 |
|
|
|
browsing 4347 items
displaying items 2901 to 3000
| |
|
Results Page:
(total 44 pages)
| |
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Scolopendrium vulgare [Hart's Tongue] [Pl. XLII]
[Pl. XLII]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition. Sheet size: 21 1/2 x 14 1/2 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#10519 $350.00  
|
|
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Polystichum angulare subtripinnatum [Holly Fern]; P.angulare trippinatum [Holly Fern]; P.angulare proliferum [Holly Fern] [Pl. XIII]
[Pl. XIII]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition. Sheet size: 21 1/2 x 14 5/8 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#10522$750.00
|
|
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Osmunda regalis [Buckthorn Brake] [Pl. L]
[Pl. L]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition apart from a small tear and mild crease in the top left corner of the sheet. Sheet size: 21 1/2 x 14 1/2 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#10524$600.00
|
|
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Polystichum angulare [Holly Fern]; P.angulare hastulatum [Holly Fern]; P.angulare irregulare [Holly Fern]; P.angulare biserratum [Holly Fern]; P.angulare imbricatum [Holly Fern] [Pl. XII]
[Pl. XII]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition. Sheet size: 21 1/2 x 14 1/2 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#10526$750.00
|
|
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Lastrea cristata uliginosa [Marshy Crested Wood Fern] [Pl. XX]
[Pl. XX]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition. Sheet size: 21 1/2 x 14 5/8 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#10527$750.00
|
|
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Lastrea dilatata Chanteriae [Broad Prickly-toothed Buckler Fern] [Pl. XXIV]
[Pl. XXIV]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition. Sheet size: 21 1/2 x 14 1/2 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#10529$750.00
|
|
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Lastrea Filix-mas incisa [Male Crested Wood Fern] [Pl. XV]
[Pl. XV]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition. Sheet size: 21 1/2 x 14 5/8 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#10533$750.00
|
|
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Lastrea rigide [Buck Fern] [Pl. XVIII]
[Pl. XVIII]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition apart from two skillfully repaired small tears in the top margin. Sheet size: 21 1/2 x 14 5/8 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#10538$600.00
|
|
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Asplenium Adiantum - nigrum acutum [Black Spleenwort] [Pl. XXXVII]
[Pl. XXXVII]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition apart from some very minor soiling in the top margin. Sheet size: 21 1/2 x 14 3/8 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#10547$600.00
|
|
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Polypodium Robertianum [Limestone Oak Fern] [Pl. VI]
[Pl. VI]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition. Sheet size: 21 1/2 x 14 1/2 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#10554$600.00
|
|
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Polypodium vulgare cambricum [Brake Root]; P.vulgare crenatum [Brake Root] [Plate III]
[Plate III]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition. Sheet size: 21 1/2 x 14 1/2 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#17161$750.00
|
|
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Polypodium Dryopteris [Smooth Three-Branched Polypody, or Oak Fern] [Plate V]
[Plate V]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition. Sheet size: 21 1/2 x 14 1/2 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#17163$750.00
|
|
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Lastrea dilatata [Broad Prickly-toothed Buckler Fern] [Plate XXII]
[Plate XXII]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition. Sheet size: 21 1/2 x 14 1/2 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#17165$750.00
|
|
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Lastrea Filix-mas incisa [Male Crested Wood Fern] [Plate XV]
[Plate XV]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition. Sheet size: 21 1/2 x 14 5/8 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#17172$750.00
|
|
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Polystichum aculeatum [Hard Shield Fern]; P.aculeatum argutum [Hard Shield Fern]; P.aculeatum alatum [Hard Shield Fern] [Plate X]
[Plate X]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition. Sheet size: 21 1/2 x 14 5/8 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#17177$750.00
|
|
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Athyrium Filix-foemina ovatum [Lady Fern] [Plate XXXII]
[Plate XXXII]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition. Sheet size: 21 1/2 x 14 3/4 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#17179$750.00
|
|
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Lastrea Thelypteris [Marsh Fern] [Plate XXIX]
[Plate XXIX]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition apart from a 1/4" tear in the top margin. Sheet size: 21 1/2 x 14 1/2 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#17182$750.00
|
|
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Lastrea foenisecii [Hay-scented, or Concave Prickly-toothed Buckler Fern] [Plate XXVII]
[Plate XXVII]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition. Sheet size: 21 1/2 x 14 5/8 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#17184$750.00
|
|
|
|
|
|
|
|
|
 MOORE, Thomas (1821-1887)
Asplenium Ruta-muraria [XLI]
[XLI]. London: Bradbury & Evans, 1855 [-1856]. Colour nature-printed engraving. Very good condition. Sheet size: 21 5/8 x 14 1/2 inches.
