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browsing 4347 items
displaying items 4201 to 4300
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 WATSON, Thomas after Nathaniel DANCE
Lord Apseley and his Brother
London: Published by Thomas Watson, No 142 New Bond Street, & W. Dickinson, Henrietta Street, Covent Garden, June 28, 1776. Mezzotint. State iv/v, with the title added, in thick and thin italics and closed thick and thin letters. In excellent condition. Image size: 18 7/8 x 14 inches. Plate mark: 20 1/8 x 14 1/4 inches. Sheet size: 21 5/8 x 15 3/8 inches.
A charming portrait of Lord Apseley and his brother, by the master engraver Thomas Watson.
Thomas Watson was considered a leader during the golden day of English mezzotint. His bold style focuses on the play between light and shade, forming a surface consistency that is a beauty to behold. He began his career in London where for a short time he worked as a printseller in New Bond Street with fellow engraver William Dickinson. Although Watson was an accomplished stipple engraver, he was renowned for his talents as a mezzotinter. He worked from pictures by the masters of his age, artists such as Reynolds, Dance and West, from which he created inspired beautiful images. This print is a wonderful example of Watson's skill; technique and composition combine to create a delicate image which immediately connects the viewer to the two young brothers in Dance's portrait.
Chaloner Smith, British Mezzotinto Portraits 1, ii/ii; Russell, English Mezzotint Portraits, and their States 1, iii/iii; Goodwin, Thomas Watson, James Watson, Elizabeth Judkins 28, iii/iii; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 1; Lennox-Boyd & Stogdon, state iv/v
#7268 $1,200.00  
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 WATSON, Thomas after Sir Joshua REYNOLDS
Lady Broughton
London: Printed for Robert Sayer, No. 53 Fleet Street, Aug. 10, 1770. Mezzotint. State iii/iv, with the title added above the publication line in closed thick & thin letters. In excellent condition with the exception of some rubbed creases running throughout the image. Images size: 24 1/8 x 14 15/16 inches. Plate mark: 24 5/16 x 15 inches. Sheet size: 25 15/16 x 15 15/16 inches.
A charming portrait by Watson after Reynolds of a lady sketching in a drawing book.
Thomas Watson was considered a leader during the golden day of English mezzotint, and this lovely portrait of Lady Broughton is a wonderful testament to his talents. His bold style focuses on the play between light and shade, forming a surface consistency that is a beauty to behold. He began his career in London where for a short time he worked as a printseller in New Bond Street with fellow engraver William Dickinson. Although Watson was an accomplished stipple engraver, he was renowned for his talents as a mezzotinter. He worked from pictures by the masters of his age, artists such as Reynolds, Dance and West, from which he created inspired beautiful images. Watson's mezzotint of Lady Broughton was the first engraving he did after a painting by Reynolds.
Chaloner Smith, British Mezzotinto Portraits 8 iii/iii; Russell, English Mezzotint Portraits, and their States 8 iii/iv; Goodwin, Thomas Watson, James Watson, Elizabeth Judkins p. 1-6, 4, iii/iv; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 1; Lennox-Boyd & Stogdon, state iii/iv
#7948$1,500.00
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 WATSON, Thomas after Sir Joshua REYNOLDS
[Mrs. Hardinge]
London: Published for Watson & Dickinson, No. 158 New Bond Street, Feb. 10, 1780. Mezzotint. Published without title. State ii/vi, with the artists names and publication line only in engraved letters. Printed on laid paper. In good condition with the exception of being trimmed on the platemark. Tipped onto contemporary backing sheet, three small skillfully mended tears in title area. Image size: 16 1/8 x 12 15/16 inches. Sheet size: 17 7/8 x 13 inches.
An exquisite image of Mrs. Hardinge by the master engraver Thomas Watson.
