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browsing 4347 items
displaying items 2501 to 2600
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 LE GRAND, Pierre François
Grouppe de Fruits
Paris: chez Le Grand, circa 1810. Lithograph. Very good condition apart from some overall light soiling, several skillfully repaired small tears in the left margin, and a few mild surface abrasions in the top and bottom margins. Image size (including text): 18 1/2 x 10 1/2 inches. Sheet size: 20 3/4 x 14 1/8 inches.
A beautifully rendered still-life composition of a large pear, grapes, and a variety of berries.
Pierre François Legrand was a prolific botanical engraver, who executed plates after prominent artists including Cipriani, Le Roy, and Angelica Kauffman. He also contributed numerous images to several notable botanical publications such as Gerard Van Spaëndonck's rare folio Fleurs dessinées d'apres nature... (1800), Antoine Poiteau's Histoire Naturelle Des Orangers (1818-22), and Pierre-Joseph Redouté's Jardin de la Malmaison (1803).
cf. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, vol. 8, p. 451; Cf. Thieme/Becker, Allgemeines Lexicon der bilden Künstler, vol. 21/22, p. 573;
#14333 $1,750.00  
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 LE ROUGE, Georges Louis (1712-90)
[North and South Carolina] Nouvelle Carte des Côtes des Carolines, Septentrionales et Meridionales de Cap Fear a sud Edisto. Levees et Sondees par N. Pocock en 1770.
Paris: Chez le Rouge, Rue des Grands Augustins, 1777. Copper-engraved sea chart, with wide margins, in excellent condition. 20 1/2 x 28 7/8 inches.
A very rare nautical chart of the Carolina coast, and one of the most important maps relating to France's participation in the Revolutionary War.
This very finely engraved sea chart was produced by the prominent Parisian cartographer Georges Louis Le Rouge for use by the French Navy, which entered the Revolutionary War the year after this map was printed. It embraces the coast of the Carolinas from Cape Fear, North Carolina, all the way down to South Edisto Island in South Carolina. The map also depicts the pictorial outlines of the key ports of Charleston and Georgetown. This chart was included in Le Rouge's Atlas Amériquain Septentrionale, and as the title suggests was based on manuscript charts produced by Nathaniel Pocock. Curiously, the identity of Pocock or the location of any of his charts has remained an enigma for historians. Nevertheless, the map features relatively advanced hydrographic information, including depth soundings and bearing lines to major landmarks and lighthouses. The chart features seven very attractive mariner's views of the coast, and the sea is embellished with two frigates under full sail and is traversed by rhumb lines that radiate from a compass rose. Examples of this chart would have been used at sea by French officers, as their navy engaged British ships on numerous occasions off of the Carolina coast.
Phillips, A List of Geographical Atlases in the Library of Congress, 1210, map 13
#19690$5,250.00
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 LE ROUGE, Georges Louis (1712-90)
[Québec City] Environs de Québec. Bloque, par les Americains du 8, Décembre 1775, au 13 Mai 1776.
Paris: Chez Le Rouge rue des grands Augustins, 1777. Copper-engraved map, trimmed to plate mark on upper and lower margins, otherwise in excellent condition. Sheet size: 9 7/8 x 15 3/4 inches.
A very fine plan depicting the American siege of Québec City during the Revolutionary War
This finely engraved map of Québec City depicts the American siege of the Canadian capital during the Revolutionary War, which lasted from December 8th, 1775 to May 13th, 1776. The Continental Congress hoped that the French Canadian inhabitants of Québec would support the American cause, and rid themselves of their British rulers, who had conquered Canada from France during the Seven Years War. George Washington dispatched a force under Maj. General Richard Montgomery and Benedict Arnold. They easily captured Montréal and on December 8th, 1775 arrived to besiege the heavily fortified city of Québec. Although protected by the river and high cliffs, the British remembered that the city was not impregnable, and were now in the ironic position of defending the very city that they had famously taken in 1759.
Montgomery confronted the British troops under Sir Guy Carleton on the Plains of Abraham just outside of the city on December 31st, 1775. During a blinding snowstorm the British won the battle and Montgomery was killed. The site of the battle and the various key attributes of the city are identified by the index that appears on the map. The Americans were forced to retreat to Lévis, a position across the river, where they were relegated to firing usually harmless shells across the water towards Québec's Lower Town. While the city was no longer in danger of falling, Carleton had to wait until the St. Lawrence River thawed in the spring for arrival of re-enforcements, which effectively ended the invasion.
