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browsing 4347 items
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 HOOLA VAN NOOTEN, After Berthe (fl. 1863-1885)
Poinsettia Pulcherrima [Poinsettia or Christmas Plant]
Brussels: C. Muquardt, [circa 1863-1885]. Chromolithograph, by P.Depannemaeker. Very good condition apart from some overall light soiling. Sheet size: 21 3/4 x 15 7/8 inches.
A fine example of the spectacular botanical work by Berthe Van Nooten, from 'Fleurs, Fruits et Feuillages Choisis de l'Ile de Java'.
Native to Mexico and the tropical regions of Central America, the poinsettia is primarily prized for its richly coloured, festive foliage and is a popular holiday plant.
Hoola Van Nooten had accompanied her husband to Jakarta (Batavia), capital of Java, where he died. She was left with debts to pay and a family to support. With great ingenuity, she managed to get a selection of her paintings chromolithographed and published under the title Fleurs, Fruits et Feuillages Choisis de l'Ile de Java Peints D'Après Nature, the first edition of which appeared in 1863-4. "Van Nooten was clearly more than competent, for the splendid tropical plants… have been depicted with great skill. She managed to accentuate the splendour of each species by adopting a style that combined great precision and clarity with a touch of neo-Baroque exuberance, revelling in the rich forms and colours of the tropics." (L. Tongiorgi Tomasi An Oak Spring Flora p.330)
Cf. Nissen BBI 931; cf. Stafleu & Cowan TL2 3025; cf. L. Tongiorgi Tomasi An Oak Spring Flora 87.
#12695 $900.00  
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 HOOLA VAN NOOTEN, Berthe (1840-1885)
Fleurs, fruits et feuillages choisis de la flore et de la pomone de l' Ile de Java peints d'après nature par Madame Berthe Hoola van Nooten. Troisieme edition
Brussels and Leipzig: Librairie Européenne C. Muquardt, [No date on title, but with a foreword dated 1880]. Folio (21 7/8 x 15 3/4 inches). Half-title, title, dedication to the Queen of the Netherlands and foreword in French, parallel text in French and English. 40 chromolithographed plates by P. Depannemaeker after Hoola van Nooten. Original printed paper boards, rebacked and recornered to style.
Third, and improved edition of this magnificent display of spectacular Javanese fruits and flowers, their bright colours ideally suited to the then new technique of chromolithography. 'Europeans who beheld these plants for the first time... could not but have been moved to wonder and amazement' ('Oak Spring Flora')
Berthe Hoola van Nooten (1840-1885), a latter-day Maria Sibylla Merian, produced the present work as a heroic response to circumstances which left her on Java, a widow in her early twenties with a family to support and little money, certainly not enough to pay for her family's passage home to Belgium. 'Aware of the vogue in Europe for exotic flora, she decided to take advantage of her enforced exile and put to use the skill at flower painting that she had no doubt acquired as a girl. Thus she prepared forty magnificent plates for Fleurs, fruits et feuillages choisis de l'Ile de Java... [van Nooten] was clearly a more than competent artist, for the splendid tropical plants, with their lush foliage, vividly coloured flowers and exotic fruit, have been depicted with great skill. She managed to accentuate the splendour of each species by adopting a style that combined great precision and clarity with a touch of neo-Baroque exuberance, revelling in the rich forms and colours of the tropics. The reader's eye is immediately captured by the dark leaves, shown furled or crumpled or partly nibbled away by insects, the delicately rendered details of the follicles and seeds, and the heavy clusters of flowers that cascade down the page. The excellent reproduction of the artist's drawings in the form of chromolithographs lends an added tactility to these striking images' (Oak Spring Flora)
The work consists of a lithographed dedication (in rhyme) to the Queen of the Netherlands. This is followed by a preface in which the author hints at the tragic personal circumstances which led her to seek a publisher for the work, and the forty plates, each of which is accompanied by detailed text in French and English giving a description as well as occasional information on the plants' culinary, medical, religious and other uses. The plates depict a mixture of indigenous, naturalised and introduced plants and include shrubs, flowering trees and, perhaps the most striking of all, 16 portraits of plants with edible fruits: pomelo, rambutan, mangosteen, custard-apple, bread-fruit, mango, bananas, star-fruit and papaya amongst others.
Great Flower Books (1990) p. 103; Landwehr 80; Nissen BBI 93; Oak Spring Flora 87; Stafleu & Cowan TL2 3025
#18373$22,500.00
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 HOPKINS, G. H
Clark & Tackaburys New Topographical Map of the State of Connecticut. Compiled from New and Accurate Surveys of each County, and the United States Trigonometrical Surveys of Long Island Sound.
Philadelphia: Clark & Tackabury, 1860. Copper-engraved wall map, with full original colour, expertly repaired, backed with new linen, trimmed in blue cloth, on contemporary rollers, in very good condition. Sheet size: 53 x 68˝ inches.
A very fine wall map of the state of Connecticut, based on the latest surveys
During the 1850s, Richard Clark published a large number of wall maps based on actual survey of Connecticut towns and counties. Many of those had been the work of the distinguished Philadelphia surveyor, G. H. Hopkins, who was responsible for this accomplished general map. Each township in the state is individually coloured, and many schools, churches, cemeteries, post offices, stores, mines, mills, factories, iron works, etc., are located throughout rural Connecticut. Nine inset maps give detailed plans of the cities of Middletown, Waterbury, Stamford, Norwalk, New London, Bridgeport, Hartford, Norwich, and New Haven. A table gives population statistics for Connecticut's eight counties, and for the major towns and cities in each county. Grist mills and sawmills are shown, as are railroads and common roads. The mapping of the Connecticut coastline is especially fine, giving depths for the entire stretch of Long Island Sound, and showing several islands lying off the coast. This map is the second edition, the first having been printed in 1859, and is an excellent detailed look at Connecticut on the eve of the Civil War. Not in Phillips' America.
Rumsey 141; Thompson 181; Ristow, p.388 (ref).
#5639$6,000.00
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 HOUGH, Romeyn Beck (1857-1924)
The American Woods. Exhibited By Actual Specimens....
Lowville, N.Y.: 1888 (Volume I) and 1898 (Volume II, Second edition). Volumes I-II only (of 14), 8vo portfolios. Plates and illustrations. 159 samples of wood in 53 card mounts, each wafer thin transverse, radial and tangential sections illustrating 53 species. Text in original wrappers, samples on card mounts unbound as issued, each text volume and accompanying samples loose within original green cloth covers, the covers in matching original cloth slipcases, with metal catches and bosses to covers, contained in a single modern green cloth box. Provenance: Medford, Mass. Public Library (stamps, labels, perforation mark).
