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browsing 4347 items
displaying items 601 to 700
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 BARRABAND, Jacques (1767/8-1809)
Le Perroquet à franges souci mâle [Pl. 130]
[Pl. 130]. Paris: 1801-05. Colour-printed stipple engraving. Very good condition. . Plate mark: 13 x 10 1/8 inches. Sheet size: 17 3/4 x 11 1/2 inches.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#8801 $2,950.00  
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 BARRABAND, Jacques (1767/8-1809)
Le petit Perroquet vert [Black-billed Amazon (Amazona agilis)] [Pl. 105]
[Pl. 105]. Paris: 1801-05. Colour-printed stipple engraving. Very good condition. Trimmed to plate mark on the right side. Plate mark: 13 1/8 x 10 1/4 inches. Sheet size: 17 3/4 x 11 5/8 inches.
The Black-billed Amazon or Black-billed Parrot is a native of Jamaica (mid-montane limestone forest, especially Cockpit County, with some sightings from John Crown Mountains) and is currently on the CITES endangered list.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#8802$2,000.00
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 BARRABAND, Jacques (1767/8-1809)
L'Amazone femelle [Mealy Amazon (Amazona farinosa)] [Pl. 85]
[Pl. 85]. Paris: 1801-05. Colour-printed stipple engraving. Very good condition. Trimmed inside plate mark on three sides. Image size (including text): 11 7/8 x 7 3/4 inches. Sheet size: 13 x 9 3/4 inches.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#8804$2,000.00
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 BARRABAND, Jacques (1767/8-1809)
Le Perroquet à face rouge, dans son premier âge [Puerto Rican Amazon (Amazona vittata)] [Pl. 108 (bis)]
[Pl. 108 (bis)]. Paris: 1801-05. Colour-printed stipple engraving. Very good condition. Plate mark: 13 x 10 1/4 inches. Sheet size: 17 3/4 x 11 5/8 inches.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#8810$1,750.00
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 BARRABAND, Jacques (1767/8-1809)
Crimson Rosella. Young (La Perruche à large queue, jeune âge) (Platycercus elegans)] [Pl. 79]
[Pl. 79]. Paris: 1801-05. Colour-printed stipple engraving, finished by hand, engraved by Bouquet, printed by Langlois. Very good condition. Trimmed within plate mark on three sides. Image size (including text): 12 7/8 x 8 1/2 inches. Sheet size: 13 1/8 x 9 1/2 inches.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#8824$2,000.00
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 BARRABAND, Jacques (1767/8-1809)
La Perruche fridytutah [Plum-headed Parakeet (Psittacula cyanocephala)] [Pl. 74]
[Pl. 74]. Paris: 1801-05. Colour-printed stipple engraving, finished by hand, engraved by Bouquet, printed by Langlois. Very good condition. Trimmed within plate mark on three sides. Image size (including text): 11 1/2 x 8 5/8 inches. Sheet size: 13 x 9 5/8 inches.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#8825$1,750.00
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 BARRABAND, Jacques (1767/8-1809)
Great-billed Parrot. (Le Perroquet à bec couleur de sang) (Tanygnathus megalorynchos)] [Pl. 83]
[Pl. 83]. Paris: 1801-05. Colour-printed stipple engraving, finished by hand, engraved by Bouquet, printed by Langlois. Very good condition. Trimmed within plate mark on three sides. Image size (including text): 11 3/4 x 8 5/8 inches. Sheet size: 13 x 9 3/4 inches.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#8829$2,000.00
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 BARRABAND, Jacques (1767/8-1809)
L'Amazone tête jaune [Yellow-headed Amazon (Amazona ochrocephala)] [Pl. 86]
[Pl. 86]. Paris: 1801-05. Colour-printed stipple engraving, finished by hand, engraved by Bouquet, printed by Langlois. Very good condition. Trimmed within plate mark on three sides. Image size (including text): 11 3/4 x 7 7/8 inches. Sheet size: 13 1/8 x 9 3/4 inches.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#8830$2,000.00
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 BARRABAND, Jacques (1767/8-1809)
L'Amazone Tapiré en rouge [Festive Amazon (Amazona festiva)] [Pl. 88]
[Pl. 88]. Paris: 1801-05. Colour-printed stipple engraving, finished by hand, engraved by Bouquet, printed by Langlois. Very good condition. Trimmed within plate mark on three sides. Image size (including text): 11 5/8 x 8 1/2 inches. Sheet size: 12 7/8 x 9 5/8 inches.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#8832$2,000.00
