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613 results found
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(total 13 pages)
 TRAVIÈS, Edouard (1809-1865)
Greater Bird-of-paradise (Paradisaea apoda) 21./ L'oiseau de Paradis. (Buffon) 9/8 de la Grandeur naturelle/ Paradisea Apoda (Linnee)/ Nouvelle Guinee
Paris & London: E. Savary et Ce. and Gambart Junin et C, [circa 1857]. Lithograph, coloured by hand, by Traviès, printed by Lemercier of Paris. Sheet size: 21 1/8 x 14 5/8 inches.
A fine lithograph by one of the greatest ornithological artists of the 19th century, from his finest work 'Les Oiseaux Les Plus Remarquables.'
The Great Bird of Paradise is the largest most spectacular member of a family of 40 species grouped under the name Paradiseidae. It is native to the Aru Islands a group of about 95 islands in eastern Indonesia, south west of New Guinea. The first published image of this species appeared in 1750 in George Edwards' Natural History of Birds (see vol.III, plate 110). Daniel Elliot, in his A Monograph of the Paradiseidae (1873) writes `For many years the Birds of Paradise have been known to all persons whose avocations called them to the Moluccas; and the earlier voyagers among those islands entertained strange views regarding these attractive creatures. Their beautiful plummage excited the admiration of the most indifferent person; and the strange tales related of them aroused the fears of the more superstitious of even the reckless mariners'.
Edouard Traviès was the first artist to successfully capture the character of individual birds. This together with the wealth of detail in the backgrounds, give great charm to his images and lift them above mere ornithological illustration, into the realm of fine ornithological art.
Traviès was born in Doullens in the Somme district of France in March 1809, the younger brother of the caricaturist Charles Joseph Traviès de Villier (1804-1859). Throughout his career he concentrated on natural history subjects, both in watercolour (he exhibited regularly at the Paris Salon between 1831 and 1866) and lithography, as here. Unlike a number of his contemporaries, he was an artist both with the brush and on stone, and the present lithograph is his own work. It comes from what is undoubtedly his greatest published work: 'Les Oiseaux Les Plus Remarquables par leurs formes et leurs coleurs. Scenes variees de leurs moeurs & de leur habitudes...' published simultaneously in Paris and London circa 1857.
#3768 $1,500.00  
 TRAVIÈS, Edouard (1809-1865)
House Martin (Delichon urbica) `32./ L'Hirondelle au croupion blanc, ou l'Hirondelle de fenêtre.(Buffon.). Grandeur naturelle/ Hirundo Urbica. (Linnée)/ Europe'
Paris & London: Berrieux and Gambert, Junin & Co, [circa 1857]. Lithograph, coloured by hand, by Traviès, printed by Lemercier of Paris. Sheet size: 21 1/8 x 14 5/8 inches.
A fine lithograph by one of the greatest ornithological artists of the 19th century, from his finest work 'Les Oiseaux Les Plus Remarquables.'
Along with the Swallow and Swift, the House Martins are harbingers of summer. Here the birds, having made the incredible journey from southern Africa, are shown in amongst the urban roofs of a French town or city. In the foreground, an individual skims the top of a Horse Chestnut in its search for insects, behind securely attached to the eaves a young bird looks out from a mud nest to be fed by its parent. The feeling of heat, the strong summer light and the evocative wheeling cry of these accomplished fliers are all suggested in this gentle scene.
Edouard Traviès was the first artist to successfully capture the character of individual birds. This together with the wealth of detail in the backgrounds, give great charm to his images and lift them above mere ornithological illustration, into the realm of fine ornithological art.
Traviès was born in Doullens in the Somme district of France in March 1809, the younger brother of the caricaturist Charles Joseph Traviès de Villier (1804-1859). Throughout his career he concentrated on natural history subjects, both in watercolour (he exhibited regularly at the Paris Salon between 1831 and 1866) and lithography, as here. Unlike a number of his contemporaries, he was an artist both with the brush and on stone, and the present lithograph is his own work. It comes from what is undoubtedly his greatest published work: 'Les Oiseaux Les Plus Remarquables par leurs formes et leurs coleurs. Scenes variees de leurs moeurs & de leur habitudes...' published simultaneously in Paris and London circa 1857.
