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browsing 4347 items
displaying items 4001 to 4100
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 THORNTON, Robert John (circa 1768-1837). - Peter HENDERSON
The Blue Egyptian Water Lily
London: Sept. 11th, 1804. Hand-coloured and colour-printed aquatint engraving by Stadler. Excellent condition. Image size (including text): 18 1/2 x 13 1/2 inches. Sheet size: 21 13/16 x 17 5/8 inches.
The most strikingly beautiful flower plates ever to be printed in England.
"The ancient Egyptians venerated the Blue Water Lily [Nymphaea caerulea Savigny]...Their attraction to it is understandable because of its pleasing colour and the very delicate scent of its flowers, which are produced in abundance during the summer months. Displayed quietly among the leaves amid the scarcely-moving water, the whole plant distils an atmosphere of stillness, light and peace. This contrasts greatly with the tone of the text with which Thornton accompanied the plate in the Temple of Flora. When he had this prepared the triumph of Nelson over Napoleon at Aboukir Bay was still fresh in the memory and a large part of the text and notes is concerned with the battle instead of the plant. The water lily in the picture is set against a background which is supposed to represent `a distant view of Aboukir and the waters of the Nile'. Palm trees and a mosque in the middle distance add a touch of authenticity to the supposed Egyptian scene...The strong Egyptian sun is reflected in the rippling water and the plate has a lightness which is very attractive." (Ronald King, The Temple of Flora by Robert Thornton, 1981, p.110).
Thornton's Temple of Flora is the greatest English colour-plate flower book. "...[Thornton] inherited a competent fortune and trained as a doctor. He appears to have had considerable success in practice and was appointed both physician to the Marylebone Dispensary and lecturer in medical botany at Guy's and St. Thomas's hospitals. But quite early in his career he embarked on his.. great work. What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X and the Duchesse de Berry, Thornton set out to do alone...Numerous important artists were engaged.. twenty-eight paintings of flowers commissioned from Abraham Pether, known as `Moonlight Pether', Philip Reinagle, .. Sydenham Edwards, and Peter Henderson...The result...involved Thornton in desperate financial straits... In an attempt to extricate himself he organized the Royal Botanic Lottery, under the patronage of the Prince Regent…it is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing...But he produced...one of the loveliest books in the world" (Alan Thomas Great Books and Book Collecting, pp.142-144).
First and only state of this plate from the Temple of Flora.
#14638 $6,500.00  
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 THORNTON, Robert John (circa 1768-1837). - Abraham PETHER (1731-1795)
The Snowdrop
London: September 1804. Hand-coloured and colour-printed in mezzotint by William Ward. Discolouration at the top edge, and a faint brown line of discolouration just outside the platemark on all four sides, well outside the image. . Sheet size: 22 3/8 x 18 inches.
An excellent example of this William Ward colour mezzotint
"The snowdrop [Galanthus nivalis L.] has a special place in everyone's affections. Small, solitary and early, it exhibits the most extreme hardihood, often pushing its way up through the snow to flower the earliest of all. The second part of its common name, `drop', compares it with an ear-drop, which it is thought to resemble. The yellow crocus [?Crocus flavus Weston (C. aureus, C. maesiacus)], slightly later than the snowdrop, is the rue herald of springtime . John Gerard, the Elizabethan herbalist, said of it that it has `floures of a most perfect shining yellow colour, seeming afar off to be a hot glowing cole of fire'. The purple crocus [?C. vernus Hill] follows, both yellow and purple species being the parents of many garden varieties." (Ronald King. The Temple of Flora by Robert Thornton. 1981, p. 52).
Thornton's Temple of Flora is the greatest English colour-plate flower book. "...[Thornton] inherited a competent fortune and trained as a doctor. He appears to have had considerable success in practice and was appointed both physician to the Marylebone Dispensary and lecturer in medical botany at Guy's and St. Thomas's hospitals. But quite early in his career he embarked on his... great work. What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X and the Duchesse de Berry, Thornton set out to do alone... Numerous important artists were engaged... twenty-eight paintings of flowers commissioned from Abraham Pether, known as `Moonlight Pether', Philip Reinagle, ... Sydenham Edwards, and Peter Henderson... The result... involved Thornton in desperate financial straits.... In an attempt to extricate himself he organized the Royal Botanic Lottery, under the patronage of the Prince Regent... it is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing... But he produced... one of the loveliest books in the world" (Alan Thomas Great Books and Book Collecting, pp.142-144).
Second state of three of this plate from the Temple of Flora. `The pond in the right hand bottom corner is the clue here. In the first state it is entirely open and the water is coloured blue. In the second state bushes growing from the banks almost entirely cover the pond, which looks dark brown. The foreground has also been entirely reworked. Many smaller changes can be seen, notably extra leaves on the creeper above the crocus; the icicles are more prominent; there is more shading on the snowdrops; and the sky has been remodelled. But a glance at the pond will be all that is needed... For the Lottery edition [in which the third state appears] the plate was reworked all over in aquatint' (Handasyde Buchanan. Thornton's Temple of Flora, 1951, p.15).
#17210$3,000.00
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THORNTON, Robert John (circa 1768-1837) - Peter HENDERSON
The Winged Passion Flower
London: June 1st., 1802. Hand-coloured and colour-printed aquatint, stipple and line engraving by Warner. Very good condition. Framed. Sheet size: 22 1/2 x 18 inches.
One of the most strikingly beautiful flower plates ever to be printed in England.