This map appeared in Le Rouge's Atlas Amériquain septentrionale, one of the finest and most important French publications relating to the Revolutionary War. It is directly based on William Faden's map of the Siege of Quebec, printed the previous year.
Kershaw, Early Printed Maps of Canada IV, 1042, pl. 801; Sellers & Van Ee, Maps & Charts of North America & West Indies, 610
#19703$2,500.00
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 LEAR, Edward (1812-1888)
Platycercus pacificus. Pacific Parrakeet
[London: E. Lear, 1830-1832]. Hand-coloured lithograph by Lear, printed by Charles Hullmandel. Wove paper. Sheet size: 19 7/8 x 13 3/4 inches.
A fine example of the work of "perhaps the greatest draughtsman of birds in European culture." (Philip Hofer) This image is from Lear's masterpiece: "Illustrations of the Family Psittacidae, or Parrots," a work that combines "the most exacting scientific naturalism with a masterly sense of design and intuitive sympathy for animal intelligence." (Susan Hayman, "Edward Lear's Birds", 1980)
This excellent image is from Lear's first published work, limited to 175 copies, and the first English ornithological work published in folio format with lithographic plates. Lear began work on this monograph when he was only eighteen and carefully supervised every step of the publication. He made many of his original sketches from the live specimens at the Regent's Park Zoological Gardens, and then prepared numerous preliminary lithographs. Many of these appear not to have satisfied him, for they were never published. Christine Jackson describes Lear's painstaking approach to his work: "Lear worked in great detail, outlining every feather and filling in the details with fine lines. This scientific accuracy extended to every part of the bird, from the beak to the claws...The colouring was done with opaque watercolours with touches of egg-white for parts of the feathers requiring sheen, and for the eye, to add that life-like touch." (Bird Illustrators: Some Artists in Early Lithography, London: 1975)
Cf. Anker 283; cf. Fine Bird Books (1990) p. 115; cf. Nissen IVB 536; cf. Ray The Illustrator and the Book 90; Zimmer, pp. 380-381.
#5545$3,750.00
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 LEAR, Edward (1812-1888)
Rough-legged Buzzard. Buteo Lagopus
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition apart from some overall light soiling. Sheet size: 21 3/8 x 14 3/8 inches.
A beautiful image from John Gould's 'The Birds of Europe': a work which, according to Hyman, 'included some of the most remarkable bird drawings ever made'.
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, whilst the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.'
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: 'They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm'. (Hyman)
Cf. Anker 169; cf.Balis 101; cf.Fine Bird Books (1990), p. 102; cf.Nissen IVB 371; cf.Sauer 2; cf.Zimmer p. 251.
#9255$2,500.00
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 LEAR, Edward (1812-1888)
Marsh Harrier. Circus rufus
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by E. Lear, printed by C. Hullmandel. Very good condition. Sheet size: 14 1/4 x 21 1/8 inches.
A beautiful image from John Gould's 'The Birds of Europe': a work which, according to Hyman, 'included some of the most remarkable bird drawings ever made'.
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, whilst the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.'
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: 'They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm'. (Hyman)
Cf. Anker 169; cf.Balis 101; cf.Fine Bird Books (1990), p. 102; cf.Nissen IVB 371; cf.Sauer 2; cf.Zimmer p. 251.
#9257$1,500.00
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 LEAR, Edward (1812-1888)
Short-Toed Eagle. Circaeëtus brachydactylus
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition apart from some overall light soiling. Sheet size: 21 5/8 x 14 3/8 inches.
A beautiful image from John Gould's 'The Birds of Europe': a work which, according to Hyman, 'included some of the most remarkable bird drawings ever made'.
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, whilst the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.'
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: 'They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm'. (Hyman)
Cf. Anker 169; cf.Balis 101; cf.Fine Bird Books (1990), p. 102; cf.Nissen IVB 371; cf.Sauer 2; cf.Zimmer p. 251.
#9258$2,750.00
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 LEAR, Edward (1812-1888)
Freckled Bittern. Botaurus lentiginosus
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by E. Lear, printed by C. Hullmandel. Very good condition apart from some overall light soiling, minor foxing, a 1" tear in the top margin. Sheet size: 14 1/2 x 21 1/4 inches.
