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Stamboul. Moeurs et Costumes
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Stamboul. Moeurs et Costumes

By PREZIOSI, Amadeo (1816-1882)

Paris: Canson, 1883. Folio. (24 1/4 x 18 1/2 inches). Mounted on guards throughout. Letterpress title printed in red and black, letterpress introduction leaf and letterpress list of plates. Tinted lithographic frontispiece printed by Lemercier of Paris, 28 chromolithographic plates, trimmed to the edge of the image and mounted on thick paper with imprints, as issued, all by Lemercier of Paris after Preziosi. Bound to style in full period brown morocco, covers elaborately bordered in gilt, spine gilt with raised bands, marbled endpapers, gilt edges Lively lithographs by one of the best known of the artists living and working in Istanbul in the mid-19th century: one of 500 numbered copies. The son of Count Gio Francois Preziosi of Malta, Amadeo initially studied the law before turning to painting. After studying under Giuseppe Hyzler, Perziosi subsequently completed his art education at the Paris Academy of Fine Arts. He moved to Constantinople in 1842, fell in love with the city, and was able to make a living painting the places and people that surrounded him. It is noted in the Atabey catalogue that "Preziosi was well-known .... His studio is mentioned in Murray's guidebooks for 1854 and 1871. By that time he had become an institution in the city... He produced views of the city, and genre and costume drawings" ( The Ottoman World p.535). His paintings sold well to both the affluent local and the Grand Tourist, and his reputation was such that also served as a court painter to Sultan Abdul Hamid II. With his published work, Preziosi was offered the opportunity to share his love of his adopted home city with a wider public: he here offers a catalogue of daily life in the city; an aide-memoire and a momento. The work offers a real cross-section of humanity, ranging from a street performance by a family of gypsies and their bear, to street vendors, to established shopkeepers of various kinds, to military and religious figures, to high-class Turkish ladies, to a powerful eunuch of the Sultan's seraglio. But behind the main figures, can be glimpsed locations and small incidents that are what gives the city its unique quality: from the Süleymaniye Mosque to the Bosphorus, from the shops in the alley-ways, the coffee houses, to the courtyard of the sultan. First published in 1858, the present re-issue, limited to 500 numbered copies, was published under the direction of the Encyclopédie des Arts Décoratifs de L'Orient. Colas 2423; Blackmer 1353 (1865 edition); Atabey 999 (1861 edition).

$22500.00

Scenery and Reminiscences of Ceylon
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Scenery and Reminiscences of Ceylon

By DESCHAMPS, John

London: Published for the Author by Ackermann and Co, 1845. Folio. (19 1/4 x 13 1/4 inches). [4], 48 pp., plus lithographed additional title and 12 lithographed plates. Publisher's green cloth boards, upper cover stamped in gilt, expertly rebacked to style with dark green morocco Scarce folio lithographed view book of Ceylon. Deschamps, an officer in the Royal Artillery, spent nine years in Sri Lanka (1828-1838), during which time he compiled the material contained in this work. He aims were broad, and as he noted in his preface included representing the scenery, customs, objects, dress, and professions. "The views are twelve in number and have been selected as representing some of the scenes and objects most familiar to those who are acquainted with Ceylon, and, as being, from their associations, most likely to prove interested to the generality of them; and, at the same time, every opportunity has been seized to illustrate costumes, as well as the habits and occupations of the natives" (Preface). The images, after drawings by the author, are lithographed by Giles and Hanhart. The plates comprise: Fort of Colombo; The Galli Face Esplanade; Adam's Peak and the Take of Colombo; Slave Island; Adam's Peak and Slave Island; Colpitty; The Ferry House; Bhudhist Temples; The Ferry at Bentotte; The Rock of Mulkirricalle; The Lake of Kanuy; Great Elephant Kraal. Abbey Travel 414.

$12000.00

The Oriental Album: Twenty illustrations in oil colors of the people and scenery of Turkey, with an explanatory and descriptive text

By VAN LENNEP, Henry John (1815-1889)

New York: Anson D.F. Randolph, 1862. Folio. (18 x 13 1/2 inches). Tinted lithographic additional title by Charles Parsons, printed by Endicott & Co., 20 chromolithographic plates by Parsons after van Lennep, all printed by Endicott & Co. of New York. Expertly bound to style in half red morocco and period marbled paper covered boards, spine gilt with raised bands, marbled endpapers A rare and important American color-plate book. One of the relatively few American costume books, and certainly the best such created in 19th-century America. This is a notable and unusual instance of the taste for the Ottoman or "Turkish" which manifested itself in the furniture of the period but seldom in books. In terms of American color-plate books, this is one of the only large projects from the 1860s, when the Civil War seems to have curtailed production of such lavish enterprises. "The one really big chromolithographic book of this decade ... the art is simple, but [Charles] Parson's hand is obvious in the good lithography, and Endicott's printing is well done for its time" (McGrath). "Endicott achieved a rich variety of color which demonstrated the increased technical ability of American printers in the medium" (Reese). Henry Van Lennep was born in Smyrna, the son of European merchants. Educated, on the advice of American missionaries, in the United States, he returned to Turkey as a missionary in 1840, and spent most of the next twenty years in various parts of the Ottoman Empire. Returning to the United States in 1861, he turned his superb original drawings of Middle Eastern life into the Oriental Album. The plates include two scenes of Jewish life in the Ottoman Empire. Included are plates of "A Turkish Effendi", "Armenian Lady (at home)", "Turkish and Armenian Ladies (abroad)", "Turkish Scribe", "Turkish Lady of Rank (at home)", "Turkish Cavass (police officer)", "Turkish Lady (unveiled)", "Armenian Piper", "Armenian Ladies (at home)", "Armenian Marriage Procession", "Armenian Bride", "Albanian Guard", "Armenian Peasant Woman", "Bagdad Merchant (travelling)", "Jewish Marriage", "Jewish Merchant", "Gypsy Fortune Telling", "Bandit Chief", "Circassian Warrior", "Druse Girl." Bennett, p.108; Blackmer Catalogue 1715; Blackmer Sale 1500; DAB XIX, 200; McGrath, pp.38, 115, 162; Reese, Stamped with a National Character 97; Atabey 1274.