A beautiful nature-printed plate from Moore's "The Ferns of Great Britain and Ireland".
Moore's important work on nature printing was one of the first of the genre printed in England. The beautifully executed plates were produced under the direction of Henry Bradbury, England's first nature printer, and are considered to be among the finest pieces of nature printing ever completed. The plates were produced "... by passing the plant, under pressure, between a plate of soft lead from which an electrotype could be made" (Blunt). As a result, they recorded the smallest details of flowers and the finest venations of leaves.
Bradbury, whose father was of the publishing house Bradbury & Evans, studied at the Imperial Printing Office in Vienna. His interest in printing extended to "... the production of bank notes and the security of paper money, on which he discoursed at the Royal Institute" (DNB) and to the history of printing. He had many ideas for lavish and extensive works, including nature-printed books on fungi and trees and a work on the graphic arts of the nineteenth century, but none of these were ever realised. He died in 1860 at the age of twenty-nine.
Cf. Nissen BBI 1400; cf. Stafleu and Cowan TL2 6275; cf. DeBelder 237; cf. Cave and Wakeman 25; cf. Fischer 89; cf. Hofer Bequest 74n
#17415$750.00
|
|
|
|
|
|
|
|
|
 MORAN, Thomas (1837-1926)
Grand Canyon of Arizona - From Hermit Rim Road
New York: Printed by American Lithographic Co. and Published by Atchison, Topeka and Santa Fe Railway System, 1913. Colour-printed lithograph. Sheet size: 27 x 35 inches.
This majestic print is the largest and most dramatic of Thomas Moran's printed works. It was published by the Atchison, Topeka, and Santa Fe Railroad in 1912, after the original oil commissioned for (and still owned by) the line. It shows a tremendous sweep of the scenery of the Grand Canyon from the Hermit Rim, with the bright colors of the Canyon shown dramatically against the turbulent sky.
Thomas Moran, famous for his superb landscapes of the West, first painted the Grand Canyon in 1873 when he painted his "Chasm of the Colorado," which he sold to Congress the following year. In 1892 he visited the Canyon as a guest of the Santa Fe Railroad, whose line now brought tourists within easy reach, and painted a large canvas for the line in return for a free trip. The SFRR completed a spur line to the rim in 1901, and consistently sponsored "artist's excursions" there from 1901 to 1912, as well as purchasing paintings to serve as a basis for promotional efforts. In 1912 the railroad capped twenty years of association with Moran by commissioning this picture and producing this large chromolithograph.
Almost all copies of this Moran print were soon distributed by the SFRR as a promotional gift. Few of these have survived, generally being badly framed, usually without glass, and displayed in poor conditions. A small number remained in the archives of the railroad, and so have retained their untrimmed and pristine state. The present copy is one of these, a fine copy of Moran's most striking printed image.
Nancy K. Anderson, ed., Thomas Moran, pp.301,320 (detail)
#5114$6,000.00
|
|
|
|
|
|
|
|
|
 MORAN, Thomas (1837-1926) & William Henry HOLMES (1846-1933), illustrators. - Clarence E.DUTTON (1841-1912)
Tertiary History [with: Atlas to accompany the monograph on the tertiary history] of the Grand Cañon district
Washington: [text:] Government Printing Office, [atlas: Julius Bien & Co. of New York (for the Government Printing Office)], 1882. 2 volumes, quarto (11 ˝ x 9 inches) and folio (19 7/8 x 17 ˝ inches).
Text: 'Department of the Interior… Geological survey' title. 42 plates, plans and maps, (including 2 chromolithographed views by Sinclair after Holmes, 17 wood-engraved views [8 after Thomas Moran, 9 after Holmes], 4 'Heliotype' plates), 10 double-page.
