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browsing 4347 items
displaying items 4301 to 4400
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(total 44 pages)
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 WILLIAMS, William
The Tourist's Map of the State of New York Compiled from the Latest Authorities
Utica, NY: Published by William Williams, 1828. "Engraved by V. Balch & Stiles." Period outline color, 19-3/4 x 20-1/2" on a 19-3/4 x 28-1/4" sheet with nine columns of text entitled Stage, Canal and Steam-Boat Register at right. Folding into gilt-stamped brown leather covers. Two insets: Profile of the Grand Erie Canal, and Profile of the Champlain Canal. Three columns of descriptive text on the Erie Canal. Fine condition.
Second edition, with changes to the text from the first edition of 1827. Rumsey 4970; Phillips, p. 510.
#6392 $1,250.00  
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 WILLIAMSON, Charles
A Description of the Genesee Country: In Which The Situation, Dimensions, Civil Divisions, Soil, Minerals, Produce, Lakes And Rivers...Are Impartially Described. To Which Is Added An Appendix, Containing A Description Of The Military Lands. By Robert Munro [pseud].
New York: printed for the Author, 1804. 16pp., map. Modern three quarter gilt blue morocco and cloth. Some marginal restorations to the title-leaf, not affecting text, else a very nice, untrimmed copy.
#3078$750.00
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 WILLIAMSON, Charles
A Description of the Genesee Country: In Which The Situation, Dimensions, Civil Divisions, Soil, Minerals, Produce, Lakes And Rivers...Are Impartially Described.
New York: printed for the author, 1804. 16pp., map. Late 19th-century three quarter red calf and marbled boards, leather label, raised bands. Edges bit worn. Portion of lower fore-edge corner of titlepage missing, but repaired and text not affected. Upper left margin of map with small repaired piece missing, only barely affected printed border. Bit tanned. Overall a good copy.
An interesting and very scarce promotional for the Pulteney Estate in Western New York, issued by the promoters of the region, the English Associates.
The first edition, which is quite rare, appeared in 1798, with a subsequent printing appearing in 1799; Howes records three printings in 1804, of which this is the only printing containing a map. Vail, in his article "A Western New York Land Prospectus" in Bookman's Holiday, analyzes the various printings and calls this the fourth, suggesting that it is much more uncommon than the third because of a decline in the company's activities. These guidebooks were utilized by the prospective settlers, and often discarded after they arrived at their new homes. This particular copy, though containing an appendix at the end with "a description of the Military Lands," does not include a mention of the appendix on the titlepage as in some copies.
Howes W493; Vail 1221 (note).
#3079$500.00
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 WILLUGHBY, Francis (1635-1672)
The Ornithology of Francis Willughby... In three books. Wherein all the birds hitherto known ... are accurately described. Translated into English, with many additions. To which are added three considerable discourses, I. Of the art of fowling ... II. Of the ordering of singing birds. III. Of falconry
London: John Martyn,, 1678. 3 parts in one volume, folio (13 1/2 x 8 3/4 inches). Title printed in red & black. 80 engraved plates, 2 tables. Bound to style in 18th century half diced russia, marble paper boards, spine in seven compartments, raised bands gilt, red morocco label.
First edition in English of 'one of the most important treatises on ornithology of all time, being the first systematic classification of the birds of the world' (Wood)
John Ray and his pupil and friend Francis Willughby toured Europe gathering material for their planned complete classification of the vegetable and animal kingdoms. After Willughby's early death in 1672 Ray took over his notes, and having edited the incomplete manuscript and added his own observations published his friend's work in 1676 as Francisci Willughbeii ornithologiae libri tres; totum opus recognovit, digressit, supplevit Joannes Raius. The present work, a translation by Ray, was published two years later and includes three more plates than the Latin edition, and an expanded text including three additional sections by Ray on fowling, falconry and song-birds.
Anker 532; BM (NH) V, p.2331; Keynes Ray 39; Nissen IVB 991; Wood p.629; Wing W-2879; Zimmer 677
#16875$7,000.00
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 WILLYAMS, C. Rev.
The Bridge over the River Gallions, from the foot of Fort Matilda, Guadaloupe
London: Willyams, 1796. Aquatint by Samuel Alken. Plate mark: 12 1/8 x 18 3/4 inches.
The Reverend Cooper Willyams (1762-1816) was a topographer and artist, as well as minister and chaplain. The son of a British naval commander, he went to Cambridge, was ordained and contributed to "Topographical Miscellanies" before going to sea as Chaplain on the Boyne in 1793. England was at war with revolutionary France, and the Boyne participated in the West Indies' action of that war. In 1796, Willyams returned to London and published An Account of the Campaign in the West Indies..., which was illustrated with six drawings by Willyams, rendered in aquatint by Samuel Alken. This view on Guadeloupe was taken just outside Fort Matilda where Willyams served as chaplain. From his commanding position but minimizing the fortress as a geographical figure, Willyams gives a rich view of the lush hills and the rushing river below.
Abbey, 677; Hough,The Beinecke Lesser Antilles Collection at Hamilton College, 486
#14800$1,200.00
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 WILSON, After Richard (1714-1782)
Kilgarren Castle in South Wales
London: John Boydell, 17 July 1775. Engraving, coloured by hand, by William Elliott. (One expertly repaired tear and some dust soiling to margins). Image size (including text): 14 1/8 x 19 7/8 inches. Sheet size: 19 5/16 x 24 5/16 inches.
Kilgarren, or rather 'Cilgerran Castle stands on a precipitous, craggy promontory overlooking the river Teifi where it merges with the Plysgog stream. The Teifi here is just at its tidal limit, so the castle was able to control both a natural crossing point and the passage of seagoing ships. We cannot be sure when this strong site was first fortified... Cilgerran is first mentioned by name in 1164, when the Lord Rhys captured the castle here. It was retaken by William Marshall, earl of Pembroke, in 1204, only to be taken again by the Welsh during Llywelyn the Great's campaigns in 1215. However, eight years later, William's son, another William, regained control, and it was probably he who built the imposing masonry castle we see today... In the 1370s an invasion from France was feared, and Edward III ordered that the now rather derelict Cilgerran be refortified. The north-west tower probably belongs to this period - it is clearly an addition, though so ruinous that it is difficult to date. After 1389, when the Hastings family died out, the castle passed to the crown, with which it was thenceforward closely associated. It may have been captured and held for a short time in 1405 during Owain Glyndwr's wars of independence; we know for certain that it was much damaged during the attack. But after that the castle's active military service came to an end. In the Tudor period, the Vaughan family were granted the castle by Henry VII, and they continued to occupy it until the early 17th century, when they built a new house nearby. The castle fell into ruin, but its picturesque setting made it an early favorite among tourists who, from the 18th century, could visit by boat from Cardigan.'
