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(total 13 pages)
 LEAR, Edward (1812-1888)
Capercailzie or Cock of the Wood. Tetrao Urogallus
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition apart from some overall light soiling. Sheet size: 14 1/4 x 21 1/8 inches.
A beautiful image from John Gould's 'The Birds of Europe': a work which, according to Hyman, 'included some of the most remarkable bird drawings ever made'.
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, whilst the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.'
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: 'They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm'. (Hyman)
Cf. Anker 169; cf.Balis 101; cf.Fine Bird Books (1990), p. 102; cf.Nissen IVB 371; cf.Sauer 2; cf.Zimmer p. 251.
#9287 $2,250.00  
 LEAR, Edward (1812-1888)
Flamingo. Phoenicopterus ruber (Linn.)
[London: by the Author, 1832-1837]. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition with a small, expertly repaired marginal tear on the right edge, not affecting the image. Sheet size: 21 1/4 x 14 3/4 inches.
An ornithological masterpiece by Edward Lear for John Gould's "The Birds of Europe": a work which, according to Hyman, "included some of the most remarkable bird drawings ever made."
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, while the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: "It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency."
Edward Lear, the great wit and ornithological artist of the Victorian age, was employed by John Gould when both men were getting their careers under way early in the 1830s. It was a relationship destined to be short: Gould was a demanding, quite literal employer and Lear was a sparkling wit and, in any event, was losing his eyesight. Here he reveals his almost unique ability to portray birds as individuals rather than specimens, who radiate vitality and evoke admiration.
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: "They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-consious clumsiness and his unselfconscious charm." (Hyman)
Cf. Anker, 169; cf. Balis, 101; cf. Fine Bird Books (1990), p. 102; cf. Nissen, IVB, 371; cf. Sauer, 2; cf. Zimmer, p. 251.
#24240$6,000.00
 LEAR, Edward (1812-1888)
Freckled Bittern. Botaurus lentiginosus
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by E. Lear, printed by C. Hullmandel. Very good condition apart from some overall light soiling, minor foxing, a 1" tear in the top margin. Sheet size: 14 1/2 x 21 1/4 inches.
A beautiful image from John Gould's 'The Birds of Europe': a work which, according to Hyman, 'included some of the most remarkable bird drawings ever made'.
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, whilst the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.'
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: 'They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm'. (Hyman)
Cf. Anker 169; cf.Balis 101; cf.Fine Bird Books (1990), p. 102; cf.Nissen IVB 371; cf.Sauer 2; cf.Zimmer p. 251.
#9260$1,500.00
 LEAR, Edward (1812-1888)
Great Bustard. Otis tarda
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition apart from some overall light soiling, minor foxing. Sheet size: 14 3/8 x 21 3/8 inches.
A beautiful image from John Gould's 'The Birds of Europe': a work which, according to Hyman, 'included some of the most remarkable bird drawings ever made'.
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, whilst the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.'
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: 'They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm'. (Hyman)
Cf. Anker 169; cf.Balis 101; cf.Fine Bird Books (1990), p. 102; cf.Nissen IVB 371; cf.Sauer 2; cf.Zimmer p. 251.
#9284$1,500.00
 LEAR, Edward (1812-1888)
Honey Buzzard. Pernis apivorus
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by E. Lear, printed by C. Hullmandel. Very good condition apart from some light foxing. Sheet size: 21 5/8 x 14 3/8 inches. 1 7/8" Curly Maple frame, with dark amber finish. Frame size: 30 1/8 x 22 3/4 inches.
A beautiful image from John Gould's "The Birds of Europe": a work which, according to Hyman, "included some of the most remarkable bird drawings ever made."
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya Mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, while the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: "It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency."
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: "They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-consious clumsiness and his unselfconscious charm." (Hyman)
Cf. Anker 169; cf. Balis, 101; cf. Fine Bird Books (1990), p. 102; cf. Nissen, IVB, 371; cf. Sauer, 2; cf. Zimmer, p. 251.
#13559$1,650.00
 LEAR, Edward (1812-1888)
Kite. Milvus vulagaris
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by E. Lear, printed by C. Hullmandel. Very good condition apart from some very minor foxing. Sheet size: 21 5/8 x 14 3/8 inches. 1 7/8" Curly Maple frame, with dark amber finish. Frame size: 30 1/8 x 22 3/4 inches.
A beautiful image from John Gould's "The Birds of Europe": a work which, according to Hyman, "included some of the most remarkable bird drawings ever made."
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya Mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, while the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: "It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency."
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: "They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm." (Hyman)
Cf. Anker 169; cf. Balis, 101; cf. Fine Bird Books (1990), p. 102; cf. Nissen, IVB, 371; cf. Sauer, 2; cf. Zimmer, p. 251.
#13557$2,950.00
 LEAR, Edward (1812-1888)
Marsh Harrier. Circus rufus
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by E. Lear, printed by C. Hullmandel. Very good condition. Sheet size: 14 1/4 x 21 1/8 inches.
A beautiful image from John Gould's 'The Birds of Europe': a work which, according to Hyman, 'included some of the most remarkable bird drawings ever made'.
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, whilst the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.'
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: 'They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm'. (Hyman)
Cf. Anker 169; cf.Balis 101; cf.Fine Bird Books (1990), p. 102; cf.Nissen IVB 371; cf.Sauer 2; cf.Zimmer p. 251.
#9257$1,500.00
 LEAR, Edward (1812-1888)
Rock Ptarmigan. Lagopus rupestris
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition apart from some overall light soiling. Sheet size: 14 1/2 x 21 1/8 inches.
A beautiful image from John Gould's 'The Birds of Europe': a work which, according to Hyman, 'included some of the most remarkable bird drawings ever made'.
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, whilst the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.'
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: 'They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm'. (Hyman)
Cf. Anker 169; cf.Balis 101; cf.Fine Bird Books (1990), p. 102; cf.Nissen IVB 371; cf.Sauer 2; cf.Zimmer p. 251.
#9264$1,200.00
 LEAR, Edward (1812-1888)
Rough-legged Buzzard. Buteo Lagopus
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition apart from some overall light soiling. Sheet size: 21 3/8 x 14 3/8 inches.
A beautiful image from John Gould's 'The Birds of Europe': a work which, according to Hyman, 'included some of the most remarkable bird drawings ever made'.
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, whilst the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.'
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: 'They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm'. (Hyman)
Cf. Anker 169; cf.Balis 101; cf.Fine Bird Books (1990), p. 102; cf.Nissen IVB 371; cf.Sauer 2; cf.Zimmer p. 251.
#9255$2,500.00
 LEAR, Edward (1812-1888)
Short-Toed Eagle. Circaeëtus brachydactylus
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition apart from some overall light soiling. Sheet size: 21 5/8 x 14 3/8 inches.
A beautiful image from John Gould's 'The Birds of Europe': a work which, according to Hyman, 'included some of the most remarkable bird drawings ever made'.
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, whilst the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.'
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: 'They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm'. (Hyman)
Cf. Anker 169; cf.Balis 101; cf.Fine Bird Books (1990), p. 102; cf.Nissen IVB 371; cf.Sauer 2; cf.Zimmer p. 251.
#9258$2,750.00
 LINDEN, Jean-Jules (1817-1898)
Pescatorea. Iconographie des Orchidées
Brussels: M.Hayez for Librairie de Charles Muqardt, [1854-]1855-1860. Folio (17 7/8 x 12 1/2 inches). Volume I (all published). Half-title. 48 hand-coloured lithographed plates by F.Detollenaere after Detollenaere and Maubert. Expertly rebound to style in blue half morocco over 19th-century paper-covered boards, spines gilt in six compartments with raised bands, lettered in the second, the others with elaborate overall repeat decoration built up from various stylized flower and foliage tools.
First edition of this important large format work on a wide-ranging selection of the most beautiful orchids then in cultivation, originating from all the tropical regions of the world.
Although the work was a collaborative effort between Linden, G. Lüddemann, J.E. Planchon and M.G. Reichenbach, the editorial control remained with Linden. A native of Luxembourg, Linden moved to Belgium in his youth and during his working life was responsible for the importation of over 1100 different orchid species. He was 'An orchid hunter par excellence.. [and] was the first to search the mountain regions diligently for his orchids. In so doing, he was able to obtain many cool-temperature plants for his sponsors in Belgium. After ten years in the western hemisphere, Linden returned to work in Brussels in 1845, where with his son, Lucien, he founded Horticulture Internationale, the first major commercial competitor of the British orchid house Messrs. Sander' (The Orchid observed no.16 ).
The work is named in honor of J.P. Pescatore of St.Cloud, one of the earliest amateur orchid growers, a client of Linden's, who maintained `la plus riche collection d'Orchidées du continent' at his home the Chateau de la Celle-St.-Cloud. According to Linden's preface, Pescatore's death and subsequent withdrawal of financial support by his executors meant that the publication was unable to continue beyond the present 12 livraisons: this was apparently very much against Pescatore's wishes, but the unexpectedness of his death had not allowed him time to make his views clear to his heirs. This version of events is generally accepted, but it is interesting to note that the `Conditions de la souscription' printed on the lower cover of the wrappers announce that the book will be published in 12 monthly parts, each containing 4 plates, beginning on 1 June 1854, and forming a single `magnifique volume in-folio': no mention is made of any further volumes. The wrappers also demonstrate a shift in emphasis towards Linden. The title on the upper wrappers reads Pescatorea. Iconographie des Orchidées de la collection de M.Pescatore, au Chateau de la Celle-St.-Cloud. Rédigées par Messieurs.. Linden.. Lüddemann.. Planchon.. Reichenbach, with all of the editors being given equal billing. By January 1860, when the title and preface were printed, Linden had claimed a more important position and Pescatore no longer appears on the title at all.
Great Flower Books (1990) p.113; Nissen BBI 1196; Stafleu & Cowan TL2 4622.