"...the Winged Passion Flower [Passiflora alata L.], brought to Europe from Peru about thirty years before this plate was made, is highly coloured and very sweet-scented...It derives its common name from the thin membrane or `wing' at the angles of its square stems...It flowers somewhat earlier than the Blue Passion Flower, being in bloom from April to August. The colours of the flower being much brighter than those of the Blue Passion Flower it is not necessary, as in the latter, to try to provide a contrasting dark background, and in this case the pillar up which the plant climbs and the general scenery is lighter, giving the whole plate a brighter and more colourful appearance." (Ronald King, The Temple of Flora by Robert Thornton,. 1981, p. 82)
Thornton's The Temple of Flora is the greatest English colour-plate flower book. "...[Thornton] inherited a competent fortune and trained as a doctor. He appears to have had considerable success in practice and was appointed both physician to the Marylebone Dispensary and lecturer in medical botany at Guy's and St. Thomas's hospitals. But quite early in his career he embarked on his...great work. What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X, and the Duchesse de Berry, Thornton set out to do alone... Numerous important artists were engaged...twenty-eight paintings of flowers commissioned from Abraham Pether, known as `Moonlight Pether,' Philip Reinagle, ...Sydenham Edwards, and Peter Henderson...The result...involved Thornton in desperate financial straits...In an attempt to extricate himself he organized the Royal Botanic Lottery, under the patronage of the Prince Regent...It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing...But he produced...one of the loveliest books in the world." (Alan Thomas, Great Books and Book Collecting, pp.142-144)
Second state of two of this plate from the Temple of Flora. "In the first, the shadow of the vine extends to the top of the plate. The top of the column is solid, with no fluting, while the shadow under the top leaf is smooth. In the second state the shadow stops well before the top of the plate. The fluting has been put in at the top of the column. The shadow under the top leaf is jagged. The foliage on both sides of the column has been reworked." (Handasyde Buchanan, Thornton's Temple of Flora, London, 1951, p.18).
#18137$4,750.00
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 THORNTON, Robert John (circa 1768-1837). - Peter HENDERSON
The Queen
London: Feb. 1st., 1804. Hand-coloured and colour printed in stipple and line engraving by Cooper. Sheet size: 22 1/2 x 17 7/8 inches.
The most strikingly beautiful flower plates ever to be printed in England.
"This striking and distinctive plant, called by Thornton the `Queen' in this plate, and later the `Queen Flower', but more usually known as the `Bird of Paradise Flower' from a fanciful resemblance to that bird, is a native of South Africa, and one the most colourful plants of the showy flora of that country. It was introduced by Sir Joseph Banks, friend of the King, and de facto Director of the Royal Botanic Gardens at Kew, with some panache in the 1780s and named Strelitzia reginae in honour of Charlotte, George III's Queen, who was a Princess of Mecklenburg-Strelitz. It was almost certainly sent to Banks by Francis Masson, the first official Kew plant collector, who spent thee years in South Africa in the mid-1770s.. The Srelitzia attracted great attention in this country when it first appeared because of its colourful and bizarrely-shaped blooms, quite unlike anything else known at that time, and even today those who see it in flower for the first time are intrigued by it." (Ronald King. The Temple of Flora by Robert Thornton. 1981, p.68).
Thornton's Temple of Flora is the greatest English colour-plate flower book. "...[Thornton] inherited a competent fortune and trained as a doctor. He appears to have had considerable success in practice and was appointed both physician to the Marylebone Dispensary and lecturer in medical botany at Guy's and St. Thomas's hospitals. But quite early in his career he embarked on his... great work. What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X and the Duchesse de Berry, Thornton set out to do alone... Numerous important artists were engaged... twenty-eight paintings of flowers commissioned from Abraham Pether, known as `Moonlight Pether', Philip Reinagle, ... Sydenham Edwards, and Peter Henderson... The result... involved Thornton in desperate financial straits.... In an attempt to extricate himself he organized the Royal Botanic Lottery, under the patronage of the Prince Regent... it is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing... But he produced... one of the loveliest books in the world" (Alan Thomas Great Books and Book Collecting, pp.142-144).
First and only state of this plate from the Temple of Flora. See Handasyde Buchanan. Thornton's Temple of Flora, 1951, p.16.
#18150$5,750.00
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 TIBBS, Thomas
The Experimental Farmer: being strictures on various branches of husbandry and agriculture, drawn from a long series of practice in different parts of Great-Britain; containing Observations on planting and Preserving Young Trees, with an approved method of thinning them, to become timber. Likewise, Plans for Laying-out Land, on a five and four field system. Also, a new method to bring the most barren land into cultivation, for meadows and sheep walks: and a variety of other useful information in every branch of this art, absolutely necessary for every person, from the opulent farmer, to the proprietors of small pieces of land
London: printed for Sherwood, Neely, and Jones, [N.d., but publisher's advertisements dated September 1820]. 8vo (8 7/8 x 5 3/8 inches). Half-title, 1p. errata, 16pp. publisher's catalogue at end dated September 1820. Occasional wood-engraved decorations. Original boards, rebacked.
First edition, second issue, of this charming work, full of fascinating practical information on land management at the turn of the 19th century
This appears to be a second, remainder issue of the first edition: the dedication is dated 1806, the text has occasional watermark dates of 1804, but the title is a cancel issued by Sherwood, Neely & Jones who are also responsible for the publisher's catalogue at the end which is dated 1820. The first issue was dated 1806 and published by T. Ostell. No copies of the present issue are listed as having sold at auction in the past thirty years, and only one example of the 1807 issue.
"Although this Work may not be written in fine stile and polished language ... it will be found to be clear and comprehensive ... suited as well to the understanding of the refined Gentleman as to that of the industrious farmer' (introduction, p.ix). The work is largely made up from many short entries under numerous sub-headings, and reads like a note-book of observations and calculations: a charmingly straight-forward work which nevertheless imparts a great deal of practical knowledge. For example, in the section on planting trees, Tibbs extols the financial benefits of growing trees for timber and in an innovative way combines the purely financial calculations of the costs and profits of planting an acre of land with practical instructions on how to plant and manage the plantation for the period needed to see a good profit (42 years).
According to the introduction, Thomas Tibbs received his initial training in agriculture from his grandfather at Fidden Farm in Wiltshire, from there he moved to the Chiltern Hundreds where he farmed on his own land. He subsequently worked for Charles Hill, J. Sainsbury, and King George III's Flemish Farm before becoming Land Steward to Lord Grenville (the dedicatee) at Burnham in Buckinghamshire: this wide practical experience allowing him to write with authority on the numerous subjects he covers in this work.
