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21 |
Bruce, James “Hyene”. Single plate, No. 26, (Benard, Direxit) from Cartes et Figures du Voyage en Nubie et en Abyssinie par James Bruce. Atlas volume from Voyage Aux Sources du Nil, en Nubie et en Abyssinie, Pendant Les Annees 1768... 1772.
Paris: Chez Plassan, 1792. Copperplate engraving of an especially malevolent looking hyena, sheet (29cm x 22cm), plate (22cm x 18cm) on fine rag paper. James Bruce, African explorer and Scottish wine merchant (1730-1794), visited Ethiopia searching for the source of the Blue Nile. Plates from this edition are based on Bruce’s own drawings. Nissen ZB1: 618. A clean bright image with ample margins; simply mounted on white acid-free mat.
Price:
150.00 USD
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22 |
Bruce, James “Le Mangeur de Miel”. Single plate, No. 36, (Benard, Direxit) from Cartes et Figures du Voyage en Nubie et en Abyssinie par James Bruce. Atlas volume from Voyage Aux Sources du Nil, en Nubie et en Abyssinie, Pendant Les Annees 1768... 1772.
Paris: Chez Plassan, 1792. A fine copperplate engraving of the honey-eater, sheet (29cm x 22cm), plate (22cm x 18cm) on fine rag paper. James Bruce, African explorer and Scottish wine merchant (1730-1794), visited Ethiopia searching for the source of the Blue Nile. Plates from this edition are based on Bruce’s own drawings. Nissen ZB1: 618. A clean bright image with ample margins; simply mounted on white acid-free mat.
Price:
150.00 USD
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23 |
Bruce, James “Lynx Botte”. Single plate, No. 30, (Benard, Direxit) from Cartes et Figures du Voyage en Nubie et en Abyssinie par James Bruce. Atlas volume from Voyage Aux Sources du Nil, en Nubie et en Abyssinie, Pendant Les Annees 1768... 1772.
Paris: Chez Plassan, 1792. Copperplate engraving of an African desert lynx, sheet (29cm x 22cm), plate (22cm x 18cm) on fine rag paper. James Bruce, African explorer and Scottish wine merchant (1730-1794), visited Ethiopia searching for the source of the Blue Nile. Plates from this edition are based on Bruce’s own drawings. Nissen ZB1: 618. A clean bright image with ample margins; simply mounted on white acid-free mat.
Price:
150.00 USD
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24 |
Bruce, James “Nisser Tokoor”. Single plate, No. 32 (Benard, Direxit) from Cartes et Figures du Voyage en Nubie et en Abyssinie par James Bruce. Atlas volume from Voyage Aux Sources du Nil, en Nubie et en Abyssinie, Pendant Les Annees 1768... 1772.
Paris: Chez Plassan, 1792. Copperplate engraving of a large desert raptor, sheet (29cm x 22cm), plate (22cmx 18cm) on fine rag paper. James Bruce, African explorer and Scottish wine merchant (1730-1794), visited Ethiopia searching for the source of the Blue Nile. Plates from this edition are based on Bruce’s own drawings. Nissen ZB1: 618. A clean bright image with ample margins; simply mounted on white acid-free mat.
Price:
150.00 USD
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25 |
Bruce, James “Nisser Werk”. Single plate, No. 31 (Benard, Direxit) from Cartes et Figures du Voyage en Nubie et en Abyssinie par James Bruce. Atlas volume from Voyage Aux Sources du Nil, en Nubie et en Abyssinie, Pendant Les Annees 1768... 1772.
Paris: Chez Plassan, 1792. Copperplate engraving of a handsome desert raptor, sheet (29cm x 22cm), plate (22cm x 18cm) on fine rag paper. James Bruce, African explorer and Scottish wine merchant (1730-1794), visited Ethiopia searching for the source of the Blue Nile. Plates from this edition are based on Bruce’s own drawings. Nissen ZB1: 618. A clean bright image with ample margins; simply mounted on white acid-free mat.
Price:
150.00 USD
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26 |
Bruce, James “Rachamah”. Single plate, No. 33, (Benard, Direxit) from Cartes et Figures du Voyage en Nubie et en Abyssinie par James Bruce. Atlas volume from Voyage Aux Sources du Nil, en Nubie et en Abyssinie, Pendant Les Annees 1768... 1772.
Paris: Chez Plassan, 1792. Copperplate engraving of a surprisingly good-looking buzzard, sheet (29cm x 22cm), plate (22cm x 18cm) on fine rag paper. James Bruce, African explorer and Scottish wine merchant (1730-1794), visited Ethiopia searching for the source of the Blue Nile. Plates from this edition are based on Bruce’s own drawings. Nissen ZB1: 618. A clean bright image with ample margins; simply mounted on white acid-free mat.