Richard Wilson 'was born at Penegoes in Montgomeryshire...on 1 Aug. 1714. His mother was one of the Wynnes of Leeswold. His father...gave his son, who does not seem to have gone to school, an excellent classical education. With the assistance of Sir George Wynne, Wilson was sent to London in 1729, and placed with Thomas Wright, a portrait-painter, of whom little is known. Wilson began his artistic career as a portrait-painter, and attained some position in that branch of the profession... In 1749 Wilson went to Italy, and there he painted a landscape which excited the admiration of Francesco Zuccarelli, who advised him to take to landscape-painting. This was at Venice, and either there or at Rome Horace Vernet encouraged him to do the same. The French painter also exchanged landscapes with him and showed Wilson's in his own studio with generous praise to all comers. Wilson soon gained a considerable reputation in Italy as a landscape-painter... Wilson is now acknowledged to be one of the greatest of English landscape-painters. His art was based upon that of Salvator Rosa, Gaspar Poussin, and Claude. It was inspired by the scenery of Italy, and especially of the Campagna, with its clear bright skies and ancient ruins. It was somewhat formal and careless of detail, but in grandeur of design, in breadth of treatment, in the harmony of its rich but quiet colour, and in the rendering of space and air, Wilson has few rivals. His pictures of his own country, like the noble Snowdon from Nantlle, lent by Mr. F. Worsley-Taylor to the 1899 exhibition in the corporation of London art gallery, are among his finest works; and, though they have a strong resemblance to his pictures of Italy, they contain much local truth of form and atmosphere. He used a very restricted palette, and painted with one brush.' (DNB).
#5744$1,500.00
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 WILSON, After William
Elgin Cathedral. This View is by Permission most humbly dedicated to the Earl of Moray, by his Lordship's, obliged & obedient Servant Willm. Wilson
London: W. Wilson, 1 January 1813. Aquatint, coloured by hand, by Frederick Charles Lewis. Image size (including text): 16 7/8 x 22 1/4 inches. Sheet size: 20 3/4 x 24 3/4 inches.
A picturesque view of Elgin cathedral, situated about 26 miles east of Inverness in Scotland.
The three-towered Elgin Cathedral has been described as 'the most beautiful of Scotland's medieval cathedrals'. Originally the seat of the Bishop of Moray, it was founded in 1244 by King Alexander II of Scotland and replaced an earlier foundation at Spynie. After a fire in 1270 when only the transepts, west towers and parts of the choir and nave survived the cathedral was extensively rebuilt. However, in 1390 it was again burnt down by the 'Wolf of Badenoch', Alexander Stewart, as part of vendetta against the Bishop of Moray who had excommunicated him. During the 15th century the cathedral was again rebuilt, but failed to survive the Scottish reformation and eventually fell into ruin.
#6552$1,200.00
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 WILSON, William
Naval action between HMS Phoebe and the American Frigate Essex off Valparariso, Chile
signed `Wilm Wilson' lower right, inscription on verso of original backing sheet `Wilm. Wilson/ 53 Paddington Street/ Portman Square/ London/ 1815. July. 18th./ Action between H.M.S. Phoebe and the American Frigate Essex/ off Valparaiso - Chili - 28th March 1814 -' Pencil, pen, ink and watercolour. Sheet size: 18 x 25 3/4 inches.
An important contemporary record of the events leading to the capture of Captain David Porter and his crew
Early in 1813 Captain David Porter (1780-1843) of the frigate Essex sailed with orders to meet up with Commodore Bainbridge off Brazil. Having missed the rendezvous he turned south along the Brazilian coast where `he captured a small brig with $50,000 in specie... Porter... relished the thought of plundering the British whaling fleet in the Pacific. To this end he weathered Cape Horn in February 1813. By March, he was at Valparaiso. Since Britain had no warships in the Pacific, her whalers were at Porter's mercy. During the ensuing five months he captured a dozen whalers heavily laden with supplies, money, and rum. Captain Porter's next adventure was a three-thousand-mile passage to the Marquesas Islands... Porter at once cultivated the goodwill of the tribal chief only to find that he had to come to the aid of the chief, who had problems with the enemies of another tribe. Finally, Porter annexed the island and renamed it for President Madison. After stabilizing matters on the island, Porter set sail for Chile, leaving a skeleton crew to guard the prizes. Meanwhile, the British had reacted to these Pacific raids and sent out a squadron to deal with Porter. Two vessels of the British squadron managed to find the Essex at Valparaiso, which was a neutral port. The Essex and the Essex Junior were bottled up there for six weeks, then Porter decided to run the blockade. In the middle of her attempt to escape, the Essex was hit by a severe squall which dismasted her, Porter tried to beach his vessel and escape on land but this attempt also failed, and he was finally forced to surrender. In due course Porter and his crew were repatriated and enjoyed a hero's welcome.' (E.N. Smith American Naval Broadsides p.164). The present image, clearly by an eyewitness or taken from an eyewitness account or sketch, shows the Essex dismasted by the squall, swapping broadsides with HMS Phoebe, before Porter tried to ground the ship and escape over land. It seems that the only recorded images of this important action are two small woodcuts (one a later version of the first) originally published in Abel Bowen's `The Navel Monument'.
#3490$12,000.00
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 WINTER, George Simon
[Dressage Print] [Pl. 93]
[Pl. 93]. Nuremberg: Published by Endter, 1678. Engraving by P. P. Troschel. Printed on laid paper. Very good condition apart from some overall light soiling, minor foxing, a 1/4" tear in the left margin, and a mild crease extending from the edge of the right margin into the far right side of the image. Plate mark: 7 5/8 x 11 5/8 inches. Sheet size: 8 1/8 x 12 7/8 inches.
