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browsing 4347 items
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 PUGIN, Augustus Charles (1762-1832)
Paris, taken from the Pont-Neuf
London: R.Ackermann, January 1821. Hand-coloured aquatint engraving by T.Sutherland after Pugin. Sheet size: 19 x 23 ˝ inches .
A fine architectural view of Paris and the river Seine, looking north-west and enlivened by much period detail of everyday life.
Hand-coloured aquatint engraving by T.Sutherland after Pugin.
This view from the Pont Neuf, which cuts across the tail of the Ile de la Cité, presents a spectacular panorama of the city up-stream from Notre Dame: to the right is the Louvre with trees of the Tuileries gardens just visible beyond, of the two bridges, one is a foot-bridge giving easy access to the Louvre, and beyond the more substantial structure of the Pont Royal. In the foreground there is much activity on the river: a makeshift barge balanced with barrels is poled downriver, to the left a more traditional craft is about to pass out of view, in the mid-ground the establishments of the washerwomen can be seen, clothes hang out to dry while the next batch of laundry is scrubbed in the river.
Pugin (1762-1832) `architect, archæologist, and architectural artist, was born in France, and claimed descent from a distinguished French family. Driven from his country either by the horrors of the revolution or by private reasons connected with a duel, he came to London about 1798, and soon found employment as a draughtsman in the office of John Nash…. To increase his powers as an artist, he entered the schools of the Royal Academy… He further revived acquaintance with Merigot, an aquatint engraver, who formerly had been a drawing-master to his father's family, and studied under him with advantage. Nash, who treated his pupils and assistants with great kindness and hospitality, discovered in Pugin a valuable subordinate... The truthfulness of Pugin's drawings in form and colour at once attracted attention. A change was then coming over water-colour art. The old style of brown or Indian ink outline with a low-toned wash was giving way to the more modern practice of representation in full colour, and Pugin, though he limited his palette to indigo, light red, and yellow ochre, was an active supporter of the new movement, and to his influence its ultimate predominance was largely due. In 1808 Pugin was elected an associate of the Old Water-colour Society, which had been founded in 1805, and he was a frequent exhibitor at the annual exhibitions held first in Lower Brook Street and subsequently in Pall Mall… About the same time Pugin was employed on Ackermann's publications, notably the 'Microcosm,' for which he supplied the architectural portions of the illustrations, Rowlandson executing the figures. ….Meanwhile Nash and his works were not altogether neglected. Pugin in 1824 was asked to make the drawings for a volume illustrating the Brighton Pavilion, and while he was engaged upon the work George IV, who came to watch, accidentally upset the colour-box, and, mindful perhaps of illustrious parallels in the past, picked it up with an apology that greatly gratified the artist.` (DNB). The present separately issued plate led to a latter publication `Views of Paris and Environs,' (London: 1828-1831), with plates of similar subjects but published in a much smaller quarto format.
#2686 $2,000.00  
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 PURCHAS, Samuel (1575?-1626)
Purchas His Pilgrimes ... [with] Purchas His Pilgimage ... the fourth edition
London: printed by William Stansby for Henrie Fetherstone, 1625 - 1626. Together 5 volumes, folio (13 x 8 3/8 inches). Vol.I with blank R4. Engraved additional title to vol.I, 87 engraved maps (5 double-page and 1 folding, 81 half-page and within the text), 7 other engraved illustrations, numerous wood-cut illustrations. (Vol.III lacking front blank). Early 20th-century green morocco gilt by W. Pratt, covers with large central gilt arabesque, spines in six compartments with raised bands, lettered in gilt in the second and third compartments, marbled endpapers, g.e.
A fine set of a foundation work for any collection of travels and voyages: the first edition of "Purchas his Pilgrimes" with the second state of engraved title dated 1625, and Smith's map of Virginia in Verner's 8th state: together with the fourth edition of the "Pilgrimage" (issued here as a supplement) The whole forming an important set of narratives of travels and exploration from the earliest times up until the early 17th century.
The second great collection of English voyages, expanding upon and greatly adding to the work of Hakluyt, whose manuscripts Purchas took over after Hakluyt's death. Purchas collects over twelve hundred separate narratives of explorations in every part of the world. Many of the accounts relate to the New World, especially Virginia, and one of the engraved maps is Smith's famous "Map of Virginia"
Besides the Smith Virginia map, Purchas also includes two other maps of the greatest importance for North American cartography. The first of these is the "Briggs" map of North America, generally considered the first map to show California as an island. The Briggs map is also the first to note New Mexico by that name, and the first to name the Hudson River and Hudson Bay. The other notable American map is William Alexander's depiction of the Northeast, showing the coast from Massachusetts north to Newfoundland. As Burden notes, this is the first map to record many place names and is a "map of great importance."
Purchas began work on his massive collection in 1611, and published various editions of a short collection, with the similar title of "Purchas His Pilgrimage," over the next ten years. That publication, however, was merely a precursor to the present work, an entirely different book and arguably the greatest collection of travels and voyages ever published. The first two volumes are mainly devoted to travels in Africa, the Middle East, and Asia. The third volume largely treats northern explorations and America. The fourth volume is almost entirely devoted to America. The fifth volume, Pilgrimage, is a supplement to all of the preceding parts, and properly completes a set of Purchas' Pilgrimes.
Arents 158; Baer Maryland 8; Borba de Moraes II, pp.692-693; Burden 164, 208, 214; Church 401A; European Americana 625/173 & 626/100; Hill (2004) 1403; Huth sale 6057; JCB (3)II:196-197; Sabin 66686 and cf. 66682; Streit I:423; STC 20509 & 20508; Streeter sale 36.
#20425$200,000.00
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 PURSH, Frederick (1774-1820)
Flora Americae Septentrionalis; or, A Systematic Arrangement and Description of the Plants of North America. Containing, besides what may have been described by preceding authors, many new and rare species, collected during twelve years travels and residence in that country
London: Richard & Arthur Taylor for White, Cochrane, & Co., 1814. 2 volumes, octavo (8 5/8 x 5 1/2 inches). 24 hand-coloured stipple-engraved plates (1 plate signed as being by W.Hooker after Pursh, a second signed as by and after Hooker, the others unsigned), without the three advertisement leaves not found in all copies. Expertly bound to style in half calf over contemporary marbled paper-covered boards, spines in six compartments with raised bands, the bands highlighted with a gilt fillet and flanked by triple fillet in blind, black morocco lettering pieces in the second and third compartments, t.e.g.