$15000.00

Views in South America, from original drawings made in Brazil the River Plate, the Parana, &c
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Views in South America, from original drawings made in Brazil the River Plate, the Parana, &c

By OUSELEY, William Gore (1797-1866)

London: Thomas McLean, 1852. Folio. Lithographed title, dedication to Prince Albert with list of plates on verso, 26 tinted lithographed plates, lithographed plan. Expertly bound to style in dark blue morocco backed period cloth covered boards, large central morocco label on the upper cover, flat spine lettered in gilt, glazed yellow endpapers and pastedowns Among the rarest lithographed view books concerning South America. "In 1823 Ousley was transferred to Rio as secretary, and in 1838 was promoted to charge d'affaires. He was sent on a mission to Uruguay and Argentina in 1844 and returned to England in 1850 ... After he had returned to England, via the United States, he wished to publish a collection of drawings and watercolous of Brazil and the Rio de la Plata. The selection was made by Queen Victoria. This rare and valued album contains very pictureque lithographs" (Borba de Moraes). Published in 1852 and issued as tinted lithographs, like the present, for £4.4s, or hand coloured at £6.16s.6d, both issues are very rare. Unlike other lithographed plate books from this period, there was no deluxe issue on card. The list of plates cites the plan, 25 plates, plus one vignette (titled Serra de Estrella), though the vignette is in appearance no different than the other plates. Not in Abbey, attesting to the work's rarity. Borba de Moraes, p.643; Sabin 57947; Tooley 356; Palau 207325.

$37500.00

The History of the Royal Residences of Windsor  Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House and Frogmore
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The History of the Royal Residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House and Frogmore

By PYNE, William Henry (1769-1843)

London: printed for A. Dry, 1819. 3 volumes, large quarto. (15 7/8 x 12 1/2 inches). Seven section titles. 100 finely hand-coloured aquatint plates, printed in colours, by T. Sutherland, W.J. Bennett, R. Reeve, and D. Havell after J. Stephanoff, C. Wild, R. Cattermole, W. Westall and G. Samuel. Extra-illustrated with an engraved view of Windsor Castle engraved by Sands after Allom, bound into vol. 1. Contemporary calf, rebacked to style, spine with double-raised bands in six compartments, lettered in gilt, marbled endpapers A rare large-paper issue, with pre-publication watermarks, of this important architectural record of the British palaces and among the best known and most wonderful English colour plate books. One of the main glories of Pyne's work is the remarkable pictorial record it offers of the interior decorations and furnishings of Windsor Castle, showing the castle as it was before the extensive alterations carried out from 1824-1828. Also depicted in some detail are St. James's Palace, Carlton House (with a splendid series of now-vanished interiors created for the Prince Regent by Holland with Wyatt and Nash as architects), Kensington Palace, Hampton Court, Buckingham House (including a view of the east front as it was a century before Aston Webb's drastic remodelling carried out in 1913), and Frogmore as remodeled by Wyatt. The plates are beautifully printed colour aquatints with intricate hand colouring by accomplished colourists of the day. Published in both regular and large paper (as here) issues, the work was published at 24 and 36 guineas, respectively. Besides being printed on larger, superior paper, the hand colouring on the large paper issue is more finely accomplished. Abbey Scenery 396/397; Martin-Hardie, pp. 91; Prideaux, p. 348; Tooley 389.

$9500.00

Mathematics Simplified and made Attractive: or, the laws of motion explained
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Mathematics Simplified and made Attractive: or, the laws of motion explained

By FISHER, Thomas (1801-1856)

Philadelphia: The Author, 1854. 2 volumes (8vo text, plus large square folio atlas of plates). 19 plates (10 with hand colouring), lithographed by A. Kollner. Text in publisher's green cloth, covers stamped in blind, upper cover titled in gilt; atlas in half green morocco and period marbled paper covered boards, upper cover with original blue morocco gilt label Very rare American lithographed work and a prize winner at the London Crystal Palace Great Exhibition of 1851. In his single-minded pursuit of diagrammatic explanations of many of the basic tenets of mathematics for pedagogical purposes, Thomas Fisher here produced a series of fascinating and incidentally beautiful illustrations, lithographed by A. Kollner, of a large range of concepts: from the basic illustration of the "Length, Breadth and Thickness" (plate 1) through to the later series of nine plates illustrating the "problem of Pythagoras" and touching on theories by Kepler, Euclid, Galileo, Tycho Brahe, Newton and more. The text volume (xiii, 15-144pp) published in Philadelphia in 1854 offers a specific explanation of each of the plates, and also includes a verbatim reprint of the report of the Great Exhibition jury which awarded Fisher an Honorable Mention in Class X. "Philosophical Instruments, and processes depending on their use" at the Great Exhibition of 1851. Very rare: we find no example of the text and atlas on the market in the last half century.

$22000.00

Voyage en Perse ... Perse Ancienne ... [With:] ... Perse Moderne ... [And with:] ... Relation du Voyage ..
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Voyage en Perse ... Perse Ancienne ... [With:] ... Perse Moderne ... [And with:] ... Relation du Voyage ..

By FLANDIN, Eugène Napoleon (1809-1889); and Pascal Xavier COSTE (1787-1879)

Paris: Gide et J. Baudry, 1854. 7 volumes, folio and octavo. (24 3/8 x 17 1/2 inches and 9 1/8 x 6 inches). All volumes with half-titles. [Ancienne:] 4 volumes, folio (1 vol. text, 3 vols. plates). Double-page engraved map and 243 plates on 244 sheets (241 engraved, 2 chromolithographed; 10 folding, 4 double-page), numbered 1-229. plus 16 bis plates (plate 187 not issued), with one plate on two double-page sheets (91) and one folding double number plate (150/151). Inked subscription stamp on plate 46. [Moderne:] 1 volume, folio. 100 tinted lithographed plates (31 with two images per plate). Minor dampstaining in top margin. [Relation:] 2 volumes, octavo. [4], 511, [1]; [4], 536pp. Expertly bound to style in half green morocco and period green cloth covered boards, spines with raised bands, lettered in gilt in the second and third compartments, the plate volumes with a repeat thematic gilt stamp in the others Provenance: Alfred Blanche (inked stamp on half titles in Relation vols) Very rare, profusely illustrated folio work on Persia: the finest depiction of Persia in the 19th century. Born in Naples the son of an officer in Napoleon's army, Flandin is said to have studied under Horace Vernet, though other sources suggest him to have been self-taught. He exhibited in the Paris Salon in 1836, which evidently gained him notice, and he was sent to Algeria as a military painter in 1837. An interest in architecture led to his being appointed, along with architect Pascal Xavier Coste, to accompany the French Ambassador to Persia, Edouard, Comte de Sercey in 1839. "When the head of the mission was recalled to France, Flandin and Coste were left to struggle on in the country in the most difficult of circumstances" (Howgego). "After parting from de Sercey's mission, they left Isfahan (31 May 1841) with very limited financial means and retinue. They pursued their periplus towards Hamadan, Kangavar, Bisotun, Holwan, etc. They went back to Isfahan and then on to Shiraz and the Persian Gulf (Busehr), returning to Tehran via Shiraz, Isfahan, and Kasan. They then traveled to Tabriz, where disastrous sanitary conditions hampered their return through Trabzon or Tiflis so that they had to take the Tabriz-Baghdad route through Kurdistan instead ... Flandin's Voyage en Perse remains a model of its kind and an important source, particularly on early Qajar Persia, due to both its text and its illustrations. It provides many precious observations on history, archeology, arts, architecture, geography, social and court life, royal and provincial administration, military organization, etc" (Encyclopaedia Iranica). Upon his return to France, Flandin was awarded the Légion d'honneur Published in 72 livraisons over the course of a decade, this work is very rare and is nearly always lacking plates or text. The present set is complete, and includes the rare octavo text with provenance to Alfred Blanche, the Conseiller d'Etat to the French Ministry of State from 1851-1858. Brunet II:p.1281; cf. Howgego B49 and G2; cf. Ghani p.641; Wilson p.72. Not in Abbey, Atabey or Blackmer.