A beautifully rendered plate from George Simon Winter's seminal publication on 17th-century equestrian dressage and horse rearing "Bellerophon, sive eques peritus..."
Also known as Winter von Adlersflügel, George Simon Winter was a veterinarian and the director of several German stud farms including the Württemberg stud farms of Güterstein, Offenhausen. In addition to Bellerophon, he published an important treatise on veterinary medicine in 1674 that included several plates illustrating various veterinary instruments.
Published in both German and Latin editions, Bellerophon was comprised of numerous of superb engravings by P.P. Troschel and Cornelius Nicolas Schurtz depicting a variety of equestrian training techniques, stances, and the more humane, malleable bits Winter advocated be used for horses. Although espousing slightly different methods of training, specifically regarding the type of bit used in dressage, this important work was published in the tradition of previous influential publications on equitation, such as Federico Grisone's Gli ordini di cavalcare (1550) and Antoine Pluvinal's Le Manège Royal (1623).
Cf. Lipperheide 2913; Brunet V, 465
#14209$150.00
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 WINTER, George Simon
[Dressage Print] [Pl. 96]
[Pl. 96]. Nuremberg: Published by Endter, 1678. Engraving by P. P. Troschel. Printed on laid paper. Good condition apart from some overall light soiling and minor foxing, a skillfully repaired 1 3/8" loss at the bottom left-hand corner, and two expertly mended 1/2" and 1 3/8" tears in the left margin, one of which slightly extends into the far right side of the image. Plate mark: 7 5/8 x 11 1/2 inches. Sheet size: 8 1/4 x 12 7/8 inches.
A beautifully rendered plate from George Simon Winter's seminal publication on 17th-century equestrian dressage and horse rearing "Bellerophon, sive eques peritus..."
Also known as Winter von Adlersflügel, George Simon Winter was a veterinarian and the director of several German stud farms including the Württemberg stud farms of Güterstein, Offenhausen. In addition to Bellerophon, he published an important treatise on veterinary medicine in 1674 that included several plates illustrating various veterinary instruments.
Published in both German and Latin editions, Bellerophon was comprised of numerous of superb engravings by P.P. Troschel and Cornelius Nicolas Schurtz depicting a variety of equestrian training techniques, stances, and the more humane, malleable bits Winter advocated be used for horses. Although espousing slightly different methods of training, specifically regarding the type of bit used in dressage, this important work was published in the tradition of previous influential publications on equitation, such as Federico Grisone's Gli ordini di cavalcare (1550) and Antoine Pluvinal's Le Manège Royal (1623).
Cf. Lipperheide 2913; Brunet V, 465
#14221$150.00
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 WINTER, George Simon
[Dressage Print] [Pl. 98]
[Pl. 98]. Nuremberg: Published by Endter, 1678. Engraving by P. P. Troschel. Printed on laid paper. Good condition apart from some overall light soiling and minor foxing, a skillfully repaired 3 1/8" tear traveling from the left margin into the left side of the image, and an expertly mended 3/4" loss in the lower left corner of the sheet. A few small nicks and tiny losses at the edge of the top margin. Plate mark: 7 5/8 x 12 inches. Sheet size: 8 1/8 x 12 7/8 inches.
A beautifully rendered plate from George Simon Winter's seminal publication on 17th-century equestrian dressage and horse rearing "Bellerophon, sive eques peritus..."
Also known as Winter von Adlersflügel, George Simon Winter was a veterinarian and the director of several German stud farms including the Württemberg stud farms of Güterstein, Offenhausen. In addition to Bellerophon, he published an important treatise on veterinary medicine in 1674 that included several plates illustrating various veterinary instruments.
Published in both German and Latin editions, Bellerophon was comprised of numerous of superb engravings by P.P. Troschel and Cornelius Nicolas Schurtz depicting a variety of equestrian training techniques, stances, and the more humane, malleable bits Winter advocated be used for horses. Although espousing slightly different methods of training, specifically regarding the type of bit used in dressage, this important work was published in the tradition of previous influential publications on equitation, such as Federico Grisone's Gli ordini di cavalcare (1550) and Antoine Pluvinal's Le Manège Royal (1623).
Cf. Lipperheide 2913; Brunet V, 465;
#14223$150.00
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 WINTER, George Simon
[Dressage Print] [Pl. 5]
[Pl. 5]. Nuremberg: Published by Endter, 1678. Engraving by C. N. Schurk. Printed on laid paper. Good condition apart from some overall light soiling and minor foxing, two skillfully repaired 1" and 2" tears at the bottom edge and left side of the image respectively, a few small tears in the right margin, and a small loss in the lower right corner. Bottom of sheet trimmed to platemark. Plate mark: 7 3/4 x 11 1/2 inches. Sheet size: 8 1/8 x 12 7/8 inches.
A beautifully rendered plate from George Simon Winter's seminal publication on 17th-century equestrian dressage and horse rearing "Bellerophon, sive eques peritus..."
Also known as Winter von Adlersflügel, George Simon Winter was a veterinarian and the director of several German stud farms including the Württemberg stud farms of Güterstein, Offenhausen. In addition to Bellerophon, he published an important treatise on veterinary medicine in 1674 that included several plates illustrating various veterinary instruments.
Published in both German and Latin editions, Bellerophon was comprised of numerous of superb engravings by P.P. Troschel and Cornelius Nicolas Schurtz depicting a variety of equestrian training techniques, stances, and the more humane, malleable bits Winter advocated be used for horses. Although espousing slightly different methods of training, specifically regarding the type of bit used in dressage, this important work was published in the tradition of previous influential publications on equitation, such as Federico Grisone's Gli ordini di cavalcare (1550) and Antoine Pluvinal's Le Manège Royal (1623).
Cf. Lipperheide 2913; Brunet V, 465;
#14232$150.00
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 WINTER, George Simon
[Dressage Print] [Pl. 73]
[Pl. 73]. Nuremberg: Published by Endter, 1678. Engraving by C. N. Schurk. Printed on laid paper. Very good condition apart from some overall light soiling and minor foxing. Plate mark: 7 7/8 x 11 1/2 inches. Sheet size: 8 1/4 x 12 7/8 inches.