#3566$900.00
 TRAVIÈS, Edouard (1809-1865)
[Rose-ringed parakeet] 41./ La Perruche à collier rose. (Buffon) Grandeur naturelle./ Psittacus torquatus (Brisson.)/ Afrique
Paris & London: Berrieux and E. Gambart & Co, [circa 1857]. Lithograph, coloured by hand, by Traviès, printed by Lemercier of Paris. Sheet size: 21 1/4 x 14 1/8 inches.
A fine lithograph by one of the greatest ornithological artists of the 19th century, from his finest work 'Les Oiseaux Les Plus Remarquables.'
A fine portrait of this parrakeet in characteristic pose, one leg grips the stalk of the banana leaf, with the other it starts to eat a small banana. Butterflies enliven the scene with exotic palms visible in the background.
Edouard Traviès was the first artist to successfully capture the character of individual birds. This together with the wealth of detail in the backgrounds, give great charm to his images and lift them above mere ornithological illustration, into the realm of fine ornithological art.
Traviès was born in Doullens in the Somme district of France in March 1809, the younger brother of the caricaturist Charles Joseph Traviès de Villier (1804-1859). Throughout his career he concentrated on natural history subjects, both in watercolour (he exhibited regularly at the Paris Salon between 1831 and 1866) and lithography, as here. Unlike a number of his contemporaries, he was an artist both with the brush and on stone, and the present lithograph is his own work. It comes from what is undoubtedly his greatest published work: 'Les Oiseaux Les Plus Remarquables par leurs formes et leurs coleurs. Scenes variees de leurs moeurs & de leur habitudes...' published simultaneously in Paris and London circa 1857.
#3769$1,500.00
 TRAVIÈS, Edouard (1809-1865)
[Yellow-crowned Amazon] `20. / Le Perroquet à tète jaune. (Buffon)/ Psittacus ochrocephalus (Gmelin) / Ameriquel'
Paris & London: Ledot and Gambart, Junin & Co., [circa 1857]. Lithograph, coloured by hand, by Traviès, printed by Becquet of Paris. Sheet size: 16 5/8 x 22 3/8 inches.
A fine lithograph by one of the greatest ornithological artists of the 19th century, from his finest work 'Les Oiseaux Les Plus Remarquables.'
A bird portrait showing this central and south American parrot landing in the stem of an umbrella palm. The bird looks back towards the viewer with a wary eye and lets out a cry. Because of the wide colour variation the species is difficult to establish with certainty, but this appears to be a Yellow-headed Amazon (Amazona ochrocephala oratrix). Its Latin name given in recognition of its amazing gift of mimicry.
Edouard Traviès was the first artist to successfully capture the character of individual birds. This together with the wealth of detail in the backgrounds, give great charm to his images and lift them above mere ornithological illustration, into the realm of fine ornithological art.
Traviès was born in Doullens in the Somme district of France in March 1809, the younger brother of the caricaturist Charles Joseph Traviès de Villier (1804-1859). Throughout his career he concentrated on natural history subjects, both in watercolour (he exhibited regularly at the Paris Salon between 1831 and 1866) and lithography, as here. Unlike a number of his contemporaries, he was an artist both with the brush and on stone, and the present lithograph is his own work. It comes from what is undoubtedly his greatest published work: 'Les Oiseaux Les Plus Remarquables par leurs formes et leurs coleurs. Scenes variees de leurs moeurs & de leur habitudes...' published simultaneously in Paris and London circa 1857.
