only a privileged few. His descriptions also betray that he had a lively sense of humour!
Cf. Blackmer 711; Cicognara 3417.
#20261$18,000.00
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 GOUBAUD, After Innocent Louis (1780-1847)
Clara Mowbray St. Ronan's Well
London: Rudolph Ackermann, 1830. Mezzotint, printed in colours, by Henry Dawe (Expertly repaired tear to lower margin, small tear to right margin just touching image area). Image size (including text): 21 1/4 x 15 3/4 inches. Sheet size: 23 3/8 x 16 7/8 inches.
A very fine imaginary portrait of the tragic heroine of Sir Walter Scott's novel 'St. Ronan's Well'.
'St Ronan's Well is a satirical novel focusing on fashionable society in the early nineteenth century. It is set in the Scottish spa of St Ronan's Well in 1812 and centres around two half-brothers, sons of the late Earl of Etherington. The younger son, Valentine Bulmer, holds the title, though he is not entitled to it, and is therefore at odds with his older half-brother, Francis Tyrell. Their enmity towards each other also stems from Valentine's intervention in a love affair between Francis and Clara Mowbray, the daughter of the Laird of St Ronan, where Valentine impersonated his brother at a midnight marriage. Clara finds herself wed to a man whom she fears and detests. The brothers make a pact that Clara's name should remain undisturbed and that both men should never return to Scotland. But Valentine, now Earl of Etherington, and paranoid about losing his estate to his brother, learns that an unexpected accession of fortune will become his if his marriage to Clara is acknowledged, and so he returns home to St Ronan's. To guarantee Clara's submission, Valentine threatens Clara's brother with revealing his gambling vice. In response, Mowbray forces his sister to accept Valentine's hand. Meanwhile, Francis has been plotting himself, and Valentine's identity is finally revealed.'
#6572$1,500.00
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 GOULD, John (1804-1881)
Ramphastos cuvieri. Cuvier's Toucan [Ramphastos c. cuvieri]
[London: by the Author, 1835]. Hand-coloured lithograph by John and Elizabeth Gould, printed by C.Hullmandel. Wove paper. Sheet size: 21 3/4 x 14 3/4 inches.
A fine image from the first edition of John Gould's 'A Monograph of the Ramphastidae, or Family of Toucans'.
'There has been some controversy about the classification of this toucan. Some writers classify several species together, others treat them separately... The range includes the whole of the Amazon basin as far as east Colombia, east Ecuador, east Peru, north Bolivia and south Venezuela.' (A.Rutgers Birds of South America 1972, p.154).
The toucan family is limited to Mexico, Central and South America and some West Indian islands. The first time that any member of the family was described was by Gonzalo Fernandez de Oviedo y Valdes in his "de la natural hystoria de las Indias" (Toledo, 1526, chapter 42), in 1555 Pierre Belon included an illustration of its beak in his "L'Histoire de la nature des oyseaux" (Paris, 1555, p.184). Andre Thevet first used the name 'Toucan' with a long description, and a woodcut of a whole bird, in his "Singularitez de la France" (Paris, 1555, pp.88-90). The Latin name "Burhynchus" or "Ramphestes" (in reference to the size of the beak) was suggested by Conrad Gesner ("Icones Avium", 1560, p.130), and Linnaeus later adopted Aldrovandus' corrupted form of the latter ("Ramphastos") which is how the family was still recognized at the time of the publication of the present image.
The present image is from the first edition of Gould's work, published in 1833-1835, which represented the first concerted attempt to produce a monograph on the family. A second expanded edition was published between 1852 and 1854. Gould considered this to be completely separate work as the plates were all re-drawn and the text re-written.
Cf. Anker 170; cf. Fine Bird Books (1990), p. 101; cf. Nissen IVB 378; cf. Sauer 3; cf. Wood p. 364; cf. Zimmer p. 252.