A beautiful image from John Gould's 'The Birds of Europe': a work which, according to Hyman, 'included some of the most remarkable bird drawings ever made'.
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, whilst the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.'
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: 'They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm'. (Hyman)
Cf. Anker 169; cf.Balis 101; cf.Fine Bird Books (1990), p. 102; cf.Nissen IVB 371; cf.Sauer 2; cf.Zimmer p. 251.
#9260$1,500.00
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 LEAR, Edward (1812-1888)
Rock Ptarmigan. Lagopus rupestris
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition apart from some overall light soiling. Sheet size: 14 1/2 x 21 1/8 inches.
A beautiful image from John Gould's 'The Birds of Europe': a work which, according to Hyman, 'included some of the most remarkable bird drawings ever made'.
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, whilst the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.'
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: 'They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm'. (Hyman)
Cf. Anker 169; cf.Balis 101; cf.Fine Bird Books (1990), p. 102; cf.Nissen IVB 371; cf.Sauer 2; cf.Zimmer p. 251.
#9264$1,200.00
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 LEAR, Edward (1812-1888)
Great Bustard. Otis tarda
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition apart from some overall light soiling, minor foxing. Sheet size: 14 3/8 x 21 3/8 inches.
A beautiful image from John Gould's 'The Birds of Europe': a work which, according to Hyman, 'included some of the most remarkable bird drawings ever made'.
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, whilst the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.'
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: 'They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm'. (Hyman)
Cf. Anker 169; cf.Balis 101; cf.Fine Bird Books (1990), p. 102; cf.Nissen IVB 371; cf.Sauer 2; cf.Zimmer p. 251.
#9284$1,500.00
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 LEAR, Edward (1812-1888)
Capercailzie or Cock of the Wood. Tetrao Urogallus
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition apart from some overall light soiling. Sheet size: 14 1/4 x 21 1/8 inches.
A beautiful image from John Gould's 'The Birds of Europe': a work which, according to Hyman, 'included some of the most remarkable bird drawings ever made'.
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, whilst the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.'
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: 'They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm'. (Hyman)
Cf. Anker 169; cf.Balis 101; cf.Fine Bird Books (1990), p. 102; cf.Nissen IVB 371; cf.Sauer 2; cf.Zimmer p. 251.
#9287$2,250.00
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 LEAR, Edward (1812-1888)
Kite. Milvus vulagaris
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by E. Lear, printed by C. Hullmandel. Very good condition apart from some very minor foxing. Sheet size: 21 5/8 x 14 3/8 inches. 1 7/8" Curly Maple frame, with dark amber finish. Frame size: 30 1/8 x 22 3/4 inches.
A beautiful image from John Gould's "The Birds of Europe": a work which, according to Hyman, "included some of the most remarkable bird drawings ever made."
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya Mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, while the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: "It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency."
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: "They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm." (Hyman)
Cf. Anker 169; cf. Balis, 101; cf. Fine Bird Books (1990), p. 102; cf. Nissen, IVB, 371; cf. Sauer, 2; cf. Zimmer, p. 251.
#13557$2,950.00
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 LEAR, Edward (1812-1888)
Black Kite. Milvus ater
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition apart from some minor foxing. Sheet size: 21 5/8 x 14 3/8 inches. 1 7/8" Curly Maple frame, with dark amber finish. Frame size: 30 1/8 x 22 3/4 inches.
A beautiful image from John Gould's "The Birds of Europe": a work which, according to Hyman, "included some of the most remarkable bird drawings ever made."
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya Mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, while the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, The Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency."
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: "They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-consious clumsiness and his unselfconscious charm." (Hyman)
Cf. Anker, 169; cf.Balis, 101; cf.Fine Bird Books (1990), p. 102; cf. Nissen, IVB, 371; cf. Sauer, 2; cf. Zimmer, p. 251.
#13558$2,950.00
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 LEAR, Edward (1812-1888)
Honey Buzzard. Pernis apivorus
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by E. Lear, printed by C. Hullmandel. Very good condition apart from some light foxing. Sheet size: 21 5/8 x 14 3/8 inches. 1 7/8" Curly Maple frame, with dark amber finish. Frame size: 30 1/8 x 22 3/4 inches.