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 BARRABAND, Jacques (1767/8-1809)
La Perruche à nuque et joues rouges [Long-tailed Parakeet (Psittacula longicauda)] [Pl. 72]
[Pl. 72]. Paris: 1801-05. Colour-printed stipple engraving, finished by hand, engraved by Bouquet, printed by Langlois. Very good condition. Trimmed within plate mark on three sides. Image size (including text): 11 1/4 x 8 3/4 inches. Sheet size: 13 1/8 x 9 5/8 inches.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#8833$1,750.00
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 BARRABAND, Jacques (1767/8-1809)
Alexandrine Parakeet. (La Perruche à Epaulettes rouges) (Psittacula eupatria)] [Pl. 73]
[Pl. 73]. Paris: 1801-05. Colour-printed stipple engraving, finished by hand, engraved by Bouquet, printed by Langlois. Very good condition. Trimmed within plate mark on three sides. Image size (including text): 12 x 8 7/8 inches. Sheet size: 13 1/8 x 9 1/2 inches.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#8834$1,750.00
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 BARRABAND, Jacques (1767/8-1809)
Red-billed Parrot (Le Perroquet brun) (Pionus sordidus)] [Pl. 104]
[Pl. 104]. Paris: 1801-05. Colour-printed stipple engraving, finished by hand, engraved by Bouquet, printed by Langlois. Very good condition. Trimmed within plate mark on three sides. Image size (including text): 11 3/8 x 7 3/8 inches. Sheet size: 13 1/8 x 9 7/8 inches.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#8836$1,750.00
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 BARRABAND, Jacques (1767/8-1809)
La Perruche à large queue [Crimson Rosella (Platycercus elegans)] [Pl. 78]
[Pl. 78]. Paris: 1801-05. Colour-printed stipple engraving, finished by hand, engraved by Bouquet, printed by Langlois. Very good condition. Trimmed within plate mark on three sides. Image size (including text): 11 7/8 x 8 3/8 inches. Sheet size: 13 x 9 1/2 inches.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#8841$2,000.00
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 BARRABAND, Jacques (1767/8-1809)
Perruche Ara Guarouba femelle [Sun Conure (Aratinga euops)] [Pl. 19]
[Pl. 19]. Paris: 1801-05. Colour-printed stipple engraving, finished by hand, engraved by Bouquet, printed by Langlois. Very good condition. Plate mark: 10 7/8 x 8 7/8 inches. Sheet size: 19 x 13 1/4 inches.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#8845$2,000.00
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 BARRABAND, Jacques (1767/8-1809)
African Grey Parrot (Le Perroquet cendré Tapiré) (Psittacus erithacus)] [Pl. 101]
[Pl. 101]. Paris: 1801-05. Colour-printed stipple engraving, finished by hand, engraved by Bouquet, printed by Langlois. Very good condition. Plate mark: 13 1/8 x 10 1/8 inches. Sheet size: 17 7/8 x 11 5/8 inches.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#8848$2,500.00
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 BARRABAND, Jacques (1767/8-1809)
Perruche à tête bleue, femelle [Rainbow Lory (Trichoglossus haematodus)] [Pl. 25]
[Pl. 25]. Paris: 1801-05. Colour-printed stipple engraving, finished by hand, engraved by Bouquet, printed by Langlois. Very good condition. Plate mark: 13 x 10 1/8 inches. Sheet size: 19 1/2 x 12 3/4 inches.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#8852$1,750.00
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 BARRABAND, Jacques (1767/8-1809)
Red-bellied Parrot (Le Perroquet à franges souci mâle) (Poicephalus rufiventris)] [Pl. 130]
[Pl. 130]. Paris: 1801-05. Colour-printed engraving with hand-colouring. Very good condition. Plate mark: 12 13/16 x 9 15/16 inches. Sheet size: 18 x 11 5/8 inches.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#13099$2,950.00
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 BARRABAND, Jacques (1767/8-1809)
Le Perroquet Lori-unicolor [Lory [Lorius sp.)] [Pl. 125]
[Pl. 125]. Paris: 1801-05. Colour-printed engraving with hand-colouring by Pérée. Very good condition. Plate mark: 13 x 10 1/8 inches. Sheet size: 17 3/4 x 11 9/16 inches.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#13100$2,000.00
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 BARRABAND, Jacques (1767/8-1809)
Le grand Oiseau de paradis, émeraude, mâle [Greater Bird of Paradise, male (Paradisea apoda)] [Pl. 1]
[Pl. 1]. [Paris: 1801-1806]. Colour-printed engraving with hand-colouring. Imprint shaved. Sheet size: 19 5/8 x 12 7/8 inches.