Price:
150.00 USD
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27 |
Bruce, James “Sheregrig”. Single plate, No. 37, (Benard, Direxit) from Cartes et Figures du Voyage en Nubie et en Abyssinie par James Bruce. Atlas volume from Voyage Aux Sources du Nil, en Nubie et en Abyssinie, Pendant Les Annees 1768... 1772.
Paris: Chez Plassan, 1792. Copperplate engraving of a graceful scissor-tail fly-catcher, sheet (29cm x 22cm), plate (22cm x 18cm) on fine rag paper. James Bruce, African explorer and Scottish wine merchant (1730-1794), visited Ethiopia searching for the source of the Blue Nile. Plates from this edition are based on Bruce’s own drawings. Nissen ZB1: 618. A clean bright image with ample margins; simply mounted on white acid-free mat.
Price:
150.00 USD
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28 |
Bruce, James “Tsaltsalya, El Adda”. Single plate, No. 39, (Benard, Direxit) from Cartes et Figures du Voyage en Nubie et en Abyssinie par James Bruce. Atlas volume from Voyage Aux Sources du Nil, en Nubie et en Abyssinie, Pendant Les Annees 1768... 1772.
Paris: Chez Plassan, 1792. Copperplate engraving of a desert-dwelling lizard and tsetse fly(?), sheet (29cm x 22cm), plate (22cm x 18cm) on fine rag paper. James Bruce, African explorer and Scottish wine merchant (1730-1794), visited Ethiopia searching for the source of the Blue Nile. Plates from this edition are based on Bruce’s own drawings. Nissen ZB1: 618. A clean bright image with ample margins; simply mounted on white acid-free mat.
Price:
150.00 USD
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29 |
Bruce, James “Wallia”. Single plate, No. 38, (Benard, Direxit) from Cartes et Figures du Voyage en Nubie et en Abyssinie par James Bruce. Atlas volume from Voyage Aux Sources du Nil, en Nubie et en Abyssinie, Pendant Les Annees 1768... 1772.
Paris: Chez Plassan, 1792. Copperplate engraving of a fine-looking desert bird, sheet (29cm x 22cm), [plate (22cm x 18cm) on fine rag paper. James Bruce, African explorer and Scottish wine merchant (1730-1794), visited Ethiopia searching for the source of the Blue Nile. Plates from this edition are based on Bruce’s own drawings. Nissen ZB1: 618. A clean bright image with ample margins; simply mounted on white acid-free mat.
Price:
150.00 USD
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30 |
Bryant, William Cullen Picturesque America; or, The Land We Live In. A Delineation by Pen and Pencil of the Mountains, Rivers, Lakes, Forests, Waterfalls, Shores, Canons, Valleys, Cities, and other Picturesque Features of Our Country.
Appleton: New York, 1872, 1874. First edition, in two volumes (pp. viii, 568; vi, 576), illustrated throughout with 49 fine full-page steel engravings on card, tissue guards, and many more equally fine wood engravings largely in the text. Folio (33cm), half red morocco over complimentary pebbled red cloth; fancy gilt titles and decorations to covers and spines; all edges gilt; fine, complimentary marbled endpapers. The text appears unopened (Certainly it is without blemish). Several corners worn, leather edges chafed, one hinge starting. By the 1870’s the issue of the union of the states had been decided, and the publishers were keen to portray the country as united (“our land”) and, as the frontier rolled west, attractive and accessible. Appleton recruited a number of artists for this ambitious and, as it turned out, popular publication and sent them out into various parts of the country, from Mt. Desert on the coast of Maine to the Golden Gate, to harvest landscapes and views. (However, the publishers apparently sought a ‘higher realism’ than photography could offer and sent not a single photographer.) The fine engravings, all of which are taken from the original artwork produced for the book, are largely by the noted engravers Hinshelwood and Hunt. The letter-press was managed in somewhat the same way, being assigned a number of specialist writers. All in all, quite a fine copy of this collection of picturesque American landscapes and views.
Price:
600.00 USD
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31 |
Burnett, David and Marilyn Schiff Contemporary Canadian Art
Edmonton: Hurtig, 1983. First edition, signed by the authors and about fifty artists whose work appears here (300, index). Quarto (21.5 cm), in pictorial dust jacket, black cloth and gilt titles to spine; illustrated with more than eighty colour reproductions and many more in b&w. Signed by Burnett and Schiff and about fifty others-- for example, Christopher Pratt, Michael Snow, Joyce Wieland, Etrog, Dorothy Knowles, and Greg Curnoe. A survey of Canadian art from the period 1940- 1980, in the wake of the Group of Seven, but exclusive of native or aboriginal art which it was felt required an entire book unto itself. A small krinkle to one corner of the dust jacket, otherwise this copy as new.