One of the greatest American works on trees and woods, a labor of love, and of the greatest rarity in complete sets
This remarkable work was the lifetime achievement of Romeyn B. Hough, who devoted himself to the study of American trees, and who is best known for his Handbook of Trees of the Northern States and Canada, long a standard reference work in American dendrology. In this work, Hough sought to describe the woods found in America, with a detailed description in an accompanying pamphlet, and with thin cross-sections of actual woods mounted and labeled in accompanying stiff cardboard mounts. These provide a unique record of American wood types, arranged geographically. Generally each species is shown with wood cut on traverse section, radial section, and tangential section. The samples are so thin as to be easily translucent. The age of these specimens gives them tremendous importance from an ecological standpoint, as well as their great interest to students of American furniture and woodcrafts. The trees available to Hough at the time make such an endeavor impossible to contemplate today. Parts I-IV cover New York and adjacent states, part V covers Florida, parts VI-X describe the Pacific Slope, parts XI-XII cover the Atlantic states, and part XIII southern Florida. Part XIV contained a continuation of the work on the trees of Florida with text by Marjorie Hough, using specimens and notes prepared by her father before his death in 1924.
Hough explained the unique nature of the work thus: it is `illustrated by actual specimens, and being in this way an exhibition of nature itself it possesses a peculiar and great interest never found in a press-printed book. The specimens are....about 2 x 5 in. in size, and sufficiently thin to admit of examination in transmitted light...Looked at in reflected light they appear as in the board or log... These specimens are mounted in durable frame-like Bristol-board pages, with black waterproofed surfaces...and each bears printed in gilt-bronze the technical name of the species and its English, German, French and Spanish names. The pages are separable...and are accompanied with a full text...giving information as to the uses and physical properties of the woods, and distributions, habits of growth, botanical characters, habitats, medicinal properties, etc,., of the trees.. The woods used for the specimens are personally collected by the author… and are sectioned and prepared by a process of his own device'.
Complete sets of this work are very rare. The volumes were priced at five dollars each, a high price reflecting the work involved in assembling them. Since subscribers came and went over the 25-year period of publication and many only bought the volume or volumes on the areas that interested them. The rarity of complete sets can be judged from the fact that Stafleu and Cowan record the work as being complete in 6 volumes.
Stafleu & Cowan TL2 341.
#2959$4,000.00
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HOUGH, Romeyn Beck (1857-1924)
The American Woods, exhibited by actual specimens and with copious explanatory text
Lowville, N.Y: by the author, 1910-1898-1900-1894. Volume I-V only (of 14), octavo (9 x 6 inches). Illustrations. 387 samples of wood, each wafer-thin transverse, radial and tangential sections illustrating 129 species, window-mounted in 129 card mounts. (Occasional natural cracking and warping to a few samples). Text in original wrappers, samples in card mounts unbound as issued, each text volume and accompanying samples within original brown cloth cover in matching original cloth slipcase, with metal catch and bosses to covers. Each contained in a modern brown cloth box with morocco label.
Mixed edition. A representative sample of a rare and remarkable work on the woods of America. Volumes I-IV cover all the trees of New York and adjacent states, vol.V is on the trees of Florida. A contemporary reviewer called it `one of the most marvelous and instructive books ever made ' (Art Education).
This remarkable work was the lifetime achievement of Romeyn B. Hough, who devoted himself to the study of American trees, and who is best known for his Handbook of Trees of the Northern States and Canada, long a standard reference work in American dendrology. In this work, Hough sought to describe the woods found in America, with a detailed description in an accompanying pamphlet, and with thin cross-sections of actual woods mounted and labeled in accompanying stiff cardboard mounts. These provide a unique record of American wood types, arranged geographically. Generally each species is shown with wood cut on traverse section, radial section, and tangential section. The samples are so thin as to be easily translucent. The age of these specimens gives them tremendous importance from an ecological standpoint, as well as their great interest to students of American furniture and woodcrafts. The trees available to Hough at the time make such an endeavor impossible to contemplate today. Parts I-IV cover New York and adjacent states, part V covers Florida, parts VI-X describe the Pacific Slope, parts XI-XII cover the Atlantic states, and part XIII southern Florida. Part XIV contained a continuation of the work on the trees of Florida with text by Marjorie Hough, using specimens and notes prepared by her father before his death in 1924.
Hough explained the unique nature of the work thus: it is `illustrated by actual specimens, and being in this way an exhibition of nature itself it possesses a peculiar and great interest never found in a press-printed book. The specimens are....about 2 x 5 in. in size, and sufficiently thin to admit of examination in transmitted light...Looked at in reflected light they appear as in the board or log... These specimens are mounted in durable frame-like Bristol-board pages, with black waterproofed surfaces...and each bears printed in gilt-bronze the technical name of the species and its English, German, French and Spanish names. The pages are separable...and are accompanied with a full text...giving information as to the uses and physical properties of the woods, and distributions, habits of growth, botanical characters, habitats, medicinal properties, etc,., of the trees.. The woods used for the specimens are personally collected by the author… and are sectioned and prepared by a process of his own device'.
Complete sets of this work are very rare. The volumes were priced at five dollars each, a high price reflecting the work involved in assembling them. Since subscribers came and went over the 25-year period of publication and many only bought the volume or volumes on the areas that interested them. The rarity of complete sets can be judged from the fact that Stafleu and Cowan record the work as being complete in 6 volumes.
Cf. BM (NH) II,p.880 (pts.1-8 only); cf. Stafleu & Cowan TL2 II, p.341.
#2964$12,500.00
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 HOUGH, Romeyn Beck (1857-1924)
The American Woods. Exhibited By Actual Specimens....
Lowville, N.Y.: by the author, 1888-1913. Volumes I-XIII only (of 14), octavo (9 x 6 inches). Illustrations. 973 samples of wood, each wafer-thin transverse, radial and tangential sections illustrating 324 species, window-mounted in 324 card mounts only, temporary card insert in part VII. (Lacking card mount number 288, occasional natural cracking and warping to a few samples). Text in original wrappers, samples in card mounts unbound as issued, each text volume and accompanying samples within original green cloth cover in matching original cloth slipcase, with metal catch and bosses to covers (Some damage to slip-case of parts IX and X, clasp of slip-case of part XII detached).