Atlas: Mounted on guards throughout. 1p. letterpress text, otherwise lithographed throughout. Title, 12 double-page map-sheets after Dutton (11 printed in colors), 10 double-page sheets of views after Holmes (9) and Moran (1) (5 chromolithographed and 5 printed in tints), all printed by Julius Bien & Co. Expertly bound to style in deep burgundy-red half morocco over contemporary marbled paper-covered boards, spine in six compartments with raised bands, the bands flanked above and below by gilt rules, lettered in the second compartment.
A fine set of "one of the grandest publications of the scientific expeditions in the American West… [depicting] the Grand Canyon in a series of magnificent panoramas" (Reese & Miles. `Depicting America.' The work includes illustrations by arguably the two greatest American topographical artists to record this era of westward expansion: William Holmes and Thomas Moran.
The atlas includes eight beautifully executed maps of the region on twelve sheets, as well as the ten sheets of views. The views include a number of images that are designed to form larger continuous panoramas. The greatest of these is Holmes view from Point Sublime in the Kaibab: the three chromolithographed sheets (numbered XVI-XVII), if joined, would form a single panoramic view with an image area measuring approximately 17 x 90 inches. It is interesting to note that the first of these sheets includes what may be a self-portrait and portrait respectively of Holmes and Dutton: two figures are visible at the edge of the canyon, one is seated and clearly sketching (Holmes) whilst the second figure bends down to examine his companion's work (Dutton). W.H. Holmes, whom William Goetzmann calls "the greatest artist-topographer and man of many talents that the West ever produced...his artistic technique was like no other's. He could sketch panoramas of twisted mountain ranges, sloping monoclines, escarpments, plateaus, canyons, fault blocks, and grassy meadows that accurately depicted hundreds of miles of terrain. They were better than maps and better than photographs because he could get details of stratigraphy that light and shadow obscured from the camera...his illustrations for Dutton's Tertiary History of the Grand Canon District are masterpieces of realism and draftsmanship as well as feats of imaginative observation."
The team assembled to carry out this geological survey of the Grand Canyon included some outstanding talents: C.E.Dutton, the scientist; Jack Hilliers, the photographer and of course Holmes and Moran as artist-topographers. The intention of the survey was strictly scientific, but as Dutton writes in his preface, "I have in many places departed from the severe ascetic style which has become conventional in scientific monographs." This is also true of Moran and Holmes: both were clearly inspired by their subjects. The overall result is of a quality that would not be possible today. As Wallace Stegner wrote in his introduction to the 1977 reprint "Later specialization has eliminated from scientific publications most of the elements that make The Tertiary History so charming. No report written as this one is written would now be published by any government bureau. No illustrators like Moran and Holmes would be permitted to illustrate it... A great book... The Tertiary History has kept its value precisely because it does not specialize."
Francis P.Farquhar,The Books of the Colorado River & the Grand Canyon (Los Angeles: 1953) 73; Goetzmann Exploration and Empire pp. 512-513; W.B.Reese & G.A.Miles Creating America (New Haven: 1992) 40.
#10270$17,500.00
|
|
|
|
|
|
|
|
|
 MORDEN, Robert (d.1703)
[North America] A New Map of the English Empire in America Viz Virginia Maryland Carolina Pennsylvania New York New Jersey New England by Rob: Morden
London: "Sold by Robt. Morden at the Atlas in Cornhill./ And by Christopher Brown at ye Globe/ near the Westend of St. Pauls/ Church: London", [circa 1695]. Copper-engraved map by John Harris, with original outline colour, in very good condition. Sheet size: 20 3/4 x 24 1/2 inches.
A rare and important map of the American colonies, in the scarce first state.
This is in effect a propaganda map, compiled during the War of the League of Augsburg, or King William's War (1689-97). Morden shows the English American colonies thrusting westward, at the expense of the rival French claims. In addition to the Midwest, much of Canada is shown as English. The English colonies along the Atlantic Seaboard are carefully delineated according to English sources, but Canada, the Mississippi Valley, and the Great Lakes are based on French sources, including the maps of Dablon (1672) and Thevenot (1681). Morden still preserves Lederer's configuration (1672) in his depiction of the interior of the Southeast.