Price:
250.00 USD
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32 |
Burnett, David and Marilyn Schiff. Contemporary Canadian Art
Edmonton: Hurtig, 1983. First edition, signed by the authors and about fifty artists whose work appears here (300, index). Quarto (21.5 cm), in pictorial dust jacket, black cloth and gilt titles to spine; illustrated with more than eighty colour reproductions and many more in b&w. Signed by Burnett and Schiff and about fifty others-- for example, Christopher Pratt, Michael Snow, Joyce Wieland, Etrog, Dorothy Knowles, and Greg Curnoe. A survey of Canadian art from the period 1940- 1980, in the wake of the Group of Seven, but exclusive of native or aboriginal art which it was felt required an entire book unto itself. A mildly rubbed lower edge, otherwise this copy as new.
Price:
250.00 USD
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33 |
Burton, William Josiah Wedgwood and His Pottery.
London: Cassell, 1922. Number 487 of edition limited to 1500. Thirty-two colour plates, seventy-two black and white. Wedgwood blue cover, gilt lettering, top edge. Minor tip, spine wear, excised owner’s mark, small tape marks on fly. A beautifully produced, definitive reference work.
Price:
350.00 USD
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34 |
Carr, Emily Hundreds and Thousands. The Journals of Emily Carr.
Toronto: Clarke Irwin, 1966. Limited edition, No. 794 of 1000, in two volumes (xxvi, 332; portfolio). Folio (28 cm.), in blue cloth, gilt titles to spine of text volume, matching slipcase. Twelve colour reproductions of Carr’s work tipped in to text volume, duplicates mounted on heavy card, loose in separate portfolio as issued. With a biographical sketch by Ira Dilworth and an introductory essay by Lauren Harris to accompany Carr’s journal entries, which begin in 1927 with her meeting Fred Varley in Vancouver on her way east by train. Even if you have never before seen a painting by Emily Carr nor read a word she has written, the twelve paintings reproduced here, together with her characteristically energetic and original writing, testify to her great talent, her independence of mind, and her determination to ‘work, work, work!’ This copy as new.
Price:
150.00 USD
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36 |
Colton, J. H. Map. Canada West or Upper Canada.
New York: J. H. Colton & Co., 1855. Sheet (36cm x 44cm), image (32cm x 40cm). Nicely coloured map with decorative borders showing counties and townships of southern Ontario as far north as the French River and west to include Manitoulin Island; large coloured insert showing the Niagara frontier and the Welland Canal, smaller insert showing Wolf Island (Ottawa is still called ‘Bytown’), borders high-lighted in colour. A large, attractive, colourful map of pre-Confederation Ontario. Simply mounted on white, acid-free mat.
Price:
150.00 USD
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37 |
Colton, J. H. Map. Central America.
New York, 1855. Sheet (37cm x 45cm), image (32cm x 40cm). Delicately hand-coloured engraved map with decorative borders. A fine, colourful map depicting the regions from southern Mexico to ‘Granada’ (Panama) with insets for Aspinwall City and Navy Bay, Panama City, Isthmus of Panama with railway. A single, short closed tear (repaired) in the margin of an otherwise bright, detailed map... although not one which shows the contemporary discoveries of Stephens and Catherwood. A large, attractive map of the region. Simply mounted on white, acid-free mat.
Price:
200.00 USD
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38 |
Coronelli, Vincenzo M[aria]. Map. Canada Orientale Nell’ America Settentrionale from Atlante Veneto.
Venice, 1691- 96. Image (46cm x 62cm) in fine bespoke gilt frame (66cm x 80cm). Depicts, outlined and in fine colour, the regions of the Gulf of St. Lawrence, Newfoundland, Nova Scotia, Prince Edward Island, and further east in the Atlantic, the Grand Banks. The colourful and flamboyant engraved cartouche features a somewhat humanoid octopus and two handsome dolphins framed with laurels (‘Canada/ Orientale Nell’/ America Settentrionale/ descrita/ dal P. Mro. Coronelli M. C. Cosmografo/ della Seren Republica di Venetia/ dedicata/ Alli Mto. Reverendi Padri/ Li P.P. Minori Conventuali/ del Monestero insigne/ di S.Francesco/ di Bologne’), also framed in laurels the colourful legend. Famous first as a maker of globes-- Coronelli (1650- 1718) built a pair of ‘superbly engraved globe[s] five feet in diameter’ for the duke of Parma (1678), which globes so impressed Louis XIV that the Sun King commissioned Coronelli to construct a ‘pair of gigantic globes... over twelve feet in diameter and weighing two tons each’ (Geographicus), large enough, also, to house a family of peasants. Appointed Cosmographer of the Republic of Venice, Coronelli produced the Atlante Veneto ‘which was intended as a continuation of the Blaeu Atlas Major... [a] vast work comprised of some thirteen volumes.... The maps from the Atlante Veneto are engraved in characteristic... bold style, using the latest geographical information.... Many of the more important maps were engraved on two sheets’ [as here] to permit presentation of greater detail (Swaen). A bright, clean copy of this classic but uncommon map in a suitably attractive frame. Ex Ruddell collection (November 2008). See, e.g., Kershaw, Karpinski.