#3575$1,250.00
 TREW, Christoph Jakob (1695-1769)
Plantae selectae quarum imagines ... pinxit Georgius Dionysius Ehret
Nuremberg, 1750-1773. 10 parts in one volume, folio (20 x 13 1/2 inches). Ten engraved titles, the first heightened in gold, the rest heightened in gold and red, 3 mezzotint portraits of Trew, G.D. Ehret, and J.J. Haid, 100 fine hand-coloured engraved plates after Georg Dionysius Ehret by Johann Jakob Haid, each with the first word of the caption highlighted in gold. Extra-illustrated with 20 hand-coloured engraved plates by J. Elias Haid (being the "Supplementum," numbered 101-120), each carefully mounted to size. Contemporary German speckled calf gilt, covers with double-fillet gilt border, spine in eight compartments with raised bands, light brown morocco lettering-piece in the second, the others with repeat overall decoration of a centrally-placed flower-spray tool within a starburst, surrounded by various small tools and cornerpieces of stylized foliage, edges stained green, expert repairs to corners, joints and head and foot of spine.
A very fine copy of one of the greatest eighteenth-century botanical books, with the very rare complete complement of 120 exquisite plates (including 100 after paintings by Georg Dionysius Ehret, and the 20 plates from the supplement). Also included is the rare preliminary leaf with a list of the plants which Ehret had painted for Trew's collection.
Georg Dionysius Ehret, the greatest botanical artist of the 18th century, was unrivalled in his ability to "achieve realism, majesty, ineffable colour, all in one breathtaking look" (Hunt). He was born in Heidelberg in 1710, and originally worked as a gardener, practising drawing in his spare time. His artistic abilities led him into the service of a Regensburg banker named Leskenkohl who had commissioned him to copy plates from van Rheede tot Draakestein's Hortus indicus malabaricus (1678-1693). It was during this period that Ehret met Trew.
"Trew was a Nuremberg physician, anatomist, and botanist who at various times served as dean of the medical school at Nuremberg, as an Imperial Counselor, and as personal physician to the Emperor. He was made a Pfalzgraf and served as a patron of botanical (and anatomical) illustrators, filling roughly the same position in Germany as that occupied by Sir Hans Sloane in England" (Cleveland Collections p.397). Trew was to remain a friend and patron of Ehret throughout his life, and by 1742 the germ of what was to become the present publication was already under discussion when Trew wrote to Christian Thran in Carlsruhe "Every year I receive some beautifully painted exotic plants [by Ehret] and have already more than one hundred of them, which with other pieces executed by local artists, should later on ... constitute an appendicem to Weinmann's publication."
Ehret moved to London in the late 1730s, where he painted the recently introduced exotics at the Chelsea Physic Garden and established himself as a teacher of flower-painting and botany. Discussions about the projected work continued by letter until in 1748 when Johann Jacob Haid of Augsburg agreed to produce the engravings from Ehret's drawings. The first part was published in 1750, with six subsequent parts appearing before Trew's death 1769. The text to the final three parts remained unwritten and the plates to parts IX and X were still to be produced. The work was bought to a conclusion by Benedict Christian Vogel, Professor of Botany at the University of Altdorf. This copy does not include the engraved general title, or the portrait of Vogel but this "is normal when the decuria [or part] titles are present" (Johnston Cleveland Collections p.397).
It does, however, include what appears to be a rare preliminary text leaf not called for by either Hunt or Stafleu & Cowan, but possibly listed by Johnston. The two columns of text in German and Latin on the recto are headed Avertissement. The German text ends with Haid's name and the date June 1750. The conclusion of the Latin text is on the verso, again in two columns, and takes up about a third of the page. The remainder of the page is taken up by a list in Latin, in three columns, headed "Index plantarum, quarum imagines pinxit D. Ehretus / suntque Norimbergae in Museo D.D. Trew" and followed by a list of 240 individual plants.
Only one other copy with 120 plates is recorded as having sold at auction in the past 30 years: the de Belder copy, which included the 20 extra plates, and the supplement title and text. This copy with the very rare extra suite of plates, but without corresponding supplemental text.
Gerta Calmann Georg Ehret, Flower painter extraordinary (1977) p.97; Dunthorne 309; Hunt II, 539; Great Flower Books (1990), p.144; Johnston Cleveland Collections 429; Nissen BBI 1197; Pritzel 9499; Stafleu & Cowan TL2 15.131.