Cf. Kress 19367 (1807 issue)
#20177$750.00
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 TILLEMANS, After Peter (1684-1734)
A View of the Noblemens and Gentlemens Severall Strings or Traines of Running Horses taking their exercise up the Watering Course on the Warring hill at New Market. Vue des differentes Attaches...; A View of a Horse-Match over the Long Course from the Starting Post to the Stand at New-Market. Une Perspective de Course...
London & Dublin: T. Sympson and J. Lord, [circa 1730]. Line engravings (small expert repairs to margins). Image size (including text): 11 5/8 x 16 6/8 inches approx. Sheet size: 14 3/8 x 20 1/4 inches approx.
A fine pair from a series of four plates of Newmarket scenes after Tillemans.
The four images by Tillemans were issued in two sets at about the same time: these are from the smaller of the two series.
Peter Tillemans "came to England from Antwerp in 1708. His first commissions were to paint topographical views... Each required figures to give life to the well-painted landscapes and what was more natural than to show some of the people mounted... his large and busily populated pictures of Newmarket Heath have considerable charm. The influence of his friend John Wotton is most pronounced in his horse portraiture while his compositions owe something to Francis Barlow. Tillemans' patrons included all the principal race-horse owners of the period... He must have known Newmarket well, already established as the home of the turf... Tillemans' influence on later sporting artists is considerable... The engravings after his Newmarket paintings provide a fascinating record of training and horse management when the turf was developing quickly in the hands of the aristocracy of the period." (Charles Lane British Racing Prints p.173)
Lane British Racing Prints p.173; cf. Mellon British Sporting and Animal Prints p.187 (large scale set); Siltzer p.274
#5249$3,000.00
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 TILLEMANS, After Peter (1684-1734)
A view of his Grace the Duke of Kingston's house at Thoresby, with his Grace & attendants going a setting
[London?]: [circa 1770?]. Line engraving, by Pritchard (expert small repairs to left and right margins). Image size (including text): 10 3/4 x 16 7/8 inches. Sheet size: 13 3/8 x 20 inches.
A fine example of this excellent portrait (of both the Duke and his pointers) after Tillemans.
This is a reduced version of a view (on two plates) published (according to Siltzer) by Sayer with an image area of 28 1/2 x 16 inches. Peter Tillemans "came to England from Antwerp in 1708. His first commissions were to paint topographical views... Each required figures to give life to the well-painted landscapes and what was more natural than to show some of the people mounted... his large and busily populated pictures of Newmarket Heath have considerable charm. The influence of his friend John Wotton is most pronounced in his horse portraiture while his compositions owe something to Francis Barlow. Tillemans' patrons included all the principal race-horse owners of the period... He must have known Newmarket well, already established as the home of the turf... Tillemans' influence on later sporting artists is considerable... The engravings after his Newmarket paintings provide a fascinating record of training and horse management when the turf was developing quickly in the hands of the aristocracy of the period." (Charles Lane British Racing Prints p.173)
Mellon British Sporting and Animal Prints p. 187; Schwerdt III, p124; cf. Siltzer p.274 (large version only).
#5252$1,750.00
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 TINNEY, John (d. 1761) after Anthony HIGHMORE (1719-1799)
The East front of Kensington Palace, with part of the Great Lawn / Façade Orientale du Palais de Kensington, avec une partie du Grand Gazone
London: Robert Sayer and John Bowles & Son, [no date]. Hand-coloured engraving, printed on laid paper backed with a 20th-century archival sheet. Very good condition apart from some light soiling and a 5/8" tear along the bottom edge of a larger skillfully repaired tear that runs through the right side of the image and spans the height of the sheet. Plate mark: 13 3/4 x 19 5/8 inches. Sheet size: 18 3/4 x 24 1/8 inches.
A very fine image of Kensington Palace and its expansive grounds.
Erected in 1661 for the Earl of Nottingham, Kensington Palace became the royal residence of William III in 1689. Over the years, it underwent various renovations by architects such as Nicholas Hawksmoor and Sir Christopher Wren. The palace was surrounded by an extensive park, the vast grounds of which are pictured here, that was expanded and laid out by the celebrated garden designers Henry Wise and Charles Bridgeman. Visible on the far left side of this beautiful print is one of the formal tree-lined avenues that were characteristic of the park.
John Tinney was both an engraver and "a print seller, and carried on business at the Golden Lion in Fleet Street, London, where all his own works were published. His mezzotint plates include portraits of Lavinia Fenton, after John Ellys; George III, after Joseph Highmore; Chief Baron Parker; and John Wesley; also some fancy subjects after Boucher, Lancret, Rosalba, Correggio, and others. He engraved in line a set of ten views of Hampton Court and Kensington Palace, after Anthony Highmore, and some of Fontainebleau and Versailles, after Jean Rigaud. Some of the plates in Ball's Antiquities of Constantinople, 1729, are also by him. Tinney is now remembered as the master of the distinguished engravers William Woollett, Anthony Walker, and John Browne." (DNB)
Cf. Dictionary of National Biography.
#13890$1,500.00
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 TINNEY, John (d. 1761) after Anthony HIGHMORE (1719-1799)
The South front of Kensington Palace, as seen from the Verges of the great Walk / Façade Méridionale du Palais de Kensington, vue la grande allée
London: Robert Sayer and John Bowles & Son, [no date]. Hand-coloured engraving, printed on laid paper backed with a 20th-century archival sheet. Very good condition apart from some light soiling, a 1/2" tear in the bottom margin, a small loss in the lower right-hand corner, and a few minor water stains in the right margin, one of which is just within the right platemark. Plate mark: 13 3/4 x 19 5/8 inches. Sheet size: 18 5/8 x 24 1/8 inches.
A very fine image of Kensington Palace and its expansive grounds.
Erected in 1661 for the Earl of Nottingham, Kensington Palace became the royal residence of William III in 1689. Over the years, it underwent various renovations by architects such as Nicholas Hawksmoor and Sir Christopher Wren. The palace was surrounded by an extensive park, the vast grounds of which are pictured here, that was expanded and laid out by the celebrated garden designers Henry Wise and Charles Bridgeman. Visible on the far right side of this beautiful print is one of the chief formal tree-lined avenues that were characteristic of the park.