A beautiful image from John Gould's "The Birds of Europe": a work which, according to Hyman, "included some of the most remarkable bird drawings ever made."
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya Mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, while the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: "It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency."
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: "They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-consious clumsiness and his unselfconscious charm." (Hyman)
Cf. Anker 169; cf. Balis, 101; cf. Fine Bird Books (1990), p. 102; cf. Nissen, IVB, 371; cf. Sauer, 2; cf. Zimmer, p. 251.
#13559$1,650.00
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 LEAR, Edward (1812-1888)
Booted Eagle. Aquila pennata
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition. Sheet size: 21 5/8 x 14 3/8 inches. 1 7/8" Curly Maple frame, with dark amber finish. Frame size: 30 1/8 x 22 3/4 inches.
A beautiful image from John Gould's "The Birds of Europe": a work which, according to Hyman, "included some of the most remarkable bird drawings ever made."
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, while the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: "It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency."
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: "They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-consious clumsiness and his unselfconscious charm." (Hyman)
Cf. Anker, 169; cf. Balis, 101; cf. Fine Bird Books (1990), p. 102; cf. Nissen, IVB, 371; cf. Sauer, 2; cf. Zimmer, p. 251.
#13560$1,950.00
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 LEAR, Edward (1812-1888)
Imperial Eagle. Aquila Imperialis
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by E. Lear, printed by C. Hullmandel. Very good condition. Sheet size: 21 5/8 x 14 3/8 inches. 1 7/8" Curly Maple frame, with dark amber finish. Frame size: 30 1/8 x 22 3/4 inches.
A beautiful image from John Gould's "The Birds of Europe": a work which, according to Hyman, "included some of the most remarkable bird drawings ever made."
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya Mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, while the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: "It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency."
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: "They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm." (Hyman)
Cf. Anker, 169; cf. Balis, 101; cf. Fine Bird Books (1990), p. 102; cf. Nissen, IVB, 371; cf. Sauer, 2; cf. Zimmer, p. 251.
#13563$1,950.00
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 LEDOULX, Pierre- François (1730-1807)
Xeranthemum annuum; Amaranthus cruentus and Tragopogon porrifolius signed (lower right) and inscribed in brown ink (lower margin) '1. Amaranthoides. 2. Xeranthemum annuum élernuelles (sic.), ou perpétuelles annùelles. dites immortelles raisonnées. 3 Amaranthoides indica 4 autre espèce de perpetuelle 5 amaranthoides de diverses Couleur 6 elernuelles [sic.], dites Strooblommen.', numbered '1'-'6' beside each image.
Water-colour and gouache. Sheet size: 23½ x 18½ inches. Framed and glazed. Provenance: Baron Joseph van Huerne (gift to his grandson) - Joseph de Pelichy - Eyre & Hobhouse (exhibition: The Discovery of Nature, London 1983, item 59).
A finely balanced and very accomplished work, the work of the Flemish botanical artist Ledoulx and taken from a compilation of drawings made by Baron Joseph van Huerne in Belgium between about 1790 and 1820. This compilation certainly included 135 (and probably about 170) original watercolour and gouache drawings bound in four albums, each with a manuscript title page 'Collection du Regne Vegetal, Arbres Forestiers et Fruitiers, leurs Fruits. &c' He employed the talents of at least five different artists. A secondary inscription notes the presentation of the albums 'Donné par son grand-Père mons. J. van Huerne à Joseph de Pelichy le 9 Avril 1831'. The albums subsequent history is unclear, but currently Mrs Paul Mellon's Oak Spring Garden Library has one volume [Oak Spring Sylva 4] and the Royal Horticultural Society in London have two volumes. The fourth volume, from which the present drawing comes, was broken up and dispersed some time before 1983, and the current locations of the other individual drawings are not known, but a selection were exhibited by Eyre & Hobhouse in London in 1983.
#4680$2,750.00
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 LEECH, After John (1817-1864)
'The Mermaid's Hunt' [from the artist's 'Sketches in Oil' series]
London: Thos. Agnew & Sons, 2 January 1865. Chromolithograph, on original mount bearing lithographed facsimile manuscript signature and title. Sheet size: 15 5/8 x 23 5/8 inches.
A delightful image of fashionable young ladies sketching, fossil hunting, riding and examining rock pools on the beach.