#5552$4,500.00
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 GOULD, John (1804-1881)
Ramphastos citreopygus [Lemon-rumped Toucan]
[London: by the Author, 1835]. Hand-coloured lithograph by John and Elizabeth Gould, printed by C. Hullmandel. Wove paper. Sheet size: 22 x 15 inches.
A fine image from the first edition of John Gould's "A Monograph of the Ramphastidae, or Family of Toucans."
The toucan family is limited to Mexico, Central and South America and some West Indian islands. The first time that any member of the family was described was by Gonzalo Fernandez de Oviedo y Valdes in his "de la natural hystoria de las Indias." (Toledo, 1526, chapter 42) In 1555 Pierre Belon included an illustration of its beak in his "L'Histoire de la nature des oyseaux." (Paris, 1555, p.184) Andre Thevet first used the name "Toucan" with a long description, and a woodcut of a whole bird, in his "Singularitez de la France" (Paris, 1555, pp.88-90). The Latin name "Burhynchus" or "Ramphestes" (in reference to the size of the beak) was suggested by Conrad Gesner ("Icones Avium", 1560, p.130), and Linnaeus later adopted Aldrovandus's corrupted form of the latter ("Ramphastos"), which is how the family was still recognized at the time of the publication of the present image.
The present image is from the first edition of Gould's work, published in 1833-1835, which represented the first concerted attempt to produce a monograph on the family. A second expanded edition was published between 1852 and 1854. Gould considered this to be a completely separate work as the plates were all re-drawn and the text re-written.
Cf. Anker 170; cf. Fine Bird Books (1990), p. 101; cf. Nissen IVB 378; cf. Sauer 3; cf. Wood, p. 364; cf. Zimmer, p. 252.
#5554$4,500.00
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 GOULD, John (1804-1881)
Ramphastos osculans. Osculant Toucan [Ramphastos osculans]
[London: by the Author, 1835]. Hand-coloured lithograph by John and Elizabeth Gould, printed by C.Hullmandel. Wove paper. Sheet size: 21 11/16 x 14 5/16 inches.
A fine image from the first edition of John Gould's 'A Monograph of the Ramphastidae, or Family of Toucans'.
The toucan family is limited to Mexico, Central and South America and some West Indian islands. The first time that any member of the family was described was by Gonzalo Fernandez de Oviedo y Valdes in his "de la natural hystoria de las Indias" (Toledo, 1526, chapter 42), in 1555 Pierre Belon included an illustration of its beak in his "L'Histoire de la nature des oyseaux" (Paris, 1555, p.184). Andre Thevet first used the name 'Toucan' with a long description, and a woodcut of a whole bird, in his "Singularitez de la France" (Paris, 1555, pp.88-90). The Latin name "Burhynchus" or "Ramphestes" (in reference to the size of the beak) was suggested by Conrad Gesner ("Icones Avium", 1560, p.130), and Linnaeus later adopted Aldrovandus' corrupted form of the latter ("Ramphastos") which is how the family was still recognized at the time of the publication of the present image.
The present image is from the first edition of Gould's work, published in 1833-1835, which represented the first concerted attempt to produce a monograph on the family. A second expanded edition was published between 1852 and 1854. Gould considered this to be completely separate work as the plates were all re-drawn and the text re-written.
Cf. Anker 170; cf. Fine Bird Books (1990), p. 101; cf. Nissen IVB 378; cf. Sauer 3; cf. Wood p. 364; cf. Zimmer p. 252.
#5555$4,500.00
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 GOULD, John (1804-1881)
Chalcophasis sclateri [Sclater's Monal (Lophophorus sclateri)]
[London: by the Author, 1850-1883]. Hand-coloured lithograph by John Gould and William Hart, printed by Walter. Wove paper. (Paper somewhat browned). Sheet size: 14 3/4 x 21 1/2 inches.
A fine image from John Gould's magnificent folio work 'The Birds of Asia'.