At lower right is a large inset map of the North Atlantic, the vital life line between Britain and its American empire. Just above is the title piece crowned by the Royal Arms, and an inset map of Boston Harbor based on Thomas Pound's A New Mapp of New England from Cape Codd to Cape Sables (1691). The engraver, John Harris was one of the most accomplished members of his profession working in England. The insets are surrounded by decorative acanthus brackets and supports in the arabesque style, a signature motif of the artist. A second state was published in 1719 with the imprint of John Senex.
Provenance: Taken from a Composite Atlas, Western Reserve Historical Society, sold at auction October 29th, 2001
Degrees of Latitude, pp. 358-360; Stevens & Tree, Comparative Cartography, 20a, in Tooley, The Mapping of America; McCorkle, New England in Early Printed Maps, 695; Cumming, The Southeast in Early Maps, 119; Phillips, A List of Maps of America, p. 564.
#13573$27,500.00
|
|
|
|
|
|
|
|
|
 MORDEN, Robert (d.1703) & Christopher BROWNE (fl.1684-1712)
[Savoy & Piedmont] A New Mapp of the Estates of Savoy & Piedmont with the Countries Adjacent
London: Robert Morden & Christopher Browne, c. 1703. Copper-engraved map, with original outline colour, in very good condition overall. Sheet size: 24 3/4 x 20 3/4 inches.
A very fine map of Savoy & Piedmont by two great English cartographers
Robert Morden (d. 1703) was one of a new group of mapmakers who established the art of map publication in London on a permanent basis. As demonstrated in this excellent map of Savoy and Piedmont, Morden conveys the artistic and graphic standards of the late 17th century Dutch masters to English idiom. This is particularly true of the very fine engraving, evident here, that would not be typical of 18th century maps in general.
Morden's early 18th century map of Savoy and Piedmont includes important topographical illustrations of this very mountainous region, but also, innovatively, main roads. The coats of arms of the House of Savoy, Piedmont and Tyrol are displayed around the title cartouche.
#13683$2,000.00
|
|
|
|
|
|
|
|
|
 MOREL, T.
G.H.C. Melody et les Indiens Ioways. Comme ils ont été presentés à S.M. Louis Philippe, le 21 Avril, 1845
Paris: Printed by Bertauts, [no date but circa 1845]. Tinted lithograph. Very good condition apart from some overall light soiling and several skillfully repaired small tears and losses in the margins. Image size (including text): 12 3/4 x 17 1/8 inches. Sheet size: 15 1/4 x 19 inches.
An extremely rare lithograph depicting a group of Ioway Indians who traveled to Paris with George Catlin in 1845.
This fascinating group portrait is an extremely rare lithograph depicting a group of Ioway Indians who accompanied the American painter George Catlin to Paris, in the winter of 1845. Following a successful debut in London, Catlin closed his celebrated Indian Gallery and retired to the country, where he worked on lithographs and text for his "North American Indian Portfolio". The arrival of a group of Ioway Indians, in the summer of 1844, revived Catlin's entrepreneurial enthusiasm and he immediately hired them to perform in London. After a brief tour through Ireland and Scotland, the troupe accepted an invitation to perform in Paris and Catlin gladly moved the Indian Gallery across the channel. Their debut was received with rave reviews and they were invited to perform for King Louis Philippe and the royal family at the Tuileries. Catlin's paintings were a huge success in Paris and they were admired by such notables as George Sand, Charles Baudelaire, Alexander von Humboldt, and Prosper Merimee. During the late summer of 1845 the Ioway troupe returned to America and were replaced by a group of touring Ojibwa Indians.
This extremely rare lithograph is the only image to depict Catlin's Ioway's while they performed in Paris. It was published in two versions. One with a Boston imprint and the title in English including the names of the individuals depicted; the second with a Paris imprint and the title in French with no mention of the names. The troupe originally consisted of fourteen men, women, and children, but tragically two died while they were touring Ireland and Scotland. Consisting of three chiefs, five warriors, and six squaws the group was accompanied by their translator Jeffrey Doraway and by their promoter G. H. C. Melody. An invaluable record of Ioway history this rare print is a wonderful piece of early Americana.