John Tinney was both an engraver and "a print seller, and carried on business at the Golden Lion in Fleet Street, London, where all his own works were published. His mezzotint plates include portraits of Lavinia Fenton, after John Ellys; George III, after Joseph Highmore; Chief Baron Parker; and John Wesley; also some fancy subjects after Boucher, Lancret, Rosalba, Correggio, and others. He engraved in line a set of ten views of Hampton Court and Kensington Palace, after Anthony Highmore, and some of Fontainebleau and Versailles, after Jean Rigaud. Some of the plates in Ball's Antiquities of Constantinople, 1729, are also by him. Tinney is now remembered as the master of the distinguished engravers William Woollett, Anthony Walker, and John Browne." (DNB)
Cf. Dictionary of National Biography.
#13891$1,500.00
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 TIPPING, Henry Avray (1855-1933
English Homes of the Early Renaissance Elizabethan and Jacobean Houses and Gardens
London & New York: Country Life [and others],, [n.d., but 1912]. Folio (15 5/8 x 10 7/8 inches). Title in red and black, half-title, 16pp. publisher's advertisements at end. Frontispiece and numerous illustrations, some full-page. Original blue cloth, lettered in gilt, g.e. (spine chipped at head and foot, stitching loose, corners rubbed).
First edition of the rare precursor to Tipping's famous series of the same name.
The first page of the publisher's advertisements notes that this work 'supplements and completes ... the three volumes of "In English Homes," and the three volumes of "Gardens Old and New."
#20498$350.00
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 TIRION, Isaac (d. 1769)
[New Orleans] Grondvlakte van Nieuw Orleans, de Hoosdstad van Louisiana. / De Uitloop van de Rivier Missisippi. / De Oostelyke ingang van de Missisippi, met een Plan van het Fort, 't welk het Kanaal beheerscht.
Amsterdam: [1767]. Copper-engraved map, with full original colour, in excellent condition. Sheet size: 17 x 21 5/8 inches.
A highly decorative eighteenth-century map of New Orleans and the Mississippi Delta, with beautiful original colour.
The eminent Amsterdam cartographer Izaak Tirion derived this superb map from the Plan of New Orleans the Capital of Louisiana of 1759 by Thomas Jefferys. The left half of the map focuses on the city of New Orleans itself, founded in 1717 by the Sieur d'Iberville. As noted in the title of the map, it is largely based on the original manuscript plan of the city drafted by Le Blond de la Tour in 1722. It is also thought that Jefferys consulted Bellin's 1744 map of the city. The ordered symmetry of the city's layout is captured, and every street is individually labeled. The outlines of the buildings are detailed, and major edifices are labeled, such as the Parish Church of St. Louis, the monastery of the Capuchine Friars, the House of the Indendant, and theHospital and Convent of the Ursulines, the latter being the oldest building in the city that survives to this day. The right half of the map is divided into two maps, the upper map depicts New Orleans within the context of the lower Mississippi and its delta. The map below details the eastern mouth of the Mississippi, which is guarded by Fort La Balise.
Goss, The Mapping of North America, 63; Phillips, A List of Maps of America, p.496
#13955$1,850.00
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 TIRION, Izaak (d.1769)
[California] Karte van het Westelyk Gedeelte van Nieuw Mexico en van California Volgens de laatste Ontdekkingen der Jesuiten en anderen
Amsterdam: Isaak Tirion, 1765. Copper-engraved map, with full original colour, in excellent condition. Sheet size: 16 x 19 inches.
A very attractive and detailed map of the American Southwest and Baja California, by a respected Amsterdam cartographer
This highly detailed map, with beautiful full original colour embraces the area from what is now central Arizona and southern California down to Sonora and the Baja California Peninsula of Mexico. The map depicts the region during an especially fascinating time in its development. The Baja Peninsula and Sonora are shown to be dotted with Spanish garrisons and Jesuit missions established in the wake of Father Eusebio Kino who explored the area in the late 1600s. Kino was also the first cartographer to definitively establish that California is not an island, as previously thought. The notations on the map refer to various episodes in the exploration of the region. The shores of the Peninsula and the Sea of Cortés are charted in finely assured detail as are the courses of the lower Colorado and Gila Rivers, the latter running near the present-day site of Phoenix, Arizona. With reference to what is now known as southern California, the map depicts the Channel Islands, and extends past "Kaap St. Diego" up towards modern-day Los Angeles, however the shape of the coastline seems to be based more on conjecture than on actual discovery. The first mission in Alta California, San Diego (founded 1769), was yet to be established, and accurate charting of the region by such figures as the Comte de La Pérouse were still to occur a generation into the future. The present map was included in Tirion's well-regarded Nieuwe en Beknopte Hand-Atlas.
Lowery Collection, 498; Phillips, A List of Maps of America, p.494 and Atlases, 600-102; Wheat, TransMississippi West, 148; Wagner, Cartography of the Northwest Coast of America, 608
#19714$950.00
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 TOD, James (1782-1835)
Annals and Antiquities of Rajast’han, or the Central and Western Rajpoot States of India
London: publishe by Smith, Elder , & Co. and Calkin & Budd, 1829-1832. 2 volumes, 4to (11 7/8 x 10 3/8 inches). 3 letterpress tables (1 folding). 50 plates, plans and maps by Edward Finden and others after Captain Waugh, Ghafasi and others (including: 1 folding engraved map, hand-coloured in outline, 28 engraved plates after Waugh [1 folding], 11 engraved plates after Ghafasi, 3 lithographs [1 folding, 2 drawn on stone by Louis Haghe and on india paper mounted]). Expertly bound to style in light brown half morocco over contemporary marbled paper-covered boards, spines in six compartments with raised bands, red morocco lettering-piece in the second compartment, black morocco in the third, comb-marbled endpapers, t.e.g.