#10755$20,000.00
 LINDEN, Jean-Jules (1817-1898)
Pescatorea. Iconographie des Orchidées
Brussels: M.Hayez for Librairie de Charles Muqardt, [1854-]1855-1860. Folio (17 3/4 x 12 3/8 inches). Volume I (all published). Half-title. 48 hand-coloured lithographed plates by F.Detollenaere after Detollenaere and Maubert. Expertly rebound to style in green half morocco over 19th-century marbled paper-covered boards, spines gilt in six compartments with raised bands, lettered in the second, the others with elaborate overall repeat decoration built up from various stylized flower and foliage tools.
First edition this important large format work on a wide-ranging selection of the most beautiful orchids then in cultivation, originating from all the tropical regions of the world.
Although the work was a collaborative effort between Linden, G. Lüddemann, J.E. Planchon and M.G. Reichenbach, the editorial control remained with Linden. A native of Luxembourg, Linden moved to Belgium in his youth and during his working life was responsible for the importation of over 1100 different orchid species. He was 'An orchid hunter par excellence.. [and] was the first to search the mountain regions diligently for his orchids. In so doing, he was able to obtain many cool-temperature plants for his sponsors in Belgium. After ten years in the western hemisphere, Linden returned to work in Brussels in 1845, where with his son, Lucien, he founded Horticulture Internationale, the first major commercial competitor of the British orchid house Messrs. Sander' (The Orchid observed no.16 ).
The work is named in honor of J.P.Pescatore of St.Cloud, one of the earliest amateur orchid growers, a client of Linden's, who maintained `la plus riche collection d'Orchidées du continent' at his home the Chateau de la Celle-St.-Cloud. According to Linden's preface, Pescatore's death and subsequent withdrawal of financial support support by his executors meant that the publication was unable to continue beyond the present 12 livraisons: this was apparently very much against Pescatore's wishes, but the unexpectedness of his death had not allowed him time to make his views clear to his heirs. This version of events is generally accepted, but it is interesting to note that the `Conditions de la souscription' printed on the lower cover of the wrappers announce that the book will be published in 12 monthly parts, each containing 4 plates, beginning on 1 June 1854, and forming a single `magnifique volume in-folio': no mention is made of any further volumes. The wrappers also demonstrate a shift in emphasis towards Linden. The title on the upper wrappers reads Pescatorea. Iconographie des Orchidées de la collection de M.Pescatore, au Chateau de la Celle-St.-Cloud. Rédigées par Messieurs.. Linden.. Lüddemann.. Planchon.. Reichenbach, with all of the editors being given equal billing. By January 1860, when the title and preface were printed, Linden had claimed a more important position and Pescatore no longer appears on the title at all.
Great Flower Books (1990) p.113; Nissen BBI 1196; Stafleu & Cowan TL2 4622.
#13269$20,000.00
 LOUDON, John Claudius (1783-1843)
Arboretum Et Fruticetum Britannicum; or, the trees and shrubs of Britain, native and foreign, hardy and half-hardy, pictorially and botanically delineated, and scientifically and popularly described; with their propagation, culture, management and uses in the arts, in useful and ornamental plantations, and in landscape-gardening; preceded by a historical and geographical outline of the trees and shrubs of temperate climates throughout the world
London: printed for the Author, sold by Longman, Orme, Brown, Green & Longmans, the partially coloured and coloured copies by James Ridgway & Sons, [1835-]1838. 8 volumes, octavo (8 3/4 x 5 5/8 inches). 412 hand-coloured zinc engravings (20 double-page), 2546 uncoloured illustrations, extra-illustrated with four duplicate plates in vol.VII. Contemporary half morocco, spines gilt in six compartments with raised bands, the bands highlighted in gilt, lettered in the second and fourth compartments, top edge gilt. Provenance: Alexander Lawson Duncan (circular armorial book-labels).
A fine set of the rare fully hand-coloured issue of this encyclopaedic work on all the trees and shrubs growing in Great Britain: a work which W.T. Thistleton-Dyer, the director of Kew, noted as being 'indespensable to any student of the subject'
This work by J.C. Loudon, `the most distinguished gardening author of the age' (Andrew Jackson Downing), was published in three forms: with the plates uncoloured, with only the botanical details on the plates coloured, and the present most expensive issue with all the plates completely hand-coloured. It was issued in sixty-three monthly parts from January 1835 to July 1838, although the preparations for the work had been started as early as 1830. "The book begins with a `general outline of history and geography' before starting on an exhaustive account of each group of trees and shrubs, complete with a full description of each species and variety, its history in Britain, and even notes on remarkable examples growing in individual gardens. `Portraits of trees in their young and mature state', showing leaves, twigs, fruits, and the outline of leafless ... trees are a special feature of the book." (Oak Spring Sylva). All the images were drawn from life, many from examples in the garden at Syon House, one of the homes of the Duke of Northumberland (to whom the work is dedicated).
"In spite of its quality the book was a financial disaster for Loudon, as his wife explained in the account of his life she published in 1845: `Having resolved that all the drawings for the Arboretum should be made from nature, he had seven artists constantly employed, and he was frequently in the open air with them from his breakfast at seven in the morning till he came home to dinner at eight in the evening ... After dinner he resumed the literary part of the work, and continued writing ... till two or three in the morning. His constitution was naturally very strong, but it was impossible for any human to bear for any lengthened period the fatigue he underwent ... In addition to the large sums in ready money he paid to the artists and other persons employed during the progress of the Arboretum, he found at its conclusion that he owed ten thousand pounds to the printer, the stationer, and the wood-engraver ... His creditors, however, did not press him for their money ... consenting to wait until they were paid by sale'" (op.cit.)
Bradley Bibliography I, p.293; cf. Bridson Printmaking in the Service of Botany p.113; Oak Spring Sylva 11
#16344$12,000.00
 LOW, Susanne M.
A Guide to Audubon's Birds of America: A Concordance Containing Current Names of the Birds, Plate Names With Descriptions of Plate Variants, a Description of the Bien Edition, and Corresponding Indexes
New York and New Haven: Donald Heald and William Reese Company, 2002. (11 1/2 x 8 3/4 inches). 384pp., 436 black & white illustrations in the text (illustrating each of the plates in the double elephant folio), 10 colour illustrations. Gilt stamped blue cloth, illustrated dust jacket.
A comprehensive reference work for collectors, dealers, art historians, students of natural history, and bird enthusiasts. With new up-to-date information, revisions, and extensive additions (including a section on the Bien edition), superseding and surpassing her earlier work.
This beautifully produced book provides easily accessible information about each one of the 435 plates in the double elephant folio, including variant plate names, names of the birds in the octavo and Bien editions, and the current names of the birds according to the American Ornithologists Union's most recent Checklist, as well as pertinent historical details about the creation of each plate and discussion of taxonomic changes. A special feature of the book is the section devoted to the description of each of the plates in the comparatively little-known Bien edition.
The informative introduction details the history of the creation of the double elephant folio. This includes a description of the collaboration between Audubon and the men who transformed his originals into prints, W. H. Lizars, Robert Havell Sr., and, most importantly, Robert Havell Jr., with discussion of the artistic techniques involved in the process. Ornithological taxonomy is also succinctly explained, and will help the reader to understand some of Audubon's difficulties as well as the evolution of bird names.
The descriptions of the double elephant folio plates are followed by three indexes: one of current names of the birds depicted, one of double elephant folio plate names, and one of the names on the original paintings, thus offering the reader several ways to locate a particular bird or plate. Similarly, the Bien section is also followed by indexes of current names and plate names. In addition, there are three appendices. The first identifies the persons whose names appear in the nomenclature of The Birds of America. The second appendix describes the unusual composite plates that appear in some editions, and the third contains charts of the most complicated situations that arose from the transfer of Audubon's originals to the finished plates. Finally, a beautiful colour insert illustrates a few of the more interesting situations that are described in the book, such as colour differences between prints of the same bird, comparison of an Audubon original and corresponding print, and comparison of variant plate legends, among others.
#8762$45.00
 MANETTI, Saverio (1723-1784), Lorenzo LORENZI & Violante VANNI
Anatra domestia di becco incurvato altra varieta
[Florence: Giuseppe Vanni, 1776]. Etching, with engraving, coloured by hand, after Vanni, Lorenzi or Manetti. Very good condition. Plate mark: 13 1/2 x 10 1/2 inches. Sheet size: 18 x 14 inches.
A fine image from "one of the half-dozen or so great bird books" (Fine Bird Books).
This beautiful plate comes from 'Storia naturale degli uccelli', of which Peter Dance writes "The production of its five massive folio volumes must have been one of the most remarkable publishing ventures ever undertaken in Florence. Begun in 1767, and [based on birds taken from the collection of Giovanni Gerini], it was completed ten years later. It was larger, better engraved and more vividly coloured than any previous work on birds, but these are not its only claim to fame. The attitudes of the birds themselves give this book its unique character. Strutting, parading, posturing, and occasionally flying....are birds whose real-life counterparts would surely disown them, and not without reason, for Manetti seems in these pictures to be depicting the human comedy, the habits and mannerisms of contemporary Italian society. His book may still be rated among the very greatest bird books, if only for its magnificent comicality" (S. Peter Dance, The Art of Natural History: Animal Illustrators and their Work. London: 1978)
Cf. Dance 70; cf. Fine Bird Books (1990) p.92; cf. Nissen IVB 588; cf. Wood p.450; cf. Zimmer p.241
#17819$950.00
 MANETTI, Saverio (1723-1784), Lorenzo LORENZI & Violante VANNI
Aquila Reale di color Leonato [II]
[II]. [Florence: Giuseppe Vanni, 1776]. Etching, with engraving, coloured by hand, after Lor. Lorenzi. Very good condition. Plate mark: 13 3/4 x 10 5/8 inches. Sheet size: 14 1/2 x 11 1/2 inches.
A fine image from "one of the half-dozen or so great bird books" (Fine Bird Books).