First edition of the highly desirable coloured issue of the first botanical record of the Lewis and Clark expedition.
A landmark work in early American botany, the first to publish the findings of the Lewis and Clark expedition, and a book which has been styled by one botanical historian as "amazingly brilliant." Born in Grossenhain in Saxony, Pursh came to America in 1799. Aided by Benjamin Smith Barton he made two memorable journeys of botanical exploration in 1806 and 1807. On his return from the second journey in 1807, he took over the running of David Hosack's Elgin Botanic Garden in New York. He remained in the United States until 1811, when he sailed for England in an attempt to arrange for the publication of the present work. In 1806 Pursh had met Meriwether Lewis, who gave him a collection of dried plants gathered on the expedition, "in order to describe and figure those I thought new, for the purpose of inserting them in his travels, which he was then engaging for the press." It is unclear why Lewis chose to turn the specimens over to Pursh. He may have intended that they go to Barton, for whom Pursh then worked. In any case, the death of Lewis and the delay in publication of the account of the expedition led Pursh to incorporate the Lewis and Clark material into his own work, where the material from the expedition and the locations where Lewis gathered it are carefully noted, with specimens identified as "in Herb. Lewis." Pursh's work is important for eastern botany as well, but its greatest contribution is the material relating to Lewis and Clark, and the publication of the first extensive observations on the botany along the route of their expedition. A fascinating feature of the work is the narrative preface in which Pursh gives some detail of his life and travels in the Americas, as well as mentioning the botanists he encountered and giving a description of the sources he consulted in England after his arrival in 1811. Pursh returned to North America and died in Montreal in 1820.
For each plant Pursh gives a brief description, followed by a note as to who first described the plant, followed by notes gathered from other works. Many of the entries then conclude with Pursh's own interesting comments: 'The Red Cedar, so useful and durable a wood, for whose history refer to Michaux's work so often quoted, is as yet in great abundance in most parts of the country; but its extermination is going on so rapidly, that future inhabitants will be very much at a loss, and will feel the want of it when it is too late' (vol.II, p.647 'Juniperus virginiana' entry).
Bradley Bibliography I, 306; McKelvey Botanical Exploration, pp.73-83; Meisel III, 374; Nissen BBI 1570; Pritzel 7370; Sabin 66728; Stafleu & Cowan 8404
#19303$8,500.00
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 [PUYSÉGUR, Antoine-Hyacinthe-Anne de Chastenet, comte de (1752-1807)]
Le Pilote de L'Isle de Saint-Domingue et des debouquemens de cette isle, comprenant une carte de l'Isle De Saint-Domingue et une carte des debouquemens, depuis la Caye d'Argent jusqu'a la partie Ouest du Placet des Isles Lucayes.
Paris: de l'Imprimerie Royale, 1787. Large folio (26 x 20 inches). Letterpress title with woodcut vignette, 18 pp. letterpress text (most printed in two columns). 3 double-page engraved maps or charts, 2 single page engraved map sheets, 2 plates of coastal profiles, the maps and plates all mounted on guards. Expertly bound to style in contemporary French blue marbled paper-covered boards, the flat spine with a large morocco label lettered in gilt.
Very rare: a beautifully-produced atlas recording the results of an official French coastal survey of the island of Hispaniola, with the full complement of seven maps and plates.
Only three copies of this rare marine atlas are recorded as having sold at auction in the past thirty years, and all had only six maps and plates. The two examples listed by OCLC both include the full complement of seven maps and plates (as here).
The text starts with an explanation of the methods that the Comte de Puységur used during the survey as well as his acknowledgment of the help given by various individuals (the coastal profiles, for instance, were drawn up from drawings by M. Ozanne, "Ingénieur-constructeur de la Marine"). This introductory text is followed by detailed notes on the observations made of the positions of the various locations used as a base for the construction of the maps. This is followed by notes on the available anchorages around the island. The text finishes with "Détails du mouvement" of marine chronometers number "28" and letter "A" that were used during the survey.
The maps and plates follow:
1. Carte réduite de l'Isle de St.Domingue ... d'après les observations faites sur la Corvette Vautour en 1784 et 1785, double-page map of Santo Domingo with four integral coastal profiles at top.
2. Carte réduite des débouquements de St.Domingue ... d'après les observations faites sur la Corvette Vautour en 1784 et 1785, double-page sea-chart of the Turks and Caicos Islands and part of the northern coastline of Santo Domingo.
3. Plan de la Baye de l'Acul; Baye de Dame-Marie; Le Port François; Plan du Môle St. Nicolas; Baye des Irois, one page with charts of five anchorages on the coast of Hispaniola.
4. L'Anse a Chouchou; Le Port Paix; Mouillage de Jean-Rabel; La Baye Moustique; Baye de Tiburon; Baye des Gonayves; La Baye du Fond de la Grange; Port a l'Écu; rade de la Basse-Terre, one page with charts of nine anchorages on the coast of Hispaniola
5. coastal profiles of 17 locations on a single page
6. coastal profiles of 19 locations on a single page
7. Carte De La Gonave dressée sur les opérations géométriques faites en 1787 ... par M. de Lieudé de Sepmanville, double-page sea chart of Gonave Island and the Port Au Prince Bay area.
Phillips 2716; OCLC 54243957 (2 copies only)
#19502$12,000.00
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 PYALL, Henry after Francis Calcraft TURNER
September
London: Published by Dean & Co. Threadneedle Street, circa 1828. Colour printed aquatint. Printed on wove paper. In good condition with the exception of being backed with archival supporting sheet. A number of skillfully mended tears along the edges not extending into image. Bottom right corner has been repaired. Trimmed within the plate mark on all sides. Image size: 15 1/2 x 20 3/4 inches. Sheet size: 17 7/8 x 22 7/8 inches.
A charming aquatint of a hunting dog named September, by the accomplished English engraver Henry Pyall.