First edition of this valuable early study of the history, beliefs and topography of Rajasthan in north west India
The author went to India as a cadet in the Bengal army of the British East India Company in 1799. He commanded the escort attached to the resident with Sindhia from 1812 to 1817. In the latter year he was in charge of the Intelligence Department which largely contributed to the break up of the Maratha Confederacy in the Third Anglo-Maratha War, and was of great assistance in the campaign in Rajputana. In 1818 he was appointed political agent for the states of western Rajputana, where he conciliated the chieftains and settled their mutual feuds ... While resident in Rajputana, Tod collected materials for his Annals and Antiquities of Rajasthan, a work of great importance for South Asian scholars. At the dawn of the archaeological and historical study of India, Tod presents the contemporary geography and a detailed history of Rajputana along with the history of the Rajput clans who ruled most of the area at that time. Tod's work drew on local archives, Rajput traditional sources, and monuments such as the Edicts of Asoka found at Junagadh ...[He] returned to England in 1823 with a wealth of material for his fundamental study of Rajast'han's historical development. The work is ornamented with a fine series of plates, the majority of which are from drawings by a local artist whose name is given as Ghafsi, or Major Waugh, a friend and kinsman of the author who died just before the work was published. The work was much appreciated in the region at the time, to the extent that the ruler of Udaipur renamed a village in Tod's honour: Barsawada became "Todgarh" (or Tods fort) - a name that it still bears today.
#20388$7,500.00
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 TOWNLEY, Charles after Sir Joshua REYNOLDS
Sir Joshua Reynolds
London: Published by Charles Townley, No. 7 New Bond Street, June 30, 1777. Mezzotint. Printed on laid paper. Collectors mark on verso. State i/ii, with the engraved inscription. In excellent condition with the exception of some minor paper discolouration. .
From the collection of Frederic R. Halsey a famous New York print collector, who was active during the latter part of the 19th century. (Lugt 1308)
Chaloner Smith, British Mezzotinto Portraits 24, i/ii; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 8; Lugt, Les Marques de Collections 1308
#9189$800.00
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 TRAPIER, Elizabeth du Gue
Velasquez
New York: Hispanic Society of America, 1948. (12 x 8 3/4 inches).
Folio, 434 pp., 252 illustrations. Cloth. Freitag 9857. Excellent condition
#515$120.00
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 TRAUBEL, M. R.
[Duluth, Minnesota] Map Illustrating the Position of Duluth in the United States...Map of the State of Minnesota...Map of the City of Duluth....
Philadelphia: M. R. Traubel's Lithographic Establishment, [ca. 1880]. Engraved wall map, with original outline colour, expertly restored, backed with modern linen, trimmed in maroon cloth, on contemporary rollers, with bright colour, in very good condition. Sheet size: 59 x 62 inches.
A quartet of impressive Minnesota maps, joined together in one large wall map, built around a central civic map of Duluth. The majority of space is dedicated to downtown Duluth, showing the area along the waterfront and two long piers that form the heart of the shipping district. The largest inset shows Duluth's geographic location in the upper United States as ideal for the transport of goods to the Midwest and beyond. The second largest offers a basic map of the state of Minnesota. The third inset shows twenty-three miles of railroad along the Lake Superior & Mississippi & Northern Pacific, connecting Duluth with important stone quarries in Thomson. Commissioned by the Western Land Association as a promotional tool, the maps offer the prospective investor an ideal vision of the smooth shipment of goods from east to west along the developed lines of the Lake Superior & Mississippi & Northern Pacific railway. A prime Minnesota item. Rare. Not in Rumsey nor on OCLC.
#4888$8,500.00
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 TRAVIÈS, Edouard (1809-1865)
Blackbird and young (Turdus merula) `17. / Le Merle. (Buffon) Turdus Merula (Linnèe) Grandeur naturelle/ Europe'
Paris: Ledot ainé, [circa 1857]. Lithograph, coloured by hand, by Traviès. Sheet size: 24 1/8 x 17 1/4 inches.
A fine lithograph by one of the greatest ornithological artists of the 19th century, from his finest work 'Les Oiseaux Les Plus Remarquables.'
In this lively scene, full of movement, a male blackbird is shown presenting a caterpillar to his hungry brood of four young . Blackbirds often produce two broods a year, the first in about April and a second in June. To judge from the age of the hatchlings and the state of the surrounding foliage, this is probably a summer brood.
Edouard Traviès was the first artist to successfully capture the character of individual birds. This together with the wealth of detail in the backgrounds, give great charm to his images and lift them above mere ornithological illustration, into the realm of fine ornithological art.
Traviès was born in Doullens in the Somme district of France in March 1809, the younger brother of the caricaturist Charles Joseph Traviès de Villier (1804-1859). Throughout his career he concentrated on natural history subjects, both in watercolour (he exhibited regularly at the Paris Salon between 1831 and 1866) and lithography, as here. Unlike a number of his contemporaries, he was an artist both with the brush and on stone, and the present lithograph is his own work. It comes from what is undoubtedly his greatest published work: 'Les Oiseaux Les Plus Remarquables par leurs formes et leurs coleurs. Scenes variees de leurs moeurs & de leur habitudes...' published simultaneously in Paris and London circa 1857.
#3559$2,500.00
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 TRAVIÈS, Edouard (1809-1865)
European Kestrel (Falco tinnunculus), facing right `1./ La Crécerelle (Buffon) 2/3 nat./ Falco tinnunculus (Linnè)./ Europe'
Paris & London: Ledot ainé & E. Gambart & Co, April 1857. Lithograph, coloured by hand, by Traviès, printed by Becquet of Paris. Sheet size: 23 1/8 x 16 1/2 inches.
A fine lithograph by one of the greatest ornithological artists of the 19th century, from his finest work 'Les Oiseaux Les Plus Remarquables.'
This dramatic scene shows a male Kestrel battling with a grass snake amongst the ivy on top of an old wall, a pine tree behind. Uniquely, Traviès produced two versions of this plate: the present image, and then a slightly smaller version with the scene reversed. The two versions have different printers and publishers.
The male Kestrel can be identified by the blue-gray head and a tail with a black tip which develop when they are a year old, the females remain a fawn and black colour. This scene is unusual, and the Kestrel would not have attacked the snake as prey: the usual diet of the Kestrel is beetles, worms and the occasional small mouse.
Edouard Traviès was the first artist to successfully capture the character of individual birds. This together with the wealth of detail in the backgrounds, give great charm to his images and lift them above mere ornithological illustration, into the realm of fine ornithological art.