This beautiful plate comes from 'Storia naturale degli uccelli', of which Peter Dance writes "The production of its five massive folio volumes must have been one of the most remarkable publishing ventures ever undertaken in Florence. Begun in 1767, and [based on birds taken from the collection of Giovanni Gerini], it was completed ten years later. It was larger, better engraved and more vividly coloured than any previous work on birds, but these are not its only claim to fame. The attitudes of the birds themselves give this book its unique character. Strutting, parading, posturing, and occasionally flying....are birds whose real-life counterparts would surely disown them, and not without reason, for Manetti seems in these pictures to be depicting the human comedy, the habits and mannerisms of contemporary Italian society. His book may still be rated among the very greatest bird books, if only for its magnificent comicality" (S. Peter Dance, The Art of Natural History: Animal Illustrators and their Work. London: 1978)
Cf. Dance 70; cf. Fine Bird Books (1990) p.92; cf. Nissen IVB 588; cf. Wood p.450; cf. Zimmer p.241
#17807$750.00
 MANETTI, Saverio (1723-1784), Lorenzo LORENZI & Violante VANNI
Avoltoio del Brasile, e da altri detto del Messico [XIII]
[XIII]. [Florence: Giuseppe Vanni, 1776]. Etching, with engraving, coloured by hand, after Vanni, Lorenzi or Manetti. Very good condition apart from some foxing. Plate mark: 13 1/2 x 10 5/8 inches. Sheet size: 18 1/4 x 13 3/4 inches.
A fine image from "one of the half-dozen or so great bird books" (Fine Bird Books).
This beautiful plate comes from 'Storia naturale degli uccelli', of which Peter Dance writes "The production of its five massive folio volumes must have been one of the most remarkable publishing ventures ever undertaken in Florence. Begun in 1767, and [based on birds taken from the collection of Giovanni Gerini], it was completed ten years later. It was larger, better engraved and more vividly coloured than any previous work on birds, but these are not its only claim to fame. The attitudes of the birds themselves give this book its unique character. Strutting, parading, posturing, and occasionally flying....are birds whose real-life counterparts would surely disown them, and not without reason, for Manetti seems in these pictures to be depicting the human comedy, the habits and mannerisms of contemporary Italian society. His book may still be rated among the very greatest bird books, if only for its magnificent comicality" (S. Peter Dance, The Art of Natural History: Animal Illustrators and their Work. London: 1978)
Cf. Dance 70; cf. Fine Bird Books (1990) p.92; cf. Nissen IVB 588; cf. Wood p.450; cf. Zimmer p.241
#17823$600.00
 MANETTI, Saverio (1723-1784), Lorenzo LORENZI & Violante VANNI
Avoltoio Indiano, ò Re degli Avoltoi [XII]
[XII]. [Florence: Giuseppe Vanni, 1776]. Etching, with engraving, coloured by hand, after Lorenzi. Very good condition apart from some marginal soiling and scatttered foxing. Plate mark: 13 1/2 x 10 3/4 inches. Sheet size: 18 1/4 x 13 7/8 inches.
A fine image from "one of the half-dozen or so great bird books" (Fine Bird Books).
This beautiful plate comes from 'Storia naturale degli uccelli', of which Peter Dance writes "The production of its five massive folio volumes must have been one of the most remarkable publishing ventures ever undertaken in Florence. Begun in 1767, and [based on birds taken from the collection of Giovanni Gerini], it was completed ten years later. It was larger, better engraved and more vividly coloured than any previous work on birds, but these are not its only claim to fame. The attitudes of the birds themselves give this book its unique character. Strutting, parading, posturing, and occasionally flying....are birds whose real-life counterparts would surely disown them, and not without reason, for Manetti seems in these pictures to be depicting the human comedy, the habits and mannerisms of contemporary Italian society. His book may still be rated among the very greatest bird books, if only for its magnificent comicality" (S. Peter Dance, The Art of Natural History: Animal Illustrators and their Work. London: 1978)
Cf. Dance 70; cf. Fine Bird Books (1990) p.92; cf. Nissen IVB 588; cf. Wood p.450; cf. Zimmer p.241
#17821$650.00
 MANETTI, Saverio (1723-1784), Lorenzo LORENZI & Violante VANNI
Colombo col ciusso minore do. Colombo Monaco
[Florence: Giuseppe Vanni, 1776]. Etching, with engraving, coloured by hand, after Vanni, Lorenzi or Manetti. Very good condition. Plate mark: 13 1/2 x 10 1/2 inches. Sheet size: 18 1/4 x 14 inches.
A fine image from "one of the half-dozen or so great bird books" (Fine Bird Books).
This beautiful plate comes from 'Storia naturale degli uccelli', of which Peter Dance writes "The production of its five massive folio volumes must have been one of the most remarkable publishing ventures ever undertaken in Florence. Begun in 1767, and [based on birds taken from the collection of Giovanni Gerini], it was completed ten years later. It was larger, better engraved and more vividly coloured than any previous work on birds, but these are not its only claim to fame. The attitudes of the birds themselves give this book its unique character. Strutting, parading, posturing, and occasionally flying....are birds whose real-life counterparts would surely disown them, and not without reason, for Manetti seems in these pictures to be depicting the human comedy, the habits and mannerisms of contemporary Italian society. His book may still be rated among the very greatest bird books, if only for its magnificent comicality" (S. Peter Dance, The Art of Natural History: Animal Illustrators and their Work. London: 1978)
Cf. Dance 70; cf. Fine Bird Books (1990) p.92; cf. Nissen IVB 588; cf. Wood p.450; cf. Zimmer p.241
#17812$650.00
 MANETTI, Saverio (1723-1784), Lorenzo LORENZI & Violante VANNI
Cucule rossiccio macchiato di bianco col ciuffo [LXX]
[LXX]. [Florence: Giuseppe Vanni, 1776]. Etching, with engraving, coloured by hand, after Vanni, Lorenzi or Manetti. Very good condition. Plate mark: 13 3/4 x 10 3/4 inches. Sheet size: 14 3/4 x 11 3/4 inches.
A fine image from "one of the half-dozen or so great bird books" (Fine Bird Books).
This beautiful plate comes from 'Storia naturale degli uccelli', of which Peter Dance writes "The production of its five massive folio volumes must have been one of the most remarkable publishing ventures ever undertaken in Florence. Begun in 1767, and [based on birds taken from the collection of Giovanni Gerini], it was completed ten years later. It was larger, better engraved and more vividly coloured than any previous work on birds, but these are not its only claim to fame. The attitudes of the birds themselves give this book its unique character. Strutting, parading, posturing, and occasionally flying....are birds whose real-life counterparts would surely disown them, and not without reason, for Manetti seems in these pictures to be depicting the human comedy, the habits and mannerisms of contemporary Italian society. His book may still be rated among the very greatest bird books, if only for its magnificent comicality" (S. Peter Dance, The Art of Natural History: Animal Illustrators and their Work. London: 1978)
Cf. Dance 70; cf. Fine Bird Books (1990) p.92; cf. Nissen IVB 588; cf. Wood p.450; cf. Zimmer p.241
#17801$600.00
 MANETTI, Saverio (1723-1784), Lorenzo LORENZI & Violante VANNI
Falco detto comunemente Nibbio con la coda biforcata [XXXIX]
[XXXIX]. [Florence: Giuseppe Vanni, 1776]. Etching, with engraving, coloured by hand, after Vanni, Lorenzi or Manetti. Very good condition. Plate mark: 13 1/2 x 10 3/4 inches. Sheet size: 18 3/8 x 14 inches.
A fine image from "one of the half-dozen or so great bird books" (Fine Bird Books).
This beautiful plate comes from 'Storia naturale degli uccelli', of which Peter Dance writes "The production of its five massive folio volumes must have been one of the most remarkable publishing ventures ever undertaken in Florence. Begun in 1767, and [based on birds taken from the collection of Giovanni Gerini], it was completed ten years later. It was larger, better engraved and more vividly coloured than any previous work on birds, but these are not its only claim to fame. The attitudes of the birds themselves give this book its unique character. Strutting, parading, posturing, and occasionally flying....are birds whose real-life counterparts would surely disown them, and not without reason, for Manetti seems in these pictures to be depicting the human comedy, the habits and mannerisms of contemporary Italian society. His book may still be rated among the very greatest bird books, if only for its magnificent comicality" (S. Peter Dance, The Art of Natural History: Animal Illustrators and their Work. London: 1978)
Cf. Dance 70; cf. Fine Bird Books (1990) p.92; cf. Nissen IVB 588; cf. Wood p.450; cf. Zimmer p.241
#17809$800.00
 MANETTI, Saverio (1723-1784), Lorenzo LORENZI & Violante VANNI
Falco Gheppio di Torre diverso [LII]
[LII]. [Florence: Giuseppe Vanni, 1776]. Etching, with engraving, coloured by hand, after Vanni, Lorenzi or Manetti. Very good condition. Plate mark: 13 5/8 x 10 5/8 inches. Sheet size: 18 1/2 x 14 inches.
A fine image from "one of the half-dozen or so great bird books" (Fine Bird Books).
This beautiful plate comes from 'Storia naturale degli uccelli', of which Peter Dance writes "The production of its five massive folio volumes must have been one of the most remarkable publishing ventures ever undertaken in Florence. Begun in 1767, and [based on birds taken from the collection of Giovanni Gerini], it was completed ten years later. It was larger, better engraved and more vividly coloured than any previous work on birds, but these are not its only claim to fame. The attitudes of the birds themselves give this book its unique character. Strutting, parading, posturing, and occasionally flying....are birds whose real-life counterparts would surely disown them, and not without reason, for Manetti seems in these pictures to be depicting the human comedy, the habits and mannerisms of contemporary Italian society. His book may still be rated among the very greatest bird books, if only for its magnificent comicality" (S. Peter Dance, The Art of Natural History: Animal Illustrators and their Work. London: 1978)
Cf. Dance 70; cf. Fine Bird Books (1990) p.92; cf. Nissen IVB 588; cf. Wood p.450; cf. Zimmer p.241
#17820$650.00
 MANETTI, Saverio (1723-1784), Lorenzo LORENZI & Violante VANNI
Falco volgarm: Barletta ceciata
[Florence: Giuseppe Vanni, 1776]. Etching, with engraving, coloured by hand, after Vanni, Lorenzi or Manetti. Very good condition. Plate mark: 13 1/2 x 10 5/8 inches. Sheet size: 14 1/2 x 11 1/2 inches.