A beautifully rendered plate from George Simon Winter's seminal publication on 17th-century equestrian dressage and horse rearing "Bellerophon, sive eques peritus..."
Also known as Winter von Adlersflügel, George Simon Winter was a veterinarian and the director of several German stud farms including the Württemberg stud farms of Güterstein, Offenhausen. In addition to Bellerophon, he published an important treatise on veterinary medicine in 1674 that included several plates illustrating various veterinary instruments.
Published in both German and Latin editions, Bellerophon was comprised of numerous of superb engravings by P.P. Troschel and Cornelius Nicolas Schurtz depicting a variety of equestrian training techniques, stances, and the more humane, malleable bits Winter advocated be used for horses. Although espousing slightly different methods of training, specifically regarding the type of bit used in dressage, this important work was published in the tradition of previous influential publications on equitation such as Federico Grisone's Gli ordini di cavalcare (1550) and Antoine Pluvinal's Le Manège Royal (1623).
Cf. Lipperheide 2913; Brunet V, 465;
#14248$150.00
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 WIRT, Elizabeth Washington Gamble (1784-1857)
Flora's Dictionary
Baltimore: published by Lucas Brothers, [copyright dated 1855]. Quarto (11 1/4 x 8 3/4 inches). Chromolithographic additional title and presentation leaf, 12 hand-coloured lithographic plates after Miss Ann Smith, numerous wood-engraved illustrations, letterpress title and each page of text with decorative wood-engraved page surrounds. (Inscription on presentation leaf erased). Publisher's black morocco gilt, covers blocked in gilt with an overall design incorporating the title and a young couple seated on a grassy knoll, the flat spine blocked in gilt with an overall design incorporating the title, name and place of publication, and a floral bouquet, glazed endpapers, g.e. (rebacked, old spine expertly laid down) .
A very fine example of a popular 19th-century American colour-plate book: here in an exceptional publisher's binding
The binding is an example of American mid-19th century design at its most exuberant: within a border largely composed from fresh-cut wooden poles with intertwining climbing plants, a pair of young lovers sit on a flower-bedecked knoll. They hold between them the present work which they examine carefully. Above and behind them is a giant epergne laden with Solomon's seal, roses, columbine and grasses. This design appears on both covers and is echoed by the spine.
The main section of text of Flora's Dictionary is made up of about 230 entries arranged alphabetically from Acacia Rose (friendship) to Zinnia (absence). Each entry includes a brief definition (Laburnum: pensive beauty; Ranunculus: I am dazzled by your charms; etc.), followed by a selection of appropriate verses, from both the classics and contemporary authors. The next two sections deal with the botanical aspects of the flowers but also include the derivation of the name and the Linnaean classification of each flower. This is followed by a calendar with an appropriate flower for every day of the year. Finally, there is an index of sentiments arranged alphabetically with the appropriate flowers.
Elizabeth Washington Gamble the author of the present work was the daughter of Robert and Catherine Gamble of Richmond, Virginia and became William Wirt's second wife in 1802. They purchased a house in Richmond in 1808 and went on to raise a family of ten children. The present work is based on Elizabeth Wirt's manuscript of favorite quotations about flowers, which was first published anonymously as Flora's Dictionary in 1829. Later editions (such as the present example) identified the author as 'Mrs. E. W. Wirt of Virginia'.
A very rare 1855 publisher's broadside in the University of Virginia collection (R.O. Hummel Southeastern Broadsides 4405) gives details of the three forms in which this edition was issued. The present example of this "most Splendid Gift Book of the Season! / and / A Gift Book for all Seasons!!!" is from the second of three issues. The most expensive issue (cost $16.00): "First. - Richly illuminated title and presentation plate. Fifty-six groups [i.e. plates] colored from nature, illustrating all the flowers in the book. Bound in Turkey morocco, super extra, gilt edges, and Turkey morocco, antique, gilt edges." The next most expensive issue (the present copy) cost $9.00: "Second. - Richly illuminated title anfd presentation plate. Twelve groups colorted from nature. Bound in morocco, extra, gilt edges and full gilt sides." The $6.00 issue, included tthe title, presentation plate and six plates and was bound in "super extra muslin, gilt edges and full gilt sides"
Bennett p.115 (1837 edition); McGrath p.36 (1837 edition); Reese Stamped with a National Character 52 (1837 edition); Sabin 104868 (1837 and 1855 editions)
#16152$1,850.00
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 WIRT, Elizabeth Washington Gamble (1784-1857)
Flora's Dictionary
Baltimore: published by Lucas Brothers, [copyright dated 1855]. Quarto (11 1/4 x 8 3/4 inches). Chromolithographic additional title and presentation leaf after John McLenan, 56 hand-coloured lithographic plates after Miss Ann Smith, numerous wood-engraved illustrations, letterpress title and each page of text with decorative wood-engraved page surrounds. Publisher's black morocco gilt, covers blocked in gilt with an overall design incorporating the title and a young couple seated on a grassy knoll, the spine in six compartments with raised bands, lettered in the second, the others with repeat decoration in gilt, gilt turn-ins, glazed endpapers, g.e.
A very fine example of a popular 19th-century American colour-plate book: here in its most de luxe form, with the maximum number of plates and an exceptional "super extra" publisher's binding
The binding is an example of American mid-19th century design at its most exuberant: within a border largely composed from fresh-cut wooden poles with intertwining climbing plants, a pair of young lovers sit on a flower-bedecked knoll. They hold between them the present work which they examine carefully. Above and behind them is a giant epergne laden with Solomon's seal, roses, columbine and grasses.
The main section of text of Flora's Dictionary is made up of about 230 entries arranged alphabetically from Acacia Rose (friendship) to Zinnia (absence). Each entry includes a brief definition (Laburnum: pensive beauty; Ranunculus: I am dazzled by your charms; etc.), followed by a selection of appropriate verses, from both the classics and contemporary authors. The next two sections deal with the botanical aspects of the flowers but also include the derivation of the name and the Linnaean classification of each flower. This is followed by a calendar with an appropriate flower for every day of the year. Finally, there is an index of sentiments arranged alphabetically with the appropriate flowers.