An unusually large scale work from the famous illustrator of Dickens, Surtees, Thackeray and others. In 1862 John Leech 'essayed a series of so-called "sketches in oil," which were exhibited at the Egyptian Hall, Piccadilly, in June and the following months. These consisted of copies of a selection of his Punch drawings, which had been ingeniously enlarged, transferred to canvas, and coloured lightly in oils. As the artist advanced with this process he considerably improved it in detail, and his exhibition was a great success (it brought him nearly 5,000 pounds), to which a friendly notice by Thackeray (Times, 21 June) not a little contributed.... His gift for seizing fugitive expression and for mentally registering transitory situation was extraordinary. Long practice had made it unerring in its way, and Leech perhaps wisely concentrated his attention upon these points. Yet he possessed, like Keene, a marvellous faculty for landscape, and in many cases the backgrounds to his sketches are in themselves of striking beauty. No words define his general position in art better than Mr. Ruskin's: His work contains the finest definition and natural history of the classes of our society; the kindest and subtlest analysis of its foibles, the tenderest flattery of its pretty and well-bred ways, with which the modesty of subservient genius ever immortalised or amused careless masters. (DNB).
#6277$650.00
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 LEECH, After John (1817-1864)
The female blondin outdone! Grand morning performance on the narrow plank by the darling xxxx
London: Thos. Agnew & Sons, no date but 1865-1866]. Chromolithograph, on original mount. Sheet size: 16 7/8 x 24 3/4 inches.
A delightful image of three fashionable young ladies and their younger siblings, all enjoying the benefits of a day beside the sea.
An unusually large scale work from the famous illustrator of Dickens, Surtees, Thackeray and others. In 1862 John Leech 'essayed a series of so-called "sketches in oil," which were exhibited at the Egyptian Hall, Piccadilly, in June and the following months. These consisted of copies of a selection of his Punch drawings, which had been ingeniously enlarged, transferred to canvas, and coloured lightly in oils. As the artist advanced with this process he considerably improved it in detail, and his exhibition was a great success (it brought him nearly 5,000 pounds), to which a friendly notice by Thackeray (Times, 21 June) not a little contributed.... His gift for seizing fugitive expression and for mentally registering transitory situation was extraordinary. Long practice had made it unerring in its way, and Leech perhaps wisely concentrated his attention upon these points. Yet he possessed, like Keene, a marvellous faculty for landscape, and in many cases the backgrounds to his sketches are in themselves of striking beauty. No words define his general position in art better than Mr. Ruskin's: His work contains the finest definition and natural history of the classes of our society; the kindest and subtlest analysis of its foibles, the tenderest flattery of its pretty and well-bred ways, with which the modesty of subservient genius ever immortalised or amused careless masters. (DNB).
#6278$650.00
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 LEEDS, Lewis W.
A Treatise on Ventilation: Comprising Seven Lectures Delivered before the Franklin Institute, Philadelphia, 1866-68. Showing the Great Want of Improved Methods of Ventilation in our Buildings; Giving the Chemical and Physiological process of Respiration; Comparing the Effects of the Various Methods of Heating and Lighting upon the Ventilation
New York: John Wiley & Son Publishers, 1871. 8vo (9 x 5 3/4 inches). 12 lithographic plates, printed in four colours, 41 text illustrations. Original green grained cloth, covers with blocked border in blind, lettered in gilt at center of upper cover, spine lettered in gilt.
Second expanded edition: an attractive copy of this important work which received professional praise at the time of publication for its emphasis on the importance of ventilation and fresh air
An important work, written by a man on a mission, illustrated with a charming group of 12 lithographic plates printed in four colours and demonstrating the benefits of proper ventilation, as against the evils of poor air circulation. The first edition was published in New York in 1869 under the title Lectures on Ventilation. It was a much slighter work, containing just 60 pages and only 2 plates. The present second edition with 226 pages and 12 plates is almost a separate work. "So great has been the change, that, in revising these Lectures [that were included in the first edition] and adding the Second Course for publication, it seems scarcely possible that two or three short years only could have passed since the general indifference and apathy, as therein expressed, should have existed. But I remember well it seemed like a pall, a dead weight upon me, that I could not arouse or shake off. To be sure, that was in Philadelphia, the slowest place for adopting ideas in the country" (preface to the second edition).