A fine image from "one of the half-dozen or so great bird books" (Fine Bird Books).
This beautiful plate comes from 'Storia naturale degli uccelli', of which Peter Dance writes "The production of its five massive folio volumes must have been one of the most remarkable publishing ventures ever undertaken in Florence. Begun in 1767, and [based on birds taken from the collection of Giovanni Gerini], it was completed ten years later. It was larger, better engraved and more vividly coloured than any previous work on birds, but these are not its only claim to fame. The attitudes of the birds themselves give this book its unique character. Strutting, parading, posturing, and occasionally flying....are birds whose real-life counterparts would surely disown them, and not without reason, for Manetti seems in these pictures to be depicting the human comedy, the habits and mannerisms of contemporary Italian society. His book may still be rated among the very greatest bird books, if only for its magnificent comicality" (S. Peter Dance, The Art of Natural History: Animal Illustrators and their Work. London: 1978)
Cf. Dance 70; cf. Fine Bird Books (1990) p.92; cf. Nissen IVB 588; cf. Wood p.450; cf. Zimmer p.241
#17805$750.00
 MANETTI, Saverio (1723-1784), Lorenzo LORENZI & Violante VANNI
Falco volgarmente Barletta mischia [XLVII]
[XLVII]. [Florence: Giuseppe Vanni, 1776]. Etching, with engraving, coloured by hand, after Vanni, Lorenzi or Manetti. Very good condition. Plate mark: 13 1/2 x 10 3/4 inches. Sheet size: 14 1/2 x 11 1/2 inches.
A fine image from "one of the half-dozen or so great bird books" (Fine Bird Books).
This beautiful plate comes from 'Storia naturale degli uccelli', of which Peter Dance writes "The production of its five massive folio volumes must have been one of the most remarkable publishing ventures ever undertaken in Florence. Begun in 1767, and [based on birds taken from the collection of Giovanni Gerini], it was completed ten years later. It was larger, better engraved and more vividly coloured than any previous work on birds, but these are not its only claim to fame. The attitudes of the birds themselves give this book its unique character. Strutting, parading, posturing, and occasionally flying....are birds whose real-life counterparts would surely disown them, and not without reason, for Manetti seems in these pictures to be depicting the human comedy, the habits and mannerisms of contemporary Italian society. His book may still be rated among the very greatest bird books, if only for its magnificent comicality" (S. Peter Dance, The Art of Natural History: Animal Illustrators and their Work. London: 1978)
Cf. Dance 70; cf. Fine Bird Books (1990) p.92; cf. Nissen IVB 588; cf. Wood p.450; cf. Zimmer p.241
#17803$750.00
 MANETTI, Saverio (1723-1784), Lorenzo LORENZI & Violante VANNI
Mestolone Femmina [DLXXIII]
[DLXXIII]. [Florence: Giuseppe Vanni, 1776]. Etching, with engraving, coloured by hand, after Vanni, Lorenzi or Manetti. Very good condition. Plate mark: 13 3/4 x 10 3/4 inches. Sheet size: 17 1/2 x 14 inches.
A fine image from "one of the half-dozen or so great bird books" (Fine Bird Books).
This beautiful plate comes from 'Storia naturale degli uccelli', of which Peter Dance writes "The production of its five massive folio volumes must have been one of the most remarkable publishing ventures ever undertaken in Florence. Begun in 1767, and [based on birds taken from the collection of Giovanni Gerini], it was completed ten years later. It was larger, better engraved and more vividly coloured than any previous work on birds, but these are not its only claim to fame. The attitudes of the birds themselves give this book its unique character. Strutting, parading, posturing, and occasionally flying....are birds whose real-life counterparts would surely disown them, and not without reason, for Manetti seems in these pictures to be depicting the human comedy, the habits and mannerisms of contemporary Italian society. His book may still be rated among the very greatest bird books, if only for its magnificent comicality" (S. Peter Dance, The Art of Natural History: Animal Illustrators and their Work. London: 1978)
Cf. Dance 70; cf. Fine Bird Books (1990) p.92; cf. Nissen IVB 588; cf. Wood p.450; cf. Zimmer p.241
#17830$650.00
 MANETTI, Saverio (1723-1784), Lorenzo LORENZI & Violante VANNI
Oca di vario colore da: Paglietana [DLIX]
[DLIX]. [Florence: Giuseppe Vanni, 1776]. Etching, with engraving, coloured by hand, after Vanni, Lorenzi or Manetti. Very good condition. Plate mark: 13 1/2 x 10 3/4 inches. Sheet size: 18 1/4 x 14 inches.
A fine image from "one of the half-dozen or so great bird books" (Fine Bird Books).
This beautiful plate comes from 'Storia naturale degli uccelli', of which Peter Dance writes "The production of its five massive folio volumes must have been one of the most remarkable publishing ventures ever undertaken in Florence. Begun in 1767, and [based on birds taken from the collection of Giovanni Gerini], it was completed ten years later. It was larger, better engraved and more vividly coloured than any previous work on birds, but these are not its only claim to fame. The attitudes of the birds themselves give this book its unique character. Strutting, parading, posturing, and occasionally flying....are birds whose real-life counterparts would surely disown them, and not without reason, for Manetti seems in these pictures to be depicting the human comedy, the habits and mannerisms of contemporary Italian society. His book may still be rated among the very greatest bird books, if only for its magnificent comicality" (S. Peter Dance, The Art of Natural History: Animal Illustrators and their Work. London: 1978)
Cf. Dance 70; cf. Fine Bird Books (1990) p.92; cf. Nissen IVB 588; cf. Wood p.450; cf. Zimmer p.241
#17832$700.00
 MANETTI, Saverio (1723-1784), Lorenzo LORENZI & Violante VANNI
Sparviere da Colombi comunemte detto Astore
[Florence: Giuseppe Vanni, 1776]. Etching, with engraving, coloured by hand, after Vanni, Lorenzi or Manetti. Very good condition. Plate mark: 13 1/2 x 11 1/2 inches. Sheet size: 14 1/2 x 12 inches.
A fine image from "one of the half-dozen or so great bird books" (Fine Bird Books).
This beautiful plate comes from 'Storia naturale degli uccelli', of which Peter Dance writes "The production of its five massive folio volumes must have been one of the most remarkable publishing ventures ever undertaken in Florence. Begun in 1767, and [based on birds taken from the collection of Giovanni Gerini], it was completed ten years later. It was larger, better engraved and more vividly coloured than any previous work on birds, but these are not its only claim to fame. The attitudes of the birds themselves give this book its unique character. Strutting, parading, posturing, and occasionally flying....are birds whose real-life counterparts would surely disown them, and not without reason, for Manetti seems in these pictures to be depicting the human comedy, the habits and mannerisms of contemporary Italian society. His book may still be rated among the very greatest bird books, if only for its magnificent comicality" (S. Peter Dance, The Art of Natural History: Animal Illustrators and their Work. London: 1978)
Cf. Dance 70; cf. Fine Bird Books (1990) p.92; cf. Nissen IVB 588; cf. Wood p.450; cf. Zimmer p.241
#17802$600.00
 MANETTI, Saverio (1723-1784), Lorenzo LORENZI & Violante VANNI
Sqarra altrimenti da: Airone cenerinno [CCCCXXI]
[CCCCXXI]. [Florence: Giuseppe Vanni, 1776]. Etching, with engraving, coloured by hand, after Vanni, Lorenzi or Manetti. Very good condition. Plate mark: 13 5/8 x 10 1/2 inches. Sheet size: 18 1/8 x 14 1/8 inches.
A fine image from "one of the half-dozen or so great bird books" (Fine Bird Books).
This beautiful plate comes from 'Storia naturale degli uccelli', of which Peter Dance writes "The production of its five massive folio volumes must have been one of the most remarkable publishing ventures ever undertaken in Florence. Begun in 1767, and [based on birds taken from the collection of Giovanni Gerini], it was completed ten years later. It was larger, better engraved and more vividly coloured than any previous work on birds, but these are not its only claim to fame. The attitudes of the birds themselves give this book its unique character. Strutting, parading, posturing, and occasionally flying....are birds whose real-life counterparts would surely disown them, and not without reason, for Manetti seems in these pictures to be depicting the human comedy, the habits and mannerisms of contemporary Italian society. His book may still be rated among the very greatest bird books, if only for its magnificent comicality" (S. Peter Dance, The Art of Natural History: Animal Illustrators and their Work. London: 1978)
Cf. Dance 70; cf. Fine Bird Books (1990) p.92; cf. Nissen IVB 588; cf. Wood p.450; cf. Zimmer p.241
#17816$750.00
 MARTINET, François-Nicolas (b.1731)
La Perruche [Psittacula krameri, female] [Pl. 550]
[Pl. 550]. [Paris: circa 1770-1783]. Engraving, coloured by hand, by Martinet. Very good condition. Plate mark: 10 x 7 3/4 inches. Sheet size: 12 3/4 x 8 3/8 inches.
A charming print by 'one of France's foremost bird artists of the 18th century' (Christine Jackson), from Comte de Buffon's magisterial 'Histoire naturelle des oiseaux'
Martinet originally trained as an engineer but turned to ornithological painting and engraving. During the period when the Comte de Buffon was in charge of the French royal natural history collection, Martinet held what amounted to a virtual monopoly of ornithological illustration. His birds are remarkably accurate as far as the plummage is concerned, and when drawing them from life, they have a real-life quality that marks them out as portraits of individual birds.
The present beautifully-coloured image was produced to illustrate the Comte de Buffon's magisterial Histoire naturelle des oiseaux (Paris: 1770-1786): the most famous and comprehensive work on the subject to be issued during the 18th century. In 1765 Edmé-Louis Daubenton, at Buffon's instigation, began publication of a suite of plates (eventually totaling 1008) intended as illustrations to Buffon's Histoire naturelle générale et particulière. While all of the engraving for these plates was carried out by Martinet, Buffon issued a special folio edition of the ornithological volumes, Histoire naturelle des oiseaux, in order to accommodate Martinet's beautiful plates. The plates were also issued separately between 1765 and 1783 by the Parisian publisher Panckoucke, without text, under the general title of Les planches enluminées.