One of the greatest American works on trees and woods, a labor of love. Complete sets are of the greatest rarity: the present set is without just a single plate from part XII and the miscellaneous supplemental part XIV published by Hough's daughter after his death in 1924.
This remarkable work was the lifetime achievement of Romeyn B. Hough, who devoted himself to the study of American trees, and who is best known for his Handbook of Trees of the Northern States and Canada, long a standard reference work in American dendrology. In this work, Hough sought to describe the woods found in America, with a detailed description in an accompanying pamphlet, and with thin cross-sections of actual woods mounted and labeled in accompanying stiff cardboard mounts. These provide a unique record of American wood types, arranged geographically. Generally each species is shown with wood cut on traverse section, radial section, and tangential section. The samples are so thin as to be easily translucent. The age of these specimens gives them tremendous importance from an ecological standpoint, as well as their great interest to students of American furniture and woodcrafts. The trees available to Hough at the time make such an endeavor impossible to contemplate today. Parts I-IV cover New York and adjacent states, part V covers Florida, parts VI-X describe the Pacific Slope, parts XI-XII cover the Atlantic states, and part XIII southern Florida. Part XIV contained a continuation of the work on the trees of Florida with text by Marjorie Hough, using specimens and notes prepared by her father before his death in 1924.
Hough explained the unique nature of the work thus: it is `illustrated by actual specimens, and being in this way an exhibition of nature itself it possesses a peculiar and great interest never found in a press-printed book. The specimens are....about 2 x 5 in. in size, and sufficiently thin to admit of examination in transmitted light...Looked at in reflected light they appear as in the board or log... These specimens are mounted in durable frame-like Bristol-board pages, with black waterproofed surfaces...and each bears printed in gilt-bronze the technical name of the species and its English, German, French and Spanish names. The pages are separable...and are accompanied with a full text...giving information as to the uses and physical properties of the woods, and distributions, habits of growth, botanical characters, habitats, medicinal properties, etc..., of the trees...The woods used for the specimens are personally collected by the author and are sectioned and prepared by a process of his own device'.
Complete sets of this work are very rare. The volumes were priced at five dollars each, a high price reflecting the work involved in assembling them. Since subscribers came and went over the 25-year period of publication and many only bought the volume or volumes on the areas that interested them. The rarity of complete sets can be judged from the fact that Stafleu and Cowan record the work as being complete in 6 volumes.
Stafleu & Cowan TL2 341.
#3833$36,000.00
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 HOUGH, Romeyn Beck (1857-1924)
The American Woods, exhibited by actual specimens and with copious explanatory text
Lowville, New York: 1893-1928: published and sections prepared by the author (vols.I-XIII); Romeyn B. Hough Company (vol.XIV), 1893-1900-1894-1913-1928. 14 volumes, 8vo (9 x 6 inches). Illustrations. 1047 samples of wood, each wafer-thin transverse, radial or tangential sections illustrating 350 species, window-mounted in 350 card mounts (occasional natural cracking and warping to a few samples). Text in original glazed paper wrappers, samples in card mounts unbound as issued, each text volume and accompanying samples within original green cloth cover in matching original cloth slipcase, with metal catch and bosses to covers (some old dampstaining to slipcases). Provenance: Mrs C. Will Chappell (Oneida, N.Y., vol.I with loosely inserted letter from the publishers, dated 1938).
One of the greatest American works on trees and woods, a labor of love. Complete sets are of the greatest rarity: the present set includes the very rare miscellaneous supplemental part XIV published by Hough's daughter after his death in 1924.
This remarkable work was the lifetime achievement of Romeyn B. Hough, who devoted himself to the study of American trees, and who is best known for his Handbook of Trees of the Northern States and Canada, long a standard reference work in American dendrology. In this work, Hough sought to describe the woods found in America, with a detailed description in an accompanying pamphlet, and with thin cross-sections of actual woods mounted and labeled in accompanying stiff cardboard mounts. These provide a unique record of American wood types, arranged geographically. Generally each species is shown with wood cut on traverse section, radial section, and tangential section. The samples are so thin as to be easily translucent. The age of these specimens gives them tremendous importance from an ecological standpoint, as well as their great interest to students of American furniture and woodcrafts. The trees available to Hough at the time make such an endeavor impossible to contemplate today. Parts I-IV cover New York and adjacent states, part V covers Florida, parts VI-X describe the Pacific Slope, parts XI-XII cover the Atlantic states, and part XIII southern Florida. Part XIV contained a continuation of the work on the trees of Florida with text by Marjorie Hough, using specimens and notes prepared by her father before his death in 1924. It is interesting to note that according to the letter included in vol.I of the present set, complete sets were still available at $10.00 per volume in 1938.
Hough explained the unique nature of the work thus: it is `illustrated by actual specimens, and being in this way an exhibition of nature itself it possesses a peculiar and great interest never found in a press-printed book. The specimens are....about 2 x 5 in. in size, and sufficiently thin to admit of examination in transmitted light...Looked at in reflected light they appear as in the board or log... These specimens are mounted in durable frame-like Bristol-board pages, with black waterproofed surfaces...and each bears printed in gilt-bronze the technical name of the species and its English, German, French and Spanish names. The pages are separable...and are accompanied with a full text...giving information as to the uses and physical properties of the woods, and distributions, habits of growth, botanical characters, habitats, medicinal properties, etc..., of the trees...The woods used for the specimens are personally collected by the author and are sectioned and prepared by a process of his own device'.
Complete sets of this work are very rare. The volumes were originally priced at five dollars each, a high price reflecting the work involved in assembling them. Since subscribers came and went over the 25-year period of publication and many only bought the volume or volumes on the areas that interested them. The rarity of complete sets can be judged from the fact that Stafleu and Cowan record the work as being complete in 6 volumes.
Cf. BM (NH) II,p.880 (pts.1-8 only); cf. Stafleu & Cowan II, p.341.
#20338$40,000.00
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 HOUSTOUN, Matilda Charlotte (1815?-1892)
Texas and the Gulf of Mexico; or Yachting in the New World
London: [printed by W. Nicol for] John Murray, 1844. 2 volumes, octavo (signed in 12s) (8 x 5 inches). Collation: [A]4, B-O12, P1; [A]4, B-Q12 + 16pp. of publisher's advertisements dated 'August 1845' at end of vol.II. 10 plates (7 lithographs by Day & Haghe [2 portraits and 5 views,] 3 wood-engraved plates [2 of these signed 'SW']). Original dark blue cloth, the flat spines with blocked decoration in blind dividing them into five compartments, blocked lettering in gilt in the second and four compartments, in addition the place of publication and publisher's name blocked in gilt at the foot of each spine, the covers with blocked Greek-key border in blind and large central vignette in blind of the 'Dolphin' under full sail, cream glazed endpapers, spines slightly faded, extremities slightly bumped.