Henry Pyall was born in 1795, but first gained recognition as a publisher in 1820. By 1822, he had formed a publishing house in London with the engraver George Hunt. Pyall soon established himself as a successful aquatint engraver, producing many plates for the publishing houses of Ackermann & Co. and Thomas McLean. Throughout his career he reproduced mainly sporting and animal pictures and his soft, even technique made him an eminently successful printmaker. This charming print of a hunting dog named September is one of a pair of aquatints, the companion piece entitled "October," after paintings by Francis Calcraft Turner. This beautiful print is a marvelous example of Pyall's superior technique and keen compositional eye.
Lane, Sporting Aquatints and Their Engravers, Vol. 1, p. 82, no. 1.
#14100$3,750.00
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 PYE, Thomas
Canadian Scenery: District of Gaspe… Beautifully illustrated with tinted lithographs, from photographs by the author
Montreal: John Lovell, 1866. Small folio (13 x 10 inches). Lithographed map of the district by Roberts & Reinhold after P. Murison, 20 tinted lithographed views on 19 leaves by Roberts & Reinhold after photographs by the author, 18 of the plates oval within black-line oblong borders with decorative corner-pieces printed in light brown. Publisher's green bubble-grain cloth, covers with decorative borders blocked in blind, with gilt lettering at the centre of the upper cover, modern cloth box.
A very fine copy of this rare work on the District of Gaspe on the eastern seaboard of Canada, bordered to the north by the St.Lawrence
The introductory text is particularly interesting and the author writes with an unusual lack of formality and does not hold back from expressing his views. These are definitely partisan and aimed mainly at extolling the possible economic virtues of the area, mainly it seems to persuade the "Intercolonial Railroad" to complete the extension of the line through the district
TPL 4532
#2577$2,500.00
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 PYNE, After James Baker (1800-1870)
Derwent Water
Manchester: Thomas Agnew & Sons, 1853. Lithograph by W. Gauci, printed in tints by M. & N. Hanhart, coloured by hand. Very good condition apart from some overall light soiling and minor foxing. Image size (including text): 15 1/2 x 20 1/2 inches. Sheet size: 17 1/4 x 24 1/2 inches.
An evocative image of the Lake District, an area renowned as the cradle of the Romantic Movement in Britain.
The Lake District, an area of only some 700 square miles, contains all the main English lakes and is found within the northwestern counties of Cumbria and Lancashire. 'The Lakes' (as the area is also known) first came to prominence with the rise of the cult of the Picturesque in the second half of the 18th century, but it was Wordsworth, a native of Cumbria, born in 1770 on the outskirts of the Lake District itself, who really made it a mecca for those in search of the romantic ideal of landscape. He was joined in the area, at one time or another, by Robert Southey, Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats, Lord Byron, Sir Walter Scott, Thomas de Quincey and many others. By the middle of the 19th century, when the present image was produced, the area was well established in the national consciousness as the area of outstanding natural beauty in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became vice president). He travelled widely throughout Britain and Europe, but he is perhaps best known for his series of views of the Lakes, painted between 1848 and 1851.
Cf. Abbey Scenery 196 (1859 edition); cf. Tooley 387.
#9075$750.00
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 PYNE, After James Baker (1800-1870)
Skiddaw
Manchester: Thomas Agnew & Sons, 1853. Lithograph by W. Gauci, printed in tints by M. & N. Hanhart, coloured by hand. Very good condition apart from some overall light soiling and two skillfully repaired 3/4" tears. Image size (including text): 14 1/2 x 19 1/2 inches. Sheet size: 16 3/4 x 24 1/2 inches.
An evocative image of the Lake District, an area renowned as the cradle of the Romantic Movement in Britain.
The Lake District, an area of only some 700 square miles, contains all the main English lakes and is found within the northwestern counties of Cumbria and Lancashire. 'The Lakes' (as the area is also known) first came to prominence with the rise of the cult of the Picturesque in the second half of the 18th century, but it was Wordsworth, a native of Cumbria, born in 1770 on the outskirts of the Lake District itself, who really made it a mecca for those in search of the romantic ideal of landscape. He was joined in the area, at one time or another, by Robert Southey, Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats, Lord Byron, Sir Walter Scott, Thomas de Quincey and many others. By the middle of the 19th century, when the present image was produced, the area was well established in the national consciousness as the area of outstanding natural beauty in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became vice president). He travelled widely throughout Britain and Europe, but he is perhaps best known for his series of views of the Lakes, painted between 1848 and 1851.
Cf. Abbey Scenery 196 (1859 edition); cf. Tooley 387.
#9125$750.00
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 PYNE, After James Baker (1800-1870)
The Vales of Emmerdale and Buttermere
Manchester: Thomas Agnew & Sons, 1853. Lithograph by W. Gauci, printed in tints by M. & N. Hanhart, coloured by hand. Very good condition apart from some overall light soiling, minor foxing, and a light water stain in the bottom margin. Image size (including text): 14 1/2 x 19 1/4 inches. Sheet size: 16 7/8 x 24 1/2 inches.
An evocative image of the Lake District, an area renowned as the cradle of the Romantic Movement in Britain.
The Lake District, an area of only some 700 square miles, contains all the main English lakes and is found within the northwestern counties of Cumbria and Lancashire. 'The Lakes' (as the area is also known) first came to prominence with the rise of the cult of the Picturesque in the second half of the 18th century, but it was Wordsworth, a native of Cumbria, born in 1770 on the outskirts of the Lake District itself, who really made it a mecca for those in search of the romantic ideal of landscape. He was joined in the area, at one time or another, by Robert Southey, Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats, Lord Byron, Sir Walter Scott, Thomas de Quincey and many others. By the middle of the 19th century, when the present image was produced, the area was well established in the national consciousness as the area of outstanding natural beauty in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became vice president). He travelled widely throughout Britain and Europe, but he is perhaps best known for his series of views of the Lakes, painted between 1848 and 1851.
Cf. Abbey Scenery 196 (1859 edition); cf. Tooley 387.
#9126$750.00
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 PYNE, After James Baker (1800-1870)
Crummock Water
Manchester: Thomas Agnew & Sons, 1853. Lithograph by W. Gauci, printed in tints by M. & N. Hanhart, coloured by hand. Very good condition apart from two small skillfully repaired tears. Image size (including text): 14 3/4 x 19 1/2 inches. Sheet size: 16 7/8 x 22 3/4 inches.