Cf. Anker 76; cf. Balis 40; cf. Ellis 411; Christine Jackson Dictionary of Bird Artists of the World p.356; cf. Nissen IVB 158; cf. Ronsil 413.
#8275$500.00
 MARTINET, François-Nicolas (b.1731)
Le Perroquet Criq, de Cayenne [Parrot from Cayenne (French Guiana)] [Pl. 839]
[Pl. 839]. [Paris: circa 1770-1783]. Engraving, coloured by hand, by Martinet. Very good condition. Plate mark: 10 x 8 inches. Sheet size: 11 3/4 x 8 3/8 inches.
A charming print by 'one of France's foremost bird artists of the 18th century' (Christine Jackson), from Comte de Buffon's magisterial 'Histoire naturelle des oiseaux'
Martinet originally trained as an engineer but turned to ornithological painting and engraving. During the period when the Comte de Buffon was in charge of the French royal natural history collection, Martinet held what amounted to a virtual monopoly of ornithological illustration. His birds are remarkably accurate as far as the plummage is concerned, and when drawing them from life, they have a real-life quality that marks them out as portraits of individual birds.
The present beautifully-coloured image was produced to illustrate the Comte de Buffon's magisterial Histoire naturelle des oiseaux (Paris: 1770-1786): the most famous and comprehensive work on the subject to be issued during the 18th century. In 1765 Edmé-Louis Daubenton, at Buffon's instigation, began publication of a suite of plates (eventually totaling 1008) intended as illustrations to Buffon's Histoire naturelle générale et particulière. While all of the engraving for these plates was carried out by Martinet, Buffon issued a special folio edition of the ornithological volumes, Histoire naturelle des oiseaux, in order to accommodate Martinet's beautiful plates. The plates were also issued separately between 1765 and 1783 by the Parisian publisher Panckoucke, without text, under the general title of Les planches enluminées.
Cf. Anker 76; cf. Balis 40; cf. Ellis 411; Christine Jackson Dictionary of Bird Artists of the World p.356; cf. Nissen IVB 158; cf. Ronsil 413.
#8273$500.00
 MARTINET, François-Nicolas (b.1731)
Le Perroquet Meunier, de Cayenne [Parrot from Cayenne (French Guiana)] [Pl. 861]
[Pl. 861]. [Paris: circa 1770-1783]. Engraving, coloured by hand, by Martinet. Very good condition. Plate mark: approximately 9 3/4 x 8 1/8 inches. Sheet size: approximately 12 3/4 x 9 3/8 inches.
A charming print by 'one of France's foremost bird artists of the 18th century' (Christine Jackson), from Comte de Buffon's magisterial 'Histoire naturelle des oiseaux'
Martinet originally trained as an engineer but turned to ornithological painting and engraving. During the period when the Comte de Buffon was in charge of the French royal natural history collection, Martinet held what amounted to a virtual monopoly of ornithological illustration. His birds are remarkably accurate as far as the plummage is concerned, and when drawing them from life, they have a real-life quality that marks them out as portraits of individual birds.
The present beautifully-coloured image was produced to illustrate the Comte de Buffon's magisterial Histoire naturelle des oiseaux (Paris: 1770-1786): the most famous and comprehensive work on the subject to be issued during the 18th century. In 1765 Edmé-Louis Daubenton, at Buffon's instigation, began publication of a suite of plates (eventually totaling 1008) intended as illustrations to Buffon's Histoire naturelle générale et particulière. While all of the engraving for these plates was carried out by Martinet, Buffon issued a special folio edition of the ornithological volumes, Histoire naturelle des oiseaux, in order to accommodate Martinet's beautiful plates. The plates were also issued separately between 1765 and 1783 by the Parisian publisher Panckoucke, without text, under the general title of Les planches enluminées.
Cf. Anker 76; cf. Balis 40; cf. Ellis 411; Christine Jackson Dictionary of Bird Artists of the World p.356; cf. Nissen IVB 158; cf. Ronsil 413.
#8266$500.00
 MARTINET, François-Nicolas (b.1731)
Lory des Indes Orientales [Lory from the East Indies] [Pl. 84]
[Pl. 84]. [Paris: circa 1770-1783]. Engraving, coloured by hand, by Martinet. Very good condition. Plate mark: 10 1/8 x 8 1/4 inches. Sheet size: 17 3/4 x 12 1/8 inches.
A charming print by 'one of France's foremost bird artists of the 18th century' (Christine Jackson), from Comte de Buffon's magisterial 'Histoire naturelle des oiseaux'
Martinet originally trained as an engineer but turned to ornithological painting and engraving. During the period when the Comte de Buffon was in charge of the French royal natural history collection, Martinet held what amounted to a virtual monopoly of ornithological illustration. His birds are remarkably accurate as far as the plummage is concerned, and when drawing them from life, they have a real-life quality that marks them out as portraits of individual birds.
The present beautifully-coloured image was produced to illustrate the Comte de Buffon's magisterial Histoire naturelle des oiseaux (Paris: 1770-1786): the most famous and comprehensive work on the subject to be issued during the 18th century. In 1765 Edmé-Louis Daubenton, at Buffon's instigation, began publication of a suite of plates (eventually totaling 1008) intended as illustrations to Buffon's Histoire naturelle générale et particulière. While all of the engraving for these plates was carried out by Martinet, Buffon issued a special folio edition of the ornithological volumes, Histoire naturelle des oiseaux, in order to accommodate Martinet's beautiful plates. The plates were also issued separately between 1765 and 1783 by the Parisian publisher Panckoucke, without text, under the general title of Les planches enluminées.
Cf. Anker 76; cf. Balis 40; cf. Ellis 411; Christine Jackson Dictionary of Bird Artists of the World p.356; cf. Nissen IVB 158; cf. Ronsil 413.
#8292$600.00
 MARTINET, François-Nicolas (b.1731)
Lory, des Moluques [Lory from the Moluques Islands (Indonesia)] [Pl. 216]
[Pl. 216]. [Paris: circa 1770-1783]. Engraving, coloured by hand, by Martinet. Very good condition apart from a small brown spot in the right margin. Plate mark: 10 x 8 1/8 inches. Sheet size: 17 3/4 x 12 1/8 inches.
A charming print by 'one of France's foremost bird artists of the 18th century' (Christine Jackson), from Comte de Buffon's magisterial 'Histoire naturelle des oiseaux'
Martinet originally trained as an engineer but turned to ornithological painting and engraving. During the period when the Comte de Buffon was in charge of the French royal natural history collection, Martinet held what amounted to a virtual monopoly of ornithological illustration. His birds are remarkably accurate as far as the plummage is concerned, and when drawing them from life, they have a real-life quality that marks them out as portraits of individual birds.
The present beautifully-coloured image was produced to illustrate the Comte de Buffon's magisterial Histoire naturelle des oiseaux (Paris: 1770-1786): the most famous and comprehensive work on the subject to be issued during the 18th century. In 1765 Edmé-Louis Daubenton, at Buffon's instigation, began publication of a suite of plates (eventually totaling 1008) intended as illustrations to Buffon's Histoire naturelle générale et particulière. While all of the engraving for these plates was carried out by Martinet, Buffon issued a special folio edition of the ornithological volumes, Histoire naturelle des oiseaux, in order to accommodate Martinet's beautiful plates. The plates were also issued separately between 1765 and 1783 by the Parisian publisher Panckoucke, without text, under the general title of Les planches enluminées.
Cf. Anker 76; cf. Balis 40; cf. Ellis 411; Christine Jackson Dictionary of Bird Artists of the World p.356; cf. Nissen IVB 158; cf. Ronsil 413.
#8294$600.00
 MARTINET, François-Nicolas (b.1731)
Perroquet verd et rouge, de Cayenne [Green and Red Parrot from Cayenne (French Guiana)] [Pl. 312]
[Pl. 312]. [Paris: circa 1770-1783]. Engraving, coloured by hand, by Martinet. Very good condition apart from some overall light soiling and a small brown spot in the image. Plate mark: 10 1/4 x 8 1/4 inches. Sheet size: 12 5/8 x 9 3/8 inches.
A charming print by 'one of France's foremost bird artists of the 18th century' (Christine Jackson), from Comte de Buffon's magisterial 'Histoire naturelle des oiseaux'
Martinet originally trained as an engineer but turned to ornithological painting and engraving. During the period when the Comte de Buffon was in charge of the French royal natural history collection, Martinet held what amounted to a virtual monopoly of ornithological illustration. His birds are remarkably accurate as far as the plummage is concerned, and when drawing them from life, they have a real-life quality that marks them out as portraits of individual birds.
The present beautifully-coloured image was produced to illustrate the Comte de Buffon's magisterial Histoire naturelle des oiseaux (Paris: 1770-1786): the most famous and comprehensive work on the subject to be issued during the 18th century. In 1765 Edmé-Louis Daubenton, at Buffon's instigation, began publication of a suite of plates (eventually totaling 1008) intended as illustrations to Buffon's Histoire naturelle générale et particulière. While all of the engraving for these plates was carried out by Martinet, Buffon issued a special folio edition of the ornithological volumes, Histoire naturelle des oiseaux, in order to accommodate Martinet's beautiful plates. The plates were also issued separately between 1765 and 1783 by the Parisian publisher Panckoucke, without text, under the general title of Les planches enluminées.
Cf. Anker 76; cf. Balis 40; cf. Ellis 411; Christine Jackson Dictionary of Bird Artists of the World p.356; cf. Nissen IVB 158; cf. Ronsil 413.
#8283$500.00
 MARTINET, François-Nicolas (b.1731)
Perroquet, d'Amboine [Parrot from Amboina] [Pl. 862]
[Pl. 862]. [Paris: circa 1770-1783]. Engraving, coloured by hand, by Martinet. Very good condition. Plate mark: approximately 10 x 8 3/8 inches. Sheet size: approximately 12 3/4 x 9 3/8 inches.