"Lewis Leeds, active in New York and Philadelphia, designed steam-heating apparatus, working with Calvert Vaux from 1861-64. During the Civil War, Leeds served as health inspector of the Union field hospitals, and after was hired to design mechanical heating and ventilation systems for several government buildings, including the House of Representatives, the Treasury Building, and military hospitals" (Townsend).
Gavin Townsend, Airborne Toxins and the American House, 1865-1895
#20232$500.00
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 LEHMAN, Geo.
[Philadelphia] The Great Elm Tree of Shackamaxon (now Kensington) Under which William Penn concluded his Treaty - with the Indians in 1682 it fell during a storm in 1810, This block of marble was placed by the Penn Society AD 1827 to mark the scite [sic] of the Elm Tree and Treaty Ground of William Penn & the Indian Natives - in 1682 & bears the inscriptions. "Unbroken Faith." "By Deeds of Peace"
circa 1829]. Hand-coloured aquatint, painted and engraved by Lehman. Very good condition with the exception of some minor soiling in the margins, a very slight loss at the upper left corner. Image size (including text): 14 1/8 x 18 1/4 inches. Sheet size: 16 1/8 x 21 inches.
The "Treaty Elm," where Native Americans met with William Penn is one of the quintessential American images of Colonial origins, a relic of the birth of the Commonwealth.
The date of this aquatint is uncertain, possibly as early as 1829. It presents a familiar view of the city from under the legendary tree where Penn is thought to have met with members of various Indian tribes in 1682 (as sketched by Benjamin West sketched prior to his departure for Italy in 1760). A monument in Penns Treaty Park in Philadelphia marks the spot where the great tree stood until it was toppled by a storm in 1810.
George Lehman, born in Lancaster, Pennsylvania was an accomplished landscape artist, aquatint engraver and lithographer. His lithographic firm of Lehman and Duval produced numerous remarkable works, including a fine set of views of Philadelphia. After the partnership was dissolved in 1837, Lehman continued to work as a designer for other engravers, and produced aquatint engravings on his own. (Fowble)
Fowble, Two Centuries of Prints in America, 1680-1880, 258
#15049$3,850.00
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 LEIGHTON, After Nicholas Winfield Scott (1849-1898)
Captain Lewis
Published by E. F. Dunbar, 1882. Colour-printed lithograph. Very good condition apart from a few mild surface abrasions, a small loss and mild crease at the top of the image. Sheet size: 10 5/8 x 14 3/4 inches.
A pupil of Harrison Bird Brown, the American artist Nicholas Winfield Scott Leighton was initially trained as a landscape painter but is primarily known for his images of animals, particularly thoroughbred racing horses. He funded his artistic education in Portland, Maine by rearing and trading horses, a job which gave him an intimate knowledge of equine anatomy that later manifested itself in his paintings. Leighton eventually settled in Boston, where he established a studio and continued to execute equestrian paintings, many of which were published as prints by Currier & Ives. During the 1880s, he exhibited his work at the prestigious National Academy of Design.
#14101$600.00
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 LEIGHTON, After Nicholas Winfield Scott (1849-1898)
[Brown Horse in Field]
Published by E. F. Dunbar, 1882. Colour-printed lithograph. Very good condition. Sheet size: 10 3/8 x 13 3/8 inches.
A pupil of Harrison Bird Brown, the American artist Nicholas Winfield Scott Leighton was initially trained as a landscape painter but is primarily known for his images of animals, particularly thoroughbred racing horses. He funded his artistic education in Portland, Maine by rearing and trading horses, a job which gave him an intimate knowledge of equine anatomy that later manifested itself in his paintings. Leighton eventually settled in Boston, where he established a studio and continued to execute equestrian paintings, many of which were published as prints by Currier & Ives. During the 1880s, he exhibited his work at the prestigious National Academy of Design.