An evocative image of the Lake District, an area renowned as the cradle of the Romantic Movement in Britain.
The Lake District, an area of only some 700 square miles, contains all the main English lakes and is found within the northwestern counties of Cumbria and Lancashire. 'The Lakes' (as the area is also known) first came to prominence with the rise of the cult of the Picturesque in the second half of the 18th century, but it was Wordsworth, a native of Cumbria, born in 1770 on the outskirts of the Lake District itself, who really made it a mecca for those in search of the romantic ideal of landscape. He was joined in the area, at one time or another, by Robert Southey, Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats, Lord Byron, Sir Walter Scott, Thomas de Quincey and many others. By the middle of the 19th century, when the present image was produced, the area was well established in the national consciousness as the area of outstanding natural beauty in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became vice president). He travelled widely throughout Britain and Europe, but he is perhaps best known for his series of views of the Lakes, painted between 1848 and 1851.
Cf. Abbey Scenery 196 (1859 edition); cf. Tooley 387.
#9128$750.00
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 PYNE, After James Baker (1800-1870)
Windermere Water Head
Manchester: Thomas Agnew & Sons, 1853. Lithograph by W. Gauci, printed in tints by M. & N. Hanhart, coloured by hand. Very good condition apart from some overall light soiling and several light water stains in the left margin. Image size (including text): 15 1/8 x 19 7/8 inches. Sheet size: 17 x 24 1/2 inches.
An evocative image of the Lake District, an area renowned as the cradle of the Romantic Movement in Britain.
The Lake District, an area of only some 700 square miles, contains all the main English lakes and is found within the northwestern counties of Cumbria and Lancashire. 'The Lakes' (as the area is also known) first came to prominence with the rise of the cult of the Picturesque in the second half of the 18th century, but it was Wordsworth, a native of Cumbria, born in 1770 on the outskirts of the Lake District itself, who really made it a mecca for those in search of the romantic ideal of landscape. He was joined in the area, at one time or another, by Robert Southey, Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats, Lord Byron, Sir Walter Scott, Thomas de Quincey and many others. By the middle of the 19th century, when the present image was produced, the area was well established in the national consciousness as the area of outstanding natural beauty in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became vice president). He travelled widely throughout Britain and Europe, but he is perhaps best known for his series of views of the Lakes, painted between 1848 and 1851.
Cf. Abbey Scenery 196 (1859 edition); cf. Tooley 387.
#9130$750.00
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 PYNE, After James Baker (1800-1870)
Thurlemere and Wytheburn
Manchester: Thomas Agnew & Sons, 1853. Lithograph by W. Gauci, printed in tints by M. & N. Hanhart, coloured by hand. Very good condition apart from some overall light soiling and minor foxing. Image size (including text): 14 5/8 x 19 1/2 inches. Sheet size: 16 1/2 x 23 5/8 inches.
An evocative image of the Lake District, an area renowned as the cradle of the Romantic Movement in Britain.
The Lake District, an area of only some 700 square miles, contains all the main English lakes and is found within the northwestern counties of Cumbria and Lancashire. 'The Lakes' (as the area is also known) first came to prominence with the rise of the cult of the Picturesque in the second half of the 18th century, but it was Wordsworth, a native of Cumbria, born in 1770 on the outskirts of the Lake District itself, who really made it a mecca for those in search of the romantic ideal of landscape. He was joined in the area, at one time or another, by Robert Southey, Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats, Lord Byron, Sir Walter Scott, Thomas de Quincey and many others. By the middle of the 19th century, when the present image was produced, the area was well established in the national consciousness as the area of outstanding natural beauty in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became vice president). He travelled widely throughout Britain and Europe, but he is perhaps best known for his series of views of the Lakes, painted between 1848 and 1851.
Cf. Abbey Scenery 196 (1859 edition); cf. Tooley 387.
#9131$750.00
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 PYNE, James Baker (1800-1870) lithographed by W. GAUCI
Grassmere from Loughrigg Fell
London: Published by Thos. Agnew & Son, 1853. Tinted lithograph with rich publisher's colour. Printed on wove paper. Trimmed to image as issued. In excellent condition. Sheet size: 13 1/4 x 19 9/16 inches.
A stunning view of Grassmere, from the deluxe portfolio edition of John Baker Pyne's magnificent work "The English Lake District."
The Lake District first came to the fore with the rise of the Romantic Movement during the second half of the eighteenth century. The poet William Wordsworth, a native of the district, established the area as the epitome of the ideal landscape, and artists and tourists alike visited the regions natural beauties in search of the Romantic ideal. Poets such as Byron, Shelley, and Keats proclaimed the Lakes as the manifestation of the "Picturesque." By the middle of the nineteenth century, when Pyne visited the area, the Lakes were well established in the national consciousness as the most beautiful natural reserve in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became Vice President). He traveled widely throughout Britain and Europe, but he is best known for his series of views of the Lakes, painted between 1848 and 1851. This exquisite view comes from the deluxe portfolio edition of Pyne's celebrated text "The English Lake District." First published in 1853, the deluxe edition was issued in custom-made portfolios with the images superbly coloured and tipped onto thick wove cards. Examples of these images are difficult to find, making this striking print a true rarity. Pyne's seminal work was later reissued by Day & Son in 1859 with the title "Lake Scenery of England."
Abbey, Scenery of Great Britain and Ireland, in Aquatint and Lithography 1770-1860, p. 123, no. 196, plate 7; Tooley, English Plate Books with Coloured Plates 1790-1860, no. 387, plate 14.
#13489$750.00
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 PYNE, James Baker (1800-1870) lithographed by W. GAUCI
Wast Water
London: Published by Thos. Agnew & Son, 1853. Tinted lithograph with rich publisher's colour. Printed on wove paper. Trimmed to image as issued. In excellent condition with the exception of some very minor foxing in the image. Sheet size: 13 3/16 x 19 3/4 inches.
A stunning view of Wast Water, from the deluxe portfolio edition of John Baker Pyne's magnificent work "The English Lake District."