A charming print by 'one of France's foremost bird artists of the 18th century' (Christine Jackson), from Comte de Buffon's magisterial 'Histoire naturelle des oiseaux'
Martinet originally trained as an engineer but turned to ornithological painting and engraving. During the period when the Comte de Buffon was in charge of the French royal natural history collection, Martinet held what amounted to a virtual monopoly of ornithological illustration. His birds are remarkably accurate as far as the plummage is concerned, and when drawing them from life, they have a real-life quality that marks them out as portraits of individual birds.
The present beautifully-coloured image was produced to illustrate the Comte de Buffon's magisterial Histoire naturelle des oiseaux (Paris: 1770-1786): the most famous and comprehensive work on the subject to be issued during the 18th century. In 1765 Edmé-Louis Daubenton, at Buffon's instigation, began publication of a suite of plates (eventually totaling 1008) intended as illustrations to Buffon's Histoire naturelle générale et particulière. While all of the engraving for these plates was carried out by Martinet, Buffon issued a special folio edition of the ornithological volumes, Histoire naturelle des oiseaux, in order to accommodate Martinet's beautiful plates. The plates were also issued separately between 1765 and 1783 by the Parisian publisher Panckoucke, without text, under the general title of Les planches enluminées.
Cf. Anker 76; cf. Balis 40; cf. Ellis 411; Christine Jackson Dictionary of Bird Artists of the World p.356; cf. Nissen IVB 158; cf. Ronsil 413.
#8232$500.00
 MARTINET, François-Nicolas (b.1731)
Perruche à gorge tachetée, de Cayenne [Parakeet with Speckled Throat, from Cayenne (French Guiana)] [Pl. 144]
[Pl. 144]. [Paris: circa 1770-1783]. Engraving, coloured by hand, by Martinet. Very good condition. Plate mark: 10 1/8 x 8 3/8 inches. Sheet size: 17 3/4 x 12 1/8 inches.
A charming print by 'one of France's foremost bird artists of the 18th century' (Christine Jackson), from Comte de Buffon's magisterial 'Histoire naturelle des oiseaux'
Martinet originally trained as an engineer but turned to ornithological painting and engraving. During the period when the Comte de Buffon was in charge of the French royal natural history collection, Martinet held what amounted to a virtual monopoly of ornithological illustration. His birds are remarkably accurate as far as the plummage is concerned, and when drawing them from life, they have a real-life quality that marks them out as portraits of individual birds.
The present beautifully-coloured image was produced to illustrate the Comte de Buffon's magisterial Histoire naturelle des oiseaux (Paris: 1770-1786): the most famous and comprehensive work on the subject to be issued during the 18th century. In 1765 Edmé-Louis Daubenton, at Buffon's instigation, began publication of a suite of plates (eventually totaling 1008) intended as illustrations to Buffon's Histoire naturelle générale et particulière. While all of the engraving for these plates was carried out by Martinet, Buffon issued a special folio edition of the ornithological volumes, Histoire naturelle des oiseaux, in order to accommodate Martinet's beautiful plates. The plates were also issued separately between 1765 and 1783 by the Parisian publisher Panckoucke, without text, under the general title of Les planches enluminées.
Cf. Anker 76; cf. Balis 40; cf. Ellis 411; Christine Jackson Dictionary of Bird Artists of the World p.356; cf. Nissen IVB 158; cf. Ronsil 413.
#8297$600.00
 MARTINET, François-Nicolas (b.1731)
Perruche à tête rouge, de Gingi [Parakeet with a Red Head] [Pl. 264]
[Pl. 264]. [Paris: circa 1770-1783]. Engraving, coloured by hand, by Martinet. Very good condition. Plate mark: 10 x 8 1/8 inches. Sheet size: 12 3/4 x 8 1/4 inches.
A charming print by 'one of France's foremost bird artists of the 18th century' (Christine Jackson), from Comte de Buffon's magisterial 'Histoire naturelle des oiseaux'
Martinet originally trained as an engineer but turned to ornithological painting and engraving. During the period when the Comte de Buffon was in charge of the French royal natural history collection, Martinet held what amounted to a virtual monopoly of ornithological illustration. His birds are remarkably accurate as far as the plummage is concerned, and when drawing them from life, they have a real-life quality that marks them out as portraits of individual birds.
The present beautifully-coloured image was produced to illustrate the Comte de Buffon's magisterial Histoire naturelle des oiseaux (Paris: 1770-1786): the most famous and comprehensive work on the subject to be issued during the 18th century. In 1765 Edmé-Louis Daubenton, at Buffon's instigation, began publication of a suite of plates (eventually totaling 1008) intended as illustrations to Buffon's Histoire naturelle générale et particulière. While all of the engraving for these plates was carried out by Martinet, Buffon issued a special folio edition of the ornithological volumes, Histoire naturelle des oiseaux, in order to accommodate Martinet's beautiful plates. The plates were also issued separately between 1765 and 1783 by the Parisian publisher Panckoucke, without text, under the general title of Les planches enluminées.
Cf. Anker 76; cf. Balis 40; cf. Ellis 411; Christine Jackson Dictionary of Bird Artists of the World p.356; cf. Nissen IVB 158; cf. Ronsil 413.
#8280$500.00
 MARTINET, François-Nicolas (b.1731)
Perruche variée, des Indes Orientales [Parakeet from the East Indies] [Pl. 552]
[Pl. 552]. [Paris: circa 1770-1783]. Engraving, coloured by hand, by Martinet. Very good condition apart from some overall light soiling. Plate mark: 10 1/8 x 8 3/8 inches. Sheet size: 12 5/8 x 9 1/4 inches.
A charming print by 'one of France's foremost bird artists of the 18th century' (Christine Jackson), from Comte de Buffon's magisterial 'Histoire naturelle des oiseaux'
Martinet originally trained as an engineer but turned to ornithological painting and engraving. During the period when the Comte de Buffon was in charge of the French royal natural history collection, Martinet held what amounted to a virtual monopoly of ornithological illustration. His birds are remarkably accurate as far as the plummage is concerned, and when drawing them from life, they have a real-life quality that marks them out as portraits of individual birds.
The present beautifully-coloured image was produced to illustrate the Comte de Buffon's magisterial Histoire naturelle des oiseaux (Paris: 1770-1786): the most famous and comprehensive work on the subject to be issued during the 18th century. In 1765 Edmé-Louis Daubenton, at Buffon's instigation, began publication of a suite of plates (eventually totaling 1008) intended as illustrations to Buffon's Histoire naturelle générale et particulière. While all of the engraving for these plates was carried out by Martinet, Buffon issued a special folio edition of the ornithological volumes, Histoire naturelle des oiseaux, in order to accommodate Martinet's beautiful plates. The plates were also issued separately between 1765 and 1783 by the Parisian publisher Panckoucke, without text, under the general title of Les planches enluminées.
Cf. Anker 76; cf. Balis 40; cf. Ellis 411; Christine Jackson Dictionary of Bird Artists of the World p.356; cf. Nissen IVB 158; cf. Ronsil 413.
#8288$500.00
 MARTINET, François-Nicolas (b.1731)
Perruche, de Gingi [Parakeet] [Pl. 239]
[Pl. 239]. [Paris: circa 1770-1783]. Engraving, coloured by hand, by Martinet. Very good condition. Plate mark: 10 x 8 3/8 inches. Sheet size: 12 3/4 x 9 1/4 inches.
A charming print by 'one of France's foremost bird artists of the 18th century' (Christine Jackson), from Comte de Buffon's magisterial 'Histoire naturelle des oiseaux'
Martinet originally trained as an engineer but turned to ornithological painting and engraving. During the period when the Comte de Buffon was in charge of the French royal natural history collection, Martinet held what amounted to a virtual monopoly of ornithological illustration. His birds are remarkably accurate as far as the plummage is concerned, and when drawing them from life, they have a real-life quality that marks them out as portraits of individual birds.
The present beautifully-coloured image was produced to illustrate the Comte de Buffon's magisterial Histoire naturelle des oiseaux (Paris: 1770-1786): the most famous and comprehensive work on the subject to be issued during the 18th century. In 1765 Edmé-Louis Daubenton, at Buffon's instigation, began publication of a suite of plates (eventually totaling 1008) intended as illustrations to Buffon's Histoire naturelle générale et particulière. While all of the engraving for these plates was carried out by Martinet, Buffon issued a special folio edition of the ornithological volumes, Histoire naturelle des oiseaux, in order to accommodate Martinet's beautiful plates. The plates were also issued separately between 1765 and 1783 by the Parisian publisher Panckoucke, without text, under the general title of Les planches enluminées.
Cf. Anker 76; cf. Balis 40; cf. Ellis 411; Christine Jackson Dictionary of Bird Artists of the World p.356; cf. Nissen IVB 158; cf. Ronsil 413.
#8281$500.00
 MARTINET, François-Nicolas (b.1731)
Perruche, des Indes Orientales [Parakeet from the East Indies] [Pl. 143]
[Pl. 143]. [Paris: circa 1770-1783]. Engraving, coloured by hand, by Martinet. Very good condition. Plate mark: 10 1/8 x 8 1/4 inches. Sheet size: 17 3/4 x 12 1/4 inches.
A charming print by 'one of France's foremost bird artists of the 18th century' (Christine Jackson), from Comte de Buffon's magisterial 'Histoire naturelle des oiseaux'
Martinet originally trained as an engineer but turned to ornithological painting and engraving. During the period when the Comte de Buffon was in charge of the French royal natural history collection, Martinet held what amounted to a virtual monopoly of ornithological illustration. His birds are remarkably accurate as far as the plummage is concerned, and when drawing them from life, they have a real-life quality that marks them out as portraits of individual birds.
The present beautifully-coloured image was produced to illustrate the Comte de Buffon's magisterial Histoire naturelle des oiseaux (Paris: 1770-1786): the most famous and comprehensive work on the subject to be issued during the 18th century. In 1765 Edmé-Louis Daubenton, at Buffon's instigation, began publication of a suite of plates (eventually totaling 1008) intended as illustrations to Buffon's Histoire naturelle générale et particulière. While all of the engraving for these plates was carried out by Martinet, Buffon issued a special folio edition of the ornithological volumes, Histoire naturelle des oiseaux, in order to accommodate Martinet's beautiful plates. The plates were also issued separately between 1765 and 1783 by the Parisian publisher Panckoucke, without text, under the general title of Les planches enluminées.