A very fine set of the first edition of this important early account of Texas
The author was a wealthy English woman who visited Texas in 1842 on board the 'Dolphin,' her husband's private yacht. She visited New Orleans, then cruised off the Gulf Coast, alternating between Texas and New Orleans. Mrs. Houstoun offers commentary on the politics and society of the day, including issues such as slavery and a possible civil war.
'She gives us some exceptional insights into Texas of the 1840's' (Jenkins,) whilst still being unable to escape from the feelings of superiority that, at the time, were almost an English birthright: 'I had always supposed that all kinds of cotton and woollen goods, besides the iron ware, were imported into America from England. To my great surprise, however, I found that nearly every thing of this kind that we saw was of native manufacture, and that the prices of them were no higher than in England' (vol.II, p.61.)
The lithographs are included in Holman and Tyler's preliminary research on 19th-century Texas lithography. They include portraits of General Santa Anna and President Houston and views of the city of Galveston, Funchal in Madeira, the city of Houston, Havana harbour and ending with a night-time view of the Plaza des Armas in Havana. All are wonderfully executed by the British firm of Day & Haghe, lithographers to the Crown. The "alpine" Houston view, while apocryphal, may be the first published view of the city, and the prototype for subsequent views showing the city in the midst of mountains. In addition, there is a fine wood-engraved vignette view of the 'Dolphin Yacht in the Mississippi' and two beautifully observed wood-engraved character studies, the first of 'Nancy, the Black Woman', the second of a 'New Orleans black dandy'. One of the more charming accounts of the Republic of Texas, and other than that of Mrs. Holley, the only one by a woman.
Basic Texas Books 97; Clark III:182; Howes H693, "aa."; Raines, p.120; Sabin 33202; cf. Servies 3044 (abridged American ed); Streeter Texas 1506.
#19246$4,750.00
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 HOVEY, Charles Mason (1810-1887)
The Fruits of America, containing richly colored figures and full descriptions of all the choicest varieties cultivated in The United States
Boston & New York: [vol.I] C.C.Little & Jas. Brown and Hovey & Co. and D.Appleton & Co. in New York, [vol.II] Hovey & Co., [1847-]1856. 2 volumes, quarto (10 5/8 x 7 1/4 inches). Half-title to vol.I, 2pp. subscribers' list. Titles with wood-engraved vignettes. Lithographic portrait frontispieces of Hovey and William Sharp, 96 chromolithographic plates by William Sharp & Son, numerous woodcut illustrations of trees, flowers and fruit. (A few plates shaved as usual, slight surface damage to plate facing page 47 of text in vol.II). Contemporary black half morocco gilt by Waters of Baltimore, over cloth-covered boards, spines in six compartments with raised bands, lettered in the second, the others with elaborate repeat decoration in gilt, vol.I gilt edges, vol.II with top edge gilt and outer edge uncut, expertly rebacked preserving the original spine.
The most lavish ante-bellum work on the fruit trees of America, `the first major work executed entirely in chromolithography' (Reese), and here with an apparently unrecorded first issue title to vol.I.
The 96 varieties featured include 93 fruit trees (53 pear, 20 apple, 7 cherry, 7 peach and 6 plum) and 3 strawberry varieties. The plates were all executed by the Boston firm headed by William Sharp and are accompanied by text which gives the history of each variety, a full description, its growing habit, flower and fruit, and advice on its cultivation. Each entry is headed by cross-references to the other standard European and American books and periodicals. The illustrations generally comprise a thumb-nail sketch of the growing habit of each tree, an outline of the fruit and occasionally an image of the flower.
Charles Hovey was born in Cambridge, Mass. in 1810 and with his brother Phineas established a nursery there in 1832. By 1845 his huge collection of fruit trees included a thousand pear trees and four hundred apple trees. A keen plant breeder, he also produced a number of new varieties of Camellia. His literary output brought him to the forefront of horticultural writers with the American Gardeners' Magazine (renamed the Magazine of Horticulture) which enjoyed great popularity between 1834 and 1868. The present work was intended by Hovey as an international show-case for what American pomologists had achieved, as well as an essential reference guide. It is his masterpiece and originally appeared in parts between 1847 and 1856 and is considered complete in two volumes with 96 plates.
Arnold Arboretum/ Harvard p.354; Bennett p.59; BM (NH) II,p.881; Bunyard p.437 & 444; Mass. Horticultural Society p.148; McGrath p.112; Nissen BBI 941; Oak Spring Pomona 61; Reese 20.
#17437$12,000.00
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 HOWDELL, After Captain Thomas
A South West View of the City of New York, in North America. Vue de Sud Oust de la Ville de New York, dans l'Amerique Septentrionale. Drawn on the Spot by Capt. Thomas Howdell, of the Royal Artillery. Engraved by P.Canot
London: printed for John Bowles, Robert Sayer, Thos. Jefferys, Carington Bowles and Henry Parker, [1768]. Copper engraving by Pierre Charles Canot, after Howdell, coloured by hand. Third state. Sheet size: 19 1/8 x 25 1/2 inches.
The Howdell-Canot Southwest view: one of the most important early views of New York City, taken from the southern slope of Mount Pitt, near the present-day intersection of Henry and Montgomery Streets.
This fine print from the famously rare Scenographia Americana series is after a drawing by Captain Howdell made in about 1763. Little is known of Howdell's life other than the outline of his military career. His name first appears in the Army Lists in 1747 and continues until 1771. In 1763 he commanded the seventh company of the third battalion of the Royal Artillery, stationed in New York. He produced one other view of the city that was also published in the Scenographia. The present view from Mount Pitt shows the Rutgers house built in 1754-5, across the harbour can be seen the roofs of the city with Trinity Church and the New (or Middle) Dutch Church prominent on the skyline. The meadow south of the Rutgers house is a prominent feature in many of the views and plans of the period.
Deak 116; Stokes Iconography I. pp. 279-281 (plate37)
#9219$4,500.00
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 HOWE, After James (1780-1836)
Hawking [To Sir John Maxwell, of Pollock, Bart. This plate is taken from a Picture, in the posession of Mr. Fleming of Borochan is most respectfully Dedicated, By His, most obliged and humble Servants R. & J. Finlay]
[Glasgow: R. & J. Finlay, January 1834]. Etching, engraving roulette and mezzotint, printed in colours, with occasional touches of hand-colouring, by Charles Turner of London, after James Howe of Edinburgh (margins close-shaved, the lower margin shaved with loss to the title). Image size (including text): 19 1/8 x 23 5/8 inches. Sheet size: 20 1/4 x 25 inches.