In tone and texture Watson perfectly captures the fragile beauty of Reynolds' delicate portrait of Mrs. Hardinge. Thomas Watson was considered a leader during the golden day of English mezzotint. His bold style focuses on the play between light and shade, forming a surface consistency that is a beauty to behold. He began his career in London where, for a short time, he worked as a printseller in New Bond Street with fellow engraver William Dickinson. Although Watson was an accomplished stipple engraver, he was renowned for his talents as a mezzotinter. He worked from pictures by the masters of his age, artists such as Reynolds, Dance and West, from which he created inspired beautiful images.
This state appears to be the second out of six states, except that the inscription space is cleaned, which is not described by either Chaloner Smith, Russell, or Lennox-Boyd. States four, five, and six are later impressions.
Goodwin, Thomas Watson, James Watson, Elizabeth Judkins 39, ii/iii; Chaloner Smith, British Mezzotinto Portraits 18ii/ii; Russell, English Mezzotint Portraits, and their States 18, ii/iv; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 3; Lennox-Boyd & Stogdon, state ii/vi
#7953$950.00
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 WATSON, Thomas after Sir Joshua REYNOLDS
[Mrs. Lucy Hardinge]
London: Published by Colnaghi & Co. 13 & 14 Pall Mall East, Nov. 1, 1907. Mezzotint. Later impression of Watson's print first published in 1780, with Colnaghi & Co stamp in lower left corner. Proof before letters. On fine india paper mounted onto thick white wove as issued. In excellent condition. Image size: 16 1/8 x 12 1/2 inches. Plate mark: 18 x 13 inches. Sheet size: 24 3/4 x 17 1/2 inches.
An exquisite image of Mrs. Hardinge by the master engraver Thomas Watson.
In tone and texture Watson perfectly captures the fragile beauty of Reynolds' delicate portrait of Mrs. Hardinge. Thomas Watson was considered a leader during the golden day of English mezzotint. His bold style focuses on the play between light and shade, forming a surface consistency that is beautiful to behold. He began his career in London where, for a short time, he worked as a print seller in New Bond Street with fellow engraver William Dickinson. Although Watson was an accomplished stipple engraver, he was renowned for his talents as a mezzotinter. He worked from pictures by the masters of his age, artists such as Reynolds, Dance, and West, from which he created inspired beautiful images.
Goodwin, Thomas Watson, James Watson, Elizabeth Judkins 39; Chaloner Smith, British Mezzotinto Portraits 18; O'Donoghue, Catalogue of Engraved British Portraits...in the British Museum 3.
#8606$450.00
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 WATTS, John after Abraham HONDIUS (circa 1625-1691)
A Pair: [Morning], [Evening]
London: Published by J. Watts, Dealer in Prints & Drawings opposite the Mews Gate Charing Cross, 1 June 1778. Mezzotints. Printed on laid watermarked paper. In excellent condition. [Morning] Image size: 9 1/2 x 13 7/8 inches. Plate mark: 10 x 13 7/8 inches. Sheet size: 10 5/8 x 14 7/8 inches. [Evening] Image size: 9 3/8 x 13 7/8. Plate mark: 9 7/8 x 13 7/8. Sheet size: 10 3/4 x 15 1/8 inches.
This is a stunning pair of mezzotints of two hunting dogs catching their quarry, by John Watts after paintings by Abraham Hondius.
Watts was a successful printmaker and publisher who was active in London during the second half of the eighteenth century. He was famed for his rich mezzotints, which he exhibited in London between 1766 and 1778. Watts scraped mezzotints after some of the most renowned artists of his day, but he had a special penchant for works by the Dutch masters, such as this handsome pair after Abraham Hondius, the celebrated Dutch animal painter. These rich mezzotints are a superb example of Watts's luxurious style of engraving, translating the energy and fluidity of Hondius's beautiful paintings into a dramatic example of superior mezzotint engraving.
Benezit, Dictionnaire Des Peintres, Sculpteurs, Dessinateurs et Graveurs.
