 
|
 |
|
|
|
693 results found
Results Page:
(total 14 pages)
 KNIGHT, Thomas Andrew (1759-1838)
Pomona Herefordiensis: containing coloured engravings of the old cider and perry fruits of Herefordshire. With such new fruits as have been found to posess superior excellence, accompanied with a descriptive account of each variety
London: W. Bulmer and Co. for the Agricultural Society of Herefordshire, sold by W. Hooker, White and Cochrane, and J. Harding, 1811. Quarto (11 3/4 x 9 1/4 inches). 30 hand-coloured aquatint plates engraved and coloured by William Hooker, 27 after Elisabeth Matthews and 3 after Frances Knight, printed in black or green, heightened with gum arabic. 19th-century blue calf gilt, covers with borders of gilt foliate rolls between blind rope rolls, titled in gilt on the upper cover, the flat spine divided into six compartments by a wide gilt roll tool, flanked by rope rolls in blind, brown morocco lettering-piece in the second compartment, turn-ins tooled in blind, marbled endpapers, morocco lettering piece, 20th-century marbled paper-covered slipcase.
First edition, first issue of Knight's justly celebrated pomona. The excellent plates 'are extremely good, being prepared by that great fruit-painter William Hooker' (Bunyard).
This work is undoubtedly Thomas Andrew Knight's masterpiece: it was originally issued in ten parts between 1808 and 1811 by the Agricultural Society of Herefordshire (of which Knight was a founder member), and was re-issued in 1820; the first issue was printed by Bulmer and bears his name on the title as here, it should also have pre-publication dates to the watermarks (in the present example the text is dated 1807 to 1810 and the plates 1808 to 1811). The second issue was printed by D. Cartwright and his name is on the verso of the title. In addition to the descriptions and illustrations of the varieties of fruits, the work is notable for its preface, which outlines the principles of cider making.
The author 'was the younger brother of Richard Payne Knight, the promoter of the picturesque style of landscape gardening, but his interests were rather more practical. From his days at Oxford his work in the natural sciences led to experiments in breeding both animals and plants, while his friendship with Sir Joseph Banks introduced him to others concerned with similar subjects. He became a fellow of the Linnaean Society in 1807 and of the Royal Society in 1805, and he was President of the Horticultural Society from 1811 until his death [in 1838]' (Oak Spring Pomona). Knight was a believer in the (erroneous) theory that continuous grafting produced a 'decay' in the quality of established varieties of fruit, and he saw the present work as a valuable record of both the old 'decaying' varieties and also a chance to promote the new varieties that the careful growing of fruit from seed produced by hybridisation and careful selection, instead of the traditional methods of grafting.
The fine colour plates by Hooker, one of the most highly regarded pomological engravers, 'show scabby fruit, larvae-ravaged foliage, and Wooly Aphid-clad twigs to a degree not previously dared in an expensive plate work' (Janson p.298). A prominent 19th-century English botanist as well as artist and engraver, William Hooker (no relation to Sir William) served as official botanical artist to the Horticultural Society (now the Royal Horticultural Society) from 1812 until he retired in 1820. Blunt and Stearn summed up the general assessment of his work, when they wrote of him as 'one of the greatest pomological artists of all time.' (The Art of Botanical Illustration, 1990, p. 233).
Arnold Arboretum p.392; BM(NH) II, p.997; Cleveland Collections 756 (later issue); Bunyard Pomology p.432; Dunthorne 168; Great Flower Books p.108; Janson Pomona's Harvest p.373 (later issue); Nissen BBI 1072; Oak Spring Pomona 80; Pritzel 4746; Stafleu & Cowan TL2 3761 (calling for an index leaf: this is probably incorrect and is not mentioned by any of the other references cited).
#18593 $9,500.00  
 KNORR, Georg Wolfgang (1705-1761)
Delices Physiques Choisies, ou choix de tout ce que les trois regnes de la nature renferment de plus digne des recherches d'un amateur curieux, pour en former un cabinet choisi de curiositez naturelles .…. avec les descriptions et remarques de Philippe Louis Stace Müller
Nuremberg: [1751-]1767. 2 volumes, folio (19 3/4 x 14 1/2 inches). Titles in French and Latin, text in French and German. First volume with additional engraved title-page by R. Muys in German dated 1754 with hand-coloured vignette, 91 fine hand-coloured engraved plates (one folding) after Knorr, J.F. & B.R. Dietzsch, C. Leinberger, C.N. Kleemann, J. C. Keller, J.L. Colve and N.F. Eisenberger by Knorr, A. Hoffer, C. S. Leitner, J.S. Leitner, S. Leitner jun, J.A. Eisenmann, J.F. Schmidt and P. Küffner. Contemporary mottled calf, spines gilt in seven compartments with black morocco lettering-pieces, gilt turn-ins, marbled endpapers, gilt edges, small expert repairs to spines, each of the volumes within a modern cloth box, green morocco lettering-piece to 'spine' of each box.
A fine set of the first edition of a superbly-illustrated selection from some of the best known natural history cabinets of the time - one of the greatest Nuremberg natural history books.
Knorr was one of the leading proto-geologists of the eighteenth century as well as an excellent engraver, painter and art dealer. Born in Nuremberg, he was initially apprenticed to his father's trade of wood turning, but at the age of eighteen became an engraver of copper-plates for Leonhard Blanc, working with Martin Tyroff on the illustrations for Jacob Scheuchzer's Physica Sacra (1731). This work and his acquaintance with J.A. Beurer, a mineralogist-correspondent of the Royal Society, quickened Knorr's interest in natural history. Further stimulus was provided by the wealthy doctor and polymath Christoph Jakob Trew, owner of a menagerie as well as a wide-ranging natural history collection. Trew gathered around him a highly talented group of artists, engravers and scientists, all of whom contributed to making Nuremberg a centre for the publication of top quality large format natural history books.