A very fine image and a technical masterpiece of the print-maker's art.
This excellent print depicts Malcolm Fleming of Barochan (1745-1811), the Grand Falconer of Scotland, astride his hunter with a peregrine at his fist. Immediately in front of him stands his falconer, John Anderson, with two birds on his wrist. His assistant sits calmly with two further birds. At their feet are six retreiving dogs of various breeds and colours. In the mid ground can be seen the Barochan Tower from which Fleming took his name.
'Howe obtained a great reputation for his skill in drawing horses and cattle, and was employed in drawing portraits of well-known animals for a series of illustrations of British domestic animals, published by the Highland Society of Scotland to stimulate breeding. He was also commissioned by Sir John Sinclair to draw examples of various breeds of cattle. A set of fourteen engravings of horses from drawings by Howe were published and, for the most part, engraved by W. H. Lizar, at Edinburgh in 1824, and a series of forty-five similar engravings of horses and cattle was published in 1832. Howe came once to London to paint the horses of the royal stud, but resided principally at Edinburgh, where he was a frequent exhibitor at the Edinburgh exhibitions, Royal Institution, and Royal Scottish Academy from 1808 to the time of his death. In 1815 he visited the field of Waterloo, and painted a picture of the battle, which he exhibited at the Royal Academy in London in 1816' (DNB).
Mellon British Sporting and Animal Prints p.104; Schwerdt III p.179; Siltzer p.333; Whitman Charles Turner (1907) no.760
#6519$2,750.00
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HOWE, William, Sir (1729-1814)
The Narrative of Lieut. Gen. Sir William Howe, in a Committee of the House of Commons, on the 29th of April, 1779, relative to his conduct, during his late command of the King's Troops in North America: to which are added, some observations upon a pamphlet, entitled, letteres to a nobleman
London: printed by H. Baldwin, sold by Almon & Debret, P.Elmsley and R. Baldwin, 1780.
[bound with:]
William PITT, Earl of Chatham (1708-78). Plan offered by the Earl of Chatham to the House of Lords, entitled, a Provisional Act, for settling the Troubles in America, and for asserting the Supreme Legislative Authority and Superintending Power of Great Britain over the Colonies. Which was rejected, and not suffered to lie on the table. London: printed for J. Salmon, 1775. 1p. publisher's advertisements at end.
2 works in one volume, 4to (10 5/8 x 8 ˝ inches). Expertly bound to style in 18th-century half russia over contemporary marbled paper-covered boards, spine gilt in compartments, red morocco lettering piece. Provenance: Col. Thomas Aspinwall (1786-1876, label noting gift to:); Brookline Public Library (bookplate, with date "26 September 1859")
First edition of both works, with an interesting provenance.
Howe, as commander-in-chief of the British forces during the American Revolution, led his troops to a number of impressive victories. Although he repelled the attack of Washington at Germantown, he made no attempt to drive the weakened American forces from their camp at Valley Forge, instead spending the winter of 1777-78 in comfort in Philadelphia. Howe was severely criticized for his actions. He was recalled by the British government in May of 1778, and Sir Henry Clinton was appointed his successor. After Parliament's investigation of his military conduct in 1779, Howe was acquitted of blame by a number of military men, including Lord Cornwallis and Lord Grey, who affirmed that he had done what he could, considering the insufficiency of his army. Howe's response to Joseph Galloway's charges of incompetence and negligence in the latter's 'Letters to a Nobleman' are printed on pages 35-110.
Writing of the second work, The Monthly Review noted "We cannot but regret that this plan was rejected, as we are convinced that by a few slight alterations it might have been rendered acceptable to the people of America." (vol. LII, p.179).
Colonel Thomas Aspinwall was born in Brookline and by the time he died in 1876 in Boston, he was the oldest surviving officer who had fought in the War of 1812. He also served as United States Consul in London from 1815 to 1853, and was a noted bibliophile whose collection was described in A catalogue of books relating to America, in the collection of Colonel Aspinwall (Paris: 1831). The Colonel's gift of this book in 1859 ensured that it was not included in the auction sale of his library held in Boston in May 1879.
Second edition of first work: American Controversy 80-43c; Howes H729; Sabin 33342
First work: Sabin 63071
#20358$4,500.00
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 HOWITT, Samuel (circa 1756-1822)
Driving a Bear out of Sugar Canes/Chassant un Ours des Cannes de Sucre [Pl. 28]
[Pl. 28]. London: Edward Orme, 1807-1808. Aquatint engraving, coloured by hand, by H. Merke, after Howitt from an original sketch by Williamson. Very good condition. Plate mark: approximately 14 3/4 x 19 1/4 inches. Sheet size: approximately 18 x 22 1/8 inches.
One of the finest and most detailed works on Indian Sport and wildlife, these images exemplify not only the native flora and fauna, but capture the excitement of the hunt and provide "a faithful representation of [the] picturesque country, together with the manners and customs of both the native and European inhabitants". (Prideaux)
Captain Thomas Williamson, a British officer of the East India Company, served in Bengal for 20 years. An accomplished amateur artist, his sketches were then worked up into drawings by Samuel Howitt and engraved for publication.
Samuel Howitt, artist and sportsman, was largely self-taught in his profession, though he belonged to the artistic circles of the day. He is considered by some critics to be second only to Stubbs in the ranks of British animal painters. He is well-known for his sporting scenes of racing and hunting and for scenes depicting both conventional and exotic animals like the rhinoceros, tiger, leopard, bear, deer and buffalo.
Cf. Abbey Travel 427; cf. Mellon 88; cf. Nissen BBI 4416; cf. Prideaux, p. 282; cf. Schwerdt II, pp.297-298; cf. Tooley 508.
#8435$1,200.00
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 HOWITT, Samuel (circa 1756-1822)
Sices, or Grooms, Leading out Horses/Les Palfreniers ou Sices, Promenant les Cheveaux [Pl. 38]
[Pl. 38]. London: Edward Orme, 1807-1808. Aquatint engraving, coloured by hand, by H. Merke, after Howitt from an original sketch by Williamson. Very good condition. Plate mark: approximately 15 3/8 x 19 3/8 inches. Sheet size: approximately 17 7/8 x 22 1/2 inches.