#14190$650.00
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 WEAVER, Thomas (c. 1774-1843), engraved by William WARD (1766-1826)
A Short Horned Heifer, 7 Years Old. Bred and Fed by Mr. Robert Colling, of Barmpton, near Darlington in the County of Durham
Darlington: Published by William Robinson, December 13, 1811. Mezzotint. Sheet size: 21 x 26 inches.
A charming print of this prize heifer by the famous engraver William Ward.
This is a wonderful example of English livestock engraving, a craze that swept throughout the country and occupied the talents and imaginations of many of England's best artists. Paintings and prints of prize livestock were not only used to advertise the sale of an animal but were also commissioned by the owners to boast about a particularly fine breed of livestock in their possession. Boalch states that "It is often asked whether some of the cattle appearing in the prints were as monstrously fat as they were portrayed. The answer must be that in many cases they were, since their dimensions can be checked from the figures given in the descriptive legend at the foot of the print. On the other hand some owners, when seeking to advertise a beast by means of a print, deliberately had some of its features exaggerated... The craze for indiscriminate fattening reached such a pitch that the unfortunate beasts sometimes became too heavy for their own legs and had to be propped up with sticks in order to stand." (Boalch xvii]
Mellon pp. 199; Boalch, Prints and Painting of British Farm Livestock 1780-1910, no. 28
#3077$3,500.00
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 WEBBER, Charles Wilkins (1819-1856)
The Hunter-Naturalist. [Vol.I] Romance of Sporting; or, Wild scenes and Wild Hunters
Philadelphia: J.W. Bradley, [N.d. but copyright notice dated 1851]. [Volume I (all published)], large 8vo (10 5/8 x 7 inches). Letter-press title with wood-engraved double portrait of the author and his wife, 10 chromolithographic plates (5 after Alfred Miller and printed by L. Rosenthal, the others unsigned but including the “additional” plate of elephants), 3 full-page wood-engravings, 32 wood-engraved vignettes. Original brown cloth, covers blocked in blind, spines in gilt and blind. Provenance: William Sprague (1830-1915, U.S. Senator, inscription "William, Sprague / Providence / R.I.") .
First edition of a fine large copy of the first American book with chromolithographic plates, including images after Alfred Jacob Miller. This copy includes the plate of Elephants (after p.537), not mentioned by Howes and often missing.
This lively work includes chapters on the authors friends J.J. Audubon and Daniel Boone, but one of the chief attractions is the fact that it includes one of Alfred Jacob Millers very rare ventures into the realm of book illustration. The author heaps praise on the work of the first artist of the Rockies: "How splendidly he has accomplished his mission those who may not be familiar with his former work will at once comprehend, in looking over the five first Lithographs in this volume. I say with perfect confidence that it remains yet for Art in this country, to approach the amazing fidelity and spirit of these Drawings - and his glorious portfolio is but yet just opened!" (introduction pp.5-7).
This work is also the earliest American book to be illustrated with chromolithographs: again, Webber waxes eloquent "I hope so far to perfect, through the skill of my Lithographer, Mr. Rosenthall, the processes by which he has produced these unparalleled specimens of the art of Printing in colors on stone, as to be able to present [in the projected future volumes] all the figures of animal life in color and at a cost which will come within the limit of the present volume. This I shall regard as indeed a triumph ... I scarcely think that any specimens of that mysterious art can be produced in England ... that will compare with my first five lithographs by Rosenthall and Kramer, from Miller - at least I am very well content to abide the issue of public sentiment with regard to this first experiment in a novel field!" (introduction, p.7).
Bennett p.110; Henderson p.187; Howes W196
#20345$2,500.00
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 WEBSTER, James
Map of the United States
New York: Webster, 1835. Outline period color, 16½ x 19¼ inches. Population table 1830. Portrait of George Washington. With a second sheet of accompanying text entitled "Travellers Guide and Statistical View of the United States." 17¾ x 22 inches. Folding into stiff paper covers.