The Lake District first came to the fore with the rise of the Romantic Movement during the second half of the eighteenth century. The poet William Wordsworth, a native of the district, established the area as the epitome of the ideal landscape, and artists and tourists alike visited the regions natural beauties in search of the Romantic ideal. Poets such as Byron, Shelley, and Keats proclaimed the Lakes as the manifestation of the "Picturesque." By the middle of the nineteenth century, when Pyne visited the area, the Lakes were well established in the national consciousness as the most beautiful natural reserve in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became Vice President). He traveled widely throughout Britain and Europe, but he is best known for his series of views of the Lakes, painted between 1848 and 1851. This exquisite view comes from the deluxe portfolio edition of Pyne's celebrated text "The English Lake District." First published in 1853, the deluxe edition was issued in custom-made portfolios with the images superbly coloured and tipped onto thick wove cards. Examples of these images are difficult to find, making this striking print a true rarity. Pyne's seminal work was later reissued by Day & Son in 1859 with the title "Lake Scenery of England."
Abbey, Scenery of Great Britain and Ireland, in Aquatint and Lithography 1770-1860 p. 123, no. 196, plate 13; Tooley, English Plate Books with Coloured Plates 1790-1860 no. 387, plate 12
#13490$750.00
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 PYNE, James Baker (1800-1870) lithographed by W. GAUCI
Lowes Water
London: Published by Thos. Agnew & Son, 1853. Tinted lithograph with rich publisher's colour. Printed on wove paper. Trimmed to image as issued. In excellent condition. Sheet size: 13 1/4 x 19 11/16 inches.
A stunning view of Lowes Water, from the deluxe portfolio edition of John Baker Pyne's magnificent work "The English Lake District."
The Lake District first came to the fore with the rise of the Romantic Movement during the second half of the eighteenth century. The poet William Wordsworth, a native of the district, established the area as the epitome of the ideal landscape, and artists and tourists alike visited the regions natural beauties in search of the Romantic ideal. Poets such as Byron, Shelley, and Keats proclaimed the Lakes as the manifestation of the "Picturesque." By the middle of the nineteenth century, when Pyne visited the area, the Lakes were well established in the national consciousness as the most beautiful natural reserve in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became Vice President). He traveled widely throughout Britain and Europe, but he is best known for his series of views of the Lakes, painted between 1848 and 1851. This exquisite view comes from the deluxe portfolio edition of Pyne's celebrated text "The English Lake District." First published in 1853, the deluxe edition was issued in custom-made portfolios with the images superbly coloured and tipped onto thick wove cards. Examples of these images are difficult to find, making this striking print a true rarity. Pyne's seminal work was later reissued by Day & Son in 1859 with the title "Lake Scenery of England."
Abbey, Scenery of Great Britain and Ireland, in Aquatint and Lithography 1770-1860, p. 123, no. 196, plate 18; Tooley, English Plate Books with Coloured Plates 1790-1860, no. 387, plate 5.
#13491$750.00
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 PYNE, James Baker (1800-1870) lithographed by W. GAUCI
Brother's Water
London: Published by Thos. Agnew & Son, 1853. Tinted lithograph with rich publisher's colour. Printed on wove paper. Trimmed to image as issued. In excellent condition. Sheet size: 13 1/4 x 19 3/4 inches.
A stunning view of Brother's Water, from the deluxe portfolio edition of John Baker Pyne's magnificent work "The English Lake District."
The Lake District first came to the fore with the rise of the Romantic Movement during the second half of the eighteenth century. The poet William Wordsworth, a native of the district, established the area as the epitome of the ideal landscape, and artists and tourists alike visited the regions natural beauties in search of the Romantic ideal. Poets such as Byron, Shelley, and Keats proclaimed the Lakes as the manifestation of the "Picturesque." By the middle of the nineteenth century, when Pyne visited the area, the Lakes were well established in the national consciousness as the most beautiful natural reserve in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became Vice President). He traveled widely throughout Britain and Europe, but he is best known for his series of views of the Lakes, painted between 1848 and 1851. This exquisite view comes from the deluxe portfolio edition of Pyne's celebrated text "The English Lake District." First published in 1853, the deluxe edition was issued in custom-made portfolios with the images superbly coloured and tipped onto thick wove cards. Examples of these images are difficult to find, making this striking print a true rarity. Pyne's seminal work was later reissued by Day & Son in 1859 with the title "Lake Scenery of England."
Abbey, Scenery of Great Britain and Ireland, in Aquatint and Lithography 1770-1860, p. 123, no. 196, plate 8; Tooley, English Plate Books with Coloured Plates 1790-1860, no. 387, plate 15.
#13492$750.00
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 PYNE, James Baker (1800-1870) lithographed by W. GAUCI
Vale of Keswick Bassenthwaite Lake and River Greeta
London: Published by Thos. Agnew & Son, 1853. Tinted lithograph with rich publisher's colour. Printed on wove paper. Trimmed to image as issued. In excellent condition with the exception of some minor foxing in the image. Sheet size: 13 13/16 x 20 1/8 inches.
A stunning view of Keswick Water, from the deluxe portfolio edition of John Baker Pyne's magnificent work "The English Lake District."
The Lake District first came to the fore with the rise of the Romantic Movement during the second half of the eighteenth century. The poet William Wordsworth, a native of the district, established the area as the epitome of the ideal landscape, and artists and tourists alike visited the regions natural beauties in search of the Romantic ideal. Poets such as Byron, Shelley, and Keats proclaimed the Lakes as the manifestation of the "Picturesque." By the middle of the nineteenth century, when Pyne visited the area, the Lakes were well established in the national consciousness as the most beautiful natural reserve in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became Vice President). He traveled widely throughout Britain and Europe, but he is best known for his series of views of the Lakes, painted between 1848 and 1851. This exquisite view comes from the deluxe portfolio edition of Pyne's celebrated text "The English Lake District." First published in 1853, the deluxe edition was issued in custom-made portfolios with the images superbly coloured and tipped onto thick wove cards. Examples of these images are difficult to find, making this striking print a true rarity. Pyne's seminal work was later reissued by Day & Son in 1859 with the title "Lake Scenery of England."
Abbey, Scenery of Great Britain and Ireland, in Aquatint and Lithography 1770-1860, p. 123, no. 196, plate 23; Tooley, English Plate Books with Coloured Plates 1790-1860, no. 387, plate 7.