Price:
2500.00 USD
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39 |
Crocker, Frederick S. Trajes de Guatemala, Tomo 1 y Tomo 2.
Guatemala City: B. Zadick, c. 1960. Two porfolios each comprising suites of six full-colour lithographed water-colours (44cm x 34cm), twelve in all, signed on the plate, showing indigenous Guatemalans’ traditional costumes typical of various regions of the country. Strikingly energetic depictions. This, the complete set of prints in the series, features costumes from Santiago Atitlan, Solola, San Martin Sacatepequez, San Antonio Aguas Calientes, Coban, and Todos Santos Cuchumantanes (Tomo 1); Santa Maria Chichimula, San Pedro Sacatepequez- San Marcos, San Juan Sacatepequez, Palin, Nebaj, and Chichicastenango (Tomo 2). Crocker ( 1914- 1972), a resident of Guatemala and an architect chiefly occupied with the restoration of Spanish colonial residences for well-to-do or well-connected ex-patriots, took great pains in the observation and recording of details of the various local clothing styles which he captured in a series of watercolours exhibited for the first time in the “Brooklyn Museum from 1943 to 1948 and in Memphis in 1948. These very successful exhibitions (at which none of the paintings were for sale) led to the lithographic reproduction in two portfolios of six designs each, with explanatory notes printed by Byron Zadik S.A. of Guatemala City. These sets have now become rarities to be sought after” (Long). As is evident from a glance at the wearers, Crocker was painting costumes and not people; the figures and their countenances are not ‘Mayan’ but generic representations, the more to focus the observer’s eye on the finely painted particulars of the clothing (Crocker apparently used an unfriendly banker and some others he did not care for as models). These fine, colourful lithographs are accompanied by Crocker’s own detailed and informative notes in Spanish and English. The brief biographical note accompanying the lithographs tells us that “Frederick Crocker, Jr. was born in the United States. He is a graduate of the Carnegie Institute of Technology... and practiced architecture in Manila, Philippine Islands. His interest in costumes began while he was travelling in Guatemala in 1940, at which time he turned his efforts toward recording what he could of the enormous mass of material available. These labors were interrupted for three years during World War II, in which he served as a Naval Officer in the Pacific. After the war he returned to Guatemala and continued his researches from his home in Panajachel, on Lake Atitlan. His original collection of costume drawings, from which the... series is adapted, [has] been exhibited in the United States at the Brooklyn Museum and at the Memphis Cotton Carnival, as well as in Guatemala. ”For an informative and amusing sketch of Crocker’s life and career, see J. Long’s article, “Pat Crocker, Artist and Architect” in Revue- Guatemala’s English-Language Magazine (1 March 2009) which tells all about the boy from West Virginia to whom his parents gave the middle name ‘Siddhartha’ and who would occasionally introduce himself as, of course, ‘Frederick The-Enlightened-One Crocker’. Fine.
Price:
1500.00 USD
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40 |
Dehio, Georg Geschichte der Deutschen Kunst.
Berlin und Leipzig: Walter de Gruyter, 1919- 1926. First edition in three parts (Part 1: viii, 372 pp. text and index, 444 illustrations and index; Part 2: iv, 350 pp. text and index, 435 illustrations and index; Part 3: iv, 424 pp. and index, 554 illustrations and index). Six volumes comprising three volumes of text and three of pictures illustrating the range of German art through approximately the mid- 18th century-- painting, sculpture, architecture, porcelain, etc., 1800 illustrations (plans, elevations, photographs, sketches). 4to in black cloth with gilt decoration and lettering to front covers and titles, Part 1, two volumes, with the bookplate and stamp of ‘Wolfgang Furst zu Ysenburg und Budingen’ (1877- 1920). Some age toning to one volume, hinges re-inforced on another. Generally, a clean and bright copy of this comprehensive survey.
Price:
120.00 USD
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