$55000.00

Lithographic Views of Military Operations in Canada under His Excellency Sir John Colborne ... during the late insurrection. From sketches by Lord Charles Beauclerk, Captain Royal Regiment
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Lithographic Views of Military Operations in Canada under His Excellency Sir John Colborne ... during the late insurrection. From sketches by Lord Charles Beauclerk, Captain Royal Regiment

By BEAUCLERK, Lord Charles (1813-1861)

London: printed by Samuel Bentley, published by A. Flint, 1840. Folio. (14 3/8 x 10 1/2 inches). Lithographic map, 6 fine hand-coloured lithographic plates after Lord Beauclerk, drawn on stone by N. Hartnell. Publisher's cloth-backed letterpress brown stiff paper wrappers. Housed in a full black morocco box. A rare color plate book, containing "the most comprehensive set of prints dealing with the Papineau Rebellion in Lower Canada" (Spendlove). There is an immediacy about this set of prints that is particularly compelling: Lord Beauclerk, the third son of the Duke of St. Albans, was an eye-witness to the events described, serving as an officer in the British army, and made on-the-spot sketches from which the images were drawn on stone by Hartnell. "The most valued account of the Rebellion of 1837 is the set of seven ... lithographs after sketches made by ... Beauclerk ... The views are attractive in both coloring and composition, and depict various actions in November and December 1837" (Mary Allodi, "Prints and Early Illustration"' in The Book of Canadian Antiques p.304). Gagnon II, 124; Lande 1559; Sabin 4164; Spendlove p.85; TPL 2037.

$17500.00

Portraits des Grands Hommes, Femmes illustres, et sujets mémorables de France, gravés et imprimée en couleurs
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Portraits des Grands Hommes, Femmes illustres, et sujets mémorables de France, gravés et imprimée en couleurs

By SERGENT-MARCEAU, Antoine-Francois (1751-1847)

Paris: Pierre Blin, 1792. 3 volumes, quarto. (12 3/4 x 9 3/8 inches). Engraved throughout, title with head-piece vignette, dedication leaf, 192 plates, printed in colours and finished by hand, after Sergent-Marceau, Desfontaines and others by Sergent-Marceau , Ride, Morret, Roger and others. With an original parts front wrapper bound into the third volume. Contemporary calf, rebacked to style. Housed in a brown cloth box. A fine copy of this fascinating work with decorative portraits of kings, queens, courtiers, politicians, scientists, and writers, and evocative and detailed plates of battles, coronations, discoveries: all colour-printed and heightened with water-colour. Originally published in 20 parts, each containing 4 plates, the work is composed of 96 oval portraits with the subjects' coats-of-arms and brief biographical details beneath, each followed by a plate of a famous historical event in which the subject played a significant part. The 96 oval or oblong plates have explanatory text beneath. The work is also a technical tour-de-force: each plate had the black register printed first, the various colours were printed on top (in some cases up to four or five different colours), finally the highlights were added by hand. Includes portraits and scenes from the lives of Louis XVI, Descartes, Charlemagne, Joan of Arc, Nicolas Poussin and more. This copy includes the often lacking allegorical plate celebrating American Independence. Cohen/de Ricci 951; Matterlin 1976-1978, p.663; Ray F rench 86.

$4800.00

The Cabinet of Natural History, and American Rural Sports with Illustrations
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The Cabinet of Natural History, and American Rural Sports with Illustrations

By [DOUGHTY, JOHN AND THOMAS]

Philadelphia: J. and T. Doughty, 1833. Quarto. Three volumes. vii,[1],298,[2]; vii,[3],292; 96pp. Text in two columns. Three uncolored steel-engraved titles with vignettes, two uncolored steel-engraved portrait frontispieces, and fifty-seven plates (three uncolored). Contemporary three-quarter dark green morocco and marbled boards, spines gilt; volume three rebound to style in a modern binding. Extremities lightly worn; head of spine on second volume slightly chipped. Bookplate on front pastedowns of first two volumes. First Major American Color Plate Sporting Book A scarce complete set of the American Rural Sports containing the "first colored sporting prints made in America" (Henderson), including twenty-three original lithographs by Thomas Doughty, the founding father of the Hudson River School. The Cabinet of Natural History , "an amalgam of natural history, sporting accounts, travel narratives, and practical advice for the countryman" (Reese), was started by the brothers Thomas and John Doughty in Philadelphia. It was issued in monthly parts and ran from the end of 1830 until the spring of 1834 when it abruptly ceased publication. The first volume (made up of twelve parts) was certainly the work of both Doughty brothers, with virtually all the plates being the work of Thomas, but, by the time the third part of the second volume had been issued the partnership had been disbanded. Thomas had moved to Boston to pursue his career as a painter, and as of May 17, 1832, John Doughty was the sole proprietor. Evidently Thomas' input was sorely missed and by mid-summer John was advising his subscribers that unless the level of support improved he would have to discontinue the publication. In the end, the periodical continued for almost another year before John Doughty's prediction was fulfilled and the publication came to a sudden halt with part IV of the third volume. The abrupt termination of the third volume accounts for its great rarity, with most extant sets comprised of only the first two volumes. Despite its relatively short life, The Cabinet of Natural History left behind an important legacy as the "first major sport print color plate book produced in America" (Bennett). The prints contained within the work are among few by Thomas Doughty, a significant American artist. "Of all the predecessors to [Thomas] Cole and his followers, the single artist who could most reasonably claim Cole's mantle as the founder of the [Hudson River] school is the appealing figure of Thomas Doughty, who at one juncture was hailed as 'the all-American Claude Lorrain'"' - Howat, p.31. As a painter Doughty "holds a place unique among artists of this country as having initiated the American discovery of the American landscape" (Looney). His importance as a printmaker, however, has yet to be fully recognized or adequately defined, for though "there are many prints to which Doughty's name is attached as artist only, there are only a few for which he was initially completely responsible...These are the 23 lithographs made specifically for Volume I of... The Cabinet of Natural History " (op. cit.). Doughty initially trained as a leather currier but by 1820 was listing himself in the Philadelphia City Directory as a landscape painter. "He was restless…energetic...gifted...[and] was popular almost from the start. People obviously liked his vision of a benevolent natural world...He exhibited frequently in Philadelphia and elsewhere" (op.cit.). His work was engraved for use in various publications from the early 1820s onwards, but his "major contribution to the world of printmaking, however, lies not in the 40-odd illustrations taken from his paintings and drawings but rather in the plates he himself made for [the present work]" (op.cit). American lithography was still in its infancy when the Doughtys began their periodical, and it is not clear where Thomas learned the art. "He proved himself an able practitioner in the plates of Volume I of the Cabinet , which are important as the first sporting prints in color made in America" (op.cit.). This volume also has the distinction of being the first major book of any kind with colored lithographic plates printed in America. There were two earlier minor works but "their lithographic illustrations, being chiefly diagrams, have not the same artistic quality as those of the Cabinet of 1830 with its studies of birds and animals in natural settings and dramatic landscapes. Moreover, the Cabinet was widely distributed, and the first eight issues at least were a popular success. In this way, introducing the colored lithograph to a wide audience, it made an important contribution to the development of American lithography...1830 was thus crucial in the history of American lithography for the lithographic print came of age, and this was largely through the work of Thomas Doughty" (Looney). "It marks the beginning of dominance of lithography in book illustration" - Reese. Bennett, p.35; Gee, pp.48-49; Henderson, p.37; J.K. Howat, The Hudson River and Its Painters (1972), p.31; Howes D433; Robert F. Looney, "Thomas Doughty, Printmaker" in Philadelphia Printmaking (West Chester, 1976), pp.130-48; McGrath, p.187; Meisel III, p.404 (vols. I and II only); Phillips, Sporting Books , p.69. . . Reese, Stamped with a National Character 12; Sabin 9795 (vols. I and only); Wood, p.275.