For the British colonists living in India during the nineteenth-century, modest bungalows situated on plantations became the equivalent of a country estate in England. As pictured in this fine image from Williamson's 'Oriental Field Sports', these 'estates' frequently included stables, which were usually maintained by local servants. Horses were often used in hunting and various other recreational pursuits.
One of the finest and most detailed works on Indian Sport and wildlife, these images exemplify not only the native flora and fauna, but capture the excitement of the hunt and provide "a faithful representation of [the] picturesque country, together with the manners and customs of both the native and European inhabitants". (Prideaux)
Captain Thomas Williamson, a British officer of the East India Company, served in Bengal for 20 years. An accomplished amateur artist, his sketches were then worked up into drawings by Samuel Howitt and engraved for publication.
Samuel Howitt, artist and sportsman, was largely self-taught in his profession, though he belonged to the artistic circles of the day. He is considered by some critics to be second only to Stubbs in the ranks of British animal painters. He is well-known for his sporting scenes of racing and hunting and for scenes depicting both conventional and exotic animals like the rhinoceros, tiger, leopard, bear, deer and buffalo.
Cf. Abbey Travel 427; cf. Mellon 88; cf. Nissen BBI 4416; cf. Prideaux, p. 282; cf. Schwerdt II, pp.297-298; cf. Tooley 508.
#8515$1,500.00
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 HOWITT, Samuel (circa 1756-1822)
Dooreahs or Dog Keepers Leading out Dogs/Les Garde Chiens on Dooreahs Promenant les Chiens [Pl. 37]
[Pl. 37]. London: Edward Orme, 1807-1808. Aquatint engraving, coloured by hand, by H. Merke, after Howitt from an original sketch by Williamson. Very good condition. Plate mark: approximately 14 7/8 x 19 1/4 inches. Sheet size: approximately 18 1/4 x 21 5/8 inches.
For the British colonists living in India during the nineteenth-century, modest bungalows situated on plantations became the equivalent of a country estate in England. As pictured in this fine image from Williamson's 'Oriental Field Sports', these 'estates' frequently included kennels that housed hunting dogs and stables, both of which were usually maintained by local servants.
One of the finest and most detailed works on Indian Sport and wildlife, these images exemplify not only the native flora and fauna, but capture the excitement of the hunt and provide "a faithful representation of [the] picturesque country, together with the manners and customs of both the native and European inhabitants". (Prideaux)
Captain Thomas Williamson, a British officer of the East India Company, served in Bengal for 20 years. An accomplished amateur artist, his sketches were then worked up into drawings by Samuel Howitt and engraved for publication.
Samuel Howitt, artist and sportsman, was largely self-taught in his profession, though he belonged to the artistic circles of the day. He is considered by some critics to be second only to Stubbs in the ranks of British animal painters. He is well-known for his sporting scenes of racing and hunting and for scenes depicting both conventional and exotic animals like the rhinoceros, tiger, leopard, bear, deer and buffalo.
Cf. Abbey Travel 427; cf. Mellon 88; cf. Nissen BBI 4416; cf. Prideaux, p. 282; cf. Schwerdt II, pp.297-298; cf. Tooley 508.
#8516$1,500.00
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 HOWITT, Samuel (circa 1756-1822)
Decoy Elephants Catching a Male/Des Elephants Dressés, Attrapant un Mâle [Pl. 9]
[Pl. 9]. London: Edward Orme, 1819. Aquatint engraving, coloured by hand, by H. Merke, after Howitt from an original sketch by Williamson. Very good condition apart from some overall light soiling, two waterstains in the bottom margin, a 1 1/8" tear in the bottom margin. Plate mark: approximately 15 1/4 x 19 3/4 inces. Sheet size: approximately 18 1/4 x 22 3/4 inches.
During the nineteenth century, field sports, particularly the hunting of wild game, were a common colonial leisure activity in India and Africa. Large-game hunting, the pursual of animals such as elephants, lions, and tigers, was considered to be the most prestigious, thrilling, and dangerous type of hunting. The technique of 'trapping', in which an animal is lured and ensnared by the hunter through deceptive means, was frequently used and is depicted in this fine image from Williamson's 'Oriental Field Sports'.
One of the finest and most detailed works on Indian Sport and wildlife, these images exemplify not only the native flora and fauna, but capture the excitement of the hunt and provide "a faithful representation of [the] picturesque country, together with the manners and customs of both the native and European inhabitants". (Prideaux)
Captain Thomas Williamson, a British officer of the East India Company, served in Bengal for 20 years. An accomplished amateur artist, his sketches were then worked up into drawings by Samuel Howitt and engraved for publication.
Samuel Howitt, artist and sportsman, was largely self-taught in his profession, though he belonged to the artistic circles of the day. He is considered by some critics to be second only to Stubbs in the ranks of British animal painters. He is well-known for his sporting scenes of racing and hunting and for scenes depicting both conventional and exotic animals like the rhinoceros, tiger, leopard, bear, deer and buffalo.
Cf. Abbey Travel 427; cf. Mellon 88; cf. Nissen BBI 4416; cf. Prideaux, p. 282; cf. Schwerdt II, pp.297-298; cf. Tooley 508.
#8517$1,200.00
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 HOWITT, Samuel (circa 1756-1822)
Peacock Shooting/La Chasse au Paon [Pl. 26]
[Pl. 26]. London: Edward Orme, 1819. Aquatint engraving, coloured by hand, by H. Merke, after Howitt from an original sketch by Williamson. Very good condition. Plate mark: 14 3/4 x 19 3/8 inches. Sheet size: 18 1/4 x 23 inches.
During the nineteenth century, field sports, particularly the hunting of wild game, were a common colonial leisure activity in India and Africa. Although the hunting of large-game was considered the most prestigious, small-game hunting, or 'shooting' as the British referred to it, which targeted birds and small animals such as the hare, was also extremely popular at the time. As pictured in this fine image from Williamson's 'Oriental Field Sports', huntsmen were frequently accompanied by their servants.
One of the finest and most detailed works on Indian Sport and wildlife, these images exemplify not only the native flora and fauna, but capture the excitement of the hunt and provide "a faithful representation of [the] picturesque country, together with the manners and customs of both the native and European inhabitants". (Prideaux)
Captain Thomas Williamson, a British officer of the East India Company, served in Bengal for 20 years. An accomplished amateur artist, his sketches were then worked up into drawings by Samuel Howitt and engraved for publication.