#13493$750.00
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 PYNE, James Baker (1800-1870) lithographed by W. GAUCI
Windermere from Orrest Head
London: Published by Thos. Agnew & Son, 1853. Tinted lithograph with rich publisher's colour. Printed on wove paper. Trimmed to image as issued. In excellent condition with the exception of a small tear in the bottom left corner which has been expertly repaired. Sheet size: 13 1/8 x 19 5/8 inches.
A stunning view of Lake Windermere from Orrest Head, from the deluxe portfolio edition of John Baker Pyne's magnificent work "The English Lake District."
The Lake District first came to the fore with the rise of the Romantic Movement during the second half of the eighteenth century. The poet William Wordsworth, a native of the district, established the area as the epitome of the ideal landscape, and artists and tourists alike visited the regions natural beauties in search of the Romantic ideal. Poets such as Byron, Shelley, and Keats proclaimed the Lakes as the manifestation of the "Picturesque." By the middle of the nineteenth century, when Pyne visited the area, the Lakes were well established in the national consciousness as the most beautiful natural reserve in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became Vice President). He traveled widely throughout Britain and Europe, but he is best known for his series of views of the Lakes, painted between 1848 and 1851. This exquisite view comes from the deluxe portfolio edition of Pyne's celebrated text "The English Lake District." First published in 1853, the deluxe edition was issued in custom-made portfolios with the images superbly coloured and tipped onto thick wove cards. Examples of these images are difficult to find, making this striking print a true rarity. Pyne's seminal work was later reissued by Day & Son in 1859 with the title "Lake Scenery of England."
Abbey, Scenery of Great Britain and Ireland, in Aquatint and Lithography 1770-1860, p. 123, no. 196, plate 4; Tooley, English Plate Books with Coloured Plates 1790-1860, no. 387, plate 3.
#13495$750.00
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 PYNE, James Baker (1800-1870) lithographed by W. GAUCI
[View of the Lake District]
London: Published by Thos. Agnew & Son, 1853. Tinted lithograph with rich publisher's colour. Printed on wove paper. Trimmed to image as issued. In excellent condition. Sheet size: 13 3/8 x 19 3/8 inches.
A stunning view of the Lake District, from the deluxe portfolio edition of John Baker Pyne's magnificent work "The English Lake District."
The Lake District first came to the fore with the rise of the Romantic Movement during the second half of the eighteenth century. The poet William Wordsworth, a native of the district, established the area as the epitome of the ideal landscape, and artists and tourists alike visited the regions natural beauties in search of the Romantic ideal. Poets such as Byron, Shelley, and Keats proclaimed the Lakes as the manifestation of the "Picturesque." By the middle of the nineteenth century, when Pyne visited the area, the Lakes were well established in the national consciousness as the most beautiful natural reserve in England.
Bristol-born James Baker Pyne is now considered by many to have been second only to Turner in his ability to capture the essence of the English landscape. After training initially for the Law, he turned to painting in his twenties. He moved to London in 1835, where he exhibited at the Royal Academy and the Society of British Artists (where he later became Vice President). He traveled widely throughout Britain and Europe, but he is best known for his series of views of the Lakes, painted between 1848 and 1851. This exquisite view comes from the deluxe portfolio edition of Pyne's celebrated text "The English Lake District." First published in 1853, the deluxe edition was issued in custom-made portfolios with the images superbly coloured and tipped onto thick wove cards. Examples of these images are difficult to find, making this striking print a true rarity. Pyne's seminal work was later reissued by Day & Son in 1859 with the title "Lake Scenery of England."
Abbey, Scenery of Great Britain and Ireland, in Aquatint and Lithography 1770-1860, p. 123, no. 196; Tooley, English Plate Books with Coloured Plates 1790-1860, no. 387.
#13496$750.00
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 Queen VICTORIA (1819-1901) and Prince ALBERT (1819-1861)
An album containing a collection of etchings
[dated 1840-1844]. Small folio (12 x 9 inches). 22 etchings (sheet size 11 x 8 inches and smaller, three on india paper mounted) tipped onto 22 leaves. Later red morocco gilt, the covers with gilt outer border of a wide fillet, surrounding inset wooden panels carved in semi-relief with a border of stylized flower sprays within arched spaces, around a central panel of semi-naturalistic foliage, the flat spine gilt in six compartments, gilt metal locking clasp, gilt edges, by Asprey, 166 Bond Street (impressed name and address on lock). Modern cloth box.
A fine and rare collection of 5 etchings by Queen Victoria and 17 by Prince Albert. A collection which gives insight into the domestic life of the monarch, a collection that was never meant to be seen outside the inner circle of the Royal court.
Queen Victoria and her Consort Prince Albert took up etching together in 1840; Sir George Hayter, R.A. was in attendance, painting their portraits, and agreed to give them instruction. It is reported that the Queen sought it as an amusement while in retirement during her pregnancies. The Royal couple etched together, deriving their compositions mostly from paintings and drawings in their collection, including pictures by Edwin Landseer; but they also produced the occasional original composition or worked from each other's sketches. Their enthusiasm lasted five years, until 1849. In all, Victoria etched about 62 plates, Albert 25.
The plates were etched at Windsor Castle, where there was also a small press on which proof impressions were pulled. From time to time, the plates were discreetly entrusted to a local printer called Brown, on strict instructions that all impressions made should be returned, with the plates, to the Castle.
Nonetheless, unauthorized proofs were taken. In 1847, a local reporter named Jasper Tomsett Judge, who had made a career as a "royal-watcher", filing news and gossip about the court, and publishing cheap pamphlets describing the stables and kitchens at Windsor and other such matters for tourists, got wind of the existence of a cache of impressions. These were in the possession of a fellow called Middleton, who had been a printer at Brown's, and had been given the plates to print from, but, obviously, had disobeyed the Royal instructions they came with. Middleton struck a deal with Judge, who paid £5 for 60 prints.
Judge then collaborated with a London bookseller and printer named William Strange on the publication of a critical catalogue of these etchings, to be sold to visitors to the exhibition they planned for Strange's shop in Paternoster Row. Aware of the delicacy of this plan, Judge apparently attempted to seek, by correspondence, the artists' permission to go ahead with the plan - but not, apparently, until after Judge had filed a press release publicizing both pamphlet and exhibition, which was picked up and printed in dozens of regional papers always hungry for any copy concerning the Court.