$9500.00

The Fruits and Fruit Trees of America; or, The Culture, Propagation, and Management, in the Garden and Orchard, of Fruit Trees generally...
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The Fruits and Fruit Trees of America; or, The Culture, Propagation, and Management, in the Garden and Orchard, of Fruit Trees generally...

By DOWNING, ANDREW JACKSON

New York: Wiley & Putnam, 1847. xiv,594pp. plus sixty-seven colored lithograph plates. Modern black morocco, spine gilt. Light scattered foxing, but plates generally clean, with tissue guards. With Beautiful Color Plates of American Fruits The first edition to contain colored plates of "the standard American pomological authority" (Hedrick). A.J. Downing and his brother, Charles, revolutionized both American landscape gardening and American fruit growing in the 1840s, the latter with the publication of this book in 1845. This 1847 edition employs the same plates, but it is printed on larger paper and adds the handsome color plates which only appear in this edition and one issued in 1850. After A.J. Downing's death, the book went through some twenty editions in the 19th century under Charles' editorship. The text makes no reference to the lovely plates of apples, pears, cherries, plums, berries, and other fruits, and as Plesch says, they "seem to have crept into the volume by stealth." The Plesch copy and the one recorded by Bennett each contain only sixty-nine plates; however, we have handled copies with varying numbers of plates, and this copy has sixty-seven. The plates were actually produced in Paris and shipped to America to be bound with the book. The final product is a lovely and important volume. Bennett, p.35; Hedrick, p.486; Meisel III, p.441; Oak Spring Pomona 60; Plesch Sale 219.

$12000.00

Homer his Iliads Translated, Adorn'd with Sculpture, and Illustrated with Annotations
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Homer his Iliads Translated, Adorn'd with Sculpture, and Illustrated with Annotations

By HOMER - John OGILBY (1600-1676)

London: printed by Thomas Roycroft, to be had at the Author's House, 1660. Folio. Letterpress title in red and black. Engraved frontispiece, engraved portraits of Ogilby and Charles II, engraved statue of Homer and 48 (of 49) plates engraved by W. Hollar and others after Cleyn and others. Lacks plate illustrating Book 6, verse 340. Contemporary red morocco, expertly rebacked to style retaining the five central compartments of the original spine, marbled endpapers Provenance: S.P. (initials in gilt on the spine) First edition of Ogilby's lavishly illustrated edition of Homer's Iliad, among the most beautiful editions ever printed. John Ogilby began his professional life a far cry from the world of publishing, as an apprentice to a dancing master. Having no formal education, he began learning Latin in his forties with the help of members of the University of Cambridge whom he had befriended. In 1649, having had some success at a young age with creating his own verse, he attempted a translation of Virgil. Meeting with a positive response, he turned his study to Greek so that he could translate Aesop and Homer. Beyond simple translations, his editions of such classics include significant marginal annotations, synthesizing previous scholarship. However, the common thread among his works, and the principal reason for his success in his lifetime and beyond, are the numerous illustrations which adored his works. The illustrated folio editions of such classics were a new and welcome addition to the mid-17th century English book market and led to the larger more expansive geographical works for which he is best remembered. For the lavish illustrations in his works, Ogilby commissioned prints from some of the best designers and engravers working in England, including Francis Cleyn ( d. 1658), Wenceslaus Hollar (1607-1677), William Faithorne ( c. 1620-1691), and Pierre Lombart (1612/13-1682). To subsidize his publications, particularly costly because of the quality of both paper and illustrations, Ogilby was one of the first publishers to be fully successful at using a combination of subscription and lotteries. Ogilby's version of the Iliad first appeared in 1660; five years later, he published his translation of the Odyssey. A second edition of the Iliad followed in 1669 (although with fewer plates than the original). "The versions of [Homer by] John Ogilby fired the enthusiasms of a youthful Alexander Pope, and despite his later reservations, furnished many rhymes and potential couplet-shapings for his own versions. Both were lavishly illustrated folios 'replete with magnificent plates which depicted the Greek and Trojan heroes in dignified costumes, settings and attitudes in the grand manner of Renaissance painting', and which offered a more coherent impression of Homer than the text" (Oxford History of Classical Reception in English Literature, p. 170). The provenance of this volume is intriguing. At the Ham House sale (Sotheby's, 24-5 November 1947), a third folio Shakespeare similarly bound in morocco with the same initials on the spine, was suggested at the time to have been from Samuel Peyps's library. However Nixon, in his 1984 work on Pepys's bindings, refutes the attribution: "The suggestion made 'tentatively' in the Ham House sale catalogue ... that the fine turkey copy of the Third Folio with the initials 'SP' on the spine might have been Pepys's is wildly improbable. He certainly did not use turkey leather for any of his bindings during the 1660s nor did he add his initials to the spine of any of his books." The owner of this fine copy of The Iliad remains an unidentified collector of the Restoration period. Wing H-2548; Schuchard 7.