Elizabeth Washington Gamble the author of the present work was the daughter of Robert and Catherine Gamble of Richmond, Virginia and became William Wirt's second wife in 1802. They purchased a house in Richmond in 1808 and went on to raise a family of ten children. The present work is based on Elizabeth Wirt's manuscript of favorite quotations about flowers, which was first published anonymously as Flora's Dictionary in 1829. Later editions (such as the present example) identified the author as 'Mrs. E. W. Wirt of Virginia'.
A very rare 1855 publisher's broadside in the University of Virginia collection (R.O. Hummel Southeastern Broadsides 4405) gives details of the three forms in which this edition was issued. The present example of this "most Splendid Gift Book of the Season! / and / A Gift Book for all Seasons!!!" is from the most expensive and luxurious issue (cost $16.00): "First. - Richly illuminated title and presentation plate. Fifty-six groups [i.e. plates] colored from nature, illustrating all the flowers in the book. Bound in Turkey morocco, super extra, gilt edges [this copy], and Turkey morocco, antique, gilt edges." The next most expensive cost $9.00: "Second. - Richly illuminated title and presentation plate. Twelve groups colored from nature. Bound in morocco, extra, gilt edges and full gilt sides." The $6.00 issue, included the title, presentation plate and six plates and was bound in "super extra muslin, gilt edges and full gilt sides"
Bennett p.115 (1837 edition); McGrath p.36 (1837 edition); Reese Stamped with a National Character 52 (1837 edition); Sabin 104868 (1837 and 1855 editions)
#20387$6,000.00
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 WOLFF, Jeremias (1663-1724)
[Costume Print of a Sausage Seller]
Augsburg: Published in Augsburg by Jeremias Wolff., circa 1695. Engraving with superb early colour and rich gold highlights. Printed on laid paper. In excellent condition with the exception of some very light foxing in margins. Image size: 9 1/2 x 1/8 inches. Plate mark: 11 x 7 ¼ inches. Sheet size: 13 5/8 x 8 7/8 inches.
This is a handsome print, with breathtaking early colour, depicting the costume of a Sausage seller.
This bold print is from a colourful series of costume prints engraved and published by Jeremias Wolff at the beginning of the 18th century. The series depicts prancing figures in flamboyant theatrical costumes, and is a superb example of early costume prints. Costume and trade prints, such as this, became extremely popular in Europe at the close of the seventeenth century and continued to serve as a source of inspiration until the decadent days of the Art Deco movement in the 1920's. This magnificent series depicts the costumes of ballet dancers, and opera singers, as well as the vibrant apparel of a jester at a masque ball. As is typical of this genre of print, the figures are pictured in front of an architectural or pastoral background and richly coloured in thick opaque colour with vibrant gold highlights. The series was executed and produced by the prolific German publisher Jeremias Wolff. Wolff came from a family of engravers and became extremely successful, both as an engraver and as a publisher and printseller. He was one of the most prolific publishers and engravers in Augsburg and is responsible for some of the finest engravings to come out of the city. In addition to a number of other costume books and portraits, he was a successful map publisher and it is for his skill as a cartographic engraver that he is perhaps best known. The series in not mentioned in either Colas or Lipperheide.
Colas, Bibliographie General du Costume et de la Mode; Lipperheide, Katalog der Freiherrlich von Lipperheide'schen Kostum-Bibliothek, 1896-1901
#15024$700.00
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 WOLFF, Jeremias (1663-1724)
Habit de Bal
Augsburg: Published in Augsburg by Jeremias Wolff., circa 1695. Engraving with superb early colour and rich gold highlights. Printed on watermarked laid paper. In excellent condition with the exception of some very light foxing in margins. Uneven left margin. Image size: 9 5/8 x 6 3/4 inches. Plate mark: 10 1/2 x 6 3/4 inches. Sheet size: 14 1/8 x 8 ¾ inches.
This is a handsome print, with breathtaking early colour, depicting the costume of a figure at a masque ball.
This bold print is from a colourful series of costume prints engraved and published by Jeremias Wolff at the beginning of the 18th century. The series depicts prancing figures in flamboyant theatrical costumes, and is a superb example of early costume prints. Costume and trade prints, such as this, became extremely popular in Europe at the close of the seventeenth century and continued to serve as a source of inspiration until the decadent days of the Art Deco movement in the 1920's. This magnificent series depicts the costumes of ballet dancers, and opera singers, as well as the vibrant apparel of a jester at a masque ball. As is typical of this genre of print, the figures are pictured in front of an architectural or pastoral background and richly coloured in thick opaque colour with vibrant gold highlights. The series was executed and produced by the prolific German publisher Jeremias Wolff. Wolff came from a family of engravers and became extremely successful, both as an engraver and as a publisher and printseller. He was one of the most prolific publishers and engravers in Augsburg and is responsible for some of the finest engravings to come out of the city. In addition to a number of other costume books and portraits, he was a successful map publisher and it is for his skill as a cartographic engraver that he is perhaps best known. The series is not mentioned in either Colas or Lipperheide.
Colas, Bibliographie General du Costume et de la Mode; Lipperheide, Katalog der Freiherrlich von Lipperheide'schen Kostum-Bibliothek, 1896-1901
#15025$700.00
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 WOLFF, Jeremias (1663-1724)
Habit de Ballet
Augsburg: Published in Augsburg by Jeremias Wolff., circa 1695. Engraving with superb early colour and rich gold highlights. Printed on watermarked laid paper. In excellent condition with the exception of some very light foxing on the left margin. Image size: 9 5/8 x 6 5/8 inches.. Plate mark: 10 1/2 x 6 5/8 inches. Sheet size: 14 1/8 x 8 ¾ inches.
This is a handsome print, with breathtaking early colour, depicting the costume of a ballet dancer.