The precise measure of Judge's propriety is open for debate; in any event, Queen Victoria and Prince Albert were not amused and promptly filed an avalanche of suits and injunctions against Judge, Strange, Middleton and even Judge's son, who had been living in France during the whole affair. Opinion in the press appears to have taken sides against their fellow journalist, hurling scorn on Judge, his co-defendants, and their plan. In 1849, William Strange printed a lengthy pamphlet written and published by Judge, "The Royal Etchings". A Statement of Facts Relating To The Origin, Object, and Progress of the Proceedings in Chancery, Instituted by Her Majesty & the Prince Consort. In it, Judge attempts to demonstrate that he was acting out of patriotic love for his Queen, to bring to the attention of the public further proof of their Royal talents, in order to extend the range of reasons for their subjects to admire and adore them. He quotes at length from his previous pamphlets, recounts numerous instances when he showed and described these etchings to acquaintances, to prove he was unaware he might be engaged in any wrongdoing, and documents the painstaking efforts he made to procure permission for his project from the Royal Household, averring that he refused to sell any of his pamphlets before he had that permission in writing - which he never got, obtaining law suits instead.
The following etchings, by Queen Victoria and her Consort Prince Albert, are on india paper mounted on stiff paper which may be the "card" referred to by Judge in his description of the paper on which the etchings he purchased from Middleton were printed. Very few etchings by either Royal artist "escaped" the private collections at Windsor, where a complete set is preserved in an album; another set was donated by George V to the British Museum.
Titles and numbers (with all Victoria's prints numbered first, then Albert's, and arranged chronologically) are from A.H. Scott-Elliot, "The Etchings by Queen Victoria and Prince Albert," Bulletin of the New York Public Library, 65, March 1961, 139-153.
By Queen Victoria: 12 A Dachshund, full length, to right (Waldman), 1840; 49 Five studies of the Princess Royal, 1842-43; Pussy, before going to bed; Victoria on Jan 1, 1844, in the costume of the late Princess Royal; Victoria and Albert as Gotha peasants, 1845.
By Albert of Saxe-Coburg, Prince Consort; 63 A Bearded Oriental wearing a turban in profile to right, 1840; 64 Wallenstein and his servant (from Schiller), 1840; 67 Romeo and Tybalt, 1840; 68 Fiesko and Andrea Dorea, 1840 (second state); 70 The head of a Dachshund, 1840; 71 A Figure in armour and cloak, bearing an axe, 1840; 73 Head of a young man with curling hair, in profile to right, 1840; 74 Six men, in 16th century costume, seated around a table, 1841; 77 Götz of Berlichingen and the pilgrim, 1841; 78 Mignon, 1841; 79 The head of a man, full face, with straggling hair, 1841; 81 Two heads of eagles, 1841; 82 Two peasant women, one on crutches, 1842; 84 The Princess Royal and the Prince of Wales, 1843; 86 Crows and a fox attacking a dead stag, 1843 ; 87 A Greyhound and a skye terrier, lying down, 1844; a mining or dockside scene, 1851.
#2823$48,000.00
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 Quinby, Jane & Allan Stevenson
Catalogue of Botanical Books in the Collection of Rachel McMasters Miller Hunt
New York: '1948' but later. (Vol 1: 9 1/4 x 6"; Vol 2: 8 1/2 x 5 1/2 ").
3 vols. in 2, 8vo. Cloth. Martino reprint, limited to 400 copies of this essential reference for pre-1800 botanical works. Excellent condition
#16940$130.00
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 RABEL, Daniel (?1578-1637)
Histoire générale des insectes de Surinam et de toute l'Europe... Troisième édition revue, corrigée et considérablement augmentée par M. Buch'oz... à laquelle on a joint une troisième partie qui traite des plus belles fleurs
Paris: Chez L.C. Desnos, 1771. 1 volume ('...Tome Troisième, Des Plantes bulbeuse, Liliacées, Caryophyllées.'), folio (19 9/16 x 13 inches). 69 hand-coloured engraved plates of flowers after Rabel. Bound to style in 18th-century diced russia gilt, covers with triple fillet border with floral spray cornerpiece, spine in seven compartments with raised bands, red morocco lettering-piece in the second, the others with repeat decoration in gilt made up from various small tools.
A fine hand-coloured copy of the complete series of Rabel's plates to his 'Theatrum florae' : a fourth edition of one of the finest of the early 17th-century botanical works.
The rarest of Desnos's extraordinary publications, the present work is an unacknowledged fourth edition of Daniel Rabel's Theatrum florae. It includes all 69 of the plates that are present in the first three editions (published without text in Paris in 1622, 1627 and 1633 respectively). The plate captions found in the earlier editions have been burnished out, but reappear almost word for word in the text. The additional text is, in part if not all, by Bu'choz. The plants depicted include all the most decorative flowers available to 17th-century gardeners and is truly '...une tres-jolie collection... qui ont ete dessinees & gravees d'apres nature' (see preface to vol.I). The fact that Rabel's name is omitted is not surprising since it is not included in any of the earlier editions, and is only in the last 60 years that the work has been re-attributed to him. Rabel enjoyed a considerable reputation during his lifetime. Rightfully, he has now been rescued from obscurity, indeed, Blunt considered Rabel to be one of the two greatest French botanical artists of the 17th century, noting that his work, along with that of his successor Nicolas Robert, was 'consummate in its perfection' (The Art of Botanical Illustration p.114).
There is no mention of this later edition, but for references to the 17th-century editions, see: Blunt (1994) p.115; BM(NH) V,p.2088; Cleveland Collections 176 and 187; Hunt Printmaking in the Service of Botany 14; Nissen BBI 1575; L. Tongiorgi Tomasi An Oak Spring Flora 15; Pritzel 10855.