#14102$600.00
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 LEITNER, Quirin von (1834-1893)
Die Waffensammlung des Österreichischen Kaiserhauses im K.K. Artillerie-Arsenal-Museum in Wien
Vienna: verlag von H. Martin, 1866-70. Folio (20 3/4 x 14 inches). Title and text in red and black. Chromolithographic frontispiece, and 68 lithographic plates (12 chromolithographs, 28 tinted lithographs, 28 single colour lithographs printed on india paper mounted) after J.G. Fahrnbauer, C. Poschinger, J. Schönberg, Schuhmann and J. Wopalensky. Contemporary green morocco gilt, covers elaborately panelled in gilt with fillets, dog-tooth and other decorative rolls, with centrally-placed royal coronet, with 'Arthur / 1. May. 1872' beneath, spine in six compartments with raised bands, lettered in the second and dated at the foot of the spine, the others with repeat decoration of panelling surrounding a large central tool, gilt turn-ins, gilt edges, marbled endpapers. Provenance: His Royal Highness The Prince Arthur, Duke of Connaught and Strathearn (1850-1942, binding).
A very fine copy of this beautifully produced work: a birthday present to Queen Victoria's third son.
This lavish work records the highlights from the Austrian Royal collection of weapons and armour, then housed in the royal 'Artillerie-Arsenal-Museum' in Vienna. The plates are of the highest quality, and are bound in a strictly contemporary binding of similar quality. The provenance of this copy is particularly interesting. It was given as a 22nd-birthday present to H.R.H. The Prince Arthur (later The Duke of Connaught,) possibly by his eldest sister Victoria, the German Crown Princess, whom he visited in 1872. The subject of the book was particularly appropriate at the time, as Prince Arthur had embarked on a career as a soldier in 1866, and after a long and distinguished career he achieved the rank of Field Marshall in June 1902. In the area of public service he fulfilled a number of important roles, culminating in his term as Governor General of Canada from 1911 to 1916.
OCLC 23575861 & 39506859
#19038$5,750.00
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 LEOPOLD, Joseph Friederich (1668-1726)
Christina Ewartina, Polonorum Regina, Saxon : Duc : et Elect: &c. [Christina Ewartina, Queen of Poland, Duchess and Elector of Saxony]
Augsburg: Published by Martin Engelbrecht, circa 1726, issued c. 1745. Engraving with thick early colour with gold highlights. Printed on laid paper. In excellent condition with the exception of some minor foxing in the margins. Image size: 10 1/8 x 7 1/8 inches. Sheet size: 14 1/8 x 8 3/4 inches.
A lovely portrait, with stunning early colour, of the Queen of Poland, Christina Ewartina, by the celebrated Augsburg engraver Martin Engelbrecht.
Christiane Eberhardine, called here Queen of Poland, was the wife of Frederick Augustus of Saxony, who became King of Poland in 1697 as Augustus II. The law of Poland required that its King be Roman Catholic, and Augustus promptly converted, Christiane however was an ardent Lutheran and refused. She left her extremely promiscuous husband (who sired hundreds of illegitimate children) and lived at a pleasant castle raising her son until she died in 1727. Upon her death, Bach composed a funeral cantata.
Joseph Friedrich Leopold was an Augsburg engraver, who made this print of the popular Queen of Saxony while she was still alive (as he pre-deceased her). The hadsome Queen sits before an open view of snowcapped mountains. On a table beside her is, perhaps, the crown of Poland she put aside in favor of her faith.
#15089$750.00
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 LEVACHEZ, Charles Francois Gabriel after Louis Joseph LEFEVRE
[Napoleon]
Colour printed aquatint. Registration marks on top and bottom margins. Printed on wove paper. In excellent condition. Image size: 21 15/16 x 21 1/2 inches. Plate mark: 25 1/8 x 17 3/8 inches. Sheet size: 25 3/4 x 18 1/2 inches.
A stunning colour printed aquatint of Napoleon at the height of his power.
Napoléon Bonaparte famously crowned himself Emperor Napoléon I in Notre Dame on 2 December 1804. This monumental event spurred a visual campaign, which sought to establish an Imperial image of the Emperor as the ordained leader of France. Paintings and prints depicting the Emperor in his coronation robes appeared all over Paris and throughout the provinces. This resolute campaign, to disseminate the Imperial image, continued throughout Napoleon's reign depicting his conquests and solidifying him as a visual icon. This stunningly printed aquatint by Levachez is a lucid example of this visual tradition. In this simple image Napoleon is depicted as both powerful and resolute the quintessential politician and the gifted soldier.
Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs
#12816$1,750.00
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 [LEWIS & CLARK Expedition]. - Thomas JEFFERSON (1743-1826)
Message from the President of the United States, Communicating Discoveries Made in Exploring the Missouri, Red River and Washita, by Captains Lewis and Clark, Doctor Sibley, and Mr. Dunbar; with a Statistical Account of the Countries Adjacent. February 19, 1806. Printed by order of the Senate
Washington: A. & G. Way, 1806. Octavo (9 1/4 x 6 inches). Uncut. 1 folding engraved map ("Map of the Washita River in Louisiana") loosely inserted, 2 letterpress folding tables. (Expert restoration to map, mostly to the blank margins, but with one small area where the engraved border has been supplied in ink facsimile). Stitched (as issued), modern light brown cloth chemise, all within modern dark brown morocco-backed light brown cloth slipcase. Provenance: Congressman William Czar Bradley (1782-1867, of Vermont, contemporary signature on title).
Thomas Jefferson's report on the Lewis and Clark and Sibley-Dunbar expeditions, in original condition with the map: one of the great rarities of Western Americana cartography.
The first official publication to provide any detailed account of the Lewis and Clark expedition, and the first work to give any satisfactory account of the southwestern portion of the Louisiana Purchase. The first section consists of material transmitted to Jefferson by Lewis, giving information on their route, the Indians, trade, animals encountered, and the geography. Equally important are the accounts of the southern explorations. "Two letters by Dr. Sibley...one on the Indian tribes of Texas and the other an account of the Red River and the adjacent country, seem to be the first accounts of Texas in book form...Sibley gives a careful account of the language, characteristics, location, and population of the various Indian tribes in Texas, with some account of their relations with the Spanish and French. The account of Red River gives a good idea of the physical characteristics of the country" (Streeter). This is the Senate issue of the report, dated February 19, 1806
The present copy is one of the few complete copies extant containing the very rare Map of the Washita River in Louisiana...from the Hot Springs to the Confluence of the Red River with the Mississippi Laid down from the Journal and Survey of William Dunbar Esqr in the year 1804 by Nicholas King, which is almost invariably lacking. It illustrates the route of the expedition from the Mississippi River into east Texas, and is the first cartographical effort of any detail to show western Louisiana and northeast Texas. Dunbar was well known for his survey work in Louisiana during the late Spanish period and under the United States. Nicholas King, who had the map engraved, also executed the Zebulon Pike map of the upper Mississippi.
Graff 4406; Howes L319, "dd."; Sabin 40824; Shaw & Shoemaker 11633; Streeter Sale 290; Streeter Texas 1038; Wagner-Camp 5:1.
#19625$125,000.00
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 LEWIS, After James Otto (1799-1858)
The Little Crow / A Celebrated Sioux Chief/ Painted by J.O. Lewis at the Treaty of Prairie du Chien 1825
[Philadelphia: published by the author, 1835-36]. Lithograph, coloured by hand, after Lewis, printed by Lehman & Duval of Philadelphia. Wove paper. Sheet size: 17 3/4 x 11 5/8 inches.
An insightful portrait, from Lewis' "Aboriginal Portfolio", of Little Crow, a hereditary chief of the Saposia band of the Sioux people.
LITTLE CROW, 'or Chetan wakan mani (The Sacred Pigeon-hawk Which Comes Walking), was one of a dynasty among Sioux nations. His grandson was the celebrated Little Crow who would lead the Native people during the Minnesota breakout of 1862. Little Crow's village of Kaposia was on the east bank of the Mississippi below the mouth of the Minnesota River, where St. Paul now stands. Henry Schoolcraft, explorer and ethnologist, and Michigan Governor Lewis Cass, who visited it in 1820, described the village as consisting of twelve large lodges, housing about two hundred families. James Dory, Cass's secretary, recalled Little Crow as a man "with a great deal of fire in his eyes, which are black and piercing. His nose is prominent and has an aquiiline curve, his forehead falling a little from the facial angle...his whole countenance animated and expressive of a shrewd mind..." Schoolcraft thought him magnanimous. In his memoirs the ethnologist tells the story of how the Sioux chief had discovered a Chippewa robbing his traps. In the deep woods the penalty for this crime was death, but Little Crow handed the thief his traps and rifle. "I come to present you the trap, of which I see you stand in need," he said. "Take my gun also...and return to the land of your countrymen...linger not here, lest some of my young men should discover your footsteps." Little Crow came to Washington in 1824 as head of the Siou | | | |