Barraband's image effortlessly captures the exotic beauty of one of the most spectacular of all Birds of Paradise.
The technical brilliance of the colour-printing used in the production of this print ablely captures the precision and beauty of Barraband's watercolour and gouache originals. Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the most spectacular of which was the Histoire naturelle des oiseaux de paradis et des rolliers... (Paris, [1801]-06).
Cf. Anker 304; cf. Brunet III.1033; cf.Fine Bird Books (1990), p.118; cf. Nissen IVB 559; cf. Ronsil, p. 298; cf. Wood, p. 434; cf. Zimmer, p. 393.
#13107$4,500.00
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 BARRABAND, Jacques (1767/8-1809)
Red-bellied Macaw (L'Ara Macavouanne) [Pl. 7]
[Pl. 7]. Paris: 1801-05. Colour-printed stipple engraving, finished by hand, engraved by Bouquet, printed by Langlois. Sheet size: 19 1/4 x 12 5/8 inches.
This print is from an apparently unrecorded issue of Levaillant's Perroquets published on large format paper (probably 'papier vélin colombier satiné'), with a scratch proof of the title and plate number, but otherwise avant-lettre. This issue is not recorded in any of the standard bibliographies.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#14826$2,500.00
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 BARRABAND, Jacques (1767/8-1809)
Perruche à Chaperon Bleu (Bechstein's Violet-necked Lory [Eos squamata riciniata)] [Pl. 54]
[Pl. 54]. Paris: 1801-05. Colour-printed stipple engraving. Sheet size: 19 3/4 x 13 inches.
A sub-species native to the Weda Islands and the northern Moluccas where their favoured habitat is coastal areas with tree cover and coconut plantations.
Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the greatest of which was the Histoire Naturelle des Perroquets (1801-1805).
#14833$2,500.00
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 BARRABAND, Jacques (1767/8-1809)
Le grand Oiseau de paradis, émeraude, mâle [Greater Bird of Paradise, male (Paradisea apoda)]
[Paris: 1801-1806]. Colour-printed engraving with hand-colouring. Imprint shaved. Sheet size: 19 5/8 x 12 7/8 inches.
Barraband's image effortlessly captures the exotic beauty of one of the most spectacular of all Birds of Paradise.
The technical brilliance of the colour-printing used in the production of this print ablely captures the precision and beauty of Barraband's watercolour and gouache originals. Jacques Barraband was the finest ornithological artist of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. His most important work was undoubtedly the 300 or so drawings that he produced for François Levaillant's three great ornithological monographs, the most spectacular of which was the Histoire naturelle des oiseaux de paradis et des rolliers... (Paris, [1801]-06).
Cf. Anker 304; cf. Brunet III.1033; cf.Fine Bird Books (1990), p.118; cf. Nissen IVB 559; cf. Ronsil, p. 298; cf. Wood, p. 434; cf. Zimmer, p. 393.
#15835$4,500.00
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 BARTLETT, After William Henry (1809-1854)
An original steel engraved printing plate, titled 'Winter Scene on the Ottawa'
[London: circa 1842]. Printing plate (7 1/2 x 11 9/16 inches) with image area of 4 5/8 x 7 3/8 inches, with title beneath, on a single line, in reversed open letter capital letters, with engraver's name (A. L. Dick) under the left corner of the image and the artist's name (W. H. Bartlett) under right corner of the image.
A very rare survival: an original printing plate after Bartlett from a 19th-century illustrated work.