This bold print is from a colourful series of costume prints engraved and published by Jeremias Wolff at the beginning of the 18th century. The series depicts prancing figures in flamboyant theatrical costumes, and is a superb example of early costume prints. Costume and trade prints, such as this, became extremely popular in Europe at the close of the seventeenth century and continued to serve as a source of inspiration until the decadent days of the Art Deco movement in the 1920's. This magnificent series depicts the costumes of ballet dancers, and opera singers, as well as the vibrant apparel of a jester at a masque ball. As is typical of this genre of print, the figures are pictured in front of an architectural or pastoral background and richly coloured in thick opaque colour with vibrant gold highlights. The series was executed and produced by the prolific German publisher Jeremias Wolff. Wolff came from a family of engravers and became extremely successful, both as an engraver and as a publisher and printseller. He was one of the most prolific publishers and engravers in Augsburg and is responsible for some of the finest engravings to come out of the city. In addition to a number of other costume books and portraits, he was a successful map publisher and it is for his skill as a cartographic engraver that he is perhaps best known. The series in not mentioned in either Colas or Lipperheide.
Colas, Bibliographie General du Costume et de la Mode; Lipperheide, Katalog der Freiherrlich von Lipperheide'schen Kostum-Bibliothek, 1896-1901
#15026$700.00
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 WOLFF, Jeremias (1663-1724)
Masque en habit de Paysan
Augsburg: Published in Augsburg by Jeremias Wolff., circa 1695. Engraving with superb early colour and rich gold highlights. Printed on watermarked laid paper. In excellent condition. Image size: 9 5/8 x 6 5/8 inches. Plate mark: 10 1/2 x 6 5/8 inches. Sheet size: 14 1/8 x 8 ¾ inches.
This is a handsome print, with breathtaking early colour, depicting the costume of a singer at a masque ball.
This bold print is from a colourful series of costume prints engraved and published by Jeremias Wolff at the beginning of the 18th century. The series depicts prancing figures in flamboyant theatrical costumes, and is a superb example of early costume prints. Costume and trade prints, such as this, became extremely popular in Europe at the close of the seventeenth century and continued to serve as a source of inspiration until the decadent days of the Art Deco movement in the 1920's. This magnificent series depicts the costumes of ballet dancers, and opera singers, as well as the vibrant apparel of a jester at a masque ball. As is typical of this genre of print, the figures are pictured in front of an architectural or pastoral background and richly coloured in thick opaque colour with vibrant gold highlights. The series was executed and produced by the prolific German publisher Jeremias Wolff. Wolff came from a family of engravers and became extremely successful, both as an engraver and as a publisher and printseller. He was one of the most prolific publishers and engravers in Augsburg and is responsible for some of the finest engravings to come out of the city. In addition to a number of other costume books and portraits, he was a successful map publisher and it is for his skill as a cartographic engraver that he is perhaps best known. The series in not mentioned in either Colas or Lipperheide.
Colas, Bibliographie General du Costume et de la Mode; Lipperheide, Katalog der Freiherrlich von Lipperheide'schen Kostum-Bibliothek, 1896-1901
#15029$600.00
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 WOLFF, Jeremias (1663-1724)
Masque en habit de Paysan
Augsburg: Published in Augsburg by Jeremias Wolff., circa 1695. Engraving with superb early colour and rich gold highlights. Printed on watermarked laid paper. In excellent condition with the exception of a skillfully mended tear on the upper margin of image. Paper very lightly discoloured. Image size: 9 ½ x 6 3/4 inches. Plate mark: 10 3/8 x 6 5/8 inches. Sheet size: 14 1/8 x 8 ¾ inches.
This is a handsome print, with breathtaking early colour, depicting the costume of a singer at a masque ball.
This bold print is from a colourful series of costume prints engraved and published by Jeremias Wolff at the beginning of the 18th century. The series depicts prancing figures in flamboyant theatrical costumes, and is a superb example of early costume prints. Costume and trade prints, such as this, became extremely popular in Europe at the close of the seventeenth century and continued to serve as a source of inspiration until the decadent days of the Art Deco movement in the 1920's. This magnificent series depicts the costumes of ballet dancers, and opera singers, as well as the vibrant apparel of a jester at a masque ball. As is typical of this genre of print, the figures are pictured in front of an architectural or pastoral background and richly coloured in thick opaque colour with vibrant gold highlights. The series was executed and produced by the prolific German publisher Jeremias Wolff. Wolff came from a family of engravers and became extremely successful, both as an engraver and as a publisher and printseller. He was one of the most prolific publishers and engravers in Augsburg and is responsible for some of the finest engravings to come out of the city. In addition to a number of other costume books and portraits, he was a successful map publisher and it is for his skill as a cartographic engraver that he is perhaps best known. The series in not mentioned in either Colas or Lipperheide.
Colas, Bibliographie General du Costume et de la Mode; Lipperheide, Katalog der Freiherrlich von Lipperheide'schen Kostum-Bibliothek, 1896-1901
#15030$600.00
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 WOLFF, Jeremias (1663-1724)
Habit de Masque
Augsburg: Published in Augsburg by Jeremias Wolff., circa 1695. Engraving with superb early colour and rich gold highlights. Printed on watermarked laid paper. In excellent condition. Image size: 9 ½ x 6 5/8 inches. Plate mark: 10 3/8 x 6 5/8 inches. Sheet size: 14 1/8 x 8 ¾ inches.
This is a handsome print, with breathtaking early colour, depicting the costume of a singer at a masque ball.
This bold print is from a colourful series of costume prints engraved and published by Jeremias Wolff at the beginning of the 18th century. The series depicts prancing figures in flamboyant theatrical costumes, and is a superb example of early costume prints. Costume and trade prints, such as this, became extremely popular in Europe at the close of the seventeenth century and continued to serve as a source of inspiration until the decadent days of the Art Deco movement in the 1920's. This magnificent series depicts the costumes of ballet dancers, and opera singers, as well as the vibrant apparel of a jester at a masque ball. As is typical of this genre of print, the figures are pictured in front of an architectural or pastoral background and richly coloured in thick opaque colour with vibrant gold highlights. The series was executed and produced by the prolific German publisher Jeremias Wolff. Wolff came from a family of engravers and became extremely successful, both as an engraver and as a publisher and printseller. He was one of the most prolific publishers and engravers in Augsburg and is responsible for some of the finest engravings to come out of the city. In addition to a number of other costume books and portraits, he was a successful map publisher and it is for his skill as a cartographic engraver that he is perhaps best known. The series in not mentioned in either Colas or Lipperheide.