In this stimulating intellectual atmosphere Knorr went on to publish a number of lavish folio volumes, but the present work is his masterpiece, and is also one of the greatest fruits of this flowering of talent in Nuremberg. It acted as a showcase both for the talented artists working in the city (most of whom were patronised by Trew), but also for objects from Trew's collection, as well as other examples from Beurer, P.L.S. Muller and D. Schadeloock. It also includes one plate acknowledged as containing items from Knorr's own collection. The plates are grouped under 11 loose headings: coral (15); shells (7); insects (6); sea urchins (4); mineral samples (6); crustaceans and spiders (7); starfish (4); fish (and a sea-lion) (9); birds (7); mammals (14); reptiles (12). They are all beautifully designed and executed, and include some of the finest natural history plates ever produced.
Cf. BM (NH) II, p.998; cf. Landwehr 97 (Dutch edition); Nissen ZBI 2227 & cf. 2229
#17278$48,000.00
 LEAR, Edward (1812-1888)
Black Kite. Milvus ater
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition apart from some 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-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.
#13558$2,950.00
 LEAR, Edward (1812-1888)
Booted Eagle. Aquila pennata
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition. 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.
#13560$1,950.00
 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)
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)
Imperial Eagle. Aquila Imperialis
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by E. Lear, printed by C. Hullmandel. Very good condition. 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.
#13563$1,950.00
 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 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
 LINDLEY, John (1799-1865)
Sertum Orchidaceum: A wreath of the most beautiful Orchidaceous flowers
London: James Ridgway & Sons, [1837-]1838[-1841]. Folio (21 5/16 x 14 1/8 inches). Hand-coloured lithographic additional title by M. Gauci after S.A. Drake printed by P. Gauci, 49 fine hand-coloured lithographic plates by Maxime Gauci (48) and 1 unsigned, after Sarah Anne Drake (38), J. Theodore Descourtilz (3), Robert H. Schomburgh (3), William Griffith (I), Schouten (1), Miss M.A. Mearns (1) and 2 unsigned, printed by P. Gauci (34) and 5 unsigned, 1 uncolored lithographic illustration. Contemporary green morocco gilt by Clyde, covers with wide decorative border built up from fillets and various neo-classical rolls, including two Greek-key rolls, expertly rebacked to style with the spine in six compartments with double raised bands, lettered in the second compartment, the others with elaborate repeat decoration, gilt turn-ins, yellow/cream glazed endpapers. Provenance: Sir Joseph Dalton Hooker (1817-1911, presentation inscription to:); Dr. Patterson (inscribed 'To Dr. Patterson / Bridge of Allan / from his grateful friend / Jos. D. Hooker / Rl. Gardens Kew / May 31/78'); Dr. Francis Gray Smart, M.B., F.S.A., F.L.S., F.R.G.S. (1844-1913, armorial bookplate).
An important presentation copy from the director of Kew Gardens of this spectacular large-scale work illustrating some of the most beautiful orchids known, selected by perhaps the greatest early Orchidologist, drawn by Sarah Anne Drake, and lithographed by Maxime Gauci.
Although John Lindley is now known as a botanist of wide accomplishments, the study of orchids had been an area of special interest to him from early in his career when employed by the orchid specialist William Cattley. The present monograph is dedicated to another of Lindley's patrons, the Duke of Devonshire, and Lindley includes Joseph Paxton's notes on the growing of orchids at Chatsworth.
This work is one of very few large-scale works dedicated to orchids: a format which allows the beauty of this extraordinary family of flowers to be fully explored. The plates in the present work were lithographed by Maxime Gauci ('an outstanding lithographer' [Blunt]) from the drawings of Sarah Anne Drake (1803-1857). Miss Drake is to Lindley what W.H. Fitch was to the Hookers. Born in Norfolk, she appears to have been a lifelong friend of the Lindleys and from about 1830 until 1847 lived in their house in Turnham Green. Under the supervision of John Lindley, she developed into an outstanding botanical artist who worked on many of Lindley's publications, but was particularly renowned for her portrayal of orchids. The images in the present work represent what is undoubtedly some of her greatest work.
According to Lindley, 46 of the 49 plates are of species that had never before been illustrated. The geographical range of the plants shown is enormous, with examples from Nepal, Burma, India, Sri Lanka, the East Indies, Java, China, the Philippines, Mexico, Surinam, British Guyana, Demerara, Peru, Cuba, Vera Cruz, Brazil and Madeira.
This copy is doubly interesting because of its provenance: it was presented to Dr. Paterson by Sir Joseph Dalton Hooker, colleague of Lindley, explorer, plant hunter, friend and confidant of Darwin and long-time director of Kew Gardens. It was later owned by the doctor and photographer Francis Gray Smart, a Fellow of the Linnaean Society of London.
BM(NH) I, p.1120; Great Flower Books (1990) p.114; Nissen BBI 1205; Stafleu & Cowan TL2 4651; Pritzel 5360; W. Stearn & others John Lindley (1999) 140 (incorrect collation); Reinikka History of the Orchid, pp. 153-159.
#16186$37,500.00
 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$13,500.00
 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$50.00
 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 n | | | |