Bartlett's best known connections with Canada are his fine illustrations for Nathaniel Parker Willis's "Canadian Scenery" which was originally published in London in 1842. It included 116 plates after Bartlett but none of them match the present image. The most likely destination for this image was probably one of the many 'gift books' produced in the period from about 1825 to 1850. These included a mixture of poetry and literature, liberally interspersed with illustrations, and they did not necessarily stick to a single theme. A poem on the joys of childhood could be followed by an extract on India, and an illustration of Canada, etc.; the mix was limited only by the editor's tastes. This makes it difficult to pin down exactly which publication the present image appeared in.
The printing plate shows a typical 19th-century mid-winter scene on the frozen Ottawa River. The river is tree-lined, with the winter sun touching the horizon in the background. A bear crosses a stretch of the frozen river, apparently unaware of the two hunters who wait on the riverbank in the foreground, or of their companion returning across the ice with an armful of firewood.
#9289$2,750.00
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 BARTLETT, After William Henry (1809-1854)
[View of Baltimore, Maryland]
[Circa 1840]. Oil on canvas, 18 x 24 inches. Titled in shaded red block letters lower center: 'BALTIMORE'. Bearing signature lower right: 'W H Bartlett'. Original canvas and stretcher, in excellent condition. Late 19th-century lightly gilt, beaded and decorated American frame. Provenance: Kennedy Galleries (label); Collection of Edward Eberstadt & Sons.
A beautiful and richly coloured painting, offering a romantic image of the city of Baltimore in about 1840
This view of Baltimore, Maryland, and its harbour is based on a steel-engraved print of Baltimore after William Henry Bartlett that was first published in Nathaniel Parker Willis's American Scenery; or land, lake and river illustrations of transatlantic nature (London: 1840, 2 vols.) Baltimore is painted fancifully, with a levantine look found in other American city-scapes by Bartlett (his view of Boston is very similar to this picture), a magnificent white pyramid of shimmering buildings, towers, smokestacks, and statues rising over a quiet harbor, with a few commercial and pleasure craft with sails set. The painting is close in perspective and detail to French marine artist Louis Le Breton's 1840 engraving of Baltimore harbour, which also gives the appearance of a Middle Eastern city. A slightly larger version of the present image of Baltimore is exhibited by the Maryland Historical Society.
Bartlett, London-born painter, watercolorist, draftsman, engraver, trained initially under the architect John Britton. His skill as a recorder of both views and architecture was swiftly recognised and from the early 1830s onwards he was travelling abroad almost constantly, recording everything of note and collaborating in the production of a stream of topographical steel-engraved 'view' books. These publications attest to his visits to the Balkans, the Near East and edges of the Orient and of course North America. He visited the Americas four times between 1836 and 1852, travelled extensively in Canada and America, sketching and painting the principal cities and famous scenic vistas. He is perhaps best remembered today for American Scenery and its companion Canadian Scenery (London: 1842, 2 vols.,) containing images drawn during his travels, with text by Nathaniel Parker Willis.
Benezit (Grund, 2006), Vol. 1, p.1235; Who was Who in American art? (Madison, Ct.: Soundview Press, 1999), Vol. 1, p.225.
#18549$15,000.00
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 BARTOLOZZI, Francesco after Richard COSWAY
Vincent Lunardi, Esq
London: Published by John Bell, the British Library, Oct. 5, 1784. Stipple engraving. Printed in sepia ink. A nice impression in good condition with the exception of light soiling in the corners, and scattered traces of foxing. Trimmed within the platemark on the lower margin. Image size: 4 3/4 x 4 inches. Sheet size: 11 x 7 ¾ inches.
A lovely delicate print by Bartolozzi of Vincent Lunardi the famous balloonist.
Vincent Lunardi was the first person to successfully attempt aerial travel in the English atmosphere. After many setbacks and a heated riot, Lunardi finally launched his balloon in London and set back down in Ware, marking the first aeriel ascent in England. Lunardi's flight made England stir with excitement and a vast array of citizens, from farmer to gentleman, journeyed to London to see his ascent. Lunardi made two other flights in his balloon to Edinburgh and Glasgow and published an account of his aeriel adventures. Lunardi is considered one of the pioneers of ballooning, his ascent having been made less than a year after the first flight in a 'Montgolfière' by Pilâtre de Rozier, and only a few days after the ascent by John Tytler. In a testimony to his fame, a bonnet, once the height of fashion in the North, was named after the aeronaut. (DNB)
Vesme & Calabi, Francesco Bartolozzi 865, iii/iv; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 1
#4822$450.00
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 BARTOLOZZI, Francesco & Samuel ALKEN after Francis Wheatley
Return from Shooting
London: Published by Colnaghi & Co., 1 January 1803. Colour printed stipple engraving with added hand colour. In good condition with the exception of being trimmed to the edge of the plate mark on the top and bottom margins. Skillfully mended tears in right and left margins. Image size (including text): 18 1/2 x 24 1/4 inches. Sheet size: 28 x 21 inches.