First edition of a rare early travellers' guide to the United States. Rumsey 3450 lists only an 1836 edition and believes it to be a "very scarce work…probably a one shot issue…The map is from a discarded plate of H. Phelps' U.S. [1832]…The index is largely stolen from Mitchell's Traveller's Guide index sheet for 1832, however the information on roads and distances is taken from someone else." The map still bears Henry Phelps' copyright date of 1832.
Rumsey 2442
#3195$2,250.00
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 WEIGEL, Johann Christian (1654-1726)
[Peter the Great] Petrus Alexewitz Czar et Magnus Dux Moscoviæ
[Augsburg: Published by Martin Engelbrecht, c. 1720, issued c. 1745]. Engraving with thick early colour with gold highlights. Printed on laid paper. Sheet has been re-backed. There is a stain in the bottom margin. Mild creasing and soiling. . Image size (including text): 10 5/8 x 7 inches. Sheet size: 14 1/8 x 8 3/4 inches.
Early 18th century print of Peter the Great
Peter the Great (1672-1725) was one of the dominant figures of the period and the most famous Czar. He greatly increased Russia's political significance and her territory, at the same time endeavored, with mixed results, to transplant western European cultural values and ways. His beardlessness was an example, and his tax on beards aroused considerable resentment.
Johann Christoph Weigel (1654-1726) was a Nuremberg engraver, who provided images of public figures, costume prints, landscapes and maps. Peter's pose and attire was a popular way to represent rulers: i.e. in full armour under a red velvet, ermine lined robe.
#15094$750.00
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 [WEILAND, Carl Ferdinand (1782-1847)
Geografische statistichen Atlas einingen amerikanischen Staaten in 45 Plattern von geografischen Institute en Weimar
Weimar: geografischen Institute en Weimar, 1824 - 1829]. Folio (21 1/2 x 13 3/4 inches). Mounted on guards throughout. 45 double-page hand-coloured engraved maps, each surrounded by letterpress text, without title as issued. Expertly bound to style in speckled half calf over contemporary marbled paper-covered boards, spine in six compartments with wide semi-raised bands, the band flanked by gilt roll tooling.
A very rare German composite atlas of America, a complete set including several important early maps of the United States
From 1824 to 1829, C. F. Wieland was engaged in creating a series of maps of America for the Geographical Institute of Weimar. According to Phillips, the maps were "published separately," but were occasionally collected and bound as a composite atlas. No general title page was ever issued but these rare composites are now universally known by the title given above. Very few have the same collation, and even fewer have the 45 maps that, according to Phillips, constitute a complete set. The present atlas is exceptional in that it contains this maximum number: by way of comparison, the Library of Congress has an example with thirty maps.
The maps are frequently described as copies of Jean-Alexandre Buchon's 1825 French language versions of the maps from Carey & Lea's American Atlas (Philadelphia, 1822). However, as production began as early as 1824, we can assume that the Philadelphia edition was the true inspiration. Like its predecessors, each map is accompanied by detailed text explaining geographical and political aspects of the jurisdiction featured. A large number of the maps are original productions that are distinct improvements on both Carey & Lea's and Buchon's maps. These include the maps of Arkansas Territory, Michigan Territory, Florida, Missouri & Oregon Territories, Canada and the Polar Regions. Several of these have no parallel in the atlases of Carey & Lea or Buchon. Twenty-eight of the maps focus solely on locations within the United States of America.
The list of maps in this atlas includes:
1. Vermont, based on Carey & Lea
2. Tennessee, based on Carey & Lea
3. Arkansas Territory, this rare map is one of the first depicting Arkansas alone. Carey & Lea and Buchon had included a map of Arkansas Territory, based on Stephen Long's famous map. However, that map extended north to Canada and west to the Rocky Mountains, while this map focuses exclusively on Arkansas and neighboring Oklahoma. Arkansas is here divided into ten counties. The few existing towns are almost all located along the Arkansas River.