$12000.00

[Panorama of Athens] Sketched from nature and on zinc by Miss Bracebridge, May 1839
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[Panorama of Athens] Sketched from nature and on zinc by Miss Bracebridge, May 1839

By BRACEBRIDGE, Selina (1803-1874)

[London, 1839. Hand-coloured lithographed folding panorama, in thirteen joined sections, unfolds to approximately 10 1/4 x 107 inches. 28 numbered references in the lower margin. Expertly bound to style in half dark blue morocco over period blue cloth covered boards. Rare hand coloured panorama of Athens. Selena Bracebridge was a pupil of Samuel Prout. She and her husband travelled in the Levant in the mid-1830s and were settled for some years in Athens. This view is taken from a vantage opposite the Acropolis, near the Church of St. Demetrius the Bombardier. The present panorama was sold to benefit the London Benevolent Repository. Bracebridge is also notable because she was a close friend of Florence Nightingale. For nine months, Bracebridge and her husband Charles acted as Nightingale's assistants at the Barrack Hospital in Scutari, where Nightingale pioneered improvements in the treatment of British soldiers during the Crimean War. Blackmer 193.

$6750.00

The War between the United States and Mexico illustrated, embracing pictorial drawings of all the principal conflicts ... with a description of each battle
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The War between the United States and Mexico illustrated, embracing pictorial drawings of all the principal conflicts ... with a description of each battle

By KENDALL, George Wilkins (1809-1867) and Carl NEBEL

New York & Philadelphia: Plon Brothers of Paris for D. Appleton & Co. and George S. Appleton, 1851. Folio. (21 3/4 x 17 inches). 12 fine hand-coloured lithographic plates, heightened with gum arabic, by Bayot (11) or Bayot & Bichebois (1) after Nebel, printed by Lemercier in Paris, 1 lithographed map. Expertly bound to style in half dark green morocco over publisher's green cloth covered boards, upper cover lettered in gilt A first-hand report, in words and pictures, of the first offensive war fought by the United States: the first and only edition, with superb hand-coloured lithographed plates of one of the most important pictorial works relating to the Mexican-American War. Kendall was America's first great war correspondent, and an ardent proponent of the necessity of America's war with Mexico. When hostilities broke out, he went at once to the Rio Grande where he joined with the Rangers, and later attached himself to the Scott expedition. For this work he keyed his text to the individual plates and the combination affords a detailed illustrated account of each battle. The plates are the work of the German artist, Carl Nebel, who painted each of the twelve major clashes of the war. Kendall notes in his preface that "Of the twelve illustrations accompanying his work... the greater number were drawn on the spot by the artist. So far as regards the general configuration of the ground, fidelity of the landscape, and correctness of the works and buildings introduced, they may be strictly relied upon. Every reader must be aware of the impossibility, in painting a battle scene, of giving more than one feature or principal incident of the strife. The artist has ever chosen what he deemed the more interesting as well as exciting points of each combat... in the present series of illustrations the greatest care has been taken to avoid inaccuracies." The authors of Eyewitness to War wrote approvingly that the present work "represents the climax of the confluence of journalism and lithography on the prints of the Mexican war" and that Nebel's images are "the eyewitness prints that must be compared against all others." For the text Kendall drew on "the official reports of the different commanders and their subordinates," but "was present at many of the battles" and "personally examined the ground on which all save that of Buena Vista were fought" (for information on this he relied on a Captain Carleton). The plates are titled: Battle of Palo-alto; Capture of Monterey; Battle of Buena Vista; Bombardment of Vera-Cruz; Battle of Cerro gordo; Assault of Contreras; Battle of Curubusco; Molino del Rey - attack upon the molino; Molino del Rey - attack upon the casamata; Storming of Chapultepec - Pillow's attack; Storming of Chapultepec - Quitman's attack; Gen. Scott's entrance into Mexico. It is interesting to note that while the work was published by D. Appleton in New York and Philadelphia, the lithographs were produced in Paris. Both Kendall and Nebel felt that the Paris lithographers alone were qualified to do justice to their images and they both spent some time in Europe overseeing the production of the work, for which Kendall and Nebel shared all the costs. A contemporary reviewer described the work as follows: "We have never seen anything to equal the artistic skill, perfection of design, marvelous beauty of execution, delicacy of truth of coloring, and lifelike animation of figures ... They present the most exquisite specimens ever exhibited in this country of the art of colored lithography; and we think that great praise ought to be awarded to Mr. Kendall for having secured such brilliant and beautiful and costly illustrations for the faithful record of the victories of the American army" (review in the New Orleans Picayune, 15 July 1850). Bennett, p. 65; Haferkorn, p. 47; Howes K76; Raines p,132; Sabin 37362; Tyler, Prints of the West , p.78.

$30000.00

The Costume of Great Britain
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The Costume of Great Britain

By PYNE, William Henry (1769-1843)

London: Printed for William Miller ... by William Bulmer and Co, 1819. Folio. (14 x 10 inches). Hand-coloured stipple-engraved title vignette, 60 hand-coloured aquatint plates with partially coloured backgrounds. Contemporary full green straight grained morocco, covers bordered in gilt and blind, spine with wide semi-raised bands in six compartments, tooled in gilt on each band, lettered in the second compartment, the other with a repeat decoration in blind, blue endpapers, gilt edges (repairs at joints). Housed in a cloth box. Lovely copy of the deluxe issue with partially coloured backgrounds. The work was issued in three forms: with only the figures coloured, with the foreground immediately behind or around the figures coloured (as the present) and a rare issue with sky additionally coloured. Abbey, Life 430; Colas 2447; Tooley 388.

$1800.00

Die Anfänge der Majolikakunst in Toskana
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Die Anfänge der Majolikakunst in Toskana

By BODE, Wilhelm (1845-1929)

Berlin: Julius Bard, 1911. Folio. (17 1/4 x 13 1/4 inches). 37 mounted photographic plates (18 color), numerous tipped-in photographic illustrations. Publisher's cloth, blocked and lettered in black, slipcase (slipcase worn) One of 200 numbered copies: an important illustrated monograph on Italian majolica.