Colas, Bibliographie General du Costume et de la Mode; Lipperheide, Katalog der Freiherrlich von Lipperheide'schen Kostum-Bibliothek, 1896-1901
#15031$600.00
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 WOLFFHEIM, Werner & THE WOLFFHEIM COLLECTION
Versteigerung der Musikbibliothek des Herrn Dr. Werner Wolffheim (2 Volumes)
Berlin: Richard Labisch & Co., 1928-29. 4to. (9 x 6 1/3 inches). Vol. I: 287pp. + 48 plates; Vol. II: 376 pp. + 41 plates. Red cloth with black morocco lettering piece(spine slightly faded). Provenance: Eric Sexton.
The very rare catalogue of the highly important collection of music books assembled by Dr. Werner Wolffheim, and auctioned at the firm of Martin Breslauer & Leo Liepmannssohn Antiquariat in Berlin 1928 & 1929. The two volumes include 4,000 entries of some of the rarest music titles ever printed. The collection embraced a superb range that included works from all over Europe. Vol. I lacks the original wrappers, but the two volumes together include the 89 plates. This catalogue is now a highly important reference work.
#20152$475.00
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 WOLSTENHOLME, After Dean, Senior (1757-1837)
Hunting. Plate I. Going out.; ...Plate II. Breaking Cover; ...Plate III. Running; ...Plate IV. The Death
London: R. Ackermann, 1 May 1823. Aquatint engraving, printed in colours and finished by hand, by Thomas Sutherland (some small marginal tears, occasionally just affecting image area). Image size (including text): 9 7/8 x 12 3/4 inches approx. Sheet size: 14 7/8 x 18 inches and smaller.
A very fine series from one of the greatest British sporting artists of his time
"Dean Wolstenholme Snr became an artist in middle life after losing his then not inconsiderable wealth in a property deal which went wrong. Before moving to London in about 1800 he had lived in Herfordshire and Essex, pursuing a happy life devoted to foxhunting and coursing, painting a little for his own pleasure. In London he had to paint in earnest, bringing to the city memories of his earlier years. He exhibited a painting of coursing at the Royal Academy in 1803; fox hunting in 1804... and so on until shortly before his death in 1837. A large number of his hunting, coursing and shooting pictures were engraved... [His son, Charles Dean Wolstenholme Jnr. (1793-1883) also became an animal painter of note.] Both father and son populated their landscapes with horses and horsemen rather than painting commissioned equestrian portraits; and the pleasure of their work is their skill in depicting the English (Home Counties) countryside." (Chales Lane British Racing Prints p.184)
Siltzer p.311
#5227$4,000.00
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 WOOD, William (1580-1639)
New Englands Prospect. A true lively, and experimentall description of that part of America, commonly called New England: discovering the state of that Countrie, both as it stands to our new-come English Planters; and to the old Native Inhabitants. Laying downe that which may both enrich the knowledge of the mind-travelling Reader, or benefit the future Voyager
London: Printed by Tho. Cotes for Iohn Bellamie, 1635. Small quarto (7 1/16 x 5 1/2 inches). 1 folding woodcut and letterpress map. (Map close shaved to margins with two old neat repairs to verso, upper margins shaved touching headlines and occasional page number, neatly repaired wormtrack through outer blank margins of title and text leaves to C4). Twentieth century crimson morocco gilt bound for Myers & Co. of London, spine in three compartments with raised bands, lettered in gilt in the second compartment, gilt turn-ins.
The rare second edition of Wood's 'New England's Prospect', with the very rare map: one of the classic works on early New England, important for descriptions of the land, natives, and of course its handsome map.
The first edition of this remarkably accurate work was published in 1634. According to Vail it includes the earliest topographical description of the Massachusetts colony. It is also the first detailed account of the animals and plants of New England, as well as the Indian tribes of the region. Of particular note is a chapter describing the customs and work of Indian women.
Part One is divided into twelve chapters and is devoted to the climate, landscape, and early settlements, and describes in some detail the native trees, plants, fish game and mineral ores, as well as including advice to those thinking of crossing the Atlantic. The early settlements described include: Boston, Medford, Marblehead, Dorchester, Roxbury, Medford, Watertown, New and Old Plymouth. These chapters also include four charming verses which are essentially a series of lists naming the native trees (20 lines, starting 'Trees both in hills and plaines, in plenty be, /The long liv'd Oake, and mournfull Cyprus tree/ ... '), the animals (12 lines, starting 'The kingly Lyon, and the strong arm'd Beare, / The large lim'd Mooses, with the tripping Deare, / ...'), the birds (28 lines, starting 'The Princely Eagle, and the soaring Hawke, / Whom in their unknowne wayes there's none can chawke: / The Humberd for some Queenes rich Cage more fit, / Than in the vacant Wildernesse to sit, / ... '), and the inhabitants of the seas and rivers (28 lines, starting 'The king of waters, the Sea shouldering Whale, / ... '). The chapter on the birds also includes what are clearly eye-witness descriptions of a number of birds including the Humming-Bird and the Passenger Pigeon.
Part Two is devoted to the native inhabitants, and is divided into twenty chapters. The tribes described are the 'Mohawks', 'Connectecuts,' 'Pequants and Narragansetts.' Again Wood goes into some detail describing the clothing, sports, wars, games, methods of hunting and fishing, their arts, and ending with their language: the work ends with a five-page vocabulary of Indian words, one of the earliest published for New England.
The map, which is often lacking, is here in a crisp, clean example. It is one of the most important early New England maps. It shows most of the New England coast north of Narragansett Bay. Philip Burden praises the map: `Although simply made, this map is of greater accuracy than any before it. Covering the area from the Pascataque River, in present day New Hampshire, to Narragansett Bay, it is, however, the Massachusetts Bay area that is shown with the most detail ...Wood's map was not improved upon until the John Foster map in 1677.'
`Little is known of the author. The dedication to Sir William Armine, Bart., of Lincolnshire, may indicate that Wood was also from there. He was resident in New England, perhaps primarily in Lynn, from 1629 to 1633, when he returned to London to publish his book. He may have returned to New England afterward. The General Court of Massachusetts Bay voted thanks to him on the appearance of New England's Prospect. The exceptional charm and vivacity of Wood's writing, including flights of verse, is widely acknowledged.' (Siebert Sale).