4. North Carolina, based on Carey & Lea
5. Pennsylvania, based on Carey & Lea
6. Ohio, based on Carey & Lea
7. Florida, a rare early map of the State of Florida. It is one of the finest maps in the atlas, and an entirely new map, with the coastline and interior detail for Florida completely redrawn. While Buchon had shown Florida divided into just two counties, this map shows seven. Among the additions is the new city of Jacksonville. Tampa Bay, which was called "Espiritu Santo" by Buchon is here named "Espiritu Santo oder Tampa Bay." The Florida Keys have been entirely redrawn, and there are many new roads in northern Florida.
8. Illinois, based on Carey & Lea, an early map that shows the northern two thirds of the state to be largely uninhabited.
9. New Hampshire, based on Carey & Lea
10. New Jersey, based on Carey & Lea
11. Indiana, based on Carey & Lea, an early map that shows the central and northern parts of the state to be largely uninhabited.
12. Kentucky, based on Carey & Lea
13. New York, based on Carey & Lea
14. Mississippi, based on Carey & Lea, still shows the northern two-thirds of the state to be inhabited by the Choctaw and Chickasaw Indians.
15. Maryland, based on Carey & Lea
16. Michigan & Northwest Territory, an entirely new map, as the corresponding map in the Buchon atlas focused only on Michigan. This map extends westward to include present-day Wisconsin and eastern Minnesota, the "Northwest Territory," a vast and largely uninhabited realm extending to the Mississippi River and up to the Canadian border. The contour of Lake Michigan is more accurately drawn, and ten counties now appear in the lower peninsula of Michigan. Unlike Buchon's, this map shows the upper peninsula attached to the Northwest Territory.
17. Massachusetts, after Carey & Lea, but with different topography
18. Georgia, based on Carey & Lea, showing the northwestern portion of the state still occupied by the Cherokee Indians before their expulsion in 1828 by President Jackson.
19. Maine, based on Carey & Lea, an early map of this state that was admitted into the Union in 1820, is shown with exaggerated boundaries extending north of the St. John River, representing the extreme American claims in the unresolved boundary dispute with Great Britain.
20. Missouri, based on Carey & Lea, an early map that shows the western Ozark portion of the state to still be inhabited by the Osage Indians.
21. Delaware, based on Carey & Lea
22. South Carolina, based on Carey & Lea
23. Rhode Island, based on Carey & Lea
24. Virginia, closely adapted from the corresponding map in Buchon's atlas, shows what later became West Virginia as an integral part of the state.
25. District of Columbia, closely adapted from the map in Buchon's atlas, shows the District as complete, including Alexandria, which was not returned to Virginia until 1839.
26. Missouri and Oregon Territories, a rare early map of the American northwest. The map shows the newly formed territories of Oregon and Missouri, which occupied the watersheds of the Columbia and Missouri Rivers respectively, not in Carey & Lea.
27. British North America, is a general map of Canada, and an entirely different map than those that appeared in the atlases of Carey & Lea and Buchon. While those maps had concentrated on eastern Canada, this example extends all the way to the Pacific, with an abundance of new detail and information for western Canada and the Arctic regions. American territory extends northward so that it includes the entire watershed of the upper Columbia River.
28. The Northern Polar Regions, no map of the subject appeared in Carey & Lea's or Buchon's atlases, this map shows the northernmost regions and the central Arctic Archipelago to be totally unexplored.
29. Alabama, based on Carey & Lea
30. Connecticut, based on Carey & Lea
31. Windward Islands, depicting the chain of islands from Puerto Rico to Grenada, not in Carey & Lea.
32. Leeward Islands, shows the islands off the coast of Venezuela from Aruba to Trinidad, (not in Carey & Lea, who had a different interpretation of the definition of the "Leeward Islands")
33. Chile, shows a country much smaller than the modern Chile, before the settlement of its Patagonian territories and the conquest of its northern provinces, similar to Carey & Lea, but with different topography.