A wonderful hunting portrait of the Duke of Newcastle by the celebrated painter Francis Wheatley.
Wheatley was born and trained in London, and in 1769 was one of the first students admitted to the newly founded Royal Academy. Although he initially practiced as a landscape painter, by the mid-1770s he had become a popular painter of small-scale portraits and informal 'conversation-pieces'. From the 1780s onwards, Wheatley turned increasingly to sentimental domestic scenes that were perfectly attuned to the genteel sensibilities of the period. Today he is generally remembered for his 'Cries of London', which depicted street vendors such as milkmaids, and fruit sellers engaged in their trade on the street sides. This series was a great success, and inspired a myriad of different engravings and copies by celebrated artists such as Johan Zoffany and J. G. Huck.
Wheatley's pretty genre paintings of rural and domestic life were a great source of inspiration for contemporary engravers who reproduced his work with industrious vigor. The popularity of these engravings greatly enhanced Wheatley's reputation, and made him one of the most celebrated painters of his day. 'The Return from Shooting' appears to be one of Wheatley last known large group portraits, before he concentrated his artistic talents on decorative genre painting. Painted in 1788, the work is an accomplished portrait of the Duke of Newcastle and Colonel Litchfield just returned from a days hunt, and beautifully exhibits Wheatley's style of informal portraiture.
Cf. Mellon British Sporting and Animal Prints p.201; cf. Schwerdt III, p.34; Vesme & Calabi, Francesco Bartolozzi 2507; Webster, Francis Wheatley p. 100, p. 170 E80, state ii/ii
#5161$4,500.00
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 BARTOLOZZI, Francesco after J. RUSSELL
His Royal Highness the Prince of Wales
London: Published by John Jeffryes, Ludgate Hill, June 15, 1795. Stipple engraving. In excellent condition. Image size: 19 7/16 x 13 1/8 inches. Plate mark: 22 1/2 x 1 7/8 inches. Sheet size: 23 3/8 x 16 7/16 inches.
This portrait of George IV, is one of the most celebrated eighteenth century archery prints.
The latter half of the eighteenth century witnessed the emergence of numerous clubs and societies which the English gentry were keen to join. The Society of Royal Kentish Bowmen, under the patronage of the Prince of Wales, later King George IV, is a perfect example of this burgeoning 18th century trend for exclusive sporting clubs. The Prince of Wales insisted that every member of the Society should wear a 'dandyish' uniform comprising of a grass green coat with a white waistcoat and breeches. In Russell's charming portrait, the Prince Regent is shown in the Bowman's uniform, in the background are the other members of the society participating in a shooting match. Russell's portrait not only identifies the Princes as an avid archer, but cleverly connects his person with the exclusive archery society. At the time of production this work was extremely popular both for its flattering depiction of the Regent, and for the publicity garnered by the Bowmen. This is a lovely impression from the collection of F. W. Hope (1797-1862).
Vesme & Calabi, Francesco Bartolozzi 820, iv/iv; O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 50
#8161$1,600.00
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 BARTOLOZZI, Francesco (1727-1815, engraver) - after J. CHAPMAN and LUTHERBURGH
[Pair of Prints] To the Right honorable William Pitt ... this Accurate Perspective View of the Outside [.... this Accurate Perspective View of Inside] of the Royal Exchange, in London, is ... Dedicated, by ... J. Chapman
London: published & sold by Mr. Chapman, "1788" [but 19th-century]. Copper engravings by Bartolozzi after Chapman & Lutherburgh. Expert restoration to margins. Sheet sizes: 18 3/4 x 23 inches and 19 x 23 3/8 inches.
A famous pair of engravings of the second Royal Exchange by Bartolozzi, one of the greatest engravers of his age. The first image is of the exterior on Cornhill, the second of the interior.