Burden 239 (map, state 2); Church 433; European Americana 635/134; JCB (3)II:258; Pilling Algonquin p.535; Pilling Proof-Sheets 4199; Sabin 105075; Siebert Sale 96; STC 25958; Vail 89
#17218$75,000.00
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 WOOLLETT, William (1735-1785)
A View of the Cascade &c. in the Garden of Sir Francis Dashwood Bart. & of the Parish Church &c at West Wycomb in the County of Bucks
London: J. Boydell, Henry Parker & Elizabeth Bakerwell, Thomas Bowles, J.Bowles & Son, and Robert Sayer, circa 1760. Copper engraving, coloured by hand. Very good condition. Sheet size: 14 1/4 x 20 1/2 inches (visible). Gilt frame. Frame size: 24 1/8 x 29 7/8 inches.
A fine image of the garden of the Dashwood estate in West Wycombe, Buckinghamshire.
Born in Maidstone in 1735, William Woollett was one of the most renowned landscape engravers of his time and the first English engraver to achieve popular success in continental Europe. His artistic aptitude became apparent at an early age, and he was sent to London to train at St. Martin's Lane Academy and apprentice with the engraver and print seller John Tinney. Woollett began his career with a series of topographical views, but first truly distinguished himself as skilled engraver with the publication of his print of Richard Wilson's Destruction of the Children of Niobe. His copious plates after artists such as Stubbs, Vernet, and Claude proved so popular, that many of them were copied by engravers on the Continent. Beginning in 1766, he became an active member of the Society of Artists, where he served in a variety of positions. Although he specialized in landscapes, Woollett also engraved a number of marine and historical scenes including the print for which he is most famous, Death of General Wolfe after Benjamin West, and for which he was received the honorable title of Historical Engraver to His Majesty.
Sir Francis Dashwood is most famous for having renovated a former monastery into a country estate and to serve as a setting for the weekend debaucheries of the Hell-Fire Club. He was also for a time the Chancellor of the Exchequer, despite the fact that (according a fellow aristocrat) he found sums of five figures "an impenetrable secret".
Cf. Dictionary of National Biography. Rockingham, Charles Memoirs.
#13329$1,900.00
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 WOOLLETT, William (1735-1785)
A View of Coombank near Sevenoak in Kent, the Seat of the Honble. Lieutt. Genl. Campbell / Veüe de Coombank, dans la Comté de Kent. Maison de L'honble. Lieutt. Genl. Campbell [Pl. 29]
[Pl. 29]. London: Printed for John Bowles & Son, at the Black Horse in Cornhill, T. Bowles in St. Pauls Church Yard, Robt. Sayer at the Golden Buck in Fleet Street. J. Boydell, circa 1760. Engraving, printed on fine laid paper. Very good condition. Plate mark: 14 1/2 x 21 1/8 inches. Sheet size: 17 x 23 3/8 inches.
A fine image of the verdant country estate of General Campbell, Baron Sundridge of Coombank.
Born in Maidstone in 1735, William Woollett was one of the most renowned landscape engravers of his time and the first English engraver to achieve popular success in continental Europe. His artistic aptitude became apparent at an early age, and he was sent to London to train at St. Martin's Lane Academy and apprentice with the engraver and printseller John Tinney. Woollett began his career with a series of topographical views, but first truly distinguished himself as skilled engraver with the publication of his print of Richard Wilson's Destruction of the Children of Niobe. His copious plates after artists such as Stubbs, Vernet, and Claude proved so popular, that many of them were copied by engravers on the Continent. Beginning in 1766, he became an active member of the Society of Artists, where he served in a variety of positions. Although he specialized in landscapes, Woollett also engraved a number of marine and historical scenes including the print for which he is most famous, Death of General Wolfe after Benjamin West, and for which he was received the honorable title of Historical Engraver to His Majesty.
Cf. Dictionary of National Biography.
#13657$1,750.00
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 WOOTTON, After John (c.1683-1764)
The Father of the Turf. Tregonwell Frampton Esqre. of Moreton, in Dorsetshire, Keeper of the Running Horses at Newmarket, to their Majesties William the Third, Queen Anne, George the First, & George the Second...
London & Newmarket: J. Bodger, Mr. Weatherby and Messrs. Tattersalls, [4 June 1791]. Mezzotint, by John Jones, collector's ink stamp to lower right corner (publication date erased by surface abrasion). Image size (including text): 17 3/4 x 14 inches. Sheet size: 24 1/8 x 16 1/2 inches.
A fine image from one of the "founders and architects of the English school of sporting painting.' (Charles Lane)
"Tregonwell Frampton (1641-1727) was born at Moreton where he had opportunities for sport of all kinds. His time was divided between Dorset and Newmarket, where he became the most famous figure in horse-racing. Although his integrity was sometimes questioned, he had great success as a trainer and breeder for royalty as well as on his own account and his knowledge of racing matters earned him the soubriquet 'Father of the Turf', a title which has not been challenged." (Mellon British Sporting and Animal Prints p.211).
John Wootton "animal and landscape painter, was born about 1678. He studied under John Wyck, and first became known at Newmarket, where he painted the portraits of all the favourite racehorses of his time. He was equally successful as a painter of dogs, also of hunting and battle pieces and equestrian portraits... Wootton was one of the most esteemed artists of the period, and his works, which are usually on a large scale, are to be met with in many of the great county houses. Some admirable hunting pieces by him are preserved at Althorp and Longleat. In the royal collection are his Stag Hunt in Windsor Park, Siege of Tournay, Siege of Lille, and portrait of the Duke of Cumberland, with the battle of Dettingen in the background. His portrait of Flying Childers, the fleetest horse that ever ran, is the property of Messrs. Tattersall. Five of his pictures which belonged to Sir Robert Walpole were engraved for Boydell's Houghton Gallery. In 1726 Wootton published, by subscription, a set of four plates of his hunting subjects, engraved by B. Baron, and another set of seven, engraved by P. C. Canot, appeared in 1770. His portrait of the Duke of Cumberland, with the battle of Culloden in the background, was engraved... [as was] that of Tregonwell Frampton, the father of the turf.." (DNB).
Mellon British Sporting and Animal Prints p.210.
#5253$2,000.00
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