34. Brazil, not in Carey & Lea
35. Colombia, is shown as a unified state embracing Colombia, Equador and Venezuela, similar to Carey & Lea, but with different topography.
36. Cuba & The Bahamas, similar to Carey & Lea, but here with the Cuban provinces outlined.
37. Guatemala, is shown as a unified state embracing all of the central American countries north of Panama, not in Carey & Lea
38. Haiti, is depicted with the entire island of Hispaniola, similar to Carey & Lea, but with different topography.
39. Jamaica, similar to Carey & Lea, but with different topography.
40. Peru, similar to Carey & Lea, but with different topography.
41. Patagonia, an entirely new map, as no map of Patagonia appeared in Carey & Lea's or Buchon's atlases.
42. La Plata, a new map depicts the regions within the basin of the River Plate, not in Carey & Lea
43. United Provinces of South America, map depicts northern Argentina, Uruguay, Paraguay and Bolivia, when they were briefly united into one nation after their collective independence, similar to Carey & Lea, but with different topography.
44. Guyana, not in Carey & Lea
45. Mexico, includes the states of New Mexico and Texas, based on Carey & Lea.
Espenhorst A Guide to German Handatlases P1225, 1.6.3; Phillips Atlases 1225; Tooley Dictionary of Mapmakers (1979 ed.) p.658
#19359$35,000.00
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 WEILAND, Carl Ferdinand (1782-1847)
[Arkansas] Geographische-statistisch und historische Charte von Arkansas.
Weimar: im Verlage des geographischen Instituts, 1828. Copper-engraved map, with original outline colour, in excellent condition. Sheet size: 19 1/8 x 23 3/8 inches.
The highly important first printed map to focus on Arkansas
This map depicts the Arkansas Territory, formed in 1819, as one of the jurisdictions carved out of the massive Louisiana Purchase. It includes all of the lands making up the modern state of Arkansas, as well as the Indian Lands that now form the main portion of Oklahoma. The Indian Lands were not divided from Arkansas Territory until 1828, the same year that this map was printed. The present map is remarkable in that it is the first ever printed map to focus on Arkansas itself. The portrayal of the territory is far more advanced and of a larger scale than that depicted on the map that appeared in Carey & Lea's American Atlas (Philadelphia, 1822) that relegated the depiction of Arkansas to a small lower portion of the map. The present map is also an important document of the early development of Arkansas, showing the fledgling settlements that hug the Arkansas and Mississippi Rivers, such as Helena and Little Rock, the future state capitol. The territory features nine named and one unnamed county while the vast Indian Lands to the west are inhabited by the indigenous Choctaw nation and the Cherokee peoples who were exiled there from their native lands in the southern Appalachians.
#19600$2,750.00
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 WEILAND, Carl Ferdinand (1782-1847)
[Missouri] Geographische-statistisch und historische Charte von Missury.
Weimar: im Verlage des geographischen Instituts, 1826. Copper-engraved map, with original outline colour, in excellent condition. Sheet size: 19 1/8 x 23 3/8 inches.
A highly important map, one of the earliest state maps of Missouri
This very attractive map is a fascinating historical document depicting the early development of the state of Missouri. The state was admitted into the Union as part of the Missouri Compromise in 1821, having been carved out the territory of the same name that was part of the Louisiana Purchase. Finely coloured in outline are fourteen named counties. Most of the settlement still hugs the Mississippi River, and is centered on the bustling river port of St. Louis, which was founded by French fur traders in 1763. The western counties maintain a large size, suggesting their sparse population and undeveloped nature. The map features the 'Osage Line' that runs vertically south from Fort Osage on the Missouri River, marking the border between lands ceded to the U.S. government by the Osage nation in 1808. Featured in the center of the state on the Missouri River is the newly-founded state capitol, Jefferson City. Notably, the map depicts the state before the 1835 'Platte Purchase', that extended its northern boundary west to the Missouri River. The map is surrounded by statistics and text that describes the physical, political and demographic profile of the state during an especially critical period in its development. This map is advanced from the one that appeared in Carey & Lea's American Atlas, printed in Philadelphia in 1822.