$1500.00

The Stranger in Ireland; or, a Tour in the Southern and Western parts of that Country, in the Year 1805
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The Stranger in Ireland; or, a Tour in the Southern and Western parts of that Country, in the Year 1805

By CARR, John

London: Richard Phillips, 1806. 4to. 16 aquatint plates printed in sepia (5 folding), hand coloured plan of the Lakes of Killarney. Contemporary half calf and marbled paper covered boards, spine with semi-raised bands in six compartments, lettered in the second, the others with an overall repeat decoration in gilt, marbled endpapers and edges Provenance: Baron Northwick (armorial bookplate) A fine copy of a noted English work illustrated with aquatints. The beautifully printed aquatints in the present uncoloured issue are tinted in sepia. Abbey Scenery 455.

$1200.00

The Costume of China, Illustrated with Sixty Engravings: with explanations in English and French
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The Costume of China, Illustrated with Sixty Engravings: with explanations in English and French

By MASON, George Henry

London: William Miller, 1802. Quarto. (13 7/8 x 10 1/4 inches). Titles and text in English and French. 60 hand-coloured stipple-engraved plates by Dadley after Pu-Qùa of Canton, each with accompanying text leaf. Contemporary diced russia, covers bordered in gilt and blind, spine with raised bands in seven compartments, lettered in the second and sixth, the others with a repeat decoration in gilt, marbled endpapers, gilt edges A fine copy of Mason's famous illustrated survey of the costume of China. First published in 1800, Mason's text is based on his own experiences in Canton in 1789-1790. At the time he was there, foreigners were not allowed access to the China beyond the borders of the visitor's compounds. Mason, however, was able to gain some information from interacting with the Hong merchants of Canton. The work is given structure by the series of plates, based on original drawings by Pu-Qua, that Mason purchased in Canton. Each plate is accompanied by a commentary in which Mason draws on either his own experiences or the accounts of earlier writers such as Staunton and Nieuhoff. Abbey Travel II, 533; Colas 2009; Lipperheide Le 17.

$5800.00

[Presentation album of 80 etchings by Queen Victoria & Prince Albert]
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[Presentation album of 80 etchings by Queen Victoria & Prince Albert]

By VICTORIA, Queen (1819-1901); and Prince ALBERT (1819-1861)