There have been three Royal Exchanges, each of which in their heyday were at the heart of what the City of London does best: commerce. The first, based on the Antwerp Bourse was built at the expense of Sir Thomas Gresham in 1565 (the Grasshopper on the top of the present Exchange recalls Gresham's family crest). The site was provided by the Corporation of the City of London and the Mercer's Company. Roughly triangular, it is formed by the converging streets of Cornhill and Threadneedle Street. The present image is of the second exchange. Built on the same site after the Great Fire of London, designed by Edward Jerman and opened in 1669. This too was destroyed by fire on 10 th January 1838. The present exchange, still at the heart of the City of London, built to a design by Sir William Tite was opened in 1845.
Heywood's lines about the first Exchange are equally apt for the second: "Not in my life; yet I have been in Venice, In the Rialto there, called Saint Mark's; 'Tis but a bauble, if compared to this. The nearest, that which most resembles this, Is the great Burse in Antwerp, yet no comparable Either in height or wildeness, the fair cellarage, Or goodly shops above. Oh my Lord Mayor, This Gresham hath much graced your city, London; His fame will long outlive him." (Thomas Heywood If You Know Not Me, You Know Nobody part 2).
Remarkably, the printing plates for both these images still exist and re-strikes are available. The present examples are the "real thing" and not modern reprints.
#19913$4,000.00
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 BARTOLOZZI, Francesco (1727-1815) & Peltro William TOMKINS, engravers. - THOMSON, James (1700-1748)
The Seasons, by... Thomson. Illustrated with engravings by ... Bartolozzi... and ... Tomkins ... from original pictures painted for the work by W. Hamilton
London: printed for P.W. Tomkins, 1797. Folio (18 x 14 7/8 inches). Half-title, 5 section titles, 5pp. subscribers' list. Stipple engraved emblematic frontispiece by Tomkins, 6 stipple engraved plates (2 by Bartolozzi, 4 by Tomkins), 4 vignette stipple engraved illustrations by Tomkins, 10 stipple-engraved head or tailpieces (4 by Bartolozzi, 6 by Tomkins), all after William Hamilton, engraved dedication leaf. Contemporary blue straight-grained morocco gilt, covers with wide decorative neo-classical border made up from fillets, a 'drawer-handle' roll and a swag and stylized flower head roll, spine in seven compartments with double raised bands, the bands highlighted by rules and roll tools, lettered in the second compartment, the seventh compartment with onlaid label tooled in gilt with two armorial crests (one of the Peters family, the other unidentified), the remaining compartments with repeat decoration of a centrally-placed tool of two birds perched on a bow with crossed arrows behind them, gilt turn-ins, marbled endpapers, edges with alternate bands of gilding and blue staining.
A de luxe edition of Thomson's hugely popular poem, with stipple-engravings from two of the greatest engravers of their time, and in a magnificent contemporary binding
Thomson's paean to the countryside and the simple country life is now seen as a precursor of the romantic movement in English poetry, as exemplified by Wordsworth and Coleridge. The present edition, published the year before the appearance of the Lyrical Ballads, is perhaps the most luxurious edition of The Seasons ever published.
Abbey Life 252; Brunet V, 836; Cohen/de Ricci p.992; Lowndes IV, p.2671
#20252$5,500.00
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 BARTON, William Paul Crillon (1786-1856)
Vegetable Materia Medica of the United States; or Medical Botany: containing a botanical, general, and medical history, of medicinal plants indigenous to the United States
Philadelphia: M.Carey & Son, 1817 - 1818. 2 volumes, quarto (10 1/2 x 8 1/4 inches). Half-titles, 'To Subscribers' leaf at end of vol.I, 3pp. subscribers' list at back of vol.II. 50 hand-coloured engraved plates (1 folding) by Tanner, Vallance & Kerny & Co. (41), J.Boyd (6) or J.G.Warnicke (2) after Barton, the hand colouring executed by Barton, and others. (Lacking 'To the binder' leaf from the back of vol.II as usual). Expertly bound to style in red morocco over contemporary marbled paper-covered boards, the flat spines divided into six compartments by double gilt fillets, lettered in the second compartment and numbered in the fourth in gilt.