Cf. Anker 76; cf. Balis 40; cf. Ellis 411; Christine Jackson Dictionary of Bird Artists of the World p.356; cf. Nissen IVB 158; cf. Ronsil 413.
#8290$600.00
 MARTINET, François-Nicolas (b.1731)
Petite Perruche Mâle, de Guinée [Agapornis pullarius] [Pl. 60]
[Pl. 60]. [Paris: circa 1770-1783]. Engraving, coloured by hand, by Martinet. Very good condition. Plate mark: 10 x 8 1/8 inches. Sheet size: 17 3/4 x 12 inches.
A charming print by 'one of France's foremost bird artists of the 18th century' (Christine Jackson), from Comte de Buffon's magisterial 'Histoire naturelle des oiseaux'
Martinet originally trained as an engineer but turned to ornithological painting and engraving. During the period when the Comte de Buffon was in charge of the French royal natural history collection, Martinet held what amounted to a virtual monopoly of ornithological illustration. His birds are remarkably accurate as far as the plummage is concerned, and when drawing them from life, they have a real-life quality that marks them out as portraits of individual birds.
The present beautifully-coloured image was produced to illustrate the Comte de Buffon's magisterial Histoire naturelle des oiseaux (Paris: 1770-1786): the most famous and comprehensive work on the subject to be issued during the 18th century. In 1765 Edmé-Louis Daubenton, at Buffon's instigation, began publication of a suite of plates (eventually totaling 1008) intended as illustrations to Buffon's Histoire naturelle générale et particulière. While all of the engraving for these plates was carried out by Martinet, Buffon issued a special folio edition of the ornithological volumes, Histoire naturelle des oiseaux, in order to accommodate Martinet's beautiful plates. The plates were also issued separately between 1765 and 1783 by the Parisian publisher Panckoucke, without text, under the general title of Les planches enluminées.
Cf. Anker 76; cf. Balis 40; cf. Ellis 411; Christine Jackson Dictionary of Bird Artists of the World p.356; cf. Nissen IVB 158; cf. Ronsil 413.
#8282$600.00
 MARTINI, Friedrich Heinrich Wilhelm (1729-1778), & Johann Hieronymus CHEMNITZ (1730-1800)
Neues systematisches Conchylien-Cabinet.
Nüremberg: Gabriel Nickolaus Raspe and Bauer & Raspe, 1769-1829. 12 volumes, quarto (11 1/8 x 8 7/8 inches). 2 hand-coloured engraved additional titles, 2 uncoloured engraved portraits (1 of Martini by Daniel Berger; 1 of Raspe by J.G. Klinger) 432 fine hand-coloured engraved plates (on 431 sheets), heightened with varnish (1 folding), by C.B. Glassbach, J. Nüsbiegel, von Bischoff, J.S. Leitner and G. Vogel and others after A.F. Happe, Krüger, J.P. Degén and others, 94 engraved vignette headpieces or illustrations (21 hand-coloured [1 of these mounted], 17 in vol.I printed in red). Uniform contemporary German calf gilt (vols.I-XI, with vol.XII bound to match), covers with gilt dot-and-oval border, small gilt star at the centre of each cover, the flat spines divided into six compartments by roll tools, red morocco lettering-piece in the second compartment, black morocco in the fifth, the others with simple repeat decoration in gilt, marbled endpapers. Provenance: J.M. de Reck (early armorial bookplate).
Complete set of the first edition of this beautifully-illustrated iconography of the shell, including examples from many of the greatest collections and expeditions, including Captain James Cook's Pacific voyages: here including the very rare final volume
The present set is complete, including the final very rare 12th volume published by G.H. Schubert & J.A. Wagner in 1829 (with the two final plates, 236 and 237, on a single leaf as published). Only ten volumes were planned, indeed, the title of vol. X reads 'zehnter and letzter Band.' The index 'Vollständiges alphabetisches Namen-Register über alle zehn Bände', by Johann Samuel Schröter, is here bound at the end of vol. XI. The plate count is complicated and Nissen ( the only standard bibliography to attempt a plate total) is incorrect: The plates are numbered in two sequences: the first runs from 1-193 (using roman numerals), and the second from 1-143, 144A, 144-194, 195A, 195B, 196-235, with plates numbered 236 and 237 on one printing plate, printed on a single leaf. This gives a total of 431. Nissen, incorrectly calling for a plate '195' as well as '195A' and '195B', gives the required total as 432.
As usual with this work, the text is intermittently browned, but the plates are almost uniformly clean and bright, the majority of them heightened with clear varnish. This technique is ideally suited to the depiction of many shells, the reflective surface of the varnish mimicking the effect of light on mother of pearl.
Friederich Wilhelm Martini, a Berlin doctor, conceived the idea of publishing the first large-scale iconography of shells intended to describe and illustrate (in colour) every known shell. He completed the first three volumes before his death in 1778. The work was continued by Johann Hieronymus Chemnitz, pastor to the garrison in Copenhagen, and like Martini a member of the 'Gesellschaft naturforschender Freunde.' Between 1779 and 1795, he added a further eight volumes.
The examples so beautifully pictured here come from the 'wunderkammer,' or 'cabinets of wonders.' belonging to Kings, the nobility and wealthy merchants. The collections included those of Lorenz Spengler, cabinet maker of the King of Denmark; the museum of the King Frederic V of Denmark (an avid shell collector); the museum of Count A.G. Molke, who had some of the finest shells in Europe, including many that had previously been in the famous Seba collection. Other donors included J.F. Bolten; J.S. Schröter; Madame de Blandeville; Abraham Gevers (of Rotterdam, who had one of the finest collections in the Netherlands); Empress Maria Theresa, of Austria (Baron Ignatius von Born memorably described her collection in his Testacea musei Caesarei Vindobonensis, published in Vienna in 1780). Other examples were drawn from the very extensive collections of Martini, in the first 3 volumes, and of Chemnitz in the other volumes.
BM(NH) III,p.1252; Brunet III, 1502; Dance Shells 190; Nissen ZBI 2722 (incorrect plate count)
#18193$55,000.00
 MERIAN, Maria Sibylla (1647-1717)
Histoire générale des insectes de Surinam et de toute l'Europe... Troisième édition revue, corrigée et considérablement augmentée par M. Buch'oz... à laquelle on a joint une troisième partie qui traite des plus belles fleurs.
Paris: Chez L.C. Desnos, 1771. 1 volume ('...Tome Premier, Des Plantes de Surinam'), folio (19 9/16 x 13 inches). Engraved hand-coloured additional allegorical title dated 1768, 72 hand-coloured engraved plates [1 folding] by J. Mulder, P. Sluyter and A. Stopendaal, all after Merian, each with the French names of the plants depicted added to image area. Bound to style in 18th-century diced russia gilt, covers with triple fillet border with floral spray cornerpiece, spine in seven compartments with raised bands, red morocco lettering-piece in the second, the others with repeat decoration in gilt made up from various small tools.
A fine hand-coloured copy of the complete series of 'Surinam' plates by Merian : beautiful images of the plants and insects of Surinam, and one of the most famous natural history works of the 18th century.
Merian was the daughter of the well-known Swiss engraver/publisher Matthaeus Merian. Her mother was Dutch, and after Matthaeus' early death she married the flower painter Jacob Marrell. Tradition has it that it was one of his pupils, Johann Graff of Nuremberg, who first taught Maria to paint, and certainly they later married. Two of Maria's primary interests were botany and entomology and the present work reflected that interest. The impetus to produce the present plates came when, having left Graff, she was shown a collection of tropical insects from Surinam. This inspired her, and, together with her daughter Dorothea, she embarked on a remarkably enterprising journey. They arrived in South America in late summer 1699 and stayed until June 1701 studying and recording the plants and insects.The results of their labours being the magnificent Metamorphosis insectorum Surinamensium, with 60 plates, was published in 1705. Later editions, including the present issue (...Tome Premier. Des Plantes de Surinam), were extended to include an additional 12 plates by Maria's eldest daughter Johanna. Peter Dance writes of the work, that it was 'easily the most magnificent work on insects so far produced... [combining] science and art in equal proportions... Her portrayals of living insects and other animals were imbued with a charm, a minuteness of observation and artistic sensibility that had not previously been seen in a natural history book' (The Art of Natural History [1978)).
The printing plates for the present work were apparently bought by Desnos at the auction in Paris of the collection of 'Un Curieux de Paris.' This is possibly a reference to a member of the Huquier family. 'Huquier fils' of Paris published a reissue of the plates of the Metamorphosis... (without text) in about 1745 under the title Recueil de plantes des Indes (Hunt 524). The history of the plates between 1730 and 1745 is not known with any certainty, but Desnos notes that the previous owner of the plates had secured them in Amsterdam many years earlier.
cf. Blunt (1994) pp.142-145; cf. Dunthorne 205; cf. Great Flower Books (1990) p.119; cf. Hunt 467 and 524; cf. Nissen BBI 1341.
#17745$125,000.00
 POPE, Alexander, Jr. (1849-1924) [and Ernest INGERSOLL (1852-1946)]
Upland Game Birds and Water Fowl of the United States
New York: Scribners, [1877-] 1878. 10 original parts in one volume, large folio (22 3/16 x 28 1/4 inches). 20 chromolithographic plates, some finished by hand and heightened with gum arabic, after Pope by Armstrong & Co., all mounted on card (expert repairs to plates and text). Unbound as issued within ten original pictorial cloth-backed paper wrappers (the wrappers with expert repairs), all contained within a single original half morocco portfolio which converts into a display easel, the upper cover blocked in gilt, light brown velvet pastedowns (ties lacking, skillful repairs to corners), contained within a modern blue morocco-backed box, spine gilt, by K. Gaebel & Sons, Holland, Pa.
First edition in the original parts of this scarce series of large-format plates, of equal interest to ornithologists and sportsmen - here housed within a very rare portfolio/easel, as issued by the publishers. Although only Pope's name appears on the title-page, the text is by Ingersoll.