[Windsor Castle, 1848. Folio. (19 x 14 inches). 80 etchings, all mounted India paper proofs, by Queen Victoria (57) and Prince Albert (23). Contemporary purple morocco, bound by Bignell, covers bordered with wide gilt filets, upper cover with central lettering and Royal crowns in gilt, spine with raised bands in six compartments, ruled, stamped and lettered in gilt, silk moire endpapers, gilt edges Provenance: Sir Theodore Martin Incredible album of original etchings by Queen Victoria and Prince Albert. A talented amateur artist, Queen Victoria took up etching as a hobby, introducing the art to her husband shortly after their marriage in 1840. The royal couple etched frequently for about four years, the Queen being the more prolific, producing sixty-two plates as against the Prince's twenty-five. Both Sir George Hayter and Sir Edwin Landseer taught the royal couple. The plates were etched at Windsor Castle, sometime with both Victoria and Albert working together on the same plate, and it is believed some proof impressions were pulled from a small press there. Some of the plates (though largely the proofs) were bit and printed by the Queen's dresser Marianne Skerrett, though most were re-bit and printed by Colnaghi. However, very few of each of the etchings were printed, the pastime being largely for the royal couple's own amusement; an occasional print and a very few sets, like the present, were distributed as gifts. "The etchings offer a picture of the interests of the royal couple in their early married years. The prince had a keen interest in art and the Old Masters; he introduced Queen Victoria to German romantic literature and Goethe and Schiller in particular. Prince Albert read to the Queen from Schiller's works. Their family absorbed them and the children and dogs play an important role in the etching subject-matter" (The British Museum). Two complete sets of the etchings are known: the Royal Collection includes a complete set of etchings, as well as many proofs, kept by Queen Victoria; a second complete set was presented by King George V to the British Museum. The present nearly complete album was presented to Sir Theodore Martin, the official biographer of the Prince Consort in 1869. Martin's biography, Queen Victoria as I Knew Her (1901) recounts the receipt of this album along with the now lost letter that originally accompanied it: "Of Her Majesty's executive power as an artist I cannot speak, as what I know of her work is confined to a few slight sketches, and the etchings which she made, when Prince Albert and herself were for a time fascinated by that attractive but difficult process. Of these I owe to the Queen's kindness a complete series. They came with the following note:- 'Osborne, May 3, 1869. The Queen sends Mr Martin to-day a volume of the beloved Prince's and her own etchings, which she has had purposely bound for him, and which she hopes he will place in his library, as a trifling recollection of his kindness in carrying out so many of her wishes."' The album offered here includes all but five of Queen Victoria's etchings and all but two of Prince Albert's. The etchings not included are generally reworkings of other etchings present; see for example Scott-Elliot 23 and 25. The eighty etchings present are listed below as bound in the album (i.e. chronologically), with titles as per Scott-Elliott, and with plate size, date and Scott-Elliott (hereafter S-E) reference numbers: 1) [Head of a bearded man, nearly full face]. Etched by Queen Victoria, after a drawing by Prince Albert. 165x110mm. Dated 20 January 1840. S-E 26 (citing the date as 20/1 1841 though here with etched date 20/1 1840). 2) [A bearded Oriental wearing a turban in profile to the right]. Etched by Prince Albert. 162x137mm. Dated 28 August 1840. S-E 63. 3) [Wallenstein and his servant]. Etched by Prince Albert. 251x214mm. Proof before inscription, but 1840. S-E 64. 4) [Three heads]. Etched by Queen Victoria. 164x135mm. Dated 28 August 1840. S-E 1. 5) [Two heads, and men fighting]. Etched by Queen Victoria, after a drawing by Prince Albert. 125x165mm. Dated 1 September 1840. S-E 2. 6) Islay [A Highland terrier, full length, to right.]. Etched by Prince Albert. 156x102mm. Dated 9 November 1840. S-E 66. 7) [Romeo and Tybault]. Etched by Prince Albert. 279x231mm. Dated 16 September 1840. S-E 67. 8) [Ada IV]. Etched by Queen Victoria. 152x108 mm. Dated 18 September 1840. S-E 6. 9) [Ada III]. Etched by Queen Victoria. 232x152mm. Dated 1840. S-E 5. 10) [Ada II]. Etched by Queen Victoria. 128x83mm. Dated 1840. S-E 4. 11) Islay - - Eos [The heads of two dogs, a cairn and a greyhound]. Etched by Queen Victoria. 102x152mm. Dated 19 September 1840. S-E 7. 12) [Fiesko and Andrea Doria]. Etched by Prince Albert. 203x150 mm. Dated 21 September 1840. Second state. S-E 68. 13) Islay [The head of a cairn terrier, facing right]. Etched by Queen Victoria. 100x150mm. Dated 22 September 1840. S-E 8. 14) Eos [The head of a greyhound, to right]. Etched by Prince Albert. 103x152mm. Dated 23 September 1840. S-E 69. 15 Waldmann - Eos [The heads of a dachshund and a greyhound]. Etched by Queen Victoria. 102x152mm. Dated 24 September 1840. S-E 9. 16) [Two girls in peasant costume]. Etched by Queen Victoria. 152x205mm. Dated 28 September 1840. S-E 10. 17) [The head of a dachshund [i.e. Waldmann], to right]. Etched by Prince Albert. 102x142mm. Dated 4 October 1840. S-E 70. 18) [A greyhound [i.e. Eos] standing, to right], Etched by Queen Victoria after Prince Albert. 152x202mm. Dated 4 October 1840. S-E 11. 19) Waldmann [A dachshund, full length, to right]. Etched by Queen Victoria. 101x152mm. 12 October 1840. S-E 12. 20) [Prince Albert]. Etched by Queen Victoria. 252x210mm. 19 October 1840. S-E 13. 21) [Prince Albert]. Etched by Queen Victoria. 271x224mm. 26 October 1840. S-E 14. 22) [A girl seated, half length, in profile to right]. Etched by Queen Victoria. 202x152mm. 31 October 1840. S-E 15. 23) [A figure in armour and cloak, bearing an axe]. Etched by Prince Albert. 204x152mm. 1 November 1840. S-E 71. 24) [A lady in Tudor costume, half length, in profile to right]. Etched by Queen Victoria. 202x152mm. 18 November 1840. S-E 16. 25) [Frederick the Wise of Saxony, after Lucas Crancach]. Etched by Prince Albert. 248x197mm. 1 December 1840. S-E 72. 26) [A young woman, head and shoulders, in profile to the right]. Etched by Queen Victoria. 151x102mm. 27 December 1840. S-E 17. 27) [Head of a young man with curling hair, in profile to right]. Etched by Prince Albert. 202x152mm. 18 December 1840. S-E 73. 28) [Leonore and Imperiale]. Etched by Queen Victoria. 202x150mm. 20 January 1841 ["20" etched in reverse]. S-E 27. 29) [A scene from Scott's Woodstock]. Etched by Queen Victoria. 167x202mm. 30 January 1841 ["30" etched in reverse]. S-E 30. 30) [A young woman in mediaeval costume, half length, in profile to left]. Etched by Queen Victoria and Prince Albert. 152x102mm. 3 January 1841. S-E 18. 31) [A woman with shawl over her head, full length, standing]. Etched by Queen Victoria. 164x110mm. 5 January 1841. S-E 19. 32) Eos [A greyhound asleep]. Etched by Queen Victoria. 101x152mm. 6 January 1841. S-E 20. 33) [Two women in Greek costume, one standing, the other crouching at her feet]. Etched by Queen Victoria. 203x152mm. 7 January 1841. S-E 21. 34) [Six men, in 16th century costume, seated round a table]. Etched by Prince Albert. 152x202mm. 8 January 1841. S-E 74. 35) [Head of a bearded man in profile to right]. Etched by Queen Victoria. 152x100mm. 9 January 1841. S-E 22. 36) [A young peasant woman with a basket of apples, holding a child's hand]. Etched by Prince Albert after a drawing by Queen Victoria. 152x102mm. 16 January 1841. S-E 75. 37) [Three women, full length, standing, one holding a mask]. Etched by Queen Victoria. 201x152mm. 17 January 1841. S-E 24. 38) [A man in Cavalier costume, three quarters length, standing to right]. Etched by Queen Victoria after a drawing by Prince Albert. 200x155mm. 18 January 1841. S-E 25. 39) [A girl kneeling at a shrine]. Etched by Queen Victoria. 152x102mm. 26 January 1841. S-E 28. 40) [The Apotheosis of Mignon]. Etched by Queen Victoria. 165x110mm. 30 January 1841. S-E 29. 41) [A sheet of various studies]. Etched by Queen Victoria. 151x203mm. 31 January 1841. S-E 31. 42) [A sheet of various studies]. Etched by Prince Albert. 200x162mm. 31 January 1841. S-E 76. 43) [Leonore, Arabella and Rosa]. Etched by Queen Victoria. 202x153mm. 7 Februry 1841. S-E 33. 44) [Three cherubs in a Gothic arch of lily leaves]. Etched by Queen Victoria. 152x202mm. 2 February 1841. S-E 32. 45) [Gotz of Berlichingen and the Pilgrim]. Etched by Prince Albert. 203x150mm. 8 February 1841. S-E 77. 46 [Hero]. Etched by Queen Victoria. 229x175mm. 21 February 1841. S-E 34. 47) Victoria [Princess Royal, with her nurse]. Etched by Queen Victoria. 152x112mm. 22 February 1841. S-E 35. 48) [Mignon]. Etched by Prince Albert after a drawing by Queen Victoria. 228x178mm. 24 February 1841. S-E 78. 49) [A goat]. Etched by Queen Victoria after a drawing by Landseer. 112x152mm. 1 April 1841. S-E 36. 50) [Two horses and a donkey at manger]. Etched by Queen Victoria. 152x112mm. 2 April 1841. S-E 37. 51) [Head of an old man, full face]. Etched by Prince Albert. 151x112mm. 3 May 1841. S-E 79. 52) [Three pigeons roosting]. Etched by Prince Albert. 163x111mm. 11 July 1841. S-E 80. 53) Victoria [Princess Royal, crawling holding a ball]. Etched by Queen Victoria. 110x162mm. 15 August 1841. S-E 39. 54) V. [Victoria Princess Royal, with her nurse, being fed a bottle]. Etched by Queen Victoria. 152x112mm. 21 August 1841. S-E 40. 55) Victoria [Princess Royal, seated looking right, holding a ball]. Etched by Queen Victoria. 112x180mm. 22 August 1841. S-E 41. 56) Victoria [Princess Royal, with her nurse, being fed a bottle]. Etched by Queen Victoria. 147x111mm. 23 August 1841. S-E 42. 57) Victoria [Princess Royal, seated on the floor, holding a rose]. Etched by Queen Victoria. 118x155mm. 25 August 1841. S-E 43. 58) [Two heads of eagles]. Etched by Prince Albert. 228x150mm. 28 August 1841. S-E 81. 59) [Two studies of horses]. Etched by Queen Victoria after Landseer. 203x150mm. 1 January 1842. S-E 44. 60) [A market scene, five peasant women]. Etched by Queen Victoria after Landseer. 152x202mm. 9 January 1842. S-E 45. 61) Victoria [Princess Royal, standing at a table with two playing cards]. Etched by Queen Victoria. 106x138mm. 12 January 1842. S-E 46. 62) [Two peasant women, one on crutches]. Etched by Prince Albert after Landseer. 200x152mm. 13 January 1842. S-E 82. 63) [Peasant woman in a shawl, wearing clogs]. Etched by Queen Victoria after Landseer. 177x113mm. 13 January 1842. S-E 47. 64) [A hay wain being loaded into a cart with two horses harnassed]. Etched by Queen Victoria after Landseer. 177x253mm. 6 February 1842. S-E 48. 65)[Victoria, Princess Royal, standing in profile to right under and arch of holly and ivy]. Etched by Prince Albert after a drawing by Queen Victoria. 158x120mm. 27 December 1842. S-E 83. 66) Cairnach [a Skye terrier]. Etched by Queen Victoria. 126x164mm. January 1843. S-E 51. 67) [Five studies of the Princess Royal]. Etched by Queen Victoria. 160x120mm. 7 January 1843. S-E 49. 68) [A nun and a small peasant girl]. Etched by Prince Albert after Landseer. 159x121mm. 10 January 1843. S-E 85. 69) [Head of an Arab wearing a fez and other various studies]. Etched by Queen Victoria. 114x178mm. 11 January 1843. S-E 52. 70) [Two children with a goat]. Etched by Queen Victoria. 127x163mm. 15 January 1843. S-E 53. 71) [Farmer standing beside a horse and cart]. Etched by Queen Victoria after Landseer. 150x228mm. 7 February 1843. S-E 54. 72) Victoria [Princess Royal, two studies in 18th century dress: one in profile to left, the other from behind]. Etched by Queen Victoria. 142x184mm. 26 February 1843. S-E 55. 73) [Crows and a fox attacking a dead stag]. Etched by Prince Albert after Landseer. 114x178mm. 7 March 1843. S-E 86. 74) Pussy Before goberg to Bed [three studies of Victoria, Princess Royal, on a chair, in a bath and being dressed by her nurse]. Etched by Queen Victoria. 150x212mm. 9 April 1843. S-E 56. 75) Victoria on Jan: 1 - 1844 in the Costume of the late Prince Royal after West [three studies of Victoria, Princess Royal in 18th century dress]. Etched by Queen Victoria. 162x212mm. February 1844. S-E 57. 76) Eos & Cairnach [Greyhound and Skye Terrier lying down]. Etched by Prince Albert after Landseer. 144x184mm. August 1844. S-E 87. 77) [Various small studies]. Etched by Queen Victoria after R. Doyle. 144x184mm. 8 January 1845. S-E 58. 78) [Five studies of the royal children]. Etched by Queen Victoria. 152x228mm. 9 January 1845. S-E 59. 79) Victoria and Albert as Gotha Peasants [The Princess Royal and the Prince of Wales]. Etched by Queen Victoria. 178x254mm. January 1845. S-E 60. 80) Alfred [Prince Alfred wearing a sailor suit]. Etched by Queen Victoria. 200x118mm. 29 December 1848. S-E 61. Aydua H. Scott-Elliot, "The Etchings by Queen Victoria and Prince Albert" in Bulletin of the New York Public Library, vol. 65, no. 3 (March 1961), pp. 139-153.