Traviès was born in Doullens in the Somme district of France in March 1809, the younger brother of the caricaturist Charles Joseph Traviès de Villier (1804-1859). Throughout his career he concentrated on natural history subjects, both in watercolour (he exhibited regularly at the Paris Salon between 1831 and 1866) and lithography, as here. Unlike a number of his contemporaries, he was an artist both with the brush and on stone, and the present lithograph is his own work. It comes from what is undoubtedly his greatest published work: 'Les Oiseaux Les Plus Remarquables par leurs formes et leurs coleurs. Scenes variees de leurs moeurs & de leur habitudes...' published simultaneously in Paris and London circa 1857.
#3560$2,500.00
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 TRAVIÈS, Edouard (1809-1865)
House Martin (Delichon urbica) `32./ L'Hirondelle au croupion blanc, ou l'Hirondelle de fenêtre.(Buffon.). Grandeur naturelle/ Hirundo Urbica. (Linnée)/ Europe'
Paris & London: Berrieux and Gambert, Junin & Co, [circa 1857]. Lithograph, coloured by hand, by Traviès, printed by Lemercier of Paris. Sheet size: 21 1/8 x 14 5/8 inches.
A fine lithograph by one of the greatest ornithological artists of the 19th century, from his finest work 'Les Oiseaux Les Plus Remarquables.'
Along with the Swallow and Swift, the House Martins are harbingers of summer. Here the birds, having made the incredible journey from southern Africa, are shown in amongst the urban roofs of a French town or city. In the foreground, an individual skims the top of a Horse Chestnut in its search for insects, behind securely attached to the eaves a young bird looks out from a mud nest to be fed by its parent. The feeling of heat, the strong summer light and the evocative wheeling cry of these accomplished fliers are all suggested in this gentle scene.
Edouard Traviès was the first artist to successfully capture the character of individual birds. This together with the wealth of detail in the backgrounds, give great charm to his images and lift them above mere ornithological illustration, into the realm of fine ornithological art.
Traviès was born in Doullens in the Somme district of France in March 1809, the younger brother of the caricaturist Charles Joseph Traviès de Villier (1804-1859). Throughout his career he concentrated on natural history subjects, both in watercolour (he exhibited regularly at the Paris Salon between 1831 and 1866) and lithography, as here. Unlike a number of his contemporaries, he was an artist both with the brush and on stone, and the present lithograph is his own work. It comes from what is undoubtedly his greatest published work: 'Les Oiseaux Les Plus Remarquables par leurs formes et leurs coleurs. Scenes variees de leurs moeurs & de leur habitudes...' published simultaneously in Paris and London circa 1857.
#3566$1,500.00
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 TRAVIÈS, Edouard (1809-1865)
Great Grey Shrike (Lanius excubitor) `Le Pie Grièche grise (Buffon) Grandeur naturelle/ Lanius excubitor (Linné)/ Europe/ 50'
Paris & London: Berrieux and E. Gambert & Co, [circa 1857]. Lithograph, coloured by hand, by Traviès, printed by Lemercier of Paris. Sheet size: 21 1/8 x 14 1/2 inches.
A fine lithograph by one of the greatest ornithological artists of the 19th century, from his finest work 'Les Oiseaux Les Plus Remarquables.'
The Great Grey Shrike, or Butcher Bird, is here shown perched on the ivy-clad branch of an oak tree defending his recently-killed prey (a female Yellowhammer [Emberiza citrinella). The Shrike frequents heathlands across northen Europe into Russia, often favouring silver birch trees, and feeds on small birds, voles and insects. The Shrike gained the alternative name `Butcher Bird' from its habit of hanging dead prey from thorns in thorn trees.
Edouard Traviès was the first artist to successfully capture the character of individual birds. This together with the wealth of detail in the backgrounds, give great charm to his images and lift them above mere ornithological illustration, into the realm of fine ornithological art.
Traviès was born in Doullens in the Somme district of France in March 1809, the younger brother of the caricaturist Charles Joseph Traviès de Villier (1804-1859). Throughout his career he concentrated on natural history subjects, both in watercolour (he exhibited regularly at the Paris Salon between 1831 and 1866) and lithography, as here. Unlike a number of his contemporaries, he was an artist both with the brush and on stone, and the present lithograph is his own work. It comes from what is undoubtedly his greatest published work: 'Les Oiseaux Les Plus Remarquables par leurs formes et leurs coleurs. Scenes variees de leurs moeurs & de leur habitudes...' published simultaneously in Paris and London circa 1857.
#3567$2,500.00
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 TRAVIÈS, Edouard (1809-1865)
Chaffinch, male and female (Fringilla coelebs) `31./ Le Pinson, mâle et femelle. (Buffon) Grandeur naturelle/ Fringilla Coelebs. (Linné)/ Europe'
Paris & London: Berrieux and Gambert, Junin & Co, [circa 1857]. Lithograph, coloured by hand, by Traviès, printed by Lemercier of Paris. Sheet size: 14 9/16 x 20 13/16 inches.
A fine lithograph by one of the greatest ornithological artists of the 19th century, from his finest work 'Les Oiseaux Les Plus Remarquables.'
A male Chaffinch looks warily at the viewer as his mate comes in to land beside him in a small clearing surrounded by bluebells, violets, wild strawberries and the lower branches of an oak sapling. A butterfly, possibly a Gatekeeper, suns itself on the stalk of a bluebell flower
Edouard Traviès was the first artist to successfully capture the character of individual birds. This together with the wealth of detail in the backgrounds, give great charm to his images and lift them above mere ornithological illustration, into the realm of fine ornithological art.
Traviès was born in Doullens in the Somme district of France in March 1809, the younger brother of the caricaturist Charles Joseph Traviès de Villier (1804-1859). Throughout his career he concentrated on natural history subjects, both in watercolour (he exhibited regularly at the Paris Salon between 1831 and 1866) and lithography, as here. Unlike a number of his contemporaries, he was an artist both with the brush and on stone, and the present lithograph is his own work. It comes from what is undoubtedly his greatest published work: 'Les Oiseaux Les Plus Remarquables par leurs formes et leurs coleurs. Scenes variees de leurs moeurs & de leur habitudes...' published simultaneously in Paris and London circa 1857.