A particularly fine copy of this important and scarce American flora medica from the most important American botanist of his day: a good copy of the coloured issue with plates coloured by the author personally. A classic of American botany and of early colour-plate books, from Philadelphia's heyday as centre of the American scientific world.
First edition of both volumes, in unusually clean condition. Barton describes his plan for the present work in his 'preliminary observations': 'The author of the following pages has undertaken the task of drawing and describing all the important plants of a medicinal character, native to the United States, which are known; and also of figuring and describing many never before noticed for medical properties. In all the drawings... the greatest accuracy will be studied; and with a view to render the work as correct as possible, the author encounters the laborious task of colouring all the plates with his own hand. Since faithful colouring is nearly as important in a work of this nature, as correct drawings, he trusts that the usefulness of the undertaking will be enhanced by this part of his labour. In the history of the plants nothing will be omitted, which can render the work interesting.' (vol.I, p.xiv). In the end Barton was somewhat overwhelmed by the number of subscribers who signed up and in the second volume and he noted that he was "obliged to have recourse to the assistance of others" as far as the colouring of the plates was concerned. Such was the interest that "even with the assistance, sometimes of six persons, he could not supply the coloured copies as rapidly as the publishers orders called for" (vol.II, p.xv)
Barton, the nephew of Benjamin Smith Barton, was appointed a Naval surgeon in 1809 and remained on the Navy's list throughout his life (he was buried with full military honours in Philadelphia in 1856). "In 1815 Barton was chosen professor of botany at the University of Pennsylvania, charming many with his light-hearted herborizing trips along the Schuykill and by his lectures which were, contrary to the bookish times, demonstrated in his well-stocked conservatory" (DAB). His botanical publications, which appeared over a relatively short span of nine years, began with his Flora Philadelphicae Prodromus (1815) and culminated with the present work and his A Flora of North America, Illustrated by coloured figures drawn from nature (1820-1824).
Austin 149; Bennett p.9; BM (NH) I, p.105; Dunthorne 25; Great Flower Books (1990) p.48; McGrath p.12; MacPhail Benjamin Smith Barton and William Paul Crillon Barton 15; Meisel III,377; Nissen BBI 85; Pritzel 444; Sabin 3863; Stafleu & Cowan 324.
#18990$12,000.00
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 BARTON, William Paul Crillon (1786-1856)
A Flora of North America, illustrated by coloured figures drawn from nature
Philadelphia: Vol. I: M. Carey & Sons; Vol. II & III: H.C. Carey & I. Lea, 1821-1822-1823. 3 volumes, quarto (10 1/2 x 8 3/4 inches). 106 uncoloured engraved plates (1 folding), from drawings by the author, by Cornelius Tiebout (29), G.B. Ellis (32), F. Kearney (23), J. Boyd (7), J. Drayton (6), C. Goodman (6), Jacob J. Plocher (2), and J.L. Frederick (1). (Plate 63 in vol. II bound as two plates, small rust hole in plate 80 in vol.III, half-titles lacking). Contemporary red morocco over marbled paper-covered boards, the flat spine divided into unequal compartments by two pairs of fillets, lettered in the second and numbered in the fourth compartments, the others elaborately decorated in gilt (scuffed, hinges weak or splitting). Provenance: Abraham Bloodgood (Flushing, N.Y., book-labels); Daniel Bartlett Beard (author, conservationist and first superintendant of the Florida Everglades national Park, armorial bookplates).
Very rare uncoloured issue of an important American flora, "magnificently illustrated" (DAB) with "Plates [that] are clear, soft and lovely" (Bennett). The work includes the first successful use of stipple-engraving in the United States. This set includes the rare 'To Subscribers' leaf in Volume II.
In addition to its significance as a botanical work, Barton's Flora... is also one of the most important early colour plate books entirely produced in the United States. "The plates were made by [among others] Cornelius Tiebout, the first really skilled engraver born in the United States, although he trained in London for two years in the 1790's to perfect his technique" (Reese). This uncoloured issue is particularly interesting as Barton states in the advertisement to the first volume that some of the "plates are printed in colour" - none of the plates in the present volume show any signs of colour and are therefore a variant issue of those used in the coloured version, and not merely plates that were not hand-coloured in this country. These may constitute early experimental issues of the plates - produced before the combination of colour-printing and hand-colouring was arrived at. The text gives details of each species, its Latin binomial, common name, and class and order according to the Linnaean system, followed by interesting information about the history of the discovery of the species and details about its geographical range.