#19601$700.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Aloe vera minor [Pl. 70]
[Pl. 70]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 5/8 x 7 3/8 inches. Sheet size: 15 1/2 x 9 3/4 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6832$750.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Aloe Africana margaritifera minor [African aloe plant]; Aloe Africana humilis foliis maculatis [African aloe plant with spotted leaves] [Pl. 55]
[Pl. 55]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 3/4 x 6 7/8 inches. Sheet size: 15 1/4 x 9 3/4 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6843$750.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Hyacinthus Indicus tuberosus, Tubereuse [Indian hyacinth]; Hyacinthus Indicus tuberosus flore pleno [Indian hyacinth]; Hycaninthus Belgarum flore coeruleo pleno [Hyacinth] ; Hyacinthus mascimus Belgarum flore albo pleno, Iacente [Hyacinth] [Pl. 584]
[Pl. 584]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 5/8 x 8 1/4 inches. Sheet size: 15 1/2 x 10 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6854$400.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Fraxinus, Fresne [Ash]; Fritillaria alba [White Fritillary]; Fritillaria, Fritillaire [Fritillary] [Pl. 515]
[Pl. 515]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 3/4 x 8 3/8 inches. Sheet size: 15 1/2 x 10 inches.
A fine image from the one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates also represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6856$400.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Lilium Martagon polyanthos flore albo [Martagon lily with white flowers]; Lilium Martagon floribus reflexis polyanthos album punctatum [Martagon lily with spotted white flowers] ; Lilium Martagon floribus reflexis rubris punctatum [Martagon lily with red spotted flowers] [Pl. 657]
[Pl. 657]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 1/4 x 8 1/4 inches. Sheet size: 15 1/2 x 10 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6861$600.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Mirabilis Peruviana flore minore rubro, Jalappe vel Gialappa vera ['Marvel of Peru' with small red flowers]; Mirabilis Peruviana flore majore rubro, Merveille du Peru ['Marvel of Peru' with large red flowers]; Mirabilis Peruviana, belle de nuit ['Beauty of the Night'] [Pl. 732]
[Pl. 732]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 3/4 x 8 1/2 inches. Sheet size: 15 1/2 x 10 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6876$400.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Aloe Ceylanica pumila foliis variegatis [Aloe plant with small, variegated leaves] [Pl. 74]
[Pl. 74]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 1/4 x 8 1/4 inches. Sheet size: 15 1/4 x 9 5/8 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6880$750.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Cereus erectus longissimis alglaucaus spinis bis armatus [Long, thorny erect cactus] [Pl. 357]
[Pl. 357]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 5/8 x 8 1/4 inches. Sheet size: 15 5/8 x 9 7/8 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6881$600.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Ananas sylvestris. Ananas sauvage [Wild pineapples] [Pl. 110]
[Pl. 110]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 3/8 x 8 1/4 inches. Sheet size: 15 3/8 x 9 1/2 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6886$600.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Geranium Africanum arborescens floribus rubicundis [African Cranesbill with red flowers]; Geranium triste, seu Indicum noctu olens [Mournful Cranesbill]; Geranium Africanum Malvae folio molli odore fragranti suavissimo flosculis albis [African Cranesbill with small, sweet smelling white flowers]; Geranium Africanum uvae crispae folio cauliculis procumbentibus [African Cranesbill with crisp leaves and prostrate stem] [Pl. 538]