Alexander Pope Jr. was a renowned American sporting artist who specialized in animal and still life paintings. Born in Dorchester, Massachusetts in 1849, he studied sculpture with the prominent artist William Copley and was self-taught as a painter. Although primarily lauded as a painter, he continued producing sculptures well into the 1880s and later became a member of the famed art association, the Copley Society of Boston.
Ernest Ingersoll was ideally qualified to write the text for the present work: he grew up 'ranging the fields and marshes in search of natural-history objects', he was educated at Oberlin college and the Harvard museum of comparative zoology, and studied under Louis Agassiz. After the death of Agassiz, Ingersoll served as naturalist and collector on Ferdinand V. Hayden's famous geological survey expedition of 1874, and he made a second trip to the west in 1877. His publications included a number of other ornithological works including A Natural History of the Nests and Eggs of American Birds (Salem, 1879) and Birds' Nesting (1881).
Fine Bird Books 101; Gee 80; Nissen, IVB 737; Phillips p. 298; Wood 522; Zimmer 494
#17300$22,500.00
 RABEL, Daniel (?1578-1637)
Histoire générale des insectes de Surinam et de toute l'Europe... Troisième édition revue, corrigée et considérablement augmentée par M. Buch'oz... à laquelle on a joint une troisième partie qui traite des plus belles fleurs
Paris: Chez L.C. Desnos, 1771. 1 volume ('...Tome Troisième, Des Plantes bulbeuse, Liliacées, Caryophyllées'). Folio (19 9/16 x 13 inches). 69 hand-coloured engraved plates of flowers after Rabel. Bound to style in 18th-century diced russia gilt, covers with triple fillet border with floral spray cornerpiece, spine in seven compartments with raised bands, red morocco lettering-piece in the second, the others with repeat decoration in gilt made up from various small tools.
A fine hand-coloured copy of the complete series of Rabel's plates to his 'Theatrum florae' : a fourth edition of one of the finest of the early 17th-century botanical works.
The rarest of Desnos's extraordinary publications, the present work is an unacknowledged fourth edition of Daniel Rabel's Theatrum florae. It includes all 69 of the plates that are present in the first three editions (published without text in Paris in 1622, 1627 and 1633 respectively). The plate captions found in the earlier editions have been burnished out, but reappear almost word for word in the text. The additional text is, in part if not all, by Bu'choz. The plants depicted include all the most decorative flowers available to 17th-century gardeners and is truly '...une tres-jolie collection... qui ont ete dessinees & gravees d'apres nature' (see preface to vol.I). The fact that Rabel's name is omitted is not surprising since it is not included in any of the earlier editions, and it is only in the last 60 years that the work has been re-attributed to him. Rabel enjoyed a considerable reputation during his lifetime. Rightfully, he has now been rescued from obscurity, indeed, Blunt considered Rabel to be one of the two greatest French botanical artists of the 17th century, noting that his work, along with that of his successor Nicolas Robert, was 'consummate in its perfection' (The Art of Botanical Illustration p.114).
There is no mention of this later edition, but for references to the 17th-century editions, see: Blunt (1994) p.115; BM(NH) V,p.2088; Cleveland Collections 176 and 187; Hunt Printmaking in the Service of Botany 14; Nissen BBI 1575; L. Tongiorgi Tomasi An Oak Spring Flora 15; Pritzel 10855.
#17344$70,000.00
 REDOUTÉ, Pierre-Joseph (1759-1840) & Claude-Antoine THORY (1759-1827)
Les Roses, peintes par... Redouté...décrites et classes selon leur ordre naturel, par...Thory. Troisième edition, publiée sous la direction de M. Pirolle
Paris: Crapelet for P. Dufart and J.F. Hauer & Cie. of St. Petersburg, 1835. 3 volumes, octavo (9 1/2 x 6 1/2 inches). Half-titles. 2 lithographic portraits of Redouté and Thory by C.Motte after Mauraisse, hand-coloured engraved floral wreath by Manceau after Redouté, 183 stipple-engraved plates printed in colours and finished by hand by Chardin, Langlois, Lemaire and others after Redouté (including 3 plates illustrating the anatomy of the rose). Contemporary French blue half morocco gilt, the flat spine in five compartments delineated by horizontal rules, titled in the second, numbered in the fourth, green silk page-markers, marbled endpapers.
A very fine set of Redouté's best known work. The "most complete edition" (Madol) to be published during his lifetime, this is a re-issue of the second octavo edition, with the addition of St. Petersburg to the imprint, and containing the 23 additional plates, the portraits and the frontispiece floral wreath, the biographical note on Thory and additional text.
Pierre-Joseph Redouté, the most successful flower painter of all time, together with Claude-Antoine Thory, an ardent botanist and collector of roses, have together in Les Roses produced a work not only of great artistic merit, but also an invaluable scientific record. "Redouté and Thory knew, described and figured almost all the important roses known in their day. Included were many of the key ancestors of our present-day roses. The plates in Les Roses have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared" (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat.
The success of the folio edition prompted the issue of a second (first octavo) edition in 40 parts between 1824 and 1826 with 160 plates and an expanded text. New information and new varieties led to the issue of a third edition (second octavo) edition, published in 30 parts between 1828 and 1829. The popularity of the first issue of this edition warranted the publication of the present second issue (with reset and reprinted title pages). In both issues the text was expanded yet again to contain not only more information about the culture of the rose but also by the addition of a biography of Thory by D.Beaumont, the inclusion of Thory's Traité du Rosier and the descriptive text to the 23 additional plates. In addition a floral wreath plate was added as a frontispiece to volume I and the portraits of Redouté and Thory were included for the first time. The plates are masterpieces in miniature of the engraver's art and lose none of the impact of their larger precursors in the process of reducing them from the folio to octavo format. Redouté as presiding genius is plainly discernable.
Dunthorne 233; Lawalrée 39; Madol 42; Macphail Redoutéana 22; cf. Nissen BBI 1599; Stafleu & Cowan TL2 8751; Stock Rose Books 2371.
#3877$28,000.00
 REICHENOW, Anton (1847-1941) - After Gustav MÜTZEL (1839-1893)
Parrots of the world [Pl. 13]
[Pl. 13]. Kassel: Theodor Fischer, [1878-1883]. Lithograph, printed in colours, finished by hand, printed by Thomas Fischer. Very good condition apart from some overall light soiling. Sheet size: 15 3/8 x 10 3/4 inches.
A very fine image from Reichenow's 'Vogelbilder aus fernen Zonen': an excellent survey of the Parrots of the world.
A small masterpiece of composition, with multiple images beautifully balanced. The grouping is made logically by family, and Gustav Mützel (1839-1893) has with great skill depicted each subject in a characteristic pose, whilst still managing to both convey as much information about the bird as possible, and achieve the difficult task of making the whole composition as naturalistic and harmonious as possible.
Cf.BM (NH) IV, p.1670; cf.Nissen IVB 767; cf.Ripley/Yale p.238; cf.Wood p.532; cf.Zimmer p.514
#9170$270.00
 REICHENOW, Anton (1847-1941) - After Gustav MÜTZEL (1839-1893)
Parrots of the world [Pl. 31]
[Pl. 31]. Kassel: Theodor Fischer, [1878-1883]. Lithograph, printed in colours, finished by hand, printed by Thomas Fischer. Very good condition apart from some overall light soiling. Sheet size: 15 3/8 x 10 7/8 inches.
A very fine image from Reichenow's 'Vogelbilder aus fernen Zonen': an excellent survey of the Parrots of the world.
A small masterpiece of composition, with multiple images beautifully balanced. The grouping is made logically by family and the region in which the birds are found, and Gustav Mützel (1839-1893) has with great skill depicted each subject in a characteristic pose, whilst still managing to both convey as much information about the bird as possible, and achieve the difficult task of making the whole composition as naturalistic and harmonious as possible.
Cf.BM (NH) IV, p.1670; cf.Nissen IVB 767; cf.Ripley/Yale p.238; cf.Wood p.532; cf.Zimmer p.514
#9613$270.00
 REICHENOW, Anton (1847-1941) - After Gustav MÜTZEL (1839-1893)
Parrots of the world [Pl. 21]
[Pl. 21]. Kassel: Theodor Fischer, [1878-1883]. Lithograph, printed in colours, finished by hand, printed by Thomas Fischer. Very good condition apart from some overall light soiling. Sheet size: 15 3/8 x 10 3/4 inches.
A very fine image from Reichenow's 'Vogelbilder aus fernen Zonen': an excellent survey of the Parrots of the world.
A small masterpiece of composition, with multiple images beautifully balanced. The grouping is made logically by the region in which the birds are found, and Gustav Mützel (1839-1893) has with great skill depicted each subject in a characteristic pose, whilst still managing to both convey as much information about the bird as possible, and achieve the difficult task of making the whole composition as naturalistic and harmonious as possible.
Cf.BM (NH) IV, p.1670; cf.Nissen IVB 767; cf.Ripley/Yale p.238; cf.Wood p.532; cf.Zimmer p.514
#9618$270.00
 REICHENOW, Anton (1847-1941) - After Gustav MÜTZEL (1839-1893)
Parrots of the world [Pl. 20]
[Pl. 20]. Kassel: Theodor Fischer, [1878-1883]. Lithograph, printed in colours, finished by hand, printed by Thomas Fischer. Very good condition apart from some overall light soiling. Sheet size: 15 3/8 x 10 3/4 inches.
A very fine image from Reichenow's 'Vogelbilder aus fernen Zonen': an excellent survey of the Parrots of the world.
A small masterpiece of composition, with multiple images beautifully balanced. The grouping is made logically by family and the region in which the birds are found, and Gustav Mützel (1839-1893) has with great skill depicted each subject in a characteristic pose, whilst still managing to both convey as much information about the bird as possible, and achieve the difficult task of making the whole composition as naturalistic and harmonious as possible.
Cf.BM (NH) IV, p.1670; cf.Nissen IVB 767; cf.Ripley/Yale p.238; cf.Wood p.532; cf.Zimmer p.514
#9620$270.00
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