'Sclater's Monal occurs in the mountain regions of northern Assam, south-east Tibet, north-east Burma and Yunnan... The first account of the species was published by Jerdon in 1870... Sclater's Monal lives in dense conifer forests with an undergrowth of rhododendrons, up to an altitude of 10,000 feet.' (A.Rutgers Birds of Asia 1969, p.25).
The intended geographical range of "The Birds of Asia" was enormous, and very much in keeping with the seemingly limitless self-belief of the 19th-century's best known ornithologist. In his all-encompassing work John Gould includes species from all corners of the eastern world, as Richard Bowdler Sharpe noted the work covers "Species from Palestine to the eastward, and from the Moluccas to the west". Gould chose to record the bird life from an area which, with the exception of the tropical areas of the American continent, includes the widest, and most colourful variety of bird life to be found anywhere in the world.
The present plate is from a large number of images documenting the pheasants of the region, one of the most beautiful and varied of all bird families.
Cf. Anker 178; cf. Fine Bird Books (1990), p.102; cf. Nissen IVB 368; cf. Sauer 17; cf. Wood p. 365; cf. Zimmer p.258.
#5558$2,500.00
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 GOULD, John (1804-1881)
Euplocomus vieilloti [Vieillot's Crested Fireback (Lophura ignita rufa)]
[London: by the Author, 1850-1883]. Hand-coloured lithograph by Joseph Wolf and H.C.Richter, printed by Hullmandel & Walton. Wove paper. (Paper somewhat browned, upper margin shaved just affecting image). Sheet size: 14 3/4 x 21 1/2 inches.
A fine image from John Gould's magnificent folio work 'The Birds of Asia'.
'Vieillot's Crested Fireback is found in the hills and lowlands of Malaya, southern Tenasserim and southwards from Siam, as well as parts of Sumatra. These are typically birds of the woods and hardly ever come out into the open. They roam over their territory in small parties, usually keeping near to rivers and streams and scuttling across any open stretches or paths. When they fly their wings make a clapping noise that echoes through the wood... In courtship display the cock struts round the hen with tail erect, crest fanned out and the wattle on his face swollen.' (A.Rutgers Birds of Asia 1969, p.29).
The intended geographical range of "The Birds of Asia" was enormous, and very much in keeping with the seemingly limitless self-belief of the 19th-century's best known ornithologist. In his all-encompassing work John Gould includes species from all corners of the eastern world, as Richard Bowdler Sharpe noted the work covers "Species from Palestine to the eastward, and from the Moluccas to the west". Gould chose to record the bird life from an area which, with the exception of the tropical areas of the American continent, includes the widest, and most colourful variety of bird life to be found anywhere in the world.
The present plate is from a large number of images documenting the pheasants of the region, one of the most beautiful and varied of all bird families.
Cf. Anker 178; cf. Fine Bird Books (1990), p.102; cf. Nissen IVB 368; cf. Sauer 17; cf. Wood p. 365; cf. Zimmer p.258.
#5559$2,750.00
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 GOULD, John (1804-1881)
Diardigallus praelatus [Siamese Fireback (Lophura diardi)]
[London: by the Author, 1850-1883]. Hand-coloured lithograph by John Gould and H.C.Richter, printed by Hullmandel & Walton. Wove paper. Sheet size: 14 1/4 x 21 1/4 inches.
A fine image from John Gould's magnificent folio work 'The Birds of Asia'.
'These birds are quite common in Laos, Annam and south-west China. They live almost exclusively in woods and bamboo forests in the plains of the low hill-country. Family parties or solitary cocks are sometimes seen at the forest edges or on the road particularly in the morning and evening: they are not at all shy. The cock has a loud repeated cry: "pee-yoo-pee-yoo". He also has a piping call and can make a rustling noise with his wings.' (A.Rutgers Birds of Asia 1969, p.33).
The intended geographical range of "The Birds of Asia" was enormous, and very much in keeping with the seemingly limitless self-belief of the 19th-century's best known ornithologist. In his all-encompassing work John Gould includes species from all corners of the eastern world, as Richard Bowdler Sharpe noted the work covers "Species from Palestine to the eastward, and from the Moluccas to the west". Gould chose to record the bird life from an area which, with the exception of the tropical areas of the American continent, includes the widest, and most colourful variety of bird life to be found anywhere in the world.