#17344$70,000.00
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 RADOS, Luigi de (1773-1840) after Jean Baptiste François BOSIO
Marie Louise Archid. d' Autriche
A Paris chez Bance ame M. d'Estampes rue St. Denis and a' Milan chez Joseph M. et Frere Ubiemi M. d' Estampes rue des Servi n. 506 Editeurs., 1810. Stipple with engraving. Printed on laid paper. Collectors blind stamp of a bee in lower right corner of title space. In excellent condition with the exception of a creased lower right corner. Trimmed just outside platemark on all sides. Crease on right edge outside image. Some creasing and paper loss on upper right corner. Image size: 24 5/8 x 16 7/8 inches. Plate mark: 30 x 19 1/2 inches. Sheet size: 30 3/16 x 19 3/4 inches.
A captivating portrait of Marie Louise of Austria, Napoleon's second wife.
This is a magnificent print of Marie Louise of Austria executed in 1810, the year of her marriage to Emperor Napoleon. In 1809 when Josephine, Napoleon's first wife, failed to give him a son, the Emperor divorced her. He based this action on the spurious grounds that a parish priest had not been present at their marriage, but it was well known that this decision resulted from his desire for a male heir. Two months later he married Marie Louise, the daughter of Francis II, Emperor of Austria, and great-niece of Marie Antoinette. The marriage did nothing to end the enmity between France and Austria, but in 1811 Marie gave birth to a son, Francois Charles, who was made king of Rome.
This captivating print depicts Marie at one of the most pivotal moments of her life. She is portrayed as being both innocent and magisterial, fashionable as well as reserved which results in a hauntingly beautiful portrait of this young bride. Rados's print recalls the portrait of Marie, executed in the same year, by Jean Godfrey. Both works are monumental in size and depict the young princess in a park setting. The detailing of Marie's dress and the level of intricate detail in Rados's image, is nothing short of magnificent, and his soft engraving technique gives this print a delicacy, which is immensely appealing.
From the collection of William J. Latta of Philadelphia, a 19th century collector of Napoleonic material.
Regency to Empire: French Printmaking 1715-1814 no. 124; Le Blanc, Manuel de L'Amateur D'Estampes III, p. 269, no. 12; Lugt, Les Marques de Collections, No. 2825
#12764$1,950.00
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 RAEBURN, After Sir Henry (1756-1823)
To the Royal Company of Archers, this Portrait of Dr. Nathaniel Spens, a Favorite Member in the Uniform of a Scottish Archer is respectfully dedicated by their most Obedient Humble Servant John Beugo
Edinburgh: John Beugo, February 1796. Engraving, by John Beugo. Image size (including text): 23 1/2 x 15 3/4 inches. Sheet size: 27 7/8 x 19 1/4 inches.
A very fine engraving after 'the Scottish Reynolds'
"Among notable shots of the period may be mentioned... Dr. Nathaniel Spens, probably one of the best and most enthusiastic archers who ever drew a bow. A noble portrait of him by Raeburn, representing him in the act of shooting, now hangs in Archers' Hall [in Edinburgh, Scotland]; he was admitted a member in 1749, became praeses of the council in 1809, and died in 1815." (excerpt from The Badminton Library volume Archery )
"Raeburn's career of some thirty years as a fashionable portrait-painter was one of unbroken professional and social success. His fine presence, genial manners, shrewd sense, and great conversational powers made him a welcome guest in the brilliant society of his day. A complete collection of his works would make a Scottish national portrait gallery of ideal quality a whole army of wise, grave, humorous, capable, or beautiful countenances, painted simply and strongly by a man of genuine instinct. Robertson, Hume, Monboddo, Boswell, Adam Smith, Braxfield, Christopher North, Lord Newton, Dugald Stewart, John Erskine, Jeffrey, and Walter Scott were of the company, to name but the more famous. Burns is almost the only notable absentee from the roll of his sitters.
Raeburn was in love with his daily task. He used to declare portrait-painting to be the most delightful thing in the world, for every one, he said, came to him in the happiest of moods and with the pleasantest of faces. It is significant, too, of the generous temper he showed to his brother-artists that he described his profession as one that leads neither to discords nor disputes.... Fully occupied in his native city, Raeburn had little time for visits to London. He is said to have paid only three short visits to the capital...It was not until 1814 that Raeburn sent his first contribution to the English academy; he was at once elected an associate, and in the following year a full member... In 1822, when George IV paid his famous visit to Edinburgh, Raeburn was one of the citizens singled out for distinction, probably on the initiative of Scott. He was knighted at Hopetoun House, in recognition of his distinguished merit as a painter. The king was so much struck by his appearance and manner that he is said to have told Scott he would have made him a baronet but for the slur on the memory of Reynolds. In May of the following year he was appointed his Majesty's first limner and painter in Scotland, but he did not long enjoy these honours. A few weeks later he made one of a party to St. Andrews (in the annual archæological excursion instituted by the chief commissioner, Adam), among his companions being Scott and Miss Edgeworth. He returned to Edinburgh apparently in excellent health and spirits, and resumed his work on his two half-lengths of Scott, one of which he was painting for himself, and the other for Lord Montague... Within a few days he was seized with a mysterious atrophy. His doctors were unable to discover the cause of it, and, after a week of rapid decline, he died on 8 July 1823. He was buried in the Episcopal church of St. John's, at the west end of Prince's Street, Edinburgh. His grave is in the dormitory at the east end of the church, within a few yards of passers-by in the street." (DNB).
#5256$2,500.00
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 RAJON
[Thomas Carlyle]
circa 1875. Etching. Facsimile signature in lower right margin. In good condition with the exception of light paper discolouration and tape residue in the margins. Image size: 15 3/16 x 11 1/2 inches. Plate mark: 18 x 13 ˝ inches. Sheet size: 23 1/8 x 17 5/8 inches.
An intimate portrait of Thomas Carlyle, the famous writer and social critic.
Thomas Carlyle, Scottish born writer and historian, was one of the formative influences on nineteenth-century intellectual life on both sides of the Atlantic. His published writings range from mathematics, German literature, and politics to biography, theology, literary criticism, and history. "Carlyle's genius," wrote Hector Macpherson, "was many-sided. He touched and ennobled the national life at all points. He lifted a whole generation of young men out of the stagnating atmosphere of materialism and dead orthodoxy into the region of the ideal....no English writer has done more to elevate and purify our ideas of life and to make us conscious that the things of the spirit are real..." (From British Authors of the Nineteenth Century, 115-118, The | | | |