#3570$2,250.00
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 TRAVIÈS, Edouard (1809-1865)
Barn Owl (Tyto alba) `24./ L'Effraie ou la Fressaie. (Buffon) 2/3 nature/ Strix Flammea (Gmelin)/ Europe'
Paris & London: E. Savary & Cie and Gambert, Janin & Co., [circa 1857]. Lithograph, coloured by hand, by Traviès, printed by Lemercier of Paris. Sheet size: 21 1/8 x 14 5/8 inches.
A fine lithograph by one of the greatest ornithological artists of the 19th century, from his finest work 'Les Oiseaux Les Plus Remarquables.'
The slow, gentle, silent, gliding and swooping flight of the Barn Owl at dusk is one of the unforgettable sights of the bird world. Here an adult owl prepares to take flight with a field mouse grasped in one powerful talon, in the background the fading colours of the sunset and the muted image of a large church, perhaps the owl's nesting place.
Edouard Traviès was the first artist to successfully capture the character of individual birds. This together with the wealth of detail in the backgrounds, give great charm to his images and lift them above mere ornithological illustration, into the realm of fine ornithological art.
Traviès was born in Doullens in the Somme district of France in March 1809, the younger brother of the caricaturist Charles Joseph Traviès de Villier (1804-1859). Throughout his career he concentrated on natural history subjects, both in watercolour (he exhibited regularly at the Paris Salon between 1831 and 1866) and lithography, as here. Unlike a number of his contemporaries, he was an artist both with the brush and on stone, and the present lithograph is his own work. It comes from what is undoubtedly his greatest published work: 'Les Oiseaux Les Plus Remarquables par leurs formes et leurs coleurs. Scenes variees de leurs moeurs & de leur habitudes...' published simultaneously in Paris and London circa 1857.
#3573$2,000.00
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 TRAVIÈS, Edouard (1809-1865)
[Yellow-crowned Amazon] `20. / Le Perroquet à tète jaune. (Buffon)/ Psittacus ochrocephalus (Gmelin) / Ameriquel'
Paris & London: Ledot and Gambart, Junin & Co., [circa 1857]. Lithograph, coloured by hand, by Traviès, printed by Becquet of Paris. Sheet size: 16 5/8 x 22 3/8 inches.
A fine lithograph by one of the greatest ornithological artists of the 19th century, from his finest work 'Les Oiseaux Les Plus Remarquables.'
A bird portrait showing this central and south American parrot landing in the stem of an umbrella palm. The bird looks back towards the viewer with a wary eye and lets out a cry. Because of the wide colour variation the species is difficult to establish with certainty, but this appears to be a Yellow-headed Amazon (Amazona ochrocephala oratrix). Its Latin name given in recognition of its amazing gift of mimicry.
Edouard Traviès was the first artist to successfully capture the character of individual birds. This together with the wealth of detail in the backgrounds, give great charm to his images and lift them above mere ornithological illustration, into the realm of fine ornithological art.
Traviès was born in Doullens in the Somme district of France in March 1809, the younger brother of the caricaturist Charles Joseph Traviès de Villier (1804-1859). Throughout his career he concentrated on natural history subjects, both in watercolour (he exhibited regularly at the Paris Salon between 1831 and 1866) and lithography, as here. Unlike a number of his contemporaries, he was an artist both with the brush and on stone, and the present lithograph is his own work. It comes from what is undoubtedly his greatest published work: 'Les Oiseaux Les Plus Remarquables par leurs formes et leurs coleurs. Scenes variees de leurs moeurs & de leur habitudes...' published simultaneously in Paris and London circa 1857.
#3575$3,500.00
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 TRAVIÈS, Edouard (1809-1865)
[Australian Rosella] `2./ La Perruche de Pennant/ Psitacus Pennantii (Vaillant) 2/3 de nature/ Nelle Hollande'
Paris: Berrieux, [circa 1857]. Lithograph, coloured by hand, by Traviès, printed by Lemercier of Paris. Sheet size: 14 1/4 x 20 5/8 inches.
A fine lithograph by one of the greatest ornithological artists of the 19th century, from his finest work 'Les Oiseaux Les Plus Remarquables.'
A fine lively view of this Australian Rosella in typical pose: wings raised, head thrust forward aggressively, the only thing missing is the sound of its cry. This appears to an adult Crimson Rosella (Platycercus elegans), which is native to south-east and eastern Australia, and has been introduced to New Zealand and Norfolk Island.
Edouard Traviès was the first artist to successfully capture the character of individual birds. This together with the wealth of detail in the backgrounds, give great charm to his images and lift them above mere ornithological illustration, into the realm of fine ornithological art.
Traviès was born in Doullens in the Somme district of France in March 1809, the younger brother of the caricaturist Charles Joseph Traviès de Villier (1804-1859). Throughout his career he concentrated on natural history subjects, both in watercolour (he exhibited regularly at the Paris Salon between 1831 and 1866) and lithography, as here. Unlike a number of his contemporaries, he was an artist both with the brush and on stone, and the present lithograph is his own work. It comes from what is undoubtedly his greatest published work: 'Les Oiseaux Les Plus Remarquables par leurs formes et leurs coleurs. Scenes variees de leurs moeurs & de leur habitudes...' published simultaneously in Paris and London circa 1857.
#3576$3,000.00
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 TRAVIÈS, Edouard (1809-1865)
Crested Crane (Balearica pavonina) `29./ L'Oiseau Royal. (Buffon) 1/4 nature./ Ardea Pavonia. (Linné)./ Afrique'
Paris & London: Berrieux and Gambart, Junin& Co, [circa 1857]. Lithograph, coloured by hand, by Traviès, printed by Lemercier of Paris. Sheet size: 21 1/8 x 14 5/8 inches.
A fine lithograph by one of the greatest ornithological artists of the 19th century, from his finest work 'Les Oiseaux Les Plus Remarquables.'
The African Crowned Crane must surely be one of the most elegant of all birds. Three individuals are shown here in a suitable landscape with banana palms to the left and a great stand of papyrus reed to the right.