#15347$150,000.00
 TREW, Christoph Jakob (1695-1769)
Uitgezochte Planten, beschreven door... Trew... iut het latyn vertalt door Cornelius Pereboom
Amsterdam: Jan Christian Sepp, [1769]-1771-[1774]. Folio (20 2/3 x 14 2/5 inches). 3 mezzotint portraits of Trew, G.D. Ehret and J.J. Haid, 100 hand-coloured engraved plates by Johann Jacob Haid and Johann Elias Haid after Georg Dionysius Ehret, each with the first word of the caption heightened in gold. Contemporary Dutch mottled calf gilt, covers with central panel surrounded by gilt roll-tool border of stylized foliage. Modern tan cloth box, tan morocco lettering piece.
An excellent copy of the first Dutch edition of Trew's celebrated Plantae Selectae - one of the greatest eighteenth century botanical books, with 100 plates after paintings by Georg Dionysius Ehret. Of the work, Linnaeus would write to Trew: "The miracles of our century in the natural sciences are your work of Ehret's plants, Edwards' work of birds and Roesel's of insects, nothing to equal them was seen in the past or will be in the future."
Christoph Trew, a physician and amateur botanist, had for a number of years been an admirer of Ehret's work. Ehret, a brilliant botanical artist, was unrivalled in his ability to "achieve realism, majesty, ineffable colour, all in one breathtaking look" (Hunt). He was born in Heidelberg in 1710 and originally worked as a gardener, practicing drawing in his spare time. His artistic abilities led him to the service of a Regensburg banker named Leskenkohl who had commissioned him to copy plates in van Rheede tot Draakestein's Hortus indicus malabaricus (1678-1693); it was during this period that Trew met Ehret.
Trew was to remain a friend and patron of Ehret throughout his life, and by 1742 the germ of what was to become the present publication was already under discussion when Trew wrote to Christian Thran in Carlsruhe, "Every year I receive some beautifully painted exotic plants [by Ehret] and have already more than one hundred of them, which with other pieces executed by local artists, should later on… constitute an appendicem to Weinmann's publication."
Meanwhile, Ehret had moved to London in the late 1730s, where he painted the recently introduced exotics at the Chelsea Physic Garden and established himself as a teacher of flower-painting and botany. Discussions about the projected work continued by letter until in 1748; Johann Jacob Haid from Augsburg agreed to produce the engravings from Ehret's drawings. The first part was published in 1750, with the six subsequent parts appearing before Trew's death 1769. With the help of Benedict Christian Vogel, Professor of Botany at the University of Altdorf, the work was completed in 1773.
The present edition was begun at about the time of Trew's death. Employing the same plates as had been used in the first edition, the Dutch publisher Jan Christian Sepp, who specialized in the publication of deluxe natural history books and had them very carefully coloured (the higher quality of the hand-colouring of this edition is self-evident - and arranged for Pereboom to translate the text.
Cf. Hunt 539; Nissen BBI 1998; Stafleu & Cowan TL2 15.131.
#5788$120,000.00
 WARNER, Robert (1814-1896) and Benjamin WILLIAMS (1824-1890)
Select Orchidaceous Plants [First Series]. By Robert Warner ... The notes on culture by Benjamin S. Williams
London: John Edward Taylor for Lovell Reeve & Co., 1862-1865. Folio (17 5/8 x 12 1/2 inches. 40 hand-coloured lithographed plates by and after W.H. Fitch (31) or James Andrews (9), printed by Vincent Brooks (37) or W.West (3). Contemporary dark green half morocco over purple cloth-covered boards, covers with the edges of the leather decorated with gilt fillets and roll tools, the cloth on the upper cover lettered in gilt 'Orchids', spine gilt in six compartments with raised bands, the bands emphasized with a decorative roll tool, lettered in gilt 'Orchids' in the second compartment, the others with elaborate overall repeat pattern built up from small tools, stylized foliage cornerpieces and a large central flower-spray tool, cream glazed endpapers, gilt edges. Provenance: Mrs. Darby (gift inscription on front blank, dated 1866).