Samuel Howitt, artist and sportsman, was largely self-taught in his profession, though he belonged to the artistic circles of the day. He is considered by some critics to be second only to Stubbs in the ranks of British animal painters. He is well-known for his sporting scenes of racing and hunting and for scenes depicting both conventional and exotic animals like the rhinoceros, tiger, leopard, bear, deer and buffalo.
Cf. Abbey Travel 427; cf. Mellon 88; cf. Nissen BBI 4416; cf. Prideaux, p. 282; cf. Schwerdt II, pp.297-298; cf. Tooley 508.
#8518$1,500.00
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 HOWITT, Samuel (circa 1756-1822)
Shooting at the Edge of a Jungle/Les Chasseurs Tirant a l'Entrée Dune Tanière [Pl. 27]
[Pl. 27]. London: Edward Orme, 1819. Aquatint engraving, coloured by hand, by J. Hamble, after Howitt from an original sketch by Williamson. Very good condition. Plate mark: 14 3/4 x 19 1/8 inches. Sheet size: 18 1/4 x 22 7/8 inches.
During the nineteenth century, field sports, particularly the hunting of wild game, were a common colonial leisure activity in India and Africa. Although the hunting of large-game was considered the most prestigious, small-game hunting, or 'shooting' as the British referred to it, which targeted birds and small animals such as the hare, was also extremely popular at the time. As pictured in this fine image from Williamson's 'Oriental Field Sports', huntsmen were frequently accompanied by their servants and several hunting dogs.
One of the finest and most detailed works on Indian Sport and wildlife, these images exemplify not only the native flora and fauna, but capture the excitement of the hunt and provide "a faithful representation of [the] picturesque country, together with the manners and customs of both the native and European inhabitants". (Prideaux)
Captain Thomas Williamson, a British officer of the East India Company, served in Bengal for 20 years. An accomplished amateur artist, his sketches were then worked up into drawings by Samuel Howitt and engraved for publication.
Samuel Howitt, artist and sportsman, was largely self-taught in his profession, though he belonged to the artistic circles of the day. He is considered by some critics to be second only to Stubbs in the ranks of British animal painters. He is well-known for his sporting scenes of racing and hunting and for scenes depicting both conventional and exotic animals like the rhinoceros, tiger, leopard, bear, deer and buffalo.
Cf. Abbey Travel 427; cf. Mellon 88; cf. Nissen BBI 4416; cf. Prideaux, p. 282; cf. Schwerdt II, pp.297-298; cf. Tooley 508.
#8519$1,500.00
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 HOWITT, Samuel (circa 1756-1822)
Hunting of Jackalls/La Chase aux Jackals [Pl. 31]
[Pl. 31]. London: Edward Orme, 1818. Aquatint engraving, coloured by hand, by Viveres, after Howitt from an original sketch by Williamson. Very good condition apart from some overall light soiling and several skillfully repaired tears in the top and bottom margins. Plate mark: 14 3/4 x 19 1/4 inches. Sheet size: 18 x 22 3/8 inches.
During the nineteenth century, field sports, particularly the hunting of wild game, were a common colonial leisure activity in India and Africa. Large-game hunting, the pursual of animals such as elephants, lions, and tigers, was considered to be the most prestigious, thrilling, and dangerous type of hunting. As pictured in this fine image from Williamson's 'Oriental Field Sports', huntsmen were frequently accompanied by several hunting dogs.
One of the finest and most detailed works on Indian Sport and wildlife, these images exemplify not only the native flora and fauna, but capture the excitement of the hunt and provide "a faithful representation of [the] picturesque country, together with the manners and customs of both the native and European inhabitants". (Prideaux)
Captain Thomas Williamson, a British officer of the East India Company, served in Bengal for 20 years. An accomplished amateur artist, his sketches were then worked up into drawings by Samuel Howitt and engraved for publication.
Samuel Howitt, artist and sportsman, was largely self-taught in his profession, though he belonged to the artistic circles of the day. He is considered by some critics to be second only to Stubbs in the ranks of British animal painters. He is well-known for his sporting scenes of racing and hunting and for scenes depicting both conventional and exotic animals like the rhinoceros, tiger, leopard, bear, deer and buffalo.
Cf. Abbey Travel 427; cf. Mellon 88; cf. Nissen BBI 4416; cf. Prideaux, p. 282; cf. Schwerdt II, pp.297-298; cf. Tooley 508.
#8521$900.00
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 HOWITT, Samuel (circa 1756-1822)
[Coursing]
London: Published by Laurie and Whittle, 53 Fleet Street, circa 1791-1803. Aquatint. Printed on wove paper. This series was reissued in 1803. Therefore it is difficult to decipher whether this is the first publication or the later reissue, but the paper suggests that it is probably the later 1803 edition. In good condition with the exception of a small mended tear in the upper margin. Crease along bottom right corner of sheet. Mild surface scuffing on image. Trimmed within plate mark. Image size: 7 3/4 x 11 1/2 inches. Sheet size: 10 7/8 x 14 7/8 inches.
A charming hunting aquatint by the renowned English sporting artist Samuel Howitt.
Samuel Howitt, "genius, artist, sportsman," is regarded as one of England's most gifted sporting artists. His superior watercolors and aquatints depict dramatic racing and hunting scenes as well as an array of conventional and exotic animals. He was the brother-in-law of Thomas Rowlandson, and although he was largely self-taught in his profession, he belonged to the artistic circles of the day. Considered by some critics to be second only to Stubbs in the ranks of British animal painters, Howitt used a lightness of touch and fine draftsmanship that lends a delicacy to his images. They are truly compelling. His work is included in the Mellon Collection, which possesses no fewer than 160 of his watercolors, and many of his aquatints. This charming hunting scene is plate two in a series of six aquatints executed by Howitt in 1791. This is one of his earliest engravings and is a wonderful example of his accomplished technique.
Siltzer, The Story of British Sporting Prints p. 162; Judy Egerton & Dudley Snelgrove, The Paul Mellon Collection: British Sporting and Animal Drawings 1500-1850, pp. 49-55.
#13919$550.00
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 HOWITT, Samuel (circa 1756-1822)
The Ganges Breaking its Banks, with Fishing, & c./ Le Ganges se Debordante; avec des Pecheurs, & c.
London: Edward Orme, 1807-1808. Aquatint engraving, coloured by hand, by H. Merke, after Howitt from an original sketch by Williamson. In excellent condition with the exception of some paper loss on the bottom right corner of sheet. Image size: 13 1/8 x 17 5/8 inches. Plate mark: 15 1/8 x 19 inches. Sheet size: 15 7/8 x 20 1/8 inches.