$125000.00

[Scenery of the Windward and Leeward Islands]
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[Scenery of the Windward and Leeward Islands]

By CADDY, Lieutenant John Herbert (1801-1883)

London: Ackermann & Co, 1837. Oblong folio. (16 x 22 inches). 12 hand coloured aquatints after Caddy engraved by Fielding, Harris, Hunt and Westall [complete without text, as issued]. Each print measuring approximately 12 3/4 x 15 1/2 inches. Each tipped onto sheets of blue paper within an album. The album bound to style in half period dark blue morocco and buff paper colored boards. Housed in a dark blue morocco box Very rare complete set of among the most desirable 19th century colour aquatint views of West Indian landscape. "John Herbert Caddy was born into a family of military engineers. His grandfather had been sent to Newfoundland in the 18th century to build a fort. In about 1796 his father left Kent, England, for a posting in Lower Canada and in 1808 was transferred to the garrison at Fort Malden, Amherstburg, Upper Canada. John Herbert began his schooling at Amherstburg and in 1815 he was sent to England for military training at the Royal Military Academy, Woolwich (now part of London). In March 1816 he was enlisted at the academy as a gentleman cadet in the Royal Artillery and received training as an engineer and cannoneer. Like George Heriot, James Pattison Cockburn, Philip John Bainbrigge, and other English military artists who painted Canadian scenes, Caddy was trained at Woolwich in topographical sketching and painting. Much of his free time was spent at the home of a family friend, Colonel Richard Hamilton, at Woolwich Common. Caddy was commissioned 2nd lieutenant on 29 July 1825 and promoted 1st lieutenant in 1827. In 1828 he married Colonel Hamilton's daughter Georgiana, shortly before he left for duty in Tobago. He returned to England in 1831, but after two years left his family for his second West Indian posting, at St Lucia. In May 1834 he was transferred to St Vincent where he was joined later by his wife and family. Diary fragments describe the social rounds, the hunting, and the sketching which were possible with light military duties. Before he left for St Vincent Caddy had prepared for publication a series of four folios of scenes, largely of the West Indies. The pictures of the first folio were engraved in London and were published in 1837 by Ackermann; the other three folios never appeared" ( Dictionary of Canadian Biography ). The views comprise: 1) Brimstone Hill / St. Kitts. [Engraved by J. Harris] 2) Fort Charlotte, St. Vincent's / from Kingston. [Engraved by N. Fielding] 3) The Old Crater of the Soufriere / St. Vincent. [Engraved by W. Westall] 4) The Pitons or Sugar-loaves / St. Lucia. [Engraved by C. Hunt] 5) Sandy Point, St. Kitts. [Engraved by C. Hunt] 6) Pigeon Island, & Village of Gros Islet / St. Lucia. [Engraved by J. Harris] 7) The Town of Castries / St. Lucia. [Engraved by N. Fielding] 8) Kingstown / St. Vincent's / from Cane-Garden Point. [Engraved by J. Harris] 9) View from Morne Fortune / St. Lucia ... [Engraved by J. Harris] 10) Roseau, Dominica. [Engraved by J. Harris] 11) The Rabacca or Dry River / Soufriere Mountain in the distance / St. Vincent. [Engraved by W. Westall] 12) Basaltic Rocks / in Washilabou or Cumberland Valley, St. Vincent. [Engraved by W. Westall] This suite of plates was issued without text or title (the title above as supplied by Abbey from the lettering on the cover of the binding on his set). The work was published, as a contemporary advertisement reveals, as a suite of "highly coloured views" for £3.10. Abbey, Travel II, 692; Sabin 9824; The Exotic and the Beautiful I:04.

$52500.00

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