First edition of the first series of Warner and Williams' beautifully-illustrated large-format work on orchid species
A very fine copy of the important complete first series of one of the most beautiful of all orchid books, largely illustrated by Walter Hood Fitch (1817-1892): 'the most outstanding botanical artist of his day in Europe' (Blunt & Stearn The Art of Botanical Illustration [1994] p.265). Sir William Hooker, his first patron, said of the artist "I don't think Fitch could make a mistake in his perspective and outline, not even if he tried." His work on orchids amply demonstrates this and shows 'his incredible ability in dealing with complex botanical structures' (Blunt & Stearn op. cit. p.264).
Warner and Williams realized that the huge explosion in varieties of orchids reaching the temperate regions meant that a process of selection was required to bring to the attention of the amateur enthusiast the 'new and beautiful varieties of the more ornamental of the species already known ... [as well as ] new ones which outvie the most lovely of those of the olden time'. With this in mind, as well as the fact that a large scale folio work was necessary to show the genus in all its glory, they set about publishing a work that was 'designed to present to the lovers of orchids with portraits of ... the most beautiful ... among the cultivated forms of this remarkable race of plants.' (Introduction). The experiment was a success, as they evidently launched the enterprise just as the burgeoning wider interest in orchids took hold. Originally planned as a single volume the work eventually expanded to three, with the final volume being completed in 1891.
BM (NH) V,p.2266; cf. Great Flower Books (1990) p.149; cf. J.Lewis Walter Hood Fitch p.32; cf. Nissen BBI 2108.
#18116$7,200.00
 WOLF, Joseph (1820-1899)
Argusianus Grayii [Argus]
New York: Published for the Author, Daniel Giraud Elliot, [1870]-1872. Hand-coloured lithograph after Joseph Wolf by J.G. Keulemans, printed by P.W.M. Trap. Very good condition. Image size (including text): 16 1/4 x 22 3/4 inches. Sheet size: 18 x 23 3/8 inches.
A beautiful image from the most splendid of Elliot's great monographs, 'A Monograph of the Phasianidae or Family of the Pheasants'.
The magnificent size and beautiful colouring of the plates after Joseph Wolf's charcoal drawings reflect the importance which Elliot attached to the Phasianidae. Of all the families in the ornithological system, he regarded it as the one most vital to the human race, "containing within it the species that afford food for thousands of mankind, and also those which are the original source of all the domestic poultry met with throughout the civilized world."
Cf. Anker 130; Fine Birds Books (1990), p. 95; Nissen IVB 295; Wood p. 331; Zimmer p. 206
#8680$3,500.00
 WOLF, Joseph (1820-1899)
Crossoptilon Thibetanum [Hodgson's Eared Pheasant]
New York: Publsihed for the Author, Daniel Giraud Elliot, [1870]-1872. Hand-coloured lithograph after Joseph Wolf by J. Smit, printed by P.W.M. Trap. Very good condition. Image size (including text): 15 1/4 x 20 1/4 inches. Sheet size: 18 x 23 3/8 inches.
A beautiful image from the most splendid of Elliot's great monographs, 'A Monograph of the Phasianidae or Family of the Pheasants'.
The magnificent size and beautiful colouring of the plates after Joseph Wolf's charcoal drawings reflect the importance which Elliot attached to the Phasianidae. Of all the families in the ornithological system, he regarded it as the one most vital to the human race, "containing within it the species that afford food for thousands of mankind, and also those which are the original source of all the domestic poultry met with throughout the civilized world."
Cf. Anker 130; Fine Birds Books (1990), p. 95; Nissen IVB 295; Wood p. 331; Zimmer p. 206
#8681$4,000.00
 WOLF, Joseph (1820-1899)
Euplocamus Nobilis [Noble Pheasant]
New York: Publsihed for the Author, Daniel Giraud Elliot, [1870]-1872. Hand-coloured lithograph after Joseph Wolf by J. Smit, printed by M. & N. Hanhart. Very good condition. Image size (including text): 15 1/4 x 20 7/8 inches. Sheet size: 18 x 23 1/4 inches.