A fine image from Williamson's 'Oriental Field Sports': 'the most beautiful [work] on Indian Sport in existence' (Schwerdt) on Field sports
One of the finest and most detailed works on Indian Sport and wildlife, these images exemplify not only the native flora and fauna, but capture the excitement of the hunt and provide "a faithful representation of [the] picturesque country, together with the manners and customs of both the native and European inhabitants". (Prideaux)
Captain Thomas Williamson, a British officer of the East India Company, served in Bengal for 20 years. An accomplished amateur artist, his sketches were then worked up into drawings by Samuel Howitt and engraved for publication.
Samuel Howitt, artist and sportsman, was largely self-taught in his profession, though he belonged to the artistic circles of the day. He is considered by some critics to be second only to Stubbs in the ranks of British animal painters. He is well-known for his sporting scenes of racing and hunting and for scenes depicting both conventional and exotic animals like the rhinoceros, tiger, leopard, bear, deer and buffalo.
Cf. Abbey Travel 427; cf. Mellon 88; cf. Nissen BBI 4416; cf. Prideaux, p. 282; cf. Schwerdt II, pp.297-298; cf. Tooley 508.
#16516$1,200.00
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 HUCK, After J. G.
The Oyster Girl; The Grape Girl
London: J. Young, 1 April 1786. Mezzotints, by John Young, both tipped onto 19th-century wove paper mounts. Image size (including text): 13 3/4 x 10 3/4 inches approx. Sheet size: 17 3/8 x 12 1/2; 16 1/8 x 11 5/8 inches.
A pair of very fine mezzotints by one of the greatest engravers of his day.
This pair of beautifully executed character studies were published by Young in 1786, the year following his issue of a pair of very similar prints after Johan Zoffany, titled The Water-cress Girl and The Flower Girl. As a group they can all be seen as precursors of Francis Wheatley's celebrated series The Cries of London.
#6512$2,750.00
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 HUET, After Nicolas (1770-1830)
Le Gnou, une Chêvre et son petit près leur cabanne au Jardin des Plantes [No. 10]; Hutte de la Biche et son faon, au Jardin des Plantes [No. 7]; Belieret Brebis d'Afrique près leur cabanne au Jardin des Plantes [No. 4]; La Vallée Suisse, au Jardin des Plantes [No. 8]; L'Autriche près sa cabane au Jardin des Plantes [No. 3]; Chameau et Dromadaire près leur hutte au Jardin des Plantes [No. 6]
Paris: Basset, [circa 1808]. Engravings, printed in colours and finished by hand, by Lambert freres (occasional expertly repaired tears). Image size (including text): 10 1/8 x 14 inches approx. Sheet size: 15 7/8 x 20 1/2 inches approx.
Six plates from a very rare early series of images of an early 19th-century zoological garden. We have seen no other plates from this series.
By the middle of the 19th century the "Jardin des Plantes" also included a "Menagerie", an aviary and various enclosures in the part of the garden known as the "Vallee Suisse". This series recalls the world of the menagerie as it was known to Lear (sketching his parrots at London Zoo) or Lord Derby (welcoming Lear to Knowsley, on a commission to capture the beauty of his private menagerie). The zoo then was a living cabinet of curiosities with little effort made to do anything more than educate on the most superficial level. They nevertheless metamorphosed into institutions with an important role to play in animal conservation, so the early "menageries", as depicted in the present work, in a real sense mark the beginning of a more understanding, and humane, attitude towards animals which is the general hallmark of our zoos today.
#5270$9,000.00
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 HUET II, After Jean-Baptiste (b.1772)
La Corbeille de Fruits
Paris: Tessari et Co, [circa 1800]. Engravings, printed in colours and finished by hand, by Duthé, after 'Huet fils'. Plate mark: 12 1/8 x 14 1/2 inches. Sheet size: 16 1/2 x 21 3/4 inches.
A beautifully composed image recalling the bounty that the Fall brings, after an original by one of the three sons of Jean-Baptistse Huet
The beautifully observed wicker-work basket bulges with the fruits of the harvest, their weight has made the container unsteady and some of the contents have spilled out onto the slate shelf on which this veritable cornucopia rests. A snail and a hornet investigate: apples, pears, grapes, chestnuts, cherries, tomatoes, white currents and a pomegranate are all available.
This highly decorative image is from an original by 'Huet fils' (i.e. 'Huet son'). This narrows the field to three artists, all members of the highly talented French family whose members were active between about 1740 and 1830. Jean-Baptiste Huet (1745-1811) had three sons, all of whom are possible candidates: Nicolas Huet II, born in 1770, who flourished as an artist between about 1788 and 1827, François Huet, born 1772 and died in London in 1813 and finally, Jean-Baptiste Huet II who was born in Paris on 29 December 1772. Because of the use of 'fils' Jean-Baptiste the second is the most likely candidate. Until his father's death the easiest way to differentiate the two artists of the same name would have been to call the younger 'the son'.
#12880$2,750.00
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 HUGGINS, After William John (1781-1845)
H.C.S. Macqueen off the Start, 26th. January 1832
London: Published by W.J. Huggins, 1834. Colour-printed aquatint, finished by hand, by C. Rosenberg after Huggins. Sheet size: 16 x 21 inches.
A fine image of an East-Indiaman making sail.
William Huggins served for several years at sea in the service of the East India Compnay, and on his return to London was regularly employed to paint carefully detailed pictures of the company's ships. The present image is from this body of work and shows the Honourable Company Ship Macqueen making sail in crowded waters (12 other vessels are visible)
#3528$3,500.00
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 HUGGINS, After William John (1781-1845)
The Right Honourable Lord Yarborough's yacht, The Falcon of 351 tons
London: Published by W.J. Huggins, 10 January 1835. Colour-printed aquatint, finished by hand, by C. Rosenberg after Huggins. Sheet size: 16 1/2 x 23 3/4 inches.
A fine image of Lord Yarborough's `new' yacht
William Huggins, one of the best English marine artists of the 19th century, served for several years at sea in the service of the East India Company. On his return to London used his intimate knowledge of sailing vessels to gain regular employment painting carefully detailed ship portraits. The present image falls into this category and represents the yacht that Lord Yarborough (1781-1846) had built after he was elected the first commodore of the Royal Yacht Squadron in 1824.
Huggins' painting was very ably aquatinted by Charles Rosenberg, who translated several Huggins ship paintings to print. This is a superb example of 19th century marine printmaking.
#3536$3,500.00 | | | |