Edouard Traviès was the first artist to successfully capture the character of individual birds. This together with the wealth of detail in the backgrounds, give great charm to his images and lift them above mere ornithological illustration, into the realm of fine ornithological art.
Traviès was born in Doullens in the Somme district of France in March 1809, the younger brother of the caricaturist Charles Joseph Traviès de Villier (1804-1859). Throughout his career he concentrated on natural history subjects, both in watercolour (he exhibited regularly at the Paris Salon between 1831 and 1866) and lithography, as here. Unlike a number of his contemporaries, he was an artist both with the brush and on stone, and the present lithograph is his own work. It comes from what is undoubtedly his greatest published work: 'Les Oiseaux Les Plus Remarquables par leurs formes et leurs coleurs. Scenes variees de leurs moeurs & de leur habitudes...' published simultaneously in Paris and London circa 1857.
#3578$3,500.00
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 TRAVIÈS, Edouard (1809-1865)
Greater Bird-of-paradise (Paradisaea apoda) 21./ L'oiseau de Paradis. (Buffon) 9/8 de la Grandeur naturelle/ Paradisea Apoda (Linnee)/ Nouvelle Guinee
Paris & London: E. Savary et Ce. and Gambart Junin et C, [circa 1857]. Lithograph, coloured by hand, by Traviès, printed by Lemercier of Paris. Sheet size: 21 1/8 x 14 5/8 inches.
A fine lithograph by one of the greatest ornithological artists of the 19th century, from his finest work 'Les Oiseaux Les Plus Remarquables.'
The Great Bird of Paradise is the largest most spectacular member of a family of 40 species grouped under the name Paradiseidae. It is native to the Aru Islands a group of about 95 islands in eastern Indonesia, south west of New Guinea. The first published image of this species appeared in 1750 in George Edwards' Natural History of Birds (see vol.III, plate 110). Daniel Elliot, in his A Monograph of the Paradiseidae (1873) writes `For many years the Birds of Paradise have been known to all persons whose avocations called them to the Moluccas; and the earlier voyagers among those islands entertained strange views regarding these attractive creatures. Their beautiful plummage excited the admiration of the most indifferent person; and the strange tales related of them aroused the fears of the more superstitious of even the reckless mariners'.
Edouard Traviès was the first artist to successfully capture the character of individual birds. This together with the wealth of detail in the backgrounds, give great charm to his images and lift them above mere ornithological illustration, into the realm of fine ornithological art.
Traviès was born in Doullens in the Somme district of France in March 1809, the younger brother of the caricaturist Charles Joseph Traviès de Villier (1804-1859). Throughout his career he concentrated on natural history subjects, both in watercolour (he exhibited regularly at the Paris Salon between 1831 and 1866) and lithography, as here. Unlike a number of his contemporaries, he was an artist both with the brush and on stone, and the present lithograph is his own work. It comes from what is undoubtedly his greatest published work: 'Les Oiseaux Les Plus Remarquables par leurs formes et leurs coleurs. Scenes variees de leurs moeurs & de leur habitudes...' published simultaneously in Paris and London circa 1857.
#3768$3,500.00
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 TRAVIÈS, Edouard (1809-1865)
[Rose-ringed parakeet] 41./ La Perruche à collier rose. (Buffon) Grandeur naturelle./ Psittacus torquatus (Brisson.)/ Afrique
Paris & London: Berrieux and E. Gambart & Co, [circa 1857]. Lithograph, coloured by hand, by Traviès, printed by Lemercier of Paris. Sheet size: 21 1/4 x 14 1/8 inches.
A fine lithograph by one of the greatest ornithological artists of the 19th century, from his finest work 'Les Oiseaux Les Plus Remarquables.'
A fine portrait of this parrakeet in characteristic pose, one leg grips the stalk of the banana leaf, with the other it starts to eat a small banana. Butterflies enliven the scene with exotic palms visible in the background.
Edouard Traviès was the first artist to successfully capture the character of individual birds. This together with the wealth of detail in the backgrounds, give great charm to his images and lift them above mere ornithological illustration, into the realm of fine ornithological art.
Traviès was born in Doullens in the Somme district of France in March 1809, the younger brother of the caricaturist Charles Joseph Traviès de Villier (1804-1859). Throughout his career he concentrated on natural history subjects, both in watercolour (he exhibited regularly at the Paris Salon between 1831 and 1866) and lithography, as here. Unlike a number of his contemporaries, he was an artist both with the brush and on stone, and the present lithograph is his own work. It comes from what is undoubtedly his greatest published work: 'Les Oiseaux Les Plus Remarquables par leurs formes et leurs coleurs. Scenes variees de leurs moeurs & de leur habitudes...' published simultaneously in Paris and London circa 1857.
#3769$3,500.00
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 TRAVIÈS, Edouard (1809-1865)
[Asian Fairy Bird and Javan Munia] '53./ [L'Irene vierge. Irena puella & Le Gros bec Maia. Fringilla maia]
Paris & London: Ledot aine and Gambert, Junin & Co., [circa 1857]. Lithograph, coloured by hand by Travies, printed by Becquet of Paris. Proof before letters. Sheet size: 20 1/4 x 15 inches.
A fine and very rare proof lithograph by one of the greatest ornithological artists of the 19th century, from his finest work 'Les Oiseaux Les Plus Remarquables.'
Edouard Traviès was the first artist to successfully capture the character of individual birds. This together with the wealth of detail in the backgrounds, give great charm to his images and lift them above mere ornithological illustration, into the realm of fine ornithological art.
Traviès was born in Doullens in the Somme district of France in March 1809, the younger brother of the caricaturist Charles Joseph Traviès de Villier (1804-1859). Throughout his career he concentrated on natural history subjects, both in watercolour (he exhibited regularly at the Paris Salon between 1831 and 1866) and lithography, as here. Unlike a number of his contemporaries, he was an artist both with the brush and on stone, and the present lithograph is his own work. It comes from what is undoubtedly his greatest published work: 'Les Oiseaux Les Plus Remarquables par leurs formes et leurs coleurs. Scenes variees de leurs moeurs & de leur habitudes...' published simultaneously in Paris and London circa 1857.
#3853$2,750.00 | | | |