A beautiful image from the most splendid of Elliot's great monographs, 'A Monograph of the Phasianidae or Family of the Pheasants'.
The magnificent size and beautiful colouring of the plates after Joseph Wolf's charcoal drawings reflect the importance which Elliot attached to the Phasianidae. Of all the families in the ornithological system, he regarded it as the one most vital to the human race, "containing within it the species that afford food for thousands of mankind, and also those which are the original source of all the domestic poultry met with throughout the civilized world."
Cf. Anker 130; Fine Birds Books (1990), p. 95; Nissen IVB 295; Wood p. 331; Zimmer p. 206
#8678$4,000.00
 WOLF, Joseph (1820-1899)
Gallus Sonneratii [Grey Junglefowl]
New York: Published for the Author, Daniel Giraud Elliot, [1870]-1872. Hand-coloured lithograph after Joseph Wolf by J. Smit and J.G. Keulmans, printed by P.W.M. Trap. Very good condition. Image size (including text): 15 3/4 x 20 1/2 inches. Sheet size: 18 x 23 1/4 inches.
A beautiful image from the most splendid of Elliot's great monographs, 'A Monograph of the Phasianidae or Family of the Pheasants'.
The magnificent size and beautiful colouring of the plates after Joseph Wolf's charcoal drawings reflect the importance which Elliot attached to the Phasianidae. Of all the families in the ornithological system, he regarded it as the one most vital to the human race, "containing within it the species that afford food for thousands of mankind, and also those which are the original source of all the domestic poultry met with throughout the civilized world."
Cf. Anker 130; Fine Birds Books (1990), p. 95; Nissen IVB 295; Wood p. 331; Zimmer p. 206
#8676$4,000.00
 WOLF, Joseph (1820-1899)
Phasianus Colchicus [Common or Ringneck Pheasant]
New York: Published for the Author, Daniel Giraud Elliot, [1870]-1872. Hand-coloured lithograph after Joseph Wolf by J. Smit, printed by M. & N. Hanhart. Excellent condition. Image size (including text): 15 1/4 x 20 1/2 inches. Sheet size: 17 7/8 x 23 1/4 inches.
A beautiful image from the most splendid of Elliot's great monographs, 'A Monograph of the Phasianidae or Family of the Pheasants'.
The magnificent size and beautiful colouring of the plates after Joseph Wolf's charcoal drawings reflect the importance which Elliot attached to the Phasianidae. Of all the families in the ornithological system, he regarded it as the one most vital to the human race, "containing within it the species that afford food for thousands of mankind, and also those which are the original source of all the domestic poultry met with throughout the civilized world."
Cf. Anker 130; Fine Birds Books (1990), p. 95; Nissen IVB 295; Wood p. 331; Zimmer p. 206
#8172$5,000.00
 WOLF, Joseph (1820-1899)
Polyplectron Germaini [Germain's Peacock Pheasant]
New York: Published for the Author, Daniel Giraud Elliot, [1870]-1872. Hand-coloured lithograph after Joseph Wolf by J. Smit, printed by P.W.M. Trap. Very good condition. Image size (including text): 15 1/4 x 20 7/8 inches. Sheet size: 18 x 23 1/4 inches.
A beautiful image from the most splendid of Elliot's great monographs, 'A Monograph of the Phasianidae or Family of the Pheasants'.
The magnificent size and beautiful colouring of the plates after Joseph Wolf's charcoal drawings reflect the importance which Elliot attached to the Phasianidae. Of all the families in the ornithological system, he regarded it as the one most vital to the human race, "containing within it the species that afford food for thousands of mankind, and also those which are the original source of all the domestic poultry met with throughout the civilized world."
Cf. Anker 130; Fine Birds Books (1990), p. 95; Nissen IVB 295; Wood p. 331; Zimmer p. 206
#8679$4,000.00
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