[Pl. 538]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 13 x 8 5/8 inches. Sheet size: 15 5/8 x 10 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6902$400.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Lamium luteum rotundiore folio [Dead Nettle with rounded yellow flowers]; Lamium spurium flore luteo [Dead Nettle with yellow flowers]; Lamium maculatum sylvaticum [Dead Forest Nettle]; Lamium pannonicum flore purpureo [Dead Nettle with purple flowers]; Lamium mascimum sylvaticum foetidum, ortia puant [Fetid, Dead Forest Nettle] [Pl. 622]
[Pl. 622]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 3/4 x 8 1/4 inches. Sheet size: 15 5/8 x 9 7/8 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6904$400.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Gnaphalium seu Elychrysum angustifolium luteum [Cudweed]; Gnaphalium montanum, seu Pes cati, flore candido [Mountain Cudweed with white flowers]; Graphalium montanum flore rubro [Mountain Cudweed with red flowers]; Gnaphalium montanum flore rotundiore [Cudweed with rounded flowers]; Gossypium arboreum flore atro purpureo, Catton [Cotton]; Gossypium frutescens anuum [Cotton] [Pl. 551]
[Pl. 551]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 7/8 x 8 1/4 inches. Sheet size: 15 5/8 x 9 7/8 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6906$400.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Ranunculus Asiaticus simplex [Persian Buttercup]; Ranunculus Asiaticus flore sulphureo [Persian Buttercup]; Ranunculus Asiaticus maximus flore scarlatino ardente, le grand [Persian Buttercup]; Ranunculus Asiaticus flore albo et rubro variegato [Red and white Persian Buttercup] [Pl. 849]
[Pl. 849]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 13 x 8 1/4 inches. Sheet size: 15 1/8 x 9 3/8 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6907$450.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Cyanus hortensis flore rubro oris albis notatus [Red and white Cornflower?]; Cyanus hortensis flore coeruleo et purpureo [Blue and purple Cornflower?]; Cyanus hortensis flore rubro et purpureo [Red and purple Cornflower?]; Cyanus colore violaceo [Violet-coloured Cornflower?] [Pl. 452]
[Pl. 452]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 3/4 x 8 inches. Sheet size: 15 1/4 x 9 5/8 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6923$400.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Dictamus albus, seu Fraxinella flore albo [Gas Plant with white flowers]; Dictamus Fraxinella dictus purpureo, Fraxinelle [Gas Plant with purple flowers] [Pl. 461]
[Pl. 461]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition . Image size (including text): 12 3/8 x 8 1/2 inches. Sheet size: 14 7/8 x 10 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6928$400.00
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 WEINMANN, Johann Wilhelm (1683-1741)
Aloe Africana foliis glaucis margine et dorsi parte superiore spinosis [African Aloe]; Aloe Arachnoidea humilis [Aloe]; Aloe Africana brevissimo crassissimoque folio flore subviridi [Small, green African Aloe flower with thick leaves] [Pl. 73]
[Pl. 73]. [Regensburg]: [1734-1745]. Engraving, printed in colours with additional hand colouring. Very good condition. Image size (including text): 12 1/2 x 8 1/4 inches. Sheet size: 15 1/4 x 9 5/8 inches.
A fine image from one of the first works to use colour printing successfully, and the first published work to include work by the greatest botanical artist of the eighteenth century: Georg Dionysius Ehret.
This fine plate comes from Weinmann's magnum opus 'Phytanthoza Iconographia' (Regensburg: 1737-1745), a work which represented a major technical and artistic advance over its precursors, Martyn's 'Historia plantarum rariorum' and the Society of Gardeners' 'Catalogus plantarum'. The work was based on Weinmann's collection of plants and was financed by him. The botanical drawings from which the plates are taken are mainly by Ehret, his first published work, and by N. Asamin, a talented young female artist.
Weinmann's work is highly valued for the undoubted artistic standard of the plates, and the individual plates represent an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification.
Cf. Dunthorne 327; cf. Great Flower Books (1990) p.151; cf. Johnston Cleveland Collections 388; cf. Nissen BBI 2126; cf. Stafleu & Cowan TL2 17.050
#6936$750.00
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