The names of the Ioway troupe are listed below:
Mew-hu-she-kaw, White Cloud, first chief of the nation
Neu-mon-ya, Walking Rain, third chief
Se-non-ty-yah, Blister Feet; great medicine man
Wash-ka-mon-ya, Fast Dancer
No-ho-mun-ya, One who gives no attention
Shon-ta-yi-ga, Little Wolf
Wa-tan-ye, One always foremost
Wa-ta-we-bu-ka-na, Commanding General, the son of Walking Rain, ten years old
Jeffrey Doraway (Dorion, omitted)
Ruton-ye-we-ma, Strutting Pigeon, White Cloud's Wife
Ruton-we-me, Pigeon on the Wing
Oke-we-me, Female Bear that walks on the back of another
Koon-za-ya-me, Female War Eagle Sailing
Ta-pa-ta-me, Sophia, wisdom, White Cloud's daughter
Corsair, a papoose
G.H. C. Melody
#13363$9,500.00
|
|
|
|
|
|
|
|
|
 MORLAND, George
[Rural Scene]
London: Published by D. Orme & Co. at the Morland Gallery, 14 Old Bond Street, May 1, 1793. Hand-coloured soft-ground etching. In good condition with the exception of being trimmed within the plate mark. Paper discolouration on bottom corners. A few small tears in right edge of sheet. Sheet size: 21 1/8 x 16 1/8 inches.
A delicate image of country life by one of England's most renowned genre painters, George Morland
George Morland was one of the most successful genre painters of his time, creating, during his industrious career, some of England's most cherished paintings. At an early age Morland displayed his artistic genius, he learned to paint at three and exhibited his first work at the Royal Academy at the mere age of ten. Morland was a prodigious painter, producing more than 4000 paintings during the entirety of his career, and sometimes painting two or three works in a day. His beautiful idealistic scenes were a favorite source of inspiration for contemporary engravers, and as many as 250 separate engravings were done of his paintings during his lifetime. Morland is considered a master of genre, his beautiful paintings depict with insightful subtly the tender side of English country life. This is a wonderful example of Morland's delicate style. A young mother busies herself hanging out washing while her young child plays on the banks of a small stream. A happy dog drinks out of the pool completing the feeling of contentment in this pretty picture.
#9808$1,200.00
|
|
|
|
|
|
|
|
|
 MORLAND, George engraved by E. SCOTT
Boys Skating - Garcons Patinant
London: Published by J. R. Smith, King Street, Covent Garden, Dec. 9, 1790. Colour printed stipple. In excellent condition with the exception of some light creasing in right margin. Two small areas of surface soiling in bottom section of title section. Image size: 11 3/4 x 15 1/4 inches. Plate mark: 14 1/4 x 16 7/8 inches. Sheet size: 15 1/8 x 18 3/16 inches.
A delightful colour printed winter scene depicting a skating party on a frozen lake by George Morland the master of English genre painting.
George Morland was one of the most successful genre painters of his time, creating, during his industrious career, some of England's most cherished paintings. At an early age Morland displayed his artistic genius, he learned to paint at three and exhibited his first work at the Royal Academy at the mere age of ten. Morland was a prodigious painter, producing more than 4000 paintings during the entirety of his career, and sometimes painting two or three works in a day. His beautiful idealistic scenes were a favorite source of inspiration for contemporary engravers, and as many as 250 separate engravings were done of his paintings during his lifetime. Morland is considered a master of genre, his beautiful paintings depict with subtle insight the tender side of English country life. This is a charming image of a group of young children enjoying a skating party. Ice skating became a popular pastime toward the close of the eighteenth century and was often depicted in painting and print.
#9810$1,750.00
|
|
|
|
|
|
|
|
|
 MORLAND, George engraved by Edward BELL
Fox Hunting, Going Out
London: Published by E. Bell, No. 45 Islington Road near Sadlers Wells, March 1, 1800. Mezzotint. Printed on laid paper. In good condition with the exception of some creasing and foxing in the margins outside the image. Trimmed just outside the platemark on all sides. A number of small tears on the edges of the sheet. Image size: 20 x 25 3/4 inches. Plate mark: 21 5/8 x 26 7/8 inches. Sheet size: 21 7/8 x 27 1/8 inches.
This lovely image is the first plate in a set of four hunting mezzotints engraved by Edward Bell after paintings by George Morland.