The present plate is from a large number of images documenting the pheasants of the region, one of the most beautiful and varied of all bird families.
Cf. Anker 178; cf. Fine Bird Books (1990), p.102; cf. Nissen IVB 368; cf. Sauer 17; cf. Wood p. 365; cf. Zimmer p.258.
#5562$3,500.00
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 GOULD, John (1804-1881)
Gallus sonnerati [Sonnerat's Jungle Fowl (Gallus sonnerati)]
[London: by the Author, 1850-1883]. Hand-coloured lithograph by John Gould and W.Hart, printed by Walter. Wove paper. Sheet size: 14 3/4 x 21 1/2 inches.
A fine image from John Gould's magnificent folio work 'The Birds of Asia'.
'This is a close relative of the Common or Red Jungle-fowl, the ancestor of our domestic poultry. It is found in western and southern India where it lives in dense woodland and bamboo plantations in hilly country. In the morning and evening Sonnerat's Jungle-fowls visit open country near the forests where they feed... Although they are shy and manage to keep well-hidden, they often come into inhabited areas for the food that can be found there. The cock has an unusual call, four different syllables which sound like kook-kaya-kook-kaya".' (A.Rutgers Birds of Asia 1969, p.37).
The intended geographical range of "The Birds of Asia" was enormous, and very much in keeping with the seemingly limitless self-belief of the 19th-century's best known ornithologist. In his all-encompassing work John Gould includes species from all corners of the eastern world, as Richard Bowdler Sharpe noted the work covers "Species from Palestine to the eastward, and from the Moluccas to the west". Gould chose to record the bird life from an area which, with the exception of the tropical areas of the American continent, includes the widest, and most colourful variety of bird life to be found anywhere in the world.
The present plate is from a large number of images documenting the pheasants of the region, one of the most beautiful and varied of all bird families.
Cf. Anker 178; cf. Fine Bird Books (1990), p.102; cf. Nissen IVB 368; cf. Sauer 17; cf. Wood p. 365; cf. Zimmer p.258.
#5563$3,500.00
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 GOULD, John (1804-1881)
Pucrasia nipalensis. [Nepal Koklass (Pucrasia macrolopha nipalensis)]
[London: by the Author, 1850-1883]. Hand-coloured lithograph by John Gould and H.C.Richter, printed by Hullmandel & Walton. Wove paper. (Paper somewhat browned) . Sheet size: 14 7/16 x 21 1/4 inches.
A fine image from John Gould's magnificent folio work 'The Birds of Asia'.
'The Koklass Pheasants have a very discontinuous area of distribution; some subspecies are found in the Himalayas from Afghanistan to Nepal, others in the east of Tibet and north-east China... Koklass are mountain birds living in forests mostly at altitudes of 4000 feet up to about 15,000 feet. They are rather solitary and are never seen feeding in flocks... The cock has an unusual crow and both birds make croaking noises reminiscent of a raven.' (A.Rutgers Birds of Asia 1969, p.38).
The intended geographical range of "The Birds of Asia" was enormous, and very much in keeping with the seemingly limitless self-belief of the 19th-century's best known ornithologist. In his all-encompassing work John Gould includes species from all corners of the eastern world, as Richard Bowdler Sharpe noted the work covers "Species from Palestine to the eastward, and from the Moluccas to the west". Gould chose to record the bird life from an area which, with the exception of the tropical areas of the American continent, includes the widest, and most colourful variety of bird life to be found anywhere in the world.
The present plate is from a large number of images documenting the Pheasants of the region, one of the most beautiful and varied of all bird families.
Cf. Anker 178; cf. Fine Bird Books (1990), p.102; cf. Nissen IVB 368; cf. Sauer 17; cf. Wood p. 365; cf. Zimmer p.258.
#5565$2,750.00
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