Barton, the nephew of Benjamin Smith Barton, was appointed a naval surgeon in 1809 and remained on the Navy's list throughout his life (he was buried with full military honours in Philadelphia in 1856). "In 1815 Barton was chosen professor of botany at the University of Pennsylvania, charming many with his light-hearted herborizing trips along the Schuykill and his lectures which were, contrary to bookish times, demonstrated in his well-stocked conservatory" (DAB). His botanical publications, which appeared over a relatively short span of nine years, began with his Flora Philadelphicae prodromus (1815) and culminated with the present work (1820-24) and his Vegetable materia medica of the United States (1817-19).
BM(NH) I, p.105; Bennett p. 9 (incorrect plate count); Dunthorne 26; Nissen BBI 84; MacPhail Benjamin Smith Barton and William Crillon Barton 19; Meisel III, p.385; Pritzel 446; Reese Stamped with a National Character 11; Sabin 3858; Stafleu & Cowan TL2 236.
#19105$6,750.00
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 BARTON, William Paul Crillon (1786-1856)
A Flora of North America. Illustrated by coloured figures, drawn from nature
Philadelphia: vol.I: M. Carey & Sons; vol.II & III: H.C. Carey & I. Lea, [1820-]1821-1823[-1824]. 3 volumes, quarto (10 9/16 x 8 5/16 inches). Half-titles, 'To Subscribers' leaf in vol.II. 106 hand-coloured engraved plates (two folding), including some partially printed in colours and finished by hand, from drawings by the author, by Cornelius Tiebout (29), G.B. Ellis (32), F. Kearney (23), J. Boyd (7), J. Drayton (6), C. Goodman (6), Jacob J. Plocher (2) and J.L. Frederick (1). (Some expert repairs to marginal tears). Expertly bound to style in half red/brown morocco over contemporary blue sugar paper-covered boards, the flat spines divided into six compartments by double gilt fillets, lettered in the second compartment, volume numbers in the fourth .
An important American flora, "magnificently illustrated" (DAB) with "Plates [that] are clear, soft and lovely" (Bennett). The work includes the first successful use of stipple-engraving in the United States. This set includes the rare 'To Subscribers' leaf in Volume II.
In addition to its significance as a botanical work, Barton's Flora is also one of the most important early colour-plate books entirely produced in the United States. 'The plates were made by [amongst others] Cornelius Tiebout, the first skilled engraver born in the United States, although he trained in London for two years in the 1790's to perfect his technique.' (Reese, Stamped with a National Character p. 40). Barton states in the advertisement to the first volume that some of the 'plates are printed in colour, and are afterwards coloured by hand. It is confidently believed by the author, that they will be found the most successful attempts at imitation by sound engraving, of the French style, yet made in this country.' He goes on to note that the method of colour printing was the result of 'repeated experiments' owing 'to the impossibility of obtaining information as to the manner of colouring abroad'. The text gives details of each species, its Latin binomial, common name, and class and order according to the Linnaean system, followed by interesting information about the history of the discovery of the species and details about its geographical range.
BM(NH) I, p.105; Bennett p. 9 (incorrect plate count); Dunthorne 26; Nissen BBI 84; MacPhail Benjamin Smith Barton and William Crillon Barton 19; Meisel III, p.385; Pritzel 446; Reese Stamped with a National Character 11; Sabin 3858; Stafleu & Cowan TL2 236.
#19238$17,500.00
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 BASIRE, James (1769-1822) after Hugh O'NEILL (1784-1824)
Magdalene Tower and Grove, from Christ-Church Meadow
circa 1810. Hand-coloured engraving by Basire after a drawing by the architectural draughtsman Hugh O'Neill. Printed on wove paper. Very good condition apart from some overall light soiling, minor foxing, and a mild water stain in the top margin. Plate mark: 13 5/16 x 17 3/4 inches. Sheet size: 14 5/8 x 20 7/8 inches.
A picturesque view of the spires and surrounding landscape of Oxford's historic Magdalene College, from "The Oxford Almanack."
The Oxford Almanack was a series of broadsides annually published by Oxford University Press since 1674. Beginning in 1723, the almanac was illustrated by | | | |