George Morland was one of the most successful genre painters of his time, creating, during his industrious career, some of England's most cherished paintings. At an early age Morland displayed his artistic genius, he learned to paint at three and exhibited his first work at the Royal Academy at the mere age of ten. Morland was a prodigious painter, producing more than 4000 paintings during the entirety of his career, and sometimes painting two or three works in a day. His beautiful idealistic scenes were a favorite source of inspiration for contemporary engravers, and as many as 250 separate engravings were done of his paintings during his lifetime. Morland is considered a master of genre, his beautiful paintings depict with insightful subtlety the tender side of English country life.
This beautiful print is the first plate in a set of four mezzotints engraved by Edward Bell in the spring of 1800. Primarily a genre painter, Morland only produced a few sporting paintings during his career and this beautiful set is considered some of his best work. The image depicts the moment before the hunt; the riders have gathered in front of a local farmhouse before they proceed with the chase.
Siltzer, The Story of British Sporting Prints p. 190
#17044$1,000.00
|
|
|
|
|
|
|
|
|
 MORLAND, George engraved by Edward BELL
Fox Hunting, Going into Cover
London: Published by E. Bell, No. 45 Islington Road near Sadlers Wells, August 1, 1801. Mezzotint. Printed on laid paper. In good condition. Trimmed just outside the platemark on all sides. Faint printer's crease in upper right corner of plate. Image size: 20 x 25 1/2. Plate mark: 21 5/8 x 26 3/4 inches. Sheet size: 22 1/2 x 27 1/8 inches.
This lovely image is the second plate in a set of four hunting mezzotints engraved by Edward Bell after paintings by George Morland.
George Morland was one of the most successful genre painters of his time, creating, during his industrious career, some of England's most cherished paintings. At an early age Morland displayed his artistic genius, he learned to paint at three and exhibited his first work at the Royal Academy at the mere age of ten. Morland was a prodigious painter, producing more than 4000 paintings during the entirety of his career, and sometimes painting two or three works in a day. His beautiful idealistic scenes were a favorite source of inspiration for contemporary engravers, and as many as 250 separate engravings were done of his paintings during his lifetime. Morland is considered a master of genre, his beautiful paintings depict with insightful subtlety the tender side of English country life.
This beautiful print is the second plate in a set of four mezzotints engraved by Edward Bell in the spring of 1800. Primarily a genre painter, Morland only produced a few sporting paintings during his career and this beautiful set is considered some of his best work. The image depicts a group of hunters and their dogs in pursuit of the fox.
Siltzer, The Story of British Sporting Prints p. 190
#17045$1,500.00
|
|
|
|
|
|
|
|
|
 MORLAND, George engraved by Edward BELL
Fox Hunting, The Death
London: Published by E. Bell, No. 45 Islington Road near Sadlers Wells, April 11, 1800. Mezzotint. Printed on wove paper. In good condition. Trimmed just outside the platemark on all sides. Faint printer's crease in upper right corner of plate. Tear along upper right corner of sheet has been expertly repaired. Another crease extending from the top edge of sheet. Image size: 20 x 25 1/2 inches. Plate mark: 21 5/8 x 26 3/4 inches. Sheet size: 22 1/8 x 27 1/8 inches.
This lovely image is the final plate in a set of four hunting mezzotints engraved by Edward Bell after paintings by George Morland.
George Morland was one of the most successful genre painters of his time, creating, during his industrious career, some of England's most cherished paintings. At an early age Morland displayed his artistic genius, he learned to paint at three and exhibited his first work at the Royal Academy at the mere age of ten. Morland was a prodigious painter, producing more than 4000 paintings during the entirety of his career, and sometimes painting two or three works in a day. His beautiful idealistic scenes were a favorite source of inspiration for contemporary engravers, and as many as 250 separate engravings were done of his paintings during his lifetime. Morland is considered a master of genre, his beautiful paintings depict with insightful subtlety the tender side of English country life.
This beautiful print is the last plate in a set of four mezzotints engraved by Edward Bell in the spring of 1800. Primarily a genre painter, Morland only produced a few sporting paintings during his career and this beautiful set is considered some of his best work. The image depicts the death of the fox in front of a small country cottage.
Siltzer, The Story of British Sporting Prints p. 190
#17046$500.00 | | | |
